Felipe Pantone’s “Transformable Systems” at Joshua Liner Gallery.
I think it’s cool how Pantone’s medium of choice is technology. All of his work depicts mechanized processes. I can see his sense of composition and balance throughout his work. The work examines our digital age and the way we process visual information. In this era, we are constantly assaulted with digital information, which can lead to information overload. Pantone shows this by placing jumbo pixels and CMYK printing in the foreground, calling attention to the underlying framework for digital imagery. Yet, there are aspects that stand out in this image-saturated world. Flat aluminum pieces balance the large interactive sculptures and installations.
The work I chose to examine was “Waves” by Austrian software artist LIA. i was quickly drawn to this work by its peacefulness and calming nature. the sine wave patterns in this work are randomly generated, and don’t repeat, and upon learning this I associated something other than human with its beauty. Humans lack the ability to replicate random patterns, and tend to have flawed conceptions of what is truly “random.” The fact that this consistently random motion could only have been produced by a computer adds an additional level of awe and admiration for the program and artist that produced this installation. It is so enjoyable to just stare at this work and let it mesmerize you, in a way that is only possible through generative code.
For this week’s Looking Outward blog post, I was curious about the correlation between architecture and algorithmic systems and discovered an a computational architect named Michael Hansmeyer. He initiated a project that overlays a 1960s theory (founded by a biologist named Aristid Lindenmayer) with the field of architecture. This theory is called L-Systems, which follows a string-rewriting algorithm to model plants and how they grow. This system is now being applied to architectural practices in two steps: first, by further analyzing the theory of L-Systems using mapping schemes and turtle graphics, and the second, expanding the system to include parametrics that would allow architectural design to benefit from the algorithms.
In this link, a step-by-step interpretation of an example of an L-Systems string is shown, based on algorithmic processes that are still being developed and further improved. It is fascinating to see how math, science and architecture can weave together to create something so beautiful. Though the product is astounding, the process itself is even more intriguing.
In this week’s Looking Outwards I wanted to talk about the pix2pix project. I had considered writing about this one for last week but I think it fits well with the generative art theme.
Essentially, pix2pix is a program that takes a simple line drawing, interprets what it is meant to look like, and turns it into a computer generated ‘oil painting.’ The entire program works because of artificial intelligence and procedural machine learning of scanning thousands of pictures in order to know how to interpret our drawings.
Here is an amazing example of what the program is capable of. (Click the photo for the source.)
It seems that the more lines and detail that are added to your drawing, the better the result will be. The program doesn’t know as much how to handle a lot of blank space which leads to some funny (or horrifying results). This program started at a Dutch broadcasting company called NPO, but the code is open source and it has expanded greatly. I feel as though this computer generated art can be whatever we make of it, and really shows the amazing power of machine learning.
This video demonstrates in more detail how the program works and provides many interesting examples of the generative art.
There is a free demo that anyone can access from their browser! Feel free to try and make your own generative creations here.
Bottom view of the project, showing how the new structure “grows” from the tower.
On Eiffel Tower’s 120th anniversary, its operator Société d’Exploitation de la Tour Eiffel held a remodeling competition to create more viewing space on the tower. Serero Architects, who proposed Eiffel DNA has won the competition. They proposed putting a carbon Kevlar structure made out of metal panels to the top of the tower and doubling the amount of viewing space.
Axon drawing showing the break down of the structure.
It is called Eiffel DNA because it uses a generative computer script to copy the pattern from the old structure, and then “grow” new branches from the primary structure of the tower. This redundancy, non-repetition of pattern, and complex woven form are three interconnected structural weaves generated by the computer script. It also has curvatures unfold alone the tower.
Detail showing the organic shape of the structure and the tectonic pattern.
As an architecture student, this project has introduced a new design method to me. I always like new technology and how technology can combine with art to create something unique. Eiffel DNA proved that the computer can be used to create architecture that better people’ life and the society. The new structure, although is not built, fits in the big idea of growing out of the tower and adds a new life to Eiffel. The generative design really gives designers the ability and flexibility to create something crazy. I do not know much about the algorithm, but I suppose they used some software similar to ph python in Grasshopper. No doubt, this is a project requires a lot of computational thinking.
When prompted with the idea of generative art for this Looking Outwards, I immediately thought of Miraj— an interactive work that generates animated visuals with your voice. It was originally conceived as a response to the new Apple tvOS open to developers in 2016. Essentially they created an algorithm to fragment the images and collage them, while animating the shapes based on your voice. It was coded using both Swift and C++ and eventually integrating it using CV into the Apple TV.
I liked this project in particular because it went through several prototyping phases and had a large focus on user experience. It also heavily engages the user and creates a unique and lasting memory. Additionally because they were running it on Apple TV’s platform, they took some visual cues from Apple’s exisitng UI( (this was just an interesting fact I learned and appreciated about branding).
This artist has been making some really interesting computational and generative art for the past 50 years. Jean-Pierre began as one of the pioneers of experimental computer generated art in the 1970’s. Much of his work is very abstracted relying heavily on color and line to create complex tactile canvases that imply depth and texture extremely well. His work is quite responsible because he does not abandon the notion of physical production. As a result Jean-Pierre does create computationally designed works but he executes these works with specific physical medium installed into special printers. The piece below is made with sepia ink on paper and pen plotter drawing. It is called “quantic notions” made in 1989:
Jean-Pierre describes his method for creating such works as a physically limitless, horizon less, infinite space for transcending traditional drawing techniques and space itself. He uses the assets of coding and programming to layer information that goes deeper than the visual. He is able to create pieces of incredible detail and scale without the strain of another traditional physical endeavor. I am very interested by this idea of computation and iteration. Jean-Pierre Hebert is able to create many variations on one piece of work before he is satisfies and this is easily done simply by multiple prints and changes in code. I can also see the connections in his style to modern day print-making. Using a physical input of etches or carves from a block, a print-maker is able to make many passes and address changes in the block. In this way, the computer code is Jean-Pierre’s printing block. His ideas are very modern and it seems he is beyond his time in generative art. Another older piece I quite liked was Vent Noir 2 (1989) below:
His pieces are evocative and memorable. They make the viewer question what it is they are seeing. Jean-Pierre Hebert has also continued creating fascinating work well into the 2010’s. Another newer piece of his called “In Visible Cities Baucis” (2010) is pigment and metal type on paper, a digital drawing on niyodo paper. Below:
I think ultimately his work is limited by the programs he can use to code with and the data he has available. In his more current work he has resorted to larger more public pieces with much collaboration. His initial work is more creatively valuable becasue he was a trail blazer of generative art. In the new age of technology programmatic capabilities seem to evade him. He remains an influential personality.
Client: In collaboration with JAC studios & No Parking and supported by the Esbjerg Municipality
Location: Wadden Sea Visitor Centre, Vester Vedsted, Denmark
Year: 2017
In 2014 Jason Bruges Studio won the competition, in collaboration with JAC Studios, to create an immersive installation that represents the 12 million migratory birds and the unique landscape of the Nationalpark. Digital Ornithology is the last sequence of the exhibition, which follows a journey of exploration and discovery of the native birds, to being fully immersed in their unique habitat and behaviours. The space allows visitors to be at eye height and experience the take off and landings at close proximity, thereby amplifying the presence of the birds. The installation is comprised of 562 LCD screens suspended from the ceiling in a sequence that represents the migration of the birds. With an amalgamation of projection mapping of live footage and the light-modulating behaviour of the LCD’s, the result is an ephemeral and captivating acquaintance.
This is a very neat project which has no extra unnecessary information, but still you can immerse yourself in it by simple light, shadow and sound. It has strong intent of raising the awareness of protecting creatures by looking into the way they live closer than we usually.
caption: Arnold Schoenberg, mastermind of twelve tone technique, expresses himself within a more mathematical template than traditional music theory.
I found the composer Arnold Schoenberg quite fitting and admirable for this looking outwards post. Schoenberg, a composer from the mid 20th century, expanded the idea of music with his usage of twelve tone music in his compositions. While he was not necessarily the creator of this concept, he is the so called “poster child” of this concept as he explored its use in his work of the relationship between mathematics and music, bringing more attention to the idea. Twelve tone technique is the concept that every 12 notes in a chromatic scale must be used before repeating any note again. What I admire about this concept is the fact that while there are so many constrains and listening to this off hand, everything about it seems quite atonal. In actuality however, this method is far from atonal. Somehow, with the introduction of having every note possible at your disposal, you are not only limited to that of the key signature but to so much more. If anything, that makes my job as the musician that much harder as the possibilities of phrasing and my voice are endless. The video I attached does a great job to explain the work and point of view of Arnold Schoenberg.
Marius Watz is a generative artist based in New York and Oslo. I admire his modular lattice because the design is abstract but extremely intricate. It looks spiky and lifeless when you first see it but the longer you stare at it, the more complex and vivid it starts to become, like some carefully engineered DNA tower. In fact, Watz 3D printed the parametric objects using ABS plastic. He is known for using pure software technology and digital fabrication technology to generative hard-edged, and often vivid colored artworks. At any Watz displays, he would always show the simulation and processing on display to let people truly experience the making of generative arts. He aspire to show the audience the real side of generative art, not just the final product like Hollywood which aspires to imitate the real world.
Modular Lattice by Marius Watz. Max height 16”. Aug 8, 2012.
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