Algorithms in Art
(last edited: 2025)
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.
[Hyper]drawing
(last edited: 2024)
author(s): Russell Marshall, Phil Sawdon
This exposition is in progress and its share status is: visible to all.
[Hyper]drawing is a research project.
Hyperdrawing is an opportunity for [fine art] drawing practice.
This Research Catalogue exposition documents ongoing research into Hyperdrawing: Hyperdrawing is an ambiguous practice. Hyperdrawing adopts a position, a perspective or viewpoint, that a lack of definition should be embraced and that ambiguity presents an opportunity. Hyperdrawing has the capacity to enable and sustain drawing practices.
Dialogue as a Poetic Practice
(last edited: 2024)
author(s): Sara Key
This exposition is in progress and its share status is: visible to all.
To examine artistic choices made by filmmakers, regarding textual space, namely the utilizing of the actor´s thinking process and reaction, I am looking at three scenes by directors Stephen Frears, David Lynch and Marguerite Duras.
Looking at written text and how dialogue can be used as a tool in creating reflective thinking, lifting the narrative up to a level of poetry.
Drawing Disambiguation
(last edited: 2023)
author(s): Russell Marshall, Phil Sawdon
This exposition is in progress and its share status is: visible to all.
Hyperdrawing adopts a position, a perspective or viewpoint, that a lack of definition should be embraced and that ambiguity presents an opportunity.
Drawing Disambiguation can be seen as the process of resolving the conflicts that arise when drawing is ambiguous. Our hypothesis is that Drawing Disambiguation could be established as a methodology for Hyperdrawing. The initial enquiry will take the form of a collaborative drawing, with text and image all being seen as ‘marks’, ‘lines’ and ‘gestures’ in a drawn dialogue / discourse.
