Room Bookings and COVID-19 Regulations
To ensure a safe working environment for students and staff at ADM, students are required to reserve working stations outside of class time.
Booking system: https://venus2.wis.ntu.edu.sg/MRBS/
Booking training video: https://www.youtube.com/watch?v=R4s6rwWu9hQ
Technical team:
Film Area: Shukor/Arifin
Animation Area: Naga/Siva
Product Design Area: Patrick
Viscom/IM: Poh Zhuang Yu
2D/4D FND: Rashid
Drawing FND: Naga
3D FND: Siva
Others: Arifin/Bharat/Wee Liang
Course Description and Learning Objectives
Generative art unfolds in a range of creative methodologies for consciously interacting predefined systems with different factors of unpredictability throughout conceptualizing, producing and presenting the artwork. It appreciates and cultivates the artwork as a dynamic catalysing event or process, inspired by curiosity, susceptible to chance and open for change.
This course is a platform for the creative exploration of generativity in making art, using analogue and/or digital tools. It will provide you with the grounding for an understanding of generativity as a powerful cognitive toolset and medium-independent framework which makes crucial contributions to media art and design.
Generative Art Projects
Create Exploratory Generative Study
Focus on the main principles and aspects of generativity that we discussed in Week 2 and Week 3: - Logic of a Generative Artwork and - Algorithmic Thinking and Procedural Literacy. Explore them through developing your work within one chosen medium: image, sound, text, video, animation, physical object/installation, web-based work, game, etc. The work can be - Analog or digital, - Interactive or non-interactive. Aim for - Simplicity and clarity. - Cultivating your approach to project development: concept>quick exploration>prototyping>testing>finalizing. - Learning through making. Present your ideas to the class next week 3 Sep. Document your progress weekly at the OSS Process category. Final presentation of the work due ...Readings
Watz, Marius. 2010. “Closed Systems: Generative Art and Software Abstraction.” In MetaDeSIGN - LAb[au], edited by Eléonore de Lavandeyra Schöffer, Marius Watz and Annette Doms, 1-3. Dijon: Les presses du reel.
Write your reflections in a short essay, around 250 words.
Make a spontaneous but thoughtful response about the text’s themes, relevance, style and other aspects you find interesting.
No images, links or other references are required, but are welcome.
Use this experience as a warm-up for the main reading assignment.
Post it to the OSS Research category by Week 4 (3 Sep).
Teaching Material
If you need special equipment or material to produce your projects, you can borrow it or we can buy it. Please read the following info, and coordinate with Bryan.
IM equipment
This is a list of the available IM Equipment that you may book for your projects. Do the booking with Poh (zypoh@ntu.edu.sg).Ordering from SGBotic, Artfriend or Straitsart
SGBotic, Artfriend and Straits Art Co. are the official ADM suppliers for teaching material, electronics, etc. Search these websites for the items you need. Make your selection, copy links and prices of the items, put them in a MS Word table (here is an example), and send to Bryan.Ordering from outside of these vendors
Look up Save Some Money article by ...Assessment and Grading
Students will be assessed based on the following criteria: critical and interdisciplinary thinking; participation in class and discussion/activities and collaborative sharing/learning; ability to convey project clarity both visually and in writing; thoughtful originality; depth of research; self-driven learning.
Generative projects
Generative exploratory sketch: 20%
Generative artwork: 30%
Reading assignments
Introductory/warm-up reading 1 10%
Introductory/warm-up reading 2 10%
Main reading 20%
Participation
Attendance and quality of participation 10%
Week 1 (Aug 13) – Updated!
Room Bookings and COVID-19 Regulations
Course Description and Learning Objectives
Lectures on Generative Art:
- Generative art intro
- Generativity in the arts
- Procedural literacy and algorithmic thinking
- Software tools for generative art
- Hardware tools for generative art
- Systems for surprise, discovery and learning
Guest Talks:
- Vladimir Todorović
- Philippe Kocher
Generative Art Projects
Work Study Bryan Leow (ancient photo...)
TUTORIALS AND TECH CONSULTATIONS
Readings
Assessment and Grading
Readings
Assessment and Grading
Week 2 (Aug 20) – Updated!
Course budget for Teaching Materials/Expendables is 750.00.
IM Equipment List SGBotic is the official ADM supplier of electronics and physical computing material. SGBotic order form (example) Save Some Money by Toh YixueSpace Allocation for Final GA Projects
Develop your projects space-independent if possible, focusing on ART-2-17. If your project is strongly site-specific, you may select common areas and than book online for development and showcasing. You must prepare a full BACKUP FOR SHOWCASING BOTH in ART-2-17 AND ONLINE, in case of stronger COVID-19-related restrictions.In line with COVID-19 Measures @ NTU
TAKE CARE OF SAFE DISTANCING NO DRINKING OR EATING IN CLASS We will have collective breaks approximately 5:25 and 6:25PM. Plus take individual short breaks to refresh when ...Week 3 (Aug 27) – Updated!
Week 4 (Sep 3) – RA 1 and Exploratory Generative Study idea presentations – Updated!
Short presentations about Reading Assignment 1: Matius Watz, Closed Systems: Generative Art and Software Abstraction, 2010.
Share and discuss your response and reflections about the text’s themes, relevance, style and other aspects you find interesting.Notes and Comments
Naomi Cognitive stimulation of generative art, especially analogy making, and ludic, proto-scientific experimental drive. Alina Importance of intuition in conceptualizing and developing GA projects. Importance of systems in GA. Additional reading: Jack Burnham, Systems Aesthetics, 1968. An essay on the poetics of Minimalism, early computer art and Conceptual Art in the 1960s and early 1970s, influential to contemporary new media art as well. Sol LeWitt instruction-based art: https://rebeccaneilsonbcms.wordpress.com/2016/08/17/sol-lewitt-instructions-and-procedural-actions/ https://artclasscurator.com/wp-content/uploads/2018/03/instructions.jpg Joey Trends, fashions and schools of thought in the arts, science and other socially ...
Week 5 (Sep 10) – Progress presentation of generative sketches – Updated!
Presentation of the progress of exploratory generative sketches and discussion.
Samuel
Joey
Praveen
Week 6 (Sep 17) – RA 2 Presentation + Guest talk: Vladimir Todorovic – Updated!
Reading Assignment 2: Terence Broad, Frederic Leymarie & Mick Grierson, Amplifying the Uncanny, 2020.
POSTS Joey, Samuel, Praveen, Su Yang, Naomi, Rachael, Alina More examples of uncanny in the arts Friederike van Lawick & Hans Müller - 2000 - perfectlySUPERnatural Heather Dewey-Hagborg - 2012-2013 - Stranger Visions Patricia Piccinini's work Nature, etc. David Fincher - 1999 - Fight Club, one of the seminal films of the 20th century.Week 7 (Sep 24) – Final presentation of generative studies – Updated!
Final presentation and discussion of exploratory generative sketches.
10-15 minute presentations of your finished exploratory generative studies. Discuss: - How and why your initial idea(s) evolved through the development, - Strong and weak aspects of the finished work, - What you have learned in the process, and - Everything else that was important to you.Comments and notes
Samuel Sound/music, just like all other formal elements of an artwork, have to be there for a reason. The more meaningful and relevant that reason is, the more chance the final work has to be successful. Continuous coloration changes in groups of particles is somewhat confusing and mainly aesthetic rather than functional. Coloration will make sense when you simply apply one distinct color to all members of ...Week 8 (Oct 8) – Initial presentation of generative artwork – Updated!
Initial presentation of generative artwork, discussion and consultations.
Present your idea development, first sketches and tests for your generative art project.
...
Week 9 (Oct 15) – Guest talk: Philippe Kocher – Updated!
Consultations notes and material
Daniel Shiffman's online book The Nature of Code Simulating physical phenomena in Processing New Media Art Festivals In their online archives you will find rich repositories of conference papers, artwork examples, tutorials, etc., about new media art and design, including generative art. ISEA, various locations worldwide (base site) Ars Electronica, Linz SIGGRAPH, various locations in USA and Asia/Pacific SIGGRAPH base site Transmediale, Berlin xCoAx, various locations in Europe Generative Art International Conferences, various locations in ItalyWeek 10 (Oct 22) – Progress presentation of generative artwork
Presentations of generative artwork progress and discussion (90 minutes).
Week 11 (Oct 29) – Reading assignment 3 presentation – Updated!
Reading Assignment 3 Presentations
Notes and References
ISEA2020 Virtual Exhibition Program Handbook Conference Proceedings A paper on authorship in the AI art as a subset of tool/technology-based art (=all art) Jon McCormack et al., Autonomy, Authenticity, Authorship and Intention in Computer Generated Art, 2019 Related to the emergence property in generative art in some of the examples discussed Steve Reich - 1967 - Piano Phase (video) Better audio10-15 minute live presentations. Presentation order: Su Yang, Alina, Naomi, Rachael, Joey, Samuel, Praveen
Week 12 (Nov 5) – Updated!
1. Round up a selection of your progress documentation for both projects:
Images,
Short video demos,
Audio,
Text,
Links,
Code (Processing, HTML/CSS/JS, SuperCollider, etc., wrap it up so it can be run).
Final project demo video.
2. Save the material in a folder with your name (e.g. Alina Ling) and send it to me via WeTransfer by Thursday 19 November.
Week 13 (Nov 12) – SHOWCASING
Showcasing of the final generative artworks and discussion.
Guest professors will take part.