Created and utilized the custom algorithmic AYS imageGen software to synthesize AI image-making, painterly gestures, and material fluidity, positioning computation as a dynamic field of emergence rather than rigid determinism.
This approach, situates machine learning within East Asian artistic traditions, particularly Daoist and Buddhist understandings of emptiness (xu 虚) and the principle of liubai (留白), transforming blankness into a generative space.
This series builds upon the "Quantum Foam" techniques, while infusing classical ink painting, and emphasizing the human in this HCI practice. Embracing impermanence and chance, akin to Zen haboku techniques, to explore a non-Western trajectory of technology as embedded within a larger cosmological order, and creating an open-ended dialogue between ink, code, and emptiness, where algorithmic instability becomes a site of aesthetic and conceptual transformation.
Created an ink brush version of an internal image generating tool for the AYS painting practice with Stable Diffusion, while simultaneously striving to cultivate a traditional ink brush practice to feed the data sets, and inform the shaping and deployment of the machine collaboration.
below image is of a selection from scores of handmade ink paintings used to train the model.
My initial goal was to give the model specific fundamental techniques as a learned them, such as Bone Method, which refers to the structural use of brushstrokes, or Shuiyun which emphasizes layers of diluted in washes and gradations.
Initial generated results, started off mediocre but after a couple rounds of refinement looked quite promising.
Initial generated results, started off mediocre but after a couple rounds of refinement looked quite promising.
