[eu-gene] Re: Generative or not?
thompsotd at mac.com
thompsotd at mac.com
Wed May 10 14:51:24 BST 2006
Agreed--for a composer there are many good uses for randomness not
related to shifting the locus of control. An example is automation
of a parameter over time, where that parameter can afford
randomization without interfering with other layers. I usually
randomize fine tuning of a parameter, and in a constricted range. I
also usually change the range of output values over time as needed.
I also agree with the questions that Simon brings up. It is almost
irresistible for a composer or artist who uses a computer as an
integral part of his art to employ randomization. It is one of those
things that a computer does pretty well, and it can be quite useful.
Another similar issue is with the ability of the computer to input,
translate, and output data to/from various sources/destinations. It
is so tempting to get really complex data mapping schemes going on in
live performance environments to the point that the piece seems more
about the inventive use of technology than a work of art.
I assume that, for me, artistic refinement in these areas will come
like everything else--with trial and error, and with artistic
maturation.
Tim
On May 10, 2006, at 8:26 AM, Michael Gogins wrote:
> I sometimes use randomness. In no case do I use it to problematise
> authorship. I am the author. I use it because it delivers certain
> effects that I intend. I'm a composer, and randomly generated
> sequences just sound different. I make tape music, so I generate
> sequences, throw most away, and keep one which becomes the finished
> sequence.
>
> Regards,
> Mike
>
> ----- Original Message ----- From: "Simon Biggs"
> <simon at littlepig.org.uk>
> To: <eu-gene at generative.net>
> Sent: Wednesday, May 10, 2006 6:57 AM
> Subject: Re: [eu-gene] Re: Generative or not?
>
>
>> I also agree.
>>
>> The question as to why artists might wish to use random processes
>> is the
>> key. I would argue that the main reason for employing such
>> techniques is not
>> because of any potential value that might be found in any
>> particular set of
>> numerical relationships, nor in any formal outcomes of the
>> process, but
>> rather in how such an approach allows one to at least partially
>> defer and
>> thus problematise authorship. Random processes, along with other
>> similar
>> techniques based on arbitrary systems, allow you to shift where
>> the apparent
>> origin of a work might be found and thus cause the receiver of the
>> work to
>> also question their own relationship as interpreter and partial
>> author.
>>
>> Best
>>
>> Simon
>>
>>
>> On 10.05.06 12:02, "aslemeur" <aslemeur at free.fr> wrote:
>>
>>> I agree
>>>
>>> why and when do we chose to use random ?
>>> to create variety, to avoid to chose ? (to fill a space-time ?)
>>> but this random exists inside some preset 'personnal/subjective'
>>> rules
>>> This is in these personnal/subjective rules that I am interested
>>> (with
>>> computer or any other creation technics)
>>> and how they show something about our own dreams/subconscious
>>>
>>> random without strong choses/rules doesn't mean anything
>>> most of the times 'random art' is boring to me because it doesn't
>>> express
>>> anything about human
>>> it is more technical than sensitive
>>> most of the time anyone could do the same (having the same level of
>>> technical knowledge)
>>> for example :
>>> http://imagesavant.com/
>>> fascinating but not art ?
>>>
>>> what are we dreaming of ?
>>
>>
>> Simon Biggs
>>
>> simon at littlepig.org.uk
>> http://www.littlepig.org.uk/
>>
>> Professor of Digital Art, Sheffield Hallam University
>>
>> s.biggs at shu.ac.uk
>> http://www.shu.ac.uk/schools/cs/cri/adrc/research2/
>>
>>
>>
>> --
>> 'randomnumber = lastrandomnumber * 6364136223846793005 + 1'
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>
>
> --
> 'randomnumber = lastrandomnumber * 6364136223846793005 + 1'
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