|All images and original writing
© 2004-2015 Meg Fox
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author's express written permission.
are created. Similarly, I believe digital rendering cannot replace traditional media. Its beauty lies in the unique
capabilities of the computer and software combined with the humanity of the artist. Then "digital" becomes a
fascinating new tool with infinite possibilities for expression.
On the digital canvas, light becomes my medium. I love the sheer beauty of emitted light and the brilliance and depth of
color created by mixing light. These same electromagnetic waves, as they are reflected or emitted from matter in
space, are used to collect information about the universe. My curiosity about the connection between intangible thought
and the physical world is my inspiration. Digital imagery has become my passionate journey into the mystery that
surrounds our ability to reason, and the influence our individual perceptions of reality have upon our ability to
communicate. That the phenomenon of light can be used to transform the energy of thought into a visual art form is to
me like the magic of the stars. Light as medium has become the bridge between my imagination and the physical
world, and at the same time, digital imagery allows me to explore my love of language. I use the beauty of word in its
symbolic letter form as a design element and am deeply mindful of the profound psychological influence of the words
we share as communication.
My exposure to the integration of technology and the arts began in 1964 with an
introduction to a prototype of a waveform generator designed by Donald Buchla.
Buchla used an analogue sequencer to generated a series of voltages which in
turn controlled frequencies of oscillators and filters. Although it was called a
"synthesizer" by the electronic and music industries, Buchla objected to the term,
because his Electronic Music System was not meant to imitate or “synthesize” the
sounds of traditional instruments, but was built to generate unique sounds and
frequencies. Years later, as a working violinist, I could appreciate the importance of
making this distinction when synthesizers specifically designed to recreate the
sounds of orchestral instruments began replacing live musicians. To me, recording
"synthesized" imitations of instruments with a small number of live players added
to the mix can never replace the sound of the live symphony or studio orchestra. But,
when the composer uses the sound and frequency capabilities of the synthesizer
as an addition to traditional instrumentation, amazing new "colors" of sound