Generative Art

I love generative art. It deals with the discussion of digital and aesthetics, the potential of the digital and the definition of aesthetics, the moment when the subject and the agency of art change.

Colony Cognitive Map (Homogeneous field) 1000 iterations on the same image. Chialvo and Millonas

tr:在同一个图像上进行1000次迭代。Chialvo和Millonas.

One swarm (3000 ants) is thrown to explore Kafka image for 6000 iterations (t).
At t=400, the Kafka habitat is replaced by Red Ant image.
Evolution of swarm cognitive maps (pheromonal fields) is shown for several iterations.

Virtual Butterflies. Kunhao Lin

In the session someone mentioned the relationship between the tool and the artist in art involving computers and programs, and I think this is actually a discussion of ‘painting and reproduction’, which is one of the criticisms of contemporary art, that when the artist has a style of his own, then the subsequent painting is a ‘reproduction’. “This is one of the criticisms of contemporary art. Art that involves a process can be understood as giving the ‘copy painting’ to an intermediary, but it can also be understood as no longer having a ‘copy painting’.

One of the characteristics of consumerism is that the purchaser forgets that they themselves are the creator. For me auto-generated art that includes ai learning is a very consumerist art form.

My interest in barrier-free art makes me curious about the way different senses deliver the same content. What I want to do recently is to [roughly] record the image by notes. This process is more likely in the service of reading the image stream than in order to read one image, i.e.: to read images more quickly.

It actually matches the characteristics of big data — more data volume and less information, in a way that increases the efficiency of information delivery by the huge expansion of the overall data volume but in fact with a much lower information density.

Also if the poor image is seen as the result of image dissemination (multiple downloads and uploads of images), (if the music is good enough to deliver the ‘enough amount of the right emotion’ of the original image) can this process be seen as a compressed and efficient dissemination? (Certainly not, incidentally the carbon footprint of the internet, which requires energy to transport and store.)

*The internet is not a paradise, virtual cannot be separated from reality, we have have to make bread and emit CO2.

Chinese version:

我喜欢自动生成艺术。它涉及到数字与美学的讨论、数字的潜力和美学的定义、艺术主体与代理发生变化的时刻。

在课堂上有人提到了涉及电脑和程序的艺术中工具和艺术家的关系,我认为这其实也是对于“画与复制画”的讨论,这是当代艺术被诟病的一点,当艺术家有了一个自己风格,那么之后的画便是“复制画”。涉及程序的艺术可以理解为把”复制画“交给了中介,但也可以理解为不再存在“复制画”。

消费主义的其中一个特点是让购买者忘记他们本身也是创作者这。对于我来说包含ai学习的自动生成艺术是一种非常消费主义的艺术形式。

我对barrier-free art 的兴趣让我在意不同感觉对同一内容的传递方式。我想做的是用音符去【大概地】记录图像,这个过程比起为了阅读图像,更像是为了阅读图像流服务,即:更快速的阅读图像。

这实际符合了大数据的特点—-用更合适互联网流媒体的方式来传递信息,aka:更多的数据量和更少的信息,从总体数据量巨量膨胀的方式来提升信息传递效率。实际结果是信息密度变低了。

这个过程是不可逆转的,或者是会产生差异的逆转过程,因为这实际是将一张图像直接变成了poor image。如果把poor image看作是图像传播的结果(图像的多次下载与上传),(如果音乐足够传达正好够的情感)那么这个过程可以看作是一种压缩的高效率的传播吗?(当然不是,顺便一提互联网的碳排放,网络是需要能量来运输和储存的。)

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