Reframing the Horizon within the Algorithmic Landscape of Northern Britain

Emerging from the artist’s constructed photographs and walking projects in the north, this paper considers the tension between the photograph as a fixed composition of the world and the dynamic image constructed from data. Whereas arguably, the traditional photograph exhibits a stable relationship between the world and the image, the constructed photograph shifts the focus onto the underlying algorithmic processes of production. This focus on the relational nature of the constructed photograph shifts our gaze from the horizon to the underlying systems in operation as we consider the relational nature of data as a photograph

Eerie Systems and Saudade for a Lost Nature

This paper considers Art’s engagement with the socio-ecological systems in operation in the world. Drawing from both environmental and art history, this paper employs the Deleuzean concept of the fold to suggest three overlapping periods of ecological-systems awareness over the past sixty years. This paper demonstrates how we have shifted our attention from a material engagement with the Earth to a primary engagement with systems which describe and simulate the Earth. This shift in attention to secondary information and an enfoldment within systems, defined as the Post-Systems Condition, manifests in the aesthetic quality of the eerie and a profound sense of saudade or longing for a lost nature

Elliptical forms:abstract algorithmic objects

Contemporary systems painting directly engages with the material of contemporary culture, not necessarily the technological substrates of computation, social media, the Internet, and artificial intelligence, but the concept of the algorithm and the circulation and patterning of information at the limit of human apprehension. Systems painting emerged as part of the wider category of systems art in the 1960s—a heterogenous collection of artists who were focused on the exploration of social, ecological, and technological systems, and the processes that underpin them. These systemic fields increasingly define and shape our lifeworld in the 21st century, producing an excess of algorithmically generated information. It is, therefore, appropriate to consider the role system painting plays in addressing the conceptual, aesthetic, and affective aspects of information derived from computational, algorithmic, and rule-based processes. This paper discusses the practice of the contemporary systems painter James Hugonin and his series of paintings Fluctuations in Elliptical Form (2015–2021). Karl Popper’s theory of three worlds is introduced, and the concepts of ‘concrete’ and ‘abstract’ objects are described and applied to Hugonin’s painting as a way of understanding the role externalised rules and internal intuitive decisions play in the construction of these complex and visually mesmerising paintings

Growth, reproduction, and toxin production of Phomopsis sojae Lehman in culture

The role of Phomopsis sojae in the soybean field and in seed decay has been well investigated. The production of toxins by this fungus, not previously reported, was examined in this study. Dilutions of P. sojae culture filtrates, derived from 14 - 29 day old cultures, significantly affected soybean seed germination; 1/10 and 1/100 dilutions inhibited soybean seedling root elongation. A dilutable phytotoxin was produced by P. sojae in culture. The fungus grew well on six of seven media tested at temperatures ranging from 10 - 30°C. Pycnidial formation in culture occurred infrequently and depended on incubation periods of 35 days or longer

Genomic analyses confirm close relatedness between Rhodococcus defluvii and Rhodococcus equi (Rhodococcus hoagii)

Rhodococcus defluvii strain Ca11T was isolated from a bioreactor involved in extensive phosphorus removal. We have sequenced the whole genome of this strain and our comparative genomic and phylogenetic analyses confirm its close relatedness with Rhodococcus equi (Rhodococcus hoagii) strains, which share >80% of the gene content. The R. equi virulence plasmid is absent though most of the chromosomal R. equi virulence-associated genes are present in R. defluvii Ca11T. These data suggest that although R. defluvii is an environmental organism, it has the potential to colonise animal hosts

Channelling the Unknown: Noise in Art Ecosystems

At both the individual and societal levels, we are entangled within environmental, social, and technological systems that shape our material and emotional states. Contemporary art needs to integrate and challenge the information circulating within these interacting systems to address our increasingly complex lifeworld. This systemic understanding emerged in the 1960s as part of a broader growth in relational thinking within the natural and social sciences, which extended the conceptual boundaries of the artwork. The ecosystem, a model originally developed within ecology, is an example of a systems model as it describes the flow of matter, energy, and information through the physical world. This model has evolved into a powerful analogical tool to describe contemporary culture’s entanglement with nature and technology. The ecosystem model is invoked here to describe how information flows through the artwork. The paper suggests that art is a vital form of communication as it can channel noise or unknown information. This channelling is demonstrated with the artwork, The Creation Myth (1998), by Jason Rhoades. This work anticipated the convergence of natural and technological systems, and it demonstrates the ability of the arts to channel unknown messages or noise, thereby disrupting the dominant signals of contemporary culture