{"id":2109,"date":"2007-06-29T01:48:17","date_gmt":"2007-06-29T00:48:17","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=2109"},"modified":"2021-11-11T17:12:11","modified_gmt":"2021-11-11T16:12:11","slug":"arabesque-by-john-whitney","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2007\/06\/29\/arabesque-by-john-whitney\/","title":{"rendered":"Arabesque by John Whitney"},"content":{"rendered":"

\"arabesque.jpg\"<\/a><\/p>\n

I made the complaint in November last year when writing about James Whitney’s Lapis<\/em><\/a> that few of the classic works of abstract cinema have yet to find their way to YouTube. Happily, things change fast in the online world and you can now see a clip of Lapis<\/em> here<\/a>. Another recent addition is the whole of Arabesque<\/em><\/a> by James’s brother, John, a very early (1975) example of using computer graphics to create animations. This is necessarily crude by today’s standards\u2014coloured lines and shapes\u2014but it was made at a time when computers frequently filled entire rooms and recording their visual output meant pointing a camera at a monitor. Arabesque<\/em> has a suitably Arabian santur<\/em> soundtrack by Manoochehr Sadeghi.<\/p>\n

Update:<\/strong> link changed to a better copy.<\/p>\n

Elsewhere on { feuilleton }
\n\u2022 The abstract cinema archive<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

I made the complaint in November last year when writing about James Whitney’s Lapis that few of the classic works of abstract cinema have yet to find their way to YouTube. Happily, things change fast in the online world and you can now see a clip of Lapis here. Another recent addition is the whole … Continue reading “Arabesque by John Whitney”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[49,52,7,15],"tags":[351,2864],"class_list":["post-2109","post","type-post","status-publish","format-standard","hentry","category-abstract-cinema","category-animation","category-film","category-technology","tag-john-whitney","tag-jordan-belson"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-y1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/2109","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=2109"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/2109\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=2109"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=2109"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=2109"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}