Relazioni Emergenti

Relazioni Emergenti, 2000
image/jpeg
768 × 512

Relazioni Emergenti, 2000
image/jpeg
768 × 512

Relazioni Emergenti, 2000
image/jpeg
768 × 512

Relazioni Emergenti, 2000
image/jpeg
768 × 512

Relazioni Emergenti, 2000
image/jpeg
768 × 512

Relazioni Emergenti, 2000
image/jpeg
768 × 512

Relazioni Emergenti, 2000
image/jpeg
768 × 512

It is an environment of artificial life where the individuals, represented by graphics filaments, are endowed with own intelligence and character. They can interact, exchange information and reproduce. Through the mechanisms of genetic mutations, the population evolves developing progressively ability of adaptation. The emerging behavior is rendered as continuously new shapes and graphical patterns.

The installation consists in one retro-projected screen which represents the artificial life environment. In front of the screen the observers can interact with the artwork itself transmitting "energy and life" to specific zones of the environment. A video-camera detects the positions of the observers who transmit "energy and life" to the environment. The locations approached by the observer become zones of life germination.

Each filament is a bearer of a sound message and the sound strings are sent to a sound synthesizer. Mode and tonality of the sound generation is tied to the character of the individuals. The global result is an whole of parallel sonorities which progressively organize creating coherent sound architectures.

The main objective of the artwork is to build a metaphor of the world of the communication webs and the mechanisms of formation of "collective messages" and the new aesthetics. The work is grounded on the complexity theory and self-organization (Asbhi '62, Prigogine '70-'80, Kaufman '90) as a new area of interference between art and science. In this paradigm, complex systems constituted by multitude of individuals develop global behavioral properties on the base of local chaotic interactions (self-organization).

The results derived by these positions characterize the expressive elements as "emergent behaviors" or relationships between the artist, the artwork and the observers. In this sense the artificial world metaphor produces hypothesis for the real worlds. Starting from the idea that the individual context is the emerging own configuration of psychic fragments, the interaction between two or more individuals is revised as the interaction of two or more micro-societies.

The installation is able to produce a high level of structured complexity both in graphical images and acoustical tissue. In this sense the installation is a place where "metaphors" are generated. By translating the graphical phenotypes into the sound dimension and producing acoustical phenotypes, the self-organization is enhanced by the synchronic presence of the two media and completed in the mind of the observer. His perception is able to reconstruct the hidden order without to have a clear consciousness of it.

(source: www.plancton.com)