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.

MAN-NAHĀTA
Computational growth across material and urban scales offers a framework for design through self-organization, enabling the generation of vast, diverse forms exhibiting characteristics like those that emerge through the biological growth processes found in Nature. In this project, we construct an oriented volume spanned by surface normals of the shape at every point. The value of the oriented volume drives the iterative deformation of the shape. Depending on the parameterization of this process, we can obtain distinctly different growing forms. Importantly, the emergence of these forms is driven only by the time evolution of a geometric operator acting on the shapes iteratively, thereby connecting geometry and growth through an algorithm. To form the Man-Nahata landscape, the buildings of the urban landscape are transformed through repeated morphological closing operations, where the field of influence follows a gradient from the center to the outskirts of a circular region.

Cunningham Clip -Summerspace
CUNNINGHAM is a 3D cinematic experience about the legendary American choreographer, Merce Cunningham, orchestrated through his iconic works and performed by the last generation of his dancers. This poetic film traces Merce’s artistic evolution over three decades of risk and discovery (1944–1972), from his early years as a struggling dancer in postwar New York to his emergence as one of the most visionary and influential choreographers worldwide. 3D technology weaves together Merce’s philosophies and stories, creating a visceral journey through the choreographer’s world.

Moss Garden of Resonating Microcosms
TeamLab essaie de mettre à jour le concept de couleur. Ovoid change avec 61 couleurs, un nouveau concept de couleur nommé “couleur de lumière solidifiée”. On dit que les bryophytes sont les premières créatures terrestres à apparaître dans un monde de roches et de sable, où il n’y a pas encore de créatures sur terre. Avec l’émergence des mousses et des ptérophytes et la formation des forêts, divers animaux sont devenus capables de vivre sur terre. Les organismes meurent lorsque leur corps manque d’eau car l’eau à l’intérieur des cellules est essentielle. D’autre part, les plantes de mousse ont une résistance à la déshydratation en raison de la propriété particulière du changement d’eau, dans laquelle la teneur en eau dans les cellules fluctue en raison des changements d’humidité ambiante, ne meurent pas longtemps à l’état sec, et si l’eau est étant donné, ils peuvent exercer les activités de la vie. Étant donné que la mousse modifie l’eau, sa couleur et sa forme changent considérablement selon que l’air est sec ou humide, par exemple lorsqu’il pleut ou qu’il s’agit de brume. Les tardigrades qui vivent entre les mousses deviennent également dormants, un état de dormance non métabolique, et arrêtent leur activité lorsque l’environnement devient sec, mais lorsque de l’eau est donnée, ils récupèrent et commencent leur activité.

AVA

Ava’ is Troika’s first sculptural manifestation of their exploration of algorithms. ‘Ava’ is the physical result of emergence and self organisation brought about by ‘growing’ a sculpture through the use of a computer algorithm that imitates the emergence of life by which complexity arises from the simplest of things. As such the sculpture probes at the nature of becoming, existence and our strive to understand and replicate the complexities of life.In a landscape where our personal data is a raw material, and where we, humans, have become subordinate spectators of algorithms and a computerised infrastructure, we ask the question how much or little are we capable of influencing our surrounding reality, how much is predetermined, how much is down to chance.

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.

Morphogenesis
Morphogenesis (from the Greek morphê ‘’shape” and genesis “creation”; literally, “beginning of the shape”) is the biological process that causes an organism to develop its shape. As a fulldome and virtual reality piece inspired by the phenomenon of emergence in self-organized systems, Morphogenesis consists of continuous transformation of fundamental geometrical patterns and uses them as the building blocks of immersive spaces.

Since the emergence of time as a concept, the circle has been a graphic representation that registers and measures the passing of seconds, minutes, hours, and even decades. . . . The torus may be seen as a three-dimensional form utilized to represent time as it travels through a cyclic loop. The geometric shape of the torus speaks of duration, of looped time, and of transformations along and in time. In this project, Boolean operations between varying tori in multiple dimensions indicate the interaction between durations—possibly time in addition to time, or interactions diluted by time—that reveal a new architectural realm featuring free curves which direct visitors’ movements inside flowing spaces. People will lose the perception of direction or time and find themselves worshipping in open and serene volumes.

Architectural Timepiece
Since the emergence of time as a concept, the circle has been a graphic representation that registers and measures the passing of seconds, minutes, hours, and even decades. . . . The torus may be seen as a three-dimensional form utilized to represent time as it travels through a cyclic loop. The geometric shape of the torus speaks of duration, of looped time, and of transformations along and in time. In this project, Boolean operations between varying tori in multiple dimensions indicate the interaction between durations — possibly time in addition to time, or interactions diluted by time — that reveal a new architectural realm featuring free curves which direct visitors’ movements inside flowing spaces. People will lose the perception of direction or time and find themselves worshipping in open and serene volumes.

THE MASQUERADE OF THE REAL
“I am a German artist based in Berlin working in the field of photography, video and installations. The main focus of my photographs is identity and the role of the human body within society. Image-generating media like photography, television, and film and their use in advertising and the internet impose increasing demands on the body and subject it to a process of abstraction, while at the same time leading to the emergence of a public opinion, the solidification of images as role models with gender-specific attributes.”

Skydiver
On 30 July 2016, veteran American skydiver Luke Aikins made history by being the first person to jump 7600 m without a parachute. As he took his gigantic leap of faith, a crowd of anxious spectators craned their necks in the Californian desert in anticipation of his emergence from the clouds.

Emergence

ECTOPLASMATIC HOUSING
File Festival
‘Ectoplasmatic Housing’ aims to speculate about how architecture can mediate the pervasiveness of the contemporary ‘infocalypse’ age. An architectural experiment of physical and digital space through the use of interactive design and augmented reality.

Browsing through a domestic safari of Trojan savannas or sterilised virus forests while contemplating the emergence of thousands of cheap-friends-facebook flowers blossoming among the pulsating cocoons of dying obsolete apps… Quantum reality theories are ripe for the picking from wiki branches of tweeting pink daily hit dwarfing trees…
Ectoplasmatic Housing aims to speculate about how architecture can mediate the pervasiveness of the contemporary ‘infocalypse’ age. It cultivates data for a spatial interactive second nature manifestation. It grows, blossoms, dies and haunts. Overlayed with the physical this unstable ectoplasmatic nature may shift radically into a rapid nuke ecology of nightmares.

EMERGENCE

EMERGENT
According to wikipedia, “emergence is the way complex systems and patterns arise out of a multiplicity of relatively simple interactions.” Thus “EMERGENT” was created using a particle system that was given basic rules of behavior, this is very similar to swarm algorithms using in architecture to create 3D forms. The application/particle system was created/simulated using Processing and OpenGL. The particle trails (locations over time) were imported to Maya using a MEL script and then animated to show their growth over time. I developed a (pretty complex) Processing application that helped me simulate the particle system (300 particles, with per particle interaction) in real-time.