The Forgettable Art Machine

FILE 2024 | Installations

International Electronic Language Festival

The Forgettable Art Machine is an artificial intelligence-driven video installation. When facing the panel, the public has their image captured, starting a cycle of analysis, creation and destruction. From this data, a composite emerges, slowly transforming the visitors’ image into a generative visualization. Once the cycle is complete, the composition is deleted, waiting for a new audience to be captured.

Bio

Matthias Oostrik works at the intersection of digital art, installation art, cinema and architecture. His works establish unpredictable relationships between people and their surroundings. Using digital technology, his installations allow visitors to reshape their environment and their relationships with each other. Oostrik collaborates with renowned professionals and, above all, with his audience, who often become an integral part of his work.

Credits

Co-production: Zester
IA Music: Than van Nispen

Audio Responsive Treehouse

FILE 2024 | Architectural Synthetics
International Electronic Language Festival
Hassan Ragab – Audio Responsive Treehouse – United States

This work, created using generative artificial intelligence tools, is part of a broader exploration into discovering architectural forms through the intersection of different media. Potential shapes are generated based on the rhythms and timbres of the Shockone vs. Shockone song Run. The Bloody Beetroots. Factors such as camera movement and dynamics between the interior and exterior of the treehouse contribute to the creative process.

Bio

Hassan Ragab is an interdisciplinary media artist, architect and designer whose work focuses on the synergy between art, architecture, technology and humanity. He uses generative artificial intelligence to create a new visual language, and his work is exhibited globally. Additionally, Hassan writes about the integration of new media into art and design and has been recognized in numerous publications and news outlets.

The Legend of Ogie

FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
SurrealismToday.com – The Legend of Ogie – United States

What worlds exist beyond Einstein’s speed limit? Inspired by Eric Weinstein’s theory of Geometric Unity, the work explores the idea that space-time is like a melody playing over an eight-dimensional universe. Abstract and metamorphic forms transition from organic forms to parastatic patterns, creating a dance of visuals and sounds that merge into an immersive experience of fractal unfolding.

Bio

SurrealismToday.com is an artist collective and educational platform dedicated to the proliferation of surreal and visionary ontologies in contemporary art. The group began as an esoteric cargo cult dedicated to discovering the beautiful, the fantastic, and the transcendent in the pseudo-philosophical landscape of the art world. His methods include searching for gems in the digital world and infusing mystical enchantments into generative diffusion models.

Kelly Luck
Strangeland 1 (excerpt)

FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
Kelly Luck – Strangeland 1 (excerpt) – United States

From a surrealist point of view, the main attraction of generative AI, for the artist, is its lack of memory. At any given moment, she only has the current frame and instructions on how to proceed, similar to free association in dreams. This work is part of a series of long-term environments designed to immerse the viewer in a constantly evolving and never-ending landscape, inviting relaxation and engagement.

Bio

As part of the first generation to grow up around computers, Kelly Luck quickly became fascinated with the creative possibilities of this new technology. Her journey has ranged from pixel art and graphic ‘hacks’ to the 90s demoscene, 2D and later 3D graphics, and now the modern tools of digital art. With the emergence of generative AI, it endlessly explores how technology continues to blur the line between imagination and reality.

Useless Hands

FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
Infratonal – Useless Hands – France

When our hands become useless, what will we choose to do with them? We can use AI to visualize the unthinkable, the strangely familiar yet indescribable forms and structures. Generative AI could be used as an amplifier of our ability to explore abstraction and surrealism rather than a simple mirror of our usual perceptions.

Bio

Infratonal is an artistic project led by Louk Amidou, a Paris-based multidisciplinary artist who works at the intersection of digital arts, electronic music and interaction design. He uses algorithms to create hybrid visual and sound pieces which aim to be performed by the human gesture as intangible instruments. He questions the artwork’s nature at the age of AI and the relationship between the artist and the algorithm.

NNY 43 – New York 43

FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
Arnaud Weber – NNY 43 – Nouvelle New-York 43 – Switzerland

In this short created with Midjourney, Runway and DaVinci Resolve, a futuristic megacity sprawls across an exoplanet, reflecting humanity’s limitless expansion. This fascinating and immense city of tomorrow explores the challenges and wonders of a civilization that goes beyond the limits of human habitation. The work offers a captivating reflection on the future of our societies and the impact of our growth in new and unexplored worlds.

Bio

Arnaud Weber, creative director and founder of Le Village Design has been a pioneer in generative digital art since the 2000s. Educated at École Boulle, his work ranges from Parisian design agencies to international recognition, especially through art and films generated by AI. His projects exemplify the fusion between technology and creativity, questioning the future of organic creativity in the digital age.

Struct- Generative Realtime Audio-Visual Environment
The target of “Struct” was to create installation which could make immersive environment inside the space of public event dedicated to the opening of the office of an architectural company UNK Projects. It was planned to make this installation fully autonomic during the several hours as well as there was an idea to hold the public interested and immersed into the space of environment during the all period of time.

The main conception of the installation is to create the second alternative scale inside the internal space of the office. It was realized screen projection for this with the size of 18×4 meters and taken almost whole the length of the interior. The Animated surface was projected as the extension of the super-graphic situated on the facade of office`s building. The external graphic was created by Vladimir Garanin. The first one layer is the super-graphic onto the facade and another one layer is the real-time generative graphic inside the interior. The visual image and algorithmic sound of the whole structure are connected each other and are forming the whole organism.

Floraison
N’exigeant aucune compétence musicale ou technique, l’application Bloom égalitaire et conviviale a permis à toute personne de tout âge de créer de la musique, simplement en touchant l’écran. Partie instrument, partie composition et partie illustration, les commandes innovantes de Bloom ont permis aux utilisateurs de créer des motifs élaborés et des mélodies uniques en touchant simplement l’écran. Un lecteur de musique générative a pris le relais lorsque Bloom est resté inactif, créant une sélection infinie de compositions et les visualisations qui les accompagnent. Cette version utilise la réalité mixte avec HoloLens.

Unearth
Rotsen van de aardmantel komen uit de leegte tevoorschijn, gefragmenteerd in een veelvoud aan gezichtspunten. Met een hypnotiserende en schurende soundscape bewegen ze zich op een schilderkunstige manier om het publiek heen. Hun gelaagde zanderige pixelsporen worden langzaam weggespoeld. Unearth is gemaakt voor de .dreams-tentoonstelling van Generative Gallery in het Theatre of Digital Art in Dubai. Het meeslepende stuk weerspiegelt de kustsituatie van de stad naast de woestijn en de voortdurend veranderende omgeving, sterk hervormd door mensen, kwetsbaar voor natuurlijke fenomenen, klimaatverandering en de vraag naar hulpbronnen.

Quantum Memories: Nature Studies
Technological and digital advancements of the past century could as well be defined by the humanity’s eagerness to make machines go to places that humans could not go, including the spaces inside our minds and the non-spaces of our un- or sub-conscious acts. These unique pieces of the “Quantum Memories” series exhibit arresting visuals and colors that speculate the probability of reaching invisible spaces. They are composed in collaboration with a generative algorithm enabled by artificial intelligence (AI) and quantum computing, a new form of computing that exploits the unusual physics of the subatomic world. It turns the visual data that flows around us into an artwork that represents our collective and digitized memories of nature and encourages the viewer to imagine the potential of this computing technology for the future of art, design, and architecture.

Machine Memoirs
Es una exploración de estructuras celestes a través de la mente de una máquina. Esta instalación inmersiva tiene como objetivo combinar exploraciones pasadas y soñar con lo que puede existir más allá de nuestro alcance. Usando inteligencia artificial para narrar lo “desconocido” y una red neuronal generativa entrenada en imágenes de la Tierra, la Luna, Marte y la Galaxia, tomadas de observaciones de la ISS, Chandra, Kepler, Voyager y Hubble, esta instalación imagina un universo alternativo, quizás aportando más textura a nuestra propia tela.
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Is an exploration of celestial structures through the mind of a machine. This immersive installation aims to combine past explorations and dream of what may exist just beyond our reach. Using machine intelligence to narrate the “unknown,” and a generative neural network trained on images of the Earth, Moon, Mars and the Galaxy, taken from ISS, Chandra, Kepler, Voyager, and Hubble observations, this installation imagines an alternate universe, perhaps providing further texture to the fabric of our own.

توماس هيرشهورن
托马斯·赫塞豪恩
תומס הירשהורן
トーマス·ヒルシュホルン
abschlag

Thomas Hirschhorn’s “Abschlag” installation, which occupies the first room on the main floor, offers a lesson in how not to engage with the Russian milieu: the Swiss artist constructed part of a typical Petersburg apartment block out of cardboard inside the full-height space, ripped off its façade, and deposited the refuse at its base, revealing shabby interiors lined with original avant-garde masterpieces (on loan from the nearby Russian Museum) by the likes of Malevich and El Lissitky. The references allude to a politically radical Russian past; the construction debris acts as a metaphor for history. Though Hirschhorn suggests a recovery of the revolutionary communist spirit of the 1920s, he falls prey to a historically revisionist fetish: citing the Russian avant-garde as a generative point for vanguard culture in the West, and offering it as a source for renewed progressivism in Russia. Hirschhorn seems woefully unaware of the Putin government’s branding campaign, one that aims to sell the Russian avant-guard as a nationalist movement in line with the regime’s own values (perhaps he didn’t watch the Sochi opening ceremony). Hirschhorn ultimately proves Zhilayev right — with its political pretenses, “Abschlag” aspires to make a grand gesture against conservatism, but fails because its critique has already been co-opted..
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SMSMS-SMS Mediated Sublime

CIMs-Collective Intelligence Machines

“In 2000, I began to connect some of these computers to the mobile phone network (SMSMS-SMS Mediated Sublime, and CIMs-Collective Intelligence Machines). This enabled me to make interactive and multiple installations, connecting various locations.
In this case the flow of images was made visible by large-scale video-projections and the members of the audience were able to modify their characteristics in real time, by sending new inputs to the system from their own phones. This was done in a similar way to certain applications used in electronic democracy. What I had in mind was art which was generative, interactive and public.”

Princess of Parallelograms
What will happen when our imagination itself is externalized in machines? Artificial intelligence constructs its own world-truth that is beyond our sensory perception. Generative Adversarial Networks (GANs) use algorithms to synthesize and generate images in a completely new way. These images have almost uncanny aesthetic characteristics, seeming to emerge from an ocean of data, a kind of pixel soup. Rather as if we were observing the emergence of artificial “thought.” The machine learns to understand the “essence” of a thing, be it an animal, the face of a celebrity or a body of text. It is then able to generate new images of this thing, including faces of celebrities who do not exist, mutant animals, or new texts. Eventually, AI will be capable of instantaneously and dynamically emulating all representations. The era of the optical machine and the capture of reality will then be at an end, supplanted by the era of machines that generate their own reality.

Phantom Geometry
“We are developing a system of moving streaming information through space, in the form of light, to generate material form. This system is a full-scale, generative fabrication process that is innately non-linear, is interruptible and corruptible at any time, and does not rely on periodic flattening to 2D. Light is the medium for data in our system. There resident data can be drawn through physical space, at full scale, to generate a photographic artifact, or to instantiate material form through the selective polymerization of proximal photo-responsive resin. This thesis, then, begins to investigate a design paradigm centered on the material reification of light. That paradigm questions the supremacy of the digital model, and the static flattening and stacking logics inherent to typical fabrication workflows. It is part of a conversation about representation, about the role of the designer, and about the way we make.”

Loom
Loom showcases abstract animations developed with data from real-time Google Trends. Popular queries appear momentarily as overlaid text before dissolving into a smoky abstraction. These terms are approached with an accidental lyricism —each word appears and disappears in a trail of saturation. Colors within the animation are determined by the prevalence of a specific topic; the more viral the search is online, the warmer the tones become. Stripped from headlines, graphic imagery, and statistics, each phrase inspires a contemplative experience, a chance for the viewer to ruminate on what is streaming through the collective consciousness at any given time. Loom weaves a social fabric, mixing the transcendental with the banal, to present the spirit of our time in generative motion.

your unerasable text
“your unerasable text” is an interactive installation, dealing with the topics of data storage and elimination of data. The installation can be placed in an exhibition, but ideally it’s exhibited in a public space window, where it can be used by people passing by 24h a day. The participant is asked to send a textmessage to the number written on a sign next to the installation. “send your unerasable textmessage to +43 664 1788374”. The receiver mobile transfers it to a computer, which is layouting the message automatically. Then it is printed on to a DIN A6 paper, which is falling directly on to a papershredder. There the message remains readable for a few moments and gets destroyed then. The shredded paper forms a visible heap on the floor, which reminds of a generative graphic.

Nadi Generative Art
Nadi is a Digital display of Kinetics and Energetics of Body Movements involved in Yoga. The visuals are created by investigating the flow of data, using the human body as a vehicle. With the support of computer vision technologies, a visual trail is formed by tracking the body movements during yogic postures. Inspired from Indian Yogic Science, we have visually depicted aspects of light, matter and energy in our forms. The generative nature of the visual comes from the digital juxtaposition of the poses that the body generates with each pose.

Light Cloud
The Light Cloud at the Merck Innovation Center detects visitors’ movements in the room and translates them into many different moods. The generative sculpture stimulates and facilitates intense encounters between people and technology. The room-filling installation consists of four curved strands that are concentrically superimposed and slightly shifted in relation to each other. OLED elements that are attached to the strands and controlled by sensors react to the visitors’ movements and to sound compositions. In combination, this generates a complex mosaic in which sound and light interact playfully and the viewers leave traces.

Threshold Release Ornament
MSHR is the art collective of Birch Cooper and Brenna Murphy. The duo collaboratively builds and explores systems composed of sound, light, sculpture, software and circuitry. Their practice is a self-transforming cybernetic entity with its outputs patched into its inputs, the resulting emergent form serving as its navigational system. These outputs primarily take the form of installations and performances that integrate interface design with generative systems and a distinctive formalist approach. MSHR’s name is a modular acronym, designed to hold varied ideas over time. MSHR emerged from the art collective Oregon Painting Society in 2011 in Portland, Oregon, USA.

Transient
Transient – Impermanent paintings is an audiovisual concert for two motorized pianos and two conductors in collaboration with generative algorithms. Hyper-realistic digital brushstrokes articulate endlessly on a large-scale projection as if on a real canvas. Each brushstroke is sonified with a piano note, creating polyphonic synesthetic landscapes. The project continues Quayola’s research on traditional artistic techniques in the context of human-machine relationship, this time gradually withdrawing from formal subjects and giving way to the computational substance: the algorithm.

Maurice Benayoun and Tobias Klein
Brain Factory Prototype 2
Brain Factory is an installation that allows the audience to give a shape to human abstractions through Brain-Computer Interaction (BCI), and then to convert the resulting form into a physical object. The work examines the human specificity through abstract constructs such as LOVE, FREEDOM, and DESIRE. The project articulates the relationship between thought and matter, concept and object, humans and machine. Brain Factory uses Electroencephalography (EEG) data captured by BCI. As a brain activity is unique, we developed a novel calibration process of the individual data readings and associated emotional responses within a framework of binary outcomes. This is key for a real-time feedback – a biofeedback – between the virtual generative processes and the brain’s associated response.

Мигель Шевалье
ミゲル·シュヴァリエ
מיגל שבלייה
미구엘 슈발리에
Power Pixels
L’exposition Power Pixels se compose de deux installations de réalité virtuelle génératives et interactives : Complex Meshes 2020 et Oscillations 2020, oeuvre présentée pour la première fois au public. Oscillations 2020 permet une visualisation graphique en 3D de la musique de Michel Redolfi. Une forme d’onde se génère en temps réel selon les fréquences et les amplitudes de la musique. Ces spectres sonores des différents sons de la musique génèrent des paysages imaginaires à l’infini. Image et musique se répondent dans une fusion de nature émotionnelle qui participe à une véritable synesthésie.

last breath
I understand passive instruments to be different multimedia objects that do not require management so much as co-existence with them based on relations born of a mutual “hybrid” symbiosis. The operating principle of the object is fairly simple – the exhaled air (its pressure and flow rate) activates the generative process, which depends on the exhalation parameters and is managed by the air movement in the organ. The object does not require any special game technique, although any change in the breathing (either premeditated or caused by physiological factors) is directly dependent on game dynamics and also on all the other parameters used to generate the sonic flow.

TriangPaint

Holger Lippmann describes a part of his work as digital painting. What distinguishes digital painting from traditional painting on canvas or paper? We need to distinguish between two categories of digital painting. The first includes works created on the computer with ready-made graphic tools like virtual paint brushes or pens, in something like the way that non-digital pictures are created on paper or canvas. David Hockney’s painting of a sunflower on an i-pad is an example of this. The second category includes works using computer generation, in which programs coded by the artist continually produce new aesthetic concepts as images or animations. Every execution of the software creates new works within the pre-defined boundaries of the system. This process can be called generative painting.

Spacestream
The project uses generative computational strategies to generate series of special stream paths within 3D space frame, giving it structural stiffness and aesthetic values. The generative algorithm is based on use of multi-agent systems, shortest path calculation, lattice stigmergy and structural analysis. The goal is to create continuously thickened bundle paths within the fuzzy 3D space frame structure, where the bundles double as camouflage and reinforcement for the joints/seams between the welded components, allowing for fabrication of large scale structures, mediating between the discreet components and continuous system.Space Stream is a student project which aims to explore influence of rule-based design systems on low-tech fabrication technique of welding. The research concentrates on wireframe structures, which are strengthened through subdivision of basic geometrical units and bundling and reinforcing of the main structural strands. The custom software used for this project is centered on Dijkstra’s shortest path algorithm in combination with agent-based modeling techniques.

Reface [Portrait Sequencer]

Reface [Portrait Sequencer] by Golan Levin and Zachary Lieberman (2007) is a surreal video mash-up that composes endless combinations of its visitors’ faces. Based on the Victorian “Exquisite Corpse” parlor game, the Reface installation records and dynamically remixes brief video slices of its viewers’ mouths, eyes and brows. Reface uses face-tracking techniques to allow automatic alignment and segmentation of its participants’ faces. As a result, visitors to the project can move around freely in front of the display without worrying about lining up their face for the system’s camera. The video clips recorded by the project are “edited” by the participants’ own eye blinks. Blinking also triggers the display to advance to the next set of face combinations. Through interactions with an image wholly constructed from its own history of being viewed, Reface makes possible a new form of inventive play with one’s own appearance and identity. The resulting kinetic portraiture blends the personalities and genetic traits of its visitors to create a “generative group portrait” of the people in the project’s locale.

Том Беддард
Pyramid

After his PhD, the world of the “dot-com” internet boom was more appealing than academia, so Tom became a web developer specializing in e-commerce content management systems. For the past ten years Tom has worked at a variety of agencies in Scotland and now currently works at Glasgow based 55 Degrees, which specializes in interactive museum exhibits and video production. Tom considers himself to be a ‘creative coder,’ a techie who also has an appreciation for the aesthetics. His site, subblue.com, is where he writes programs and plugins exploring mathematical and generative graphics. Where possible, these experiments are interactive and have the source-code available for download. The exposure of his site and the Photoshop and After Effects plugins he has released have resulted in the creation of book covers, music videos, and stage visuals.

The Color Project

MPC New York und ich wurden eingeladen, ein generatives Kunstwerk für den hochkarätigen Start des Media Centers beizusteuern. ‘The Color Project’ ist Teil eines fortlaufenden F & E-Konzepts, das von mir und MPC Digital entwickelt wurde. Das Startstück bleibt als eine von fünf permanenten Installationen im Zentrum zu sehen. Das Made in NY Media Center von IFP bringt Innovatoren aus verschiedenen Kreativbranchen und aus allen Regionen zusammen widmet sich der Definition und Förderung der Zukunft des digitalen Geschichtenerzählens. Der Raum befähigt Künstler, indem er sie mit Ressourcen und Publikum verbindet, um ihre Kunst weiterzuentwickeln. Das Farbprojekt konzentriert sich auf die Erforschung von Erzählungen anhand von Farben, Linien und Formen, die in geografischen Satellitenbildern zu finden sind. Diese Implementierung des Projekts hebt die Schauplätze vieler Filme hervor, die von IFP verfochten wurden. Die formalen Motive jedes Filmortes werden in Form eines Rasters von 162 Globen untersucht. In wunderschöner Synchronizität taucht jede Ansicht zuerst aus dem Weltraum auf und bleibt bei einer einzelnen Farbe in der Landschaft stehen, wodurch ein ortsspezifisches Mosaik entsteht. Das Stück springt von einem Ort zum nächsten und zeigt den Charakter von Bogotá, Kolumbien (Maria voller Anmut), Cleveland, New York City, Florida (Fremder als das Paradies), Vietnam und Virginia (Der gefährlichste Mann in Amerika: Daniel Ellsberg) und die Pentagon Papers), während sie gleichzeitig auf den Kontrast zwischen den Standorten aufmerksam machen. Das Stück verwendet Google Earth und eine benutzerdefinierte Software zeichnet programmgesteuert die geografischen Merkmale jedes Standorts auf, die auf einer beeindruckenden Wand aus 27 HD-Bildschirmen dargestellt werden.

Cluster

CLUSTER, la dernière génération d’œuvre audiovisuelle 3D en temps réel de Kurt Hentschläger, se focalise sur le comportement collectif (psychologie, interactions) et plus particulièrement sur le phénomène de foule. La configuration est simple, voire absurde : des personnages humains en 3D apparaissent, comme un banc de poissons. Dans la chorégraphie en apesanteur de CLUSTER, les êtres humains semblent être des particules anonymes, une masse amorphe sous impulsion, un nuage de matière trouble faite de morceaux de corps et de lumière. Visuellement, l’œuvre alterne entre des formes abstraites et réalistes.Par sa nature générative jamais complètement prévisible, CLUSTER, décrit un méta-organisme à caractère irrévocablement anti-individualiste. Alors que les personnages ont une forme humaine, leur comportement ne l’est pas, ce qui empêche la naturelle identification du public à ses alter-egos présumés. Le dispositif informatique permet de définir la nature et le champ de l’action tandis que l’artiste canalise et orchestre les forces en présence.L’œuvre tire son ambiguïté à la fois de ses éléments répétitifs et rythmiques, ainsi que de ses structures « naturelles » improvisées. La majorité des sons de CLUSTER, est produit par les événements qui animent l’œuvre : mouvements et comportements des masses, changements de lumière. Une grille rythmique lie chaque parties entre elles, ce qui donne une impression de pulsion. Les basses fréquences sous les spectateurs et les hautes fréquences les surplombant, encadrent les sons générés par les événements.

Content is Queen
generative portraits