Monday, July 06. 2009
Ascenders & Descenders is a typographic reinterpretation of Merce Cunningham's dancing hands as recorded by OpenEnded Group for the Loops project.
The piece is a Cunningham dance work reconstructed from textual deconstructions of other Cunningham dance works. Each finger has an associated excerpt from an article, review, or essay on Cunningham from the last 5 decades. These texts become the "ink" with which each finger manifests its movements. Each text is dynamically typeset in 3 dimensional space along the curves traced by his fingertips.
The software keeps track of various movement parameters which it uses to modulate aspects of the visualization such as letter size, camera position, angle, and zoom. Merce not only dances the dance, but becomes typesetter and cinematographer, conducting the audience's view of the dance.
What, from the outside, appear to be subtle manipulations of the hands become a beautiful tangle of diving flocks and waterfalls of letters. Presenting dance in this way, we hope to get closer to the experience of the dance from the inside out.
Watch the video below.
Thnkx John.
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Via Information Aesthetics
Personal comment:
Une approche 3d-générative des "dancing hands" de Merce Cunningham.
Thursday, July 02. 2009
This year’s Architectural Association (AA) summer pavilion in Bedford Square, London, is unveiled tomorrow (3 July).
The competition-winning installation, Driftwood, comprises 28 layers of plywood and was conceived by 3rd year AA student Danecia Sibingo.
The sculpture was fabricated at Hooke Park, the AA’s 350-acre campus and workshop in West Dorset where the 2006 winning Fractal pavilion is permanently installed.
Sibingo was helped by a team that includes Lyn Hayek, Yoojin Kim, and Taeyoung Lee on the pavilion which was, according to the school, takes its inspiration from the sea.
See pages 41-45 of this week’s Architects Journal for reviews of this year’s student exhibitions.
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Vis The Architect Journal
Personal comment:
Intéressant de voir revenir la mode du "pavillon" comme petit objet architectural de "statement" (Serpentine, AA School, etc.)
Bel objet ici ceci dit. Ni plus, ni moins.
Tuesday, May 26. 2009
FAX, an exhibition that invites a multi-generational group of artists, as well as architects, designers, scientists and filmmakers, to conceive of the fax machine as a thinking and drawing tool. Participants will transmit fax-based work—some seminal examples of early telecommunications art—via the museum’s working fax line throughout the duration of the exhibition. The active accumulation of information—received in real time, in the exhibition space—will include drawings and texts, and the inevitable junk faxes and errors of transmission, creating an ongoing cumulative project concerned with reproduction, obsolescence, distribution, mediation, and generative systems.
Faxes by close to 100 participants sent to the initial showing of FAX at The Drawing Center will form the core of this generative and accumulative exhibition; and subsequent institutions will each invite up to twenty additional artists to submit works to be presented at successive venues as a touring exhibition.
Participating artists include: John Armleder, Tauba Auerbach, Pierre Bismuth, Barbara Bloom, Mel Bochner, Jan De Cock, Peter Coffin, Cerith Wyn Evans, Morgan Fisher, Aure?lien Froment, Ryan Gander, Liam Gillick, Joseph Grigely, Wade Guyton, Charline von Heyl, Matthew Higgs, Germaine Kruip, Glenn Ligon, Dr. Ronald L. Mallett, Josephine Meckseper, Olivier Mosset, Steven Pinker, William Pope.L, Seth Price, Pamela Rosenkranz, Dexter Sinister, Wolfgang Tillmans, Edward Tufte, and Christopher Williams, among others.
Until July 23 2009
Drawing Center, in the Drawing Room
New York
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Via ManyStuff
Personal comment:
Vielle technologie et projet de design/art "communiqué", transmis. Me rappelle un projet d'architecture réalisé avec Pieter Versteegh & Bruce Dunning où l'entier du processus s'était fait comme ça: transmission de dessin entre CH et US et design à 4 mains plus une machine!
Wednesday, May 20. 2009
Quelques images extraordianires.
Some extraordinary images.
Sources: Daniel Widrig
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Via Le territoire des sens
Personal comment:
Très formel et biologiquement inspiré, probablement génératif. Egalement une architecture ou des volumes de "patterns", de motifs. cela me fait penser aux récents projets de R&DSV & Sie, également "bio-inspirés". Il y a quelquechose d'intéressant dans le fait qu'on ne sache quelle sont les échelles de ces objets/maquettes: grand ou infiniment petit. Cela provient certainement d'une double lecture: formes génératives évoquant le petit, le biologique, la cellule et assemblages de formes évoquant l'architecture, l'urbanisme.
Et effectivement (voir la galerie d'image), Daniel Widrig pense ses projets à toutes échelles, une forme pouvant aussi bien être un bâtiment qu'un siège ou une petite sculpture.
Mais est-ce que cette approche fonctionne?
Monday, April 27. 2009
The Digital Fabrication unit of Gramazio & Kohler at the ETH Zurich has just completed a wooden, robot-fabricated pavilion near Zurich. The research group was invited by the city to design and fabricate an 8 x 8 meter installation for the West Fest, a festival to celebrate the opening of a new tunnel.
The pavilion consists of a scripted grid of 16 twisting pillars that form a hypostyle space. The wood elements that make up each pillar are precisely cut and positioned by a 5-axis industrial robot, with a little human teamwork. Because of space limitations during fabrication, no element could be longer than 1 m. This proved, however, to be an interesting design constraint, dictating the size and proportion of the pillars.
Sitting among dozens of large, standard party tents, the pavilion was certainly remarkable and particularly elegant at night. The effect is something like an egyptian temple meets a miniature cathedral meets sparkling cave. Moreover, the integrated bar, located in the middle, had a perfect two-meter covered patio for relaxing.
As scripting in architecture design becomes more prevalent, it is always stunning to see how the team at the ETH is not only able to advance a programming agenda in the discipline, but really fabricate emergent form as well.
If you are not familiar with the digital fabrication projects of Gramazio & Kohler, I highly recommend their website: http://www.dfab.arch.ethz.ch/
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Via Jargon, etc.
Personal comment:
La plus grosse structure (volumétrique) réalisée à ce jour par Gramazio & Kohler avec leur robot. A ma connaissance en tout cas.
Bien que je trouve la démarche intéressante, je constate que la démarche aboutit de plus en plus à des "motifs", presque un caractère fondamentalement décoratif alors que le statut de l'espace n'est pas vraiment questionné.
Thursday, March 12. 2009
Personal comment:
Ressource de sketches et projets Processing (code accessible)
Monday, January 19. 2009
Two data sculptures that focus on representing the varying mood of online friends. The first piece, called the Weeping Willow: a Tree Full of Friends [martinluge.com], consists of a tree-like form with wooden moving branches. Every branch stands for an online friend, and the slope of a single branch represents their happiness or sadness: the happier the friend, the higher the branch will grow. Each branch is made of different segments. The alignment of the segments depend on a numerical value assigned to different adjectives, ranging from 0 to 10, for sad and excited respectively.
In an interesting twist, a new segment is recorded for every day of a week. At the end of the week, the tree is laser-cut and send to the recipient.
The other piece, titled Rose of Jericho: a Living Data Sculpture, is a flower normally growing in deserts, able to survive very long times without water. When watered, the branches rapidly spread out. The process of curling up and opening is reversible and can be repeated many times. Accordingly, the water supply for the rose is controlled by a friend's mood. Happier or more wholesome state results in plenty of water for the plant, and sadness curbs the water supply all together.
These data sculptures attempt to maintain ambiguity and ambivalence: one should not directly be able to read its meaning directly, but instead the focus is on conveying more general feeling of a friend's mood.
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Via Information aesthetics
Personal comment:
Dans la lignée des objets génératifs produits à partir de données collectées sur les réseaux: celui-ci s'appuie sur son réseau d'amis et leur état d'esprit. Une sorte d'arbre décoratif actualisé chaque semaine et qui traduit un certain nombre d'informations. Il y a une dimension de "contact" et de présence à travers l'"arbre" (par exemple, le fait de constater que la branche d'un ami descend nous pousserait peut-être à l'appeler et lui proposer une sortie ou un repas?) qui dépasse l'aspect souvent purement formel du design génératif.
Wednesday, January 07. 2009
Forever at the Victoria & Albert Museum from Universal Everything on Vimeo
If you’re based in London and looking for something to do one day this month, we recommend that you visit Universal Everything’s installation, Forever, which is currently on show in the John Madejski Garden at the V&A. The project, a collaboration between Matt Pyke, Karsten Schmidt and Simon Pyke, consists of a large videowall installation of endless animations that responds to an ever-changing soundtrack…
“Forever is an art project formed from generative music and generative visuals and is a commission for the museum’s new digital programme,” explains Schmidt. “Simon Pyke has composed the music and sound – he’s created hundreds of different soundscapes, drums, all in the same key so that anything can be mixed together. It will evolve over the two months it’s on, so you’ll never hear, or see, the same thing twice. It’s based on the same kinds of micro-patterns as Mozart’s generative minuets, but on a more detailed level. When the sound is intense it will trigger pulses on the visual side and visual elements will also feed back into the music.”
An online installation, generating a series of downloadable video podcasts, will coincide with the V&A exhibition on Universal Everything’s website. The studio has also created a making-of film which reveals the thinking behind - and the work involved creating the installation. You can view it below…
The Making of Forever / Victoria & Albert Museum from Universal Everything on Vimeo
Forever runs at the V&A until 1 February. Admission is free.
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Via Creative Review
Personal comment:
Musique générative et design génératif: endless variations? ce qui ne veut pas dire "endless quality" car à chaque fois le processus semble plus intéressant que le résultat. Le syndrome du "screen saver" n'est jamais très éloigné si la proposition n'arrive pas à développer une présence forte.
Wednesday, December 10. 2008
http://www.iht.com/articles/2008/12/08/arts/design8.php
(...) There's one simple reason why visualization is becoming so important, and that's our desire to understand what's happening in the world at a time when it's becoming harder and harder to do so. "Design always moves where it is needed most," said Paola Antonelli, curator of Design and the Elastic Mind, who is now working on a major visualization project. "The surge in computing power has generated a surge in information output, and heated up interest in visualization design." (...)
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Via Beyond the Beyond (Bruce Sterling)
Personal comment:
Paola Antonelli est curatrice pour le design au MOMA de New-York.
Si le MOMA se met à clairement exposer les processus et créateurs issus de la scène "digitale", le temps est venu pour que la discipline campe sur les devant de la scène créatrice après plusieurs années de critiques par la "vielle garde" conservatrice du design (qui va maintenant évidemment suivre et emboîter le pas).
Ce n'est d'ailleurs pas pour rien que l'on a vu récemment Casey Reas (Mr. Processing) faire soin entrée dans un classement des cent personnes les plus influentes actuellement dans le monde monde de l'art (le "power 100", artistes, curateurs, théoriciens et collectionneurs confondus) effectué par le magazine Art Review (voir: http://blog.fabric.ch/index.php?/archives/176-Art-Reviews-Power-100.html).
http://www.works-thoughts.com/
"As a warm-up for the fall quarter, I participated in UCLA’s Digital workshop. Georgina Huljich, partner of P-A-T-T-E-R-N-S, was the program director. Rhinoceros was used to create 3D interpretations of the sketches of Ernst Haeckel, a prominent German biologist, naturalist, and philosopher. The articulation of micro-surfaces related to the biological function of the organism was of particular importance in my work..."
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Via Beyond the Beyond (Bruce Sterling)
Personal comment:
Voir sur le site de UCLA. Quelques projets de 3d analogique et générative qui ont l'air intéressants.
D'une certaine façon, on pourrait considérer que "Les algues", de Ronan et Erwann Bouroullec sont alors aussi une 3d analogique générative...
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