Digital Arts Festival

Generative Art has been around for a while, but only recent technology has made true globalization of artists and their work possible. “Georg Nees: Computergrafik” was the first exhibition world-wide of graphic works algorithmically generated by a digital computer at the Siemens company in Erlangen (Germany). The works Georg Ness had on display were generated by a digital computer properly programmed. Only a few years later, Georg himself began to call his works generative Computergrafik (also the title of his doctoral dissertation).

A number of artist-professors from the Stuttgart Staatliche Akademie der Bildenden Künste attended the opening. One of them asked Georg Nees whether he could make his computer (a program) to draw the same manner the artist was drawing. Nees answer is a classic. After a short hesitation he replied: “Yes, of course, I can do this. Under one condition: you must tell me how you draw”. In the ensuing irritation, Max Bense spontaneously coined the word “Artificial Art”.

This interesting interaction between two concepts of art emphasizes on the blurry distinction of what we understand as art and how technology creates new paths for artists to explore. Although the use of autonomous machinery to create art has been present before computers, the personal computer is definitely the first tool that disrupts the scene and creates an endless box of possibilities. The Generative Art Museum was born to spread the word about it and Responsive Dreams is our first exhibition to accomplish that goal.

The fact that Geroge Nees created an exhibition to showcase his work further reinforces how important it remains to host events that bridge the gap between the current digital and physical ecosystems, strengthening the link between art and audience. There is something magical about experiencing art in person. Walking through a gallery or museum, observing the brushstrokes, textures, and colors up close, and feeling the energy emanating from each piece is an irreplaceable experience.

This experience is still present for digital pieces, where the selection of technology to display the work plays an important role in the final output that is presented to the viewer. Real-life exhibitions create a tangible connection between the artist and the viewer, allowing us to fully appreciate the art in all its glory. But Responsive Dreams is different, paying tribute to our name, users of our exhibition will not only observe the art; they will also be able to engage with it.

To fully understand generative art we must interact with the art, move around it, examine it from different angles, and even feel the textures with our fingertips. This immersive experience allows us to fully comprehend the artist’s intentions and appreciate the intricacies of their work.

Responsive Dreams exhibition provides a space for dialogue and discussion between the artist and the audience. Visitors can engage with the artist, ask questions, and gain insights into the creative process. This interaction creates a sense of community around the art and fosters a deeper appreciation for it. We hope to see all of you to connect in the most profound way possible.

5,6,7 September 2024

Nau Dents de Serra, Roca Umbert Fàbrica de les Arts, Granollers, Barcelona

Live Minting Experience Collect art from our featured artists: Edu Prats, Quentin Hocdé, shaderism, Eliza Struthers-Jobin, Office CA and poperbu.

Local Art Wall A showcase of generative art made by the local community featuring Marcelo Soria-Rodríguez, Ismahelio, Daniel Julià, Anna Carreras, poperbu, protozoo, mek/hno, Luis E. Fraguada, Pablo Alpe and Juan Manuel Pereira.

The Vault Experience Responsive Dreams pieces in our projection room in a relaxed way.

Responsive Dreams is a free-to-atend event, just register yourself here.

Open console.
List alerts.
1 alert found.
Deployment consensus: 100%.
Deploy.


It’s 44f, 2019a, 2021p and 11s. Brothers and I have decided to interrupt course to sector twelve to respond to mother alert. It’s the fourth eon the expedition spends exploring system TGM 3112 without relevant events. All scheduled relays have been installed according to calculations but no incoming transmissions have been received. Outgoing transmissions do receive acknowledged responses. Situation is nominal.

Interfaces are ready and the mission is a go.

Unusual levels of high-energy electromagnetic radiation makes improbable short-wave radio communication on the surface. As a result an ETR of two periods has been set. Although an atmosphere is present, common life existence has been discarded for biological reasons. Proves indicate the presence of carbon dioxide, nitrogen, argon, oxygen and an unknown element.

The environment seems to produce a vibration that propagates as an acoustic wave. Brother Z decoded the transmission, which is audible to human hearing range, suggesting an unlikely way of communication. Source is close enough for inspection according to equipment tolerances. Consensus is to locate the source.

Terrain produces light distortion affecting camera wavelength. The visible spectrum is clearly affected by the unknown element, causing a fluid, ever-extending, movement of the particles across the interface debris. Recording equipment is not able to persist snapshots of the environment, but mathematical equations are detected in the formation of unique and unpredictable projections.

It evolves and changes as our presence interacts with it. There’s no visible start or end in the current dimension, a property that clearly encourages further interaction. As we approach the source a subtle deformation of the space multiplies, warping around us, merging and blending light.

It’s. Beautiful.