England « emocao art.ficial

The New Biological Paradigm

by Fabrízio Penteado, July 5th 2004
photo by Rubens Chiri

How do new forms of technology interfere in the concepts of life? On Monday afternoon’s lecture, panelists explained their opinions about the paradigm created by the divergence of new media in relation to human beings and questioned how far the use of technological resources could be considered ethical.

Moderated by Eduardo de Jesus, French art critic Anick Bureaud, and artists Eduardo Kac, Paula Sibilia and Roy Ascott were also present. Anick pointed out that technological art is one of the new artistic forms and, more importantly, it is art from digital media, the new media that has appeared.

Those who expected to see the genetically modified fluorescent bunny, by Eduardo Kac were disappointed since the animal was not allowed to leave the laboratory due to legal problems. However, Kac presented themes as interesting as the animal. According to the panelist, Darwin’s Theory of Evolution presents flaws when stating that only mutations are responsible for the evolution of species.

“Symbiosis and cooperation, two key factors in life, are not part of Darwin’s Theory,” said Kac, who set forth to create different connections between this statement and the topic of the lecture. He still found time to explain some works, among which, Lance 36 (Move 36) a reference to the move that led to the defeat of Russian chess champion Garry Kasparov in the match against the supercomputer Deep Blue.

The quote, “God created the universe as a large clock and left the machine working on its own, then man proclaimed himself free to alter nature around him,” summarizes Paula Sibila’s talk, comparing the environment that surrounds us to man’s concern with self-valorization. With genetic manipulation, a new nature is being outlined by man, a type of reinvention of life. This would be the DNA alchemy.

Finally, Roy Ascott, the director-founder of The Planetary Collegium, at the University of Plymouth, focused on nanotechnologies. Hoping to identify flaws in the human program (DNA), the artist says, “nano is pure matter and pure consciousness, it is the transition between molecules and cells.” Roy also explained about photons, saying that they were helping to create some types of life.

Tumbling Dream Chambers

by Boredomresearch (England, 2007)

 

An artwork involving artificial life composed of the two previous works Biomes and Randomseeds. It is formed by five displays resembling Petri dishes – glass recipients used in scientific experiments and for the culture of bacteria in laboratories – which are “inoculated” with two “seeds.” In the virtual biomes, artificial microorganisms are born, evolve and die.

See also Eden, by Jon McCormack, an ecosystem of artificial life.

Boredomresearch is an English artist collective formed by Paul Smith and Vicky Isley, researchers in the field of animation and computer art at Bournemouth University, England.

The Paskian Approach: Conversation

by Edson Cruz

O legado de Gordon Pask (The legacy of Gordon Pask) was the sixth roundtable at the Emoção Art.ficial 3.0 Symposium, in which, in a little more than one hour and a half, Paul Pangaro, a professor in computing and Pask’s collaborator, and Usman Haque, a professor at the Bartlett school of architecture, in London, and artist and creator of the interactive installation Evolving Sonic Environments, present at Emoção Art.ficial 3.0, talked and showed some of the works and ideas of Gordon Pask, an engineer and cyberneticist, and how they influenced their own ideas and works.

A video made by the BBC, The Experimenters, showed part of Pask’s career and works. His ideas started from the attempt to understand how we learn, creating learning machines and systems. “Pask wanted to find out how people learn when involved in a conversation,” declared Pangaro in his talk.

The legacy
Pask, according to Pangaro, was an engineer who created his own learning machines and with this developed a cybernetic theory about human conversation. His starting point was the focus on the personal nature of reality, proposing a process to apprehend the world as of the agreement between actors that interact in a specific environment. 

To Pask, according to the panelists, cybernetics has always been connected to conversation. Pangaro gives the example of the thermostat and human interference on it. Human beings apply cybernetic principles when they try to adjust it to a specific temperature, to a different objective from what would be initially expected. This process is called first order cybernetics. When human beings start to observe themselves in action and to modify this action or not, a transition between the first and second orders takes place.

When asked if the concept of beauty would penetrate his cybernetic concept, Pask answers that it would, mentioning the great mathematical demonstrations that more than numeric clarity showed elegance. Beauty, therefore, would be connected to the coherence of organization and form. And that is what he was after, said Pangaro, to create coherence through his experiences. An idea that is very close to what was established by neurobiologist Humberto Maturana in his classic work on cognition.

Lightness and brilliance
Haque said that he only understood Pask’s concepts, which today are so connected to his own creations, three years after the first time he heard them. It was in the Serendipity project (theme of Jasia Reichardt’s talk in the Cybernetics, Art, Ideas roundtable) that he was attracted to Pask’s sculpture, The Colloquy of Mobiles. It was a type of non-linear, non-causal interactive work. Something that Haque was also seeking: a work that was not only a device that reacted automatically to a stimulus. As of then, Haque developed projects which increasingly more helped him to become familiarized with Pask’s ideas.

One of the most interesting projects shown by Haque on the large screen was Sky Ear, whose starting point was his perception that carrying and using a cell phone influence the way we currently use space. We move to answer a call, or we avoid certain places where cell phones are not allowed to ring. He created something that looked like bubbles, which together were thrown up to the sky, generating a kind of magnetic cloud manipulated and modified in its colors through the interaction with people on the ground, by means of mobile phone calls. By what we saw on the large screen, the effect was fascinating.

He showed details and diagrams of his work in partnership with Robert Davis, Evolving Sonic Environments, shown in this edition of the exhibition. A work whose premise is the interest in knowing how space perceives beings, and not the other way round, as would be expected due to his background in architecture.

The Paskian approach was put into practice by the panelists with no affectation and at the service of creative intelligence. A brilliant and motivating talk that showed us that cybernetics is neither cold nor boring. Especially, when the thinkers and artists that work with it are open and use interaction as the basis to improve human beings and society, and not only as a metaphor.

Talysis 2

by Paul Prudence (2006)

A circuit, in which a camera films, in real time, a screen that shows the image of the camera itself.

Paul Prudence

A British artist, who is responsible for the blog: Dataisnature.

Performative Ecologies

by Ruairi Glynn (England, 2007)

 

A community of four robots is oriented by means of facial-pattern-recognition software. This artwork examines the interactive (and not only responsive) potential of robotic elements for engaging in forms of performative and nonverbal communication with the public.

Learn more about cybernetics, and understand basic concepts of artificial intelligence.

Ruairi Glynn began his career in art as a sculptor. He studied interactive design at the Central Saint Martins College of Art and Design, in London, and at the Institute of Digital Art and Technology, in Plymouth. He is a member of the group Interactive Architecture, of the Bartlett School of Architecture, in London. He studied under English cyberneticist Ranulph Glanville.

Evolving Sonic Environments

by Usman Haque(2006)

Several devices communicate with each other by means of ultrasonic waves. They reach vibrations which act on the threshold of human hearing, but that can be seen on a large screen thanks to a data visualization system.

Learn more about interactivity, a central concept to some breeders of the art technology.

Usman Haque

He teaches at the Bartlett School of Architecture, in London.

Robert Davis

An artist and professor of the Department of Psychology of the Goldsmiths University of London.

Emergence and Cybernetics

with Andy Webster and Jon Bird, July 5th 2008

Part one:

Part two:

In nature or in computerized models, emergence is a phenomenon that arises from the cybernetic interaction among a sufficiently large number of real and/or virtual agents, whether in a physical or a virtual space. The circular causality among the elements can give rise to events in ecology, science and art.

Andy Webster is an artist and researcher at Falmouth College of Arts, in Cornwall, England. His works are influenced by North American artist Richard Serra and British scientist Gordon Pask.

Also watch the lectures Emergence and Aesthetics, Emergence and Chaos and Emergence and Creativity.

Jon Bird is a researcher in the field of computational neuroscience and robotics at the University of Sussex, England. He collaborates in art projects that involve concepts such as evolutionary curatorship and generative films. He is a member of the organizational committee of Blip, a forum of art, science and technology that holds exhibitions in the United Kingdom.