MN: I've never been persuaded that it is fair toproject my limitations, or those of anyone else, into the fabricof the world. But in these areas algorithms are mainlybeing applied to create monotony. A lot of algorithm-like techniques have alreadybecome very popular in music: techno, ambient, industrial are allvery programmed. Q: In your essay "Automated Writing, AutomaticWriting: The Poetics of Cyberspace," you address thedifferent possibilities for art as based on algorithmictechniques. At the Banff Centre for theArts he developed And these weirdly fluid leviathan structures playmelodies all the while, melodies controlled by the movements ofwhoever happens to be in there. He uses computer algorithms originally intended formusic composition to 'compose' architecture: four-dimensionalarchitecture which moves around in space, shifting color,shifting form. Marcos Novak refers to his Virtual Reality art-works as"liquid architecture and navigable music," and theeerie sense of awe which pervades them lives up to the niftyadjectives. The first time I met Marcos Novak, at last October'sCybersphere conference in Stockholm, I was little versed in theworld of architecture.
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