Cybernetics in Society and Art
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An Interview with Frieder Nake
arts Editorial An Interview with Frieder Nake Glenn W. Smith Space Machines Corporation, 3443 Esplanade Ave., Suite 438, New Orleans, LA 70119, USA; [email protected] Received: 24 May 2019; Accepted: 26 May 2019; Published: 31 May 2019 Abstract: In this interview, mathematician and computer art pioneer Frieder Nake addresses the emergence of the algorithm as central to our understanding of art: just as the craft of computer programming has been irreplaceable for us in appreciating the marvels of the DNA genetic code, so too has computer-generated art—and with the algorithm as its operative principle—forever illuminated its practice by traditional artists. Keywords: algorithm; computer art; emergent phenomenon; Paul Klee; Frieder Nake; neural network; DNN; CNN; GAN 1. Introduction The idea that most art is to some extent algorithmic,1 whether produced by an actual computer or a human artist, may well represent the central theme of the Arts Special Issue “The Machine as Artist (for the 21st Century)” as it has evolved in the light of more than fifteen thoughtful contributions. This, in turn, brings forcibly to mind mathematician, computer scientist, and computer art pioneer Frieder Nake, one of a handful of pioneer artist-theorists who, for more than fifty years, have focused on algorithmic art per se, but who can also speak to the larger role of the algorithm within art. As a graduate student in mathematics at the University of Stuttgart in the mid-1960s (and from which he graduated with a PhD in Probability Theory in 1967), Nake was a core member, along with Siemens mathematician and philosophy graduate student Georg Nees, of the informal “Stuttgart School”, whose leader was philosophy professor Max Bense—one of the first academics to apply information processing principles to aesthetics. -
From Point to Pixel: a Genealogy of Digital Aesthetics by Meredith Anne Hoy
From Point to Pixel: A Genealogy of Digital Aesthetics by Meredith Anne Hoy A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Rhetoric and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Whitney Davis, co-chair Professor Jeffrey Skoller, co-chair Professor Warren Sack Professor Abigail DeKosnik Professor Kristen Whissel Spring 2010 Copyright 2010 by Hoy, Meredith All rights reserved. Abstract From Point to Pixel: A Genealogy of Digital Aesthetics by Meredith Anne Hoy Doctor of Philosophy in Rhetoric University of California, Berkeley Professor Whitney Davis, Co-chair Professor Jeffrey Skoller, Co-chair When we say, in response to a still or moving picture, that it has a digital “look” about it, what exactly do we mean? How can the slick, color-saturated photographs of Jeff Wall and Andreas Gursky signal digitality, while the flattened, pixelated landscapes of video games such as Super Mario Brothers convey ostensibly the same characteristic of “being digital,” but in a completely different manner? In my dissertation, From Point to Pixel: A Genealogy of Digital Aesthetics, I argue for a definition of a "digital method" that can be articulated without reference to the technicalities of contemporary hardware and software. I allow, however, the possibility that this digital method can acquire new characteristics when it is performed by computational technology. I therefore treat the artworks covered in my dissertation as sensuous artifacts that are subject to change based on the constraints and affordances of the tools used in their making. -
From Multimedia to Software Art Installations
Collaborative and Transdisciplinary practices in Cyberart: from Multimedia to Software Art installations Diana Domingues Eliseo Reategui NTAV Lab – Universidade de Caxias do Sul/CNPQ Mestrado em Comunicação e Linguagens – Universidade Tuiuti do Paraná Brazil How to synthesize Leonardo? The efficiency of collaborative practices related to complex systems in Cyberart dissolves the old rupture and the well-known historical divergences between artists and scientists. The main point of convergence is when all disciplines investigate the same issues, all sciences become one unique science. Interactivity, immersion, autonomy and mobile connections in Cyberart require collaborative practices related to Science of Complexity and its emergent proprieties. Speculative software are written to respond for artistic projects and they place art in the three recent realms of “engineering art”, “engineering culture” and “engineering nature”1. These investigation fields respond to the high level of Cyberart’s philosophical, technical, biological, social, ethical and emotional implications of scientific discoveries. A variety of disciplines related to the use of computers and networks in genetics, engineering, biotechnology, cognitive sciences, communication, anthropology, computer science, and other areas require sometimes a scripted software when applied in art practices. Writing software is not new in art practices, it has been done since the beginning of computer art, mainly in the development of formalistic aesthetics. However, artists embrace nowadays the design of adequate software by taking algorithmic information content for searching “rules” to be included in the code. Art works in cyberspace search for forms of communication close to the expansion of life in the post-human culture. The focus is the human factor of technologies or the humanization of technologies in the cross- boundaries with creativity and changes in daily life2. -
Software Preservation in Networked Art
Software Preservation in Networked Art Preservation is a Verb @dschmudde http://schmud.de 14 October 2020 Me Computer Science → Music Time-Based Media Yorba @dschmudde | "Software Preservation in Networked Art" Part I Foundations @dschmudde | "Software Preservation in Networked Art" Art Functional Object → Aesthetic Object @dschmudde | "Software Preservation in Networked Art" Art An entity in which art is its primary function. Design → outcome Advertising → sell Video games → complete/win Propaganda → indoctrinate @dschmudde | "Software Preservation in Networked Art" Craft Local craft: handiwork (manual dexterity is inherently local) Meta craft: directing a film, software systems @dschmudde | "Software Preservation in Networked Art" Meta Craft: Cinema Auteur theory in cinema Director: management of craftpersons → artist @dschmudde | "Software Preservation in Networked Art" Meta Craft: Software Net.art artist Programmer: arrangement of software processes → artist @dschmudde | "Software Preservation in Networked Art" Simple Net Art Diagram MTAA (1997) @dschmudde | "Software Preservation in Networked Art" Cyberspace Cybernetics: good at steering/good pilot (Ancient Greek) Cybernetics: to govern components of the system Cybernetic art Process control and regulation as art Human input may be part of the process. @dschmudde | "Software Preservation in Networked Art" Cybernetic Serendipity (London 1968) The Colloquy of Mobiles Gordon Pask (1968) @dschmudde | "Software Preservation in Networked Art" Cybernetic Serendipity (London 1968) Organized -
01 Titlepage
Systems, Contexts, Relations: An Alternative Genealogy of Conceptual Art A thesis submitted to Middlesex University in partial fulfilment of the requirements for the degree of Doctor of Philosophy Luke Skrebowski Centre for Research in Modern European Philosophy/History of Art and Design Middlesex University September 2009 Acknowledgments I would like to thank the following people: Professor Peter Osborne; Professor Jon Bird; the staff and students of the Centre for Research in Modern European Philosophy, Middlesex University; Hans Haacke; Mel Bochner; Chris and Jane Skrebowski; Suzi Winstanley. The research and writing of this thesis were supported by an AHRC Doctoral Award and a Gabriel Parker Travel Bursary from Middlesex University. i Abstract Recent scholarship has revisited conceptual art in light of its ongoing influence on contemporary art, arguing against earlier accounts of the practice which gave a restricted account of its scope and stressed its historical foreclosure. Yet conceptual art remains both historically and theoretically underspecified, its multiple and often conflicting genealogies have not all been convincingly traced. This thesis argues for the importance of a systems genealogy of conceptual art—culminating in a distinctive mode of systematic conceptual art—as a primary determinant of the conceptual genealogy of contemporary art. It claims that from the perspective of post-postmodern, relational and context art, the contemporary significance of conceptual art can best be understood in light of its “systematic” mode. The distinctiveness of contemporary art, and the problems associated with its uncertain critical character, have to be understood in relation to the unresolved problems raised by conceptual art and the implications that these have held for art’s post-conceptual trajectory. -
Rethinking Cybernetics and Electronic / New Media Art History
92 ISEA2010 RUHR Conference Proceedings Christo Doherty (za) University of the Witwatersrand, Johannesburg Associate Professor and Head of Digital Arts [email protected] Rethinking Cybernetics and Electronic / New Media Art History Oliver Grau has recently argued that “it is important that we continue to take media art into the mainstream of art history”(8). This paper will argue that media art must also be viewed through the discipline of science history in order to “consider other models for relationships to technology” (Murray 39). This is particularly important in the case of the cybernetic art of the 1960s. Science historians have insisted that cybernetics is “essential to the history of our present” (Johnson 25); but grasping the massive impact of cybernet- ics on scienti!c thinking in its heyday requires an imaginative effort be- cause cybernetics has all but disappeared from the contemporary scienti!c discourse. Cybernetics was the theory of the control technologies which unleashed the Information Revolution and was a fundamental challenge to the methodology and disciplinary hierarchies of contemporary science. Emerging from wartime research into artillery control; signal transmission; and brain physiology, cybernetics asserted an “essential unity of the set of problems centering about communication, control, and statistical mechanics, whether in the machine or living tissue” (Wiener 1961, 11). The unity of these problems was explored in a series of interdisciplinary Macy conferences held in New York between 1946 and 1953. The conferences unleashed a new organization of the physical, biological and social sciences based on the shared universal language of cybernetics (Bowker 117) and a methodol- ogy that returned teleology to science. -
Writing New Codes Catalogue
WRITING NEW CODES CORDEIRO / MALLARY MOLNÁR WRITING NEW CODES CORDEIRO / MALLARY / MOLNÁR THE MAYOR GALLERY THE MAYOR GALLERY 3 PIONEERS OF COMPUTER ART 1969 - 1977 WRITING NEW CODES WALDEMAR CORDEIRO / ROBERT MALLARY / VERA MOLNÁR 3 PIONEERS OF COMPUTER ART 1969 - 1977 THE MAYOR GALLERY CONTENTS 6 Introduction: From Mind to Machine: Computer drawing in art history by Catherine Mason 14 Waldemar Cordeiro by Analivia Cordeiro 16 Waldermar Cordeiro plates 30 Robert Mallary: Pioneer Computer Artist by Martine Mallary 32 Robert Mallary: TRAN2 Computer Sculpture by Mike Mallary 34 Robert Mallary plates 60 Vera Molnár interview by Angeria Rigamonti di Cutò for Studio International 66 Vera Molnár plates 86 List of works 4 5 FROM MIND TO MACHINE: COMPUTER DRAWING IN ART HISTORY Constructing rules or sets of pre-determined Riley’s painted abstraction was exhibited alongside instructions to produce art, has precedents within art computer-generated work, to draw attention to their The computer like any tool or machine, extends human history. Influenced by aspects of Constructivism, Op similar geometric aesthetic. No differentiation was capabilities. But it is unique in that it extends the Art, Systems Art and Conceptualism and Concrete art, made between object, process, material or method, nor power of the mind as well as the hand. methodologies were discovered that laid a foundation for between the background of makers, whether art school Robert Mallary 1 computer arts to develop and provided an inspiration to educated or scientist-engineers. As -
Anatol Stern and Stefan Themerson. on Europa And
Anatol Stern and Stefan Themerson and Stefan Anatol Stern Janusz Lachowski ANATOL STERN AND STEFAN THEMERSON. ON EUROPA AND THE FRIENDSHIP BETWEEN THE TWO AVANT-GARDE ARTISTS ON THE BASIS OF THEIR MUTUAL CORRESPONDENCE FROM THE YEARS 1959–1968 Anatol Stern (1899–1968) was a poet, one of the founders of Polish futur- ism, a prose and drama writer, literary critic, essayist and author of memo- rial sketches1 as well as a prolific scriptwriter and film journalist of the Pol- ish interwar period. His wife Alicja (1905–1993) was a translator of Russian literature, theatre critic, and columnist, also participating in film script writing. Towards the end of her life, she wrote a children’s book. Following her husband’s death, she took care of his manuscript collection, preparing previously unedited texts2 for publication and making their home archive available to literary researchers interested in Stern’s writing. Stefan Themerson (1910–1988) was a novelist, poet, essayist, philoso- pher, author of children’s literature, and composer; together with his wife Franciszka (1907–1988), he made experimental short films in interwar 4 Vol. 2016 Libraries Polish 1 Cf. i.a. A. Stern, Legendy naszych dni [The Legends of Our Days], Kraków 1969; idem, Poezja zbuntowana. Szkice i wspomnienia [Rebellious Poetry. Essays and Memories], revised and expanded edition, Warszawa 1970; idem, Głód jednoznaczności i inne szkice [The Craving for Unambiguity and Other Essays], Warszawa 1972. 2 Cf. A. Stern, Dom Appolinaire’a. Rzecz o polskości i rodzinie poety [Appolinaire’s Home. On the Poet’s Polishness and His Family], prepared for printing by A. -
Dare to Be Digital: Japan's Pioneering Contributions to Today's
Dare to be Digital: Japan's Author Jean Ippolito + 1.808.933.0819 Pioneering Contributions to Today's Art Department [email protected] International Art and Technology University of Hawaii at Hilo 200 West Kawili Street Movement Hilo, Hawaii USA 96720 A number of pioneering artists began experimenting with the com neer), Makoto Ohtake (architectural engineer), Koji Fujino (systems puter as a visual arts medium in the late 60s and early 70s when engineer), and Fujio Niwa (systems engineer). Komura was the only most fine-arts circles refused to recognize art made by computers as artist of the group, but the group's activities, as a whole, were of an a viable product of human creativity. This was the era of computer avant-garde art nature. All of the members were in their early twen punch cards, when the visual results of algorithmic input were noth ties. Reichardt describes their aim (stated in the group's manifesto) ing more than line drawings. Many of the forward-looking artists who as the restoration of man's innate rights of existence by means of were experimenting with this technology were not taken seriously by computer control.3 Most of their art pieces involved the transforma the established art venues, and were, in fact, often ostracized by tion of simple line drawings of well-known images, as in Running their peers.' More recently, the work of computer artists has begun to Cola is Africa, in which a contour drawing of a running man changes appear in general textbooks on the history of art, but each book fea to an outline of a Coca-Cola bottle and then to a line drawing of the lures one or two completely different artists. -
The Realisation of Our Perceptions of the World in the Forms of Space and Time Is the Only Aim of Our Pictorial and Plastic Art
Towards a History of Kinetic Art in Britain Catherine Mason The realisation of our perceptions of the world in the forms of space and time is the only aim of our pictorial and plastic art. […] We affirm in these arts a new element, the kinetic rhythms as the basic forms of our perception of real time. Naum Gabo 1 At no single moment is it possible to see the entire work since its repertoire of possibilities unfolds before the spectator. Jasia Reichardt 2 For more than a hundred years a certain type of artist has worked to overcome what they see as the limitations of traditional sculpture – that is its intrinsically static quality. Artworks that can move have the great advantage of establishing an immediate and dynamic relationship between the work and the spectator. Sculpture can be set into motion, such as an Alexander Calder mobile moving with a passing breeze or driven by motors as with a Tinguely machine. Integral to this relationship is the concept of time, thus making it a doubly seductive encounter for the viewer. The result is a conception of reality as a process of becoming and not as an absolute and unchanging system. The artist Davide Boriani has written of the relationship between the inherent development and variation of the kinetic work and the processes of perception. As the audience we are confronted by an artwork whose appearance constantly alters and thus constantly challenges our perceptions, activating them anew.3 1 Naum Gabo, ‘The Realist Manifesto’, published Moscow 5 August 1920, in Theories of Modern Art , ed. -
The Changing Nature of Artists' Practice
CAT 2010 London Conference ~ 3rd February Sue Gollifer _____________________________________________________________________ THE CHANGING NATURE OF ARTISTS’ PRACTICE Sue Gollifer School of Arts and Media University of Brighton Grand Parade Brighton United Kingdom [email protected] http://artsresearch.brighton.ac.uk/research/academic/gollifer/biography ‘Digital Art' practice often suggests an over emphasis upon applications rather than objects, reproduction over authenticity. Can ‘New Media’ be considered within a fine-art framework, or should it be considered as a separate discipline? The cultural shift this represents may blur, remove, or even reinforce boundaries commonly associated with the activity of fine art. 1. INTRODUCTION In this paper I hope to identify how there is a shifting nature of artistic practice that has developed from the late 1960’s until this present day, with the increasing growth of digital technologies. I will particularly identify this through my own on going research and visual art practice. 2. BACKGROUND In the mid sixties I studied painting at Coventry University, then known as Lancaster Polytechnic, where the atmosphere there – in the mid-1960s – was one of extreme rigor: every decision, every mark one made, had to be justified. One way of responding to that context was the theoretical exploration which Terry Atkinson, Mike Baldwin and others were involved in, which emerged as the conceptual art group Art & Language, which was derived from their journal, which existed as a work in conversation as early as 1966. Throughout the 1970s, Art & Language dealt with questions surrounding art production, and attempted a shift from the conventional "non-Linguistic" forms of art such as painting and sculpture to more theoretically based works. -
1 Survey-Dada
A&EMSURVEY.qxd 1/10/08 17:51 Page 4 Phaidon Press Limited Regent's Wharf All Saints Street London N1 9PA Phaidon Press Inc. ART AND ELECTRONIC 180 Varick Street New York, NY 10014 www.phaidon.com First published 2009 © 2009 Phaidon Press Limited All works © the artists or the estates of MEDIA the artists unless otherwise stated. ISBN: 0 7148 4782 8 A CIP catalogue record of this book is available from the British Library. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the written permission of Phaidon Press. Designed by Hoop Design Printed in Hong Kong cover, Ben Rubin and Mark Hansen Listening Post 2001–03 inside flap, James Turrell Catso, Red, 1967, 1994 pages 2–3 Robert Rauschenberg with Billy Klüver Soundings 1968 page 4 Charlotte Moorman and Nam June Paik TV Bra 1975 back cover and spine, interior page, Tanaka Atsuko Electric Dress 1957 EDITED BY EDWARD A. SHANKEN A&EMSURVEY.qxd 1/10/08 17:51 Page 6 CHARGED ENVIRONMENTS page 96 PREFACE EDWARD A. DOCUMENTS page 190 WORKS page 54 LE CORBUSIER, Iannis XENAKIS, Edgard VARÈSE Philips Pavilion, 1958 page 97 Carolee SCHNEEMANN with E.A.T. Snows, 1967 page 98 John CAGE Imaginary Landscape No. 4 (1951), 1951 page 99 SHANKEN page 10 MOTION, DURATION, ILLUMINATION MOTION, DURATION, ILLUMINATION PULSA Boston Public Gardens Demonstration, 1968 page 100 Frank GILLETTE and Ira SCHNEIDER Wipe Cycle, 1968 page 100 page 55 Robert RAUSCHENBERG with Billy KLÜVER Soundings, 1968 page 100 László MOHOLY-NAGY Light-Space Modulator, 1923–30 page 55 page 193 Wolf VOSTELL and Peter SAAGE Electronic Dé-Coll/age Happening Room (Homage à Dürer), 1968 page 101 Naum GABO Kinetic Construction (Standing Wave), 1919–20 page 56 Ted VICTORIA Solar Audio Window Transmission, 1969–70 page 102 Thomas WILFRED Opus 161, 1965–6 page 57 Wen-Ying TSAI with Frank T.