1 « Cordeiro and Moscati’s mathematical transformations are trivially simple compared with, for example, the experiments that M.R Schroeder of Bell Laboratories has done with a computer and microfilm plotter (1968); and the line printer is a crude output device for such imagery. However, Schroeder’s graphics are pure technical demonstrations; Cordeiro’s work is a start towards bringing back human emotions into the cold and cerebral world of the computer. » Benthall Jonathan, Science and Technology in Art Today, London, Thames and Hudson, 1972, p. 70.
2 Moles Abraham et Rohmer Elisabeth, Art et ordinateur. Nouvelle version revue et augmentée, Paris, Blusson, 1990, p. 17.
3 Ibid., p. 42.
4 Le Musée de l’histoire de l’ordinateur de Boston déménagea à Mountain View en Californie en 1996.
5 Gouraud Henri, Computer Display of Curved Surface, PhD Thesis, University of Utah, 1971, [https://collections.lib.utah.edu/details?id=706615].
6 École des Arts Déco - Paris, Henri Gouraud « La baguette magique qui cache la facette », Vimeo, 2012.
7 Dans la préface de son rapport, Parke remercie les Professeurs R.E. Stepheson et I. Sutherland, Barry Wessler, Ed Catmull et Molicnik, ses collaborateurs et sa femme : « Special thanks go to Mike Cannon, Jenny Cederholm and my wife, Vicky, the brave volunteers whose faces served as the prototypes for those shown in this report ». Parke Frederic Ira, « Computer generated animation of faces » (Salt Lake City, Utah : University of Utah, juin 1972), ii, [https://collections.lib.utah.edu/ark:/87278/s6cv7svx], | Institutional Repository | J. Willard Marriott Digital Library.
8 Sito Tom, Moving Innovation – A History of Computer Animation, op. cit., p. 203.
9 « Why deal with human faces? There are several reasons. The face presents a challenge. It is flexible and varies from person to person. We have a well developed facility for interpreting facial expression. It is a difficult task to produce convincing computer-generated facial images. » Parke Frederic Ira , « A Parametric Model for Human Faces » (PhD, University of Utah, 1974, 1, [https://collections.lib.utah.edu/details?id=703807]).
10 Chernoff Herman, « The Use of Faces to Represent Points in K-Dimensional Space Graphically », Journal of the American Statistical Association, vol. 68, n° 342, 1973, p. 361‑368.
11 « We can view computer graphics as an additional tool or medium for expression. As this medium matures we would certainly hope that technique will be developed to handle objects with the complexity and subtlety of the human face. Hopefully this work is a step in that direction. » Parke Frederic Ira, A parametric model for human faces, op. cit.
12 « Christiansen [Hank] remembered: “Dave sent me to the FBI in Washington. I brought Fred Parke and Henri Gouraud’s student films of animated faces. I told them if they funded us, in a few years we would have an advance system of facial recognition and cataloging. But the FBI couldn’t see it.” » Sito Tom, Moving Innovation – A History of Computer Animation, op. cit., p. 80.
13 Parke Frederic Ira, « Parameterized Models for Facial Animation », IEEE Computer Graphics and Applications, vol. 2, n° 9, novembre 1982, p. 61‑68.
14 Platt Stephen M. et Badler Norman I., « Animating facial expressions », Dallas, Texas, USA, Association for Computing Machinery, coll. « SIGGRAPH ’81 », 1981.
15 Ekman Paul et Friesen Wallace V., Unmasking The Face, Upper Saddle River, Prentice Hall Inc., 1975.
16 Bergeron Philippe et Lachapelle Pierre, « Techniques for Animating Characters », SIGGRAPH 1985 Advanced ComputerGraphics Animation, 1985.
17 Bergeron Philippe, Lachapelle Pierre, Robidoux Pierre et Langlois Daniel, Tony de Peltrie, 1985.
18 Waters Keith, « A muscle model for animation three-dimensional facial expression », New York, NY, USA, Association for Computing Machinery, coll. « SIGGRAPH ’87 », 1987.
19 Magnenat-Thalmann N., Primeau E. et Thalmann D., « Abstract muscle action procedures for human face animation », The Visual Computer, vol. 3, n° 5, 1er mars 1988, p. 290‑297.
20 Magnenat-Thalmann Nadia et Thalmann Daniel, Rendez-vous In Montreal, 1987.
21 Nahas Monique, Huitric Hervé et Saintourens Michel, « Animation of a B-Spline figure », The Visual Computer, vol. 3, n° 5, 1er mars 1988, p. 272‑276.
22 Nahas Monique, Huitric Hervé, Saintourens Michel et Tramus Marie-Hélène, Pygmalion, 1988.
23 « A picture of a man was placed in memory of an IBM 7094. Mathematical strategies were the applied to the original data. The X value remained constant, and a sine curve function was placed upon the data Y value. Given the X and Y coordinated for each point, the figure was plotted from X’=X, Y’=Y+C*SIN(X) Where C is increase for each successive image. » Berkeley E.C. (dir.), Computers and Automation, 1967, vol. 16, p. 8.
24 Gannon Madelina, « After 50 years of Computer Aided Design », dans Liss C. Werner (dir.), EnCoding Architecture, Pittsburgh, Carnegie Melton University, 2013, p. 20.
25 Taylor Grant D., When the Machine Made Art, op. cit., p. 96.
26 « The question is not one of had skill versus machine skills. The problem is one of conception, wherein the mathematical transformations made possible by the computer present a new dimension to art. » Csuri Charles et Shaffer James, « Art, Computers and Mathematics », New York, NY, USA, Association for Computing Machinery, coll. « AFIPS ’68 (Fall, part II) », 1968, p. 1293‑1298.
27 Cordeiro Analivia, « Waldemar Cordeiro », Writing new codes. Waldemar Cordeiro, Robert Mallary, Vera Molnar, 3 pionneers of computer art 1969-197. Catalogue d’exposition, The Mayor Gallery, 2018, p. 14‑16.
28 Arantes Priscila, « Digital Art in Brazil », Explorations in Art and Technology, London, Springer, 2018, p. 94.
29 Benthall Jonathan, Science and Technology in Art Today, op. cit., p. 70.
30 « The exhibition mounted by the Computer Arts Society to accompany the symposium was disappointing, though some stylish graphics by Auro Lecci, an associate of the computer musician Pietro Grossi, are worth noting. To illustrate this article I have chosen a series of four graphics (not in the CAS exhibition) by Waldemar Cordeiro and Giorgio Moscati from Brasil. They have used an IBM 360/44 to perform transformations on a digitized image, using a standard line printer as the output device. What makes me feel that this is art rather than contrivance is the evocative choice of image. When I first saw this series I for a moment did not detect that the image depicts a male and a female head on the left, and still more ambiguous are the two standing figures on the right. Cordeiro and Moscati seem to be interested, like Richard Hamilton, in what Richard Morphet describes as “the knife-edge border between legibility and illegibility”. The possibilities of effecting this kind of modulation in films seem very hopeful. Cordeiro’s and Moscati’s series seems like so many stills from a film sequence, exploring, perhaps, an elusive human relationship without the need for actors. » Benthall Jonathan, « Technology and Art 15: Computer Graphics at Brunel », Studio International - Visual Arts, Design and Architecture 179, n° 923, consulté le 22 août 2020, [https://www.studiointernational.com/index.php/technology-and-art-15-computer-graphics-at-brunel].
31 Moles Abraham et Rohmer Elisabeth, Art et ordinateur, op. cit., p. 147.
32 Vera Molnar - Orthogonal - Galerie Berthet-Aittouarès, Youtube.
.
33 Vera Molnar - 1 % de désordre ou la vulnérabilité de l’angle droit - Galerie Berthet-Aittouarès, Youtube, 2016.
34 Ibid.
35 Molnar Vera, Lettres à ma mère (1981-1990), Le Hôme-sur Mer, 1991, [http://www.veramolnar.com/blog/wp-content/uploads/VM1991_lettres.pdf], consulté le 3 mai 2020.
36 Ibid.
37 Vera Molnar - Orthogonal - Galerie Berthet-Aittouarès, op. cit.