‘Context Machines’ are a family of site-specific, conceptual and generative artworks that capture photographic images from their environment in the construction of creative compositions. They are produced in an art-as-research practise at the intersection of generative arts, and cognitive theories of creativity and dreaming. They invite us to reconsider what is essentially human, and reflect on our constructed conceptions of ourselves.
“Memory Association Machine” (also known as “Self-Other Organizing Structure #1″) is the first prototype in a series of site-specific responsive installations inspired by cognitive processes. The artist provides a mechanism that allows the structure of the artwork to change in response to continuous stimulus from its context. Context is defined as those parameters of the environment that are perceivable by the system and make its place in space and time unique. “Memory Association Machine” relates itself to its context using three primary processes: perception, the integration of sensor data into a field of experience, and the free-association through that field. “Memory Association Machine” perceives through a video camera, integrates using a Kohonen Self-Organizing Map, and free-associates through an implementation of Liane M. Gabora’s model of memory and creativity.
[Handbook of Research on Computational Arts and Creative Informatics, Chapter XIII, 2009]
This text is a summary of the realization and interpretation of the autonomous responsive electronic media artwork “Memory Association Machine” (MAM). Realization and interpretation are components of the creative process that braids conceptual, site-specific, electronic media art and artificial intelligence practices. MAM relates itself to its context using three primary processes: perception, the integration of sense data into a field of experience, and the free-association through that field. MAM perceives through a video camera, integrates using a Kohonen Self-Organizing Map, and free-associates through an implementation of Liane M. Gabora’s model of memory and creativity. These processes are as important as MAM’s physical appearance, are composed of computational elements, and allow the system to respond to context autonomously.
[Pure-Data Convention Proceedings, 2009]
This thesis is an account of the realization and interpretation of the autonomous responsive electronic media artwork “Memory Association Machine” (MAM). Realization and interpretation are components of the creative process that braids conceptual, site-specific, electronic media art and artificial intelligence practises. The meaning of MAM is dependent on its unique location in space and time. MAM relates itself to its context using three primary processes: perception, the integration of sense data into a field of experience, and the free-association through that field. MAM perceives through a video camera, integrates using a Kohonen Self-Organizing Map, and free-associates through an implementation of Liane M. Gabora’s model of memory and creativity. These processes are as important as MAM’s physical appearance, are composed of computational elements, and allow the system to respond to context autonomously.
[Master of Science Thesis, Simon Fraser University, 2008]
“Self-Other Organizing Structure #1″ (SOOS1) is the first in a series of site-specific responsive installations. Rather than depending on the artist to define how these works relate to their site, the task is given to the artwork itself. The structure of the artwork changes in response to continuous stimulus from its context. Context is framed as parameters perceivable by the system that make its place in space and time unique.
[Pure-Data Convention Proceedings 2007]
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Musicians create music and visual artists create images. I am becoming increasingly aware of the commonalities I share with musicians rather than other visual artists. The creative process of a sound artist or an electronic musician is very similar to my own. The fundamental basis of both what I do and what a musician does is the creation of structure, or perhaps more specifically the making of a score or program that nurtures the creation of structure. My own practice emphasizes structure (in the form of language, image, sound or even a set of related ideas) regardless of my chosen medium.
[Published in Vagueterrain "Generative Art", 2006]
One would imagine that the purpose of an Art education is to learn about Art theory and practice. Over my undergraduate education I have found that the more ideas I am exposed to the more I realize how little I really know. In my first few university years I thought of Art only as a form of expression and communication. I thought all Art had to have a statement, a concrete proposition to make about the world. At this point in time I don’t feel that I know enough to make concrete statements. Answers lead to questions and the more I learn the less sure I am about what truth means. My role as an artist and the purpose of Art itself becomes just as mysterious. It would seem that in order to be an art-maker one must have the answers to these questions. Perhaps the purpose of Art is the pursuit of these questions.
[unpublished, 2000]