Blowflies by Alexis Rockman
Blowflies by Alexis Rockman. 2007. Courtesy of NYEHAUS gallery.

Here is interesting interview from SEED magazine of an artist Alexis Rockman and astrophysicist Neil Degrasse Tyson that touches on art as knowledge management software.

And a bit on a previous statement about the dawn of the digital.
“To get from here to there, watch for this kind of marks.. Or, in order to kill that animal do this and that. (Evaluate, iterate.)” “Digital” appeared with first knowledge management software, namely the tribal songs, cave paintings, because encapsulation and compression of meaning into painting requires some modeling of thinking process. (I think Duchamp first used arrow in painting as an abstract navigation device.)

And a bit on Z, from one of my previous posts.
rules governing self-similar landscape:
inter-scalar self-similarity (representation?)
intra-scalar self-similarity
dynamic relationships across different scales
http://evol.etro.vub.ac.be/

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From great artist and thinker, President of RISD and etc.
10 LAWS OF SIMPLICITY BY JOHN MAEDA

01 REDUCE
The simplest way to achieve simplicity is through thoughtful reduction.
02 ORGANIZATION
Organization makes a system of many appear fewer.
03 TIME
Savings in time feel like simplicity.
04 LEARN
Knowledge makes everything simpler.
05 DIFFERENCES
Simplicity and complexity need each other.
06 CONTEXT
What lies in the periphery of simplicity is definitely not peripheral.
07 EMOTION
More emotions are better than less.
08 TRUST
In simplicity we trust.
09 FAILURE
Some things can never be made simple.
10 THE ONE
Simplicity is about subtracting the obvious, and adding the meaningful.

Low-complexity art and matrix of sensations.

I found two of prominent scientists that develop a framework that is instrumental to what I do. They push forward the idea of aesthetics of information and aesthetics as information. One of them is renowned American art critic, curator and professor of art history at the State University of New York at Stony Brook and professor of art history at the School of Visual Arts and Andrew White professor at large at Cornell University – Donald Kuspit. He comes up with a term – “a matrix of sensations”. He posits that there was a transition from analogous to digital art at the end of nineteen century when a flow of perceptual sensations corresponding to an object gained independence from representation of that object and the very matrix of sensations became codified in works of pointillists.
And another one is Jürgen Schmidhuber who since 1995 has been co-director of the Swiss AI lab IDSIA in Lugano, since 2004 also professor of Cognitive Robotics at the Tech. University Munich, since 2006 also in the faculty of the University of Lugano. Jürgen develops a theory of “low-complexity art” among another exciting things. That is, the art that feature best compressibility and novelty. Note link on demo scene in wikipedia article. Exciting!