Mood board – generative art

  • Generative art refers to art that has been created with the use of an autonomous system (a system that is non-human and can independently determine features of an artwork that would otherwise require decisions directly from the artist)
  • Examples of generative art include computer generated artwork that is algorithmically determined, systems of chemistry, biology, mechanics and robotics, manual randomization, maths, symmetry, etc

Examples:

Musikalisches Würfelspiel (Musical Dice Game) – Johann Philipp Kirnberger

Dice were used to select musical sequences from a numbered pool of previously composed phrases. This system provided a balance of order and disorder. The structure was based on an element of order on one hand, and disorder on the other.

John Cage used chance as a defined rule in a rigorous fashion to exclude predetermined connections. He was concerned with making sounds possible in a way completely independent of the composer. To do this, Cage for example used sound carriers (instruments) which were completely independent of his composition. In “Imaginary Landscape No. 4” (1951), he wrote a piece for 24 radios. He laid out rhythms and sequences Using traditional notation. The result, however, remained unplanned, dependent upon the place and time of the performance, broadcast frequencies and radio programme structures.

From Media Art Net – http://www.medienkunstnetz.de/themes/generative-tools/generative-art/2/
Ellsworth Kelly
Hans Haacke

 

Francoise Morellet
Moire Patterns
Sol LeWitt
Harold Cohen
Steina and Woody Vasulka
Scott Draves
Karl Sims
Joseph Nechvatal
Ken Rinaldo
Jean-Pierre Hebert
Roman Verostko
A. Michael Noll
Maurizio Bolognini
Mark Napier
Martin Wattenberg
San Base

 

Adrian Ward
Celestino Soddu
  • Generative art systems can be categorized as being ordered, disordered, or complex.
  • For Clauser, a critical element in generative art is that process and change are among its most definitive features
  • For Adrian Ward, generative art is a term given to work which stems from concentrating on the processes involved in producing an artwork, usually automated by the use of a machine or computer, or by using mathematic or pragmatic instructions to define the rules by which such artworks are executed.
  • Philip Galanter defines generative art as any art practice where the artist creates a process, such as a set of natural language rules, a computer program, a machine, etc, which is then set into motion with some degree of autonomy contributing to or resulting in a completed work of art.
**All information quoted or paraphrased from Wikipedia unless specified**

 

 

 

 

 

 

 

 

 

 

 

 

 

Software skills – colour correction and grading

Screen Shot 2014-05-06 at 4.26.23 pm
1 – Select your clip on the timeline. Click the ‘Inspector’ icon – the three lines with a dot on each, second icon from the right on that center line of icons.
Screen Shot 2014-05-06 at 4.26.48 pm
2 – Under ‘Effects’ find the ‘Color’ heading. Click the box next to ‘Correction 1’ to highlight the box in blue. Now select the (>) icon.
Screen Shot 2014-05-06 at 4.27.00 pm
3 – We can now select each of the ‘Color’, ‘Saturation’ and ‘Exposure’ icons to play with each of these and create interesting effects on the clips.
Screen Shot 2014-05-06 at 4.27.49 pm
4 – To use the same settings on each clip, select ‘Edit’ > ‘Paste Attributes’

Making a mosaic

1.

They had backed up another cage into the entrance. In the far corner a man, from behind one of the plank shelters, attracted the bull, and while the bull was facing away the gate was pulled up and a second bull came out into the corral.

He charged straight for the steers and two men ran out from behind the planks and shouted, to turn him. He did not change his direction and the men shouted: “Hah! Hah! Toro!” and waved their arms; the two steers turned sideways to take the shock, and the bull drove into one of the steers.

“Don’t look,” I said to Brett. She was watching, fascinated.

2.

Then I started to tear up the sheets and scatter the bits over the floor, and this writer moodge went sort of bezoomny and made for me with his zoobies clenched and showing yellow and his nails ready for me like claws. So that was old Dim’s cue and he went grinning and going ere r and a a a for this veck’s dithering rot, crack, crack, first left fistie then right, so that our dear old droog the red- red vino on tap and the same in all places, like it’s put out by the same big firm- started to pour and spot the nice clean carpet and the bits of his book that I was still ripping away at, razrez, razrez.

3.

Falling in love, we said; I fell for him. We were falling women. We believed in it, this downward motion: so lovely, like flying, and yet at the same time so dire, so extreme, so unlikely. God is love, they once said, but we reversed that, and love, like heaven, was always just around the corner. The more difficult it was to love the particular man beside us, the more we believed in Love, abstract and total. We were waiting, always, for the incarnation. That word, made flesh.

And sometimes it happened, for a time. That kind of love comes and goes and is hard to remember afterwards, like pain. You would look at the man one day and you would think, I loved you, and the tense would be past, and you would be filled with a sense of wonder, because it was such an amazing and precarious and dumb thing to have done; and you would know too why your friends had been evasive about it, at the time.

There is a good deal of comfort, now, in remembering this.

4.

But what after all is one night? A short space, especially when the darkness dims so soon, and so soon a bird sings, a cock crows, or a faint green quickens, like a turning leaf, in the hollow of the wave. Night, however, succeeds to night. The winter holds a pack of them in store and deals them equally, they darken. Some of them hold aloft clear planets, plates of brightness. The autumn trees, ravaged as they are, take on the flash of tattered flags kindling in the gloom of cool cathedral caves where gold letters on marble pages describe death in battle and how bones bleach and burn far away in Indian sands. The autumn trees gleam in the yellow moonlight, in the light of harvest moons, the light which mellows the energy of labour, and smooths the stubble, and brings the wave lapping blue to the shore.

5.

If you really want to hear about it, the first thing you’ll probably want to know is where I was born, and what my lousy childhood was like, and how my parents were occupied and all before they had me, and all that David Copperfield kind of crap, but I don’t feel like going into it, if you want to know the truth. In the first place, that stuff bores me, and in the second place, my parents would have about two hemorrhages apiece if I told anything pretty personal about them. They’re quite touchy about anything like that, especially my father. They’re nice and all — I’m not saying that — but they’re also touchy as hell. Besides, I’m not going to tell you my whole goddam autobiography or anything. I’ll just tell you about this madman stuff that happened to me around last Christmas just before I got pretty run-down and had to come out here and take it easy.

6.

It was a bright cold day in April, and the clocks were striking thirteen. Winston Smith, his chin nuzzled into his breast in an effort to escape the vile wind, slipped quickly through the glass doors of Victory Mansions, though not quickly enough to prevent a swirl of gritty dust from entering along with him.

7.

You never really understand a person until you consider things from his point of view . . . until you climb into his skin and walk around in it.

8.

We had been everywhere. We had really seen nothing. And I catch myself thinking today that our long journey had only defiled with a sinuous trail of slime the lovely, trustful, dreamy, enormous country, that, by then, in retrospect, was no more than a collection of dog-eared maps, ruined tour books, old tires and her sobs in the night—every night, every night—the moment I feigned sleep.

9.

Her face was sad and lovely with bright things in it, bright eyes and a bright passionate mouth, but there was an excitement in her voice that men who had cared for her found difficult to forget: a singing compulsion, a whispered “Listen,” a promise that she had done gay, exciting things just a while since and that there were gay, exciting things hovering in the next hour.

10.

It is better to be feared than loved.

Software Skills – Cyberduck

  1. Open your FTP client, such as Cyberduck:
  2. Our details to publish online are:
    server: themediastudents.net
    username: integrated2014
    pwrd: comm2251
  3. Once logged in you will see a listing of files on the server
  4. Open themediastudents.net folder
  5. Open the im1 folder
  6. Open the 2014 folder
  7. Drag the folder of your exported film (the one that is called firstname.lastname) into the 2014 folder that is inside im1
  8. Wait for all the stuff to be transferred over (the index.html page and the data folder and all its contents)
  9. To figure out the URL for your project, if you followed the instructions above it will be http://www.themediastudents.net/im1/2014/firstname.lastname

Software skills – MPEG Streamclip

  1. Load videos to MPEG Streamclip: Click “File” > “Open Files” to load videos you want to convert.
  2. Next hit Apple+E or “File” > “Export to Quicktime” and choose H.264 for the compression and work out the frame size. It’s imperative for the K films that the videos aren’t bigger than the interface design allows, or else the loading time will be too long on the finished product
  3. Click “OK” or “To Batch” if you’re doing more than one at once, and you’re good to go!

Literary popart

I can’t get Shields’ idea regarding collages out of my head:

Found objects, chance creations, ready-mades (mass-produced items promoted into art objects, such as Duchamp’s “Fountain” – urinal as sculpture) abolish the separation between art and life.

I can’t find anything regarding literary popart, so I thought I would just make it up myself. If a urinal can be exhibited in a gallery why can’t a shopping list of words be published in a literary journal or book of poetry?

________________

1.

Neosporin
Red Bull
Aspirin
Rimmel Stay Matte

2.

Jumper cables
crackers, dry
Q-tips
flowers
Bic razors

3.

Revitalizing shampoo
veal
Latest issue of Glamour mag.

4.

I’m shot.
I told you I was ill.
I hope I haven’t bored you.
Relax – This won’t hurt.

I did end up finding the grocery list collection – a collection of found grocery lists, which has since been turned into two books. Love this idea. A few grocery lists from the site:

Bright splinters – Shields reading

  • Collage is a demonstration of the many becoming the one, with the one never fully resolved because of the many that continue to impinge upon it.
  • Collage’s parts always seem to be competing for a place in some unfinished scene.
  • How to deal with parts in the absence of wholes – fragments by definition are incomplete. How do we get over the fact nothing can be finished but create anyway? Maybe this knowledge is liberating? All we can do is simply create until we can’t anymore. Are we bound or freed by this idea?
  • Conventional fiction teaches the reader that life is a coherent fathomable whole. Life, though … flies at us in bright splinters.
  • Plots are for dead people.
  • Long live the antinovel, built from scraps.
  • I can feel her breathe.
  • A mosaic, made out of broken dishes, makes no attempt to hide the fact that it’s made out of broken dishes, in fact flaunts it.
  • Found objects, chance creations, ready-mades (mass-produced items promoted into art objects, such as Duchamp’s “Fountain” – urinal as sculpture) abolish the separation between art and life. The commonplaces is miraculous if rightly seen. Literary popart?
  • You don’t make art; you find it.
  • The question isn’t ‘What do you look at?’ but ‘What do you see?’
  • Every fragment is a capsule.
  • Materials yanked out of context.
  • Take a source, extract what appeals to you, discard the rest – this is how I tend to do my readings when I’m being lazy… Can I take this as proof that that’s okay?
  • There is no pure originality. All minds quote. … There is no thread that is not a twist of these two strands.
  • Appropriation
  • The gaps between paragraphs the gaps between people – the spaces between all things
  • Webs look orderly, too, but unless you watch the spider weaving, you’ll never know where it started.

 

Intent doesn’t matter?

 

  • Without constraint you can’t have creativity. Most creative pursuits are very constrained, eg music, film – narrative, convention, etc.
  • 52 Tuesdays – heavily constrained but effective practice. Film review: http://www.movieburger.com.au/review/52-tuesdays-review-10161/
  • How lists offer alternative ways of making to narrative.
  • Noticing practices in documentary – lists and how we look at that
  • Relations – our clips mean things not in themselves but by virtue of the relationships that emerge from Korsakow
  • What the filmmaker does rather than what they mean – essay films can mean pretty much anything, but by looking at what it does we can work out if it is indeed an essay film.
  • What makes a genre and what makes a style? Do these definitions matter? As Hannah mentioned, it’s more about thoughts being expressed through film rather than what the film is about.
  • Intent doesn’t matter. The author’s intention cannot preserve context or meaning. Context can never be preserved: that is why we can look at films, TV and artwork differently than audiences at the time.
  • There is going to be stuff in our works that we can’t see – goes back to the unconscious.
  • Completely associative experiences of the world: eg, we don’t remember things linearly, such as birthdays. These are complex webs of association.
  • There is no such thing as industry-standard. Change is too fast.