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cybernetic research 23/02/08 |
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cybernetix: cybernexion: lexinetics cybernetics: term attributed to Norbert Weiner cybernetics focuses on how anything processes information Louis Kaufman: "Cybernetics is the study of systems and processes that interact with themselves and produce themselves from themselves" associated concepts: learning, cognition, adaption, social control, emergence comunication, efficiency, effiacy and interconectivity related fields: game theory, system theory, psychology, philosophy, anthropology topix related with 2nd order cybernetics: artificial neural networks, living systems, new robotics, reflexive understanding, political communication, systemic group theory Gordon Pask: cybernetics, interactions of actors, self organisation, conservation theory |
a basic unit of cybernetics: seems to me like this is a description of a self governing A-Life evolution feedback process node. I found myself comparing my own behaviour to this model when trying to find a functioning locker. Von Neumann's 'cellular automata' & 'universal constructor' ! meta materials: a material which gains its properties from its structure rather than directly from its composition second order cybernetics or new cybernetics: moves more from machines towards biological systems. its goal is to overcome entropy by using noise as positive feedback autopoesis: self creation eg. the living cell grand text auto: online new media and game theory blog |
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As a final example, Nicholas Negroponte and the Architecture Machine Group (precursor to the MIT Media Lab, which Negroponte now directs) submitted "Seek," a computer-controlled robotic environment that, at least in theory, cybernetically reconfigured itself in response to the behavior of the gerbils that inhabited it. I interpret Seek as an early example of "intelligent architecture," a growing concern of the design community internationally.[11] By synthesizing cybernetics, aesthetics, phenomenology, and semiotics, Software emphasized the process of audience interaction with "control and communication techniques," encouraging the "public" to "personally respond" and ascribe meaning to experience. In so doing, Software questioned the intrinsic significance of objects and implied that meaning emerges from perception in what Burnham (quoting Barthes) later identified as "syntagmatic" and "systematic" contexts.
It is interesting to note that the software art purists have already begun to trace their own geneology. This proves the well-known fact that history is mainly written to justify the present. A major formative event in the pre-history of software art has been located in the Software exhibition, curated by Jack Burnham for the Jewish Museum in New York in 1970. This technically catastrophic and until now largely ignored event has been identified as the nexus at which the efforts to explore the creative potential of information technology met conceptual art and Burnham’s own interest in structuralist analysis. (21) In his introduction to the exhibition catalogue Burnham made it clear that Software was not a normal art exhibition. Rather, it displayed exhibits that dealt with “conceptual and process relationships”. One of the purposes was “to undermine normal perceptual expectations and habits which viewers bring to an art exhibition”. (22) The visitors were supposed to interact with various technological devices, without being asked to consider them as artworks. The most noted exhibit was SEEK, created by Nicholas Negroponte and his colleagues at MIT’s Architectural Machine Group. It was another AI-inspired programming effort that hardly reached its goals, except on metaphorical level: living gerbils had been placed on a glass-caged arena with aluminium building blocks, and a computer-controlled robot arm operating from above. The system, engaged in arranging the blocks according to pre-programmed schemes was supposed to respond “intelligently” to the “noise” created by the gerbils, bumping on the blocks, etc. (23) |
seek at the Jewish Museum:Software, 1970 emergence of the artist programmer
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from the victorian idea of a reliquary or natural history display we move towards a contemporary interpretation using digitally produced/manipulated content. by blacking off Bridey's cabinet we remove it from it current notionalisation as 'old fashioned' and it becomes a 'black box'. The use of 'portals' actively engages the viewer/participant inducting them into a more immersive perspective. an idea -for my own contribution or node in the cabinet network comes from notions of systems: meta-systems: solar system: extra solar system. A gods eye view of an extra solar planet! Using terain generation software; mojoworld or vue 6 i take a 3d planetscape and render scenes from four directions and one from above looking down in two layers the groung will be the floor of the box and the cloudscape is to be printed on clear acetate and comprise the ceiling of the box that the viewer will look down onto. also a 3d model printed out and folded is suspended in mid air in the scene to lend it some depth. next idea - a deeper box viewed from above houses a series of images mounted at different heights. the images are small and printed on clear acetate with underlighting. the images are photos close up of a tv screen showing my short film 'writhe' using 1/4 sec exposure avoids field line artifacts thurs 28th: made a test sheet of 8 images on a4 and have emailed it to uniprint to be printed on acetate. Retrieved acetate to find they do charge file fee of $4.80 if you email. Initial print not encouraging in that it seems to loose the sense of tv/video that was gained through the photo process fri 29th: woke up with the thought 'what is wrong with everyone' and the idea that this works with the cybernetic base system and the images from 'writhe' which seem to symbolise the self seeking positive feedback system which, unchecked leads to the demented human behaviour and has people failing to do the right thing. the check in the system would be another box with 'compare to moral imperative' sudden idea: create a single image, split it into layers in photoshop and mount the series of layers vertically inside display box (viewed from above)with the cyber diag. at the bottom... Mon 03/04: after reading and thinking over the weekend came up with "the disconnected moral imperative" a 3d representation of the basic cybernetic diagram with a 'the bigger picture' box and a 'vid screen' box, the 'vid screen' is connected to the 'desired goal' box and the 'the bigger picture' box is disconnected from the 'comapare to desired goal' box. This reinforces the notion of the desires running rampant unchecked by wider understanding of the consequences of action.
after talking with Sue Ballard she suggested more clearly defining the feedback as positive/negative and linking the cybernetic model more clearly to the post apocalyptic scenario in the background. we also decided that perhaps the writhe images may just complicate the work and not really add much if anything. i envisaged the model as a positive feedback, this could be illustrustratedc by the leds going faster and faster but I don't know if that is possible in this timeframe. I have come up with the idea of incorporating leds into the background picture this should serve to include it in the circuit, perhaps the last 3 leds in the sequence ok then what am i axctually going to build it with? wooden blocks with print glued on connected with electrical wire connecting red leds on the active blocks, all installed at the bottom of a box whos walls display the writhe images at 90 degrees jutting out with underlighting. the walls of the box have the post apocalyptic image 'cybernetix' as a panorama. Materials needed: decided to drop the writhe images as being too loosely related to primary concept, have created collage of imagery to represent the desire creating input from the media. this will be on clear acetate with an array of small lights behind it to light it, a series of red wires run from the desire node back into the colage print to create a strong connection. mon 10th march: built hte box to completion since thursday. spent 15 hours getting a functioning circuit to flash the leds and learnt alot in the process. greatly improved my soldering technique and got to grips with some basic electronics. a good base for more ambitious projects.
Primary Dysfunction in the Basic Drive is a cybernetic circuit representing the basic human life drive that has been subjected to a barrage of morally corrupt media. This has basified the desires and lead to a positive feedback loop that takes the individual and hence society into an increasingly dystopian or even apocalyptic end result, symbolised by the background prints on the walls of the box. The path of the leds track the circuit as it describes the process resulting in the wrong action while moral considerations and right action, which would moderate the circuit have been disconnected net research into relevant art: Peter Halley creates paintings that seem to represent block diagram circuits and he has indeed done work that is an actual flow chart diagram as Douglas Bagnall's mimetic television is a ctique and reinterpretation of broadcast media, Primary Dysfunction also follows these lines. the media is input into an interpretive circuit albeit in symbolic form. also like Bagnall's a filmmaking robot Primary Dysfunction uses heuristic principles although Bagnall uses these to create films, i reinterpret a cycle of heuristic rule forcing it out of balance, again albeit in symbolic form. Chris Ware, Scott McCloud, Craig Robinson - have all done flowchart art LED (light emitting diodes) have been used alot in art in recent years. mainly the stuff on the net is large scale installations involving vast numbers of leds. foe example: Soo-in Yang and David Benjamin’s 'River Glow' Paul Klotz's 'Tunnel Vision' and Erwin Redl's 'Matrix 2'
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also made this scene over the weekend, it has no relevance to this project but could constitute an entire project of its own
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cybernetic principles as a model for understanding human behaviours! hmmm this is not really an art topic is it? futurism, 'the art of noises' is a Futurist manifesto, written by Luigi Russolo in a 1913 letter to friend and Futurist composer Francesco Balilla Pratella. In it, Russolo argues that the human ear has become accustomed to the speed, energy, and noise of the urban industrial soundscape; furthermore, this new sonic palette requires a new approach to musical instrumentation and composition. He proposes a number of conclusions about how electronics and other technology will allow futurist musicians to "substitute for the limited variety of timbres that the orchestra possesses today the infinite variety of timbres in noises, reproduced with appropriate mechanisms". [1] (wikipedia) |
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