- CV Detail -
INTRODUCTION
T.M.Wilcox, 2020
Instead of a regular Curriculum Vitae, mine is an illustrated narrative with a user interface optimized for handheld devices. In an early career as a computer game designer, I used a conventional list of Titles & Credits (PDF) documenting my contributions to boxed software. Ironically, computing platforms from that era are largely extinct, while collectible video game packaging survives. Another aging platform with an even older point-and-click interface hosts the World Wide Web. Coming soon are competing VR platforms featuring voice and gesture recognition interfaces, with brain-computer interfaces on the horizon. I'll optimize my next CV for virtual and augmented reality.
Not long ago, the creative plane I inhabit was science fiction. Now, digital sculpting and 3D modeling allow impossibly large pieces in virtual worlds that are works of art on their own. For physical sculpture, 3D scanning produces polygon mesh for foundry castings; five axes robotic arms carve and polish wood and stone; stereolithography and sintering output molds and finished components of plaster, metal, ceramic, and glass. For photography and CGI, digital C‑Type printmaking exceeds the resolution and dynamic range of its forebear, the gelatin silver process.
The business of art is evolving too. Smart contracts on private blockchains provide for provenance monitoring, capital participation, royalty payments, and authenticity certificates. On public blockchains, fintechs once treated pixel art NFT's like unregistered securities, inflating their value with algorithmic trading in a feedback loop propelling video game design into the canon of contemporary art.
Critics still claim video games are not art. Yet 3D game platforms and gamelike virtual worlds contain immense creative expression. Humans are like generative virtual worlds encoded with DNA. Our 3D gameworlds are like DNA of the mind.
EDUCATION
EARLY CAREER
MIDDLE CAREER
LATE CAREER
ARTIST'S STATEMENT
T.M.Wilcox, 2020
Instead of a regular Curriculum Vitae, mine is an illustrated narrative with a user interface optimized for handheld devices. In an early career as a computer game designer, I used a conventional list of Titles & Credits (PDF) documenting my contributions to boxed software. Ironically, computing platforms from that era are largely extinct, while collectible video game packaging survives. Another aging platform with an even older point-and-click interface hosts the World Wide Web. Coming soon are competing VR platforms featuring voice and gesture recognition interfaces, with brain-computer interfaces on the horizon. I'll optimize my next CV for virtual and augmented reality.
Not long ago, the creative plane I inhabit was science fiction. Now, digital sculpting and 3D modeling allow impossibly large pieces in virtual worlds that are works of art on their own. For physical sculpture, 3D scanning produces polygon mesh for foundry castings; five axes robotic arms carve and polish wood and stone; stereolithography and sintering output molds and finished components of plaster, metal, ceramic, and glass. For photography and CGI, digital C‑Type printmaking exceeds the resolution and dynamic range of its forebear, the gelatin silver process.
The business of art is evolving too. Smart contracts on private blockchains provide for provenance monitoring, capital participation, royalty payments, and authenticity certificates. On public blockchains, fintechs once treated pixel art NFT's like unregistered securities, inflating their value with algorithmic trading in a feedback loop propelling video game design into the canon of contemporary art.
Critics still claim video games are not art. Yet 3D game platforms and gamelike virtual worlds contain immense creative expression. Humans are like generative virtual worlds encoded with DNA. Our 3D gameworlds are like DNA of the mind.
Instead of a regular Curriculum Vitae, mine is an illustrated narrative with a user interface optimized for handheld devices. In an early career as a computer game designer, I used a conventional list of Titles & Credits (PDF) documenting my contributions to boxed software. Ironically, computing platforms from that era are largely extinct, while collectible video game packaging survives. Another aging platform with an even older point-and-click interface hosts the World Wide Web. Coming soon are competing VR platforms featuring voice and gesture recognition interfaces, with brain-computer interfaces on the horizon. I'll optimize my next CV for virtual and augmented reality.
Not long ago, the creative plane I inhabit was science fiction. Now, digital sculpting and 3D modeling allow impossibly large pieces in virtual worlds that are works of art on their own. For physical sculpture, 3D scanning produces polygon mesh for foundry castings; five axes robotic arms carve and polish wood and stone; stereolithography and sintering output molds and finished components of plaster, metal, ceramic, and glass. For photography and CGI, digital C‑Type printmaking exceeds the resolution and dynamic range of its forebear, the gelatin silver process.
The business of art is evolving too. Smart contracts on private blockchains provide for provenance monitoring, capital participation, royalty payments, and authenticity certificates. On public blockchains, fintechs once treated pixel art NFT's like unregistered securities, inflating their value with algorithmic trading in a feedback loop propelling video game design into the canon of contemporary art.
Critics still claim video games are not art. Yet 3D game platforms and gamelike virtual worlds contain immense creative expression. Humans are like generative virtual worlds encoded with DNA. Our 3D gameworlds are like DNA of the mind.
EDUCATION
EARLY CAREER
MIDDLE CAREER
LATE CAREER