MT2

Research Background In the field of Electronic Media Art (EMA) a central concern of the subfield Generative art (GA) asks what characterises good GA (McCormack & D'Inverno, 2011)? Many of the field's prominent theorists have argued for a system-as-art focus, as characterized by Whitelaw (2001), and practitioners like Colton (painting fool) foreground this in public exhibitions of GA projects. However, there is a growing acceptance in the field that GA has failed to achieve high significance or lasting relevance in contemporary art (Romero et.al 2007, Boden et.al 2009, Dorin 2012, McCormack 2014). By contrast, an alternative characterization of GA is emerging from the associated field of Procedural Content Generation within Computer Gaming and Animation. This characterizes GA as a utilitarian tool for aiding creative process and productivity (Togelius et.al 2011). Research Contribution The work 'MT.V2' engages with this debate by seamlessly integrating generative and non-generative (hand-assembled) creative processes within an art-imaging project. This contributes to an argument for an expansion of the field's theoretical focus to include a broader, more utilitarian characterization of GA as a tool that can be instrumentally integrated into a wider range of EMA practices on a flexible and pragmatic basis. Research Significance The following indicators attest to its value: (a) its inclusion in 'Notfair 2014' exhibition. Currated by Ashley Crawford, Sam Leach & Rebecca Richards, this bi-annual exhibition aims to highlight the work of important contemporary artists that work outside of the commercial gallery system; (b) in the its prominent inclusion as part of an article profiling Murray McKeich, in the influential Chinese Photographic Art magazine 'Photo World', in a series of articles showcasing contemporary Australian photographers by the eminent Australian photo media curator Alasdair Foster.

研究背景
在电子媒体艺术（Electronic Media Art, EMA）领域中，作为其子领域的生成艺术（Generative Art, GA）的核心议题之一，便是探讨优质生成艺术的界定标准（McCormack & D'Inverno, 2011）。该领域诸多知名理论家主张以“系统即艺术”为核心导向，正如怀特劳（Whitelaw, 2001）所阐释的那样，包括科尔顿（Colton，《绘画愚人》（Painting Fool））在内的创作者也在生成艺术项目的公共展览中强化了这一理念。然而，学界逐渐达成共识：生成艺术在当代艺术领域始终未能获得较高的认可度与持久的影响力（Romero et al. 2007, Boden et al. 2009, Dorin 2012, McCormack 2014）。
与之相对，计算机游戏与动画领域的过程化内容生成（Procedural Content Generation）相关研究则提出了生成艺术的另一种界定方式，将其视为辅助创作流程、提升创作效率的实用工具（Togelius et al. 2011）。

研究贡献
本研究中的“MT.V2”项目直面这一学术争论，在艺术影像创作项目中无缝融合了生成式与非生成式（手工创作）的创作流程。本研究主张拓展该领域的理论视野，将生成艺术的界定范围进一步扩大，认可其作为实用工具的属性，使其能够以灵活、务实的工具化方式融入更广泛的电子媒体艺术实践中。

研究价值
该成果的价值可通过以下两项指标得以印证：（a）其入选2014年"Notfair"展览：该双年展由阿什利·克劳福德（Ashley Crawford）、萨姆·利奇（Sam Leach）与丽贝卡·理查兹（Rebecca Richards）联合策划，旨在发掘那些未进入商业画廊体系的优秀当代艺术家作品；（b）作为核心案例被收录于澳大利亚知名摄影媒体策展人阿拉斯代尔·福斯特（Alasdair Foster）策划的当代澳大利亚摄影师专题系列报道中，并登上极具影响力的中国摄影艺术杂志《摄影世界（Photo World）》对默里·麦基奇（Murray McKeich）的人物专访文章。