[extropy-chat] ARTS: "New Math" Recent Algorithmic Art

Tue Apr 25 14:05:49 UTC 2006

Los Angeles Center for Digital Art announces:

"New Math"
Recent Algorithmic Art

May 11-June 3, 2006
Opening Reception May 11, 7-9pm

Los Angeles Center for Digital Art presents an international group exhibit 
of artists using computer algorithms, math based image generators and 
custom software for the production of abstract works. The show includes 
videos of animated algorithmic renderings, architecturally based works, 
internet generated images, 3D stereoscopes, art based on organic growth, as 
well as interactive pieces where visitors can create their own images.

Andy Lomas is a mathematician, digital artist and Emmy award winning 
digital effects supervisor. His Aggregation series explores the complexity 
of organic form with intricate sculptural shapes generated by computer 
simulated growth systems. Using his own software to create the forms, 
biases and changes to environmental rules are used to create an incredible 
variety of structural shape.

Nathan Selikoff has abandoned the predefined processes of production to 
more fully explore the computational landscape of mathematics and beauty. 
He uses custom software to investigate strange attractors - visual 
representations of chaotic dynamical systems. Fascinated by the diversity 
and complexity of the raw images that come from simple sets of iterated 
functions, he enjoys the interplay of technical problem solving and 
artistic spontaneous interactivity.

Charles Fairbanks calls upon friends for an introduction: their laconic 
descriptions of the artist-ranging from "meaty" to "abstract dynamo"-lend 
linguistic thrust to his Googled Self-Portraits. The descriptions become 
keywords for a program to average the RGB data of the top fifty 
Google-Images. Determined by linguistic, personal, and virtual connections, 
the appropriated pictures become glowing color-fields of information while 
details linger at the threshold of perception.

Hollis Cooper believes virtual environments have opened a new era in the 
experience of architectural space. Digital representation has produced 
perspectives that are no longer based on physical space but instead on 
multiple-user organization and efficiency - a limitless number of vanishing 
points. She regards these developments optimistically, as a means of 
expanding our ability to suspend disbelief and project ourselves into the 
world around us, interacting more actively with and within it.

Tim Quinn is a nationally known Los Angeles sculptor and algorist. He has a 
long-standing love of recursion, which over the years he has applied to 
various visual material to produce a visually and conceptually stunning 
effect. His recent work explores a randomized kaleidoscope effect that 
defies easy understanding. Applying his own AppleScript Photoshop code to 
scanned images of his "Sculpey" objects, he achieves a global flattening of 
3D space that doesn't flatten locally.

Thomas Briggs is a veteran of the art world with a 20 year history in 
computer animation production and teaching. As an animator/programmer he 
was often concerned with the mathematical representation of fluid, lifelike 
gesture. He realized that this notion could be inverted, that the gesture 
could be realized from mathematics directly, and used to create drawings 
which retain some connection to the scratch of pen on paper. He eschews 
algorithmic, or procedural processes, instead using simple periodic 
functions evolving over time.

Milos Rankovic received an AHRB Award for Doctoral Study in the Creative 
and Performing Arts to pursue his study of drawing: Theory and Practice of 
Handmade Distributed Representation. He offers "Volatile Public Static" a 
series of automated composites created from images culled from the web 
through his specialized software. In his doctoral winning words: "a 
networked component of a computationally collaborative working space. As 
such, it (metonymically) relates to an ongoing study concerned with the 
notion of commitment - chronically taken to be incompatible with deferral - 
and so, a study of the phantoms that still lurk within difference. In fact, 
as it applies to difference (rather than analysis), deferral is always 
already resolved in the nervous commitment, as stoppage, as presence, as 
difference. The computational investment in the art object is, therefore, 
found to be the most primitive and least oppressive form of investment, for 
commitment (in this sense, as selectivity, as semipermeability, or 
semiconductivity; i.e., as nonlinearity) is the essence of computation. 
While, locally, commitment is indeed resistance to flow?, globally, it 
facilitates the play?."

<http://www.natasha.cc/>Natasha <http://www.natasha.cc/>Vita-More
Cultural Strategist - Designer
PhD Candidate, Planetary Collegium -Centre for Advanced Inquiry in the 
Interactive Arts, Faculty of Technology, School of Computing, 
Communications and Electronics
President, <http://www.extropy.org/>Extropy Institute
Member, <http://www.profuturists.com/>Association of Professional Futurists
Founder, <http://www.transhumanist.biz/>Transhumanist Arts & Culture

If you draw a circle in the sand and study only what's inside the circle, 
then that is a closed-system perspective. If you study what is inside the 
circle and everything outside the circle, then that is an open system 
perspective. - Buckminster Fuller
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