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7 Néill O Dwyer Death and Ecstasy: Reflections on a Technological Sublime scopic observations, cell tissues and blood vessels, geological processes, topological configurations, cloud formations, fungus cultures, organ tissues or satellite photos, but ultimately they still avoid any definitive identification [Figure 3].2 Figure 3. Driessens & Verstappen, E-volver. Three different screen grabs that testify to the nuanced, varying and diverse range of possible images that the software can output. In a review of the work, Mitchell Whitelaw notes: The word organic is overused in describing generative art, but it s unavoidable here; the forms that emerge have a fine-grained integrity and richness about them that inevitably recalls physical and biological processes (Whitelaw 2006).3 As the agents evolve and develop their mobility and powers of visual efficacy, they move hither and thither, from pixel to pixel, sometimes jumping several spaces and sometimes in constricted, adjacent progression, leaving a visual trace that is itself continually evolving. At first glance their movements may appear haphazard and arbitrary, but on protracted reflection 2 For a time lapse video document showing the evolution of the imagery in E-Volver go to: 3 Whitelaw is actually reviewing a screensaver, which operates on the same computational logic as the art installation at LUMC. It was released by Driessens and Verstappen following the unveiling of the installation and can be downloaded from their website: The interesting thing about the screensaver is that it allows viewers to experience the generative processes of the artwork unfolding live on their own screen, in their own home, as opposed to simply viewing a predefined video rerun on YouTube. In addition, it still has the same global reach on audiences as online video documents, yet added to that the spontaneity and uniqueness of indeterminate emergence. The main notable difference with the screensaver is that there is no process of selection on the part of the interlocutor; the picture is wholly determined by the software agents and it only evolves for the timespan that the computer is left uninterrupted. 358 Proceedings of the European Society for Aesthetics, vol. 8, 2016
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![4b]. Figure 4a. Robert Hooke, Micrographia (extract), 1665. A drawing of the cellular structure of cork and a sprig of the sensitive plant. Figure 4b. Anonymous, Hooke s Microscope.](/docs-images/94/119311483/images/18-1.jpg "Used by Hooke for magnifying his minute subjects.")
18 Néill O Dwyer Death and Ecstasy: Reflections on a Technological Sublime first produced by Robert Hooke, in Micrographia (1665),10 would have held an interest for Kant, and his philosophical contemporaries, by testifying to the existence of unknown and unexplored, yet nevertheless tangible and contiguous, realms situated just beyond the standard levels of human perception [Figures 4a and 4b]. Figure 4a. Robert Hooke, Micrographia (extract), A drawing of the cellular structure of cork and a sprig of the sensitive plant. Figure 4b. Anonymous, Hooke s Microscope. Used by Hooke for magnifying his minute subjects. Kant s observation on the fluid and reversible relations between the enormous and the tiny, when perceived through and by the subjectivity of the human imagination, is an important observation concerning modern aesthetic experience because, thinking about it under the auspices of com10 Hooke, Robert Micrographia: Or Some Physiological Descriptions of Minute Bodies Made By Magnifying Glasses. With Observations and Inquiries Thereupon. John Martyn. 369 Proceedings of the European Society for Aesthetics, vol. 8, 2016
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24 xs4all.nl/e-volverlumc/machine.html downloads/ga2003_what_is_genart.pdf citeseerx.ist.psu.edu/viewdoc/download?doi= & rep=rep1&type=pdf&utm_source=twitterfeed&utm_medium= twitter
25 2006/07/living-with-e-volved-cultures.html
Clodagh Emoe Inaesthetics Re-configuring Aesthetics for Contemporary Art marks. The name Husserl transcribed in the bottom right corner suggests a link with phenomenology (Figure 2). The statement circling
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