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. 

Tutorial 4: 01 August 2019. Gareth Polmeer

 

Always you were drawn to the composite creatures, the broken and reassembled, for that is what you are.

Gregory Maguire                  

 

The first Research Paper tutorial was a sounding out of the initial outline. It was helpful in thinking about the way the narrative might go and how to apportion space to each component. My responses so far are:

There is a dialogue between the literal and metaphorical manifest as the biological and the cultural.

This leads me to think that I am dealing with three different ecosystems: biological, cultural and machine;

embedded in the Cambrian explosion, Early Bronze Age and the age of digital (for now) machines.

We are currently living in the cultural age which is on the threshold of the cultural-machine thinking period.

Useful worker to look at is William Latham.

Comparison between biological systems and machine systems – for now the human element is still the predominant one and machines are used as ‘intelligent’ tools.

The tutorial helped me in re-evaluating what I have done so far and how to place the historical knowledge element as a contextual framework for talking about the contemporary state of things. This will need a great deal of focussing but I think I can condense the historical elements into just a few hundred words.

The paper really touches on the philosophical ontology of current biology-computational art in relation to truly biological systems… in the context of culture.

Useful worker in the field of computer generated life: Eric T. Olson at Sheffield. He looks at the relationship between animals and humans at a philosophical level.