Paul Prudence 

is an artist and real-time visual performer working with generative and computational systems. He is particularly interested in the ways in which sound, space and form can be synthaesthetically amalgamated.

Paul Prudence is an audio-visual performer and live-cinema artist working with computational, algorithmic and generative environments. His work, which had been shown internationally, focuses on the ways in which sound, space and form can be cross-wired to create live-cinematic visual-music experiences. He is also interested in structuralist film, expanded cinema and contemporary VJ practice.


Paul has given lectures and workshops on computational film making techniques to a wide range of audiences and venues - from MFA students to art-science conferences and through to digital arts festivals. He has presented his personal work and his inter-media research at venues such as The Royal Institution and The Science Museum in London, School of Visual Arts in New York City, and other academic institutions internationally.


Paul maintains the research weblog Dataisnature in which he writes about the interrelationships between natural processes, computational systems and procedural-based art practices. He has authored chapters in a number of books covering visual effects and interface design in the Flash environment. He is regular contributor to Neural magazine, which covers new media art, electronic music and hacktivism. He is also a guest contributor to reporting on innovation and emerging currents at the intersection of art, media and technology.


Source: Dataisnature



Paul Prudence: "There are a lot of similarities between the artistic and the scientific world, and in the computer and video arts area this is especially clear: you have scientists that try to model nature using algorithms and cellular automata, and artists using these same things to create art. The mathematics behind something like videofeedback is very similar to things you find in nature, like for example interference patterns and waves.

Working with videofeedback, is almost like working with a natural system. Artists are scientists again. They can put everything in a petri dish and watch what happens. What happens when we change this system, take parts out, or use different frequencies? You have this constant interplay between individual elements which also affects the whole. This creates generative aspects that are totally outside the person and the program. They exist within their own right. To me that is verging on a level of alchemy or mysticism. It’s not determined any more by the program – it’s some ghost in the machine."


Source: Rupture



Paul Prudence, vvvv, london, software, generative


Notations 21 (2009) by Theresa Sauer features illustrated musical scores from more than 100 international composers, all of whom are making amazing breakthroughs in the art of notation. Notations 21 is a celebration of innovations in musical notation, employing an appreciative aesthetic for both the aural and visual beauty of these creations. The musical scores in this edition were created by composers whose creativity could not be confined by the staff and clef of traditional western notation, but whose musical language can communicate with the contemporary audience in a uniquely powerful way. (Notations 21 Project)

Notation. Calculation and Form in the Arts (2008) is a comprehensive catalogue (in German) edited by Dieter Appelt, Hubertus von Amelunxen and Peter Weibel which accompanied an exhibition of the same name at the Academy of the Arts, Berlin and the ZKM | Karlsruhe. (ZKM)



Bob Sabiston (*1967) is an American film art director, computer programmer, and creator of the Rotoshop software program for computer animation. (Wikipedia)

Grid Index (2009) by Carsten Nicolai is the first comprehensive visual lexicon of patterns and grid systems. Based upon years of research, artist and musician Carsten Nicolai has discovered and unlocked the visual code for visual systems into a systematic equation of grids and patterns. The accompanying CD contains all of the grids and patterns featured in the publication from the simplest grids made up entirely of squares to the most complex irregular ones with infinitely unpredictable patterns of growth, as editable vector graphic data files. (Gestalten)

Carsten Goertz (*1981) works in interaction design, graphic design and media scenography projects. International practice as designer, lecturer and media artist in high profile design studios and institutions. Experimental and interdisciplinary orientation with strong conceptual skills and technological affinity. (Carsten Goertz)

Revolving Realities (2010) by Interpalazzo (Martin Hesselmeier, Andreas Muxel and Carsten Goertz) together with composer Marcus Schmickler is an autoreactive installation, one that plays with our sense of reality by continually causing us to perceive and experience a place and an object in new ways. Its surfaces projected with different images, textures and animations, the object becomes a mirror of changing realities. (Meiré und Meiré)

Audiovisuology: See this sound (2010) - An Interdisciplinary Compendium of Audiovisual Culture. This all-embracing compendium brings together texts on various art forms in which the relationship between sound and image plays a significant role and the techniques used in linking the two. The entire spectrum of audiovisual art and phenomena is presented in 35 dictionary entries. (Cornerhouse)