A reanimation of the tea party & riddle scene from Alice in Wonderland (1951), restyled by 17 paintings.
Created with code by Justin Johnson, based on the paper on style transfer from Gatys, Ecker, and Bethge at the University of Tübingen in Sep 2015.
“ARTOMAT is a system for the automated production of art. Select an object, apply certain methods to it, combine it with another object, place it in an appropriate space, and your unique work is ready!
In our era, there are evermore products, both material and virtual, that are created entirely or to a large extent through automated processes. Art is the last bastion where one-off, unique products are made. What’s more, they are linked to the myth of the individual “internal world of the artist.” Nevertheless, if we closely observe the processes that have been underway in art in recent decades, we can see that behind the apparent variety in the works that are appearing lies a fairly limited selection of algorithms employed in their creation:
— taking something small and powerfully magnifying it;
— taking a single object and multiplying it;
— taking a large object and turning it upside down;
— building a recognizable object from “inappropriate,” paradoxical materials, or covering it in a strange pattern or colour;
— taking two or more objects from different, unconnected contexts and combining them;
— recombination — deconstruction with subsequent “inappropriate” assembly.
The ARTOMAT works by employing algorithms akin to those given above and generating art in an automated or semiautomated mode. The viewer becomes a user-artist, creating genuine works of art to suit his or her own taste. Hooked
up to a 2D or 3D printer, the ARTOMAT allows material objects to be created — pictures and sculptures. Thus, the entire production cycle for the creation of the work is automated, from conception to realization.”
ARTOMAT is a project by Aristarkh Chernyshev and Alexei Shulgin, 2013. See a gallery here.
“The title derives from a social network induced anxiety condition. One brought on by trying to keep up with a rapidly moving world. A fear of constantly being one-step behind, in the wrong place, and missing out on the most exciting events. The Fear Of Missing Out proposes that it is possible to be one step ahead of the art world by using well-crafted algorithms and computational logic.
The works in the show are the result of a computer algorithm written by Lund. By analysing and categorizing a wide range of artworks, by the most successful contemporary artists, a set of instructions were generated explaining, step by step, how to make the most successful works of art. The artist then simply made the work following the instructions. In The Fear of Missing Out, important categories from the art world such as authenticity, artistry, talent, and creativity are questioned. The title also refers to the urge to be a part of a transparent information society made up of an overarching digital network.”
“an open letter to Apple + experimental prosumer manifesto on the issues of planned obsolescence, upgrade culture, technological self-reliance, control and copying. A [re]mix/make of Phil Morton’s 1976 video tape ‘General Motors’, in which contemporary Chicago [dirty] new media artists explain their love && hate relationship with the ‘default art computer’. by Nick Briz, copy<it>right 2013″
“I’ve had an idea for a long time now. It’s inspired by one of my favorite feelings: when you order something on Amazon, and it’s put on backorder, and then you forget you ordered it, and a year later it arrives—and it’s like a gift you bought yourself.
Well, I thought: what if I just wrote a program to buy stuff for me? The first iteration of this was going to be a program that bought me stuff that I probably would like.
But then I decided that was too boring. How about I build something that buys me things completely at random? Something that just… fills my life with crap? How would these purchases make me feel? Would they actually be any less meaningful than the crap I buy myself on a regular basis anyway?
So I built Amazon Random Shopper. Every time I run it, I give it a set budget, say $50. It grabs a random word from the Wordnik API, then runs an Amazon search based on that word. It then looks for every paperback book, CD, and DVD in the results list, and buys the first thing that’s under budget. If it found a CD for $10, then the new budget is $40, and it does another random word search and starts all over, continuing until it runs out of money, or it searches a set number of times.”
YouGlitch is a website where the Corrupted GIFs created with Corrupt.Video are displayed.
The Software (Corrupt.Video) allows its users to glitch videos stored on their computer, videos from their webcam or their desktop in realtime. When a clip is recorded, a 10 seconds video and an animated GIF are saved locally and automatically uploaded to uglitch.com
“This is a basically a “search engine for insults.” Type in a search term, and it’ll give you insults you can use against a person who doesn’t like that term.
For example, enter “the godfather,” and it’ll give you “You sleep with the fishes,” “You sleeps with horsehead in bed” and “You will get an offer you can’t refuse.” Enter “alfred hitchcock” and it’ll say “You had your eyes plucked out by crows” and “You have Vertigo.” Enter “mario brothers” and it’ll say “You aren’t Super enough for Mario,” “You can’t beat world 1-1″ and “You are bowser.” You get the idea.
It finds stuff only about 50% of the time, but it works surprisingly well when it does work. Try general terms (“car”) and pop culture (“michael jordan”, “i love lucy”). Each insult includes a link to its source YouTube video.”
We propose a method to realistically insert synthetic objects into existing photographs without requiring access to the scene or any additional scene measurements. With a single image and a small amount of annotation, our method creates a physical model of the scene that is suitable for realistically rendering synthetic objects with diffuse, specular, and even glowing materials while accounting for lighting interactions between the objects and the scene. We demonstrate in a user study that synthetic images produced by our method are confusable with real scenes, even for people who believe they are good at telling the difference.
“I wrote a simple application that took one picture every minute. If it found a face, it uploaded the photo to my server. I installed the app around NYC over three days, collecting more than a thousand photos. Before sharing the photos online, I decided to exhibit them in the same places they were originally captured. So I wrote another app that could be remotely triggered after being installed on all the computers in one location. When the app starts up, it takes a picture and slowly fades in that photo. A moment later, it starts cycling through older photos. Most people instinctively quit the app less than 10 seconds after recognizing their own face, so the exhibition was relegated to the unused machines.”
Content is Queen is a generative video painting by Sergio Albiac:
“At the same time, is a paradoxical dialogue and strange marriage between the banal and utterly majestic: to create the series, the most popular (in a truly democratic sense) internet videos of a given moment are used as the input of a generative process that ‘paints’ with action the image of a contemporary Queen.”
“American Pixels’ series is a pixel experiment created by Jörg M. Colberg in (2009 – 2010).
‘Image formats like jpeg (or gif) use compression algorithms to save space, while trying to retain a large fraction of the original information. A computer that creates a jpeg does not know anything about the contents of the image: It does what it is told, in a uniform manner across the image.”
“Sewing machine orchestra is the first version of a performance created by Martin Messier. The basic sounds used in this performance consist entirely of the acoustic noises produced by 8 sewing machines, amplified by means of microcontacts and process by a computer.”
Citizens of the world are spending their lives staring into the reflective surfaces of their mobile phones and desktop computers. I think that social context determines the value of the media, tendency itself of dispaying medium have to be thought as social message.
For me, the digital canvas is another representation tool. Browser is not only the way it looks but also an inevitable basis of existence in the new space. If the history of fine art is against the frame of canvas, new painting will be founded on the browser, a element of being. In the past, inherent trait of painting reveals through the recognitions and enactments of medium. As the tool and matarial,we have to reconsider the new medium.’
“Groups of scanners filling the sonic spectrum may act in synch, forming a single harmonically-dense rhythm, or they may scan the plans at different speeds, resulting in complex polyrhythms. Each plan is treated as a modular score, with a distinct rhythm and timbre of its own. Also, by varying the speed and intensity of each scanning group, drone-like sounds may emerge based on the ‘resonant frequency’ of the black and white plan.”
“In the last few weeks Ishac Bertran has been making experiments in the area of “Generative Photography”. He describes the process where the digital drawings are sequentially projected on to a screen in a dark room and photographed using long exposure times.”
“Computational rephotography is a fancy name for photos taken from the exact same viewpoint as an old photograph. Actually, that’s just rephotography. The “computational” part is when software helps out.”
“Experience the censored Chinese internet at home!
The Firefox add-on China Channel (by Aram Bartholl, Evan Roth and Tobias Leingruber) offers internet users outside China to surf the web as if they were in China. Take an unforgetable virtual trip to China and experience the technical expertise of the Chinese Ministry of Information Industry (supported by western companies). It’s open source, free and easy.”
When you grow up playing video games, like I did, the primitiveness of office software user interface design comes as a shock. The desktop metaphor was a brilliant stroke back in 1970 when they thought it up at Xerox PARC, but I feel like it has outlived its usefulness.