- Living sculpture Klein describes as “a body of ongoing projects that endeavors to forge an evolving autonomous art”. “they incorporate some of our understanding of the principles that govern life.”
- Rinaldo believes technology is taking on more organic, naturally occurring models.
- Demers and Vorn’s work seem to be more focused on theatrical environment rather that an emphasis as a system as did their predecessors.
- Simon Penny’s Petit exhibited less attributes of a system and more of a subjectivity with it’s interaction with humans.
- Instead of focusing conceptually on emergence, Gabriel played with autonomous behavior of his robots to create unity.
- “The singular transcendent subject is unpacked into a network of interacting microagencies; consciousness appears not as an ineffable essence of subjectivity but as an epiphenomenon, another emergent property of evolution’s engineering; the body here is not simply a vehicle for the self but forms the self in its interaction with the world and other bodies.”
- Creative reconfiguration of the uncoupling of a-life’s central analogy was important un both figure and mechanism.
- Browns practice was ideal in the way he adapted Cellular automata as logic rather than visual.
- Using visual representation based CA, Draves based his work on Conway’s “The game of life”, utilizing Bomb, for his graphic algorithmic interactions.
- In Breed two basic a-life forms are hybridized with Cellular automaton and genetic algorithms.
- Biotica failed at becoming a virtual biochemistry where self-replicating structures would spontaneously form out of the non-living.
- Human cellular Automation – human version of Conway’s game of life used humans with papers representing on and off switches. Fuller states’ that the project was “networked, communication and aware of itself.”