Something about DNArt
DNArt stands for Intersubjective ART and it presents a model and theory for computerbased works of art that can configure themselves dynamically.
DNArt is innitiated by Bill Spinhoven van Oosten.
What is DNArt’s mission:
DNArt’s mission is the creation of art that is capable to maintain and develop itself physically and mentally.
Art that is capable to easily interconnect with social networks and similar works of art across the globe.
Art that can interact in ways that will allow it to evolve.
Art that will have relations with people, institutions and businesses.
In short Art that behaves much more as a subject instead of an object.
Some keywords for DNArt:
DNArt will be legally independent (as a foundation) and will be able to manage its own resources.
DNArt will contain mechanisms for learning and evolving.
DNArt will have friends, partners and tutors that will assist, share and interact with it.
Something about DNArt's origin
DNArt is initiated by Bill Spinhoven van Oosten.
It forms a logical continuation and extension of his work and approch towards media art.
Something about DNArt's partners, friends and sponsers
DNArt was always ment to be a collective effort if you would like to become part or contribute in any form please let us know.
More reading in the form of Q&A
Q: The interesting and fundamental properties of art always seem to rest in its specific features and are in general very hard to describe and define. Why would we want to have a structured approach for a special form of art?
A: The theory behind DNArt is not intended to describe any particular work of art. It is merely meant as a guideline for the direction where to go, in order to create an intersubjective art installation (an artwork that will learn and evolve by its interactions with others). This approach will provide a path for DNArt to evolve in a consistent way.
James Grieg Miller’s Living Systems Theory (LST) is initially used as a guidance for this. His theory is known to be very comprehensive. It comprises eight nested levels: cell, organ, organism, group, organization, community, society to supranational system. It also includes twenty critical subsystems that form the elements of each living system. It is our assumption that these levels can be used as milestones and the subsystems can be used to provide well defined modules making it easier to focus research efforts during the development of DNArt.
Q: So why develop an intersubjective art installation at all?
And what would be so special about it that would justify the need for a theoretical framework?
A: Generally art is a (product of) human activity, made with the intention of stimulating the human senses as well as the human mind by transmitting emotions and/or ideas. Modern art is situating this in the context of the time in which the work is being developed. The work becomes not only a reflection of the state of mind of the artist but also of the time and culture in which the work was created. The world we are living in is becoming increasingly complex. In fact the always evolving nature of its complexity and the increase in the rate it is changing in seems to be a fundamental feature of today’s culture. Because of this increasing complexity, human focus is shifting from creating products to managing the processes that will eventually create products.
An example: The shoemaker became the owner of a shoe factory, that developed its name into a global brand and currently outsources the actual production of its shoes.
For me the challenge is how to incorporate this evolving characteristic of our culture on a conceptual level within my art. Because I see increased cooperation and communication (interaction) between “Living systems” as the main engine behind the increase of complexity of our society, I want to incorporate them on a conceptual level. Therefor I see DNArt more as a process than as a product, more as a subject than as a object. We are currently developing tools and guidelines for managing these processes in a consistent manner.
What does DNArt look like?
Q: Can you tell what DNArt could look like?
A: In the beginning DNArt will look much like regular media art installations with the possibility to transform fluently from one classical installation into another. In time DNArt will become an extremely expressive self supporting entity, capable of managing its own sustainability and development.
Q: What is the purpose of the levels of Millar’s Living System Theory and can you describe them in more detail?
A: The levels of DNArt should not been seen as hierarchical levels they should be interpreted more as a milestones indicating at which point in time new features will be added once DNArt starts.
This is where DNArt starts. Existing art like “I/Eye”,” It’s about time” and
“Encounters” will be migrated to the DNArt framework each of these works will behave like a cell. All cells will be modeled according to James Grieg Miller’s, Living Systems Theory, giving them a well defined in and output for each subsystem. Most subsystems will have the ability to use multiple inputs and outputs and the ability to load a fitness landscape, which will be used for self evaluation. All subsystems will have a well defined method and protocol for communication which allows the subsystem to be easily replaced or simulated. Some of these subsystems will contain parts that will facilitate machine learning and genetic programming,
Existing art like “Timering” will be migrated to DNArt. A new work of art which is build around a spatial audio system will be added as well. At this level cells that are sharing similar characteristics, like similar sensors or actuators, develop the capability to interact and share their information and/or resources. At this level DNArt will start to develop strategies for this intercellar cooperation. This will lead to new forms of expression and new art.
At the organism level, Several new features will be introduced. The most striking might be that DNArt will become a foundation, This will increase DNArt’s ability to become more autonomous self aware and self supporting. Another new feature of DNArt at his level will be the introduction of a so called “virtual body”, containing for instance a local wireless network connection that will be used to provide information/documentation about DNArt.
At the group level DNArt will start integrating art works of other artist within the DNArt framework. Each of these “collections” could potentially grow to the organism level. The organisms that are part of the group will start to develop virtual models about their self. These models are used to enhance their development, reliability and interaction by simulating parts of DNArt. Simulating DNArt’s would allow artist to view the impact of their contribution without the need to be at DNArtS geographical location. These simulations could also be used by DNArt for self evaluation. This will increase its reliability and create new possibilities to grow. The virtual body will need to be expanded for the use of these models. At the group level DNArt will become aware of its Ecological impact and will start to develop strategies to minimize its ecological foot print.
At the organization level DNArt will develop strategies to become self dependent. A code of moral conduct will be developed as well. DNArt will coordinate the needs of the different groups, like for example the need for development, finances and energy, At this level developers/tutors of DNArt will be able to formally become part of the work by joining the foundation. DNArt will develop tools trough which the virtual models of group members can be accessed from outside the group.
At the community level the organization will make its tools freely available. This is done in order to facilitate the emerging of DNArt look alike artworks. DNArt’s virtual body will move deep into public space (think of things like social networks, the semantic web, cloud services and virtual worlds ). Probably DNArtS physical body will move to there as well, because art installations for public space could in particular take advantage of the full potential of DNArt and open up new territories for art, because art for public space, in particular, brings together the need for a social and cultural embedding of the work within its geographical environment combined with the need for a high level of self maintenance for minimal cost. (Things that will come together by default in DNArt at this level.)
Once more locations will present themselves for DNArt alike installations, each of these artworks could become a community of its own and each of these will grow, At the society level DNArt will coordinate the sharing of their acquired knowledge so these art works can maintain interoperability. The society will coordinate the sharing of development resources between artworks as well. This will lead to a new stage of DNArt’s learning abilities. The growing systems will also require extension of protocols and some standardization for dealing with emerging technologies all of these tasks will be coordinated by the society.
The supranational system:
Eventually DNArt will want to have a physical and virtual supranational geographical representation. Allowing global interaction and connectivity. The supranational system will coordinate the needs of the societies, communities, groups and organisms.