Generative Art
Generative art refers to art where the responsibility of its creation is left to an automatous system, rather than human decision. The key question that will govern this section of the paper is; with this human participation reduced to its bare minimum, is the resulting mechanically made art representative of human unconsciousness?
Returning to Merzbow, the reason he’s able to bridge these sections is his use of granular synthesis. Granular synthesizing is a form of sampling where the samples are not played back in the typical sense but automatically reduced to much smaller 1-50 millisecond bites called grains (for example, if you where to input an audio recording of your name, the granular program would deconstruct it into its syllables). These grains are then layered upon each other and subjected to a number of variables such as volume change, phrasing, amplitude modulation, randomization and time stretching.
An example of Merzbow’s use of granular processes is the experimental release, Ouroboros 2010. What makes this piece especially interesting is how Merzbow chose to deploy several granular synthesizing programs in its creation. The outcome of layering these programs is surprising, as before listening to it, I presumed that the sheer complexity of what is being asked of the computer to overwhelm the subsequent soundscape. I envisaged a wall of violence, void of any dynamic change. But, quite the opposite occurs. Yes, Akita’s signature aggression is very present, but considering his involvement is minimal, the work does seem to shift in and out of different moods. Unresolved phrases are eventually answered with crescendos and destructive areas are juxtaposed with delicate ones. Dare I say it; it appears that the programmes composing the piece have quite a comprehensive understanding of human emotion (or at least how to suggest it).
Is this automatism? To find the answer, we must ask the question; is there a difference between a paintbrush and a computer? One could argue that the paintbrush is the point of contact between the mind and canvas, our age-old instrument used to manifest ideas, whereas the computer is an intermediary. Another could argue that computers by design make life easier, so the use of one in creating art is not only lazy but doesn’t require the same skill level as traditional processes. I, on the other hand, argue that computers and the software they provide are just the latest addition to our artistic toolset. It began with prehistoric man’s use of earth pigments to paint animals on cave walls and has evolved to where we are today, modern technology. So, yes, in my point of view, Merzbow’s Ouroboros is automatic.
My own practice currently has similarities to Ouroboros as I also employ a form of generative software. My process begins with an automatic painting, which is then photographed and cropped so that only the work is visible. The photograph’s format is then changed from what it is automatically, usually jpeg or CR2, into a bitmap (binary). This is then inserted into an audio editing software as RAW data. The result is a digital representation of a human-made automatic painting through sound.
Changing the format to binary allows the software to digitally place a graph over the photograph (the y-axis being colour and the x-axis being shape, composition and line) and observe it through this. What we are left with is an example of a way of digitally viewing a painting that sounds like an extreme form of Morse code or extra-terrestrial chitchat.
Fig. 5. Bolognini. Programmed Machines. 1997
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