As 'Agentic AI' becomes the new buzzword, I fondly remember the mid 2010s 'bot' wave. So much fun! I particularly enjoyed the 2016 bot-band @plummerfernandez 's SoundCloud bot Petita Tatata, and my Petita DumDum Techa. Every day, MPF's Tatata would generate and recite beautiful abstract poetry and post to SoundCloud, and my bot would download, improvise music over it, and reupload. Every day a beautiful new surprise waiting for us :)
Looking back at 2024 with gratitude for what has been a challenging year, unlike any other I’ve had. I started the year with symptoms of what turned out to be bowel cancer. Im very grateful to the NHS for saving my life, so I can continue to be there for my family. It was tough to learn of the illness with a one year old, so Im also thankful to the Beechwood charity for providing counselling. I can’t think enough the friends that overcame the awkwardness of reaching out to someone hospitalised and kept me entertained or visited during the recovery. Spring came and my son learned to walk, draw, water the plants, and recently has been enjoying helping in the kitchen and dancing. The leap from one to two is incredible. I’m also extremely grateful to my colleagues-friends who run Comparts with me, we do more than run a course together, we’re practically a mutual support team for matters of work, childcare, health and artistic practice. They kept it going in my absence and we attained the highest level of student satisfaction in the college. Im immensely proud of our student’s achievements, their incredible final year projects and results, all 2:1s and 1sts (As and Bs). It’s the first time we’ve had graduates and I was grateful to be back in time for the graduation ceremony. My year has been quiet regarding my practice, and that was a conscious decision, I didn’t want to feel a sense of missing out and inadequacy. The time to reflect on practice has been welcome and I have had some projects to good to resist come my way in December, Im grateful to the curators that hadn’t forgotten me and motivated me to get back into it. Thank you for reading this post, and wishing you all a happy new year. M
Matthew Plummer-Fernández
Make Kin, Make Kin (video edition), 2023
No. 9 of 25 artworks
On sale via on Verse. works 6pm BST today, 4th May.
This project reimagines AI generated image-making as a collaborative process involving ecology. The artworks are generated by photographing plants, rocks, and other elements of the garden, and using these as prompts to steer the image-making process, alongside my own written requests and previous artworks as prompts. The AI process attempts to generate images that meet the various prompts simultaneously. The AI is purposefully constrained in its ability to resolve the image, abstracting outcomes and impeding categorisation.
#digitalart #aiart #shaders
“Reconciliation with the Living” is a call to reconnect with nature and more especially all forms of life. The artists featured in the “Reconciliation with Life” exhibition have been carefully selected for their commitment to the environment and their ability to use digital art to raise public awareness.
The physical show presented by @museumweek for the @artfortomorrow_ conference will display the works of @zancan.code (including Carbon Capture curated by main collectors), @plummerfernandez , @phaust.art , @nikolinakovalenko , @polin.ua and @the_4th_block_official .
The exhibition will be open to the public from April 26 to 30, 2023 in Florence, Italy.
We warmly welcome all art enthusiasts, nature aficionados, and individuals who share an interest for environmentalism to explore this exhibition.
#digitalart #digitalpainting #generativeart #generativearts #unesco #museumweek #firenze #art #exhibition #exhibitions #italy #environment #artivism #nftart #nftartist #nft4good #art4good #Culture4causes #ClimateAction #Shareculture #sharehumanity
A new direction combining self-assembled AI tools with shaders, towards a new computational art language. Inspired by abstract minimal art such as the paintings of Joan Miro, I deliberately constrain the GANs ability to resolve the image; "in defense of the poor image" as Hito Steyerl would argue. I purposely reject photorealistic AI-generated art in favour of a stripped-down use of these tools to make work that isn't trying to be something else. The result of suppressing the GAN process is a scattering of simple smoothed-out shapes of what could-have-been, much like the softened fragments of everyday objects washed up on a beach, with the shader imitating the effect of shoreline waves gently flowing around their contours, producing a glistening light. Our collective digital flotsam has been collected to fill ocean-sized AI image generators; I aim to make art that draws fragments from our AI-macerated cultural detritus, leaving us to contemplate what it may have originated from.
