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There is something magical about experiencing art in person. Walking through a gallery or museum, observing the brushstrokes, textures, and colors up close, and feeling the energy emanating from each piece is an irreplaceable experience.
That still works for digital pieces.
Real-life exhibitions create a tangible connection between the artist and the viewer, allowing us to fully appreciate the art in all its glory. But Responsive Dreams is different, paying tribute to our name, users of our exhibition will not just be observing the art; they will be also engaging with it.
To fully understand generative art we must interact with the art, move around it, examining it from different angles, playing with it. This immersive experience allows us to fully comprehend the artist’s intentions and appreciate the intricacies of their work.
Responsive Dreams exhibition will provide a space for dialogue and discussion between the artist and the audience. Visitors can engage with the artist, ask questions, and gain insights into the creative process. This interaction creates a sense of community around the art and fosters a deeper appreciation for it.
Answering what responsive art means is not an easy task. At TGAM we believe that he best way to understand it is to experience it, but how can it be described? We asked our featured artists (, , , , and ) to give their vision about it.
"For me, Responsive Art allows artists to go beyond the traditional limitations of static art and explore new possibilities. By incorporating technology, responsive art allows for infinite variations and iterations, creating an ever-evolving artwork that can adapt to different contexts and environments.
Responsive art create a new form of artistic expression that is both innovative and engaging. Unlike traditional static art, responsive art is not limited to the canvas or the physical space of the artwork.
It can exist in various forms such as installations, projections, sculptures, and performances. The use of technology allows for the creation of artworks that are immersive, multisensory, and can transform the environment in which they are exhibited."
Andy Duboc was born in Paris, France, and is a generative artist with a focus on minimalism, movement, light, and color. With a strong background in computer science, Andy’s creative journey has been shaped by his deep curiosity and passion for exploring the possibilities of generative art. His work is driven by a desire to create visual experiences that challenge our perceptions and invite us to see the world in new and exciting ways.
"I understand the assignment of responsive art as an exercise on sustainability and preservation. Anyone that has developed software knows how fragile digital matter is to technological evolution and obsolescence.
As digital art evolves, we need to increase our focus on longevity, that’s where considering the canvas or support as a living and evolving structure comes to play. Not only hardware will evolve to become faster, more efficient, and more capable, but also displays will grow larger with the capacity to display more pixels and consequently more detail. I not only see this interplay with evolution as an exercise on preservation but an open dialogue with progress and time.
In my piece, I’ll be exploring how the canvas can become an infinite region, being the ‘screen’ or display, an arbitrary frame that captures a limited part of that region. Each of these regions will have the capacity of being framed at any resolution or aspect ratio which, along with its deterministic randomness, has the potential for the artwork to grow indefinitely both in space and in time."
Santiago was born in Barcelona, Spain, in the heyday of personal computing and the emergence of video games. This coincidence of biography and cultural evolution led to his fascination with technologically derived aesthetics. Santiago’s work utilizes code as a creative driver. He employs mathematical principles, physic simulations, genetic algorithms, and AI to manipulate machine-interpretable routines. synthetic nature, relation to society, and role in the evolution of the human species.
"The definition of generative responsive art for me is two-fold.
Firstly, it involves creating art that is responsive to the screen size or viewing window on which it is presented, taking into consideration the visual impact and composition within that specific context. The artwork may be programmed to adapt and transform based on various factors such as screen size, aspect ratio, or orientation, creating a visually compelling experience that is tailored to the specific viewing environment.
Secondly, generative responsive art is responsive to the person viewing it, unfolding in a manner that is unique to their presence or activity. It goes beyond the visual aesthetics and engages the viewer on a deeper level by blurring the boundary between the artwork and the viewer, creating a dynamic and participatory relationship between the two.
Generative responsive art is an exciting and evolving field that pushes the boundaries of traditional art forms, combining technology, design, and interactivity to create immersive and engaging experiences. It challenges the conventional notions of art as a static object, inviting the viewer to actively engage with the artwork and become an integral part of the creative process."
Udit Mahajan is an engineer turned artist and designer. Back in 2013, he decided to make a switch from working as an electrical engineer to pursue a career in art and design. Udit works with diverse institutions, labs, and friends, on projects ranging from large-scale experiential installations to personal and collaborative artworks. His art practice involves generative technological experiments to formulate and present ideas, often inspired by nature and perception.
"responsive (generative) art delves into the intrinsic characteristics of browsers and web pages as its medium. inherently adapting to all devices or screen types. web3 has allowed a standardized form to explore, share and create (responsive) generative art, with responsiveness at its core. it’s become an artistic expression where realtime, dynamic and evolving artworks can exist with their seed securely stored on blockchain, ensuring its deterministic reproducibility across all devices.
my work explores video generation from its minimal core, using hydra-videosynth, playfully crafting complex self-modulating feedback systems where pixel patterns emerge. then combining multiples of these pixel patterns through blending modes and displacement effects, emerging even more complex patterns and trajectories. as a modular environment, hydra can be responsive to more than the dimensions of the canvas, but to the own patterns that emerge from these dimensions, revealing a hidden layer of responsiveness, as each device will emerge its own patterns, textures and trajectories."
lilcode (Sebastian Rojas) is videosynthesist from Chile having fun with pixels and generative systems. Viscerally exploring modular synthesis and handcrafting emergent patterns, his works incorporates astonishing animations that resonates with nature and physics. Embodying a feedback loop for imagining ways to visualize new systems, Sebas is part of duo @hypereikon with @aster1ai, producing collaborations that combines music and other artistic experimentations using technology.
"From a technical standpoint, my view of graphically responsive art is something that adapts and reacts. By adapting I mean that the artwork should be able to fill the space provided on any type of screen it is displayed on. Stemming from my career in WebGL, I also feel that ideally, the responsiveness would also extend to accommodate dynamic changes in screen size, such as when a browser window is resized.
The underlying requirement for responsiveness meaning something reactive (by my definition) is for the art to be constantly rendered, rather than being a static piece of art. This allows for the addition of interactive elements which the viewers can influence and interact with, adding an extra layer of engagement and creativity.
From a conceptual perspective, I believe that responsive art is something that calls for interactivity. It should awaken the inner child that resides within all of us, and encourage playfulness. By doing that, responsive art has the potential to be an incredibly powerful and immersive experience for the viewers."
Shaderism (Arttu Koskela) is a creative coder and developer from Finland. He began his career in visual effects, creating FX simulations for multiple award-winning adverts before pivoting towards real-time graphics. Drawing on his professional background and a passion for music and sound technology, his artistic medium revolves around creating interactive and generative real-time art. His works incorporate physics simulations and generative musical instruments exploring playfulness and self-reflection.
"My understanding of responsive art has been largely shaped by my earlier artistic experiences, including studies in architecture, my position at the Faculty of Architecture at BUT, and my work in scenography and installation productions. These experiences have greatly influenced how I think about this aspect of digital art.
Spatial experiences have taught me that everything exists in context. Although the idea of the white cube as a place of exhibition tries to reduce the impact of the environment on the perception of art, the size of the room and available space will still determine the reception of the artwork to some extent. Moreover, the physical path to the artwork and the experience before the exhibition, the journey so to speak, can also affect the final reception.
Digital art appears in various contexts, often very diverse or even those that we would prefer to avoid. When artists publish their work, they lose some influence on whether their work will appear in the context of foreign elements, interfaces, in what quality, and with what fidelity it will be displayed. This may seem like an objectionable experience, as the work may be poorly received due to colours, deformations, cropping, or distracting surroundings. However, limitations can become challenges and inspire artists to seek solutions.
Responsiveness derives directly from the programming approach to the multiplicity of devices offered by modern times. From small phone screens, through private computer monitors and televisions, to large-scale projections, responsive art seeks answers to the diversity of contexts, associations, and meanings. It is worth remembering that the scale affects not only perception, but also associations and meanings. It encourages artists to test their work in different configurations and to prepare it to appear on a given screen.
Responsive art can address various topics. The most obvious one is aspect ratio agnosticism - adapting the image to different resolutions and screen ratios, an elementary yet useful property. Thanks to this, presentations with foreign elements such as frames, interface elements, and unnecessary white space are avoided. Adjusting the display method can change perception - allowing the work to be viewed in portrait, landscape, or 1:1 mode, while giving a certain context and influencing the meaning.
In certain situations, the aforementioned change may directly affect the displayed details. I’m thinking here of phenomena directly related to the Cartesian plane. In the case of objects whose properties are based on the coordinate system, the behaviour of the same work may change and react to the available space. The general visual characteristic will remain similar, but details and/or behaviour may vary drastically depending on the screen ratio.
In summary, I perceive responsive generative art as both a reaction to the multitude of display forms and diverse contexts in which art appears, and as a conscious tool for the artist to expand and enrich their work with new meanings depending on the anticipated context."
Paweł Dudko (b.1987) is an active creator in the area of interactive and generative art with the use of 3D printing, often on the verge of virtual and physical reality. Author of spatial installations, multimedia, photography, and scenography. Paweł holds a PhD in Arts and MSc Eng in Architecture. In the years 2012- 22, he was a researcher and lecturer at the Faculty of Architecture of the Białystok University of Technology.
The Generative Art Museum (TGAM) is a project dedicated to celebrate and promulgate art made by autonomous systems (non-human) that can independently create artwork.
TGAM is an evolving idea that will challenge our preconception of experiencing, collecting and sharing art. Our goal is to participate in this new era by supporting generative artists in every sense. We will schedule four exhibitions a year: Spring, Summer, Autumn and Winter.
Our goal is simple: to spread the word about generative art in all shapes and forms. We embrace any piece where humans interact with automated tools to create unique pieces.
Blockchain has created the perfect playground for a digital renaissance: affordable computers and easy-to-use scripting tools are the icing on the cake for a revolution in the generative art like the world has never seen before. And we are here to talk about it and share this exciting journey.
