Hardcore Gaming has a piece on an early 80’s Japanese computer game which transformed an early Turing Test bot into a NSFW companion. There is also something to be said of the graphics for their minimal aesthetic (which I like):
In 1966, Joseph Weizenbaum published ELIZA, a computer program that was meant to replicate human conversation. In its most famous implementation, ELIZA acts as a psychologist, asking the user assorted questions, and then using the responses to formulate further questions.
In 1984, Kogago developed (and ASCII published) Emmy: The Funny Game, released for the Japanese PC8001 computer. It too mimics human conversation, except there’s a visible representation of a girl. The goal is to get her to take her clothes off.
The parser and response is incredibly simplistic, compared to even the earliest implementations of Eliza. If you say things she likes, she’ll react positively. If you say something she doesn’t like or doesn’t understand, she’ll react negatively. Occasionally she’ll take note of the things you say and repeat them back. Sometimes she just sits there and giggles. If you manage to make her happy, eventually her image changes, slowly removing her clothes. If you irritate her, she’ll show you the door and dump you at the command line. If you have a printer, you can have it print out a record of your little chat.
The article goes on to discuss it’s sequel (there are NSFW graphics as well) which you can read here
Art project by Benjamin Grosser utilizes computer vision and tracking to visualize points of interest, demonstrated with six popular films. The gifs above are speeded-up versions of The Matrix (top) and 2001: A Space Odyssey (bottom):
Computers Watching Movies shows what a computational system sees when it watches the same films that we do. The work illustrates this vision as a series of temporal sketches, where the sketching process is presented in synchronized time with the audio from the original clip. Viewers are provoked to ask how computer vision differs from their own human vision, and what that difference reveals about our culturally-developed ways of looking. Why do we watch what we watch when we watch it? Will a system without our sense of narrative or historical patterns of vision watch the same things?
Computers Watching Movies was computationally produced using software written by the artist. This software uses computer vision algorithms and artificial intelligence routines to give the system some degree of agency, allowing it to decide what it watches and what it does not. Six well-known clips from popular films are used in the work, enabling many viewers to draw upon their own visual memory of a scene when they watch it. The scenes are from the following movies: 2001: A Space Odyssey, American Beauty, Inception, Taxi Driver, The Matrix, and Annie Hall.
Below is an embedded video of the exhibition cut - you can see seperate parts at Benjamin’s website:
More information and videos can be found at Benjamin’s project page here
Youtuber Aussie50 demonstrates again what happens when you run a high current through a television screen, in itself a great spectacle and could be considered Self-Destructive Art - video embedded below:
The video is quite long but has the visual allure of a campfire.
High Voltage Rocks and Rolls :D Not for amateurs tho, this is dangerous, do not try at home!
Not new, but I have to admire the data aesthetic in this open-world GTA-with-hacking … plus … there is a scene in a digital art gallery so couldn’t resist (6 minutes into the video below) - superb motion work as well:
A lot of talk has become of this topic amongst the tech and art worlds, and I have to confess it has been interesting to see the reaction on the topic. Something about “The New Aesthetic” ideas and discussions, for me, have been on my mind for a little while, and thought I would put them down. I’m certainly no academic and perfectly happy to be corrected if wrong (or to be completely ignored!), and I’m sure that the world doesn’t need another piece written about it. Anyway, if you are interested, carry on below …
Many of those interested in glitch aesthetics are familiar with the act of circuit bending - while running an electronic device (such as an old games console), apply contact to the circuitry to affect the data output (which could be audio or visual).
This has usually been experimented with old 8-bit / 16-bit gaming consoles such as the NES and the Sega Megadrive / Genesis, but up to this point it is hard to think of an example with the following generations of gaming hardware which were designed for 3D graphics. Due to the limitations of the earlier machines, the output was with 2D graphics and unsophisticated sound.
Had no plans of getting in to the gaming mods. I figured it was a pretty well charted and explored field. It wasn’t until I found my beloved model one Sega Saturn in grannie’s attic that I thought, “my old friend, i wonder what secrets you keep.” A little internet research (not the end all be all, I know) led me to realize that there isn’t much next generation gaming bends being explored out there. If there is then people aren’t posting it. Even the Playstation, seen in Goodwill stacks the world over, seems to have eluded the recent wave of electronic curiosity.
Upon opening the Saturn I found out why. It’s a very complex machine with very tiny components. One would need tweezers and a microscope to get anywhere with this thing (sound familiar? hehe). That’s the problem with modern circuitry, it’s all so goddamn mini. Mini, yes, but I would argue that it’s mythic there has been an increase in stability. Electronics that generate graphics will freak the f**k out if you hit ‘em just right regardless of whether they are from 2011 or 1991.
There are some great audio and video examples - here is my favourite, a glitchy Virtua Fighters example with crazy Ganz Graf-like reactive and unpredicatble polygons:
Also, here is another which is like a crazy polygon collage:
Sci-Fi-O-Rama takes a look at the aesthetics of 3D 8 and 16 bit games of yesteryear:
Sci-Fi-O-Rama presents an analysis and artistic appreciation of five pioneering 8-bit and 16-bit computer games.
The era is the mid to late 80′s, a period fabulously rich in gaming concepts and innovation as developers frantically sought to grasp, harness and subsequently wring every last nanogram of creativity from the available platforms of the day. Each title here contained – for the time – an array of groundbreaking ideas and technologies. What else connects them? well of course I played them way back when and thus they are in some way or another forever burned into the hazy mists of my subconscious.
I’ve been mulling over this one for a while but wasn’t sure quite how to start, hence the recent posting log jam. I wanted to compose an extended retro game feature, but not just to give a rose tinted review of gameplay or mechanics. Here then is a more focused look at the visuals themselves, what fascinated back then and what us still so beautiful and relevant today, 2012.
Glitchr, the Facebook page that exploits bugs and errors within Facebook to create glitch aesthetics, demonstrates how it is possible to have small animated GIF files played within a post. Facebook doesn’t support the GIF format, so it is interesting to see it appear.
The file has to be incredibly small (38 kb, 130 x 98 pixels), and relabeled as an .mp3 file.
Online GIF Art site bubblebyte.org presents a collection of animations which looks at the aesthetics of interface interactions, here with Google Sketchup:
Instructors, the artist’s first solo show at bubblebyte.org, follows the research on imperceptible variations and takes the form of an on-line series of semi-autonomous 3D animations created exclusively for bubblebyte.org. The series adds to the artist’s personal web diagrams collection and functions as an extension of his site-specific and gallery work.