generative art

Description (in English)

CODE STORY is a visual and literary arts project, which includes nine digital code portraits. Which includes nine static, physical photographs, and nine dynamic, virtual Web pages. 

The Digital code are compromised of standard codes with values ranging from 0 to 255. It is the value, sequence, and most importantly the interpretation of these codes that determine what information is represented. The Codestory project investigates possibilities for a creative interpretation of digital code. 

Pull Quotes

If you think of     digital code as digital DNA,    and datasets as genetic maps,    then you are understanding the creative thrust of this project.

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Technical notes

The Codestory project uses digital code to create new visual and literary portraits, which portraits are rendered both as physical photographs and as virtual Web pages. Each photograph and corresponding Web page is created using digital code from a unique dataset. A dataset is constructed of digital code from an original portrait photograph; processed digital code that can be dynamically combined and recombined with virtually endless variation.

Also; the Screenshots provided only illustrates one (of each of the nine generative artworks) of many possible outcomes, following the inherent generative features of the artworks.

Description (in English)

Color Yourself Inspired™ is a generative artwork that creates unpredictable poetic phrases from Benjamin Moore’s paint color database; it is an interdisciplinary exploration of sound, color and language. An online collection of over 1000 unique color names are poetically sequenced using phonetic analysis and parts of speech analysis in a computer program designed by the artists. Instead of labeling color with language as the marketing team has done in the original database, Color Yourself Inspired (a marketing slogan from the Benjamin Moore website) inverts this relationship and uses language to generate visual information. (Source: http://thenewriver.us/color-yourself-inspired/)

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Description (in English)

AdLiPo is a browser plugin that replaces advertisements with generated language art. Leveraging the ad-detection techniques of popular ad-blockers, AdLiPo not only blocks ads, but replaces them with calls to a JavaScript language library (the RiTa library, in this case), filling the advertising regions of pages with static or kinetic text created for the specific context (the containing page, advertising-content, and dimensions of the ad-frame). (Source: http://rednoise.org/adlipo/)

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Source: http://rednoise.org/adlipo/
Description (in English)

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(Source: Punkto 0)

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Description (in English)

Performance lecture by Marko Kosnik for Documenta Urbana 2 in Kassel, November 2006 A short resume on the topics of Laputa and The Engine from Gulliver's travels, Part 3: A voyage to Laputa, Balnibarbi, Luggnagg, Glubbdubdrib and Japan: taken from http://egonmarch.org/movies/laputaEngine.html

Short description

9 января в 19.00 в АБЦ пройдет чтение американского поэта Ванессы Плейс в сопровождении мультимедиа-перформанса художника Ивана Химина. Концептуалистская беспристрастностность чтения Ванессы Плейс дополнится симультанным аудио-визуальным потоком, производимым матричным принтером.
Ванесса Плейс (Vanessa Place) – американский концептуальный поэт, художник, арт-критик, адвокат, директор независимого издательства Les Figues Press (США, Лос-Анджелес).
Плейс — первый поэт, участвовавший в биеннале музея Уитни. Ее называют предвестницей смерти поэтического искусства, а американский критик и поэт Кеннет Голдсмит назвал творчество Плейс «самой напряженной, сложной и спорной поэзией современности». Ванесса Плейс – автор «Dies: A Sentence» (2005), «La Medusa» (2008), «Notes on Conceptualism» (совместно с Робертом Фиттерманом), «The Guilt Project: Rape, Morality and Law» (2010)
Иван Химин — петербургский художник и куратор, использующий в своих художественных практиках текст как материал для создания визуальных образов, исследующий функционирование текста в различных медиа.
Куратор — Наталья Федорова.

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By Eric Dean Rasmussen, 21 June, 2012
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Abstract (in English)

Ambient video art is designed in the spirit of Brian Eno's ambient music - it must never require our attention, but must reward our attention whenever it is bestowed. It comes in many forms, ranging from the kitsch of the Christmas yule log broadcast to more mature moving image art created by a number of contemporary video artists and producers. The author has created a series of award-winning ambient video works. These works are designed to meet Eno's difficult requirements for ambient media - to never require but to always reward viewer attention in any moment. They are also intended to support viewer pleasure over a reasonable amount of repeated play. These works are all "linear" videos - relying on the careful sequencing and meticulous transitioning of images to reach their aesthetic goals. Re:Cycle uses a different approach. It relies on a computationally generative system to select and present shots in an ongoing flow - but with constant variations in both shot sequencing and transition choice. The Re:Cycle system runs indefinitely and avoids any significant repetition of shots and transitions. The system selects shots at random from a database of video clips, and joins them with transitions drawn at random from a separate transitions database. The transitions are based on abstract graphic values, so each specific visual transformation is unpredictable and complex. Compared with the linear videos, the computational system has sacrificed a measure of authorial control in order to maximize sequencing variability and therefore long term re-playability. The presentation describes in detail a series of specific artistic decisions made by the author and his production team. Each of these aesthetic design decisions is explicated as a balance between two fundamental variables: aesthetic control and system variability. The advantages and trade-offs of each decision point are identified and discussed. These artistic directions are analyzed in the broader context of generative art. This context situates the project within the discourse of generative art, and in the specifics of generative works in a variety of media, including visual art, sound art, moving image and literary works. The presentation also describes how metadata encoded within the shots and the transitions will be used to modulate the essentially random operation of the basic system in order to increase visual impact and flow. Future work on the system will incorporate this use of metadata - tagged as form and content variables for each shot, and as form variables for each transition. These metadata tags will provide increased coherence and continuity to the visual flow of the work. They will nuance and modify - but not completely supplant - the random processes at the heart of the generative system. The presentation concludes by describing how the system will be further revised to present emergent forms of generative narrative. It details how these storyworks could run indefinitely while mediating a dynamic balance between two seeming oppositions: random algorithmic selection and the coherence of sequencing necessary for narrative pleasure. (Source: Author's abstract, 2012 ELO Conference site)

Creative Works referenced