DATE: March 12th – 17th, 2002
TIMES: TWF 11-7, Th 11-9, Sa 10-5, Su 1-5
LOCATION: Jones Center for Contemporary Art
ADDRESS: 700 Congress (map)
ADMISSION: Free admission
AGES: All ages
- Golan Levin (Brooklyn, NY)
Generative abstract visualizations
- Soda (Ed Burton) (London, UK)
Interactive physics simulation
- James Tindall (London, UK)
Cellular automata game
- Jared Tarbell (Austin, TX)
Prints generated by musical scores
About the Exhibit
In collaboration with the Texas Fine Arts Association, AMODA presents its inaugural exhibit, Inside the Display: The Digital Face of Interactive Art. The show focuses on a new group of artists who are using digital technology to break the rules. They are using software to implement systems of vertiginous complexity, allowing very simple manipulation to produce complex and intricate audio and visual results. These artists are creating a generation of interactive art featuring sophisticated pieces that are also highly accessible, both in terms of how they entice people to interact, as well as the ability to see the product of one’s actions.
Inside the Display will produce an art experience that will educate the public, open dialog and distinguish interactive digital art from art movements of the past through its product, process, tools and subject matter. As with any interactive artwork, we want to propose the questions, “Who is the artist?” and “Where is the art?” But Inside the Display raises the stakes by employing quotidian equipment to produce grandiose works. Consequently, this exhibit will inspire us to consider the line between high art and mass-produced consumer items, and ponder the possibility that a work could be both.
Golan Levin is an artist, composer and designer interested in developing artifacts and experiences, which explore supple new modes of audiovisual expression. His work has focused on the design of systems for the creation, manipulation and performance of simultaneous image and sound, as part of a more general examination of communications protocols for individual engagement and non-verbal dialogue. Levin’s work spans a variety of online, print, installation and performance media. Most recently, Levin and his colleagues presented the Dialtones Telesymphony (2001), a concert whose sounds are wholly performed through the choreographed ringing of the audience’s own mobile phones. Levin was granted an Award of Distinction in the Prix Ars Electronica for his Audiovisual Environment Suite (2000) interactive software and its accompanying audiovisual performance, Scribble (2000).
This exhibit will feature Floo/Floccus, a combination of two previous works: Floo is an interactive audiovisual environment constructed around a Navier-Stokes simulation of fluid flow. Users create synthetic sound and image by depositing a series of fluid sources across the terrain of the screen, and then steering a large quantity of particles through the flow field established by these singularities. An image is gradually built up from the luminescent trails left by the particles. The shapes of these trails are entirely a result of the forces originating from the user’s cursor and the fluid singularities. As the particles tread again and again over a given location, that spot becomes brighter and brighter.
In Floccus (the name is a Latin term for “hairball”), ductile filaments drawn by the user swirl around a shifting, imaginary drain centered at the user’s cursor. These filaments — torn by conflicting impulses to simultaneously preserve their length, yet also move towards or away from the cursor — find an equilibrium by forming gnarly, tangled masses.
Soda (Ed Burton)
Soda combines an arts and research practice with a broad range of commercial activities. This eclectic mix is united by the creative culture of excellence and innovation that has permeated Soda since its inception in 1996. Creativity drives all that Soda tackles; this is nowhere more evident than in our diverse art practice. Whether devised for gallery, laboratory or corporate installation, Soda’s corporeal artworks combine digital control and conceptual coherence.
Ed Burton, the original creator of the Sodaconstructor, grew up playing with computer programming, with his first software title being published at the age of 17. Following a degree in Architecture at the University of Liverpool, Ed undertook the MA in Digital Arts at the Middlesex University Centre for Electronic Arts. His MA thesis on computer models of young childrens’ drawing behavior was subsequently developed into an ongoing PhD research project into artificial intelligence, dynamic systems and developmental psychology. After three years of research and teaching at the Centre for Electronic Arts, Ed joined Soda Creative Technologies Ltd as Research and Development Director in 1998 and was the original author of the Java toy Sodaconstructor, which subsequently received the BAFTA interactive entertainment award for Interactive Arts in 2001. This exhibit will feature a hands-on demo of Sodaconstructor.
James Tindall graduated from the University of Wales College Newport in 1998 where he studied interactive art. After which he worked in online advertising for a year, working on his first site thesquarerootof-1.com in his spare time. He then spent an enjoyable period working for Kleber on projects for people like Leftfield, Tipper and Warp Records. He now divides his time between freelance work like boardsofcanada.com and personal projects.
This exhibit will feature Algaerhythms, a piece based on a simple two-dimensional two state Cellular Automata. Each cell looks at all eight of its immediate neighbors to see whether they are alive or dead. The levels of over crowding or isolation that it can endure and how many neighbors it needs to be re-born depend upon the rules set by the user in the top right hand corner.
The classic ‘Game Of Life’ rule settings are 3,2,3. More than three live neighbours or less than two and the cell dies. With two or three live neighbours the cell remains in it’s present state. If the cell is currently dead and has exactly two live neighbours it will be reborn. This and 3,2,2 normally produce the most engaging and complex emergent patterns but it is worth trying different settings for different patterns. To birth a live cell, position the cursor over a dead cell and click the mouse button. It is best to pause or slowdown the playback first or the cell can die too quickly for you to notice.
Jared Tarbell has been borrowing CPU time in some form or another for the last fourteen years. Initially, he was motivated to use the computer for navigating text-based adventure games his father would write after bedtime. Presently, he programs to watch the generated structures of his imagination propagate across global networks. Jared is kept awake some nights by code that peers into itself. He attended New Mexico State University and earned a Bachelor of Science in Computer Science. He believes that computation is most remarkable when the results narrate a story of the process. Jared Tarbell is an advocate of open source conventions, and as such, actively engages in distribution of his work in modifiable form. He currently resides in Austin, TX.
This exhibit will feature Moonlight, an interactive visualization of the first movement of Beethoven’s No.14 Sonata. The piece allows the participant to walk among the composition, watching and listening to it unfold. Projecting the note information derived from a Musical Instrument Digital Interface (MIDI) file, the participant exists simultaneously in the song’s past, present, and future. Simple color bars and geometric shapes represent each note played, as captured from an actual human performance. Opacity represents volume and color represents harmonic grouping. Abstracted depth and realism is applied by altering the topology of the projected surface.
The Austin Museum of Digital Art (AMODA) is a nonprofit organization whose mission is to engage the public and artists in the creation, understanding, and appreciation of digital art. The Exhibition Series is focused on presenting digital art in a gallery setting. More info →