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_______________________________________________________________________________________

TUESDAY JULY 6, 2010

                                     GUEST:

                              SCOTT DRAVES

                                      

    

                              Software Artist

                    Founder: Electric Sheep . Org

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The program can be viewed in its entirety by clicking the you tube link below:

http://www.youtube.com/watch?v=PewLQgkHwek - SCOTT DRAVES

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More about: SCOTT DRAVES

Scott Draves a.k.a. Spot is a visual and software artist living in New York City. Draves is best known as the creator of the Electric Sheep, a continually evolving abstract animation with over 60,000 daily participants.

He created the original Flame algorithm in 1991, the Bomb visual-musical instrument in 1995, and the Electric Sheep in 1999. Draves' software artworks are released as open source and have been used for two decades by many other artists and designers in their own work. Most recently, Draves created Generation 243, a commissioned piece for the Gates Center for Computer Science at Carnegie Mellon University. Other works in clude Clade 1, a rare true high-definition video artwork that runs a 26-minute loop. Dreams in High Fidelity, a moving painting that runs infinitely, is installed in the lobby of Google's headquarters, and has been acquired by corporate and residential collections nationally.

Draves' award-winning work is permanently hosted on MoMA.org, and has appeared in Wired and Discover magazines, as an official skin for Google Chrome, as the graphic identity for Siggraph 2008, the Prix Ars Electronica 1993, the O'Reilly Emerging Technology Conference, and on the main dance-floor at the Sonar festival in Barcelona.

When not working as a full-time artist, Draves has worked for a series of technology start-ups. First was the fabless microprocessor design company Transmeta, made famous by Linus Torvalds. Later came FastForward Networks, which was acquired by Inktomi, then the PDI/Dreamworks R&D Department, which earned him a feature film credit for Shrek 2. Draves is now an engineer in the mapping division at Google Inc.

Spot started VJing at underground parties in the early 90s and still performs live. In 2004 he published SPOTWORKS a DVD of visual music which has sold more than 4000 copies.

In 1990 he received a BS in Mathematics from Brown University and in 1997 a PhD from the School of Computer Science at Carnegie Mellon University for a thesis on metaprogramming for media processing.

Watch the autobiographical documentary video.

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An early flame.

An early electric sheep.

Hannah Thiem Photography

Projection on a dancer at Cyberarts 2007. Photo by Hannah Thiem

Dreams in High Fidelity showing at a gallery.

A rare white sheep.

History

In 1978, as a child, I encountered computers for the first time, and immediately fell in love. I badgered my parents until they bought me an Apple //e, and then went about teaching myself to program. I would entertain myself at home, alone in the dark, by writing graphics programs, and watching them run. The game was to get out more than I put in, or to somehow surprise myself. There's no fun in predictable or repetitive results.

In 1991, at the age of 23 I spent the summer in Tokyo as an intern, working with an SGI supercomputer all to myself. For several years before I had been exploring iterated function systems in the graphics group at Brown University. I completed my job after a couple weeks and was given the rest of the summer to do as I pleased.

Suddenly I was free to ask, how can I make the most beautiful result, without constraints of CPU power? How can I visualize and reveal all the information in the complex attractor?

The resulting algorithm is a particle system that calculates the interference between geometric and non-linear transformations of the plane. The imagery of the Electric Sheep is composed from billions of tiny motes, much smaller than pixels, that reconfigure themselves to solve a recursive set equation with hundreds of parameters and millions of variables. It's a slow, but rewarding, algorithm.

Unlike a lot of math art, the particles' colors are drawn from a palette, rather than a formula. And where did the palettes come from? I wrote an algorithm to extract and organize colors from any input image, then fed into it beautiful landscape photographs and old favorite painters like van Gogh and Klee. Now they come from lots of places, including many from the same algorithm.

By this time I had become a life-long emacs junky, and had fallen in love again, this time with Free Software. And so next year, when the web arrived, I made a gallery of the nice images made with the algorithm from Japan and released the code under the GPL, the first open source art. There was no fanfare.

But next year, a funny thing happened. I was a young grad student, getting a PhD in computer science at Carnegie Mellon. I was immersed in artificial intelligence, programming language theory, metaprogramming, robotics, and the Singularity.

My advisor suggested I submit the "flame" images to the Prix Ars Electronica. I did, and received an Honorable Mention. Suddenly I was an artist. More importantly, I had the permission slip to pursue my dreams.

The Flame renderer was ported into standard graphics tools such as Photoshop and After Effects, and used by other artists to make their own work. But I was busy...

In 1997 I graduated and moved to the Bay Area of California. I left academia to seek my fortune in Silicon Valley, working with Linus Torvalds at a chip startup, Transmeta.

One day I received a VHS tape in the mail. It was an animation made with the After Effects Flame plugin, and it impressed me because besides looking good, it was really long. The render time must have been enormous. Its creators worked at Alien Skin, a special effects company and had put the company's render farm to work after hours. Even with the fancy workstation I had from my job, it would have taken months to do something similar.

A little later, in 1999, in the thick of the boom, I quit my job and had a month until the next one started. I took a vacation, I went to Burning Man, and I wrote and released the first Electric Sheep client/server.

It was totally primitive, but it was distributed, after SETI@Home released earlier that year. All the computers running the screen-saver work together to form a virtual super-computer and render farm, animating the sheep. The clients render JPG frames and upload them to the server. The server compresses them into MPG video files, which are then downloaded and displayed by the clients for everyone to see. It was one of the first P2P networks, where the participants were the creators, rather than just consumers.

The name "Electric Sheep" is an homage to the Philip K Dick science fiction novel "Do Androids Dream of Electric Sheep", the basis for the movie "Blade Runner". The metaphor is that to sleep, we count sheep. Your screen-saver comes on when your computer goes to sleep, and so the Electric Sheep are your computer's dream, the android dream. And not just your computer, but the computer, the machine, the network.

As you watch you see a sequence of designs. Each design that appears is one sheep, a virtual creature with an artificial life. It's born, it lives, and it dies in the network and on everyone's screen. Each sheep has virtual DNA, which are the parameters that control how it looks and moves.

As the years and versions went by, the network grew, attracted more users, and became more sophisticated. It went from distributed computing to distributed intelligence. So everyone who was watching could influence what they saw by voting. I adopted the Roman justice system: thumb up and thumb down. Life and death. The more popular sheep have sex and reproduce. The children have family resemblence and random variation. The result is the flock evolves, where the fitness function for the genetic algorithm is the desire of the human audience.

It's profound that randomness, selection, and iteration can be responsible for the diversity and beauty of life of earth. The Electric Sheep are a vehicle to comprehending this.

By 2001 the complexity of the sheep's genetic code had exceeded my understanding. I was getting bug reports and patches and adopting additions to the code from all over the world. There's now a team of about five engineers who make substantial contributions, plus an ever widening circle of one-off contributers.

And then we added intelligent design. A new program was made based on my algorithm -- Apophysis, that anyone could download and use to play god. Anyone can edit the genome and see a thumbnail update in real time. When satisfied, upload the genome to the server where it joins the gene-pool. If it proves popular, it reproduces, and variations appear. So the artificial intelligence competes and collaborates with a human design team, Web 2.0 style.

All the sheep are Creative Commons licensed, allowing anyone to improve or learn from anyone else's design. This also makes the genetic algorithm legal, since every mutation or cross-over creates a derived work. The philosophy of science and open-source is applied to art.

Somewhere around 2002 I realized what was going on. The Electric Sheep had become a cyborg mind, fusing the collective intelligence of thousands of people with an algorithm into something new.

As the network focuses attention onto the sheep, they became higher resolution and more complex. This mirrors the process by which the more attention you give an idea, the more detail and structure appears.

I believe the free flow of code is an increasingly important social and artistic force. The proliferation of powerful computers with high bandwidth network connections forms the substrate of an expanding universe. The Electric Sheep and we their shepherds are colonizing this new frontier.

In 2004 I was still living in San Francisco. The jobs had become less interesting and the sheep had become more interesting. The streams crossed, and I quit to do open-source art. My first plan was to perform live as a VJ with my software and sell DVDs with original material. It worked---but I was living in the ghetto, specifically, a loft in the Tenderloin. And though I was paying my rent, I had more expenses than rent. My savings were sinking. The dot com "fortune" wasn't going to do it.

So was this an explosion of life, or a parasite, consuming my attention and resources to keep the server running and pay the bills? You see, there was a little problem. It turned out that having a robot army rendering for you is good, but having a robot army downloading videos from your server is expensive. We put in BitTorrent to share the bandwidth load like it already shared the computing load. But it only works for 1 in 10 users, and is often blocked outright, for political reasons.

So was this an addiction to distraction that made me quit a promising and respectable career? Or could the sheep be made self-sustaining? Could the sheep be made profitable even, so they could grow and achieve their potential?

Because of the bandwidth bottleneck, the network's render capacity was mostly idle. I realized I could put it to work rendering super-high resolution sheep. And then rather than distributing the results for free, on-line, sell them as limited edition fine art, hence turning the lemon of an overloaded server into the lemonade of a revenue stream. And so "Dreams in High Fidelity" was born.

The result is a turnkey system, a computer loaded with hundreds of gigabytes of sheep and playback software to produce an endless, abstract, animation. Plug it into a projector or a framed, HD flat-screen and you have a "painting that evolves". Hundreds of CPU-years and untold human attention is distilled into a small black slab of electronics. You could call it "Art 2.0".

Ironically, this concentrated life, these chosen sheep, have a negative space: all those that died or were eliminated along the way. They too are an essential part of the process. Even though they are not visible in the final product, their lineages, genomes, and still images of all the sheep are browsable online, forever.

Besides smoother motion and higher resolution, aesthetically there's a fundamental difference between the HiFiDreams and the screen-saver: HiFidreams was edited and assembled by the artist. The public version suffers from what I originally called the "Las Vegas Effect" which is that the brightest, most colorful and fastest sheep get the most votes.

By contrast, the HiFiDreams consists not of popular sheep, but those that satisfied me, the artist, personally and completely. Those that as a group, capture something beyond comprehension. The screen-saver is a design laboratory and idea fountain. The HiFiDreams is the final, distilled product.

When these began to sell I realized that although San Francisco was a great place to make this art, New York City is the place to complete this art. By 2007 I was living in the Lower East Side of Manhattan. The dream had become real. The time is the present. The story has just begun.

 

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Scott Draves Résumé

art awards and exhibitions

2009.12 Dreams in High Fidelity I and II shown during Art Basel at BKMIA, Miami.

2009.11 The Firebird shown in Contemporary Abstract Animation show at Redcat Disney/Calarts

Theater, Los Angeles.

2009.10 Generation 243 shown at Singularity Summit, Manhattan.

2009.10 Lost Sheep shown in 3 locations along 14th street at Art In Odd Places festival,

Manhattan.

2009.09 Generation 243 shown at Gadgetoff, New York.

2009.09 Generation 243 commission installed in Gates Center for Computer Science at Carnegie

Mellon University, Pittsburgh.

2009.08 Symphony at Issue Project Room, Brooklyn.

2009.07 Clade receives Critic's Award at the Genetic and Evolutionary Computation Conference,

Montreal.

2009.04 Dreams in High Fidelity at Visual Music Marathon, Manhattan.

2008.10 Electric Sheep shown at Generativa (outdoor), SESC Paulista, São Paulo Brazil.

2008.07 Dreams in High Fidelity at 3LD Art and Technology Center, Manhattan.

2008.05 The Firebird on Great Wall of Oakland (California), 50' projection, Public art.

2008.02 Electric Sheep in MoMA exhibition website for Design and the Elastic Mind.

2007.11 Dreams in High Fidelity at Queens Museum of Art for Burning Man Decompression.

2007.07 The Firebird in DomeFest, LodeStar Planetarium, Albuquerque. Received Harmony

Channel Award and Director's Special Spirit Award.

2007.05 Dreams in High Fidelity in Love's Secret Domain at 3rd Ward, Brooklyn.

2007.04 Star Oasis in Visual Music Marathon, Northeastern University, CyberArts Festival, Boston.

2006.10 Dreams in High Fidelity in Piksel, Bergen Norway.

2006.08 HiFiDreams in Siggraph Art Gallery, Boston.

2006.06 HiFiDreams in NY Digital Salon's Visual Music show, SVA Chelsea, New York City.

2006.06 HiFiDreams exhibited at International Animated Film Festival, Annecy France.

Scott Draves Résumé

2005.04 Electric Sheep nominated for Webby Award, New York City.

2004.08 Electric Sheep in Siggraph Art Gallery, Los Angeles.

2004.06 Electric Sheep in GenArt NewFangle exhibition, San Francisco.

2004.02 Electric Sheep Jury Recommendation from ACA Media Arts Festival, Tokyo.

2003.04 Lightrhythm Visuals publishes Electric Sheep VJ single, San Francisco.

2002.10 Electric Sheep exhibited at ArtFUTURA, Barcelona.

2001.11 Electric Sheep receives 1st place from the jury at Life/Vida 4.0, Madrid.

1999.02 Bomb wins Prix du Public and 3rd place by the jury at Life/Vida 2.0, Madrid.

1993.04 Flame #149 wins Honorable Mention at Prix Ars Electronica, Linz Austria.

invited lectures

2009.09 Lucid, New York.

2009.07 Hosted panel "DIY Media and Distribution" at Siggraph, New Orleans.

2009.03 Festival de Cinéma des Trois Ameriques, Quebec.

2009.03 NYU Interactive Telecommunications Program, New York.

2008.05 UIUC ACM Reflections | Projections Conference, Urbana-Champaign.

2008.05 World Science Festival, New York.

2007.11 BoBo Gallery, The Media Arts Project, Asheville.

2006.11 Digital and New Media Department, UC Santa Cruz.

2006.09 Google Tech Talk, Mountain View.

2006.03 Parsons School of Design, New York.

2006.03 ITP, NYU, New York.

2005.11 San Francisco Art Institute.

2005.10 National Institute of Advanced Industrial Science and Technology, Tokyo.

2005.05 Berkeley Center for New Media.

2005.02 Planetworks Forum, New York City.

2004.02 O'Reilly Emerging Technology Conference, San Diego.

Scott Draves Résumé

2001.11 MIT Media Lab, Cambridge.

1997.04 Santa Fe Institute.

1995.05 Microsoft Research Labs, Seattle.

media exposure

2009.11 Pittsburgh Tribune-Review covers my commission for the Carnegie Mellon School of

computer Science

2009.10 My new artist theme for the new Chrome browser selected by Google to advertise theme

launch.

2009.02 Electric Sheep rated number 1 screensaver in TidBITS online magazine.

2008.09 Google publishes my theme in their artist/brand directory, 63,000 users in first month.

2008.08 Siggraph conference-wide graphic identity based on Electric Sheep.

2008.05 Profiled on Intel.com.

2008.01 Electric Sheep on cover of Leonardo 41:1.

2006.12 HiFiDreams installation into the Googleplex covered by Wired Online and ValleyWag.

2006.07 HiFiDreams on front page of CNet's News.Com.

2005.09 Electric Sheep in back-story of new prime-time CBS show Threshold.

2004.08 Discover Magazine runs one page story on Electric Sheep.

2004.07 The New Yorker Magazine covers Dorkbot presentation in The Talk of the Town.

2002.05 BPM Magazine reviews Bomb.

2001.05 Wired Magazine runs two-page spread of Flame #148 and Electric Sheep.

VJ performances

2009.01 One Step Beyond, Rose Planetarium, American Museum of Natural History, Manhattan.

2009.03 Le Cercle, Quebec.

2007.02 Danger Party, Brooklyn.

2006.10 SFLNC Benefit, Supperclub, San Francisco.

2005.12 The Studio at the Palms, Los Vegas.

2005.02 Paul Graham's Focus Celebration, Boston.

Scott Draves Résumé

2004.08 Camps Disorient, Sol System, Green Gorilla, and Planet Wow at Burning Man.

2004.05 Children of Sound at Volume, with Alladin Productions, Brooklyn.

2004.05 Ascension at 1015, San Francisco.

2003.11 Private Party at Warehouse 23, Boston.

2002.06 Sonar main stage, with Carl Cox as a guest of Bluespoon, Barcelona.

2000.04 Mozilla Party 3.0 at The Sound Factory, San Francisco.

1997.03 Shelter, with Derrick Carter, Chicago.

refereed publications (artistic)

2004.08 The Electric Sheep Distributed Screen-Saver; SIGGRAPH Sketch.

2003.05 The Interpretation of Dreams; YLEM, Volume 23 #6.

2000.05 Metaprogramming Emergent Graphics; YLEM, Volume 20 #6.

1999.11 First Iteration, Conference on Generative Systems and Electronic Art at Monash

University; Inside the Bomb (video documentary).

1997.02 6th Annual Biennial Symposium on Arts and Technology at Connecticut College; In

Transit (live performance with graphics); Roger Dannenberg and Scott Draves.

refereed publications (scientific)

2008.04 International Journal of Bifurcation and Chaos; The Aesthetics and Fractal Dimension of

the Electric Sheep. Scott Draves, Ralph Abraham, Pablo Viotti, Fred Abraham, Clint Sprott.

2007.12 Art of Artificial Evolution, Springer; Juan Romero and Penousal Machado (Editors);

Evolution and Collective Intelligence of the Electric Sheep (Chapter by Scott Draves).

2006.06 ACM Non-Photorealistic Animation and Rendering; The Electric Sheep and their

Dreams

in High Fidelity; Scott Draves (invited keynote).

2005.03 Applications of Evolutionary Computing, Springer LNCS 3449; The Electric Sheep

Screen

Saver: A Case Study in Aesthetic Evolution; Scott Draves.

1998.09 ACM Surveys; Partial Evaluation for Media Processing; Scott Draves.

1997.06 International Conference on Functional Programming; Implementing Bit-addressing

with Specialization; Scott Draves.

1990.09 Eurographics Workshop on Animation and Simulation Lausanne; Integration of High

Level Animation Controls, Simulation Methods, and Gestural Specification; Zeleznik et al.

Scott Draves Résumé

education

1990.091997.07 Carnegie Mellon University, PhD in Computer Science.

Thesis title: Automatic Program Specialization for Interactive Media.

Thesis advised by Peter Lee. Originally advised by Dana Scott and Andy Witkin.

1986.091990.05 Brown University, ScB in Mathematics.

Graduated Magna cum Laude and with Honors.

Worked in Andy van Dam's graphics lab.

Thesis advised by Thomas Banchoff.

feature film credits

2009.09 Molecules to the Max (IMAX)

2004.05 Shrek 2 (under Research & Development)

employment

2008.12present Google Inc, Software Engineer.

Working on maps front end in the NYC office.

2007.092007.12 Parsons School of Design, Adjunct Faculty.

Taught programming in the Communication Design and Technology Dept.

2003.032004.03 PDI/DreamWorks, Generalist in the R&D Department.

Developed proprietary 3D animation software for feature films.

1999.122000.10 FastForward Networks, Senior Software Engineer,

2000.102001.09 Inktomi Corporation (by acquisition).

Internet startup doing broadcast streaming media distribution.

Server and protocol development, integration, demos and ideas.

Conceived and implemented graphical network management user interface.

Lead support for mp3 format.

1997.071999.08 Transmeta Corporation, Member of Technical Staff, Santa Clara.

Software engineer at fabless VLSI design company.

Virtual Pentium-compatible hardware hosted on VLIW chip.

Simulation and debugging systems, performance optimization.

Brought up the first chip back from the fab.

Scott Draves Résumé

 

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 Portfolio  -   Events  -   For Sale  -   Press  -   Shows  -   About 

Fertile ground for a new digital and social knowledge commons.

- Rafael Lozano-Hemmer, Life/Vida 4.0 Jury.

 

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 Portfolio  -   Events  -   For Sale  -   Press  -   Shows  -   About 

 

 

Scott Draves VJs with live music by Kenji Williams at White Box, San Francisco.

About Scott Draves

Scott Draves a.k.a. Spot is a visual and software artist living in New York City. Draves is best known as the creator of the Electric Sheep, a continually evolving abstract animation with over 60,000 daily participants.

 

He created the original Flame algorithm in 1991, the Bomb visual-musical instrument in 1995, and the Electric Sheep in 1999. Draves' software artworks are released as open source and have been used for two decades by many other artists and designers in their own work. Most recently, Draves created Generation 243, a commissioned piece for the Gates Center for Computer Science at Carnegie Mellon University. Other works in clude Clade 1, a rare true high-definition video artwork that runs a 26-minute loop. Dreams in High Fidelity, a moving painting that runs infinitely, is installed in the lobby of Google's headquarters, and has been acquired by corporate and residential collections nationally.

 

Draves' award-winning work is permanently hosted on MoMA.org, and has appeared in Wired and Discover magazines, as an official skin for Google Chrome, as the graphic identity for Siggraph 2008, the Prix Ars Electronica 1993, the O'Reilly Emerging Technology Conference, and on the main dance-floor at the Sonar festival in Barcelona.

 

When not working as a full-time artist, Draves has worked for a series of technology start-ups. First was the fabless microprocessor design company Transmeta, made famous by Linus Torvalds. Later came FastForward Networks, which was acquired by Inktomi, then the PDI/Dreamworks R&D Department, which earned him a feature film credit for Shrek 2. Draves is now an engineer in the mapping division at Google Inc.

Spot started VJing at underground parties in the early 90s and still performs live. In 2004 he published SPOTWORKS a DVD of visual music which has sold more than 4000 copies.

 

In 1990 he received a BS in Mathematics from Brown University and in 1997 a PhD from the School of Computer Science at Carnegie Mellon University for a thesis on metaprogramming for media processing.

 

Watch the autobiographical documentary video.

© 2008 Spotworks LLC

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                                         TUESDAY JULY 6. 2009

                                     10:30 - 11:30 AM  / (NYC Time)

                 Channel 34 of the Time/Warner & Channel 83 of the RCN 
                       Cable Television Systems in Manhattan, New York.

The Program can now be viewed on the internet at time of cable casting at

                                                 www.mnn.org

                 
NOTE: You must adjust viewing to reflect NYC time

                                          & click on channel 34 at site

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