You would measure time the measureless and the immeasurable.
You would adjust your conduct and even direct the course of your spirit according to hours and seasons. Of time you would make a stream upon whose bank you would sit and watch its flowing. - Kahlil Gibran
Algorithms only really come alive in the temporal time-frames that they move through. Their existence depends on being able to move freely along time's arrow, unfolding and expanding out in to the universe, or reversing themselves backwards into a finite point. Every form and structure that the universe creates is the result of a single step along that pathway and we're only ever observing it at a single moment. Those geological steps can take millions of years to unfold and we can only ever really look back and see the steps that happened before we chose to observe them. Computational algorithms break down that slow dripping of nature's possibilities and allow us to become time-travellers, stepping into any point that we choose to.
Paul Prudence is a performer and installation artist who works with computational, algorithmic and generative environments, developing ways to reflect his interest in patterns, nature and the mid-way point between scientific research and artistic pursuit. The outputs from this research are near cinematic, audio-visual events. Prudence's creative work, and his blog, Dataisnature (kept since October 2004), explores a number of creative potentials as well as documentating the creative and scientific research work of others that he finds of interest. As the blog's bio states:
"Dataisnature’s interest in process is far and wide reaching – it may also include posts on visual music, parametric architecture, computational archaeology, psychogeography and cartography, experimental musical notational, utopian constructs, visionary divination systems and counter cultural systems."
Paul himself feels Dataisnature, and his other blogs, are by their very nature ordering systems, trying to create some kind of structure on information. "Yes, it's true [that they are ordering systems], but the ordering is sometimes a little bit oblique. I am not interested in ordering systems such as categories or tags, for example, as each blog post has the potential to generate many of its own categories."
The blog and perhaps all blogs, shouldn't be an end in themselves then? Should they be a starting point for a deeper investigation? "Well, I'm more interested in substrate and sedimentary structuring – specific fields existing in layers and sometimes overlapping and interacting rhizomatically."
Blogging for Paul and many bloggers who don't operate within the 'monetization of blogging' sphere that has grown up in the past few years could almost be considered a documentation and ordering process for the creative process. The process and interaction between the theory and the blog as textual artefact becomes quite complex. As does the theory and creative output of the blogger. Paul would argue that this isn't always something that can be even as straightforward as theory to practice though.
"The posts at Dataisnature are not confined to theoretical relationships between art and science projects, but also take into account metaphorical ones. I never wanted the posts to be so pinned down that they disable the opportunity to make entirely new connections at any level."
So the chance to see what happens inbetween strict disciplines and an openness to the potentials that may arise out of relaxing the barriers? Shouldn't that be the way that everything else that is 'not of academia' operates anyway? And for that matter, outside of the possibilities of arts/science/research funding.
"I applied the term 'recreational research' to Dataisnature in its early days," Paul explains. "This is still to some degree important – the notion that research doesn't have to be tied down by the prospect of peer review or academic formatting. This kind of interdisciplinary research can be highly addictive – its the new sport of the internet age. It can generate blogs that become chaotic repositories of interconnectedness – linearity becomes infected with cut-up and collage. In my own mind I have an idea of what Dataisnature is trying to say but I get people approaching me with completely different, and amusing theories of what they believe the blog is about."
In digital arts (or let us call it digital creativity, to avoid the complexity of art versus design versus technology) the breakdown between the equipment used and the research of the creator has become almost at times indistinguishable. A painter is often only one step away from being a chemist, a sculptor closer to an engineer than a painter. The tools used define and form some of the output. Digital creativity only makes this more implicit. So when using technologies and researching, the scientist and the creative often walk hand-in-hand towards the finished artefact. As Prudence says: "Collaboration among artists and scientists exists through time as well as space."
"A great part of an artist's task is to be a researcher. It's important to remember that any idea you have has already been tackled in the past with a different (want to avoid the term lesser) technology."
The blogging process offers a chance to gather information and allow some of the artist's own influences and present interests to manifest themselves into a rough-hewn structure. "For me, blogging facilitates a medium for an archaeology of aesthetics, technology and conceptuality. All this fragmented information is gathered then reconstituted, and fed back into the artistic practice. Of course my personal work blog is more about supplying supplementary material to anyone interested in my work."
Taking an arguably typical example of Paul Prudence's work, for example Structure-M11, the sense of a becoming and developing is in the way it attempts to reconnect with what (for want of a better phrase) could possibly be called our lost industrial heritage.
Looking through Prudence's flickr stream documenting the research trip, there are numerous industrial landscapes empty of human life, where only the machines have been allowed to remain, static and poised, ready to begin work again. If only someone would employ them. These machines perform simple tasks, but they do it elegantly, time after time after time, never complaining and never asking for any recognition. Perhaps that's why it is so easy to abandon them? And these machines are not only a monument to the way we discard unwanted technologies, they also reflect the changing fortunes of the town as it has moved from production-based economy to one centred mainly on tourism and smaller businesses. It is fitting in a way that the soundscapes and visuals that Prudence has brought to life from these landscapes have such a contemporary, sci-fi industrial feel to them. As though the clean, slick lines and geometric perfection had emerged, phoenix-like, from the unbearably hot, oil soaked environments of the factories and the monotonous repetition of working within them.
The soundtrack that accompanies the performance was made from field recordings at the site. From these, Prudence generated real-time visuals that reflected some of the sonic activations and echoes throughout these landscapes. The final pieces look like 'robotic origami contraptions.' The steady throb and crash of the audio reflects the repetition of the machine and its operator's lives while also suggesting some of the dehumanising effects working in a factory can have on a person. There's also the beauty, of course, if you shift your own perception a few degrees away from the machines, there is always a window looking out at a natural landscape. And those same slick, geometric shapes of the machines begin to reflect some of the elegance of the world of nature. Nature, like humanity, loves to repeat itself infinitely until something breaks that pattern. Isn't that a fundamental part of mutation and evolution? Structure-M11 seems to be constantly mutating and growing new rhizomes, but nothing complete ever emerges. Paul Prudence's work isn't here to save us from the monotony of the machines though, its task is to remind us of how important nature is to our lives, no matter how entangled in the machine those lives may begin to feel.
Prudence's interest in the natural spaces emerges from his own theory-based interests. As he says, "My interest in generative systems and procedural-based methodologies in art lead to a way of seeing landscape formations and geological artefacts as a result of 'earth-based' computations."
"The pattern recognition part of the brain draws analogies between spatio-temporal systems found in nature and ones found in computational domains – they share similar patterns. I began to think of the forms found in natural spaces more and more in terms of the aeolian protocols, metamorphic algorithms and hydrodynamic computations that created them."
"Some of these pan-computational routines run their course over millions of years, some are over in a microsecond, yet the patterns generated can be amazingly similar. I like the fact that when I go walking in mountains my mind switches to [the] subject of process, computation and doWhile() loops inspired by the geological formations I come across."
This connection and flowing from one space to the other, gives the viewer the feeling that they recognise the shapes and patterns from something they've seen before. Attending a performance of Prudence's work might make you feel as though you've been to one already. But it's just the reconnection of interconnection that you'd be experiencing. And that's always a good place to start, when experiencing any artwork, isn't it?
21 Sept 2012
Scopitone Festival, Nantes, France.
24 Sept 2012
Immerge @ SHO-ZYG, London
17-25 October 2012
VVVV Visual Music Workshops at at Playgrounds 2012, National Taipei University of Art, Taipei & National Museum of Art, Taichung, Taiwan