"The essence of generative creativity is to create processes, not finished works"

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Vadim Epshteyn is a renowned Moscow media artist and VJ, who is the founder and creative director of the in[visible] studio. He actively promotes digital creativity and shares his experience as a teacher at the British Higher School of Art and Design, as well as in the Digital Art (DA) Master's program at the Far Eastern Federal University. Vadim also teaches classes at the online school Bang Bang Education. His creative work includes participation in commercial events, as well as curating festivals and exhibitions, confirming his significance in the field of contemporary art.

Vadim shared the impressive changes that "know-it-all" neural networks have brought to the field of media art. Using examples of his own work and the work of other artists, he demonstrated the potential of generative art, emphasizing its possibilities and influence on contemporary creativity.

In this material, you will become familiar with the key aspects of the topic, including basic concepts, practical recommendations, and useful tips. We will examine in detail the important points that will help you gain a deeper understanding of the subject and apply the acquired knowledge in practice. This text is aimed at providing you with valuable insights and recommendations to facilitate your development in this field.

• how generative art changes the question of authorship;
• what background should a media artist have;
• which media artists are worth following;
• where to study to become a media artist in Russia.

Media art is a unique method that combines various forms of art and technology. Its distinctive features lie in the use of digital tools to create interactive and multimedia works. This art allows the viewer not only to observe but also to participate in the process, making it more dynamic and engaging.

Furthermore, media art actively explores the boundaries of traditional genres, combining video, sound, graphics, and text. It opens up new opportunities for self-expression and experimentation, and also promotes the introduction of new technologies into the cultural space. An important aspect of media art is its ability to adapt to modern trends and societal demands, making it relevant in a rapidly changing world.

Thus, media art as a method not only reflects contemporary realities but also actively shapes cultural perception, offering new ways of interaction between artist and viewer.

The digital world offers significant freedom, as it is less bound by physical conditions. Although it does have certain limitations, in most cases they are technical, which makes it possible to circumvent them or use them as an expressive means. This opens up new horizons for creativity and expression in various fields.

Discrete, copyable, and reproducible digital media occupy a key place in the modern world. JPG and MP3 files can be considered digital art, but this interpretation doesn't always capture the full depth of this phenomenon. If you load these "sheet music" into a digital player, they will all play identically, losing their uniqueness and individuality. This underscores the importance of understanding digital art as more than just a collection of files. Questions of originality and authorship are especially relevant in an age when digital technology allows works to be copied and distributed instantly.

Generative art opens the door to new possibilities, enabling the creation of unique works using algorithms. This approach combines programming and artistic expression, making it particularly appealing to artists and developers. Generative algorithms don't just create images; they generate entire worlds of ideas and concepts that previously seemed impossible. In this captivating process, the interaction between human and machine produces unexpected results, pushing the boundaries of traditional art. Generative creativity focuses on creating processes that are constantly evolving, rather than creating static, finished works. This approach allows for the exploration of new ideas and forms, opening up opportunities for endless self-improvement and adaptation. Unlike traditional art, which emphasizes the end result, generative creativity focuses on dynamics and evolution, making it unique and relevant in the modern world. A generative artist can be compared to a gardener who creates conditions for growth and development. This process is often referred to as the new organics, where the emphasis is on the creative process itself, not just the end result. The preparation and shaping of ideas becomes the goal of creativity, while individual works, such as video and music, represent frozen moments of this process. These creations are interesting as artifacts that allow viewers to see and understand the very essence of generative art.

I call generative programming "quantum design." This name is based on the analogy with quantum mechanics, which studies the behavior of invisible atomic particles and forms understandable theories from these observations. In the context of programming, generative methods enable the creation of innovative solutions and unique products using an algorithmic approach reminiscent of the study of complex systems in quantum physics. This approach opens new horizons in development, enabling the creation of dynamic and adaptive systems that process data with a high degree of efficiency.

The artist creates low-level functions that determine how pixels will move depending on specified conditions and coordinates. Digital artists do not work directly with the final result, but focus on the details and nuances of the process, which ultimately come together to form a unified whole. At the same time, the level of human control remains high, albeit indirect. This approach enables the creation of complex and expressive visual works, where every detail plays a vital role in the overall picture.

Generative creativity is not limited to digital forms. There are other forms of generativity, such as biological and geological processes. A striking example is the meanders of rivers that form their channels in a delta. These natural processes demonstrate how generative mechanisms are capable of creating complex and diverse structures in the environment.

A traditional artist or sculptor is the sole author of their work, fully controlling the process of its creation. In generative art, this relationship between the author and the work changes significantly. In this approach, the artist defines the algorithms or rules that enable the computer to create unique works. Thus, the author becomes not just a creator, but an initiator of the process, resulting in a new level of interaction between man and machine. Generative art opens up new horizons for creative expression and redefines the concept of authorship in contemporary art.

This is best illustrated by modern machine learning technologies.

In 2021, a significant breakthrough in machine vision changed the approach to working with artificial intelligence. Previously, it was necessary to train a specialized model to solve each specific problem. However, with the advent of neural networks with extensive knowledge, capable of establishing deeper connections and quickly solving a wide range of problems, the approach to model development has changed dramatically. At Stanford, the term "Foundation Models" was coined to reflect this new approach. A specialized department, The Center for Research on Foundation Models (CRFM), was created to study and analyze these models. This discovery laid the foundation for the further development of machine vision and artificial intelligence technologies, enabling the creation of more versatile and effective solutions.

When artists employ neural networks with extensive knowledge, the question of authorship becomes especially pressing. In my work, I used a generator based on the CLIP model from OpenAI. This generator accepts text queries and freely interprets them, converting them into video. This technology opens new horizons for creativity, but also raises ethical and legal questions about who is the true author of a work.

Saga 3D is a project by Vadim Epstein, which demonstrates unique visual effects and high-quality animation. This video presents many exciting scenes created using advanced 3D modeling technologies. Each frame of the project immerses the viewer in an atmosphere filled with dynamics and creativity. Saga 3D is a fine example of contemporary art and innovation in animation, highlighting Vadim Epstein's mastery of the medium. This video will appeal to both animation enthusiasts and professionals seeking inspiration for their projects.

I entered a short but powerful phrase into the generator, reflecting the theme: "Create a monumental saga-series about life, death, and love, featuring humans, gods, robots, and nature." To this phrase, I added a list of 30-40 famous artists whose styles the neural network has already mastered.

An epic battle sequence has been created, capable of endless rendering. The model, based on the styles of great artists, generates images distinguished by interesting and captivating compositions. This unique combination of art and technology makes each work a visual masterpiece.

This raises a curious issue:

The disproportion between the effort invested and the result achieved becomes obvious. This disproportion highlights the importance of optimizing processes and analyzing the effectiveness of actions to achieve desired goals.

Previously, we perceived the author as the sole creator of a work of art or product, fully responsible for its appearance. The traditional creation process required the artist to navigate a long journey—from raw clay or a blank canvas to the finished product. However, with the advent of "fundamental models" capable of independently generating complex and unique works, the role of the artist and illustrator has changed significantly. Now, it is enough to enter one or two text queries to get the desired result. In the modern world, just a gentle nudge is enough to launch the creative process.

Administrative and legal issues related to copyright are on the verge of rethinking. In the rapidly changing digital landscape, existing norms and practices must be adapted to new realities in order to effectively protect intellectual property. This rethinking could lead to changes in legislation and practice, which, in turn, will impact the interactions between authors, copyright holders, and content users.

The question of the completion of a work of art is always relevant. Is there a point at which the creation of a work can be considered complete, or can the process continue indefinitely? Many artists and writers face this dilemma. On the one hand, completion of a work may be associated with certain criteria, such as the author's satisfaction with the result or its conformity to the intent. On the other hand, the creative process often requires constant revision and modification, which can lead to endless improvement. Thus, the question of the completion of a work remains open and depends on the individual perception of each creator.

Defining the critical point of completion of a work requires a clear understanding of what we consider completion. The ultimate goal is the application of a specific technique to the task. However, the process of creating a work that satisfies the author can continue indefinitely, as improvements or changes are always possible.

Creating a process can be compared to a renovation: it can never be completely finished, only stopped. The process has no clearly defined final goal and continues as long as we have the desire and resources to maintain it. It is important to understand that effective process management requires constant attention and adaptation to changing conditions. It is a never-ending cycle of improvement aimed at optimization and achieving better results.

I consider this work complete. I have reached the point I was striving for.

Jabberwokk 3D is a unique project created by Vadim Epstein. In this video, you can see a fascinating 3D interpretation of Jabberwokk, inspired by the famous work of Lewis Carroll. The work combines innovative technology and artistic expression, making it engaging for viewers of all ages. Dive into the world of 3D animation and discover new dimensions of creativity with Jabberwokk 3D. Learn more about the project and its creator on Vimeo, where you can enjoy high-quality image and sound.

I used a generator based on OpenAI's CLIP to create the video. I loaded the text of Lewis Carroll's poem "Jabberwocky" into the system, and I also downloaded a recording of Benedict Cumberbatch reading the poem. By adjusting the length of the final video to match the original soundtrack, I generated a video sequence, which I then combined with Cumberbatch's recording. This created a unique video that combines a literary work and professional reading.

If you ask the same program to perform the same task repeatedly, will the result change? This is a question that interests many technology users. In most cases, if a program doesn't incorporate random elements into its algorithm, it will produce the same result given the same input. However, with programs that use random numbers or machine learning, results can vary. Furthermore, the state of the system on which the program is running or changes in its configuration can have an impact. Therefore, it's important to understand how a specific program operates and what factors can influence its behavior. The result of image generation depends on the program used and its implementation. SberAI has introduced a text-based image generator called ruDALL-E. Multiple inputs of the same query can produce completely different images. Output results can range from illegible text to photographic frames reminiscent of movie scenes or even cartoon-style images. This diversity makes image generation an interesting and unpredictable process.

Code architecture plays a key role in ruDALL-E's work. This system is based on a modern transformer approach that doesn't create an entire image, but generates it line by line, like a text message. This method allows for numerous variations from the original concept, resulting in a variety of results.

My generator uses methods that synthesize the image as a whole, resulting in similar results. Although the composition may vary, the style remains consistent.

Media art is widely used in various commercial fields. In the advertising industry, it is used to create striking and memorable advertising campaigns that attract consumer attention. In entertainment, media art plays a key role in the production of films, video games, and music videos, providing visual and audiovisual appeal.

Media art is also actively used in education, where interactive elements and multimedia materials help make the learning process more engaging and effective. In marketing, media art is used to create unique content that helps brands stand out from the competition and establish an emotional connection with their audience.

In the arts and culture, media art serves as a means of self-expression and experimentation, allowing artists to explore new forms of audience interaction. Thus, media art is becoming an important tool in various industries, fostering the development of creative solutions and innovative approaches.

The core of applied media art includes a variety of visual materials, such as shows, presentations, stands, commercials, and other forms of visual content, as well as interactive installations. Audio in this context often plays a secondary role, but there are also installations that focus on audio perception, creating a unique sound immersion.

There are many websites, apps, and services. Before the pandemic, there was a shift to online formats, which has now intensified significantly. Although this degree of virtualization is not entirely familiar to me, it is part of our new reality. It is important to consider that the online space has become an integral part of life, and adapting to these changes is necessary for successful interaction in the modern world.

Media art, especially in the form of computer graphics, is widely used in the film industry. This art form allows for the creation of visual effects, animations, and various graphic elements that significantly enrich cinematic works. Thanks to computer graphics, filmmakers can realize their boldest ideas, creating immersive and realistic worlds that would be impossible to create without the help of modern technology. Thus, media art is becoming an integral part of modern cinema, allowing viewers to immerse themselves in unique stories and experiences.

Examples of the connection between a project's goal and technical implementation can be varied. A project's goal may be to create a user application that improves customer interaction. In this case, technical implementation may include the development of an intuitive interface and functionality that allows users to easily find the information they need and interact with the service.

Another example would be a project to automate business processes. Here, the goal is to improve the company's operational efficiency, and the technical implementation will include the implementation of software that optimizes current work processes and reduces task completion time.

Also, a project to create an educational platform could be considered. The goal of such a project is to provide accessible training to a wide audience, and the technical implementation includes the development of a content management system, video players, and interactive elements that will ensure a convenient learning experience.

Therefore, the connection between the project's goal and its technical implementation is key to achieving the desired results and successfully completing the assigned tasks.

Last year, we implemented a project for an advertising campaign for Askona, a manufacturer of "sleep devices." For this, they rented the space of the Artplay gallery, known for its installations. Several beds were installed inside the gallery, and video graphics visualizing dreams were displayed on the walls. This project became a shining example of a creative approach to advertising, allowing visitors to immerse themselves in the atmosphere of calm and relaxation offered by Askona products.

Initially, the in[visible] team was tasked with creating a space-themed project. However, we proposed alternative solutions and championed several scenes, as dreams aren't just National Geographic newsreels. They require a level of abstract imagination. We sought to engage the viewer through aesthetic combinations and a variety of imagery: from cosmic nebulae and fantastical organic matter to the underwater world and supernova explosions, which serve as a metaphor for awakening. All graphics were created using the vvvv modular programming environment and custom shaders developed in HLSL and GLSL, which allowed us to achieve a unique visual style and depth.

For Orkhan Mammadov's project, Circular Repetition, presented at the 2019 Venice Biennale, we focused on creating a continuous synthesis of graphic patterns based on traditional Azerbaijani motifs. To achieve this goal, we selected and adapted the Progressive GAN, a generative neural network considered one of the best at the time. Integration with the LED installation, synchronization with the generative soundtrack, and overall installation control were implemented using the vvvv modular programming environment. This approach has created a unique and dynamic visual environment that seamlessly blends traditional elements with modern technology.

A media artist's background may be diverse, but having deep knowledge in a specific field, such as science, can greatly enrich their work. For example, a background in theoretical physics allows one to explore complex concepts and transform them into visual forms. This approach not only brings uniqueness to the work but also stimulates viewers to reflect on broader themes. It is important for a media artist to possess not only technical skills but also the ability to interpret and convey ideas through their work, creating an interactive and educational experience for the audience.

My experience is not unique, but it stands out. At that time, humanities education was significantly inferior in quality to scientific and technical education. Therefore, the question of choosing an educational institution was not so pressing and did not depend on personal professional preferences.

During my studies at the institute and my subsequent career in IT, I acquired a solid technical foundation. When the desire to realize my own ideas arose, I began to apply the methods and techniques I already knew—formulas, codes, and algorithms. First, I developed an extensive set of tools, and then I began to analyze what problems I could solve with them.

The lack of a humanities education greatly affects the perception and understanding of art and cultural processes. Many young professionals may have limited knowledge of technical tools, but their deep understanding of history and aesthetics commands respect. My approach to exploring these issues is casual: I focus on what interests me at the moment and try to understand it. This creates certain difficulties, as a systematic education in the humanities provides a more complete understanding of the context and meaning of cultural phenomena.

In contemporary media art, there is a tendency toward a more thoughtful approach, where the emphasis shifts from methods to goals. Artists entering this field first define the main directions and principles of their work and then choose the most appropriate means for their implementation, whether digital technology, ceramics, or biogenetics. Having a systematic education in this field allows you to avoid many unnecessary steps and increase the effectiveness of the creative process. This promotes a deeper understanding of the tools and technologies used and also allows the artist to more accurately express their ideas and concepts.

Media artists must possess a wide range of knowledge and skills to successfully adapt to modern conditions and trends in art and technology. It's important to understand the fundamentals of digital art, including graphic design, video editing, and animation. Knowledge of software such as Adobe Creative Suite, as well as 3D modeling and virtual reality skills, will be a significant advantage. Media research and analysis skills will also be essential, as understanding audiences and their preferences is becoming a crucial aspect of creating successful projects. Media artists should keep an eye on emerging technologies such as artificial intelligence and augmented reality, which open up new horizons for creativity and audience engagement.

Themes of sustainable development and ethics in art will remain relevant in the near future, requiring media artists to be mindful of the social and environmental aspects of their work. Flexibility, creativity, and the ability to adapt to changes in the digital landscape will be key factors for success for media artists.

Contemporary deep media art, or deep media art, is an innovative movement that departs from traditional digital aesthetics. It seeks to create a deeper immersion in the pressing issues of our world. Deep media art explores the properties and essence of matter, including ethereal vibrations and the physical structure of objects. This art movement allows viewers not just to observe but to interact with the works, deepening their understanding of reality and raising important questions about perception and interaction with the world.

Prominent representatives of the scientific art movement, Evelina Domnich and Dmitry Gelfand, have become famous for their unique projects. One of their most famous works is dedicated to the phenomenon of sonoluminescence, which manifests itself in the glow of a liquid medium under high-frequency ultrasound exposure. When ultrasound of a certain power passes through water, vibrations and oscillations occur, leading to the formation of microbubbles. These bubbles, collapsing, emit energy, creating an amazing spectacle. For a long time, it was believed that this scientific effect is impossible to see with the naked eye, until Evelina and Dmitry developed their installation, allowing viewers to witness this unusual phenomenon.

In the context of commercial projects, we will undoubtedly continue to remain in the digital space. Currently, virtual reality (VR), cryptocurrency, and neural networks are coming to the forefront. However, this does not mean you need to become an expert in programming or delve into languages ​​such as Python or Solidity, used in blockchain development. It is important to have a solid knowledge of technological fields in order to choose the right tools and understand their application in various situations. Excessive technical complexity can cause frustration, so tools should be viewed as means to achieving specific business results.

We recommend paying attention to the work of contemporary media artists who actively influence art and culture. Their projects often use innovative technologies and explore current social issues. Keep an eye on artists such as Rafael Lozano-Hemmer, who creates interactive installations, or Patrick Toker, known for his video art projects. It's also worth paying attention to young professionals experimenting with augmented and virtual reality, which allows them to create unique visual narratives. Observing their work can open new horizons in understanding media performance and contemporary art.

In this article, I will highlight several outstanding artists in the field of generative art. Generative art is a movement in which artists use algorithms and code to create unique works. Among the most famous artists is Robert Garbis, who creates impressive visualizations based on mathematical models. Also worth mentioning is Maria Luzon, whose work explores the interaction of technology and nature. Another significant representative is Joshua Davis, known for his interactive installations and data visualizations. These artists make a significant contribution to the development of generative art, expanding the horizons of perception and interaction with digital technologies.

Mario Klingemann is a leading neuroartist who is always at the forefront of art and technology. He actively explores and applies the most modern trends, which has made him a prominent figure in the world of digital art. When crypto art became popular a year ago, Klingemann immediately began working in this direction, experimenting and creating unique pieces. Today, he is one of the most renowned NFT artists, making a significant contribution to the development of digital art.

Sofia Crespo. Unlike Mario, who constantly experiments with new technologies, Sofia takes a different approach. She focuses on the idea, its meaning, and aesthetic component. Her works reflect a deep understanding of conceptual art and a desire to create harmony between idea and visual expression.

Robert Seidel is one of the most outstanding artists in the field of abstract generative art. His works are a stunning mixture of forms, movements, and vibrant colors. Seidel has a unique talent for conveying deep emotions without resorting to figurative techniques. His work inspires viewers and immerses them in a world of abstraction, where each piece becomes a reflection of the artist's inner state.

Paul Prudence is an expert in digital minimalism, possessing an outstanding sense of plasticity in this field. His works demonstrate a deep understanding of the principles of minimalism and their application to the digital context. Prudence creates harmonious and functional solutions that emphasize the importance of simplicity and aesthetics in the modern digital world.

In Russia, there are numerous educational institutions offering programs for training media artists. Leading art schools and universities offer courses that cover various aspects of media production, including digital art, graphic design, and animation. Notable institutions include Moscow State University, the St. Petersburg Academy of Arts, and the Higher School of Economics. These institutions offer both undergraduate and graduate programs, allowing students to develop their skills and creative potential. It's also worth considering specialized courses and master classes held in major cities, where experienced practitioners share their knowledge and techniques. Choosing the right curriculum will help future media artists develop professional skills and prepare for a successful career in art and media.

"Media and Technological Art" is a joint project between Sreda Obucheniya and the Rodchenko Moscow School of Photography and Multimedia, aimed at studying and developing contemporary media arts. The project brings together experts and students, creating a platform for the exchange of knowledge and experience in photography, multimedia, and new technologies. Participants have the opportunity to deepen their skills, explore current trends, and apply innovative methods in creative practice.

Digital art is an important area of ​​the creative industries, studied at the School of Digital Economy at the Far Eastern Federal University (FEFU). This art combines technology and creativity, allowing for the creation of unique works using digital tools. At FEFU, students acquire the knowledge and skills necessary for work in this rapidly developing field, including graphic design, animation, and interactive media. The curriculum includes both theoretical and practical classes, helping to develop highly qualified specialists capable of successfully adapting to modern market demands. Digital art is becoming an integral part of the cultural and economic space, opening new horizons for self-expression and creativity. ArtTECH is a master's degree program offered by the Institute of Information and Computer Science and EcoTech at NUST MISIS. The program is aimed at training specialists in artificial intelligence, technology, and its application in ecology and sustainable development. Studying at ArtTECH provides the deep theoretical knowledge and practical skills necessary for a successful career in the rapidly evolving world of technology. Students have access to modern laboratories, research projects, and internships at leading companies. Join ArtTECH to become part of the future, where technology and ecology work in harmony.