What?
Dr. Woohoo’s Immersive/Generative Artwork & Fashion Show, Pixels-to-Prints, featuring:
– DJ James Black playing ambient & dub-step
– Live silkscreen printing of artwork you generate by Trillion Space
– Live dress making of artwork you generate by Paul Stephen Octavius Valdez De Polley
– Refreshments
The opening will be a festive way to celebrate April Fool’s Day, explore cutting edge digital media in a fashionable, real -world application, and meet the cyber-genius, DR. WOOHOO!
Where?
Santa Fe Community College’s Main Entry Hall
– Map
When?
– Opening April 1st, 2011
– 7-9pm
– Show runs from April 1-15
Questions Woohoo’s Exploring
1. If pixels could be designed in beautiful ways and converted into atoms, what forms would they become?
2. If bits can be converted to atoms, can products be generated and, in turn, jobs for artists and artisans alike?
3. Can this be a blue-print for The Factory v2.0?
4. If Immersive Media/Experiential Design is a new medium that embraces the strengths, features and functionality of all the mediums that came before it…
…is this a viable business model for generating both high-tech, high-wage jobs for Creative Technologists, while at the same time building an eco-system of opportunities for everyone from film and video crews to artisans?
5. Is there the necessary infrastructure in Santa Fe / Albuquerque to scale such an effort? E.g., a place like Southwest Creations Collaborative, that has a great social message and provides a service that could help with cutting, assembling and distributing products from a single to multiple orders?
6. If this eco-system does come to life, how do we avoid making the same mistake of the New Deal Era, where racial prejudice forced the artisans to live in a world of anonymity, as defined in Tey Marianna Nunn’s wonderful Sin Nombre book? By including the photos and brief stories about the people who made the items and include it as an insert with the final piece in the same manner that Freitag does when you purchase one of their messenger bags?
7. Is this Mercantilism? or is this Commercialism? Or?
8. Can this approach connect-the-dots between the global, online world and the local, cultural economies that Tom Aageson and the Global Center for Cultural Entrepreneurship eloquently represent?
9. What does Generative Art (as defined below), and this show, have to do with the Cybernetics?
10. Is there a relationship between Immersive Art and the 1968 Cybernetic Serendipity show in Paris? Here’s a clue… Edward Ihnatowicz’s SAM might have something to do with it…
11. Is this a continuation of Jean Tinguely’s drawing machines? Is the object of art the machine, the output or both? (Video: Art Machines Machine Art / Museum Tinguely)
12. How does this eco-system fit within New Mexico’s unique Creative Economy? Are there institutions, e.g., Creative Albuquerque, that can help make this proto-type a reality?
13. Portions of the code used to create the applications is from the open-source community, e.g., getting the data from Microsoft’s Kinect camera via the USB stream. Where do the open-source hybrid/generative artists who are creative technologists fit within the art world? Is the movement embraced to the same degree that it is in Europe, in the States?
Generative Art
“Generative art refers to art that has been generated, composed, or constructed in an algorithmic manner through the use of systems defined by computer software algorithms, or similar mathematical or mechanical or randomised autonomous processes. Generative art can evolve in real-time, by applying feedback and generative processes to its own created states. A generative work of art would in this case never be seen to play in the same way twice. Different types of graphical programming environments (e.g. Max/Msp, Pure Data or vvvv) as well as classic yet user-friendly programming environments such as Processing or openFrameworks are used in real-time for generative audiovisual artistic expressions for instance in the Demoscene and in VJ-culture.” Wikipedia
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