R: [-empyre-] David Cuartielles Presentation
> Just some questions to keep you taking part of the discussion
> even with your short time...
> I think there are a lot of different practices in what we
> call scientific and artistic.
I fully agree.
> We can't forget that there's art related to marketing and
> mass media interests and that also tries to define and create
> labels and sometimes rules.
> In the same way, as already pointed out in this discussion,
> the scientific discourse published/selected by some media or
> MKT interests can create stereotypes about the scientific
> practice - the notion of total objectivity or one big truth
> that we know that isn't totally true since there are a lot of
> concepts being discussed from different points of view inside
> a scientific group.
Again, I agree.
> I'm not trying to say that that both art and science have the
> same processes - not always - but at this point what other
> ways do you think we have to think about differences and
> simiralities about artistic and scientific practices?
My opinion is that the "other" (and maybe only?) way to think of
the two of them is to focus on the fact that they both move from
the same essence, the mind!
This regardless of the methodology the two communities might want
or need to use.
> <I'm pretty sure that the two disciplines can help evolving
> consciousness by inventing (or trying to) new ways of
> represents incoming data relations with an acceleration
> similar to that of the technological growth.>
> I think this proposal quite interesting. Can you give us more
> details about how do you develop this in your own research?
Oahu! This might take me ages! :^\
Though, on the other hand, all of my artistic production is oriented in that
Like, for example, in the Atificial Painter (1994) where I leave a natural
brain to evolve the "TAC" of an artificial brain (Neural Network).
Or like in the "LifeGrabber"
(http://www.artificialia.com/LifeGrabber/english.html 2003), where I show
the famous 24 frames per second simultaneously and/or desynchronizing and/or
emphasizing the colours and dimensions accordingly with sound inputs..
Or, for example, in "Perception" (2005) where I draw images coming from a
camera by filtering them with their correspondent, run time, sound waves
(therefore trying to simulate what might happens at the cortical or
pre-cortical level in the real brain).
Does it help?
This archive was generated by a fusion of
Pipermail 0.09 (Mailman edition) and