![[KSCHHH]](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTiuk8qjS8QG8Efjs9xb_Zl6TrIhcl5Oh1OO0250skZ1fYxSBv70gTBKcf0OEd6O-5aJMZ_LLyaBYdKyNtUszDDcVRd5y96tCVscvxmCwk5A0smogiGpsTKQqT67tEJqefp2pdwsoqLAH1/s1600-r/kschhhtitle.png)
"Kawaii: (kah-wah-ee) Japanese for 'cute,' but beyond that it refers to the exclusively Japanese cult of cute."
British mathematician John Horton Conway developed 'The Game of Life' in 1970 which is an extension of ideas introduced in the 1940s by renowned mathematician John von Neumann and is still today one of the finest examples of cellular automaton.
'The Game of Life' is a zero-player game based on an infinite 2D grid. Each square on this grid can be in two states, alive or dead, and interacts with the eight squares that neighbour it, abiding to a set of simple rules. These rules can construct massively complex systems from very simple beginnings.
Musicians like Brian Eno have adopted this ability to simply govern complex systems and continue to develop and use such systems to create compositions, not by playing and arranging instruments, but by devising rules that the music must obey and letting it write itself. These pioneering musicians and artists are setting a precedent for creatives to change their roll in their work from medium or muse to a god-like creator of idea ecosystems. Intelligent generative systems in which the creator does not create, but governs the process of creation are becoming a wide spread creative practice.
This is by no means a new phenomenon. In 1757 Wolfgang Amadeus Mozart devised "Musikalisches Würfelspiel" (Musical Dice Game), a very early example of generative art. There was the emergence of 'open' compositional systems, such as those by John Cage and visual art generation techniques using notation, instruction and restriction by the likes of the Fluxus artists, Hans Haake and Andy Warhol's 'Factory' in the 1950's and 60's. More recently these veins of investigation have developed and evolved into technology focused divergent species such as 'livecoding' (another livecoding link) and new-media works by artists such as John Klima and Kitty Clark.
'The Game of Life' is a zero-player game based on an infinite 2D grid. Each square on this grid can be in two states, alive or dead, and interacts with the eight squares that neighbour it, abiding to a set of simple rules. These rules can construct massively complex systems from very simple beginnings.
Musicians like Brian Eno have adopted this ability to simply govern complex systems and continue to develop and use such systems to create compositions, not by playing and arranging instruments, but by devising rules that the music must obey and letting it write itself. These pioneering musicians and artists are setting a precedent for creatives to change their roll in their work from medium or muse to a god-like creator of idea ecosystems. Intelligent generative systems in which the creator does not create, but governs the process of creation are becoming a wide spread creative practice.
This is by no means a new phenomenon. In 1757 Wolfgang Amadeus Mozart devised "Musikalisches Würfelspiel" (Musical Dice Game), a very early example of generative art. There was the emergence of 'open' compositional systems, such as those by John Cage and visual art generation techniques using notation, instruction and restriction by the likes of the Fluxus artists, Hans Haake and Andy Warhol's 'Factory' in the 1950's and 60's. More recently these veins of investigation have developed and evolved into technology focused divergent species such as 'livecoding' (another livecoding link) and new-media works by artists such as John Klima and Kitty Clark.
No comments:
Post a Comment