Professor of Art, Art History and Visual Studies
Ph.D., University of Wales 1999
M.S., Massachusetts Institute of Technology 1985
B.A., San Francisco Art Institute 1979
Seaman's work often explores an expanded media-oriented poetics through various technological means — Recombinant Poetics. Such works often explore the combination and recombination of media elements and processes in interactive and generative works of art. Seaman enfolds image/music/text relations in these works, often creating all of the media elements and articulating the operative media-processes involved. He is self-taught as a musician/composer. Early on he discussed his notion of Structured Improvisation, employing speciﬁc fragments of his own improvisations and musical constructions as a compositional method. Initially explored via tape loops and layering processes in the 80's, he now facilitates this compositional methodology using the computer, in particular using the audio program Ableton Live. He often collaborates with others in terms of his musical output.
Media Research - Recombinant Informatics and Neosentience
Seaman has been interested in meaning production and has explored ideas around computational meta-meaning systems— systems that enable a user to become mindfully aware of how meaning is arising and changing through their interaction. He is deeply interested in new forms of computation, learning systems, the concept of creating an electrochemical computer, as well as the concept of Computational Creativity – both using the computer as a creative tool, as well as articulating the future of creative potentials as explored via computational devices – the creativity of creativity. He has won a number of awards including two awards from Ars Electronica in Interactive Art; Intel Research Gift (3 years); Awards in the Visual Arts – Rockefeller Foundation; Fulbright Distinguished American Scholar (Senior Technological Specialist); International German Video Art Prize; NEA Fellowship; Semens’ Stipendium; and Leonardo Award for Excellence, among others. He has been commissioned on a number of occasions including William Forsythe and Ballett Frankfurt (Sleepers Guts) for video/set design; the Museum of Image and Sound - MIS Museum, Sao Paulo, Brazil – Architecture of Association (with Daniel Howe); Tanz_Performance Köln – Inversion (with Regina van Berkel); Vision Ruhr — Exchange Fields (with Regina van Berkel); National Gallery of Canada — Red Dice | Des Chiﬀré; Greatwoods & Leonard Slatkin, Guest Conductor Pittsburgh Symphony — Pictures at an Exhibition (video for live performance); and the Contemporary Art Television Fund (CAT) – The Water Catalogue.
More recently he has been exploring notions surrounding Recombinant Informatics — a multi-perspective approach to inventive knowledge production. The work - The Insight Engine explores interactive Koestler-like bisociation processes for the exploration of crossing disciplinary boundaries and stimulating unconventional thought in research. This generative experimental search-engine work was funded by the Duke Institute for Brain Sciences and Bass Connections – The Brain and Society. Seaman is currently working on a series of art/science collaborations — poetic installations and scientiﬁc research papers. The book Neosentience | The Benevolence Engine with Otto Rössler came out through Intellect Press. It explores the history as well as the future of AI and Robotics. Ongoing discussions with Rössler and a new book are in the works exploring Rössler's entire research career. Seaman has also collaborated with artist/computer scientist Daniel Howe on multiple works exploring AI and creative writing/multi-media and has completed an album of experimental music with Howe entitled Minor Distance. He has developed a series of new generative works and is undertaking interface research with Matthew Kenny. He has also collaborated with Craig Tattersall from The Boats / The Humble Bee, The Remote Viewer et. al. They have ﬁnished a large audio work (over 7 hours) entitled Light Folds (working in part with Ciompi Quartet at Duke) and are working on a new album. He also ollaborated with vocalist Marissa Bergmann on a new series of sonic works - A solo album called f (noir). He is a member of the Duke Institute For Brain Sciences. He co-runs The Emergence Lab with John Supko, Media Arts + Sciences at Duke University. Seaman and Supko's album s_traits exploring AI collaboration was discussed in the top 10 for new Classical music in the New York Times in 2012. Seaman and Supko are currently working on a major new experimental Opera called The Oper& exploring image, music and text relations.
Seaman studied at Rhode Island School of Design (Foundations, Video and Sculpture), The San Francisco Art Institute (Scuplture, Performance, Installation), MIT (Master of Science in Visual Studies), and the University of Wales (at the Center for Advanced Inquiry in Interactive Art) for his PhD. He is currently working on a new book – From the Architecture of Ideas: The Life and Work of Ranulph Glanville, Cybernetician.
Generative poetic systems, interactive art, experimental art, music, installation art, generative computational tools, new forms of computation, recombinant informatics, recombinant poetics
ExpertiseGenerative poetic systems, interactive art, experimental art, music, installation art, generative computational tools, new forms of computation, recombinant informatics, recombinant poetics
Seaman, W., and O. E. Rössler. “Toward the Creation of an Intelligent Situated Computer and Related Robotic System: An Intra-functional Network of Living Analogies.” Emoçào Art.Ficial 3.0, Itau Cultural Center Publication, 2006.
Seaman, W. “The Illusive Nature of Context: The Negotiation of the Thoughtbody.” P0Es1S: The Aesthetics of Digital Poetry, edited by C. Heibach et al., Hatje Cantz Publishers, 2004.
Seaman, W. “Recombinant Poetics — Media-Element Field Explorations.” First Person: New Media as Story, Performance, and Game, edited by Noah Wardrip-Fruin and Pat Harrigan, 2003.
Seaman, W. “Recombinant Poetics: Emergent Explorations of Digital Video in Virtual Space.” Transluminations: New Screen Mediia Narratives, edited by W. Zapp and W. Reiser, BFI Publishers, 2002.
Seaman, W. “Nonsense Logic.” Reframing Consciousness, edited by R. Ascott, Intellect Press, 1999.
Seaman, W. “1997.” Intelligent Environments–Spatial Aspect of the Information Revolution, edited by P. Droege, 1997.
Seaman, W. “Hybrid Architectures/Media Information Environments.” Intelligent Environments–Spatial Aspect of the Information Revolution, edited by P. Droege, North Holland, 1997.
Seaman, W. “Notes and Observations on Artificial Games.” Artificial Games Catalogue, 1993.
Seaman, B. ““The Engine of Engines - Toward A Computational Ecology.” W. Seaman. Integral Biomathics: Tracing the Road to Reality - Proceedings of ACIB’11 Conference in Stirling, Scotland, August 29-31, 2011 and iBioMath’2011 Workshop at ECAL’11, Paris.. Edited by P. L. Simeonov, L. S. Smith, A. C. Ehresmann (Eds.).. (Winter, 2011) (July 13, 2012).” Integral Biomathics: Tracing the Road to Reality Subtitle: Proceedings of ACIB’11 Conference in Stirling, Scotland, August 29-31, 2011 and IBioMath’2011 Workshop at ECAL’11, Paris. P. L. Simeonov, L. S. Smith, A. C. Ehresmann (Eds.) Springer-Verlag, Berlin-Heidelberg (July, 2012)., edited by P. L. Simeonov, et al., Springer-Verlag.
Seaman, W., et al. Intelligent Computerized Dolls as Companions in Old Age. 2005.
Seaman, W. “Toward the Production of Nano-computers and in turn Nano-related Emotive Virtual/Physical Environments.” Intelligent Agent, vol. 4, no. 2, 2004.
Seaman, W., and A. Gaugusch. “(RE)Sensing the Observer — Offering an Open Order Cybernetics.” Technoetic Arts: A Journal of Speculative Research, vol. 2, no. 1, 2004.
Seaman, W. “The Hybrid Invention Generator — Assorted Relations.” Technoetic Arts: A Journal of Speculative Research, vol. 1, no. 2, 2003.
Seaman, W. “Emergent Constructions: Re-embodied Intelligence within Recombinant Poetic Networks,.” Digital Creativity 9. 3, Pp 153–160, 1998.
Seaman, W., and O. Rössler. “Neosentience - A New Branch of Scientific and Poetic Inquiry Related to Artificial Intelligence.” Technoetic Arts, Volume 6, Issue 1, March 2008.
Exchange Fields . Creator. (2004)
List Gallery, Brown University, Providence, RI
“Red Dice / Dés Chiffrés”. Creator. (2001)
The Daniel Langlois Foundation / Cinémateque Québecoise, Montreal, Canada
“Red Dice / Dés Chiffrés” . Creator. (2000)
Canadian National Gallery, Ottowa, Canada
Passagen Kombinationen/Man Manövriert Drehungen auf der Zungenspitze. Creator. (1997)
Sprengle Museum, Hannover, Germany
The World Generator/The Engine of Desire with Gideon May. Creator. (1997)
C3–Center for Culture & Communication, Budapest, Hungary
Passagen Kombinationen/Man Manövriert Drehungen auf der Zungenspitze. Creator. (1996)
Kunst und Ausstellungshalle der Bundesrepublik Deutschland, Bonn, Germany
Passage Sets/One Pulls Pivots at the Tip of the Tongue. Creator. (1995)
Level 2 Project Space, Art Gallery of New South Wales, Sydney, Australia
Abstraction Machine/Erotic—The Voyeur of Light . Creator. (1994)
Room 32, Sydney, Australia
The Exquisite Mechanism of Shivers, Japanese Translation Version. Creator. (1994)
EX.MECH, Inter Communication Gallery, NTT Media Lab, Tokyo, Japan
Photo Sentences and Word Drawings. Creator. (1993)
Roslyn Oxley9 Gallery, Sydney, Australia