Wireframe Aesthetics (Part 1)![](getpic/2633)
Escape from New York, 1981. John Carpenter couldn't afford wireframe computer simulation for his low budget film, so a model of New York City was constructed for the sole purpose of being photographed and rendered as a negative image.
Escape from New York. Image as it appears in cockpit of Snake Plissken's glider.
![](getpic/2631) Still from Tron, 1982 (flipped vertically). Steven Lisberger's entirely computer-generated landscape set the standard for wireframe aesthetics. Critics often refer to this film with tongues in cheeks, but they do refer to it.
![](getpic/2634) Stephen Hendee, Inertial Field, 1998. Sculptor Hendee makes Tron-like walk-in environments with foamcore, electrician's tape, and backlighting, thus bringing the idea full circle, to a Carpenter-esque simulation of a simulation.
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Wireframe Aesthetics (Part 1)
Escape from New York, 1981. John Carpenter couldn't afford wireframe computer simulation for his low budget film, so a model of New York City was constructed for the sole purpose of being photographed and rendered as a negative image.
Escape from New York. Image as it appears in cockpit of Snake Plissken's glider.
![](getpic/2631)
Still from Tron, 1982 (flipped vertically). Steven Lisberger's entirely computer-generated landscape set the standard for wireframe aesthetics. Critics often refer to this film with tongues in cheeks, but they do refer to it.
![](getpic/2634)
Stephen Hendee, Inertial Field, 1998. Sculptor Hendee makes Tron-like walk-in environments with foamcore, electrician's tape, and backlighting, thus bringing the idea full circle, to a Carpenter-esque simulation of a simulation.
- tom moody 3-28-2003 3:55 am