RMIT DFA<br />Bryan Chung<br />Doctor of Fine Art<br />Project Presentation<br />
Subject area<br />Bryan Chung<br />Software Art<br />
Topic<br />Bryan Chung<br />Software Art, toward an aesthetics of art-oriented programming and programming-oriented art<br />
Questions<br />Bryan Chung<br />Structure of computer programming language vs. visual structure<br />Computer coding as ar...
Roles of software in art<br />Georg Nees<br />
Roles of software in art<br />Casey Reas<br />
Roles of software in art<br />Camille Utterback<br />
In the past …<br />Bryan Chung<br />Background<br />
Kung Hei Fat Choy<br />Bryan Chung<br />
Ink<br />Bryan Chung<br />
Ink<br />Bryan Chung<br />
Pencil<br />Bryan Chung<br />
Pencil<br />Bryan Chung<br />
Design<br />Bryan Chung<br />
Design<br />Bryan Chung<br />
The question<br />Bryan Chung<br />Expression vs. Planning<br />
Computer graphics<br />Bryan Chung<br />http://www.evanspielman.com/images/teapotWireframe.jpg<br />
ASCII graphics<br />Bryan Chung<br />http://upload.wikimedia.org/wikipedia/commons/4/45/BB-ASCII-art-screenshot-zebra.png<...
Creation process<br />Bryan Chung<br />Coding<br />
The process<br />Bryan Chung<br />Pain taking<br />http://heavenawaits.files.wordpress.com/2009/01/headache-bulldog.jpg<br />
The question<br />Bryan Chung<br />Any ‘art’ in the pain-taking process?<br />
Phase one<br />Bryan Chung<br />Programming-oriented art<br />
The books<br />Bryan Chung<br />http://blogs.msdn.com/blogfiles/cdndevs/WindowsLiveWriter/SweatingtheFundamentals_1EB5/art...
The arts<br />Bryan Chung<br />Correctness<br />Efficiency<br />Productivity<br />Readability<br />Inspiration<br />http:/...
Semiology of Graphics – Jacques Bertin<br />Bryan Chung<br />
Visual properties<br />Bryan Chung<br />Visual properties such as position, size, colour, value, orientation, shape can al...
Readings<br />Bryan Chung<br />
Keywords – visual design<br />Bryan Chung<br />Form<br />Structure<br />Contrast<br />Repetition<br />Rhythm<br />Composit...
Keywords – computer programming<br />Bryan Chung<br />Object<br />Abstraction<br />Expression/condition<br />Repetition<br...
Idea<br />Bryan Chung<br />Programming language structure and 2D visual composition structure share similar concepts.<br />
Visual design principles<br />Bryan Chung<br />
Findings<br />Bryan Chung<br />For 2D visual compositions, I can write programming codes to produce them. Their relations ...
Findings<br />Bryan Chung<br />
Readings<br />Bryan Chung<br />
Readings<br />Bryan Chung<br />
Readings<br />Bryan Chung<br />
Question<br />Bryan Chung<br />What else?<br />
Drawing toy<br />Bryan Chung<br />
Drawing toy<br />Bryan Chung<br />
Mechanism<br />Bryan Chung<br />Mechanical<br />Algorithmic<br />Repetition<br />Variation<br />Surprise<br />
Experiments<br />Bryan Chung<br />
Pendulum<br />Bryan Chung<br />http://www.drjerryspeaks.com/i//Pendulum_movement.JPG<br />
Ben Laposky<br />Bryan Chung<br />
Pendulum drawings<br />Bryan Chung<br />
Pendulum drawings<br />Bryan Chung<br />
Two pendulums<br />Bryan Chung<br />
Gabriel Orozco<br />Bryan Chung<br />
Tennis ball drawing<br />Gabriel Orozco<br />
Ball drawings<br />Bryan Chung<br />
Particle system<br />Bryan Chung<br />
Findings<br />Bryan Chung<br />In these drawings, I cannot see the direct relation between my codes and the imagery.<br />
Complexity<br />Bryan Chung<br />I specify simple rules and let the codes unfold into complex imagery, that is, from simpl...
Complexity<br />Bryan Chung<br />Aesthetics of Complexity<br />
Sol Lewitt<br />Bryan Chung<br />
Sol Lewitt<br />Bryan Chung<br />
Sol Lewitt<br />Bryan Chung<br />THE LOCATION OF A CIRCLE<br />From the center of the square, draw a line halfway toward t...
Conceptual art<br />Bryan Chung<br />Is it programming code?<br />
Phase two<br />Bryan Chung<br />Art-oriented programming<br />
More experiments<br />Bryan Chung<br />
More experiments<br />Bryan Chung<br />
More experiments<br />Bryan Chung<br />
More experiments<br />Bryan Chung<br />
More experiments<br />Bryan Chung<br />
More experiments<br />Bryan Chung<br />
More experiments<br />Bryan Chung<br />
More experiments<br />Bryan Chung<br />
More experiments<br />Bryan Chung<br />
More experiments<br />Bryan Chung<br />
Finding<br />Bryan Chung<br />Abstraction process<br />
Finding<br />Bryan Chung<br />I reduce the visual information of the original image into an abstract representation of col...
Finding<br />Bryan Chung<br />The process of abstraction is done in computer codes.<br />
Finding<br />Bryan Chung<br />Computer coding is an abstraction of our thinking process.<br />
Finding<br />Bryan Chung<br />Computer code is an abstraction of the visual imagery.<br />
Abstraction<br />Bryan Chung<br />Aesthetics of Abstraction<br />
Yoko Ono<br />Bryan Chung<br />
Harold Cohen – Aaron <br />Bryan Chung<br />
Question<br />Bryan Chung<br />Code as score?<br />
Software Structure – Casey Reas<br />Bryan Chung<br />Whitney Museum commissioned project<br />A surface filled with one h...
Software Structure – Casey Reas<br />Bryan Chung<br />
Score structure<br />Bryan Chung<br />I need to have a framework/structure of the score for the drawings.<br />
Score structure<br />Bryan Chung<br />Generator<br />Variation<br />Force<br />Repetition<br />
Pendulum again<br />Bryan Chung<br />http://www.drjerryspeaks.com/i//Pendulum_movement.JPG<br />
Score structure<br />Bryan Chung<br />r1*cos(radians(angle2)) - r2*sin(radians(angle1));<br />r2*sin(radians(angle1)) + r1...
Proposal<br />Bryan Chung<br />Let the audience participate in process.<br />
Proposal<br />Bryan Chung<br />Interactivity<br />
The worlds of interactivity<br />Bryan Chung<br />Reactive world<br />Performative world<br />Expressive world<br />Collab...
Human Being and Moving Images<br />Bryan Chung<br />
Y2K and the Millennium Butterflies<br />Hung Keung<br />
Small Fish<br />Munch & Fujihata<br />
Tap, Type, Write<br />John Maeda<br />
Action painting<br />Jackson Pollock<br />
Experiments<br />Bryan Chung<br />
Experiments<br />Bryan Chung<br />
Experiments<br />Bryan Chung<br />
I Second that e-Motion<br />Bryan Chung<br />
Oval with Pendulum<br />Gabriel Orozco<br />
Installation plan<br />Bryan Chung<br />
Installation plan<br />Bryan Chung<br />
Conclusion<br />Bryan Chung<br />Aesthetics of software art<br />Abstraction and complexity – Lev Manovich<br />Generative...
Conclusion<br />Bryan Chung<br />Aesthetics of interactive art<br />Mimic the physical world as reactive simulation<br />P...
Conclusion<br />Bryan Chung<br />Contemporary art context<br />Conceptual art<br />Fluxus – happening, instruction art<br ...
Conclusion<br />Bryan Chung<br />Future directions<br />Omni presence of software<br />Visible and invisible interface<br ...
Q&A<br />Bryan Chung<br />Questions<br />Thank you<br />
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RMIT DFA Seminar

  1. 1. RMIT DFA<br />Bryan Chung<br />Doctor of Fine Art<br />Project Presentation<br />
  2. 2. Subject area<br />Bryan Chung<br />Software Art<br />
  3. 3. Topic<br />Bryan Chung<br />Software Art, toward an aesthetics of art-oriented programming and programming-oriented art<br />
  4. 4. Questions<br />Bryan Chung<br />Structure of computer programming language vs. visual structure<br />Computer coding as art practice<br />Aesthetics of software art<br />Aesthetics of interactive art<br />
  5. 5. Roles of software in art<br />Georg Nees<br />
  6. 6. Roles of software in art<br />Casey Reas<br />
  7. 7. Roles of software in art<br />Camille Utterback<br />
  8. 8. In the past …<br />Bryan Chung<br />Background<br />
  9. 9. Kung Hei Fat Choy<br />Bryan Chung<br />
  10. 10. Ink<br />Bryan Chung<br />
  11. 11. Ink<br />Bryan Chung<br />
  12. 12. Pencil<br />Bryan Chung<br />
  13. 13. Pencil<br />Bryan Chung<br />
  14. 14. Design<br />Bryan Chung<br />
  15. 15. Design<br />Bryan Chung<br />
  16. 16. The question<br />Bryan Chung<br />Expression vs. Planning<br />
  17. 17. Computer graphics<br />Bryan Chung<br />http://www.evanspielman.com/images/teapotWireframe.jpg<br />
  18. 18. ASCII graphics<br />Bryan Chung<br />http://upload.wikimedia.org/wikipedia/commons/4/45/BB-ASCII-art-screenshot-zebra.png<br />
  19. 19. Creation process<br />Bryan Chung<br />Coding<br />
  20. 20. The process<br />Bryan Chung<br />Pain taking<br />http://heavenawaits.files.wordpress.com/2009/01/headache-bulldog.jpg<br />
  21. 21. The question<br />Bryan Chung<br />Any ‘art’ in the pain-taking process?<br />
  22. 22. Phase one<br />Bryan Chung<br />Programming-oriented art<br />
  23. 23. The books<br />Bryan Chung<br />http://blogs.msdn.com/blogfiles/cdndevs/WindowsLiveWriter/SweatingtheFundamentals_1EB5/art_of_computer_programming_3.jpg<br />
  24. 24. The arts<br />Bryan Chung<br />Correctness<br />Efficiency<br />Productivity<br />Readability<br />Inspiration<br />http://blogs.msdn.com/blogfiles/cdndevs/WindowsLiveWriter/SweatingtheFundamentals_1EB5/art_of_computer_programming_3.jpg<br />
  25. 25. Semiology of Graphics – Jacques Bertin<br />Bryan Chung<br />
  26. 26. Visual properties<br />Bryan Chung<br />Visual properties such as position, size, colour, value, orientation, shape can all be represented by mathematical and digital means.<br />
  27. 27. Readings<br />Bryan Chung<br />
  28. 28. Keywords – visual design<br />Bryan Chung<br />Form<br />Structure<br />Contrast<br />Repetition<br />Rhythm<br />Composition<br />Movement<br />
  29. 29. Keywords – computer programming<br />Bryan Chung<br />Object<br />Abstraction<br />Expression/condition<br />Repetition<br />Assignment<br />
  30. 30. Idea<br />Bryan Chung<br />Programming language structure and 2D visual composition structure share similar concepts.<br />
  31. 31. Visual design principles<br />Bryan Chung<br />
  32. 32. Findings<br />Bryan Chung<br />For 2D visual compositions, I can write programming codes to produce them. Their relations are direct and straight forward.<br />
  33. 33. Findings<br />Bryan Chung<br />
  34. 34. Readings<br />Bryan Chung<br />
  35. 35. Readings<br />Bryan Chung<br />
  36. 36. Readings<br />Bryan Chung<br />
  37. 37. Question<br />Bryan Chung<br />What else?<br />
  38. 38. Drawing toy<br />Bryan Chung<br />
  39. 39. Drawing toy<br />Bryan Chung<br />
  40. 40. Mechanism<br />Bryan Chung<br />Mechanical<br />Algorithmic<br />Repetition<br />Variation<br />Surprise<br />
  41. 41. Experiments<br />Bryan Chung<br />
  42. 42. Pendulum<br />Bryan Chung<br />http://www.drjerryspeaks.com/i//Pendulum_movement.JPG<br />
  43. 43. Ben Laposky<br />Bryan Chung<br />
  44. 44. Pendulum drawings<br />Bryan Chung<br />
  45. 45. Pendulum drawings<br />Bryan Chung<br />
  46. 46. Two pendulums<br />Bryan Chung<br />
  47. 47. Gabriel Orozco<br />Bryan Chung<br />
  48. 48. Tennis ball drawing<br />Gabriel Orozco<br />
  49. 49. Ball drawings<br />Bryan Chung<br />
  50. 50. Particle system<br />Bryan Chung<br />
  51. 51. Findings<br />Bryan Chung<br />In these drawings, I cannot see the direct relation between my codes and the imagery.<br />
  52. 52. Complexity<br />Bryan Chung<br />I specify simple rules and let the codes unfold into complex imagery, that is, from simplicity to complexity.<br />
  53. 53. Complexity<br />Bryan Chung<br />Aesthetics of Complexity<br />
  54. 54. Sol Lewitt<br />Bryan Chung<br />
  55. 55. Sol Lewitt<br />Bryan Chung<br />
  56. 56. Sol Lewitt<br />Bryan Chung<br />THE LOCATION OF A CIRCLE<br />From the center of the square, draw a line halfway toward the upper right corner.<br />From the end of this line, draw a line to the midpoint of the right side.<br />A point halfway between the midpoint of the right side and the midpoint of the bottom side is the center of a circle.<br />The diameter is the length of line 1. Draw the circle.<br />
  57. 57. Conceptual art<br />Bryan Chung<br />Is it programming code?<br />
  58. 58. Phase two<br />Bryan Chung<br />Art-oriented programming<br />
  59. 59. More experiments<br />Bryan Chung<br />
  60. 60. More experiments<br />Bryan Chung<br />
  61. 61. More experiments<br />Bryan Chung<br />
  62. 62. More experiments<br />Bryan Chung<br />
  63. 63. More experiments<br />Bryan Chung<br />
  64. 64. More experiments<br />Bryan Chung<br />
  65. 65. More experiments<br />Bryan Chung<br />
  66. 66. More experiments<br />Bryan Chung<br />
  67. 67. More experiments<br />Bryan Chung<br />
  68. 68. More experiments<br />Bryan Chung<br />
  69. 69. Finding<br />Bryan Chung<br />Abstraction process<br />
  70. 70. Finding<br />Bryan Chung<br />I reduce the visual information of the original image into an abstract representation of colour strokes and patches.<br />
  71. 71. Finding<br />Bryan Chung<br />The process of abstraction is done in computer codes.<br />
  72. 72. Finding<br />Bryan Chung<br />Computer coding is an abstraction of our thinking process.<br />
  73. 73. Finding<br />Bryan Chung<br />Computer code is an abstraction of the visual imagery.<br />
  74. 74. Abstraction<br />Bryan Chung<br />Aesthetics of Abstraction<br />
  75. 75. Yoko Ono<br />Bryan Chung<br />
  76. 76. Harold Cohen – Aaron <br />Bryan Chung<br />
  77. 77. Question<br />Bryan Chung<br />Code as score?<br />
  78. 78. Software Structure – Casey Reas<br />Bryan Chung<br />Whitney Museum commissioned project<br />A surface filled with one hundred medium-to-small sized circles. Each circle has a different size and direction, but moves at the same slow rate. Display:<br />The instantaneous interactions of the circles<br />The aggregate intersections of the circles <br />
  79. 79. Software Structure – Casey Reas<br />Bryan Chung<br />
  80. 80. Score structure<br />Bryan Chung<br />I need to have a framework/structure of the score for the drawings.<br />
  81. 81. Score structure<br />Bryan Chung<br />Generator<br />Variation<br />Force<br />Repetition<br />
  82. 82. Pendulum again<br />Bryan Chung<br />http://www.drjerryspeaks.com/i//Pendulum_movement.JPG<br />
  83. 83. Score structure<br />Bryan Chung<br />r1*cos(radians(angle2)) - r2*sin(radians(angle1));<br />r2*sin(radians(angle1)) + r1*cos(radians(angle2));<br />
  84. 84. Proposal<br />Bryan Chung<br />Let the audience participate in process.<br />
  85. 85. Proposal<br />Bryan Chung<br />Interactivity<br />
  86. 86. The worlds of interactivity<br />Bryan Chung<br />Reactive world<br />Performative world<br />Expressive world<br />Collaborative world<br />
  87. 87. Human Being and Moving Images<br />Bryan Chung<br />
  88. 88. Y2K and the Millennium Butterflies<br />Hung Keung<br />
  89. 89. Small Fish<br />Munch & Fujihata<br />
  90. 90. Tap, Type, Write<br />John Maeda<br />
  91. 91. Action painting<br />Jackson Pollock<br />
  92. 92. Experiments<br />Bryan Chung<br />
  93. 93. Experiments<br />Bryan Chung<br />
  94. 94. Experiments<br />Bryan Chung<br />
  95. 95. I Second that e-Motion<br />Bryan Chung<br />
  96. 96. Oval with Pendulum<br />Gabriel Orozco<br />
  97. 97. Installation plan<br />Bryan Chung<br />
  98. 98. Installation plan<br />Bryan Chung<br />
  99. 99. Conclusion<br />Bryan Chung<br />Aesthetics of software art<br />Abstraction and complexity – Lev Manovich<br />Generative process<br />Emergence<br />
  100. 100. Conclusion<br />Bryan Chung<br />Aesthetics of interactive art<br />Mimic the physical world as reactive simulation<br />Performance as implementation of a score<br />Expressing as embodied performance of the creative process<br />Participating as construction of the collaborative situation<br />
  101. 101. Conclusion<br />Bryan Chung<br />Contemporary art context<br />Conceptual art<br />Fluxus – happening, instruction art<br />Participatory art<br />
  102. 102. Conclusion<br />Bryan Chung<br />Future directions<br />Omni presence of software<br />Visible and invisible interface<br />Social media for interactivity<br />
  103. 103. Q&A<br />Bryan Chung<br />Questions<br />Thank you<br />

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