abstraction – Artificial Intelligence

Art Science: From Vision to Practice

Gregor Tatschl — Thu, 17 Aug 2017 21:59:02 +0000

In the first panel “Art Science: From Vision to Practice” Prof. Hiroshi Ishii from MIT Media Lab’s Tangible Media Group will lead the discussion about the transdisciplinary nature of creative work that crosses art, design, science and technology.

Abstraction is essential to conveying complex messages in artistic expression. It is also critical in science to formulate laws of nature through abstraction based on data. Leading artists, designers, scientists, and engineers will present and discuss the cross-fertilization among art, design, science and technology.

SUN, Sept. 10, 2017

10 AM	Hiroshi Ishii (JP/US), MIT Tangible Media Group
10:10 AM	Jifei Ou (CN), MIT Tangible Media Group
10:25 AM	Joachim Sauter (DE), ART+COM, UDK Berlin
10:45 AM	Christa Sommerer (AT), UFG Interface Cultures
11:05 AM	Shunji Yamanaka (JP), University of Tokyo
11:25 AM	Sarah Jane Pell (AU), artist, scientist
11:45 AM	Daniel Leithinger (AT), MIT Tangible Media Lab
12 noon	Yoichi Ochai (JP), Tsukuba University
12:20 PM	Panel Discussion

Moderator: Hiroshi Ishii (AT)

Dedicated to the practice of art and science, this symposium focuses on synergies between both disciplines and collaborations with other sectors. After numerous years of realizing art and science projects, the results will be presented and discussed by participating artists, stakeholders and scientific institutions at this conference.

Credits

This event is realized in the framework of the European Digital Art and Science Network and co-funded by the Creative Europe program of the European Union.

hananona

Gregor Tatschl — Tue, 08 Aug 2017 05:47:11 +0000

STAIR Lab. (JP) collaborating with Surface & Architecture Inc, Kyoko Kunoh, Tomohiro Akagawa, Tanoshim Inc., mokha Inc. and Tokyo Studio Co. Ltd. (JP)

The latest AI research makes it possible to teach computers the names of things by showing them many examples. The key is a large amount of training data and deep learning software. By leveraging this, the artists have developed an AI capable of classifying 406 kinds of flower by using over 300,000 flower pictures.

hananona is an interactive work that visualizes how AI classifies a flower. When it sees a flower, it identifies its name and shows its class on a visual “flower map”—a visualization of the inside of the AI brain. This is a group of image clusters, each of which is a cluster of flower photos learned as belonging to the same class. By looking at them, users can see how AI classifies the flowers.

Users are encouraged to challenge hananona with their own flower photos, or with other materials such as pictures, paintings, flower-like objects etc. so that they can observe how the AI reacts to different abstraction levels of flowers.

Credits

STAIR Lab., Chiba Institute of Technology

Creative direction, design: Surface & Architecture Inc.

Art direction: Kyoko Kunoh
Interaction design, programming: Tomohiro Akagawa
Programming: Tanoshim Inc.
Server programming: mokha Inc.
Furniture production, site setup: Tokyo Studio Co., Ltd.

Expanded Abstractions

Gregor Tatschl — Mon, 07 Aug 2017 22:16:36 +0000

Max Hattler (DE)

Abstract-animation artist Max Hattler presents a cross-section of his work in special versions created for Deep Space 8K at the Ars Electronica Center.

Hattler’s 2005 abstract War on Terror classic Collision shines in never seen before, super-high-resolution detail, while Heaven and Hell (2010) the looping diptych inspired by Augustin Lesage’s spiritualist visions realizes its fully trippy potential on Deep Space’s sixteen-meter-wide screen. III=III, a stereoscopic animation exploring binocular rivalry, which was first shown at the Animamix Biennale 2015/16 in Hong Kong, connects to Max Hattler’s presentation at this year’s Expanded Animation Symposium. Expanded Abstractions is rounded off with the UHD world premiere of Divisional Articulations, Hattler’s 2017 audiovisual collaboration with composer Lux Prima, where fuzzy analog music and geometric digital animation collide in an electronic feedback loop of repetition and distortion, and spawn arrays of divisional articulations in time and space.

Credits

Full credits and further information on the displayed artworks: http://www.maxhattler.com