“Avoid Setup: Insights and Implications of Generative Cinema” by Grba
Conference:
Type(s):
Title:
- Avoid Setup: Insights and Implications of Generative Cinema
Presenter(s)/Author(s):
Abstract:
Generative artists engage the poetic and expressive potentials of film playfully and efficiently, with explicit or implicit critique of cinema in a broader cultural context. This paper looks at the incentives, insights, and implications of generative cinema, which significantly expands the creative realm for artists working with film, but also incites critical assessment of the business-oriented algorithmic strategies in the film industry. The poetic divergence, technical fluency, and conceptual cogency of generative cinema successfully demonstrate that authorship evolves toward ever more abstract reflection and cognition which equally treat existing creative achievements as inspirations, sources of knowledge, and tools.
References:
1. G. Youngblood, “Cinema and the Code,” Leonardo, Computer Art in Context Supplemental Issue, 27–30 (1989).
2. W. Benjamin, “The Work of Art in the Age of Its Technological Reproducibility,” The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media (Cambridge, MA/London: The Belknap Press of Harvard University Press, 2008).
3. P. Galanter, “What Is Generative Art? Complexity Theory as a Context for Art Theory,” VI Generative Art Conference Proceedings (Milan: Domus Argenia Publisher, 2003) pp. 225–245.
4. I. Arns, “Read_me, run_me, execute_me. Code as Executable Text: Software Art and its Focus on Program Code as Performative Text,” Medien Kunst Netz, <http://www.medienkunstnetz.de/themes/ generative-tools/read_me/1/>.
5. D. Quaranta, “Generative (Inter)Views: Recombinant Conversation With Four Software Artists” in D. Quaranta, ed., C.STEM. Art Electronic Systems and Software Art (Turin: Teknemedia, 2006).
6. M. Boden and E. Ernest, “What Is Generative Art?”, Digital Creativity 20, No. 1–2, 21–46 (2009).
7. M. Watz, “Closed Systems: Generative Art and Software Abstraction” in E. de Lavandeyra Schöffer, M. Watz, and A. Doms, eds., MetaDeSIGN – LAb[au] (Dijon: Les presses du reel, 2010).
8. M. Pearson, Generative Art (Shelter Island, NY: Manning Publications, 2011).
9. A. Dorin et al., “A Framework for Understanding Generative Art,” Digital Creativity 23, No. 3–4, 239–259 (2012).
10. D. Grba, “Get Lucky: Cognitive Aspects of Generative Art,” in XIX Generative Art Conference Proceedings (Venice: Fondazione Bevilacqua La Masa, 2015) pp. 200–213.
11. M.B.N. Hansen, “Digital Technics Beyond the ‘Last Machine’: Thinking Digital Media with Hollis Frampton (Modulating Movement-Perception)” in E. Røssaak, ed., Between Stillness and Motion: Film, Photography, Algorithms (Amsterdam: Amsterdam University Press, 2015) pp. 45–72.
12. M. Leggett, “Generative Systems and the Cinematic Spaces of Film and Installation Art,” Leonardo 40, No. 2, 123–128 (2007).
13. Youngblood [1].
14. N. Montfort et al., 10 PRINT CHR$(205.5+RND(1));: GOTO 10 (Cambridge, MA: The MIT Press, 2012).
15. Arns [4] and Watz [7].
16. L. Manovich and A. Kratky, Soft Cinema: Navigating the Database (Cambridge, MA: The MIT Press, 2005).
17. J. Campbell, “Illuminated Average Series,” <http://www.jimcampbell.tv/portfolio/still_image_works/ illuminated_averages/index.html>.
18. F. Brodbeck, “Cinemetrics,” <http://cinemetrics.site/>.
19. G. Cox, “Real-Time for Pirate Cinema,” PostScriptUM, No.
20 (2015). 20. G. Matt and T. Miessgang, Martin Arnold: Deanimated (Vienna: Kunsthalle Wien / Springer Verlag, 2002).
21. Q.P., “Final Cut—Ladies and Gentlemen, an Ode to Cinema,” Festival de Cannes (2012), <http:// www.festival-cannes.fr/en/theDailyArticle/59482.html>.
22. S. König, “sCrAmBlEd?HaCkZ!,” YouTube, <https://www.youtube.com/watch?v=eRlhKaxcKpA>.
23. P.K. Mital, “Computational Audiovisual Scene Synthesis,” PhD thesis (Arts and Computational Technologies Goldsmiths, University of London, 2014).
24. S.F. Pagden, Arcimboldo (Milano: Skira, 2007).
25. A. Newitz, “The Multiverse / Explorations & Meditations on Sci-Fi,” Ars Technica, Jun 9 (2016), <http://arstechnica.com/the-multiverse/2016/06/an-ai-wrote-this-movie-and-its-strangely-moving/>.
26. Valossa, “Description of Research,” <http://www.whatismymovie.com/about>.
27. Q.C. Berga, “Code as a Medium to Reflect, Act and Emancipate: Case Study of Audiovisual Tools that Question Standardised Editing Interfaces,” Interface Politics: 1st International Conference (2016).
28. C. Jones, “Ryan Kavanaugh Uses Math to Make Movies,” Esquire, Nov 19 (2009), <http://www. esquire.com/news-politics/a6641/ryan-kavanaugh-1209/>.
29. B. Barnes, “Solving Equation of a Hit Film Script, with Data,” The New York Times, May 5 (2013), <http://www.nytimes.com/2013/05/06/business/media/solving-equation-of-a-hit-film-script-with-data. html>.
30. S.V. Smith, “What’s Behind the Future of Hit Movies? An Algorithm,” Marketplace, July 19 (2013), <http://www.marketplace.org/2013/07/19/business/whats-behind-future-hit-movies-algorithm>.
31. L. Buñuel, My Last Breath (London: Fontana Paperbacks, 1985) pp. 131–133.
32. D.E. Brown, Human Universals (New York, NY: McGraw-Hill, 1991).
