L’APPEL BY ALEXIS ANDRÉ
This was part of an ongoing series of articles that released was digitally in May 2023. They were first published in the print edition of the Bright Moments Quarterly that was distributed at Bright Moments Tokyo in Tokyo, Japan.
Malte Rauch: Thanks so much for taking the time to do this interview, Alexis! I’d like to start the interview by asking about your background and how you got started in generative art?
Alexis André: My professional training in computer graphics, machine learning, and engineering led me to discover the field of generative art early on in my studies. I developed a passion for gen art while participating in a student club for VJing at one of the elite French engineering schools, where I got my BA. It was in the year 2000 when I joined the club and discovered the potential of generative processes in creative expression. At the time, we used pre-generated loops for video installations, and despite the primitive technology available, it sparked my curiosity and led me to explore further.
I went to Japan after completing my degree in France, where I was exposed to VJ shows that left a profound impression on me. You know, I was immediately struck by the quality of these performances and was inspired to create my own shows. It was during my PhD program that I discovered Processing and was drawn to its immense potential. Initially, my work with Processing involved creating visuals for live music shows, but I was captivated by the interactive aspect of this technology. As I delved deeper into the possibilities of Processing, my visuals evolved into interactive art installations that invited the viewer to engage with the generative algorithm, revealing the infinite possibilities that could arise from their interactions. I found this interactivity to be a powerful way to showcase the generative nature of my art, and to allow people to experience the full range of outputs that the algorithm could produce.
When Covid hit, there were suddenly no shows anymore. And the situation for foreign residents also changed for the worse in Japan. So I was forced to think about how I can make work that would have more visibility among an international audience. It was around this time that I discovered NFTs. I began to sell my first video loops on SuperRare, but it felt like a mismatch, since I packaged my generative algorithms as static video files. And then, suddenly, Art Blocks came onto the scene, which felt like a match made in heaven. I had been tinkering with NFTs for a year, and now there was a platform for doing exactly what I was interested in: generative art with an interactive element and a credible way of stewarding the code on-chain.
You just alluded to your graduate studies in Japan. How long have you been living in Japan and what made you move here?
As I was considering foreign exchange programs during my BA in France, the person in charge of the program suggested that I apply for programs in either the United States or Japan. While going to the United States might have set me on a path toward a predictable career in consulting or a similar field, I was drawn to the idea of opting for an adventure by choosing to go to Japan. Initially, I was told that everything would be in English. However, when I arrived, it was clear that everything was in Japanese. So I had to learn the language for 6 months to be able to navigate the country. Once I had immersed myself in the culture, I never looked back.
People in Japan are willing to give you a shot at things, so I started to get into VJing again. I was able to deliver on work assignments, so that led me from one opportunity to another. In terms of my education, I spent two years earning my Master's degree and another five years completing my PhD. After that, I was fortunate enough to secure a job working in a research lab for the largest Japanese electronic company. In this position, I research ways to use generative processes to help individuals become more creative. It is a very free environment where researchers are free to choose the projects they wish to work on. My research on generative processes not only helped me to improve my own art, but it also had the potential to unlock creativity for others.
In a more general sense, I owe a lot to the Japanese aesthetic that I have come to appreciate while living here. The sense of beauty in Japan fascinates me. I really believe the Japanese design aesthetic is something you can see everywhere in the culture; the layout of magazines, the streetwear, the arrangement of food. There is a sense of simplicity of beauty that imbues everything.
What is the generative art scene in Tokyo like?
The scene for VJs using generative processes here is truly incredible. I have had the pleasure of seeing so many amazing shows by incredibly talented artists, including legends like Daito Manabe from Rhizomatiks. Additionally, there is a thriving culture of immersive exhibitions in Japan, led by companies like TeamLab. So prior to the pandemic, the bar for visual experiences was already incredibly high in Japan, and it was an exciting time to be part of the scene.
However, when the pandemic hit, everything changed. Live shows were canceled or postponed, and even the TeamLab museum was forced to close its doors. As a result, many people began to shift their attention towards the digital space, and NFTs quickly became a hot topic.
Japan had a difficult start with NFTs, since the country has a troubled history with crypto scams. That is why the regulations are fairly strict, and many people are cautious. Most people in Japan do not flip NFTs to make money (partly because of the high taxes), but this has the benefit of a very “pure” way of collecting, if I can put it like that.
I believe that Japanese culture is particularly well suited for the success of digital collectibles in the future. For example, there is a strong culture of collecting in Japan, as well as a rich history of generative processes. These factors have all contributed to the current interest and excitement around NFTs in Japan. When it comes to generative art, the scene is admittedly still quite small. But there is a lot of potential. I am part of the Japanese Generative Art Foundation, where we try to promote and elevate some of the amazing local artists.
You participated early on in the Art Blocks Curated section with 720 Minutes, you published five other projects on Art Blocks Presents, and you recently launched “Friendship Bracelets” together with Erick, a project that many regard as the native NFT for the Art Blocks community. Tell us about your relationship to Art Blocks.
When I joined Art Blocks at the very beginning, Erick was very present in the Discord. And I was asking many questions about what the vision for Art Blocks is – whether it would be a platform, a gallery, or something entirely different. I had very meaningful and formative conversations with Erick about the vision of Art Blocks and the significance of generative art in these early days.
I remember when Erick saw my piece, 720 Minutes, and recognized that it could be something special. It was the first NFT that displayed the time, and I could feel his passion for the art as well as his conviction in the vision for Art Blocks. Looking back, I truly believe that Erick has been right on basically every call he has made over the last two years. Now, after Art Blocks has matured and grown so much, I continue to believe in the vision for Art Blocks and Erick’s skills in executing it.
That's why I felt honored to collaborate with Erick on the Friendship Bracelets project. It was a privilege to work with someone who shares my passion for generative art and has such a strong vision for the future. And I am grateful to Art Blocks for connecting me with an incredible audience, a community that truly understands what I want to achieve with my art.
What are you working on for Bright Moments Tokyo?
Currently, the project is in its analogue sketch stage and I just have a vague idea of where it might lead me. My intention is to create a collection that delves into the relationship between space and time – two themes that are present throughout many of my projects.
For the Bright Moments collection, I am taking inspiration from kimono design and exploring what can be achieved through generative processes.
I am fascinated by the idea of imagining what traditional kimono patterns might look like if they had been created using contemporary generative processes. My goal is to create a modern interpretation of these classic Japanese patterns, using generative processes to create something fresh and unique.
You have a lot of experience with interactive art installations as well as the interactive minting tech of Art Blocks. What do you think about the IRL minting component that characterizes the Bright Moments events?
There are a few elements to interactive installations. I was doing a lot of pieces with ambient sounds. If you place a microphone in an empty room, for example, it takes a long time for anyone to say something in it. And you will always have those two types of people: some people are shy to use it, while others want to test the resilience of the system and break it.
I like the element of surprise in interacting with the generative system. As artists, we expose the depth of generative systems, either through the Art Blocks approach or through a system like QQL. With the Art Blocks approach, the kind of interaction is quite different from VJing. When working with long-form projects on Art Blocks, you have to make sure that any interaction with the algorithm leads to a desirable outcome.
As artists, we do not control where people see the piece for the first time, even though this is an important factor which affects how the art is understood and experienced . This is a limitation that Art Blocks and any other online platforms face. For instance, the small screen on a mobile phone can be quite unsuitable for many generative artworks. My Curated project, 720 Minutes, for example, was inspired by the scale of the huge screens at the famous Shibuya crossing (and now one of the massive screens in that area is actually showing a custom version of 720 Minutes every 30 minutes). It demands a certain scale to be experienced in an adequate fashion.
So I really like approaches where we as artists regain some control over how the artworks are presented for the first time. It is crucial to present the work in a way that feels true to it. That is why I am particularly excited about the Bright Moments IRL minting approach, since it allows us to ensure the first presentation of the work is adequate. After that, the work is shared and experienced online in many ways, which is great; but I like being able to curate the first contact collectors have with the work.
