COMPUTER GENERATED ARTISTS /// under construction - working name BinaryKruno WHAT: Binary Kruno (BK) is a critique of the system of artistic production in modern times. The project aims to discover through research whether approaches to funding artistic projects could be replicated / replaced by a mathematical algorithm using data aggregating and analysis software to automatically fill applications for funding and generative artistic material on the basis of the call for work. BK is a platform that, by using different software, can replicate the way artists find and apply for grants and generate art pieces according to calls generated by the cultural industries. The project attempts to generate proposals and work on the basis of current themes and trends in the art world, what are the prevalent cultural policies of funding bodies, and geopolitical factors in artistic practise. BK will use spiders and RSS feeds to find opportunities, generative software to write theses and applications, software such as PD to create artistic work and automated web engines to apply online. HISTORY: The idea for BK first appeared while a group of artists presented project named 'Digitalorganica' at DORKBOTSWISS in Zürich in late 2007. The three individuals involved were: - Kruno Jošt: who wrote a proposal for this event to DORKBOT Zurich, organized traveling and financial means trough application at CRO Cultural Ministry. He is also dedicated supporter of Celular Automata music and unconventional music enthusiast; - Ivan Nikolić - Lesh: a programmer and hacker and weird drawings enthusiast, involved in AI and generative software, who developed Cellular Automata software presented in Zürich; - and last but not least Anna Sobzak: who provided strong support in all we did or wanted to do, but also a most natural detournement artist who contributed in her special way at the presentation. At informal presentations and unconventional cultural and art venues, guests and hosts continued having fun after presentations had finished and the project was discussed until the early morning. As the legend goes Anna and Lesh were observing critically Kruno's life. He applied for the events, gathered the money and than went to the openings of the events, presented the project and drank afterwards. Anna and Lesh suggested that they should replicate Kruno's life in a software algorithm. This algorithm would make artwork according to different applications, inscribe, apply, fill application forms and send them in Kruno's name. Than Kruno could go to all the festivals and happenings and he can drink beer and have fun at opening events. At the time it was joke, but it developed in idea that will continue to live on. WHY: Critical observation on artistic life (at least some of the artists) is that they (we) don't finance our existence selling work in galleries, or being supported by patrons, or by kings having us as courtly painters and creators of art. We are surviving on 'project basis', from application to application. We arrange our schedules and creative cycles according to a 'call calender' that is consistent with different calenders of for example: EU enlargement funds, cultural policy-makers' decisions, next year or next 10 year policy planning according to economic schemes created in the world of politics. More importantly, we are using our creativity to 'design' art projects on basis of this calls. In this sense, we are small cogs in bigger system, fulfilling the arbitrary needs of the political system, fed by breadcrumbs, becoming alienated from our own work and living a precarious existence. Example: if a call is open for the project that is supporting cross border cooperation, we will co-operate with foreign institutions even if this is irrelevant to the form and substance of the work. We will try to 'design' our idea around the call, finding the most fitting description of the work to satisfy the form of the call. We are forced to pay lip-service to political aims that have little to do with the motivations for artistic practice, and will use elusive arguments to produce heartbreaking stories, or tailored proposals that will interest the judging body, regardless of their artistic credibility. Our creativity is preconditioned by the cultural industries, political programs, corporate strategies and other prerequisites for creative bondage. Our work and media in which we work is adjusting to calls and applications. We are creative slaves of cultural business entities and political institutions. Or are we? If you find yourself in this situation, and have also been musing upon and critically observing matters mentioned above, you are the ones that are trying to hack this situation and create small independent bubbles in big business bubble. You are creative people with ideas trying to survive in a 'call calendar' surrounding.
COMPUTER GENERATED ARTISTS /// under construction - working name BinaryKruno WHAT: Binary Kruno (BK) is a critique of the system of artistic production in modern times. The project aims to discover through research whether approaches to funding artistic projects could be replicated / replaced by a mathematical algorithm using data aggregating and analysis software to automatically fill applications for funding and generative artistic material on the basis of the call for work. BK is a platform that, by using different software, can replicate the way artists find and apply for grants and generate art pieces according to calls generated by the cultural industries. The project attempts to generate proposals and work on the basis of current themes and trends in the art world, what are the prevalent cultural policies of funding bodies, and geopolitical factors in artistic practise. BK will use spiders and RSS feeds to find opportunities, generative software to write theses and applications, software such as PD to create artistic work and automated web engines to apply online. HISTORY: The idea for BK first appeared while a group of artists presented project named 'Digitalorganica' at DORKBOTSWISS in Zürich in late 2007. The three individuals involved were: - Kruno Jošt: who wrote a proposal for this event to DORKBOT Zurich, organized traveling and financial means trough application at CRO Cultural Ministry. He is also dedicated supporter of Celular Automata music and unconventional music enthusiast; - Ivan Nikolić - Lesh: a programmer and hacker and weird drawings enthusiast, involved in AI and generative software, who developed Cellular Automata software presented in Zürich; - and last but not least Anna Sobzak: who provided strong support in all we did or wanted to do, but also a most natural detournement artist who contributed in her special way at the presentation. At informal presentations and unconventional cultural and art venues, guests and hosts continued having fun after presentations had finished and the project was discussed until the early morning. As the legend goes Anna and Lesh were observing critically Kruno's life. He applied for the events, gathered the money and than went to the openings of the events, presented the project and drank afterwards. Anna and Lesh suggested that they should replicate Kruno's life in a software algorithm. This algorithm would make artwork according to different applications, inscribe, apply, fill application forms and send them in Kruno's name. Than Kruno could go to all the festivals and happenings and he can drink beer and have fun at opening events. At the time it was joke, but it developed in idea that will continue to live on. WHY: Critical observation on artistic life (at least some of the artists) is that they (we) don't finance our existence selling work in galleries, or being supported by patrons, or by kings having us as courtly painters and creators of art. We are surviving on 'project basis', from application to application. We arrange our schedules and creative cycles according to a 'call calender' that is consistent with different calenders of for example: EU enlargement funds, cultural policy-makers' decisions, next year or next 10 year policy planning according to economic schemes created in the world of politics. More importantly, we are using our creativity to 'design' art projects on basis of this calls. In this sense, we are small cogs in bigger system, fulfilling the arbitrary needs of the political system, fed by breadcrumbs, becoming alienated from our own work and living a precarious existence. Example: if a call is open for the project that is supporting cross border cooperation, we will co-operate with foreign institutions even if this is irrelevant to the form and substance of the work. We will try to 'design' our idea around the call, finding the most fitting description of the work to satisfy the form of the call. We are forced to pay lip-service to political aims that have little to do with the motivations for artistic practice, and will use elusive arguments to produce heartbreaking stories, or tailored proposals that will interest the judging body, regardless of their artistic credibility. Our creativity is preconditioned by the cultural industries, political programs, corporate strategies and other prerequisites for creative bondage. Our work and media in which we work is adjusting to calls and applications. We are creative slaves of cultural business entities and political institutions. Or are we? If you find yourself in this situation, and have also been musing upon and critically observing matters mentioned above, you are the ones that are trying to hack this situation and create small independent bubbles in big business bubble. You are creative people with ideas trying to survive in a 'call calendar' surrounding.