The artwork I chose is the “Matrizenmultiplikation, Serie 40” by Frieder Nake. Using the right colors and combining colors is hard. It can be troubling when making such decision. What if the computer helped us to make the decision? I really appreciate the variety of colors and the saturation in the artwork. I think the computer has generated a beautiful image. The software that the artist used is called Matrizenmultiplikation in Algol60. I suppose the artist set a grid system through the algorithm and assign made many categories of colored squares. Then the colored squares would randomly be scattered in the grid system to make color combinations. I think Nake shows hist artistic sensibilities through dividing the grid system into several areas and each area can only have certain number of random colors. This way the colors won’t be all randomly mixed together. They would have certain order while still being random. I think it would be interesting to try out more shapes than grid system.
You can see the work here
Leander Herzog’s “Extruder”, 2015 was something I gravitated towards upon closer encounter. At first I was intrigued by the opacity and shapes of the forms that were being presented – visually. I did not know it was a generated typeface and that these were letters, which is what I found extremely interesting. I hope to build a type that is altered by code as soon as I learn the capabilities. I enjoy seeing design work that integrates code because I can see its benefits. Visually, it is also interesting to see how code creates as it is generated and the motions and shapes that are produced are very distinct.
D3.js was utilized in the creation of this piece – D3 assists users in utilizing data and visualizing it through code. Clipper.js was also used, which allows one to modify the path and geometry of shapes. Data also had to be pulled somehow – some sort of api? Mouse hover and mouse click are also used. Variables must have also been created for the different shapes to be able to be interacted with, and to be able to effect each other.
For this assignment I chose Memo Akten’s Fight (2017). Fight uses Virtual Reality and Binocular Reality and transforms it into interpret art right in front of the eye. I chose this piece because virtual reality, to me, is one of the most fascinating advances in technology. I vividly remember my first experience with virtual reality, and always yearn to experience it again when possible. What I particularly like about this piece though, is its variability aspect in which each viewer has a different visual experience despite the images displayed being the same every time.
Though I’m not quite sure on how Atken made the images, I know that at a basic level, virtual reality works by using a stereoscopic display that allows eyes to see depth into the images projected. The images that Atken chooses for this piece are ones that do not directly match our expectations of the outside world.
Attached is a video of one of infinite visual experiences from Fight
In his interviews, Atken draws his main purpose of this piece is to think about perception. He writes, “perception, including vision, is an active process, it requires action and integration”. More information about Memo Atken’s Fight can be found here: http://www.memo.tv/fight/
The Grass app. An app that attempts to recreate a small patch of grass right on your phone screen that in their words you can “pet, coddle, pat, touch, and caress” the grass to help you “think calm soothing thoughts”.
They don’t talk about the specific coding of the app but I believe they use some sort of algorithm to believably reproduce their grass graphic across the screen and have it react to your aforementioned interactions. From reviews and from my own use of the app I thunk the id an awesome job, even though the graphic is simple the interaction is done so well it does make it very relaxing to play with.
I’m really interested in sound-based interfaces, and this is no exception. The on-screen printing is based on the sound produced by the computer, and the type weight is based off how heavy or light (read: textured) the sound is. There are a bunch of these on this guy’s YouTube page, and they all seem to have some sort of sound component. Looking forward, I think it would be really interesting if there were some kinda live version – like the real sounds of a place or an audience affected this drawing. Perhaps instead of a program, we had a laser cutter, who knows.
This is a piece of generative art by Jean-Pierre Hebert, a generative artist. His website/blog contains artwork in order (“structured like a book”). Many of the works on the website are organized by date (and sometimes not named in any other way), and he created the above work by seeding the algorithm with the current time: jumping off the idea of artwork being named with a time-stamp, here is artwork whose identity stems entirely from a time-stamp. I found this to be an amusing idea, as well as an illustration of the strange liberties generative artists can take with their work.
This week, I came across a generative piece called Sands of Changes by Jean Pierre Hebert. At first glance, I was a bit confused: how could this be a generative piece done by a program? The piece is done with real sand, actually using a computerized metal ball to roll on top of the sand to create minuscule lines.
Hebert here emulates the Zen garden style, giving the piece a very calming and centering aesthetic. I truly admire the way in which Hebert uses a material so susceptible to the forces of nature and chance with something as exact and calculated as an algorithm. It almost seems to me that to get the full artistic value of this piece, one would have to watch the metal ball etch out the entire thing, witnessing the interaction of these two disparate elements.
To be honest, I am not a mathperson. But I was fascinated by the work of generative artist AlteredQualia. It is not clear who this individual is, but it is clear that AlteredQualia is a driven artist-programmer who explores the boundaries between art and computation. AlteredQualia’s Twitter <https://twitter.com/alteredq> account shows that s/he is currently active.
One of his/her projects, named “Evolve” <alteredqualia.com/visualization/evolve/>, particularly struck my interest. Though I don’t understand it fully, it uses code to pick random shapes to create a copy of an image. Though it takes a long time, the collection of random shapes begin to look like a copy of the original image.
What intrigues me is the very fact that I don’t truly understand what has been created behind the scenes of this transformation. Knowing that there are clear boundaries that I have never explored and may never even understand reminds me of the great possibilities that exist in the world of design. It excites me to understand how incomprehensibly vast the horizon is.
“Particle Man” and “Universe Hand” are computer generated artworks by artist Glenn Marshall. He developed a way to digitally visualize what he had in mind through manipulating the system of Cinema 4D using the Python language. They are experimental digital artworks that creates 3D sculptural forms using mathematical and scientific models of particle collisions, creating the shape of human body parts using thousands of particles of close proximity that are released from a source in 3D space.
What I like about these are how he effectively uses the simple dots and lines in a 3D space to create more complex shapes. The intertwining strands creating a shape that looks organic, which is interesting because the artwork itself is obviously very artificial. Also, I like how his works are presented in an indefinite digital space with illuminated objects, which almost feels really like the universe, just like how he named his second piece.
Roman Verostko created an arm that holds a pen and uses algorithms to draw beautiful images. In one project, appropriately named the “Three Story Drawing Machine,” he projected the eight-hour drawing process on a three-story building.
What amazes me the most about this project is Verostko’s ability to see drawings in algorithms. In order to tell the arm what to draw, he had to think like a computer in addition to thinking like an artist. It looks like in order to make certain parts of the image darker, he has the arm draw over areas more than once.
Another aspect of this project that I admire is the way the artist integrated sound into the presentation. Each direction and speed combination projected a sound for the audience, which must have had an interesting effect. I was unable to find a video of the sounds, so I wonder if they were actually appealing or not.
According to Verostko, the project “marries mind and machine with cyberforms celebrating algorithmic form.”