Re: [-empyre-] Sublime

[<notnot@xs4all.nl>]

Thank you Mitchell, I felt the same but couldn't write it down. 
I appreciate your clear thinking.

Mauro,
I would like to know from you, how do you experience the difference
when presenting your work with and without the interactivity? 
I have the impression from what I see on your website that some of your 
works have a static output in the form of high resolution prints and
a dynamic real time version with user interaction.
How do you choose what to present in a certain context? What is the 
difference in reaction from the audience to the different media.
Best, Maria

----- Original Message ----- 
From: "Mitchell Whitelaw" <mitchell.whitelaw@canberra.edu.au>
To: "soft_skinned_space" <empyre@lists.cofa.unsw.edu.au>
Sent: vrijdag 26 november 2004 0:04
Subject: Re: [-empyre-] Sublime


> On 25/11/2004, at 11:50 AM, Christina McPhee wrote:
> >  How might this
> > spiritually organic art, both natural and beyond nature, cast a gloss 
> > on
> > Jevbratt's desire for a creative work that will instigates "intuitive
> > understandings of the data", while still instantiating your own 
> > interest in
> > abstraction and miniaturization:  big data in a petri dish? Interested 
> > in
> > your further musings.
> >
> 
> I've been puzzling over this... I think that (in current practice 
> anyway) a-life/generative and data.art represent complementary 
> approaches to thinking complexity. Data.art has an empirical bent, 
> filtering and manipulating data from outside systems. A-life/generative 
> processes seem to be fundamentally synthetic. They might have similar 
> outcomes, in terms of evoking some kind of intuition of real complex 
> systems, but one works from the outside in, seeking the system in the 
> data, while the other works from the inside out (or bottom up), 
> building a system and observing its behaviour.
> 
> Of course it's possible to use an artificial system, such as an a-life 
> "world", as a source for data visualisation / sonification. Lovell and 
> Mitchell did this in their work EIDEA - they traced the paths of 
> creatures in an artificial ecosystem, and made "sand paintings" from 
> the accumulated paths, which revealed long-term behaviours and dynamics 
> of the system. This seems quite different to recent data.art though, 
> where the data source is always something "real" "out there".
> 
> Mitchell
> 
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