Demonstration of the application, using the track ‘Singing under the Rainbow’ by World’s End Girlfriend.
Hollow sound sculptures made from ABS.
This project by Eva Schindling is called Liquid Sound Collision, created in 2009. It uses two opposite words as vibration source that feeds into a fluid simulation. The waves created by the sound files run towards each other, collide and interfere with each others patterns. A frozen moment of this event is then translated into a 3D sculpture. The quantifying of seemingly unquantifiable concepts and objects is interesting in this project. It also produces aesthetically pleasing forms that have a whole lot of data involved. Schindling received a MSc. in Art and Technology from Chalmers University in Sweden and a degree in Interaction and Media Design from FH Joanneum in Austria. Currently she works as a creative technologist at Daily tous les jours in Montreal. Her work ranges from embodied evolutionary robotics, algorithmic pattern formation to the visualization of otherwise invisible sound waves.
Vera-Maria Glahn is a managing director and partner at FIELD, “create[ing] expressive and dynamic artworks for digital platforms: audio-visual installations, experiences for web and mobile, and shareable digital artefacts.” Glahn received her undergraduate education from the Gymnasium Theodorianum for Abitur, Arts, German, English, and Philosophy, and her Masters in Visual Communication from Kunsthochschule Kassel.
As a member of FIELD, Glahn as worked on many astonishing projects, such as the Adidas by Stella McCartney: Barricade SS15 campaign. This particular project caught my eye because, as a business major with a concentration in Marketing, I found these works particularly eye-catching, effective, and beautiful.
Glahn uses “dynamic flow fields precisely mapped into the scene, emphasize Caroline Wozniacki’s powerful moves, creating a visual balance of technical precision and fluid elegance. The print and motion graphics launched in two sets, timed with the Australian Open and the French Open.” The outcome is truly the perfect balance between technical precision and fluid elegance. It promotes the sheer power of the players, the velocity of the ball, all while, at the same time, emphasizing the feminine qualities of the women in the most visually eloquent way.
Anton Reponnen is an interaction designer focused on developing visual identities, forms of interaction, and livable spaces. This is evident in her redesign of the hardware memory system, called UP Memory Tower.
Anton found a design opportunity within the product ecosystem of external hard drives — she saw the process of buying new and/or upgrading to better hard drives as “not-connected.” Likewise, she identified that the web-based cloud system has its own limitations, such as needing internet access and having to log in to an account.
The UP Memory Tower personalizes the external hard drive as users add to a base-memory dock when more storage is needed — all memory is still stored in one central location. Likewise, only a portion of the hard drive can be take with you — it still acts a portable storage like a usb or SD card. I find this product fascinating for its versatility, and its accordance to social conventions — it sustains the expected nature of existing products while introducing new behavioral concepts towards an established object.
About a month ago, CMU greeted several innovators in the field of computational design and robotics for a research symposium on smart design and the trajectories of computer-aided architecture / modeling practices. It was a pretty interesting event, and I got to hear five panelists discuss their research areas, and even though my work has nothing to do with computational design, I enjoyed the symposium.
One of the presenters was a woman by the name of Madeline Gannon, a roboticist whose work explores biological models for computer-aided design and mechanical installation. The image I most closely associate with Gannon is that of her interacting with Mimus, her 1,200kg industrial robot arm-thing. Mimus was exhibited at a robotics installation earlier this year and attracted the attention of gallery-goers both young and old.
She has also done work with “painter tools” for 3D printing interfaces, called Reverb. Modeled after squids, these long, drapy tendrils can be layered onto a 3D-scanned torso model to create immediately wearable, intricately geometric shapes with relative ease.
Overall, her work is very interesting, and it’s fun to see her build bonds with these massive hunks of steel and bloodlust. I’ve always been a fan of bio-based design, and her research areas have a solid blend of pragmatic technical expertise and curiosity for the living world.
To see more of Gannon’s work, explore her website.
This installation is a mechanic garden that forms a kinetic maze including modular pieces and rotating planters. the planters are made up with moss collected from the sides of buildings. The artist, Nova Jiang, wanted to create a piece that makes the space and time dynamics unpredictable. The planters are controlled by a computer software that generates new maze patterns based on mathematics, making the audience experience the space in different ways as they walk through it to interact with the piece.
This piece is amazing as it touches on not only technology but also art, 3D installation, and architectural landscape design. I find it very intriguing in the way she organizes space that engages the audience using a computer algorithm.
Nova Jiang is a Chinese artist based in Los Angeles from Auckland, New Zealand. She creates immersive, open-systems in her art work that encourages creative participation from her audience. She obtained her MFA in Media Art from UCLA.
SUPERHYPERCUBE (published in autumn 2016) by Kokoromi collective
SUPERHYPERCUBE is a VR “first-person perspective” 3D puzzle game developed by Kokoromi collective, and Heather Kelly is a member of this group. In this game, the player needs to switch the direction of a shape in order to go through different panels.
SUPERHYPERCUBE was a VR game with a high-stylized art style and interesting first-person perspective interaction. I enjoyed watching the gameplay video of this game, the sharp sound effect response and simple but modern visual design offer a very clear yet attractive world for the game. I like how this game combining first-person perspective and VR puzzle solving together. The whole game was a simple but funny VR game experience.
Heather is Adjunct Faculty at the Entertainment Technology Center, at Carnegie Mellon University. Heather’s extensive career in the games industry has included design and production of AAA next-gen console games, interactive smart toys, handheld games, research games, and web communities for girls. She was named as one of the five most powerful women in gaming by Inc. magazine in 2013.
^Shantell using the motion sensor device to leave the trail.
^ Rhino screen showing the trail of the device.
Title: Drawing Trails
Artist: Shantell Martin
Year of Creation: 2016
Link to the Article of the Project: https://shantellmartin.art/work/drawing-trails/
Link to the Bio of the Artist: https://shantellmartin.art/info/
Drawing Trails was a collaboration between visual/digital artist Shantell Martin and architect Maria Yablonina as a way to visualize the trail that we leave behind our motions. The concept was to explore the idea that whatever we do and wherever we go we leave an inevitable traces behind us and what they would look like if they were to be digitally captured and 3-d printed.
First, the motion sensor device will detect the movement of the object and transfer the information to the computer, which will use Rhino and Grasshopper with a customized program to visually map the data on the screen. The visual information on Rhino workspace will be then 3-d printed, giving us a chance to visually and sensibly observe the invisible trails that we have left behind for the first time.
The idea that we could observe our own trails is very interesting, but I am still a little dubious if it could be practical in capturing a larger degree of motion. However, simply as a new means of creating a sculptural art, this was a very unique attempt.
As the founder of Höweler + Yoonarge, an internationally recognized architecture firm,Meejin Yoon‘s practice works with a wide range of scales to furniture scale installations to buildings to landscaping projects. With her partner, the two leads their practice to constantly challenge the relationship between architecture, art and landscape. Media is often used to enrich the architectural experience she designs. A lot of experiential installations are made so she can observe and propose new ways for the public to interact with. One example of this is the UNI project that was installed in New York, with aims to create a mobile, and reconfigurable public “reading” space. A series of yellow caps, or “quills” as they are referred to by the architects, doubles as a bench and also protects the books on the wood shelves. Yoon’s personal accomplishments are also notable with as she is a Professor and Head of the Department of Architecture at the Massachusetts Institute of Technology, where she received the Irwin Sizer Award for the Most Significant Improvement to MIT Education. She was also awarded Architectural Review’s New Generation Design Leadership Award.
For this week’s Looking Outward post I focused on Tina Frank’s work in the Lentos Kuntsmuseum in Germany titled “Hotel Lentos” created in October 2010. By partnering with Elvira Stein, sound director Andrea Kurtz, and curator Magnus Hofmuller, she installed a 40 meter wide screen that would project the scenes of a hotel. The entire wall of the exhibit was filled with the projection work. I like how the entire project, although merely a video projection, is so large and covers up an entire wall. This way, user will feel more immersed into the piece as they watch the scene change from room to room within a hotel.
Tina Frank works as a professor from the University of Art and Design in Austria with a concentration in media art and graphic design. Her works focus on web design, music visualization, and video & multimedia. She also still works as the Creative Director and Founder of URL Agents for Information Design and Tina Frank Designs.
For this week’s Looking Outwards, I looked into my friend Yoonyoung’s first Looking Outwards post which highlights the BMO200 Fountain. (The topic of the first looking outwards post was investigating technological art or design that inspires you.) BMO is a bank in Montreal and this fountain was made in celebration of the 200th anniversary of the bank. I found her post on this piece of object interesting because the project was made with not only the artists but also the members and the employees under BMO. Although there isn’t much written about the specific contributions the employees of the bank made to the final piece, the idea of interactive imagery of water falling into a pond is stunning; with this piece, the users can “throw” a coin of wish on their mobile devices. I think the interactive portion of the project is a great representation of how machines and technology is able to copy or iterate human motion. The idea behind this is that interaction can happen separately from just a single visual space but also the individual users’ devices too. The YouTube video above is a good compilation of the process of the project from the beginning to end.