algorithms diving into the matrix
society of algorithm
monday november 07, 2005
Okno organises a full week workshop around the application of algorithms in collaborative, networked audio and visual artworks.
At the end of this workshop a 'freestyle live coding' public performance is planned, in which the participants at will can battle. Bring your laptop. We assume you are an experimental artist, and have a notion of working with audio or video, a scripting or programming language (pd/max/sc/etc).
The workshop is teached by ‘the society of algorithm’ [akihiro Kubota and mxHz/xgz].
day1: digital materialism - audible visual / audio visualization (max/msp/jitter)
day2: self reference/organization/modification - dynamic/autonomous(generative) objects (max/pd)
day3: algorithmic(code) improvisation - live coding using JITLIB (sc3)
day4: networked algorithms - osc and streaming (sc3/max/pd)
day5: 'freestyle live coding' performance
society of algorithm :::
The belief that art and culture are essentially social phenomena, has provided a range of practices that were essentially fostered by former post-modernism. Within that over-attention for the creation of a situated art, sometimes the historical avant-garde was forgotten to accommodate for the more traditional oriented western-american-european obsession for narrativity and figurative audio and visual works.
Nowadays we see a renewed interest in abstract artforms, supported by a younger generation of artists unspoiled by a formal training in the traditional artistic disciplines, making unknown references to earlier radical pioneers of electronic art.
On top of that, the outcome of the popularisation of electronic music and the proliferation of global networks added a kind of new attitude towards collaboration: audiovisual, experimental, dynamic, distributed, materialistic, algorithmic and .. totally digitalismic.
The effects of more than 50 years of computer programming are readily to be found in all common creative tools we are using - from image editors to software synthesizers. This leads to the assumption that an important feature in global communication and culture is essentially a techno-scientific one. Not only the pairing of models found in computer programming and systems.
Engineering with an artistic sensibility and affective point-of-view, is leading to a new phenomenon, a techno-aesthetic model. It can only become as such, when there is also a communicative protocol available, as an essential part of that model. The algorithm becomes the driver for any expression.
There are a number of ways to deal with different cultures, but apart from looking for differences and parallels, a common experimentation and the joint generation of new forms and artifacts in the genetical and linguistic sense, seems to us a more appealing direction. With mutual influences and visions the emergence of new form and content is possible.
Akihiro Kubota describes himself as an algorithmic improvisor / digital materialist. He is professor at the Tama art university, Tokyo, Japan and a pionier in software art, audio-visual installations and internet performances. Since several years he is developing collaborative artworks in networked setups. In his work he’s searching the limits of technological art, starting from a conceptual and abstract background.
MxHz.org/xgz has been prominently involved in the use and development of media for artistic purposes since 1990. Since 2000 xgz has been working under the name of the collective digital band mxHz.org (machine cent'red humanz), creating collaborative performances, concerts, workshops, exhibitions and unexpected experimental/abstract art projects. With Akihiro Kubota he started the 'Society of Algoritm' in 2001, working on netbased music performances.
Live coding is the name given to the process of writing software in realtime as part of a performance. Historically, this technique has been around since computers were used to produce early computer art, but recently it has been explored as a more rigorous alternative to laptop DJs, which lacks the charisma and pizzazz of musicians performing live.
Generally, this practise stages a more general approach of interactive programming, of writing (parts of) programs while they run. To be able to abstract from the separation between preparation and application is a feature of many computer languages.