![]() Jones studies modern and contemporary art, with a particular focus on its modes of production, distribution, and reception. Opening to conceptual art and institutional critique, information theory also brings us to the present, with works such as Yuan Goang-Ming’s Landscapes of Energy (2014) and Trevor Paglen’s Autonomy Cube (2015).Ĭaroline A. There is great resonance between that moment and our own – in the ‘60s, industrial age theories about the “heat death of the Universe” became the cold boredom of Smithson’s “Entropy and the new monuments” and the cycling thermodynamics of Hans Haacke’s “Systems Art.” This lecture examines the range of cultural concerns with energy and entropy as physical and affective states, theorizing that information theory replaced thermodynamics as the key discourse of energy and entropy. In the middle of the 1960s, the Western art world was fascinated with ideas of Energy and Entropy. Organizer: Chronus Art Center, CAFA, CAFA School of Experimental Art, Leonardo/ISAST Language: English with Chinese translation Venue: Chronus Art Center (Building 18, No 50 Moganshan Road, Shanghai) Entropy art series#“You could say, ‘Yeah, that’s too simple-it doesn’t explain all of the painting.’ But it’s research that is valuable.Leonardo Art, Science and Technology Lecture Series 2016Įnergy / Entropy - Art, Autonomy, Information “One thing I think is very elegant in this paper is that they look at the complexity at the local level, the pixels and the surrounding pixels,” Schich says. Maximilian Schich, a professor of arts and technology at University of Texas at Dallas, is in favor of the cross-disciplinary research. By learning from these patterns, the program could even be used to sort lesser-known works of art into specific artistic styles. These simple metrics could be used to better understand how art has evolved, capture information about various artistic periods and determine how these periods interacted, the researchers say. In the late 1960s there was a rapid shift from modern to postmodern art the algorithm is able to quantify the extremity of this shift. Postmodern art, a simpler style with recognizable objects and stark, well-defined edges (for example, Andy Warhol’s soup cans), has high complexity and low entropy. Modern art-with blended edges and loose brushstrokes-generally possesses low complexity and high entropy. Ribeiro and his colleagues observed that shifts in the magnitude of complexity and entropy among various paintings mirror stylistic shifts throughout art history. The new algorithm analyzes two-by-two grids of pixels within each painting and scores them using the two metrics. Entropy is determined by the degree of chaos in the image the more “regular” the painting, the lower the entropy. Complexity is based on the variability of patterns within each image, ranging from highly variable (more complex) to uniform (less complex). The process, described by Ribeiro and his colleagues last September in the Proceedings of the National Academy of Sciences USA, involves assessing the complexity and entropy, or disorder, of these digitized artworks. Now Ribeiro has applied his physics-inspired metrics to nearly 140,000 digitized paintings indexed on the visual art encyclopedia WikiArt to look for trends in the evolution of painting styles. He has developed a computer program that deconstructs works of art into sets of numbers. For the romantics among us, physicist Haroldo Ribeiro’s recent work might seem prosaic. ![]()
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