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Los Angeles Center for Digital Art announces:<br><br>
"New Math"<br>
Recent Algorithmic Art<br><br>
May 11-June 3, 2006<br>
Opening Reception May 11, 7-9pm<br><br>
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.<br><br>
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.<br><br>
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. <br><br>
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.<br><br>
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.<br><br>
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.<br><br>
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.<br><br>
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?."
<br><br><x-sigsep><p></x-sigsep>
<dl>
<dd><font size=2><a href="http://www.natasha.cc/">Natasha
</a><a href="http://www.natasha.cc/">Vita-More</a>
<dd>Cultural Strategist - Designer </font>
<dd>PhD Candidate, Planetary Collegium -<i>Centre for Advanced Inquiry in
the Interactive Arts</i>, <font size=2>Faculty of Technology, School of
Computing, Communications and Electronics</font>
<dd><font size=2>President, <a href="http://www.extropy.org/">Extropy
Institute</a>
<dd>Member, <a href="http://www.profuturists.com/">Association of
Professional Futurists</a>
<dd>Founder, <a href="http://www.transhumanist.biz/">Transhumanist Arts
& Culture</a> <br><br>
</font>
<dd><font face="Times New Roman, Times"><i>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. -
</i>Buckminster Fuller</font>
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