Living artwork, creations that come to life and experiential installations will be on show for the fourth Kinetica Art Fair 2012 - the UK's only art fair dedicated to kinetic, robotic, sound, light and time-based art. This hugely popular event – regularly attracting over 10,000 visitors – takes place from 9 – 12 February 2012 at Ambika P3, Marylebone Road, London NW1.
To see photos from Kinetica Art Fair 2011 CLICK HERE
For Kinetica Art Fair 2011 on BBC News CLICK HERE or go to http://www.bbc.co.uk/news/technology-12362228
Check out the guy who is growing an ear on his arm!
DNA of Creativity: Fusing the Energies of San Diego Arts and Sciences, the San Diego Visual Arts Network is gathering information and making connections between the art and science worlds with a goal of fusing the energies of both communities to produce a series of projects. These projects will enhance the viewing public’s perception of creativity and its role in our lives. This blog will endeavor to add links of interest and provide a way for free discussions on this subject.
Wednesday, December 28, 2011
Friday, December 9, 2011
MEMES
Mark Hodgetts from the UK has sent a link to a very interesting article about replicators by Dr. Susan Blackmore. http://www.susanblackmore.co.uk/Articles/cas01.html This article is about how Darwin's replicator theory was passing knowledge and aiding the selection process. Here she quotes Dawkins, 1976, p192, about the cultural implication of memes.
"We need a name for the new replicator, a noun that conveys the idea of a unit of cultural transmission, or a unit of imitation. ‘Mimeme’ comes from a suitable Greek root, but I want a monosyllable that sounds a bit like ‘gene’. I hope my classicist friends will forgive me if I abbreviate mimeme to meme. ... Examples of memes are tunes, ideas, catch-phrases, clothes fashions, ways of making pots or of building arches. Just as genes propagate themselves in the gene pool by leaping from body to body via sperms or eggs, so memes propagate themselves in the meme pool by leaping from brain to brain via a process which, in the broad sense, can be called imitation."
I also like this example she gives, just one of many questions she poses.
"I previously gave the example of someone inventing a new recipe for pumpkin soup and passing it on to various relatives and friends (Blackmore 1999). The recipe can be passed on by demonstration, by writing the recipe on a piece of paper, by explaining over the phone, by sending a fax or e-mail, or (with difficulty) by tasting the soup and working out how it might have been cooked. It is easy to think up examples of this kind which make a mockery of drawing analogies with genotypes and phenotypes because there are so many different copying methods. Most important for the present argument, we must ask ourselves this question. Does information about the new soup only count as a meme when it is inside someone’s head or also when it is on a piece of paper, in the behaviour of cooking, or passing down the phone lines? If we answer that memes are only in the head then we must give some other role to these many other forms and, as we have seen, this leads to confusion."
She applies the use of memes to the creative process, "For example, let us suppose that at some particular time the most successful males were the meme fountains. Their biological success depended on their ability to copy the best tools or firemaking skills, but their general imitation ability also meant they wore the most flamboyant clothes, painted the most detailed paintings, or hummed the favourite tunes. In this situation mating with a good painter would be advantageous. Females who chose good painters would begin to increase in the population and this in turn would give the good painters another advantage, quite separate from their original biological advantage. That is, with female choice now favouring good painters, the offspring of good painters would be more likely to be chosen by females and so have offspring themselves. This is the crux of runaway sexual selection and we can see how it might have built on prior memetic evolution. "
Dr. Blakesmore makes distinction between the memes themselves and the machinery in and out of our brain that we have developed to aid the mematic process. She also suggests we look at those who copy (with errors and improvements) the actual thing and those who copy the instructions for the thing.
This could be a very interesting base of information for a DNA of Creativity project.
"We need a name for the new replicator, a noun that conveys the idea of a unit of cultural transmission, or a unit of imitation. ‘Mimeme’ comes from a suitable Greek root, but I want a monosyllable that sounds a bit like ‘gene’. I hope my classicist friends will forgive me if I abbreviate mimeme to meme. ... Examples of memes are tunes, ideas, catch-phrases, clothes fashions, ways of making pots or of building arches. Just as genes propagate themselves in the gene pool by leaping from body to body via sperms or eggs, so memes propagate themselves in the meme pool by leaping from brain to brain via a process which, in the broad sense, can be called imitation."
I also like this example she gives, just one of many questions she poses.
"I previously gave the example of someone inventing a new recipe for pumpkin soup and passing it on to various relatives and friends (Blackmore 1999). The recipe can be passed on by demonstration, by writing the recipe on a piece of paper, by explaining over the phone, by sending a fax or e-mail, or (with difficulty) by tasting the soup and working out how it might have been cooked. It is easy to think up examples of this kind which make a mockery of drawing analogies with genotypes and phenotypes because there are so many different copying methods. Most important for the present argument, we must ask ourselves this question. Does information about the new soup only count as a meme when it is inside someone’s head or also when it is on a piece of paper, in the behaviour of cooking, or passing down the phone lines? If we answer that memes are only in the head then we must give some other role to these many other forms and, as we have seen, this leads to confusion."
She applies the use of memes to the creative process, "For example, let us suppose that at some particular time the most successful males were the meme fountains. Their biological success depended on their ability to copy the best tools or firemaking skills, but their general imitation ability also meant they wore the most flamboyant clothes, painted the most detailed paintings, or hummed the favourite tunes. In this situation mating with a good painter would be advantageous. Females who chose good painters would begin to increase in the population and this in turn would give the good painters another advantage, quite separate from their original biological advantage. That is, with female choice now favouring good painters, the offspring of good painters would be more likely to be chosen by females and so have offspring themselves. This is the crux of runaway sexual selection and we can see how it might have built on prior memetic evolution. "
Dr. Blakesmore makes distinction between the memes themselves and the machinery in and out of our brain that we have developed to aid the mematic process. She also suggests we look at those who copy (with errors and improvements) the actual thing and those who copy the instructions for the thing.
This could be a very interesting base of information for a DNA of Creativity project.
Tuesday, December 6, 2011
George Hart
John Chalmers sends us this recommendation for the website of George Hart who uses rapid prototyping (RP) technology for a range of purposes, including art, math, and education.
http://www.georgehart.com/rp/rp.html
Rapid Prototyping or Solid Freeform Fabrication refers to a range of new technologies which construct physical three-dimensional objects by assembling thin layers of material under computer control. Objects can be made which are extremely accurate, complex, and beautiful, and which no other technology can produce.
http://www.georgehart.com/rp/rp.html
Rapid Prototyping or Solid Freeform Fabrication refers to a range of new technologies which construct physical three-dimensional objects by assembling thin layers of material under computer control. Objects can be made which are extremely accurate, complex, and beautiful, and which no other technology can produce.
Tuesday, November 29, 2011
Art Basel Miami: Marco Brambilla
Art Basel Miami: Marco Brambillafrom Chris Wallace on Nowness.com.
Video artist Marco Brambilla shares his densely hypnotic and kaleidoscopic 3D film RPM, commissioned by Ferrari in celebration of their latest auto masterpiece, the 458 Spider, and premiering at Art Basel Miami tonight. Assembling footage shot on location over several months at the Italian Formula One Grand Prix in Monza with imagery from the Scuderia Ferrari archives and the artist’s own recordings, RPM is a visceral, cubist representation of a Formula One driver’s state of mind during a race. “I wanted to make a portrait of speed,” says Brambilla, a life-long F1 fan. “Something as subjective as can be, that explores the connection of man and machine and tests the limits of human endurance.” Featuring Möbius strip racetracks, wind-gritted teeth and a howling soundtrack of throttling engines, RPM accelerates in complexity with every turn of the circuit. “[The film is] always accelerating,” says the artist, “just building, no payoff, no win.” The New York-based Brambilla, who created the digital tableau vivant for Kanye West’s “Power” and the 3D videos Evolution and Civilization, wanted to push the limits of his own aesthetic vocabulary with this project. “This one is a little bit different in that we used 3D as an editing tool,” he says. “As the piece speeds up, the multi-planing—the foreground, mid-ground and background objects—all cycle through each other to create an acceleration in 3D space.”
Wednesday, November 9, 2011
Monday, November 7, 2011
Aliens and David Lynch - it's all about the light
Two new links for the beginning of this week:
Two scientist are looking for city lights on other worlds as a way of discovering aliens reported by Art Daily http://www.artdaily.org/index.asp?int_sec=2&int_new=51609
And
David Lynch x Dom Pérignon on Nowness.com.
Two scientist are looking for city lights on other worlds as a way of discovering aliens reported by Art Daily http://www.artdaily.org/index.asp?int_sec=2&int_new=51609
And
David Lynch x Dom Pérignon on Nowness.com.
Filmmaker Gavin Elder’s Hyperreal Portrait of the Iconic Director's Champagne Moment
Granted rare and uninhibited access to the creative process, Gavin Elder’s short captures auteur David Lynch at work shooting premier cuvée brand Dom Pérignon's new campaign. Only the second living artist, after Karl Lagerfeld, to have shot a campaign for the luxury champagne house, Lynch made a pilgrimage to the revered Abbey of Hautvillers to take inspiration from the place where Dom Pierre Pérignon first combined wines to craft perfect blends—or "cuvees"—in the 17th century. After decamping to an L.A. studio, Lynch embarked upon an experimental shoot illuminating the iconic label's crest and silhouetted bottle with showers of welding sparks, phosphorescent flames and lasers. Elder's document of the resultant shoot is an audio-visual collage juxtaposing the screen icon's voice with his own abstracted imagery. “David is somebody who is all about the pursuit of originality and experimentation, and that is what we wanted to get across in our film,” he says. “Lynch has such an interest in how sound marries with image; through that I feel we really accessed his approach.”Sunday, November 6, 2011
NASA | Art: 50 Years of Exploration
NASA | Art: 50 Years of Exploration
We are grateful to Kira Coser for sending us this link to the Art of NASA.
http://www.nasm.si.edu/exhibitions/gal211/NASA_art.cfm
We are grateful to Kira Coser for sending us this link to the Art of NASA.
http://www.nasm.si.edu/exhibitions/gal211/NASA_art.cfm
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