The conceptual framework of Artificial Life (A-Life), and related methods, is reasonably nascent to the field of media production; it is more commonly used to model scientific schemas than employed in other forms of content creation such as games production or, particularly relevant to this paper, media art. Artists using A-Life processes draw from the broader conceptual framework of A-Life to evolve drawings, sculpture (three-dimensional digital objects) and music, the ‘classical’ arts. Little experimentation exists in A-Life screen based art with regard to film, with few artworks, if any, attempting to evolve the grammar of film and montage.
The project “Travelogue: a recording of minute expressions” explores the expressive processes of film and A-Life for the purpose of co-evolving an A-Life world with an A-Life filmmaker to evolve a documentary; a documentary of ‘interesting things’. This paper discusses “Travelogue: a recording of minute expressions” with particular focus on the relationship between A-Life and film and the potential to co-evolve an A-Life filmmaker. In this discussion the paper examines the potential to expand both the grammar of film and A-Life to evolve a new visual syntax and to create new logics for transitions and alternative visual/thematic analogies.
- Mark Guglielmetti, Center for Electronic Media Arts, Monash University, AU, explores the formation of cultural identity vis-a-vis encoded and decoded systems. He is currently researching the relationship between cinema and artificial life and, the expressive potential to co-evolve an artificial life filmmaker in and with an artificial life ‘world’.
- Indae Hwang [ISEA2011 provided no biographical information]
Full text (PDF) p. 1071-1076