ARANDA\LASCH: ENLACE
Part of a series of articles & interviews released digitally that were first published in the print edition of the Bright Moments Quarterly that was distributed at Bright Moments Paris in Paris, France in February, 2024.
Bright Moments: Thank you both so much for making the time to do this interview with us. Your work is recognised for its deep investigation into culture, materials, and algorithmic processes. Can you tell us about your backgrounds and how you got started in generative art?
Chris Lasch: Ben and I met in graduate school, where we studied architecture. At the time, there was a keen interest in the intersection of new technologies with design and architecture. We began to use these technologies not just for documenting architectural work but as tools for discovering new concepts, forms and ways of working. This interest in technology and design originated in graduate school and became the foundation of our practice. Our first independent project after school was a grant proposal for a technologically-enhanced road trip, aiming to merge data collection with new ways of understanding landscapes with satellites and aerial surveillance. Although we didn't get that grant, our subsequent project, The Brooklyn Pigeon Project, which we did receive funding for, marked the start of our practice. It involved understanding the city from the perspective of pigeons, combining traditional landscape understanding with technological insights.
Benjamin Aranda: This is going back to the early 2000s, in the early stages of Web 2.0, where there was a great fascination with technologies of decentralization. Every generation stakes their claim to the liberatory possibilities of decentralization, whether they pan out or not. We were enamored by emerging and emergent technologies at the time that could undermine consolidations of control and power. At the time, we were suspicious of big companies, big technology, and even mapping systems. Google Earth hadn’t been established yet, and it was becoming apparent that all maps were beginning to be standardized on the GIS coordinate systems. The Brooklyn Pigeon Project, where we mapped New York City through the movements of pigeons with attached cameras, was an early exploration into what might now be termed post-human or non-human mapping. We began using algorithms to understand maps, flocks, and complex systems, and eventually, as architects, we wondered if these decentralization systems could be harnessed for construction and creativity. That curiosity, sparked around 2003, continues to influence our work two decades later.
Chris Lasch: Yes, our journey evolved from an initial fascination with technology and its new possibilities for designers. We delved into exploring and utilizing these tools, soon realizing that the language of technology was the algorithm. As Ben mentioned, our analysis of pigeon flocks, both through direct observation and computer modeling using models of emergence, was pivotal. It led us to a crucial insight: these algorithms could be employed not only for analysis and understanding the world but also as instruments for design itself.
From your beginnings with pigeons in Brooklyn, you've developed the Aranda\Lasch studio over the past 20 years, creating a diverse array of projects, including artistic installations, architectural works, and on-chain generative art, spanning both digital and physical realms. How would you describe the field you're in? Could you elaborate on what your work entails?
Benjamin Aranda: We often describe what we do as a craft. Our work involves bringing form and materiality to concepts that might initially be intangible. We use a blend of digital and physical languages to create objects and architecture, with a strong commitment to manifesting these ideas physically. This materialization is crucial because it interacts with culture, people, and complex forms of labor and engagement. Over time, we've realized that the cultural aspect of our work is incredibly fascinating. Our projects delve deep into the histories of craft and tradition, and we've come to see our practice as not just about novelty and technology, but as a continuity of these historical traditions. We view our work as a deep investigation into procedural and algorithmic logics, applied in tangible, material forms. We strive to maintain a critical perspective in an era dominated by algorithms, upholding an ethic that respects historical craftsmanship. This ethos is evident in our work, which often materializes as physical objects or architectural structures, engaging with and honoring historical methods of making.
On the topic of historical crafts, I understand that for your Bright Moments Paris project, you've been collaborating with Maison Drucker, the legendary Parisian rattan furniture maker. Could you tell us about this project, what you've been working on?
Chris Lasch: Absolutely. We were engaging with Bright Moments as a traveling project through which we were thinking about Paris, and how we might contribute to exploring the culture and history of the city through our work. We were introduced to Maison Drucker through TRAME, who is acting as a production partner and local liaison for the project. The collaboration with Maison Drucker presented a unique opportunity. They are a heritage maker, deeply ingrained in the Parisian urban fabric, notably with their iconic cafe chairs. Our collaboration focuses on the weaving process of their chairs, where Maison Drucker is open to new designs and outside designers. We've delved into understanding their weaving methods and established a connection through digitally structuring the weaving process. Essentially, our algorithm automates and simulates the weaving design.
Through this collaboration, we are also producing a limited series of custom chairs. We are working within the constraints of their traditional hand-weaving process, the original materials, and the available color palette. These elements form the core ingredients of our project. What we bring to this collaboration is a fresh perspective on exploring their design space using new tools, revitalizing their age-old manufacturing processes. It's this blend of traditional craftsmanship and contemporary digital innovation that makes our collaboration with Maison Drucker so exciting and productive.
Your work with legacy crafts, notably in the Paris project and earlier collaborations involving Native American basket weaving, is intriguing. Could you elaborate on how you approach these collaborations with artisans and traditional crafts?
Chris Lasch: The co-creation process often begins by establishing or uncovering a shared language. For instance, our algorithmic understanding of weaving as a material practice laid the foundation for our relationship with Maison Drucker and other artisans we've collaborated with in the past. With Maison Drucker, we extended this co-creative process to include the production traditions of their house, which have been refined over a century. We strive to understand their methods of constructing weaves and chairs, integrating these processes into our own work to develop a generative approach that flows seamlessly from digital conception to physical crafting.
Finding this shared language and the tools for communication, from software to code and even physical instructions and diagrams for the weavers, is a crucial and satisfying part of our work. The instructions and diagrams that emerge from our digital processes are as integral to our work as the final physical chair itself. It's about merging our digital expertise with their time-honored techniques to create something new yet respectful of the past.
The integration of digital and physical elements in your projects, often creating new physical forms, is truly fascinating. Could you share the stories or themes you aim to convey? What do you hope people contemplate when they engage with your art?
Benjamin Aranda: Our primary hope is for people to take away a deeper sense of history as it relates to the generative project. The term 'generative', now commonly used to describe a range of digital practices, is relatively new. However, when we started, the landscape was diverse, encompassing algorithmic, parametric, procedural, and computational work, each with its nuances. The definition of 'generative' remains somewhat fluid, with varying opinions on its scope, including whether AI falls under this category.
Our interest lies in exploring the rich human histories of generative thinking that predate computers. This exploration includes delving into the traditions of basket weaving, coiling, labyrinths, mazes, and Islamic tile patterns, among others. We aim to uncover the deep, often non-Western, histories of generative thought. Our goal is for people to appreciate not just the physical manifestation of our work but to connect it with a broader historical context, transcending the 20th century.
We believe that the generative approach reveals a unique aspect of the human condition: a desire for autonomy in creative processes. This concept of autonomy is central to our understanding of generative art. We were drawn to algorithms two decades ago because of this idea that a system, method, or algorithm can possess a degree of decision-making independent of the creator. This interplay between our creative instincts and an autonomous entity leads to surprising discoveries and creative opportunities. We've realized that this dynamic has existed for a long time, and we see ourselves as part of a continuum, extending this tradition into our time.
As Bright Moments Paris will be your first IRL live minting experience with us, what are you looking forward to seeing or experiencing?
Benjamin Aranda: We're incredibly excited and honestly, we're entering this without any preconceived notions. Being part of this, especially given the surge in generative art driven by the Web 3 community, is exhilarating. This movement has rejuvenated the creative passion we've dedicated our lives to. The new generation of generative artists has profoundly inspired us, challenging us to enhance our clarity and purpose. Platforms like Bright Moments are offering us opportunities to practice in ways we've always envisioned. For 20 years, we've worked across various fields—art, furniture, objects, architecture—often without much fanfare, but always driven by belief in our craft. The recent shift towards generative art and the recognition it brings is both surprising and incredibly inspiring. To be here among some of our heroes is surreal.
Chris Lasch: What's remarkable about what we do is that it gives people this global reach through blockchain technologies. Yet, the bulk of our interactions have been primarily limited to online spaces like Discord. Engaging with this community IRL is a compelling aspect of this event. It offers a chance to directly encounter and connect with the community that has been part of our digital journey.
And finally, how have you seen the generative art space evolve? What are your hopes and expectations for its future?
Ben Aranda: Some elements have remained consistent, like the determination for expression and independence. We started this journey to create our own tools, seeking autonomy, and I believe that ethos persists. But what’s new are the varied approaches and concepts emerging, including profound ideas about what it means to be human. This evolution fills the space with immense possibility, which is truly exciting. Another significant change is the expansion of the community. It's bigger, but still retains a sense of generosity and kindness.
Chris Lasch: The communal aspect has always been a cornerstone, dating back to the early days on the Processing message boards. The community has since grown globally, encompassing artists, collectors, and appreciators. This expansion and the diverse, inclusive nature of the community is really satisfying. We're excited to see where this community takes us in the coming years.
Benjamin Aranda: Reflecting on this, there’s also an awareness of past lessons. Technology, while potentially liberating, can also be destructive. It doesn’t inherently lead to healthy markets or economies and can contribute to consolidation, monopolization, and inequity. The new generative art community is aware of these challenges, including issues like disinformation and fragmentation. There’s a sense of responsibility to address these through art in the Web 3 space, which is inspiring. We’ve witnessed both the benefits and pitfalls of past technological eras, and now, equipped with hindsight, there’s a collective effort to shape a better path forward.
