generative

Parallel Plymouth Launch

adelmootranto Projects , , ,
Parallel Plymouth Launch

You are invited to the launch event

Parallel Plymouth
Mark Greenwood
6 – 22 March 2009
i-DAT Greenscreen

On the front of the Portland Square Building University of Plymouth
Friday 6 March, 6-7pm
At Stonehouse Lecture Theatre
Portland Square
University of Plymouth
Free entry, all welcome

Working in association with Plymouth Arts Centre, artist and writer Mark Greenwood embarked on series of walks around Plymouth investigating myths, histories and monuments as well as systems for writing poetry. By dissecting the systems of structuring language and using the rules and influences he applies to his text-based work Greenwood, in collaboration with i-DAT, has created a generative software that ‘writes’ or executes poetry.

The software, Greenwood 2.0, generates new poems, which can be viewed on the large public i-DAT Greenscreen situated on the front of the Portland Square Building, University of Plymouth. The software and the poetry are further influenced by its environment through data feeds from sensors such as movement of people, CO2 levels, online search engines and through its own evolving generative system.

Variations. 14.00 – 28/02/09

janeconway News , , ,
Variations. 14.00 – 28/02/09

Variations
Part of the Contemporary Music Festival 2009:
Music and Evolution – 200 years of Darwin
2:00pm | Jill Craigie Cinema, Roland Levinsky Building. Saturday 28 February 2009.
i-DAT Presents ‘Variations’, a digital composition in three forms:

A10: “These two months at Plymouth were the most miserable which I ever spent”. A lament.

F10: Laws of Variation. (the pigeons orifices, ripe cooing fetishes, ignore poetic fishes, etc)

M10: Gene-Pool (the shallow end).
i-DAT presents Variations a digital audio/visual composition in three forms. Variations is inspired by Darwin’s thwarted attempts to leave Plymouth to embark on his legendary voyage on HMS Beagle. Variations is a collection of generative work that playfully explore some of the concepts revealed by his insights.

LiquidPress

adelmootranto Projects , , , , ,
LiquidPress

2005:

The LiquidPress consolidates a series of new media publishing activities which explore the construction and dissemination of emergent media in the form of ‘trans-media digital content’ – liquid media that can flow through a range of media form. The LiquidPress responds to the changing world of publishing/broadcasting as it moves from paper/TV/WWW/CD to digital generative media forms, and from fixed/passive to live, dynamic, active and locative media.

The LiquidPress:

The ‘LiquidPress’ research and production facility is based in the in the i-DAT SoftLab in Portland Square at the University of Plymouth.

The LiquidPress consolidates a series of new media publishing activities which explore the construction and dissemination of emergent media in the form of ‘trans-media digital content’; ‘liquid’ media that can flow through a range of media forms, including: e-books, software, net.art, and broadcast media.

The LiquidPress responds to the changing world of publishing as it moves from paper/TV/WWW/CD to digital generative media forms, and from fixed/passive to live, dynamic, active and locative media. The development of ‘liquid’ content has evolved through a series of integrated publishing/broadcasting experiments explored the integration of print, internet/world wide web and interactive satellite transmissions.

The LiquidPress explores the convergence of these technologies and the kinds of collaborative spaces that emerge through human interaction within them. The impact of these activities have been seen in a number of real world Knowledge Transfer projects (KTP/TCS) and are being further developed through a range of academic, research and commercial projects.

The LiquidPress is a research and production project managed by Nascent – Art & Technology Research opportunity [http://www.nascent-technology.net] from within i-DAT.

The symptoms of Nascent – Art & Technology Research can be described as collaborative, experimental, practice-based and applied, and engage with intelligent environments, interactive art, ubiquitous computing, sonic architecture and the construction and dissemination of emergent ‘transmedia’ forms.

Collaborators:
LiquidPress Partners and collaborators include:
Plymouth Arts Centre, Spacex, Relational, Performance Research (Journal and Publications), ETH, Watershed, DeMo (Kevin Mount), Mousonturm (Germany), Aberystwyth Uni, Intellect Ltd, Northcliff Publishing, Technoetic Arts Journal, Laban Centre.

 

Original HTML website can be found here: https://i-dat.org/wp-content/blogs.dir/oldi-DATprojects/liquidpress/index.html

Generator

patconley Projects , , ,
Generator

Spacex Gallery, 1 May – 22 June 2002

Generator: curated by Spacex & STAR, with support from the Institute of Digital Art & Technology and the Arts Council of England (Collaborative Arts Unit). Spacex Gallery, 1 May – 22 June 2002, and touring in the UK. Generator will present a series of ‘self-generating’ projects, incorporating digital media, instruction and participation pieces, drawing machines, experimental literature, and music technologies. All work will be produced ‘live’, in real-time, with some elements continuing indefinitely.

The exhibition can also be described as ‘generative’ in that it will develop and expand over time, by acting as a point of connection for different generative practices across disciplines, pointing to the relationship of visual arts to other media – especially sound works, performance, and issues relating to chaos theory and complexity, neural networks and artificial life.

http://www.generative.net/generator/

And …

STAR & Sulawesi crested macaque monkeys from Paignton Zoo
As part of the development of the Vivaria project, Generator hosted a troop of Sulawesi crested macaque monkeys from Paignton Zoo to test Infinite Monkey Theorem. The idea that an infinite number of monkeys with typewriters for infinity could eventually produce the complete works of Shakespeare was enacted in a monkey cage in Paignton Zoo…

Real monkeys

In 2003, lecturers and students from the University of Plymouth MediaLab Arts course used a £2,000 grant from the Arts Council to study the literary output of real monkeys. They left a computer keyboard in the enclosure of six Celebes crested macaques in Paignton Zoo in Devon in England for a month, with a radio link to broadcast the results on a website. Not only did the monkeys produce nothing but five total pages largely consisting of the letter S, the lead male began by bashing the keyboard with a stone, and the monkeys continued by urinating and defecating on it. Mike Phillips, director of the university’s Institute of Digital Arts and Technology (i-DAT), said that the artist-funded project was primarily performance art, and they had learned “an awful lot” from it. He concluded that monkeys “are not random generators. They’re more complex than that. … They were quite interested in the screen, and they saw that when they typed a letter, something happened. There was a level of intention there.”

Notes Towards The Complete Works of Shakespeare Book.

ttp://en.wikipedia.org/wiki/Infinite_monkey_theorem

Artefact

patconley Projects , , , , ,
Artefact

Artefacts can change their meaning not just over the years as different histriographical and institutional currents pick them out and transform their significance, but from day to day as different people view them and subject them to their own interpretation. The ‘Artefact’ Project takes this fluidity as its starting point. The Artefact and its interpretation panel slowly evolve as visitors to the website play with it and reinterpret its meaning.

At the core of the Artefact Project is a 3D database drawn from the V&A Collection. For the duration of the show the ‘Artefact’ evolves through a generative breeding of this ‘genetic’ information. At some point in its evolution the ‘Artefact’ will become the collection.

Artefact is a MODEL project: May 16th – June 9th 2002.

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Corrupted images downloaded from the V&A archive during the R&D phase of the project.

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Artefact digital sketches.

Old HTML site for Artefact. https://i-dat.org/wp-content/blogs.dir/oldi-DATprojects/artefact/project.html

Artefact was a MODEL production:

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Model is a transdisciplinary research consortium of three organisations, STAR [Science Technology and Art Research] of the Institute of Digital Art and Technology at the University of Plymouth / REALL [Research in Education, Arts, Language and Learning] at Middlesex University / inIVA [Institute of international Visual Art]. As a collegiate space supported outside fixed institutional frameworks MODEL allows the group to test product and process critically, and as the name MODEL suggests, to develop schematic descriptions of digital arts systems, theories and phenomenon that account for unknown properties and may be used for further study of its characteristics. MODEL’s distinctive interest is in the examination of virtual spaces and objects;- the manipulation of ‘invisible architectures’ and ‘dematerialised objects’.

An example of a MODEL project, “Artefact” can be found in the Victoria and Albert Museum and the Artefact website.

Previous MODEL collaborations include:
1: Vertex, which includes children’s avatar-building software for creating and populating 3D Virtual environments. Vertex is raising research questions about learning which enables children from different cultural and geographical locations to collaborate and exchange stories, experiences and ideas within playful virtual spaces. The Vertex project can be found on-line at: http://www.lle.mdx.ac.uk/research/projects/vw/

2: Autoicon: is funded by the Arts Council of England and inIVA. It is a dynamic Internet work composed of three distinct but integrated components. The aim of the project is to simulate both the physical presence and elements of the creative personality of the recently deceased artist Donald Rodney using interactive and ‘intelligent’ programming for the World Wide Web. In early 1998, Donald Rodney began developing the idea of creating an interactive project which would map out the co-ordinates of an ‘original’ Donald Rodney art work so that his work could continue to be made in the event of his death. Autoicon is also available on CDROM from inIVA. Autoicon can be found at:
http://www.iniva.org/autoicon

MODEL’s staff publications and research commentaries on toys: the Arts Council Touring Exhibition Toys: Are They Playing With You?(1989, G.Cox & V.deRijke) playful pedagogies: This is Not the National Curriculum for Art (1994, G.Cox, V.deRijke) Rubbish Reading (1995, V.deRijke & R.Sinker)The Impossibility of Art Education (1999, G.Cox, H.Hollands, V.deRijke) Making/Unmaking Design History Society Conference(2000, G.Cox, H.Hollands, V.deRijke) and invisible architectures: The Visible & the Invisible (1996, inIVA & international artists) Distance No Object: intercultural art resources on the Net Association of Art Historians at Tate Britain Looking Over the Overlooked Conference(2000, R.Sinker) regular MEDIASPACE sections in the CADE journal Digital Creativity (M.Phillips ed) proceedings and v01d Virtual Architecture catalogue and exhibition, Plymouth University & Arts Centre (2001, F.Bailey & M.Phillips).

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