Generating art

Some more generative art. First, here’s Thomas Lin Pedersen, a “former bioinformatician / computational biologist turned data scientist turned software engineer”. Quite a mouthful.

Generative art by Thomas Lin Pedersen
I’m a generative artist focusing mainly on exploring the beauty of dynamic systems. For me, the sweet spot of generative art lies in creating a system that you know well enough to set it up for success, but is so complex that you still get surprised when you see the result. The more I become familiar with a system I’ve developed, the more it feels like a (slightly unpredictable) brush to paint with.

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I can’t begin to understand how he’s using R, software normally used for data analysis and statistics, to create such images.

A more traditional approach would be through the use of GANs, as we’ve seen before. (Strange to use the word ‘traditional’ with such a new and emerging field.) Here’s something from Joel Simon, who also takes inspiration from the systems of biology computation and creativity.

Artbreeder — create beautiful, wild and weird images
Simply keep selecting the most interesting image to discover totally new images. Infinitely new random ‘children’ are made from each image. Artbreeder turns the simple act of exploration into creativity …

Artbreeder started as an experiment in using breeding and collaboration as methods of exploring high complexity spaces. GAN’s are the engine enabling this. Artbreeder is very similar to, and named after, Picbreeder. It is also inspired by an earlier project of mine Facebook Graffiti which demonstrated the creative capacity of crowds.

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Who’s really in charge?

Money makes the world go round. But who’s making the money go round?

The stockmarket is now run by computers, algorithms and passive managers
The execution of orders on the stockmarket is now dominated by algorithmic traders. Fewer trades are conducted on the rowdy floor of the nyse and more on quietly purring computer servers in New Jersey. According to Deutsche Bank, 90% of equity-futures trades and 80% of cash-equity trades are executed by algorithms without any human input. Equity-derivative markets are also dominated by electronic execution according to Larry Tabb of the Tabb Group, a research firm.

Nothing to worry about, right?

Turing Test: why it still matters
We’re entering the age of artificial intelligence. And as AI programs gets better and better at acting like humans, we will increasingly be faced with the question of whether there’s really anything that special about our own intelligence, or if we are just machines of a different kind. Could everything we know and do one day be reproduced by a complicated enough computer program installed in a complicated enough robot?

Robots, eh? Can’t live with ’em, can’t live without ’em.

Of course citizens should be allowed to kick robots
Because K5 is not a friendly robot, even if the cutesy blue lights are meant to telegraph that it is. It’s not there to comfort senior citizens or teach autistic children. It exists to collect data—data about people’s daily habits and routines. While Knightscope owns the robots and leases them to clients, the clients own the data K5 collects. They can store it as long as they want and analyze it however they want. K5 is an unregulated security camera on wheels, a 21st-century panopticon.

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But let’s stay optimistic, yeah?

InspiroBot
I am an artificial intelligence dedicated to generating unlimited amounts of unique inspirational quotes for endless enrichment of pointless human existence.

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Automated yet playful

Two recent interviews with contemporary generative artists.

The generative portraiture of Espen Kluge
I love Kluge’s description of his organic coding process for creating art. It flies in the face of the popular misconception that programming art is somehow a linear process, when in actuality, it is almost always circuitous.

When I asked Kluge if he is still surprised by the outputs he is getting, he replied:

Oh, yeah, I wouldn’t have the motivation to do this at all if I wasn’t surprised every time. It’s a pleasure every time I get close to something I like. I don’t have a good drawing hand. This is something I use to be my drawing hand. Sometimes the lines and shapes can be really beautiful, and I don’t think I could calculate that. It’s impossible for me to have these things in my head before I start. I would like to think this is true for all generative artists. It is a very playful process.

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LIA, software art pioneer and the fluidity of code
Austrian artist LIA is considered one of the pioneers of digital art and has been producing works since 1995. She is one of the very few women pioneers in software and net art. Her practice spans across video, performance, software, installation, sculpture, projections, and digital applications …

Your work using creative code becomes a generative work in real time, introducing the concept of “fluid” as opposed to the formality of the written code that requires engineered precision? Can you give some examples of this?

I started as an autodidact, so at the beginning, I had no idea about how to write “clean” code. This led to a variety of interesting results that I had not planned upfront. After more than two decades of programming, now I know how to write code properly, but I still like to keep the process of programming open to all sorts of possible errors, being able to go into different directions from any point onwards. That means I am not planning every step ahead, but rather “going with the flow”. The artworks themselves are constantly changing, either because they are of generative nature or because someone might be interacting with them. There is no start and no end, they just evolve over time over and over again.

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Silver ratio
In her practice, LIA translates concepts into formally written structures that, in turn, generate an output through a ‘machine’. The artistic experience contrasts with the formality of the written code. LIA’s work takes up traditions of drawing and painting and connects these with the aesthetics of digital image worlds and the language of algorithms.

See more of LIA’s work on Sedition.

All the music

You might think you have pretty eclectic musical tastes, but honestly, there’s just so much music out there. We can only scratch the surface. What we need is a map of it all.

Every noise at once
Every Noise at Once is an ongoing attempt at an algorithmically-generated, readability-adjusted scatter-plot of the musical genre-space, based on data tracked and analyzed for 3,385 genre-shaped distinctions by Spotify as of 2019-08-30. The calibration is fuzzy, but in general down is more organic, up is more mechanical and electric; left is denser and more atmospheric, right is spikier and bouncier.

3,385 genres? I only really listen to one now, but perhaps this will encourage me to broaden my horizons again.

Dive into Every Noise at Once, a musical map of genres you didn’t know existed
“I’m continually surprised to find that no matter how obscure some niche genre seems to me at first, there always turn out to be a hundred bands doing that and three more subgenres based on even subtler distinctions,” McDonald says. “The music just doesn’t stop! And some things I had never heard of turn out to make me as happy as things I’ve loved for decades. Australian hip-hop! German oi! Liquid funk, bachata, doomcore, jazz orchestra, warm drone!”

Some genres make more of an impact than others, of course. And the same could be said of some of the albums within those genres. Like this one, for instance.

Miles Davis’ Kind of Blue at 60: A new video essay celebrates the 60th anniversary of the iconic album
With the company of other legendary musicians, like John Coltrane and Bill Evans, Kind of Blue was recorded; the greatest selling jazz album of all time. Miles chose to take an interpretive dance approach to improvisation, developing ideas and using space to create his unique style. This new style of modal jazz pushed musicians to express themselves through melodic creativity.

Kind of Blue 60th anniversay

Or try this version.

Kind of Bloop
Kind of Bloop is a chiptune tribute to Miles Davis’ Kind of Blue, a track-by-track 8-bit reinterpretation of the bestselling jazz album of all time.

Buyer (and seller) beware

Happy Amazon Prime Day, everyone!

Make of that what you will, but there’s no getting away from the fact that shopping is not what it was. It feels far riskier — and creepier —both for customers as well as vendors.

Who makes those insanely specific t-shirts on the internet?
One site, Sunfrog, implores a user to enter a range of my data (name, city, birth month/year, hobbies, job), and then generates hundreds of customized t-shirts — “just for you!” — in seconds. Another company boasts more than 10k variations of a single t-shirt phrase, with personalized names ranging from Aylin to Zara. Its catalog includes classics like “Never Underestimate A Woman Who Loves Stephen King And Was Born In April,” and “I’m a Tattooed Hippie Girl Born With a Mouth I Can’t Control.”

But as it turns out, the key to these operations (huge volume) can also be its curse — and oftentimes, these “algorithmically-generated” products can go terribly, terribly wrong.

That’s an understatement…

As it turns out, Fowler’s algorithm had served as a sort of demented Mad Libs, generating phrases like “Keep Calm and Rape Them,” and “Keep Calm and Grope On.”

If only that was the only one.

Last year, an Amazon retailer by the name of “my-handy-design” made an unwelcome splash on the internet over its questionable iPhone accessories. A series of cases featured a seemingly random (and, consequently, NSFW) variance of images, including old men suffering from diarrhea, heroin spoons, toenail fungus, and “a three year old biracial boy in a medical stroller.”

As well as being potentially upsetting for the shoppers that might stumble across them, these not-quite-real-but-existing-nonetheless products and the algorithms behind them can have disastrous effects on the businesses involved.

The bad things that happen when algorithms run online shops
“It almost felt like somebody broke into your house or your personal life and started to take things away from you,” says Richard Burri, whose office stationery store was affected by the error. He and his wife estimate that the various computer algorithms working together would have cost the business between $100,000 and $150,000. Fortunately, the majority of the firm’s human customers who had bought one penny items agreed to return them when contacted.

Others found that buyers weren’t always so obliging. Shamir Patel sold pharmaceutical products via Amazon. He also asked customers to return one penny products, but he says about half of them refused to do so. The cost to his business, he calculates, was around £60,000. “You were a bit powerless to do anything about it,” he recalls. “You were literally just watching your money flush down the drain.”

But, of course, it’s not entirely the fault of the machines. Sometimes this is all deliberate.

The strange brands in your Instagram feed
What Ganon does is pick suppliers he’ll never know to ship products he’ll never touch. All his effort goes into creating ads to capture prospective customers, and then optimizing a digital environment that encourages them to buy whatever piece of crap he’s put in front of them. And he is not alone.

What a time to be alive.

Jenny Odell’s special investigative report for the Museum of Capitalism: “There’s no such thing as a free watch”
One interesting detail about this mystery company (in its many iterations) is where it draws the line in terms of deception. While the entire business model is obviously misleading, their FAQ sections sometimes include reassurances following the question “Is this a scam?” and always take care to mention that credit card details are handled by Shopify. The sites often include icons for Norton Secure and McAfee Secure, as if to provide even greater assurance. On a Reddit thread in r/Scams, in which people complain about the watches and discuss finding $1-2 versions on Amazon and Alibaba, Soficostal butts in only once, in response to a poster speculating whether it might be a credit card scam. Soficoastal writes, “We don’t have our customers Credit Card numbers. They are safely processed through Stripe or PayPal.” The negative posts then continue – “it’s just some lookalike from China worth peanuts … they gib you on shipping,” says one user – with Soficoastal remaining silent.

At the end of the day, you get what you pay for.

The problem with buying cheap stuff online
Reviews of Wish suggest that many customers have indeed had bad experiences. The 512 customer reviews of Wish on Hiya.com are mostly negative, with one-star reviews and customers calling the company a “scam” and a “rip-off.” They tell stories of the site sending rings that turn fingers green, products paid for and never received, and requests for returns and refunds ignored. “Yes, you save money, if you actually get your stuff! Never again will I ordered [sic] from Wish,” one customer, Regina Ashley, wrote.

Happy shopping!