- Meredith Tromble is an intermedia artist and writer whose curiosity about the way imagination links with knowledge le... moreMeredith Tromble is an intermedia artist and writer whose curiosity about the way imagination links with knowledge led her to form collaborations with scientists in addition to making installations, drawings, and performances.edit
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... This is just one of the questions Dolores A. Hangan Steinman and David Steinman must consider when designing ... TOM DALE, ANTHONY DISCENZA, LAUREN KIRKMAN, FREDERICK LOOMIS, ELYSA LOZANO, INÊS REBELO, ALEXANDER UGAY AND ROMAN... more
... This is just one of the questions Dolores A. Hangan Steinman and David Steinman must consider when designing ... TOM DALE, ANTHONY DISCENZA, LAUREN KIRKMAN, FREDERICK LOOMIS, ELYSA LOZANO, INÊS REBELO, ALEXANDER UGAY AND ROMAN MASKALEV ...
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Co-direction avec Richard Phelan, Sylvie Mathé et Hélène Christo
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« Comment transformer l’histoire urbaine en art public : Amy Franceschini et les Victory Gardens de San Francisco » Réunissant art conceptuel, technologie numérique et jardinage, le « Victory Garden Project » initié par Amy Franceschini... more
« Comment transformer l’histoire urbaine en art public : Amy Franceschini et les Victory Gardens de San Francisco » Réunissant art conceptuel, technologie numérique et jardinage, le « Victory Garden Project » initié par Amy Franceschini est une oeuvre qui prend comme champ d’intervention toute la ville de San Francisco. Pour l’artiste, il s’agit d’une « utopie devenue réalisation-pilote qui transforme en zone de production alimentaire jardin-avant, arrière-cour, bac-à-fenêtre, toit et espace urbain en friche ». Tout en analysant le réseau symbolique incarné par les objets créés pour le projet, l’article de Meredith Tromble situe le travail de Franceschini dans le contexte des jardins patriotes en temps de guerre et aussi de l’histoire plus récente de la révolution technologique de San Francisco
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Research Interests: Computer Science and CAA
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What can art do for artificial intelligence? This essay circles around this question from a viewpoint grounded in the embodied knowledge base of contemporary art. The author employs the term “feelthink” to refer to the shifting webs of... more
What can art do for artificial intelligence? This essay circles around this question from a viewpoint grounded in the embodied knowledge base of contemporary art. The author employs the term “feelthink” to refer to the shifting webs of perception, emotion, thought, and action probed by artists engaging AI. Tracing several metaphors used by artists to consider AI, the author identifies points where the metaphors delaminate, pulling away from the phenomena to which they refer. The author advocates for these partial and imagistic understandings of AI as probes which, despite or because of their flaws, contribute important ideas for the development and cultural positioning of AI entities. The author further questions the limited scope of art ideas addressed in AI research and proposes a thought experiment in which art joins industry as a source of questions for developing artificial intelligences. In conclusion, the essay’s structuring metaphor is described as an example of “feelthink” ...
What can art do for artificial intelligence? This essay circles around this question from a viewpoint grounded in the embodied knowledge base of contemporary art. The author employs the term “feelthink” to refer to the shifting webs of... more
What can art do for artificial intelligence? This essay circles around this question from a viewpoint grounded in the embodied knowledge base of contemporary art. The author employs the term “feelthink” to refer to the shifting webs of perception, emotion, thought, and action probed by artists engaging AI. Tracing several metaphors used by artists to consider AI, the author identifies points where the metaphors delaminate, pulling away from the phenomena to which they refer. The author advocates for these partial and imagistic understandings of AI as probes which, despite or because of their flaws, contribute important ideas for the development and cultural positioning of AI entities. The author further questions the limited scope of art ideas addressed in AI research and proposes a thought experiment in which art joins industry as a source of questions for developing artificial intelligences. In conclusion, the essay’s structuring metaphor is described as an example of “feelthink” ...
Research Interests: Art and Architecture
Both an introduction to PUBLIC #59 and a rumination on the difficulty of interspecies communication, this essay argues for art and interspecies communication as means of building mental and emotional qualities useful for re-imagining... more
Both an introduction to PUBLIC #59 and a rumination on the difficulty of interspecies communication, this essay argues for art and interspecies communication as means of building mental and emotional qualities useful for re-imagining culture in a time of rapid environmental change, embedding a self-reflexive example in the text.
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Both an introduction to PUBLIC #59 and a rumination on the difficulty of interspecies communication, this essay argues for art and interspecies communication as means of building mental and emotional qualities useful for re-imagining... more
Both an introduction to PUBLIC #59 and a rumination on the difficulty of interspecies communication, this essay argues for art and interspecies communication as means of building mental and emotional qualities useful for re-imagining culture in a time of rapid environmental change, embedding a self-reflexive example in the text.
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Both an introduction to PUBLIC #59 and a rumination on the difficulty of interspecies communication, this essay argues for art and interspecies communication as means of building mental and emotional qualities useful for re-imagining... more
Both an introduction to PUBLIC #59 and a rumination on the difficulty of interspecies communication, this essay argues for art and interspecies communication as means of building mental and emotional qualities useful for re-imagining culture in a time of rapid environmental change, embedding a self-reflexive example in the text.
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A conversation about their work and collaboration with scientist Deborah Forster and artist Rachel Mayeri, covering their meeting, Forster’s field research with baboons, Mayeri’s Primate Cinema series of video installations, and their... more
A conversation about their work and collaboration with scientist Deborah Forster and artist Rachel Mayeri, covering their meeting, Forster’s field research with baboons, Mayeri’s Primate Cinema series of video installations, and their experiences with interspecies communication, concluding with a discussion of Forster’s work in animal FACS and robotics.
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Geobiologist Dawn Sumner, known for her research on early life in Antarctica, her contributions to the Mars Curiosity science team, and for co-founding KeckCAVES at the University of California Davis, has also spent the past decade... more
Geobiologist Dawn Sumner, known for her research on early life in Antarctica, her contributions to the Mars Curiosity science team, and for co-founding KeckCAVES at the University of California Davis, has also spent the past decade working in collaboration with artists. This paper addresses the relevance of these art/science collaborations to her scientific practice through an analysis of four of her projects: Collapse (suddenly falling down) with Sideshow Physical Theater; Dream Vortex with Meredith Tromble; Life Extreme with Philip Alden Benn; and The Vortex with Donna Sternberg and Meredith Tromble. The experiences gained by Sumner and her collaborators show that there are many different ways in which artists and scientists can learn from each other. Echoing throughout the collaborations is the realisation that turning ideas into form yields a result that can stimulate the next cycle of creativity.
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Dream Vortex is a virtual art installation with interactive 3D objects, developed for a CAVE, Oculus Rift, or 3D monitor by artist Meredith Tromble and scientist Dawn Sumner. The central structure is an interactive vortex of hand-drawn... more
Dream Vortex is a virtual art installation with interactive 3D objects, developed for a CAVE, Oculus Rift, or 3D monitor by artist Meredith Tromble and scientist Dawn Sumner. The central structure is an interactive vortex of hand-drawn dream images that appear in 3D space before the viewer, accompanied by a sound environment. A viewer interacts with the vortex by selecting dream emblems with a game controller. With it, the viewer has the ability to "touch," move, and compose the images, much like picking up physical objects and moving them around. Once a dream is selected, the vortex disappears; the chosen dream and a suite of related dreams fade into view. For the time span of a typical dream (a few minutes) the viewer can interact with them, moving, resizing, and arranging them in new patterns. The dreams are contributed by the research community at UC Davis, so conceptually the work links "opposites": subjective and objective knowledge; 2D and 3D space; and our oldest and newest art-making media.
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This paper explores the relationship between the creative process of artist collectives and emergence, the appearance of "higher order" from the actions of a group of relatively simple agents following local rules. The... more
This paper explores the relationship between the creative process of artist collectives and emergence, the appearance of "higher order" from the actions of a group of relatively simple agents following local rules. The author asks if there are "rules" or "cultures" of collective art activity that are particularly productive. The paper suggests applications of ideas from biology, cognitive science, and
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This paper explores the relationship between the creative process of artist collectives and emergence, the appearance of "higher order" from the actions of a group of relatively simple agents following local rules. The author... more
This paper explores the relationship between the creative process of artist collectives and emergence, the appearance of "higher order" from the actions of a group of relatively simple agents following local rules. The author asks if there are "rules" or "cultures" of collective art activity that are particularly productive. The paper suggests applications of ideas from biology, cognitive science, and psychology to creative interaction, using examples from the collective in which the author participates.
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... This is just one of the questions Dolores A. Hangan Steinman and David Steinman must consider when designing ... TOM DALE, ANTHONY DISCENZA, LAUREN KIRKMAN, FREDERICK LOOMIS, ELYSA LOZANO, INÊS REBELO, ALEXANDER UGAY AND ROMAN... more
... This is just one of the questions Dolores A. Hangan Steinman and David Steinman must consider when designing ... TOM DALE, ANTHONY DISCENZA, LAUREN KIRKMAN, FREDERICK LOOMIS, ELYSA LOZANO, INÊS REBELO, ALEXANDER UGAY AND ROMAN MASKALEV ...
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This paper explores the use of chemical symbolism in works by the new media artist Sonya Rapoport, with a focus on the pivotal Cobalt series from the late 1970s. These works, drawings on computer printouts generated by research at the... more
This paper explores the use of chemical symbolism in works by the new media artist Sonya Rapoport, with a focus on the pivotal Cobalt series from the late 1970s. These works, drawings on computer printouts generated by research at the Lawrence Berkeley Laboratory, respond to experiments in nuclear chemistry. They mark the beginning of three productive decades in which Rapoport