Rene Magritte’s works reinterpreted as an interactive VR world.
This is Not a Magritte VR
Conceptual
Magritte VR
Magritte VR is a virtual reality journey through the work of one of the world’s greatest and most popular artists.
This VR experience is triggered simultaneously for a shared immersive experience, for an audience of 50 at a time, produced and directed by BDH Immersive.
Magritte VR uses hi-resolution scans of Magritte’s original paintings and 3D modeling to generate an unforgettable ride through the artist’s remarkable work. This virtual reality presentation is made to be viewed in a giant bowler hat, a specially constructed VR cinema installation.
The audience is immersed in a series of authentic landscapes; beach, forest, mountains, and sky. MAGRITTE VR celebrates his wit, illusions and the great love for his wife Georgette, his muse and inspiration throughout his life.
Rene Magritte ranks alongside Dalí and Miró as one of the most preeminent surrealist artists. MAGRITTE VR is part of the Magritte Experience event in Belgium acknowledging 50 years since the artist’s death.
Tickets can be ordered from www.magritteknokke.be
Miles Johnston
Miles Johnson works primarily in pencil drawing. His surreal art explores psychological transformation in portraits and figurative images of female subjects.
Captivating. Mindbending. Recursive. Face melting. Gorgeous.
Johnston’s art is our psyche staring back from the void. Beyond the threshold of strange changes; he illustrates not a calculus infinite worlds, but the infinite selves it is possible to become.
Transformations Series
Deform. Divide. Attract. Recur.
Each picture below is a story of transformation the subject is undergoing.
Pencil Drawing Timelapse by Miles Johnston
Miles Johnston is a lover of pencils & Instructor at SARA.
https://www.instagram.com/miles_art/
https://twitter.com/MilesJohnston
http://miles-johnston.tumblr.com/
The Dirty Sponge Podcast
Electric Sheep – Interview with Scott Draves
Electric Sheep Introduction
Electric Sheep is a distributed computing project for animating and evolving fractal flames, which are in turn distributed to the networked computers, which display them as a screensaver.
– Wikipedia
First created in 1999 by Scott Draves, the Electric Sheep is a form of artificial life, which is to say it is software that recreates the biological phenomena of evolution and reproduction through mathematics. The system is made up of man and machine, a cyborg mind with 450,000 participant computers and people all over the Internet.
This is a distributed system, with all participating computers working together to form a supercomputer that renders animations, called “sheep”, that everyone sees. The human participants guide the survival of the fittest by voting for their favorite animations in the flock. You can join this project by downloading the Electric Sheep Screensaver.
Clade 1 at Michael Berger Gallery, Pittsburgh 2010
The Clade 1 Blu Ray showing at Bryan Bilgore’s (sensoriumav.com) place with dynamic lighting by ambx.com (photo by Shannon Harvey).
Dreams in High Fidelity II by Scott Draves. 4 channel HD projection at Lexus Hybrid Art, Moscow 2010.04
On the 2nd largest LED wall in Europe, curated by the Streaming Museum. 2010.08.
Scott Draves speaking at TEDx in Hungary, 2010.06.
Dreams in High Fidelity by Scott Draves. 25 projectors and 5 channels of HD in Hungary 2010.06.
Dreams in High Fidelity by Scott Draves projected at LICHTSTROEME, on the banks of the Rhine in Germany. Photo Jennifer Braun 2012.05.
Karjaka Studios; 2013; Rubin Museum; Green Lama; Linus Roache; Paul Haas
Generation 244 immersive projection at 21c Museum Hotel grand opening, 2013.04.20.
Generation 244 immersive projection at 21c Museum Hotel grand opening, 2013.04.20.
Generation 244 by Scott Draves. Students immersed in projection at Emoção Art.ficial Bienial, in São Paulo 2012.05.
Generation 244 permanently installed in a corporate reception in Manhattan.
Electric Sheep iPad App exhibited in Beijing, curated by ZKM.
Generation 244 Triptych at Vida Retrospective in Madrid, 2012.05.
Generation 244 at LACMA, as curated by Cindy Keefer of the Center for Visual Music. Showing on 3 screens at Renzo Piano–designed Stark Bar in the courtyard. The show ran July 2011 – February 2012.
Generation 244.1 at Microsoft Research Studio 99, 2014.01, Seattle.
Generation 244.1 at Microsoft Research Studio 99, 2014.01, Seattle.
In the atrium at MoMA, 2010.12.
Each participating computer follows mathematical instructions, Draves’ Flame algorithm, to render its own piece of the larger work, as seen in the table at left. The images are sent back to a central server which compresses them into animations which are sent back out to the viewers. The electricsheep.org website shows the family tree for each sheep, including its parents and offspring, and viewers can track family resemblance. The artist’s Clade series shows a selection of family members in high resolution.
Like Draves’ other software art, the Electric Sheep code is open source, which has allowed it to benefit from code contributions from many enthusiastic programmers. Now Draves serves as head Shepherd on a project with many participants.
The most popular sheep from the current flock can be viewed on the live server, or you can browse the archive.
– via scottdraves.com
Scott Draves Interview with Surrealism Today
Surrealism Today: You have designed this technology, company & ecosystem. Electric Sheep has taken on a life of its own. In a sense, from a systems perspective, you have developed your own game rules rather than just being another player in someone else’s game. What in your thinking has made that possible?
Scott Draves: That’s right, I definitely think of the Sheep as generative world design. My approach is based on languages and metaprogramming, as a way to cross from finite to infinite. It was made possible by exposure to books like Gödel, Escher, Bach and SICP and my friends and colleagues at Brown and CMU SCS who taught me so much about computers and programming.
ST: In previous interviews, you mention Pollock, Gysin, and Burroughs as artists who inspire you. (Related: Cut-up Technique) Art has changed more in the past hundred years than it ever has, and likely will even more in the next hundred years, where would you like to see it go? Rather than create the content of art, will next-gen artists create algorithms that allows for infinite works of art? If that’s the future, you’ve actually been doing it for some time…
SD: I am loving the Cambrian explosion of software art going on. What are my wishes for art? The more the merrier. Algorithms and coding and infinite art are definitely growing and that’s great. But are they growing popularity in the art world? Maybe? I can’t imagine 100 years in the future. I will admit I’ve been doing this forever, I am old, and got an early start, releasing the first open source art in 1992.
Surrealism Today: Many of the Electric Sheep are reminiscent of mandalas in various religious traditions in both East and West as well as psychedelic and visionary art. These movements seem to have goals in common. Do you have an affinity with any spiritual traditions or movements?
Scott Draves: The Sheep have a meditative aspect for me and a spiritual aspect. Yes, there are goals in common, and affinities. Yoga. Zen. Negentropy. Positivism. Science.
ST: You’ve created this ecosystem of beautiful living mandalas that change over time and breed and evolve and die. Each sheep had DNA (code), its form, not to mention the memetic (conceptual) & cultural level. In what senses are the sheep alive?
SD: Thank you. They are alive because they have emergent complexity, at both the breeding, DNA, evolution level and also in the Flame algorithm, where the image emerges from the DNA. The memetic level kicks in with the open source and allowing others to create their own flames and sheep.
Surrealism Today: What non-intuitive things do you do, think or avoid that may have helped contribute to what you have created?
Scott Draves: When I started doing Open Source it was considered unamerican and anti-capitalist, and literally compared to “cancer”. It turns out sharing code has merit. Actually, that was always intuitive to me but most people just didn’t get it. These days it seems open source has taken over in some domains and is thriving.
On the other hand sharing everything may not be advisable. That was not obvious to me. It took me a long time to learn.
ST: William Gibson mentioned in one of his sci-fi books that instead of writing music, musicians wrote algorithms and the code would generate infinite, unique songs that never repeated themselves. Recently the iPhone app “H__r” got me excited… it loops sounds from the environment into a surreal listening experience. What being created today (that I can perhaps link to) has gotten you excited recently?
SD: Joshue Ott has a bunch of amazing av apps: https://intervalstudios.com/. A bit further afield: Alpha Go, https://deepmind.com/research/alphago/. This is an enormous breakthrough that promises so much to come.
Surrealism Today: I’m super excited about this recent high-resolution release of the sheep, and the subscription. What’s next?
Scott Draves: Thank you.
Dots! The real-time audio interactive version, which premiered last year at Creative Tech Week and is going to be in it again this year: http://creativetechweek.nyc/. The mixed reality party was on the 17th of April, 2017.
ST: Where can we find you on the internet?
https://gold.electricsheep.org/
http://scottdraves.com/
https://twitter.com/scott_draves
https://twitter.com/ElectricSHE3P
https://www.facebook.com/groups/82690628019
Sergio Gervacio
Sergio Gervacio creates photographs that range from the ominous and unexpected to the whimsical. Strange masked men stand in the darkness, yet wearing a unicorn mask. A selfie taker’s arm clutching the phone is emerging from his open mouth.
A figure sits in a tub of milky liquid blowing bubbles, wearing a mask. A strange mermaid doll also happens to be in that tub. What does it all mean? Well, if it was obvious, he wouldn’t have to make the art.