reblogged from visualverbaljournal
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In particular, it examines the concept of emergence, looking at its historical origins and salient issues surrounding its classification and meaning for developing generative art.
reblogged from agsystems
Microbiology blown up into a 25cm high sculpture – another rendering of the H1N1 virus created with the help of scientific models and photographs
reblogged from carvalhais
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(…) most interesting works of generative art exhibit four basic properties: coherence and unity; multi-scaled temporal complexity; autonomous production of novelty; responsiveness to perturbation.
reblogged from updating
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There are different sets of constraints, and, like we were
saying before, freedom always arises from constraint — it’s a creative
conversion of it, not some utopian escape from it. Wherever you are, there is
still potential, there are openings, and the openings are in the grey areas, in
the blur where you’re susceptible to affective contagion, or capable of
spreading it.
saying before, freedom always arises from constraint — it’s a creative
conversion of it, not some utopian escape from it. Wherever you are, there is
still potential, there are openings, and the openings are in the grey areas, in
the blur where you’re susceptible to affective contagion, or capable of
spreading it.
“
Brian Eno, who coined the term ‘Generative Music’, has used generative techniques on many of his works, starting with Discreet Music (1975) up to and including (according to Sound on Sound Oct 2005) his latest album ‘Another Day on Earth’. His works, lectures, and interviews on the subject have done much to promote generative music in the avant-garde music community. Eno used SSEYO’s Koan generative music system (created by Pete Cole and Tim Cole of intermorphic), to create his hybrid album Generative Music 1 (published by SSEYO and Opal Arts in April 1996), which is probably his first public use of the term “Generative Music”.
reblogged from updating
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Underlying our approach to this subject is our conviction that “computer science” is not a science and that its significance has little to do with computers. The computer revolution is a revolution in the way we think and in the way we express what we think. The essence of this change is the emergence of what might best be called procedural epistemology the study of the structure of knowledge from an imperative point of view, as opposed to the more declarative point of view taken by classical mathematical subjects. Mathematics provides a framework for dealing precisely with notions of “what is.” Computation provides a framework for dealing precisely with notions of “how to.
reblogged from updating
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‘Meaning’ then does not reside in the artwork but in its performance, its dissemination/ dispersal across multiple contexts, which continually reactivates (and subverts or destabilises) the work.
The idea of dissemination (…) provides a generative focus for a sustained enquiry into contemporary arts practices: what constitutes the artwork (as a dynamic process)? and how does the artwork provide meanings in relation to the contexts that it participates in and moves through? How can we generate, understand and curate artwork as a dynamic, fluid, event-based phenomenon?
The idea of dissemination (…) provides a generative focus for a sustained enquiry into contemporary arts practices: what constitutes the artwork (as a dynamic process)? and how does the artwork provide meanings in relation to the contexts that it participates in and moves through? How can we generate, understand and curate artwork as a dynamic, fluid, event-based phenomenon?
reblogged from naehrstoff
Croquet as Next Generation Immersive Education Platform
On January 12th, it was announced at The Boston Media-Grid Summit that the Immersive Education Initiative has selected Croquet as one of three official “next generation” immersive education platforms. The Immersive Education Initiative is an international collaboration of universities, colleges, research institutes, consortia companies, and foundations that are working together to define and develop open standards, best practices, platforms, and communities of support for virtual reality and game-based learning and training systems. The Initiative will now direct both funding and programming resources towards the development and deployment of open source Croquet technologies and open source Croquet-based educational applications. Selection criteria for this important honor included the following: 1) support for the Windows and Macintosh operating systems; 2) availability as open source code; 3) vendor-neutral client and server architectures (no vendor lock-in); 4) stable and reliable runtime implementations; 5) integrated text chat and voice chat; 6) high resolution graphics; 7) multi-user support for collaboration; 8) highly customizable avatars that support high resolution graphics and body animation (gestures); and 9) support for user-created content. The other two immersive education platforms selected were Sun’s open source Project Wonderland client and the now open source Second Life client.
Seaside
The new guy in town is Seaside.
Seaside arrived several years ago with little fanfare because it runs on Squeak, a relatively new version of Smalltalk. As you may know, Smalltalk is an “old” language that most of us have only heard the old-timers get sentimental about when they talk about the Good Old Days of the Computer Science Frontier.
It turns out that the Old is New again. It’s time to break camp and move on to the NeXT Level.
Hey, you don’t want to miss the Ground Floor again, do you? Give Seaside look.
In fact, Seaside predates Rails by more than 2 years.
