jack holmer

 

Crypto Art Collection

actual - 2014

 

Minutiae Code

actual - 2014

   The Minutiae Code proposes the development and creation of an artificial intelligence software for an Electronically Autonomous Relational Object (EARO) using the Geometry of Behavior, with a specific focus on the cognitive formation of artificial beings at the time of their robotic childhood. This code presents a basis for an artificial consciousness and creates strategies for programming a sensitive, classifying and interpretive system of the world, for objects that have sensors, motors, internal batteries, an electronic processor and memory.

   The final work is presented in the form of an object that interacts with the audience through sound, movement and light. The object's responses depend on the evolution of its "mind" – since it learns through its experiences in the world around. The code records the events captured by the sensors in the form of a narrative, being able to associate temporal events and predict similar situations in the near future. The more interactions with the environment, the more complex its predictions and actions become.

   To create this signification process, the sensors data are transformed by the architecture into virtual signs, based on the format proposed by Peirce's semiotics. Through mathematical description – which I call the Geometry of Behavior –, these signs are organized to generate states of the soul, or symbolically associated feelings, such as fear, hunger and the desire to learn. To satisfy these desires, the code proposes hypotheses that can be tested for new knowledge, whether by deduction, induction or abduction.

   The first part of this project was carried out in 2019 / 2020 with support and funding from the MM Gerdau ComCiência public art selection program. The code base was built in Python, and a humanoid robot executed the code to interact with the public. The project lasted three months, then the steps were reduced to their basic format. But it proved the efficiency of the programming logic and the successful creation of an efficient robotic body.

 

Manifesto Against Gravity

2019 - 2016

Manifesto against Gravity

Part II - The Birth of the Light Being

By Jack Holmer

 

Every act of birth requires a lot of power and precision. Be it in matter and work for the body or in attention and technique that will become symbolic meaning.

The potential work of the human is virtualized in ideas, which are not yet energetic / materials consume more energy and time of the one who conceives it. Potential becomes Virtual and seeks strategies to update the world, verbalizing its idea, making it real. Energy and Time of the creator, which when associated to other human minds and bodies gains more power, virtualizing more complex projects, which require more time and energy in an evolutionary chain attached to a mohbi ribbon, always in motion.

Gravity is one of the forces that drives us into the tendency to keep us inert. To go against gravity is to produce movement that is shared through the Works presented here.

These works have a presence, an eyeless gaze where we can feel the energy employed in their creation. Just as we face great mountains and cliffs impressed with the natural forces that were necessary for their formation, their displacement from an inert condition.

The birth of the Beings of Light follow the same logic. It took large “packs of time” and energy in its conversion from potential to Virtual. In this passage the artist's crossed knowledge, fed by situations where he was or by academic readings, creates nodes of potential ideas. To actualize the world of these intersections of knowledge it is associated with the power of the other to proceed to realization.

The moment the human model focuses on the pose to be three-dimensional scanned a presence and a "energy of form" are transferred in data to the computer. This virtual form gains work of the artist, accumulating more knowledge, presence and energy.

His first birth back to matter takes place through the impression of the planned form of the Virtual Model as performed by an Ideal Cubism. At this stage begins the transfer of Work to form the Body of Light Being. Attention and Technique give shape to the virtual model in volume in matter. The vertices of the form, made up from  plastic straws, join together in sewed knots that together incorporate the accumulated presence in their process of creation. To animate this body, a virtual mind is created, a program that can sense the presence of others and respond  with subtle movements.

We have this presence of objects in our daily life. Virtual Entities surround us with their everyday presence, whether in the oppression of noise from the city motors or through an emoticons received in a virtual message. Both produced by Man with energy and time. Not surprisingly, contemporary technological efforts focus on new sources of energy and forms of optimization of our time.

On a natural path to Part III of this Manifesto I continue to focus my Energy and Time on the virtualization of the mind of this Light Being who now has a body that can intermediate his intelligence with the material world. Between the minutia of the code and the crossing of knowledge another birth will occur.

 

Light Beings

2014-2010

Humanização das tecnologias por humanoides afetivos: rumo à terceira interatividade[1]

 

Diana Domingues

 

 

 

“We must humanize technology before it dehumanizes us”

Oliver Sack, neurologista e escritor[2]

 

 

 

                Jack Holmer com seus humanoides entra para a história da arte robótica, em 2013, ao lado de outros artistas que mesclam artes, ciência, engenharia, estética e que, principalmente, estão focados na humanização das tecnologias. Em seus aspectos técnicos, Jack realiza atividades em projetos que seguem instruções, etapas, protocolos, comparados à fabricação e montagem de máquinas e sistemas, deixando de ser um artista somente movido por “inspirações” e desígnios poéticos, ou seja, qualidades e habilidades do fazer artístico. Em sua produção atual, com seus humanoides e com seus ambientes de vida artificial, Jack lida com a noção de sistemas complexos, regidos por conceitos e leis científicas a partir da lógica e dos algoritmos, ultrapassando as respostas previsíveis da arte interativa de primeira geração. Nesse tipo de arte, tenta-se simular o biológico e o comportamento humano, assim como fenômenos naturais, incluindo a vida de plantas e comunidades biológicas, querendo fazer valer o “vir a ser” dos fenômenos vitais, e a arte tecnológica ganha o estatuto do pós-humano e do pós-biológico (Domingues, 1997).

                Os projetos artísticos da exposição “Ensina-me a te amar” aproximam Jack Holmer da comunidade de artistas-engenheiros, que, na visão de teóricos da software art, tal como o arqueólogo da mídia Erkki Huhtamo (2003), desenvolvem ou adaptam hardware e escrevem programas especulativos para projetos específicos em que os “modos de uso” de computadores e interfaces os qualificam como Arte, no momento em que incorporam a licença poética que carrega a voz do artista.  O código, no entanto, não é arte (Domingues, Reategui, 2009), e o hardware está em todas as prateleiras e gavetas para uso de todos. Papel, tela e tintas também não garantem a realização de um trabalho artístico. Porém, como o artista pode transmitir um gesto artístico aos programas e ao hardware utilizados? A estranha magia da arte e o velho papel de artista-demiurgo com seu poder de criar objetos-fetiches se reafirmam com as tecnologias.

                Holmer, por sua vez, quer nos ensinar a amar esses humanoides, abraçando-os e cuidando deles como pequenas criaturas[3].

                Realização utópica, idealista, mas extremamente contemporânea, a exposição de Holmes dialoga com a filosofia de centros tecnológicos avançados, em posturas, como, por exemplo, a de Frank Moss (2011), Diretor do MIT Media Lab (2005-2010), que nos fala das pessoas daqueles laboratórios como sendo: os feiticeiros e seus aprendizes, em livro que traz o mesmo título. Aborda questões que sintonizam e ressoam em nosso conceito de Arte no Século XXI e a Humanização das Tecnologias (Domingues, 1997), quando ainda havia no Brasil uma visão muito tecnicista da arte e da tecnologia. Nossa hipótese foi confirmada, e as tecnologias estão sendo humanizadas através de pesquisas nos Laboratórios de Centros avançados de tecnologia. 

 

[1] Este ensaio integra a produção da Diana Domingues como pesquisadora  Visitante Nacional Sênior Capes na Universidade de Brasília. FGA/GAMA e como pesquisadora PQ nível 1 B CNPq no Programa de Pós-Graduação em Engenharia Biomédica. Projetos recentes se inserem no Program MIT International Science and Technology Initiatives, MIT-Brazil Seed Fund/CNPq, e ainda em cooperação com o OCAD CIVDDD Ontario, Canadá.  [dgdomingues@gmail.com]

[2] In: MOSS, Frank. The Sorcerers and their Apprentices: How the Digital Magicians of the MIT Media Lab Are Creating the Innovative Technologies That Will Transform Our Lives. PUB Random House: GROUP, 2011.

[3] Ver texto específico sobre Planetárias e Seres de Luz.

 

Light Beings

Alfa Version / Compilation 0.7

2009 -2006

 

Tactile Anomalies

2006-2002

 

contact

about

Curitiba, Brazil

 

holmerjack@gmail.com

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Jack Holmer has a degree in Visual Arts from the School of Music and Fine Arts of Paraná (2004) and he have a master’s degree in Communication and Languages (2008). He has been working with electro-digital poetics since 2001. His research presents architectures of Artificial Life and thoughts on Robotics through Semiotics, interaction interfaces and the gamification of contemporaneity, materializing it in Interactive Robots, Virtual Autonomous Beings, GameArt, documentaries and computer codes.

Major Exhibits

 

2020 – Online Collective Exhibition - Harddiskmuseum – curated by Solimán López (ESAT Escola Superior d’Art i Tecnología – Valência/ES)

 

2020 - Collective Exhibition – Program CoMciência - Occupation in Art, Science and Technology - MM Gerdau – Museu das Minas e do Metal, Belo Horizonte, Brazil.

 

2019 - Solo Exhibition - About the birth of robots – Museu Metropolitano da Cidade de Curitiba – Sala de Arte Digital, Curitiba, Brazil.

 

2019 - Collective Exhibition - West Weird - Teton ArtLab,

Jackson Hole, Wyoming,United States of America.

 

2019 - Solo Exhibition - Manifesto Against Gravity - Soma Gallery, Curitiba, Brazil.

 

2018 - Collective Exhibition - Bienal de Arte Digital - Oi Futuro Flamengo, Rio de Janeiro, Brazil.

 

2018 - Collective Exhibition - Bienal de Arte Digital - Museu da Pampulha, Belo Horizonte, Brazil.

 

2018 - Collective Exhibition - #Connection III - NatFap - Núcleo de Arte e Tecnologia da Faculdade de Artes do Paraná, Curitiba, Brazil.

 

2017 - Collective Exhibition - ZAZ Performance Festival - Tel Aviv and Arad, Israel.

 

2017 - Solo Exhibition - Manifesto Against Gravity - The Center – Jackson Hole, Wyoming, United States.

 

2016 - Collective Exhibition - Harddiskmuseum – curated by Solimán López (ESAT Escola Superior d’Art i Tecnología – Valência/ES) Sala Cláudio Carriconde - CAL/UFSM - Santa Maria, Brazil.

 

2016 - Visiting Artist In Residence Program (January 2-31) - Teton ArtLab – Jackson Hole, United States.

 

2015 - Collective Exhibition - FACTORS 2.0 - Festival of Art, Science and Technology of RS, Santa Maria, Brasil.

 

2015 - Collective Exhibition - Limiar - SIM Galery, Curitiba, Brazil.

 

2014 - Acquisition Prize - 2º Salão de Arte Contemporânea e Novas Tecnologias, Ponta Grossa, Brazil.

 

2014 – Open Atelier - Curto Circuito Ateliers, Curitiba, Brazil.

 

2013 - Solo Exhibition - Teach me how to love you - Museu da Gravura da Cidade de Curitiba - Ocupação de Espaço – Fundação Cultural de Curitiba, Brazil.

 

2013 - Collective Exhibition - #Connection II - NatFap - Núcleo de Arte e Tecnologia da Faculdade de Artes do Paraná.

 

2013 - Collective Exhibition – Curitiba’s Conciertaciencia -Sesc Paço da Liberdade - Curitiba, Brazil.

 

2013 - Collective Exhibition - Tunja - Tavera Room Rafael de la Secretaría de Cultura y Turismo de Boyacá - 41 * Festival International de la Culture Tunja, Colombia.

 

2012 - Collective Exhibition - Conciertaciencia - Platforma Bogotá - Bogotá, Colombia.

 

2012 - Collective Exhibition - Two Decades of Contemporary Art - Museu Oscar Niemeyer - Curitiba. Brazil.

 

2011 - Collective Exhibition - Connection #I - NatFap - Núcleo de Arte e Tecnologia da Faculdade de Artes do Paraná.

 

2011 - Collective Exhibition - Possible Connections II. - Museu de Arte Contemporânea do Paraná.

 

2010 - Performance Robotics - #hugrobot - Museu Oscar Niemeyer International -Forum Conservation of Modern to Contemporary; Seminar Science'n'Fiction - Casper Libero, São Paulo; Fourth National Symposium ABCiber (PPGCOM-ECO / UFRJ), Rio de Janeiro; Feevale University, Novo Hamburgo, Rio Grande do Sul, Brazil.

 

2007 - Collective Exhibition - 4th Bienal do Vento Sul – exhibition Latin American Visual Art – MusA – Museu de Arte da UFPR, Curitiba, Brazil.

 

2007 - Solo Exhibition - Compilation 0.7 - Mac - Museum of Contemporary Art of Paraná, Curitiba, Brazil.

 

2006 - First Prize - Collective Exhibition - Salão de Arte Graciosa, Curitiba, Brazil.

 

2005 - Collective Exhibition - Graphite - 3rd International Conference on Computer Graphics and Interactive Techniques in Australia and Southeast Asia, Dunedin, New Zealand.

 

2004 - Collective Exhibition - SALON Y Colloquium DIGITAL ART, Centro Cultural Pablo de la Torriente Brau, Havana, Cuba.

2013 © 2020 por @jackholmer

holmerjack@gmail.com