CREATIVE MACHINE

Harwood:Wright:Yokokoji ‘Tantalum Memorial’, Harwood/Wright/Yokokoji

William Latham‘Mutation Space’, William Latham

Félix_Luque_Sánchez‘Different Ways to Infinity’, Félix_Luque_Sánchez

This major exhibition explores the twilight world of human/machine creativity in contemporary art, including installations of video and computer art, artificial intelligence, robotics and apps by twenty-five leading artists including well-known international artists, Goldsmiths staff and students.

The exhibition will feature international artists such as Naoko Tosa and Yoichiro Kawaguchi (Japan) Jon McCormack (Australia), Cécile Babiole (France) Félix Luque Sanchez (Belgium), Quayola (Italy) alongside leading artists from Goldsmiths and 2014 Lumen Prize gold and bronze award winners, Andy Lomas and Patrick Tresset and leading digital artists Memo Akten and William Latham.

Many of the works on show will be created live in the gallery using specially-designed hardware such as customised drawing machines, video projection, robots arms and 3D printers.

The show has been curated by Goldsmiths professors and artists William Latham, Atau Tanaka and Frederic Fol Leymarie.

Creative Machine reveals the interdisciplinary nature of computer art, with many of the artists collaborating with scientists in areas such as Neuroscience, Bioinformatics, Maths, Biology and Psychology. The artists showing use a range of novel technological approaches including machine learning, cellular growth simulation, fuzzy logic, organic structure mutation and automated aesthetic selection to create work, allowing them to explore new uncharted creative domains.

The artists are shown across six main themes: Mechanical Creative; Robotic Drawing and 3D Printing; Machine Image/Sound; Mutation Art; Pioneers and Critical Practice.

William Latham, Professor of Computer Art in the Department of Computing at Goldsmiths said: “The vision for the Creative Machine Exhibition is to show exciting works by artists who use original software and advanced technology in the creation of their work, often blurring the roles of the artist and machine in the creative process. The aim is also to coincide the timing of this exhibition with the current wider growth of public interest in digital art stimulated by such events as The Barbican Digital Revolution Exhibition.”

Professor Atau Tanaka added: “Goldsmiths Computing is proud to contribute to this digital revolution and take a lead in the debate about what defines digital art”.

Artists showing in the Creative Machine are: Memo Akten, Cécile Babiole, Daniel Berio, Damian Borowik, Paul Brown, Sean Clark,  Simon Colton, Brock Craft, Ernest Edmonds, Ian Gouldstone, Harwood/Wright/Yokokoji, Yoichiro Kawaguchi, William Latham, Lillevan, Andy Lomas Manu Luksch, Alex May/Anna Dumitriu, Jon McCormack, Parashkev Nachev, Vesna Petresin, Quayola, Félix Luque Sanchez,  Naoko Tosa, Peter Todd, Balint Bolygo and Patrick Tresset.

The opening of the exhibition is preceded by the Goldsmiths’ Human Interactive Conference, which explores human-machine interaction across computer games, neuroscience, psychology, robotics and computer art.

The exhibition is supported by The Arts Council England and the Enterprise Office at Goldsmiths.

#creativemachine
#humaninteractive

http://www.creativemachine.org.uk
http://www.humaninteractive.org.uk

 

william_4

Throwback Thursday: Program analysis, schemas and slicing

In 2010, Sebastian Danicic, head of Goldsmiths’ BSc Computer Science, wrote this article for our website. We reprint it for the first time in four years.


Software is prone to errors. Our research is fundamental to software analysis; in particular to the static analyis of computer programs. Such analysis is essential for ensuring that these errors are corrected safely.

The results of software errors may be extremely serious. According to Wikipedia, errors in the software controlling the Therac-25 radiation therapy machine developed in the 1980s were directly responsible for patient deaths. In 1996, the European Space Agency‘s Ariane 5 rocket was destroyed less than a minute after launch, owing to an error in the on-board guidance computer program. The cost of this error was estimated at 1 billion dollars

In 1994, an RAF Chinook helicopter crashed into the Mull of Kintyre, killing 29 people. An investigation provided sufficient evidence to convince a House of Lords inquiry that it may have been caused by a software error in the aircraft’s engine control computer. In 2002, a study commissioned by the US Department of Commerce National Institute of Standards and Technology concluded that software errors are so prevalent and so detrimental that they cost the US economy an estimated $59 billion annually, or about 0.6 percent of the gross domestic product.

Through the production of static analysis tools based on the results of our research, those involved in minimising these errors, including software engineers and others involved in the production of software, will benefit from our research. The errors in software are a consequence of the nature of human factors in the programming task. They arise from oversights or mutual misunderstandings made by a software team during specification, design, coding, data entry and documentation. Programs are written for a machine and as a result are not necessarily easy to understand by a human. On large software projects, many people have to co-operate. This involves having to understand each other’s code. As illustrated above, even small misunderstandings can lead to catastrophic results. Software first needs to be analysed in order to remove these errors from it. Without this analysis, we are in danger of introducing new errors while removing the old ones. Changing programs can be very dangerous. It is very hard to know what impact even altering a single line of code in a program can have.

This is one of the main tasks of static program analysis, so called because it analyses the program without actually executing it. (Analysis involving a program’s execution is known as dynamic analysis.) All methods for statically analysing programs are conservative. This means algorithms for performing such analyses will always include false positives; for example, non-existent dependencies between statements will be falsely highlighted. In some cases there may in fact be so many false positives in a particular approach, to render the analysis almost useless.

One aim of our research is to reduce the frequency of false postives significantly thereby improving the accuracy of the analysis. Importantly, theory tells us that we cannot remove false positives altogether. All such approaches will be conservative. The question that we are interested in answering is, therefore, how far can we push the boundary? In other words, what are the theoretical limits of such analyses? Our previous work has already demonstrated that more accurate analysis is possible than current techniques allow. However we do not yet fully understand where the theoretical boundaries lie.

There is also a practical side to our research. The theoretical limitations of such approaches having been better understood, practical algorithms need to be devloped and studied. It is important to determine whether there exist efficient algorithms and thus to study the complexity of the underlying problems. It is possible that at the theoretical limit the problems, though decidable, will in fact be intractible i.e. too inefficient to be of practical use. Since static analysis of a program does not involve executing it, we can convert our programs to other forms which may be more amenable to analysis.

This is exactly the purpose of studying program schemas, the main topic of our research. The idea is to retain aspects of the program which lend themselves to static analysis and to abstract away all irrelevant details. The beauty of such an approach is that when we analyse programs in this way we are in fact not just analysing a single program but a whole class of programs which are structurally similar to the one we are considering. To some extent this happens implicitly with current technology, but we attempt to make it explicit.

Schema theory has so far only been applied to simple imperative conventional programming languages. There is no theoretical reason why concepts in schema theory cannot be extended to handle modern fully-fledged object-oriented programming languages. Abstracting such languages to the level of schemas makes complete sense. The resulting schemas would still have the same structure but unimportant details for purposes of static analyses would have been abstracted away. Much work is needed to extend the theory of schemas to handle such constructs. Once this has been done, it will be necessary to develop and assess new algorithms for the analyses of programs written in modern languages. Furthermore, any particular program can be represented by any one of a huge range of schemas, all varying in their degree of abstraction from the original program.

There is huge scope for choice in schematizing a program; in particular, in deciding which components should be abstracted away and which should remain. The key will be to keep the resulting schema as concrete as possible while keeping the analysis tractable. It is hoped that the results of our research will influence the design of new static analysis tools available in popular integrated program development environments.


Not all bad for #womenintech

Ada Lovelace
image: Ada Lovelace

‘There aren’t enough messages to young women that technology is a fascinating area to work in, a fast-moving field, one that rewards hard work, an area where you really can change the world’ (Naomi Alderman, The Guardian, 

The media has been rife with stories lately about women in technology, or rather the lack of them. According e-skills, the number of women working in the tech sector has fallen from 17% to 16% in 2014.

There are numerous initiatives to increase the number of women in the sector from the classroom to big business, yet in the last ten years the number of women in key roles in the technology industry has remained roughly unchanged.

Yet despite the statistics there are causes for celebration. We have very recently celebrated Ada Lovelace Day, who at the start of it all – working in the 1800’s – produced the first algorithm intended to be carried out by a machine. Because of this, she is often described as the world’s first computer programmer…a woman!

In April this year, the US appointed a female chief technology officer which is inspiring women across the country to break the gender bias in the tech industry. Megan Smith was previously a vice president of Google[x] at Google. Smith has been one of the country’s leading advocates in the movement to get more women into tech jobs*.
(*http://www.wired.com/2014/09/megan-smith-cto/?mbid=social_twitter )

Closer to home, the BSc in Digital Arts Computing course at Goldsmiths has defied the odds and attracted a 65% female cohort this year. A key element of this programme is that it integrates technical programming skills, theoretical and historical conceptions of art into a distinctively computational arts practice. The programme is taught in an integrated way, with a mix of critical studies and computational arts practice elements across both the Art and Computing departments.

We still have a long way to go, but rather than looking at cold statistics, lets focus on the positive stories and inspire the next generation of women programmers.

#womenintech

 

Throwback Thursday: iPhone gesture recognition

Back in 2010, Marco Klingmann (Msc Cognitive Computing) wrote about his iPhone gesture recognition project…

“The growing number of small sensors built into consumer electronic devices, such as mobile phones, allow experiments with alternative interaction methods in favour of more physical, intuitive and pervasive human computer interaction.

“This research examines hand gestures as an alternative or supplementary input modality for mobile devices.

“The iPhone is chosen as sensing and processing device. Based on its built-in accelerometer, hand movements are detected and classified into previously trained gestures. A software library for accelerometer-based gesture recognition and a demonstration iPhone application have been developed. The system allows the training and recognition of free-from hand gestures.

“Discrete hidden Markov models form the core part of the gesture recognition apparatus. Five test gestures have been defined and used to evaluate the performance of the application. The evaluation shows that with 10 training repetitions, an average recognition rate of over 90 percent can be achieved.”


Marco Klingmann is now an interaction designer and app developer working in Switzerland. Follow him on Twitter

CREATIVE MACHINE

image (flyer)

On 6th November a major new exhibition exploring the twilight world of human/machine creativity will open at Goldsmiths, including installations, video and computer art, artificial intelligence, robotics and apps.

The show has been curated by Goldsmiths professors and artists William LathamAtau Tanaka and Frederic Fol Leymarie.

The line up of artists includes Felix Luque whose recent work ‘Different Ways To Infinity’ installation focusses on the limits between scientific modelization and reality.

Full line up:
Memo Akten, Cécile Babiole, Daniel Berio, Balint Bolygo, Damien Borowik, Paul Brown, Simon Colton, Ernest Edmonds, Ian Gouldstone, Yoichiro Kawaguchi, William Latham, Andy Lomas, Manu Luksch, Alex May/Anna Dumitrui, Jon McCormack,  Parashkev Nachev, Vesna Petresin, Quayola,  Félix Luque Sánchez, Naoko Tosa, Peter Todd, Patrick Tresset, Harwood/Wright/Yokokoji 

Private View: 6—10pm

Thursday 6 Nov 2014

Open Daily: 10am—6pm, 7—14 Nov 2014
St.James, Hatcham Church Gallery Goldsmiths, University of London

www.creativemachine.org.uk

Throwback Thursday: GreenInsight

green

This week’s delve into the recent history of Goldsmiths Computing looks at GreenInsight, a tool developed in 2010 from research by Goldsmiths’ Mark Bishop and Sebastian Danicic.

GreenInsight quickly provides the information required to either match the products that you purchase at item level, or to classify those items that could not be matched to a sufficient level of detail to calculate the carbon footprint.

This is then combined with the publicly verified information for products and industries to build up an organisations environmental impact from the bottom up. GreenInsight enables customers to:

  • view the cost to the environment as items are purchased, and the carbon footprint of items purchased
  • evaluate their organisation’s spend and calculate the environmental cost of the spend in considerable detail, to product line level.

The Secrets of the Antikythera Mechanism

 

aMore than a hundred years ago an extraordinary mechanism was found by sponge divers at the bottom of the sea near the island of Antikythera. It astonished the whole international community of experts on the ancient world. Was it an astrolabe? Was it an orrery or an astronomical clock? Or something else?

Research over the last half century has begun to reveal its secrets. The machine dates from around the end of the 2nd century B.C. and is the most sophisticated mechanism known from the ancient world. Nothing as complex is known for the next thousand years. The Antikythera Mechanism is now understood to be dedicated to astronomical phenomena and operates as a complex mechanical computer which tracks the cycles of the Solar System.

1412889651964_wps_21_WHOI_Diving_Safety_Office

Renewed interest in the ‘Antikythera Mechanism’ aka the worlds ‘first computer’ has been abound in the world’s media due to the recent return of archaeologists to the Antikythera dive site where it was originally found.

We are very lucky here at Goldsmiths to have Prof Xenophon Moussas from the University of Athens give a talk and demonstration about the workings of the ‘Mechanism’ right here at Goldsmiths on Tuesday.

EVENT INFO:

‘The Secrets of the Antikythera Mechanism’, Prof Xenophon Moussas, University of Athens

Tuesday, October 21st 2014
Ben Pimlott Lecture Theatre Goldsmiths, University of London
Talk: 5:30 – 6:30pm
Exhibition open: 5:00 – 7:00pm
Drinks and exhibition viewing: 6:00 – 7:00pm

Eventbrite - The secrets of the Antikythera Mechanism: Prof Xenophon Moussas, University of Athens

Creativity, independence and learning by doing.