Shot By Both Sides: Art-Science And The War Between Science And The Humanities

Abstract

ResumenExiste una división fundamental de orden filosófico entre la cultura moderna de la ciencia y la cultura posmoderna de las humanidades. Este distanciamiento cultural es, entre otras cosas, la causa subyacente que explica la poca aceptación del arte-ciencia y del arte tecnológico en el mundo del arte mayoritario. No obstante, en las dos últimas décadas, el estudio de la complejidad ha traído consigo una revolución en las ciencias. En este trabajo se postula la viabilidad de ampliar el pensamiento de la complejidad con el fin de iniciar una revolución también en las humanidades. Las cosmovisiones aparentemente irreconciliables del modernismo y del posmodernismo pueden subsumirse y unificarse en una nueva síntesis llamada complejismo, algo a lo que los artistas que trabajan en la frontera de la complejidad pueden contribuir decisivamente. Palabras clave

Generative Theatre of Totality

“…Interpretive dance and the Theatre of Totality can be brought together by means of a stochastic evolutionary L-system -the performance generatorthat falls within Galanter's complexism theory (Galanter, 2011). "Experimentation has replaced all interpretation... No longer are there acts to explain, dreams or phantasies to interpret... instead there are colours and sounds, becomings and intensities" (Deleuze & Guattari, 1988).…”

“…Current generative art is either used to model living systems growth, particularly plant growth (a direct inheritance from L-systems) or is mostly abstract (Galanter, 2011).…”

“…Galanter states that "contemporary technology-based generative art explores the same territory as complexity science and is at the apogee of the complexity curve" (Galanter, 2011).…”

Alchimia

“…Personally,thisauthor'screativeapproachtoanyartprojectisalwaysdrivenandbasedupon twoguidingforces:conceptandtechnique.Thisartworkwasconceptuallyinspiredbytheauthor's previous work, also transformative in nature. It consisted in reinterpreting anatomical images of Thedesignofaninteractivecomputationalartworkusuallydepartsfrommathematicalfunctions whosevisualizationprovidesaninterestingaestheticexperiencefortheuser/audience,whocanthen interactthroughdifferentparametersmappedtocolour,speed,transparency,luminosityandgeometry, fromavisualpointofview,oroverthestereophony,sounddensity,rhythm,pitch,modulationor volume,whereitconcernsaudiocomponents.Thereareanumberofdefinitionsofgenerativeart (Galanter, 2011;McCormack et al, 2014) that classify it according to media, methodologies or approachessuchassystemsart,interactiveart,algorithmicart,opart,bioart,evolutionaryart,among others,butinallofthemthetermgenerativeimpliesanalgorithmicstructurethatisfollowedforthe creationofwhateveroutputtheartworkgenerates.Thealgorithmisthenusedtocombinestructure (order)withcontrolledrandomness(chaos),whereeachiterationisalsotheseedforthenextone, thusresultinginaseeminglyinfinite,non-repetitivevarietyofdifferentstatesorcombinations,butall withinacertainaestheticboundarydefinedbytheartist/programmer (Dorin,2013).Generativeartis mostlyabstract (Galanter,2014),sincetheoutputofmathematicalequationsisseldomfigurative,or directlyrepresentativeofthematerialworld,unlessitreliesontheuseofsophisticated3Dmodelling andanimationsystems,usuallyperceivedassynthetic/virtual.However,agenerativeapproachwas deemed appropriate for this figurative artwork, particularly because of the conceptual proximity betweenvideo-asuccessionofframes,eachoneanaturalsuccessortotheprevious,whichgive theillusionofmovement-andgenerativeart,whereeachgeneration(frame)isalsoinfluencedor determinedbyitspredecessor.…”