Evolutionary Space


Images above: works by William Latham, John Horton Conway and Andrew Lord

Evolutionary Space: A way of looking at art practice as continual process in a disparate ecology.

Art practices have become widely divergent and disparate in recent years, particularly since the arrival of  digital means which have opened out previously unimagined possibilities. Different taxonomies representing a great variety of paradigms, methodologies, thematics, mediums and contexts have given rise to a heterogeneity of approaches when considering practices and the role of artists which can render problematic a holistic consideration of different ways of generating art. Using Conway’s “Life, Latham’s “Mutator”, and the work of ceramic sculptor Andrew Lord as subjects, this paper introduces an approach to discussing art practices, fostering a unified view in the midst of diversity, evolutionary space. Borrowing from the idea of fitness landscape in evolutionary theory, applying it to Olson’s analysis of computer generated life regarding the relationship between pure information and its physical interpretation, in the context of Whitehead’s process philosophy of becoming, and Dennett’s idea of algorithms, a picture is built of how different art practices can be viewed as dynamic information streams coded and implemented in material terms. 

The research paper has changed radically and become frighteningly simply because I have a tendency to complicate things. The above may seem complicated but it is in fact a straightforward synthesis of ideas from various fields to construct a different way of talking about art practices which goes some way to avoid value judgements and the need to describe things subjectively. Writing the paper is making me focus on an increasingly narrow narrative as an explication for a broad idea. It is frustrating at times because I want to explore a multiplicity of ideas but by considering a wide field and having to progressively select out is also liberating. It shows me that things can be simple without loosing depth. Implied ideas can be just as powerful in leaving the reader the possibility to uncover them or find new things and feel the sense of discovery rather than having them pointed out. The methodology I am constructing is also feeding into the project proposal: I no longer feel compelled to spell out every idea. 

Research Statement: Preliminary Title


A preliminary title is an uneasy mapping out of a journey towards an idea without necessarily knowing the best route. This preliminary title is somewhat long winded but it does contain the elements of subject area, context and argument which may well serve as a condensed abstract. The fact that it will need pruning goes without saying but a kernel of an idea does reside in its immature state.

Composite body plans and their proliferation: A comparative examination of the algorithmic increase and propagation of hybrid creatures in the Cambrian, Early Bronze Age, Late Medieval Period and the Digital Environment in the context of D. C. Dennett’s definition of algorithm and D. Wengrow’s archeo-anthropological hypothesis ‘the origin of monsters’. 

This is basically looking at how analogous outcomes can arise from disparate cultural and biological substrates and what this might say about ongoing contemporary developments. I see the Late Medieval element, seen through the optics of Hieronymous  Bosch, as a bridge from the ancient to the modern. However, I need to think about the length of the RS and it may prove too much to weave Bosch’s particular narrative into the whole: his hermeneutic influences may be too mono-cultural relative to the other areas under examination providing an antithesis to the general thesis of the cultural and biological emergence of composite creatures or so called monsters which, it could be argued, depend on more complex environmental conditions. Nevertheless, as a counter argument it creates an interesting dialectic which unfortunately may be beyond the constraints of 3000 to 4000 words.