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Apps by Russell Richards

mediainspiratorium, 2019

Bob Cotton’s mediainspiratorium is designed for students (16+) interested in the fine-arts, the m... more Bob Cotton’s mediainspiratorium is designed for students (16+) interested in the fine-arts, the media-arts, and the digital arts. It is a kind of non-linear history of innovations in the form and content relevant to our 21st century media environment. Why ’non-linear’? Because you learn best when you’re already interested in a subject - or inspired by it - and when you follow your own interests through information and examples.
Mediainspiratorium provides thousands of links between subjects and artists, so you can trace the roots, the inspirations, the influences, the schools relevant to that subject and that artist.

Bob Cotton’s mediainspiratorium is a history of art, design and media innovations from 1800 - you can view these in several ways: chronologically, by means of the links between subjects, by searching, by subject or genre, by browsing, or randomly - by clicking the Mi
button and calling up 12 thumbnail-buttons randomly chosen from the over 1200 subjects and artists in the app. Following the recommended links between entries the user is offered hundreds of thousands of possible narrative routes through the mediainspiratorium - guided by their own interests and likes.

And so mediainspiratorium contains overview histories of art, animation, artificial intelligence, artificial life, advertising, architecture, art history, art theory, audio-visuals, augmented reality, books, cognitive psychology, conceptual art, comics, computing, cryptology, dance, data-visualisation, documentaries, e-commerce, education, environment, events and exhibition-design, fashion, fairytale, fine art, future-casting, games, graphicdesign, geographical information systems, hypertext and hypermedia, information-design, interface design, illustration, installation, intermedia, magazines, multi-screen, music, performance, photography, photo-montage, poetry, propaganda, radio, robotics, science,
software, telecommunications, television, theatre, video, virtual reality, virtual worlds…

Bob Cotton’s mediainspiratorium is an ideal companion and inspirational guide to new media - a must-have contextual/historical background and guide to what’s happening now. If you are in the creative industries and/or want to know more about them, this is an essential app for you.
This is the context you need to become an informed practitioner in the arts and media industries. It’s a tool for self-learning.

Bob Cotton is responsible for the content - the captions, graphics and commentary & links sections. These embrace currently 1250 ‘culture capsules’ with altogether over 460,000 words.

Dr Russell Richards is responsible for the system analysis, structure and programming of mediainspratorium.

PhD Research by Russell Richards

This PhD research project builds on thirteen years of enquiries as an academic practitioner, deve... more This PhD research project builds on thirteen years of enquiries as an academic practitioner, developing/critiquing interactive audio-visuals. This approach interweaves theory and practice so that both build on each other. It responds to the need for principles that inter-relate people, digital technologies and environments. The concept of “responsive environments” (RE) is offered as a starting point for the development of principles focusing on people within these environments. A responsive environment is “responsive” in the sense that some form of computer technologies are present and sensing/recording/reacting to people, and an “environment” in the sense that these activities are located in a place and that that place matters in terms of setting the scene, housing the technology and providing a context for the users/visitors. Common themes were extracted from the literature review to draw together previous and, for the most part, separate attempts at theory/practice relating to RE. These themes were complemented by research into contemporaneous activities in the areas of Augmented Reality, Mixed Reality and Locative Media to provided enhancements to the development of three practice projects. These enhancements together with the incorporation of Moore and Anderson’s concepts of “patient”, “actor”, “reciprocator” and “referee” as roles available to those encountering REs led to specific research questions regarding roles, positions, opportunities for repurposing content, learning experiences, the use of sound, visuals and presence, and the assessment of values represented in and through a responsive environment. In each case these questions shift the emphasis of the research towards the experiencing of REs and what they enable rather than the technologies used only. The use of Schwartz and Halegoua’s concept of the “spatial self” further focuses attention of the value in connecting digital expression with real spaces through an RE. This has led to a proposed conceptual framework and principles of practice that can be applied in the area of study of RE to nurture opportunities for participants and protagonists. The latter term is proposed as a means of acknowledging opportunities to make content/concepts in an RE as well as obtain and use them by participation. These opportunities are supported by both synchronous and asynchronous interactions through digital layers using online social media platforms. These platforms enable the archiving of content in a digital layer and/or possibilities for continued social interaction through a digital social layer in relation to the responsive environment. The incorporation of synchronous and asynchronous interactions through digital layers is a major contribution to the concept of REs. A further contribution is the use of the pioneering work of Gordon Pask in both the practice and theory of cybernetics as informing the concept of REs. Pask provided a formulation that expressed how content/concepts could be produced through relationships between people, computers and environments. This approach has been mirrored in other disciplines thus giving additional credence to its value. This discovery provides the impetus for further research, by academic practitioners and others, in this developing area of study.

KikiT VisuoSonic Performance/Installation by Russell Richards

"Hebdomeros + KikiT VisuoSonics" A digital animation installation by Maurice Owen and Russell Ric... more "Hebdomeros + KikiT VisuoSonics" A digital animation installation by Maurice Owen and Russell Richards for the exhibition of Giorgio De Chirico's paintings at the Modern and Contemporary Art Gallery of Turin, Italy.

KikiT VisuoSonic performance for the 6th International Scientific Meeting for Sound and Musical I... more KikiT VisuoSonic performance for the 6th International Scientific Meeting for Sound and Musical Instrument Studies, Porto, Portugal. 24th - 27th August.

KikiT VisuoSonic Research Group installed a "digital tapestry" as part of the London Design Festi... more KikiT VisuoSonic Research Group installed a "digital tapestry" as part of the London Design Festival at the Victoria & Albert Museum in September 2010. The project entitled 'The 11th Tapestry' involved the hanging of a blank tapestry in the gallery onto which was projected animated and interactive visuals. Visitors to the gallery manipulated the content through sound and movement interventions. The 20-minute presentation involved nine separate applications each offering interpretations of different aspects of the tapestries in the gallery. These included a study on the nature of the fading of the colours of the tapestries and how they may have looked when first made, an animated sequence as an interpretation of 'The Triumph of Eternity' tapestry and an sound activated response to the 'Mille Fleurs' tapestry. The installation ran from the 18th September 2010 to 26th September 2010. In addition, a performance was conducted on 24th September 2010. This involved Maurice Owen playing saxophone and Sarah Hand reading poetry which then triggered the applications move change and react to the sound in the gallery. The 40 minute performance included nine interactive applications. These applications included responses to different aspects of the tapestries e.g. the flowers, faces and material folds on display.

Russell Richards' role in the project was as designer and builder of the nine installation applications and the nine performance applications together with the rigging and display.

The London Design Festival has an international standing as a leading design festival, therefore, to be accepted for the Festival carries considerable kudos. The opportunity to perform under the auspices of the London Design Festival at the Victoria & Albert Museum enabled the research group including Russell Richards to considerably raise their academic practitioner profile in the area of digital art installation and performance.

Video of the performance at the Musee D'Art Modern Liege.

A studio-based KikiT VisuoSonic Research Group workshop. Photographed by Sarah Hand.

Journal Papers by Russell Richards

Metafisica: The de Chirico Journals, 2020

Hebdomeros + KikiT VisuoSonics is an interdisciplinary video adaptation of Giorgio de Chirico’s 1... more Hebdomeros + KikiT VisuoSonics is an interdisciplinary video adaptation of Giorgio de Chirico’s 1929 novel Hebdomeros. The novel is generally cited as a pioneering work of Surrealist literature, even though the Italian painter was never part of the Surrealist movement and often argued against many of its philosophical credos. As both a contentious artist and thinker his paintings had a seminal influence on XX century art and artists, particularly those associated with Surrealism, Neue Sachlichkeit, Pittura Metafisica and Post-Modern painting and architecture. In addition, he also influenced numerous poets, novelist and film directors. KikiT VisuoSonics, the creative technology that underpins the video-painting, was initially developed to facilitate live immersive performances
created via sound-image interaction. These creative practices developed into a purely video context as a result of an invitation to take part in “Giorgio De Chirico “Back To The Future: Neometaphysics and Contemporary Art”.

This article applies the notion of participation in artworks to the phenomenon of punk and post-p... more This article applies the notion of participation in artworks to the phenomenon of punk and post-punk. Participation has been championed as a means of describing the activity of art moving on from a static sense of art/audience reception. The punk DIY call seems to be an expression of that move, that is, from passive audiences to active audience members turning into band members. Carol Bishop is a key theorist in the analysis of participation. However, Bishop moved from a positive position of promoting the value of participation to a much more negative reading of attempts at artistic engagement. It is significant that both positive and negative readings of these activities occurred a considerable amount of time after similar debates were worked through in practice in the arenas of punk and post-punk. The article uses personal testimony in terms of the motives and drives for people in 1977 and those looking back to that time. This testimony points to something qualitatively different from participation, in fact the activity of newly empowered musical protagonists using simple means of production to develop new contexts outside of the norm. The ‘bridge’ of the article draws on Wire’s ‘It’s So Obvious’ and the Au Pairs’ ‘It’s Obvious’ to argue that it is the expectation of creative/personal expression that marks punk and post-punk out from other musical forms – what can be termed musical protagonism. This article draws on the author’s Ph.D. research and the author’s contemporaneous experience as a member of a post-punk band. It is argued that subsequent academic/creative practices of the author, and many others, stem back to experiences of punk and post-punk. The article concludes with the suggestion of applying the concept of musical protagonists to the present day.

Review of the Strata-caster - a virtual environment in Ubiquity Journal: The Journal of Pervasive... more Review of the Strata-caster - a virtual environment in Ubiquity Journal: The Journal of Pervasive Media, Volume 1, Number 2, October 2012, pp. 295-300(6).

This article is, in part, a response to articles for this Journal by Sally McMillan and Spiro Kio... more This article is, in part, a response to articles for this Journal by Sally McMillan and Spiro Kiousis. The article examines the analytical problems caused by the fact that interactivity is both a property and an activity. It asserts that interactivity is a contextualizing facility that mediates between environments and content and users. The article analyses the modes of operation both for the production of the properties of interactivity and usage/production in the activity of interactivity. The concept of ‘positioning’ is offered as a means of moving the debate on from the application of communication models or the practical development of ‘features’. The article proposes ‘succession mapping’ as a methodology that acknowledges the building up of the interactive offer and also the generative capabilities of packages. The concept of the active user engaged in ‘user production’ i.e. generation is introduced as being of value to academics, practitioners and those who practice, teach and research.

This article was presented, in draft form, as a paper at the November 2001 AMPE conference. The a... more This article was presented, in draft form, as a paper at the November 2001 AMPE conference. The article critiques different modes of analysis in the field of digital aesthetics. The article argues that there is a desperate need to devise and promote student/staff training in technological/cultural aesthetics that liberate rather than simply anaesthetize. As interactive packages develop into the future there will be a need for criticism not only of the content they may contain but also their ability to enable production of content. These analytical tools are needed in the creation of such generative packages. The motivation for this approach is to help to create methodologies that are challenging, generative and actionable. There are opportunities for the development of digital aesthetics of production.

This paper is concerned with exploring the concept of generative art. The purpose of this approac... more This paper is concerned with exploring the concept of generative art. The purpose of this
approach is to uncover methods of analysis that foreground digital art as a discrete mode
of production as opposed to an adjunct of other art forms. This aspiration operates both at
the level of art production itself and also at the level of critique. I make no apologies for
using my own work as a series of examples to justify why digital art is a discrete mode of
production. I had already begun some tentative steps in the field of digital art before I
came across Brian Eno’s analysis of generative music. I have widened the scope of
analysis to draw upon my analysis of modes of interactivity. I argue that there is little
point in either critiquing digital art as a ‘noughts and ones’ version of other art forms nor
should a digital artist have to see their practice in those terms. Let us revel in the variety
of creative forms, the range of treatments and the wonders of happenstance made possible
through digital technologies. For me this means finding great pleasure in creating
beautiful art while teasing away at the contradictions imposed upon this vibrant mode of
production. This is not about emulating existing artistic styles but about investigating the
myriad of different forms made possible by ‘the digital.’

Digital art practice can be stimulated by a wide variety of components. In the case of the covert... more Digital art practice can be stimulated by a wide variety of components. In the case of the covertor the stimulus in the first instance was not the reinterpretation of a dense concept, it was not the result of happenstance or the representation of a media form within the digital or an emulation of a real world object. The source for the Covertor concept was a facility within Macromedia Director that enables the author of an application to choose to 'animate in the background'. This facility means that an application can be created that sits on the desktop and is active at all times. A classic use for this would be a music player app that continued to play music whether it was 'in focus' or not.

This facility was conjoined with a concept that Richards had been teasing away at for a few years i.e. how minimal interactivity could create maximum effect.

Conference Presentations by Russell Richards

Presentation at i-Docs 2018 on the concept and application of interactivity. Interactivity is the... more Presentation at i-Docs 2018 on the concept and application of interactivity. Interactivity is the positioning of people in relation to the creation of content.

This positioning paper is in two parts. The first part examines the notion of ‘the gift’ as appli... more This positioning paper is in two parts. The first part
examines the notion of ‘the gift’ as applied to artistic works
in The ‘Do-It-Yourself’ Artwork, edited by Anna Dezeuze
(2010) and to disrupt this notion with the countervailing
concept of sustenance. This analysis critiques sociologist
Marcel Mauss’ research into the First Peoples of Canada,
specifically in terms of the development of his theory of
‘potlatch’ based predominantly on the Kwakwakw'wakw
People and their destruction of property as a show of
strength. The paper seeks to disrupt this concept,
summarised as ‘the ‘gift’ as obligation’, with the Coast
Salish Peoples’ practices of offering sustenance to their
fellow tribes through the sharing of food wealth. This can,
it is asserted, provide resources for the author’s present
research on responsive environments. The second part
explores the principle of sustenance. The paper argues that,
from this perspective the artist’s role is to create resources
that can be productively extended, challenged or
repurposed by a process of ‘protagonism’. This is because
those resources, supported by digital technologies, sustain
opportunities both in and out beyond responsive
environments. This position, it is asserted, supports an
intensification and diversification of Claire Bishop’s
participation motivations of ‘activation’, ‘authorship’ and
‘community’.

KikiT VisuoSonic ISEA 2008 video presentation with voice over by Sarah Hand.

Books by Russell Richards

Giorgio de Chirico. Ritorno al futuro Neometafisica e arte contemporanea, 2019

The catalogue of the Giorgio de Chirico: Ritorno al futuro Neometafisica e arte contemporanea exh... more The catalogue of the Giorgio de Chirico: Ritorno al futuro Neometafisica e arte contemporanea exhibition at at the Modern and Contemporary Art Gallery of Turin, Italy.

Nebula is a concept developed with the support of hidrazone.com, a digital arts hub developed at ... more Nebula is a concept developed with the support of hidrazone.com, a digital arts hub developed at Southampton Institute (now Southampton Solent University), United Kingdom. The original Nebulae series was developed for the inaugural edition of the hidrazone.com journal entitled Randomness. The project began with a simple concept of generating an output by moving multiple pixels one pixel-width at a time. The key development that added “nebula-like depth” was the adjustment of the opacity of the pixels. This development coincided with the INSAPV call. This moment of serendipity encouraged the further development of the project with reference to the astronomy/art interface.

mediainspiratorium, 2019

Bob Cotton is responsible for the content - the captions, graphics and commentary & links sections. These embrace currently 1250 ‘culture capsules’ with altogether over 460,000 words.

Dr Russell Richards is responsible for the system analysis, structure and programming of mediainspratorium.

Russell Richards' role in the project was as designer and builder of the nine installation applications and the nine performance applications together with the rigging and display.

Video of the performance at the Musee D'Art Modern Liege.

A studio-based KikiT VisuoSonic Research Group workshop. Photographed by Sarah Hand.

Metafisica: The de Chirico Journals, 2020

This facility was conjoined with a concept that Richards had been teasing away at for a few years i.e. how minimal interactivity could create maximum effect.

KikiT VisuoSonic ISEA 2008 video presentation with voice over by Sarah Hand.

Giorgio de Chirico. Ritorno al futuro Neometafisica e arte contemporanea, 2019

Music derived visual mesh using KikiT VisuoSonic technologies.

Short film featured on "Critical Mass: Synaesthesia" by Threshold Studios Nottingham. An intervie... more Short film featured on "Critical Mass: Synaesthesia" by Threshold Studios Nottingham. An interview with Jo Johnson, a synaesthete, with accompanying visualisations of what she receives.

A blog of the band, influences, the release of their DIY 12" EP "Strike Now - There is no cover" ... more A blog of the band, influences, the release of their DIY 12" EP "Strike Now - There is no cover" and the subsequent rerelease of the EP through Ever/Never Records in New York.

A new album by the RoMote band. With Mo (Maurice Owen) on Sax, Ro (Russell Richards) on Bass and ... more A new album by the RoMote band. With Mo (Maurice Owen) on Sax, Ro (Russell Richards) on Bass and Tim Pepper on Drums.

This audio file is made using a field recording of a robin and a black bird doing a sort of call ... more This audio file is made using a field recording of a robin and a black bird doing a sort of call and response in our garden in Gloucester on 27th February 2021. I have applied selective loops to the audio file which has enhanced certain refrains from each of the birds. The result is a wall of sound produced by just two birds. This is a call to a new beginning as two birds mark out their territory and proclaim their existence in the most intense manner. The slow fade out indicates that, in fact, they are not going away.

A four-track binaural music EP featuring Mo (aka Maurice Owen) on alto-sax and flute, Ro (aka Rus... more A four-track binaural music EP featuring Mo (aka Maurice Owen) on alto-sax and flute, Ro (aka Russell Richards) on bass and guesting on drums, Tim Pepper.

TBD, 2021

There can be few other words in the English language that inspire such scepticism as “interactivi... more There can be few other words in the English language that inspire such scepticism as “interactivity.” However, this article starts from a qualitatively different perspective reasserting interactivity as a useful concept with specific respect to video games. This article addresses the question: What is interactivity for? The analysis of interactivity, when seen as a means to an end, must consider the forms of that end. Put simply: what is gained through modes of interactivity is content in a vast variety of forms. The authors move onto an analysis of interactivity in terms of the following definition: interactivity is a conceptualising facility that mediates between environments and content and users enabling generation. A key development in the analysis of interactivity is the examination of the significance of environment in relation to content including the use of virtual environments within the interactive scope of video games. This environmental characteristic was examined in a series of investigations into cybernetics by Gordon Pask in the 1970s and 1980s. This was an early attempt to devise a human/computer system that was both mutual in its relations and supportive of creativity. We assert that it is time for Pask’s work to be recognised as of fundamental importance for the examination of interactivity and the constitution of dynamic, creative environments including video games. Pask offers a description of a “Cyberarchitecture” for the sharing and making of content. This formulation is complementary to Espen Aarseth’s concept of cybertext. The authors explore examples in video games through the lens of Cyberarchitecture with particular reference to Pask and Curran’s framework of concept sharing, concept making, privacy and balance. The article concludes with a call for further application of this framework to video games and beyond.

Keywords: Interactivity, Cybernetics, Cyberarchitecture, Concept Sharing, Concept Making, Privacy, Balance

"AI_AT" was shown during the Digital Design Festival at the Sackler Centre in the Victo... more "AI_AT" was shown during the Digital Design Festival at the Sackler Centre in the Victoria & Albert Museum. 'AI_AT' was a response to the call to celebrate Alan Turning's 100th anniversary of his birth. 'AI_AT' is a digital artwork that uses artificial intelligence to relate generative visuals with an experimental electronica-style soundscape. It was accessed by approximately 7000 people during the weekend. The Digital Design Festival is part of the London Design Festival, the international renowned festival of all forms of design.

'Meshwork' is a 'music-derived linear animation' i.e. the movement of animated ob... more 'Meshwork' is a 'music-derived linear animation' i.e. the movement of animated objects on the screen is generated by the sound track then recorded for playback. Purpose-built software has been created that extracts the energy from the music and this then provides the parameters for the forms of animation in the scene. There is no immediate stimulus/response relationship between the sound and the resulting animations - this is deliberate. The advantage of this more subtle relationship is that there is a resultant musicality in the animation that complements that of the musicality of the sound track. The output is thus of a more complex and satisfying form. 'Trampoline is a platform for new media arts based in Nottingham and Berlin. Its purpose is to promote the innovations of emerging artists on both a local and international level, providing a platform for experimentation and new exposures while also encouraging new networks and discussions which contribute to education, research and development.'(Ota 2013) The Attention Structure initiative is designed to bring digital video art shorts to public screens across the UK and the world. 'Meshwork' was premiered as part of the Frequency festival organised by the University of Lincoln, The Collection, the Usher Gallery, Lincolnshire County Council, Lincoln Drill Hall and Threshold Studios. The Frequency Festival featured work from international and UK artists.

This paper is concerned with exploring the concept of generative art. The purpose of this approac... more This paper is concerned with exploring the concept of generative art. The purpose of this approach is to uncover methods of analysis that foreground digital art as a discrete mode of production as opposed to an adjunct of other art forms. This aspiration operates both at the level of art production itself and also at the level of critique. I make no apologies for using my own work as a series of examples to justify why digital art is a discrete mode of production. I had already begun some tentative steps in the field of digital art before I came across Brian Eno’s analysis of generative music. I have widened the scope of analysis to draw upon my analysis of modes of interactivity. I argue that there is little point in either critiquing digital art as a ‘noughts and ones ’ version of other art forms nor should a digital artist have to see their practice in those terms. Let us revel in the variety of creative forms, the range of treatments and the wonders of happenstance made possible...

Punk & Post Punk, 2017

New Media & Society, 2006

Journal of Media Practice, 2004

... Digital aesthetics should actively acknowledge the sophistication of both the resulting produ... more ... Digital aesthetics should actively acknowledge the sophistication of both the resulting product and ... Keywords generative user/producer infosphere distraction aesthetic of application aesthetic of apprecia-tion ... between William Hogarth in his attempt to analyse the craft of beauty ...

Nebula, 2004

KikiT VisuoSonic Research Group installed a "digital tapestry" as part of the London De... more KikiT VisuoSonic Research Group installed a "digital tapestry" as part of the London Design Festival at the Victoria & Albert Museum in September 2010. The project entitled 'The 11th Tapestry' involved the hanging of a blank tapestry in the gallery onto which was projected animated and interactive visuals. Visitors to the gallery manipulated the content through sound and movement interventions. The 20-minute presentation involved nine separate applications each offering interpretations of different aspects of the tapestries in the gallery. These included a study on the nature of the fading of the colours of the tapestries and how they may have looked when first made, an animated sequence as an interpretation of 'The Triumph of Eternity' tapestry and an sound activated response to the 'Mille Fleurs' tapestry. The installation ran from the 18th September 2010 to 26th September 2010. In addition, a performance was conducted on 24th September 2010. This involved Maurice Owen playing saxophone and Sarah Hand reading poetry which then triggered the applications move change and react to the sound in the gallery. The 40 minute performance included nine interactive applications. These applications included responses to different aspects of the tapestries e.g. the flowers, faces and material folds on display. Russell Richards' role in the project was as designer and builder of the nine installation applications and the nine performance applications together with the rigging and display. The London Design Festival has an international standing as a leading design festival, therefore, to be accepted for the Festival carries considerable kudos. The opportunity to perform under the auspices of the London Design Festival at the Victoria & Albert Museum enabled the research group including Russell Richards to considerably raise their academic practitioner profile in the area of digital art installation and performance.

This article is, in part, a response to articles for this Journal by Sally McMillan and Spiro Kio... more This article is, in part, a response to articles for this Journal by Sally McMillan and Spiro Kiousis. The article examines the analytical problems caused by the fact that interactivity is both a property and an activity. It asserts that interactivity is a contextualizing facility that mediates between environments and content and users. The article analyses the modes of operation both for the production of the properties of interactivity and usage/production in the activity of interactivity. The concept of ‘positioning ’ is offered as a means of moving the debate on from the application of communication models or the practical development of ‘features’. The article proposes ‘succession mapping ’ as a methodology that acknowledges the building up of the interactive offer and also the generative capabilities of packages. The concept of the active user engaged in ‘user production ’ i.e. generation is introduced as being of value to academics, practitioners and those who practice, teac...

This positioning paper is in two parts. The first part examines the notion of ‘the gift’ as appli... more This positioning paper is in two parts. The first part examines the notion of ‘the gift’ as applied to artistic works in The ‘Do-It-Yourself’ Artwork, edited by Anna Dezeuze (2010) and to disrupt this notion with the countervailing concept of sustenance. This analysis critiques sociologist Marcel Mauss’ research into the First Peoples of Canada, specifically in terms of the development of his theory of ‘potlatch’ based predominantly on the Kwakwakw'wakw People and their destruction of property as a show of strength. The paper seeks to disrupt this concept, summarised as ‘the ‘gift’ as obligation’, with the Coast Salish Peoples’ practices of offering sustenance to their fellow tribes through the sharing of food wealth. This can, it is asserted, provide resources for the author’s present research on responsive environments. The second part explores the principle of sustenance. The paper argues that, from this perspective the artist’s role is to create resources that can be product...