Janell Baxter > work > generative art
bios.02
2010-09-02bios.02 (portraits created from an application's misguided but perhaps well intentioned algorithmic analysis)
In exploring the translation of content from one medium to another (for example, text to visuals), and the serendipity that can result from the process, this application ("bios.02") reads biographical data and interprets it visually. In attempting to visualize someone based on text in their biography, the application applies a set of rules; it evaluates each person based on information collected from their "bio" on the Interactive Arts and Media website. Averaging the length of all the biographies provides a guideline for determining those who are more or less verbose. It also calculates the number of words that are eight characters or longer; these are words that it doesn't yet "know", so it is biased towards those who have a large amount of these "interesting" words. The bias has less to do with actual content as with arbitrary rules. For example the size of the head shape that it draws of a person who has used words containing eight or more characters is larger. Since the application does not know words that are eight characters or longer it doesn't understand the meaning of those words, whether or not they are spelled correctly, or if they are in fact real words. It is merely "fascinated" with words that exceed a specific character length. The images are labeled with one of the the longer words from the biography text with the person's name in parenthesis. Each iteration produces a slightly different result; there are a range of choices that the application can make as it reads through the text and begins to form the image (it has also analyzed several paintings I have made and uses parts of them for the new imagery - depending on how it is interpreting the biography text). For those who know the subject of the portrait, abstracting out a single word from a biography and pairing it with the person's name can form an insightful connection, an ironic twist, or perhaps simply give one word from so many an unjust weight.
bios
2010-02-12In exploring the translation of content from one medium to another (for example, text to visuals), and the serendipity that can result from the process, this application ("bios") reads biographical data and interprets it visually. The anthropomorphic description: Portraits created from an application's misguided but perhaps well intentioned algorithmic analysis. In attempting to visualize someone based on text in their biography, the application applies a set of rules; it evaluates each person based on information collected from their "bio" on the Interactive Arts and Media website. Averaging the length of all the biographies provides a guideline for determining those who are more or less verbose. It also calculates the number of words that are eight characters or longer; these are words that it doesn't yet "know", so it is biased towards those who have a large amount of these "interesting" words. The bias has less to do with actual content as with arbitrary rules. For example the font choice is more ornate when the person has used words containing eight or more characters. Since the application does not "know" words that are eight characters or longer it doesn't understand the meaning of those words, whether or not they are spelled correctly, or if they are in fact real words. It is merely "fascinated" with words that exceed a specific character length. The images are labeled with the biography subject's name, and either titled with a word from the text, or untitled if the material doesn't meet certain criteria. Each iteration produces a slightly different result; there are a range of choices that the application can make as it reads through the text and begins to form the image. For those who know the person, abstracting out a single word from a biography and pairing it with the person's name can form an insightful connection, an ironic twist, or perhaps simply give one word from so many an unjust weight.
yen (Burning Life)
2008-09-29yen (Burning Life) is an interactive sculpture inspired by Heian Jingu shrine in Kyoto, Japan. In the shrine was a tree that had so many fortune papers tied to it that it appeared to be full of white blooms; fortunes that were undesirable were tied to the tree in the hopes that bad fortune would stay at the shrine. This hope for better fortune transformed the bare tree, and the multitude of strands a reminder of how many visitors prayed for improved lives.The installation in Second Life was part of the Burning Life festival (September 27 - October 5, 2008) and is a sculpted tree that began with blank strands flowing from its branches. As people touched the strands, the strands transformed and were no longer blank. The name of the avatar (person) was added to a database and the strand was renamed after that person. This piece is a continuation of a series titled "yen" incorporating photographs of Japanese shrines and gardens taken in Japan (from Meiji Jingu, Senso-Ji, and Chingodo-Ji in Tokyo, and Heian Jingu in Kyoto, June 2008).Technical information: Built with 3D models (Maya and Second Life), PHP, SQL/MySQL, LSL, and original photographs used as textures.
yen (application)
2008-09-29A generative piece exploring order and random; random photographs of a Japanese shrine and garden (from Meiji Jingu, Senso-Ji, or Chingodo-Ji in Tokyo, or Heian Jingu in Kyoto) are used as the basis for each iteration. As the work attempts to create a greater verisimilitude, random elements disrupt the process. A balance is achieved as the piece evolves. Steps in the application's process have also been saved out as frames for a video collaboration with Dr. Joseph Cancellaro. More information about the collaborative video is also online.Technical information: Built with Processing (Java based authoring environment), and uses original photographs as source images.
yen (video)
2008-09-30Images generated by the yen application serve as frames in a collaborative video with Dr. Joseph Cancellaro. Technical information: Built with Processing (Java based authoring environment), original music (Dr. Joseph Cancellaro), and uses original photographs as source images.
entInt.5t
2008-01-09"When your mind becomes obsessed with anything, it will filter everything else out and find examples of that thing everywhere." -Sol, (Pi by Darren Aranofsky) These are images produced by the application entInt.5t - a command line application written in C#. When entInt.5t finds "meaning" in an image it holds onto it and adds that to the next image it sees. Meaning "travels" from one image to the next; memory of previous meaningful encounters clouds future experiences. Images from this series were shown at COMA 16: Roam (January 2008, Chicago). Technical information: Built with C# (command line application), and uses original photographs as source images.
entInt.3
2007-08-22These are images produced by the application entInt.3 - a command line application written in C#. entInt.3 searches for a broader sense of meaning than previous versions (entInt.2, entInt.1 and entDFP). If the search is successful, the application considers the image to have meaning and will produce a generative work titled after what it thinks the source image is primarily about. Prints from entInt.3 were in Gallery Art Portfolios at The Project Room, Koscielak Gallery (April 2008, Chicago) and the application entInt.3 and a photograph were in COMA 12 (June 2007, Chicago).
entInt.2
2007-04-23These are images produced by the application entInt.2 - a command line application written in C#. entInt.2 uses as source images portraits taken of strangers on the street without their consent. However the application believes the images hold consent to make derivative works. The application looks for what it thinks of as consent. It searches the translation of a source image for the word "yes". If the search is successful, the application considers the image to contain consent. If consent is found, a generative work is produced. The greater the amount of consent the application believes the image to hold, the greater the liberty it will take in creating the new work. Images from this series were shown at Koscielak Gallery Chicago, April 18 - 25, 2008, as part of "The Project Room".
