I Am a Strange Loop by DOUGLAS HOFSTADTER
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"Now Indigo Blue": Synthetic Color and Video Synthesis Circa 1969
The Electric "Now Indigo Blue": Synthetic Color and Video Synthesis Circa 1969 Carolyn Kane Assistant Professor Department of Film and Media Carolyn Kane Hunter College, CUNY 695 Park Avenue, Room 433 Hunter North New York City, NY 10065 USA ABSTRACT [email protected] Circa 1969, a few talented electrical engineers and pioneering video artists built video synthesizers capable of generating luminous and abstract psychedelic colors that many believed to be cosmic and revolutionary, and in many ways they were. Drawing on archival materials from Boston's WGBH archives and New York's Electronics Arts Intermix, this paper analyzes this early history in the work of electronics engineer Eric Siegel and Nam June Paik's and Shuya Abe's Paik/Abe Video Synthesizer, built at WGBH in 1969. The images produced from these devices were, as Siegel puts it, akin to a "psychic healing medium" used to create "mass cosmic consciousness, awakening higher levels of the mind, [and] bringing awareness of the soul." While such radical and cosmic unions have ultimately failed, these unique color technologies nonetheless laid the foundation for colorism in the history of electronic computer art. "[With] television ... you're on the way to being a starchild ... inner and outer space become one in unknown velocities of a cosmic zoom ... the now indigo blue of life merges with the glowing beauty of man at his most human ..." -Ron Hays (1971) [1] Introduction In 1969, electronics engineer Eric Siegel asked: ''After a trying day, why can't the viewer ... sit down at his TV set and listen to music while watching the screen burst with beautiful colorful displays?" These "visual phantasies," he explained, "would relax you better than any tranquillizer and at the same time give your spirit a wonderful lift .. -
To Whom It May Concern: Nam June Paik's Wobbulator and Playful Identity
To whom it may concern: Nam June Paik©s wobbulator and playful identity Article (Published Version) Devereaux, Emile (2013) To whom it may concern: Nam June Paik's wobbulator and playful identity. Leonardo Electronic Almanac, 19 (5). pp. 22-35. ISSN 1071-4391 This version is available from Sussex Research Online: http://sro.sussex.ac.uk/id/eprint/48741/ This document is made available in accordance with publisher policies and may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the URL above for details on accessing the published version. Copyright and reuse: Sussex Research Online is a digital repository of the research output of the University. Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. To the extent reasonable and practicable, the material made available in SRO has been checked for eligibility before being made available. Copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. http://sro.sussex.ac.uk catalog FARAnd by LAnfranco AcEtI And omAR KhoLEIF ISSN 1071-4391 ISBNWI 978-1-906897-21-5 CATALOGd VOL 19 NO 5 LEONARDOELECTRONICALMANACE 1 This issue of LEA is a co-publication of LEA is a publication of Leonardo/ISAST. -
Redalyc.Roads to Recursion. Some Historiographical Remarks on A
ICONO 14, Revista de comunicación y tecnologías emergentes E-ISSN: 1697-8293 [email protected] Asociación científica ICONO 14 España Kacunko, Slavko Roads to Recursion. Some historiographical remarks on a core category of Media Art ICONO 14, Revista de comunicación y tecnologías emergentes, vol. 12, núm. 2, julio- diciembre, 2014, pp. 70-85 Asociación científica ICONO 14 .png, España Available in: http://www.redalyc.org/articulo.oa?id=552556574005 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Roads to Recursion. Some historiographical remarks on a core category of Media Art | 70 Roads to Recursion. Some historiographical remarks on a core category of Media Art Los caminos de la recursividad. Algunas observaciones historiográficas sobre una categoría central del Media Art Slavko Kacunko Professor in Art History and Visual Culture (Copenhagen University) Fecha de recepción: 6 de marzo de 2014 Fecha de revisión: 4 de julio de 2014 Para citar este artículo: Kacunko, S. (2014): Roads to Recursion. Some historiographical remarks on a core category of Media Art, Icono 14, volu- men (12), pp. 70-85. doi: 10.7195/ri14.v12i2.682 DOI: ri14.v12i2.682 | ISSN: 1697-8293 | Año 2014 Volumen 12 Nº 2 | ICONO14 71 | Slavko Kacunko Abstract In this paper, the general arena between analogue and digital media art is explored with special respect to the concept of the ‘newness’ of media. The first part confirms the Closed Circuit as an ‘open system’ related to its right to an evo- lution towards increasing complexity without the reciprocal playing-off of self-ref- erential ‘life’ against ‘hetero-referential’ technique. -
The Convergence of Video, Art and Television at WGBH (1969)
The Medium is the Medium: the Convergence of Video, Art and Television at WGBH (1969). By James A. Nadeau B.F.A. Studio Art Tufts University, 2001 SUBMITTED TO THE DEPARTMENT OF COMPARATIVE MEDIA STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN COMPARATIVE MEDIA STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY SEPTEMBER 2006 ©2006 James A. Nadeau. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known of hereafter created. Signature of Author: ti[ - -[I i Department of Comparative Media Studies August 11, 2006 Certified by: v - William Uricchio Professor of Comparative Media Studies JThesis Supervisor Accepted by: - v William Uricchio Professor of Comparative Media Studies OF TECHNOLOGY SEP 2 8 2006 ARCHIVES LIBRARIES "The Medium is the Medium: the Convergence of Video, Art and Television at WGBH (1969). "The greatest service technology could do for art would be to enable the artist to reach a proliferating audience, perhaps through TV, or to create tools for some new monumental art that would bring art to as many men today as in the middle ages."I Otto Piene James A. Nadeau Comparative Media Studies AUGUST 2006 Otto Piene, "Two Contributions to the Art and Science Muddle: A Report on a symposium on Art and Science held at the Massachusetts Institute of Technology, March 20-22, 1968," Artforum Vol. VII, Number 5, January 1969. p. 29. INTRODUCTION Video, n. "That which is displayed or to be displayed on a television screen or other cathode-ray tube; the signal corresponding to this." Oxford English Dictionary, 2006. -
Douglas Hofstadter 18
A L B E R T U S - M A G N U S - P R O F E S S U R 2 0 1 8 Douglas Hofstadter 18. – 20. JUNI «Reflections on Translation» MONTAG, 18. JUNI, 19.30 UHR, AULA DER UNIVERSITÄT (HAUPTGEBÄUDE): 1. Vorlesung: «Reflections on Machine Translation» DIENSTAG, 19. JUNI, 19.30 UHR, AULA DER UNIVERSITÄT (HAUPTGEBÄUDE): 2. Vorlesung: «Reflections on Human Translation» MITTWOCH, 20. JUNI, 12.00 UHR, TAGUNGS- RAUM IM SEMINARGEBÄUDE Öffentliches Seminar Albertus MagnusProfessur (Teilnahme nur nach vorheriger Anmeldung) a.r.t.e.s. Graduate School for the Humanities Cologne Graduiertenschule der Philosophischen Fakultät Albertus MagnusProfessur Douglas R. Hofstadter College of Arts and Sciences Distinguished Gestaltung: Ulrike Ulrike Kersting Gestaltung: Professor of Cognitive Science and Computer Science (Indiana University Bloomington) Douglas R. Hofstadter, College of Arts and Sciences Distinguished Professor of Cognitive Science and Computer Science, Adjunct Professor in Compara- tive Literature und Direktor des Center for Research on Concepts and Co- gnition an der Indiana University Bloomington versteht sich selbst als einen Grenzgänger zwischen Natur- und Geisteswissenschaften, zwischen Physik, Mathematik und Computer Science auf der einen und Musik-, Sprach- und Literaturwissenschaft auf der anderen Seite. Im Mittelpunkt seines Interes- ses als Physiker und Kognitionswissenschaftler steht «the human mind» in all ihren Facetten. Einer breiten Öffentlichkeit bekannt wurde Hofstadter Anfang der 80er Jahre durch sein in viele Sprachen übersetztes Buch «Gödel, Escher, Bach: ein Endloses Geflochtenes Band», für das er den Pulitzer-Preis und den Ame- rican Book Award gewann. Auch in den Folgejahren explorierte Hofstadter die Facetten menschlichen Denkens im Spannungsfeld von Mathematik, Musik und Sprache. -
Analogy As the Core of Cognition
Analogy as the Core of Cognition by Douglas R. Hofstadter Once upon a time, I was invited to speak at an analogy workshop in the legendary city of Sofia in the far-off land of Bulgaria. Having accepted but wavering as to what to say, I finally chose to eschew technicalities and instead to convey a personal perspective on the importance and centrality of analogy-making in cognition. One way I could suggest this perspective is to rechant a refrain that I’ve chanted quite oft in the past, to wit: One should not think of analogy-making as a special variety of reasoning (as in the dull and uninspiring phrase “analogical reasoning and problem-solving,” a long-standing cliché in the cognitive-science world), for that is to do analogy a terrible disservice. After all, reasoning and problem-solving have (at least I dearly hope!) been at long last recognized as lying far indeed from the core of human thought. If analogy were merely a special variety of something that in itself lies way out on the peripheries, then it would be but an itty- bitty blip in the broad blue sky of cognition. To me, however, analogy is anything but a bitty blip — rather, it’s the very blue that fills the whole sky of cognition — analogy is everything, or very nearly so, in my view. End of oft-chanted refrain. If you don’t like it, you won’t like what follows. The thrust of my chapter is to persuade readers of this unorthodox viewpoint, or failing that, at least to give them a strong whiff of it. -
NAM JUNE PAIK 17 October 2019 – 9 February 2020
NAM JUNE PAIK 17 October 2019 – 9 February 2020 LARGE PRINT GUIDE CONTENTS Foyer ...................................................................................3 Room 1 ................................................................................6 Room 2 .............................................................................. 14 Room 3 .............................................................................. 18 Room 4 ..............................................................................54 Room 5 ..............................................................................83 Room 6 ..............................................................................96 Room 7 .............................................................................112 Room 8 ............................................................................ 121 Room 9 ............................................................................ 158 Room 10 ..........................................................................205 Room 11 .......................................................................... 219 Room 12 ..........................................................................222 Find out more ..................................................................225 Credits .............................................................................228 Floor plan ........................................................................ 231 2 FOYER EXHIBITION GUIDANCE This exhibition contains flashing and bright lights, -
Roads to Recursion. Some Historiographical Remarks on a Core Category of Media Art | 70
Roads to Recursion. Some historiographical remarks on a core category of Media Art | 70 Roads to Recursion. Some historiographical remarks on a core category of Media Art Los caminos de la recursividad. Algunas observaciones historiográficas sobre una categoría central del Media Art Slavko Kacunko Professor in Art History and Visual Culture (Copenhagen University) Fecha de recepción: 6 de marzo de 2014 Fecha de revisión: 4 de julio de 2014 Para citar este artículo: Kacunko, S. (2014): Roads to Recursion. Some historiographical remarks on a core category of Media Art, Icono 14, volu- men (12), pp. 70-85. doi: 10.7195/ri14.v12i2.682 DOI: ri14.v12i2.682 | ISSN: 1697-8293 | Año 2014 Volumen 12 Nº 2 | ICONO14 71 | Slavko Kacunko Abstract In this paper, the general arena between analogue and digital media art is explored with special respect to the concept of the ‘newness’ of media. The first part confirms the Closed Circuit as an ‘open system’ related to its right to an evo- lution towards increasing complexity without the reciprocal playing-off of self-ref- erential ‘life’ against ‘hetero-referential’ technique. The second part refers to the continuity of research undertaken in media, art and art-history and discussion in related fields while the concepts of ‘new’ media have repeatedly admitted the Closed Circuit as a core category in ‘New’ Media Art. The third part introduces one content-related categorization of Closed Circuit video installations which has been regarded as representative for the general ‘fields of inquiry’ of both analogue and digital media art. Key Words: Video - Closed Circuit - Installation Resumen En este trabajo, se explora el ámbito general entre lo analógico y el “Media Art” digital con especial respeto al concepto de “novedad” en los medios de comuni- cación. -
The Autobiography of Video: Outline for a Revisionist Account of Early Video Art Author(S): Ina Blom Reviewed Work(S): Source: Critical Inquiry, Vol
The Autobiography of Video: Outline for a Revisionist Account of Early Video Art Author(s): Ina Blom Reviewed work(s): Source: Critical Inquiry, Vol. 39, No. 2 (Winter 2013), pp. 276-295 Published by: The University of Chicago Press Stable URL: http://www.jstor.org/stable/10.1086/668526 . Accessed: 26/01/2013 09:50 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The University of Chicago Press is collaborating with JSTOR to digitize, preserve and extend access to Critical Inquiry. http://www.jstor.org This content downloaded on Sat, 26 Jan 2013 09:50:15 AM All use subject to JSTOR Terms and Conditions The Autobiography of Video: Outline for a Revisionist Account of Early Video Art Ina Blom K. O. Götz once said: “I made a number of experiments with cathode ray tubes in Norway 17 years ago. Funny images appeared, but unfortunately they could neither be controlled nor held on to.” Held on to! ...The words hit me like a bolt of lightning!1 1 This is the composer Nam June Paik writing, and the year is 1963. The wartime radar experiments of the German painter Karl Otto Götz were recalled at the -
Recursion, Symmetry & Tessellation with Software Based Video
Recursion, Symmetry & Tessellation with Software based Video Feedback Systems Paul Prudence 50d College Park Close Lewisham, London SE13 5HA E-mail: [email protected] Abstract Talysis II and Son Lattice are real-time generative software pieces that apply the properties of video signal feedback to simulate recursive functions, typical of a computer algorithm, to build self-similar, symmetrical geometric forms. First shown at ‘Art-ficial Emotion 3.0’ in São Paulo, 2006, Talysis II evokes the geometric work of 60's Op-art movement. Son Lattice, performed at ‘Tomorrow Now’ Venice, 2007 is a sound responsive piece that visualizes sound in real time. Both works are relevant to the field of Art-Maths, not only through recursion, but also because they display properties of symmetry, tessellation and harmonics more commonly associated with computer algorithms and the complex equations of dynamical systems. Figure 1: Screen shots of Talysis II. Shown at Art.ficial Emotion 3.0, Sao Paulo, July 2006 305 1. Introduction Talysis II (figure 1), a real time generative [1] artwork, was commissioned for the Art.ficial Emotion 3.0 exhibition held in Sao Paulo in July 2006. This was an exhibition surveying historical and contemporary cybernetic [2] and interactive digital art. The artwork, built using the video synthesis toolkit VVVV [3], simulates the process of analogue video feedback by constructing a loop of renderer nodes. Each node passes its output to the next renderer node to produce an endless visual information loop with degrees of transformation throughout the process. The initial starting source shape is a simple white square or Quad (in VVVV terms). -
Video Feedback – Lyricism in Patterns of Light a Basic Understanding of It Must Be Provi- 1
Video Feedback – Lyricism in Patterns of Light A basic understanding of it must be provi- 1. Video Feedback – ded before explaining what fascinates me, Discovery of Light Patterns I have been interested in optic seriality, repe- An Essay by Barbara Doser the opportunities it offers, and where it is ultimately taking me. titions and variations since my childhood. At the same time this will answer the ques- Noticing and observing abstract forms and tion I am asked constantly concerning what structures in motion, whether in overgrown Introduction kind of software is used to produce my gardens or the chaos in the skies, has never 1. Video Feedback – Discovery of Light Patterns mo ving images. My works have nothing to failed to delight me. 2. The Video-Feedback System and Its “Functional Strategy” do with computer animation as such. They 3. The Video-Feedback System as a Pattern Generator are generated by means of a video camera In 1993, while trying out my fi rst video 4. Processing Video-Feedback Material camera, I discovered the phenomenon of •Analyses in Terms of Time and Space and connected monitor, the former directed video feedback for myself. The camera, con- •Generation of Mutations at the latter. This produces a feedback pro- nected to the television set, was by chance •Generation of Patterns with Feedback Patterns cess that autogenerates abstract forms and fi lming its screen, and in this way a world of 5. Combining Moving Images and Sound structures in motion. For this reason, I also autogenerated abstract moving images that 6. Stills as Snapshots: Paintings and Printed Works term the video-feedback system a “pattern are dependent of devices themselves was 7. -
REWIND a Guide to Surveying the First Decade: Video Art and Alternative Media in the U.S., 1968-1980
REWIND A Guide to Surveying the First Decade: Video Art and Alternative Media in the U.S., 1968-1980 REWIND A Guide to Surveying the First Decade: Video Art and Alternative Media in the U.S., 1968-1980 REWIND 1995 edition Editor: Chris Hill Contributing Editors: Kate Horsfield, Maria Troy Consulting Editor: Deirdre Boyle REWIND 2008 edition Editors: Abina Manning, Brigid Reagan Design: Hans Sundquist Surveying the First Decade: Video Art and Alternative Media in the U.S., 1968–1980 1995 VHS edition Producer: Kate Horsfield Curator: Chris Hill Project Coordinator: Maria Troy Produced by the Video Data Bank in collaboration with Electronic Arts Intermix and Bay Area Video Coalition. Consultants to the project: Deirdre Boyle, Doug Hall, Ulysses Jenkins, Barbara London, Ken Marsh, Leann Mella, Martha Rosler, Steina Vasulka, Lori Zippay. On-Line Editor/BAVC: Heather Weaver Editing Facility: Bay Area Video Coalition Opening & Closing Sequences and On-Screen Titles: Cary Stauffacher, Media Process Group Preservation of Tapes: Bay Area Video Coalition Preservation Supervisor: Grace Lan, Daniel Huertas Special thanks: David Azarch, Sally Berger, Peer Bode, Pia Cseri-Briones, Tony Conrad, Margaret Cooper, Bob Devine, Julia Dzwonkoski, Ned Erwin, Sally Jo Fifer, Elliot Glass, DeeDee Halleck, Luke Hones, Kathy Rae Huffman, David Jensen, Phil Jones, Lillian Katz, Carole Ann Klonarides, Chip Lord, Nell Lundy, Margaret Mahoney, Marie Nesthus, Gerry O’Grady, Steve Seid, David Shulman, Debbie Silverfine, Mary Smith, Elisabeth Subrin, Parry Teasdale, Keiko