Ephemer(e)ality Capture: Glitching The Cloud through Photogrammetry
(2021)
author(s): Tom Milnes
published in: Journal for Artistic Research
Ephemer(e)ality Capture: Glitch Practices in Photogrammetry details artistic practice using cloud-based photogrammetry that actively invokes glitches through disturbance of the imaging algorithm by utilising optical phenomena. Reflective, transparent, specular and patterned/repetitive objects were used to confuse the imaging algorithm to produce spikes, holes and glitches in the mesh and textures of the 3D objects produced. The research tests the limits of photogrammetry in an effort toward new image-making methods. It builds upon the research of Hito Steyerl’s Ripping Reality: Blind spots and wrecked data in 3D in which she outlines the errors of 3D scanning media in her work and contextualises amongst thought surrounding the objectivity of photographic media. This research explores the potential gaps in Steyerl’s approach, building upon investigations into 3D scanning’s ‘constructed imagery’ through methods which explore ‘fractional space’ more thoroughly through glitches caused by capturing of optical phenomena. Through practice, the research investigates the possibilities of conducting a ‘media archaeological’ investigation of cloud-based technology using methods akin to ‘Thinkering’(Huhtamo) and ‘Zombie Media’ (Hertz & Parikka). These investigations sought to ‘hack’ technologies through focused technical adjustments or adaptations, centred on media that were ‘local’ or accessible to the artist - artists that have been able to open the machine’s hardware to change circuitry or to access and change the software code. With cloud-based media’s materiality being inaccessible, the investigation utilised techniques which actively disrupt and confuse the image-making process; a form of ‘digital détournement’ which develops techniques which reference Guy Debord’s approach to disrupt the powers of image-making culture. The research is discussed with regards to similar approaches in contemporary glitch practices and aesthetics. Prior (2013) posits that glitch practices form a ‘paralogy’ of the Lyotardian notion of ‘performativity’ of the contemporary techno-economic conditions; acknowledging that paralogy is a method that contributes important critical discourses to culture and research. Previously, ‘local’ glitch practices focused on the internal affordances and functionality of the machine, whereas this research demonstrates practice which is focused externally – through the optical nature of images selected to disrupt the algorithm in photogrammetry rather than through ‘hacking’ the algorithm directly. Through these investigations and a discussion of their methodology, the research encourages a critical reflexivity of the artist/user through use of a dynamic methodology. This is to reflect the issues of technological flux which sees imaging algorithms being updated and refined, forcing techniques and practices into obsolescence.
Algorithmic Thinking and Musical Performance
(2019)
author(s): Mieko Kanno
published in: RUUKKU - Studies in Artistic Research
This presentation examines instances of elementary algorithmic thinking and musical examples that bear the same principles. A particular focus is given to the function of algorithmic thinking as a performative skill in action. The presentation takes as its background that the application of the procedural logic of algorithm has a long history in music, and that examples can be found in many types of music-making as activities. While much of this application is already discussed in the discipline of musical composition, I observe that the significant presence of algorithmic thinking in performance is still to be articulated. In the three sections titled ‘affordance’, ‘combinatoriality’, and ‘sequence’, I examine each concept in algorithmic operations, and how the same principle can be observed in musical practices. These three sections provide reflection on the nature of the processes involved in music-making. They also simultaneously argue that contemporary musicians possess the capacity to process necessary information and tasks algorithmically, consciously or not.
\\Automation: an old desire
(last edited: 2025)
author(s): Francesco Elgorni
This exposition is in revision and its share status is: visible to all.
Is Counterpoint an attempt to automate music?
Could it be that we sometimes despise algorithms in music because we are so familiar with the computer, precisely working out all the answers we seek for while leaving us just the creative process ?
Also, how can we claim an "algorithmical thinking" was surely NOT at the core essence of the arts, especially in a time when assisted computation (calculators, PCs, etc.) was not avaiable ?
How can we claim an "algorithmical thinking" was surely NOT at the core essence of the arts, especially in a time when assisted computation (calculators, PCs, etc.) was not avaiable ?
Exploring the role of the computer in historically informed practice.
ALMAT - Iteration RK
(last edited: 2024)
author(s): Hanns Holger Rutz, David Pirrò, Ronald Kuivila, Daniele Pozzi
This exposition is in progress and its share status is: visible to all.
Discourse and materials pertaining to the experimental iteration with Ron Kuivila, during the Algorithms that Matter (Almat) artistic research project.
ALMAT - Continuous Exposition
(last edited: 2024)
author(s): Hanns Holger Rutz, David Pirrò
This exposition is in progress and its share status is: visible to all.
Continuous Exposition is a dissemination strategy of the project Algorithms that Matter (ALMAT). It serves as an entry point to the mesh of our activities.
ALMAT aims at understanding the increasing influence of algorithms, translating them into aesthetic positions in sound. It builds a new perspective on algorithm agency by subjecting the realm of algorithms to experimentation and diffractive reading.
Algorithms in Art
(last edited: 2024)
author(s): Magda Stanová
This exposition is in progress and its share status is: visible to all.
People interested in artificial intelligence usually ask whether computers could become as intelligent and creative as humans. I decided to think about it the other way around: I'm interested in the extent to which the creative process of artists is algorithmic. It's not difficult to create something that will look like art; you just need to imitate an already existing genre or style. The challenge is to create something that will be able to trigger an art experience.
In this visual essay, I'm studying where, in a spectrum of different kinds of experiences (jokes, magic tricks, pleasure from solving a mathematical or scientific problem), there are thrills triggered by art. All of these experiences depend on a sufficient amount of novelty. Therefore, the creators of experience triggers face the same problem: the impact of a joke, a magic trick, or an artwork tends to diminish when heard/seen repeatedly. The human brain has evolved in a way that it is able to distinguish repeating patterns, formulas, schemes, algorithms. Uncovering an algorithm causes pleasure. But once an algorithm is uncovered, it does not cause pleasure any more. To trigger an experience of the same intensity, we need a new trigger. In this work, I also address the question of why certain types of triggers wear off more slowly than others.
The outcomes of this project are a book—a visual essay in which drawings and texts form one line of an argument—and a series of lecture-like events, in which I combine sincerity and directness of lectures, panel discussions, and guided tours with richer ways of expression typical for object theatre, performances, and magic shows.
ALMAT @ BEK - Thresholds of the Algorithmic
(last edited: 2023)
author(s): Hanns Holger Rutz, David Pirrò
This exposition is in progress and its share status is: visible to all.
Exposition for the workshop-in-exposition taking place in Bergen, Norway, June 2018. This event is a collaboration between Almat and BEK Bergen for Electronic Art, and part of BEK and Notam’s ongoing series of workshops for advanced users. It is a hybrid format that places the workshop inside an exhibition context, where the exposed works and artefacts form the basis of the workshop’s activity. Instead of “closed works”, what is exposed to the general public are objects, sounds or installations that are open to engagement and reconfiguration during the workshop.
Theme: Thresholds are locations of transitions, points where one modality becomes another, where a qualitative change occurs. In physics the point where an aggregate state changes—the phase transition—is a distinguished transitional location where the properties of the adjacent states become evident. Similarly, in this workshop-in-exposition we want to study the properties of the algorithmic by putting ourselves in threshold positions and actively shape them. More than merely separating two sides, one can spend time on a threshold, move along a ridge, performing a tightrope walk while trying not to fall to either side.
ALMAT - Iteration JR
(last edited: 2023)
author(s): Hanns Holger Rutz, David Pirrò, Jonathan Reus, Daniele Pozzi
This exposition is in progress and its share status is: visible to all.
Discourse and materials pertaining to the experimental iteration with Jonathan Reus, during the Algorithms that Matter (Almat) artistic research project.
Körper
(last edited: 2023)
author(s): Hanns Holger Rutz, David Pirrò
This exposition is in progress and its share status is: visible to all.
Process of creating a new sound piece around questions of algorithmic bodies.
ALMAT - Iteration EG
(last edited: 2023)
author(s): David Pirrò, Hanns Holger Rutz, Erin Gee, Daniele Pozzi
This exposition is in progress and its share status is: visible to all.
Discourse and materials pertaining to the experimental iteration with Erin Gee, during the Algorithms that Matter (Almat) artistic research project.
Sound Processes / Mellite
(last edited: 2023)
author(s): Hanns Holger Rutz
This exposition is in progress and its share status is: visible to all.
On the development of the computer music framework 'Sound Processes' and the workspace environment 'Mellite' in the context of the research projects 'Algorithms that Matter' and 'Simultaneous Arrivals'.
ALMAT - Blog and Gaps
(last edited: 2023)
author(s): Hanns Holger Rutz, David Pirrò
This exposition is in progress and its share status is: visible to all.
Log book for Algorithms that Matter
ALMAT @ MAST - Algorithmic Space Studies. Sound as Material, Space as Detail
(last edited: 2023)
author(s): Hanns Holger Rutz, Nayari Castillo-Rutz, Franziska Hederer, David Pirrò, Jamilla Balint
This exposition is in progress and its share status is: visible to all.
The iterative nature of algorithms, their provisions of repetition and the possibility to rerun them, lead to a straight concept of algorithmic space, as the breadth and
organisation of all the forms they are able to produce. Data and algorithms are not only operating machines but they increasingly influence our thoughts and actions, and consequently art and science.
The departure point for the course Space Material Detail are algorithmic elements, created within the development of the project Algorithms that Matter that
provides an open source for inspiration, exploration and
manipulation.
Some elements of software, sound and graphics can
be translated into models to the (physical) three-dimensional space in order to create an installative expierence of space(s).
Imperfect Reconstruction
(last edited: 2023)
author(s): Hanns Holger Rutz, David Pirrò
This exposition is in progress and its share status is: visible to all.
The image of coding/decoding often includes the ideal of perfect reconstruction. Something real—an experience, a thought, a movement—can be transformed into a finite set of elements that may then be transported and unfolded as an evocation of that original experience or movement. Something is communicated (duplicated and made equal). It bothers us when the reconstruction is not complete, when the distance between the pairs of conceptualisation/perception, intention/interpretation… is not annulled: somebody did not understand.
What we are interested in for this exhibition are those distances and gaps that produce imperfection, understood as the resistance of thoughts and movements to become determinate; understood as their durational and iterative configuration. Located at the intersection of computer art and sound art, we are primarily interested in algorithmic movements. In algorithmic practices pieces of code assume the production of forms and establish mutual writing processes between human and computer.
Imperfect Reconstruction is an exhibition project for 2016. This RC entry serves to trace its process.
Is Counterpoint an attempt to automate music? Could it be that we sometimes despise algorithms in music because we are so familiar with the computer, precisely working out all the answers we seek for while leaving us just the creative process ? Also, how can we claim an "algorithmical thinking" was surely NOT at the core essence of the arts, especially in a time when assisted computation (calculators, PCs, etc.) was not avaiable ? How can we claim an "algorithmical thinking" was surely NOT at the core essence of the arts, especially in a time when assisted computation (calculators, PCs, etc.) was not avaiable ? Exploring the role of the computer in historically informed practice.open exposition comments (0)
Discourse and materials pertaining to the experimental iteration with Ron Kuivila, during the Algorithms that Matter (Almat) artistic research project.open exposition comments (1)
Continuous Exposition is a dissemination strategy of the project Algorithms that Matter (ALMAT). It serves as an entry point to the mesh of our activities. ALMAT aims at understanding the increasing influence of algorithms, translating them into aesthetic positions in sound. It builds a new perspective on algorithm agency by subjecting the realm of algorithms to experimentation and diffractive reading.open exposition comments (0)
Discourse and materials pertaining to the experimental iteration with Jonathan Reus, during the Algorithms that Matter (Almat) artistic research project.open exposition comments (0)
Process of creating a new sound piece around questions of algorithmic bodies.open exposition comments (0)
Discourse and materials pertaining to the experimental iteration with Erin Gee, during the Algorithms that Matter (Almat) artistic research project.open exposition comments (0)
On the development of the computer music framework 'Sound Processes' and the workspace environment 'Mellite' in the context of the research projects 'Algorithms that Matter' and 'Simultaneous Arrivals'.open exposition comments (0)
Log book for Algorithms that Matteropen exposition comments (0)