“Early History of French CG” by Welker

  • ©Cecile Welker

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Title:

    Early History of French CG

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Abstract:


    This paper provides an historical summary of the emergence of computer graphics research and creation in France between 1970 and 1990, a period of innovation that transformed artistic practice and French visual media. The paper shows the role of these developments in the history of art, the evolution of digital technology, and the expansion of animation and visual effects in the film industry.

References:


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    2. Chatelin, Philippe, ed., Actes du Colloque sur l’Histoire de l’Informatique en France
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    3. Pinteau, Pascal, Ejfets Speciaux: Un Siecle d’Histoires (Geneve: Minerva, 2003).

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    31. Foldes is a traditional animator of British nationality born in Hungary.

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    42. “GDF,” dir. Fran<;:ois Pecnard, France, 1983.

    43. “BNP,” dir. Daniel Fauchon, France, 1983.

    44. “Sharp,” dir. Xavier Nicolas, France, 1983.

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    46. “Maison Vole,” dir. Andre Martin and Philippe Queau, France, 1983.

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    pour un Musee de l’Informatique en France, Paris, 8 November, 2012,
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    56. Dahan, Pierre-Louis and Phac Le Tuan, “Approche Theorique d’une Technique: Perspectives et
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    57. Images made with Euclid software.

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    Passe, Paris, 21 June, 2011.

    61. Constructivists (e.g., Laszlo Moholy-Nagy, Hans Richter, and Marcel Duchamp) have demonstrated
    an interest in cinema and its “fourth dimension” of moving images from the 1920s onward.

    62. Couchot, Edmond, Semaphora III, France, 1965-1973. Krueger, Myron, Videoplace, USA, 1974.
    Agam, Yaacov, Fiat Lux, 1967.

    63. Kowalski, Piotr, Cube No. 8, 1967.

    64. Kowalski, Piotr, Time Machine, 1981.

    65. DeWitt, Tom, Pantomation System, 1982.

    66. Welker, Cecile, ‘Tart Numerique Renouvelle-t-il la Creation Comemporaine?” (academic essay, 2009).

    67- “La Petite Danseuse,” dir. Michel Bret, France, 1985.

    68. “La Plume,” dir. Michel Bret, Edmond Couchot, Marie-Helene Tramus, France, 1988.
    The idea and design of “La Plume” go back to 1983. It was co be presented in a show titled Electra
    (Musee d’Art Moderne de la Ville de Paris, 1983), but the show failed financially. Since 1988, there have
    been several versions of the device; the latest consists of a cloud of feathers (see Figure n).

    69. “Je Seme a Tout Vent,” dir. Michel Bret, Edmond Couchot, Marie-Helene Tramus, France, 1990.

    70. Fuchs, Philippe, Les Interfaces de la Realite Virtue/le (Montpellier: Le Corum, 1996).

    71. Fuchs, Philippe, Le Traite de la Realite Virtuelle (Paris: Presses de !’Ecole des Mines, 2006).

    72. Shaw, Jeffrey, The Legible City, 1989-1990.

    73, “Le Pissenlit” (originally “Je Seme a Tout Vent”), dir. Michel Bret, Edmond Couchot, Marie-Helene
    Tramus, France, 1990.

    74. “Animation, la France Cartonne,” Telerama, No. 3279 (2012).

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    76. “Olivier Emery: Imagix-3D: The Beginning of 3D Animation Software Running on a PC in the 8o’s,”
    fmx/09 Stuttgart, 8 May, 2009, <media.siggraph.org/paris/fmx/Emery-Imagix.htmb.
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    78. “Jean-Charles Hourcade: INA, First CG Trials; TDI the Creation of the Explore Software,” fmx/09
    Stuttgart, 8 May, 2009, <media.siggraph.org/paris/fmx/Hourcade-Explore.htmb.

    79. Segura, Jean and Veronique Gode, “Prestataires en lnfographie: l’Etat de la France en 1993,”
    Sonovision, No. 367 (1993).

    80. Segura, Jean, ” Images de Synchese: Accord Ina Thomson,” La Lettre de Sciences & Techniques, No. 68 (1986).

    81. Corte, Olivier, “3-D Animation in France,” Computer Graphics World, Vol. 1, No. 1 (1996).

    82. “Sub-Oceanic Shuttle,” dir. Jerzy Kular, 1991.

    83. “La Cite des Enfants Perdus,” dir. Jean-Pierre Jeunet and Marc Caro, France, 1995.

    84. “Pierre Buffin: The Beginning of Buf Compagnie in 1985,” fmx/09 Stuttgart, 8 May, 2009, <media.
    siggraph.org/paris/fmx/Buffin-Buf.htmb.

    85. “Alien” and “The Matrix,” for instance.

    86. “Maison Vole,” dir. Andre Martin and Philippe Queau, France, 1983.

    87. “Tron,” dir. Steven Lisberger, USA, 1982.

    88. “Luxo Jr.,” dir. John Lasseter, USA, 1986.


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