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

[Natasha Vita-More]

Link:  http://www.lacda.com/exhibits/newmath.html


>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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