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Both are displayed on large scale public building, using lights and changing light patterns at varying speed intervals to create a mesmerizing illuminated artwork, to be enjoyed by everyone. Superimposed over the thousands of tiny points of light are coloured arabesques illuminated at different tempos.” Though Kepes did not have the technology at hand to create a flowing and randomly computer-generated work such as Eno’s, his mural can be seen as a predecessor to Eno’s piece. Light Mural for KLM was programmed by Kepes as “an immense kinetic mural, in which stencilled shapes in light emulate the poetry of a cityscape as seen from an airplane at night. Historical precursors to 77 Million Paintings in the domain of visual art include Gyorgy Kepes’ Light Mural for KLM, 1959 (above).
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The ambient, looping quality of the work shares similarities with Eno’s early ambient recordings, including his seminal Music for Airports, 1977, which “was designed to be continuously looped as a sound installation, with the intent to diffuse the tense, anxious atmosphere of an airport terminal.” Evans: “e are not colouring in the opera house, we’re actually kind of taking the art of the opera house and raising it to a different level.” In other words: the iconic white sails of the opera house are not just used as a large projection piece, 77 Million Paintings and the opera house itself cooperate extrinsically in order to create a whole new level of artistic experience. Using the Sydney Opera House (1973), designed by architect Jorn Utzon as the backdrop for this work of art was not a simple choice either. ħ7 Million Paintings is said to be a “very meditative experience”, by chief executive Richard Evans. Imagination enables mankind to survive, even during the hardest of times – such as the economic crisis we have been facing the last year or so. He said that “y allowing ourselves to let go of the world that we have to be part of every day, and to surrender to another kind of world, we’re allowing imaginative processes to take place.” Art, according to Eno, triggers the imaginative process, and through imagination alone can we cope with the gruesome encounters of everyday life. With 77 Million Paintings, Eno stated he wanted the people watching his work to “surrender to another kind of world,” to embrace their own imagination through this surrender. Accompanying the light show is a specially made soundtrack, interwoven with the projected images, all set to create a “mesmerizing soundscape”. The randomness of this rearrangement creates a constantly evolving artwork, with a seemingly infinite number of combinations, hence the title. Through the use of self-generating software, three hundred images hand-drawn by Eno are randomly cut-up, the pieces rearranged and realigned in an endless variety of ways. The crowning jewel of the Luminous festival was Eno’s 77 Million Paintings, projected onto the distinctive white sails of the the Sydney Opera House (1973), the architectural landmark and designed by architect Jorn Utzon, designated by UNESCO as a world heritage site in 2007. Some of them take old forms and infuse them with new life, and make them new again, and others have invented forms of art that didn’t previously exist.” Thus, Luminous created an outlet for the more ambiguous and less easily placed artworks. He stated that “hey are people who work in the new territories, the places in between, the places out at the edges. The beauty of the festival lies not only in the array of different artworks and performances shown during the course of Luminous, but also, according to Eno, in the common denominator of the combined artists: the inability to place them in any obvious category. In 2009, Brian Eno – music inventor, record producer and acclaimed visual artist – was invited to Sydney to curate a project called Luminous, part of Vivid Sydney, a unique public festival to “transform the city into a spectacular living canvas of music and light in and around the Sydney Opera House, The Rocks, Circular Quay and City Centre.”