Papers by Meredith Tromble
Artnodes, Dec 15, 2017
Geobiologist Dawn Sumner, known for her research on early life in Antarctica, her contributions t... more Geobiologist Dawn Sumner, known for her research on early life in Antarctica, her contributions to the Mars Curiosity science team, and for co-founding KeckCAVES at the University of California Davis, has also spent the past decade working in collaboration with artists. This paper addresses the relevance of these art/science collaborations to her scientific practice through an analysis of four of her projects: Collapse (suddenly falling down) with Sideshow Physical Theater; Dream Vortex with Meredith Tromble; Life Extreme with Philip Alden Benn; and The Vortex with Donna Sternberg and Meredith Tromble. The experiences gained by Sumner and her collaborators show that there are many different ways in which artists and scientists can learn from each other. Echoing throughout the collaborations is the realisation that turning ideas into form yields a result that can stimulate the next cycle of creativity.
Artnodes, Jul 21, 2020
What can art do for artificial intelligence? This essay circles around this question from a viewp... more What can art do for artificial intelligence? This essay circles around this question from a viewpoint grounded in the embodied knowledge base of contemporary art. The author employs the term "feelthink" to refer to the shifting webs of perception, emotion, thought, and action probed by artists engaging AI. Tracing several metaphors used by artists to consider AI, the author identifies points where the metaphors delaminate, pulling away from the phenomena to which they refer. The author advocates for these partial and imagistic understandings of AI as probes which, despite or because of their flaws, contribute important ideas for the development and cultural positioning of AI entities. The author further questions the limited scope of art ideas addressed in AI research and proposes a thought experiment in which art joins industry as a source of questions for developing artificial intelligences. In conclusion, the essay's structuring metaphor is described as an example of "feelthink" at work.
Leonardo, 2007
... This is just one of the questions Dolores A. Hangan Steinman and David Steinman must consider... more ... This is just one of the questions Dolores A. Hangan Steinman and David Steinman must consider when designing ... TOM DALE, ANTHONY DISCENZA, LAUREN KIRKMAN, FREDERICK LOOMIS, ELYSA LOZANO, INÊS REBELO, ALEXANDER UGAY AND ROMAN MASKALEV ...
Co-direction avec Richard Phelan, Sylvie Mathé et Hélène Christo
San Francisco, à l’ouest d’Éden, 2012
« Comment transformer l’histoire urbaine en art public : Amy Franceschini et les Victory Gardens ... more « Comment transformer l’histoire urbaine en art public : Amy Franceschini et les Victory Gardens de San Francisco » Réunissant art conceptuel, technologie numérique et jardinage, le « Victory Garden Project » initié par Amy Franceschini est une oeuvre qui prend comme champ d’intervention toute la ville de San Francisco. Pour l’artiste, il s’agit d’une « utopie devenue réalisation-pilote qui transforme en zone de production alimentaire jardin-avant, arrière-cour, bac-à-fenêtre, toit et espace urbain en friche ». Tout en analysant le réseau symbolique incarné par les objets créés pour le projet, l’article de Meredith Tromble situe le travail de Franceschini dans le contexte des jardins patriotes en temps de guerre et aussi de l’histoire plus récente de la révolution technologique de San Francisco
Western American Literature, 1999
Artnodes, 2020
What can art do for artificial intelligence? This essay circles around this question from a viewp... more What can art do for artificial intelligence? This essay circles around this question from a viewpoint grounded in the embodied knowledge base of contemporary art. The author employs the term “feelthink” to refer to the shifting webs of perception, emotion, thought, and action probed by artists engaging AI. Tracing several metaphors used by artists to consider AI, the author identifies points where the metaphors delaminate, pulling away from the phenomena to which they refer. The author advocates for these partial and imagistic understandings of AI as probes which, despite or because of their flaws, contribute important ideas for the development and cultural positioning of AI entities. The author further questions the limited scope of art ideas addressed in AI research and proposes a thought experiment in which art joins industry as a source of questions for developing artificial intelligences. In conclusion, the essay’s structuring metaphor is described as an example of “feelthink” ...
Artnodes, 2020
What can art do for artificial intelligence? This essay circles around this question from a viewp... more What can art do for artificial intelligence? This essay circles around this question from a viewpoint grounded in the embodied knowledge base of contemporary art. The author employs the term “feelthink” to refer to the shifting webs of perception, emotion, thought, and action probed by artists engaging AI. Tracing several metaphors used by artists to consider AI, the author identifies points where the metaphors delaminate, pulling away from the phenomena to which they refer. The author advocates for these partial and imagistic understandings of AI as probes which, despite or because of their flaws, contribute important ideas for the development and cultural positioning of AI entities. The author further questions the limited scope of art ideas addressed in AI research and proposes a thought experiment in which art joins industry as a source of questions for developing artificial intelligences. In conclusion, the essay’s structuring metaphor is described as an example of “feelthink” ...
Public, 2019
Both an introduction to PUBLIC #59 and a rumination on the difficulty of interspecies communicati... more Both an introduction to PUBLIC #59 and a rumination on the difficulty of interspecies communication, this essay argues for art and interspecies communication as means of building mental and emotional qualities useful for re-imagining culture in a time of rapid environmental change, embedding a self-reflexive example in the text.
Public, 2019
Both an introduction to PUBLIC #59 and a rumination on the difficulty of interspecies communicati... more Both an introduction to PUBLIC #59 and a rumination on the difficulty of interspecies communication, this essay argues for art and interspecies communication as means of building mental and emotional qualities useful for re-imagining culture in a time of rapid environmental change, embedding a self-reflexive example in the text.
Public, 2019
Both an introduction to PUBLIC #59 and a rumination on the difficulty of interspecies communicati... more Both an introduction to PUBLIC #59 and a rumination on the difficulty of interspecies communication, this essay argues for art and interspecies communication as means of building mental and emotional qualities useful for re-imagining culture in a time of rapid environmental change, embedding a self-reflexive example in the text.
Public, 2019
A conversation about their work and collaboration with scientist Deborah Forster and artist Rache... more A conversation about their work and collaboration with scientist Deborah Forster and artist Rachel Mayeri, covering their meeting, Forster’s field research with baboons, Mayeri’s Primate Cinema series of video installations, and their experiences with interspecies communication, concluding with a discussion of Forster’s work in animal FACS and robotics.
Artnodes, 2017
Geobiologist Dawn Sumner, known for her research on early life in Antarctica, her contributions t... more Geobiologist Dawn Sumner, known for her research on early life in Antarctica, her contributions to the Mars Curiosity science team, and for co-founding KeckCAVES at the University of California Davis, has also spent the past decade working in collaboration with artists. This paper addresses the relevance of these art/science collaborations to her scientific practice through an analysis of four of her projects: Collapse (suddenly falling down) with Sideshow Physical Theater; Dream Vortex with Meredith Tromble; Life Extreme with Philip Alden Benn; and The Vortex with Donna Sternberg and Meredith Tromble. The experiences gained by Sumner and her collaborators show that there are many different ways in which artists and scientists can learn from each other. Echoing throughout the collaborations is the realisation that turning ideas into form yields a result that can stimulate the next cycle of creativity.
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Papers by Meredith Tromble