MAT Seminar Series 2024 • 2025
Fall 2024
Abstract
This presentation will begin with an overview of artificial intelligence (AI), covering its fundamental concepts and evolution. The discussion will then explore how artists, designers, and architects have started to integrate AI into their respective fields.
Bio
Sandra Manninger is an Associate Professor at the School of Architecture + Design at the New York Institute of Technology and the Co-Founder | Director of the Architecture + Artificial Intelligence Laboratory (AR2ILab).
Sandra Manninger's research focuses on exploring architecture as a representation of the social, cultural, political, mathematical, and physical forces that shape our environment. She engages with technologies not just as design tools but as instruments that uncover and reveal the underlying structures that constitute our world.
Sandra Manninger has taught internationally, and her award-winning projects have been published and exhibited, for example, at La Biennale di Venezia 14/16/18/21, the MAK, the Autodesk Pier 1 and have been included in the permanent collections of the FRAC Centre-Val de Loire, The Design Museum/Die Neue Sammlung in Munich, or the Albertina in Vienna.
SPAN, consisting of Dr. Matias del Campo and Dr Sandra Manninger is a team of architects from Vienna, Austria. Their architecture is characterized by a combination of advanced techniques and philosophical inquiry interrogating the ontological and epistemological framework that produces a paradigm concerned with advanced technology as an agent of culture. The work covers the range from text, installations, industrial design to buildings and urban concepts. The diverse oeuvre can be found in public collections as well as in private collections. In 2014, Matias del Campo and Sandra Manninger accepted the call from the University of Michigan to join the faculty of Taubman College. In close cooperation with the Faculties of Robotics and Computer Science at the University of Michigan, SPAN developed new design methods for architecture based on Artificial Intelligence. The Robot Garden for Michigan Robotics is the first built project using Generative Adversarial Networks (GAN’s) as a design method.
www.instagram.com/sandramanninger_studio
See video recording of the talk here
Abstract
Geometric Patterns have a long tradition dating back to early antiquity. Each motif steeped in the annals of time is a cipher, unlocking the secrets of civilizations that once mapped the heavens into their architecture. These patterns are not mere ornamentation, but the mathematical heartbeat of cultures, echoing the fundamental truths of geometry, the circle, the triangle, and the square. The widespread use of everyday mathematics in the period also facilitated the increase of the competence of artists with high skills in abstracting visual content. Today, various methods are used to create such complex shapes faithful to their original representations. In this presentation, I wish to make the connections, shrouded in the mist between the past's geometric art and the present's generative art visible by utilizing creative coding methods.
Bio
Selçuk ARTUT’s artistic research and production focus on the theoretical and practical dimensions of human-technology relations. Artut’s artworks have been exhibited at Sonar Istanbul, ISEA, AKM Istanbul, Siggraph, Dystopie Sound Art Festival Berlin, Moving Image New York, Art London, ICA London, Art Hong Kong, Istanbul Biennale, and received coverage at Artsy, Creative Applications, CoDesign, Visual Complexity, and CNN GO. He holds a Ph.D. in Media and Communications from the European Graduate School, in Switzerland.
An author of seven books and an editor of one, Artut is an Associate Professor at the Visual Arts and Visual Communication Design Program Sabanci University, Istanbul where he mainly teaches courses at the intersection of Art and Technology. He has been releasing several albums as a Post-Rock Avant-Garde music band Replikas member since 1998. In 2016, Artut founded an audio-visual performance duo named RAW which produces works through creative coding and live-coding techniques.
See video recording of the talk here
Abstract
Shana will present her work in video and performance while trying to parse how technology has informed her practice and the work of other contemporary video artists.
Bio
Shana Moulton is a California-born-and-based artist who works in video, performance, and installation. In 2002, Moulton began the video series Whispering Pines, in which she performs as Cynthia, an alter-ego searching for purpose and fulfillment through home decor, self-help paraphernalia, and cosmetic rituals. Moulton has had solo exhibitions at international institutions including Palais De Tokyo, Yerba Buena Center for the Arts, Kunsthaus Glarus, Art in General, and the New Museum. Her work has been featured in Artforum, the New York Times, Art in America, Flash Art, Hyperallergic, and Frieze, among others. Her single-channel videos are distributed by Electronic Arts Intermix.
As an INFJ (Introverted Intuitive Feeling Judging) (Myers-Briggs), Cynthia lives in a world of hidden meanings and is more interested in what is possible than what is actual. She prefers having a vivid imagination over having a strong hold on reality, and her supernormal intuition can take the form of visions or uncanny communications with certain individuals at a distance. Her ARTIST (Dominant Introvert Abstract Feeler) (Spark) aspect allows her to have a rich inner life that often turns the real world into a prison of foolishness and embarrassment. As a Type 4:Artist (Riso-Hudson), she enjoys probing topics like femininity, home decor, and spirituality with open-ended playfulness.
Abstract
In this talk, I will present my work in the area of graphical sound---the direct translation of sound into the visual domain. My specific area of interest is in curve generation. This domain of investigation has antecedent in early drawing machines, the geometric chuck, oscillography and, most recently, the computer which enables precise linking of sound and graphics. It is well-known that such systems are capable of producing an endless variety of highly complex and intriguing figures. However, the question of how to navigate this vast space is still pending. My interest in this area is one part exploration and one part organization. Specifically, I utilize harmonics as a building block as they are effective at describing symmetry, motion and visual complexity. From harmonics, higher-level constraints and organizing principles emerge. I will share my findings, both old and new, and speculate on possible future directions in this still nascent field.
Bio
Lance Putnam is a composer and researcher whose work crosses boundaries of sound, graphics, mathematics and computer science. He is currently a Lecturer in Computing at Goldsmiths, University of London where he teaches across the creative computing, computer science and games programs. He received his doctorate from the Media Art and Technology program at the University of California, Santa Barbara under the supervision of Dr. JoAnn Kuchera-Morin. His dissertation "The Harmonic Pattern Function: A Mathematical Model Integrating Synthesis of Sound Graphical Patterns" was selected for the Leonardo journal LABS 2016 top abstracts. While at UCSB, Lance was a member of the AlloSphere Research Group and played a key role in developing its software libraries and applications. He was named an Emerging Leader in Multimedia by the IBM Thomas J. Watson Research Center. Lance has presented his computer artworks at major international events such as Cyfest, New Scientist Live, ICMC, Ars Electronica, ISEA and ACM Siggraph.
Video work by Lance Putnam Cast of Kenas
See video recording of the talk here
Abstract
In this talk, I will look back at the different stages of my practice since graduating from the Media Art and Technology program, focusing on key artistic projects that involved collaboration and working across disciplines. Drawing on a series of inquiries into making with technology, I will provide insights into how these experiences have shaped my creative practice. I will further examine my role as an educator for the next generation of creatives, exploring how current technologies not only transform creative processes and imagination, but also guide future practitioners into new territories of artistic expression, application, and societal impact.
Bio
Andreas Schlegel is a Singapore-based artist and educator whose work explores the intersection of art, design, and technology. With a background in Media Arts and Technology from UCSB (2003), he has developed a practice rooted in creativity, experimentation, and computation. As a Senior Lecturer in the School of Design Communication at Lasalle College of the Arts, University of the Arts Singapore, Andreas has led the College's Media Lab, fostering an environment that blurs the lines between creative practice and current technologies. His emphasis on collaboration, interdisciplinarity, and practice-based approaches has shaped his research and teaching, guiding a new generation of artists and designers.
Andreas's artistic practice is characterized by its multifaceted nature, spanning multiple mediums including generative art, installation, performance, and audio-visual work. Since the early 2000s, his individual and collaborative works have been showcased and presented in local and international conferences, contemporary art spaces and museums. His passion for coding and computational art has driven initiatives such as Syntfarm, contributions to the Processing community since the early 2000s, and audio-visual performances with duo Electromagnetic Objects and trio Black Zenith. As an artist-researcher, Andreas develops works that blend making, computation and human-computer interaction to create artefacts, interactive installations and experiences that engage with our relationship to see machines and the environment.
Abstract
Against the background of a failing Modernity, I will show how my music theatre, sound art, and video works make use of aesthetic concepts from mediaeval Japan and East Asia. The focus will be on my works related to the non-human world, the interconnectedness of all things, and the meanings of ‘silence’. I will also talk about the fundamental rhythmic structure of nō theatre, how nō relates to aesthetics and philosophy, and how I have used nō structures in my contemporary practice. Throughout the talk I will illustrate with examples taken from my work, as well as selected contemporary composers and artists who have influenced my practice.
Bio
Daryl Jamieson (b.1980) is from Halifax, Nova Scotia. He studied at Wilfrid Laurier University with Glenn Buhr and Linda Catlin Smith, the Guildhall School of Music and Drama with Diana Burrell, and then with Nicola LeFanu at the University of York. He has lived in Japan since 2006, first studying under Jo Kondo at the Tokyo University of the Arts. He is currently an assistant professor of composition and aesthetics at Kyushu University, and his music is published by Da Vinci Edition, Osaka.
Jamieson's work explores time and place, and is heavily influenced by nō theatre and Japanese poetry. His earliest large-scale series is a trilogy of musical theatre pieces called Vanitas, which received the 2018 Toshi Ichiyanagi Contemporary Prize. In his citation, Ichiyanagi called the Vanitas Series 'an epic musical work of extraordinarily elegance and contemporary topical perspective'. Jamieson's other pieces include solo, chamber and orchestral works, and many songs. Since 2016 he has begun to incorporate field recordings into his work, particularly in his utamakura and Descants series. His music has been performed around the world by many artists, including the Quatuor Bozzini, the Thin Edge New Music Collective, Muromachi Ensemble, and Satoko Inoue.
He founded the intercultural musical theatre company Atelier Jaku in 2013. He is also active as a researcher, writing on aesthetics of the Kyoto School and Japanese philosophy, as well as contemporary music and spirituality. He has received grants and awards from the Canada Council for the Arts, among others.
Abstract
A central theme in New Media arts is the notion of the unexpected, that we seek to explore the creative boundaries of experimentation in art, science and engineering where they contribute to making cross-disciplinary impacts. With the advent of A.I. those boundaries have shifted, transforming the rules of production. This talk examines the dramatic shifts in the notion of the unexpected in every field and what it means to innovate in light of these changes. Through examples of bricolage in multiple fields, with both ad hoc and in-depth projects, I will demonstrate that new cultural meanings of creativity challenge the practice of New Media artists to redefine experimentation both more broadly and more dangerously.
Bio
Rama Karl Hoetzlein is a media artist and computer scientist working in the areas of knowledge systems, artificial intelligence and computer graphics. He received a BFA in Fine Arts and a BA in Computer Science from Cornell University with work in robotic sculpture, and a M.Sc. and Ph.D in Media Arts & Technology from the University of California Santa Barbara. His doctoral work explored novel interfaces for a visual internet, Quanta, and tools for creative procedural modeling. Rama has exhibited media art works internationally in Beijing, Geneve, Seattle, New York and Copenhagen. From 2013 to 2019, he was a Senior Engineer with NVIDIA and lead architect of GVDB Voxels, an open source framework for volumetric data in motion pictures, additive manufacturing and scientific visualization. From 2019 to 2023, Dr. Hoetzlein was Assistant Professor in animation at Florida Gulf Coast University and co-founder of the new Digital Media Design major. He is currently a professor in Interaction design (IxD) at the California College of the Arts in San Francisco.