This article summarizes the process and outcome of the Future Emerging Art and Technology residency during which new media artists Špela Petrič and Miha Turšič undertook the challenge of understanding and manifesting the artistic potential of high-performance computing (HPC). As a result of the collaboration with FET HPC the artists developed a concept liberated from complex computational technicity to underscore the (un)intentional construction of meaning by algorithmic agencies.
It is widely accepted that increased human interaction with natural systems is responsible for complex environmental issues, with most current thinking centered on the provision of advanced technological solutions. One response emerging from current bioinspired robotics research proposes artificial neural networks (ANNs) enhanced with artificial hormones for increased performance and efficiency.
This study sets out to explore the perception of noise, as well as the relation toward meaning or information that it might contain, in arts, science and daily life. It is realized as an installation based on a suspended cloud of nitinol drums that create a sonic environment evolving in time and space. Digital random noise drives the instruments. Roaming freely and listening, visitors become part of an ecology of noise. As visitors explore differing regions in time and space, what appears to be noise can shift to a “meaningful” signal.
Through the epistemological lenses of quantum theory and phenomenological art, the authors describe their collaborative development of several artworks exploring electrodynamic levitation. Comprising diverse ion traps that enable naked-eye observation of charged matter interactions, these artworks question the murky boundaries of perceptibility and objectification.
This article documents the artistic research the author undertook for FEAT (Future Emerging Art and Technology) residency. It describes her collaboration with the MRG-Grammar consortium and the creation of an artwork that involved editing the genome of a bacterium using CRISPR to reflect on issues related to antimicrobial resistance, biohacking and control.
A multidisciplinary team at Rice University transformed the Texas Medical Center (TMC) Library’s collection of rare anatomy atlases into a physical-digital, human-sized atlas-of-atlases. The Electronic Vesalius installation gives these old books new life, informed by contemporary media theory and the centuries of medical and aesthetic criticism provoked by these multimedia image-texts.
This essay explores the relationship between pictures and the lighting conditions in which they were originally viewed. The theoretical interrelationship between brightness, illumination and depiction is explored in a case study of Leonardo da Vinci’s Last Supper mural at the refectory of Santa Maria delle Grazie in Milan. Advanced rendering software allows for the reconstruction of the refectory as it stood when Leonardo painted The Last Supper and demonstrates the complex interaction between light and space in the mural.
Art critic Jerry Saltz is regarded as a pioneer of online art criticism by the mainstream press, yet the Internet has been used as a platform for art discussion for over 30 years. There have been studies of independent print-based arts publishing, online art production and electronic literature, but there have been no histories of online art criticism. In this article, the author provides an account of the first wave of online art criticism (1980–1995) to document this history and prepare the way for thorough evaluations of the changing form of art criticism after the Internet.
The author proposes a theoretical framework for better understanding the scope of expression of interactive computer simulations. As programmed processes, simulations embody the logic of systems as conceived by systems theory. Here, this basis is seen as a kind of pre-forming perspectivation on a general level, leading to certain characteristics of simulated dynamics (differing from other modes of conceptualizing processes).