Emily Zhou – Looking Outwards – 05

Researchers at the University of California San Diego have found a way to improve “all that glitters” in computer graphics.

Algorithm demonstrated on the shell of a snail

The collective outcome is a more eye-catching suit for Iron Man, or a shinier shield for Captain America; but I admire the complex algorithm based on countless individual rays of light. The algorithm more accurately calculates and reproduces the way light interacts with surface details.

Previous computer graphics software have assumed that all surfaces are smooth at the pixel level, which is untrue in real life. This algorithm breaks down each pixel even further into what are called microfacets. The vector that is perpendicular to each microfacet is then computed in relation to the surface material. By combining this information at an approximate normal distribution, the surface is rendered in much higher definition.

I am excited to see this computer graphics software be applied to metal finishes for cars and electronics on HD screens.

Project Lead: Prof. Ravi Ramamoorthi
Article Source: ScienceDaily

Alice Fang – Looking Outwards – 5

HBO Westworld – Main Titles from Elastic on Vimeo.

Elastic is a company that produces advertisements, main titles for TV shows and movies, animations, broadcasts, and other video production. I really like this video, which is the main title they produced for the first season of HBO’s Westworld. (They also produced the main title for the second season as well. It’s on their website!) A team of CG artists, motion graphic artists, and designers, under creative director Patrick Clair, painstakingly built sets and models digitally. The programs they used include ZBrush, Cinema 4D, Maya, AfterEffects, and Octane. Through this, Elastic rendered and modelled 3-D assets that reflected the wild west, distorted human robotic symbiosis. Watching this in isolation always gives me the chills, especially with the music composed by Ramin Djawadi. The music and the scenes tie together to create an eery feeling, and I find the detail in the rendering to hit close to the uncanny valley (a point where realisim in androids makes a very unsettling affect).

Carley Johnson Looking Outwards 5

Print Fiction was a completely digital art galley produced and curated by Micheal Seibert in 2012. He put together digital art by artists (including himself) and displayed them all in a digital gallery (about 8 rooms total) created using Unity. The person can explore the gallery using the usual controls a first-person shooter might have. All of the artists gave different “types” of digital art from 3D sculptures to flat paintings, which creates a large mass of different types of 3D graphics, some being shown as 2D images and some being explored in a 3D space as 3D physical art. I like this project, because it really does seem like “the way of the future” to start opening larger virtual art galleries, which I could see becoming a big part of the AR/VR unfolding market.

This is the full space of the exhibit, separated into rooms.

Yingying Yan – Project 4 – String Art

sketch

/*
Yingying Yan
Section E
yingyiny@andrew.cmu.edu
Project-04
*/
var x; //x1 of the line
var y; //y1 of the line
var x2; //x2 of the line
var y2; // y2 of the line

function setup() {
    createCanvas(400, 300);
    background(0);
}

function draw() {
	//bottom right curve
	for( var a = 0; a < 10; a += .03){
		push();
		//assign color n weight
		stroke(255,255,161);
		strokeWeight(0.003);
		//draw from bottom left corner to top right corner
		x = lerp(0, width, a);
		y = height;
		x2 = width;
		y2 =lerp(height,0,a);
		line(x, y, x2, y2);
		pop();
	}

    //bottom left curve
	for( var b = 0; b < 30; b += .03){
		push();
		stroke(250,170,113);
		strokeWeight(0.003);
		//draw from top left corner to bottom right corner
		x = 0
		y = lerp(0, height, b)
		x2 = lerp(0, width, b);
		y2 = height;
		line(x, y, x2, y2);
		pop();

	}
    //background curve from bottom left corner to top right corner
	for(var e = 0; e < 10; e += 0.04){
		push();
		stroke(255, 244, 200);
		strokeWeight(0.001);
		//just testing what it looks like if all var are lerp
		x = lerp(0, width / 4, e);
		y = lerp(height, 3 * height / 4, e);
		x2 = lerp(3 * width / 4, width, e);
		y2 = lerp(0, height / 4, e);
		line(x, y, x2, y2);
		pop();
	}


    //draw the lighting from one point
	for ( var c = 0; c < 200; c += 10 ){

		push();
		stroke(236, 138,82);
		strokeWeight(0.09);
		// the space and height of the end of the lines
		//change consistently with + and -
		var x = width - c
		var y = height/ 2 + c
		line(0, 0, x, y)
		pop();
	}

    //draw the green lighting from a point
    //the spread of the lines froms a curve
	for (var d = 0; d < 30; d += 1){
			push();
			stroke(133,152,221);
			strokeWeight(0.003);
			//by using exponential function, the end of the lines 
			//do not have to be a straight cut
			var x = Math.pow( d, 2);
			var y = height/ 2 + Math.pow(d,2);
			line( 3 * width / 4, 0, x, y)
			pop();
	}


}







I think it was very interesting testing out lerp. Playing around with line weight and color to create a foreground and background composition was fun. Although I did not carry that all the way. I did not aim to draw a certain image. I was deciding where the curves will be as the project develops. That’s why the composition is weird. If I would have to this again, I think I will try to sketch something first, then draw it.

Miranda-Luong-Project-04-String-Art

sketch

/* Miranda Luong
Section E
mluong@andrew.cmu.edu
Project-04-String-Art
*/

function setup() {
    createCanvas(300, 400);
    background(30);

    //upper left curve
    for (var a = 150; a > 0; a -= 5){
        stroke(230);
        line (150,50+a,a,0)
    }
    //lower right curve
    for (var b = 150; b < height; b += 5){
        stroke(230);
        line (150,b-50,b,height);
    }

    push();
    translate(150,200)
    angleMode(DEGREES);
    rotate(360);

    //white bottom right curve
    for (var a = 150; a > 0; a -= 5){
        stroke(255);
        line (150,50+a,a,0)
    }
    pop();

    //white upper left curve
    for (var a = 150; a > 0; a -= 5){
        stroke(255);
        push();
        translate(150,200)
        angleMode(DEGREES);
        rotate(180);
        line (150,50+a,a,0);
        pop();
    }

    //background lines
    for (var c = 0; c < 300; c += 5){
        stroke(0);
        line (c, a, c, height);
    }
}

I found this assignment to be really challenging. For loops are definitely not easy to grasp. You would think you could easily manipulate positioning by just adding to x and y coordinates but it gets messy really fast.

Nina Yoo- Project 04- String Art

sketch

/* Nina Yoo
Section E
nyoo@andrew.cmu.edu
Project-04*/

var change = 5 // changing the lines position from one another (increments)

function setup() {
    createCanvas(400, 300);
    background(0);
    
    
}

function draw() {
	
	
	for(var r=100; r < height; r+= change){ // starting at x position 100 and spreading height --> change is space between lines
		stroke(150,11,200);
		strokeWeight(.5);
		line(r, 0, width, r*.5);
		} // line goes along width, divides change by half

	//right side pattern reaching to bottom of canvas at 300	starting at y coordinate 100 from right side 

	for(var l=100; l < width; l+= change){
		stroke(90,112,6);
		strokeWeight(.5);
		line(l, 300, width, l *.3);
	}
	//overlaying previous to make curved design change

	for(var g=50; g < height; g+= change){
		stroke(75,154,22);
		strokeWeight(1);
		line(g, height,500, g);
	}
	//left side bottom --> turning at same point the top patter starts
	for(var h= 100; h<height; h+= change){ //100 is the starting value of change
		stroke(111,23,200);
		strokeWeight(.5);
		line(h, height, 0 ,h);
	}

	//overlaying left side bottom shape

	for(var j= 0; j<height; j += change){ //starts at 0 --> limit is height 
		stroke(68,112,115);
		strokeWeight(.5);
		line(j, width, 0, j);
		} 

	for(var m = 0; m < width; m+= change){
		stroke(100,78,150)
		strokeWeight(.5);
		line(m, 0, height,m)

	}
}


	
	
	


This project was fun to experiment with the different line patterns and textures you can create. For example, by overlapping sets of line you can create interesting shapes that look like after images and play with your eyes, which is what I experimented with on the green part of the project. It was also fun to see how shadows worked on the lines depending on the spacing set.

Project 04: String Art

sketch

/* Samantha Ho
Section E 
sch1@andrew.cmu.edu
Project 04*/

function setup() {
	createCanvas(400  , 300);

	}

function draw() {
    background(240,240,240);
	//back dark wave
       	strokeWeight(2);
	stroke(0,0,255);
	x1 = 30;
	x2 = 40;
	y1 = 400;
	y2 = 50;
	for (var i = 0; i < 20; i += 1) {//move the waves
		x1 += min(mouseX, 300);
		y2 += 15;
		line(x1, y1, x2, y2);
	}

    //light back wave
	strokeWeight(2);
	stroke('cyan');
	x1 = 0;
	x2 = 60;
	y1 = 500;
	y2 = 50;
	for (var i = 0; i < 20; i += 1) {//move the waves
		x1 += min(mouseX, 300);
		y2 += 15;
		line(x1, y1, x2, y2);
	}
    
     //light thin wave
	strokeWeight(2);
	stroke('cyan');
	x1 = 0;
	x2 = 60;
	y1 = 500;
	y2 = 50;
	for (var i = 0; i < 20; i += 1) {//move the waves
		x1 += min(mouseX, 300);
		y2 += 15;
		line(x1, y1, x2, y2);
	}
    
     //green horizon wave
	strokeWeight(2);
	stroke(0,230,230);
	x1 = 0;
	x2 = 400;
	y1 = 150;
	y2 = 100;
	for (var i = 0; i < 20; i += 1) {//move the waves
		x1 += min(mouseX, 300);
		y2 += 15;
		line(x1, y1, x2, y2);
	}
    
     //red horizon wave
	strokeWeight(.5);
	stroke(0,230,230);
	x1 = 0;
	x2 = 400;
	y1 = 500;
	y2 = 100;
	for (var i = 0; i < 20; i += 1) {//move the waves
		x1 += min(mouseX, 300);
		y2 += 15;
		line(x1, y1, x2, y2);
	}
    
 
	//sunrays
	strokeWeight(2);
	stroke('yellow');
	x3 = 0;
	x4 = -300;
	y3 = 0;
	y4 = 300;
	for (var i = 0; i < 20; i += 1) {
		x4 += min(mouseX, 600);
		y3 -= 15;
		line(x3, y3, x4, y4);
	}
    //dark sunrays
    strokeWeight(2);
	stroke(200,200,0);
	x3 = 0;
	x4 = -200;
	y3 = 0;
	y4 = 300;
	for (var i = 0; i < 20; i += 1) {
		x4 += min(mouseX, 600);
		y3 -= 15;
		line(x3, y3, x4, y4);
	}
}

I made this because I was inspired by the quality of the “strings”. I wanted to make an entire moving picture with a horizon and everything. I found it difficult though to completely control the landscape. It may be due to the quality of the “material”, but conceptually it was challenging to wrap my head around the forms.

Carley Johnson Looking Outwards 04

This week I am inspired by the brief installation piece (already finished with its short run) in Berlin created by onformative called Meandering River. It was up July 28-30. I love how this piece seeks to unite the seemingly opposite feelings of nature versus technology by using sound and image (and algorithms) to show the ebbing and flowing of rivers over time. The algorithm is meant to randomize the patterns of the river, changing them and creating as they might actually exist in real time. The sound then interprets the river’s movement and so also constantly changes to mimic and complement the ever-evolving visual landscape.  In this way, the artist hopped to create a sense of moving through time, getting lost in the movement of a river created by visual art and sound. I would have loved to see this piece, as I can just imagine getting lost and spending hours listening to how the music changes and watching the visuals, knowing that each moment is being generated and changed in real time like a river. It’d be fun to spend some time near an actual rushing body of water and then see this exhibit to judge how they compare.

A photo of the visual detail created by the algorithm, which is displayed over a series of screens.

Mimi Jiao – Looking Outwards 4 – Section E


LandFilles exhibition in Experimental Intermedia, NYC on 6/20/2009

LandFilles at Emily Harvey Foundation in 2013

Keiko Uenishi is an experimental sound art-i-vist, socio-environ composer, and core member of SHARE, an organization that promotes and supports new media communities. She is most known for her installations playing around sound in physical environments. I am particularly intrigued by her work-in-progress live presentation, LandFilles. In collaboration with Katherine Liberovskaya, who took part in creating the video environment and live video, this piece explores the recycling feedback system in the city and upcycling movement. The project consists of three phases: first, empty clear plastic bottles are collected from streets and visitors; second, these bottles are formed into an installation by visitors which is then accompanied by audiovisual live projections; lastly, the structure is destroyed and given away to visitors. What attracted me the most about this is that the installation is ever-changing. In each exhibition space, it is different and generated by those who visit and interact with it. Each experience by each visitor is unique, and although the core idea is the same, the live process differs across different exhibition spaces and becomes more personalized. Since materials are collected locally, it makes the experience even more close to home and relatable for the visitors. This creates an interactive and immersive piece in which visitors become part of the artwork. As someone who is really interested in interactive 3D installations, I really want to physically experience this piece. Something I would like to see more of is the integration of these recycled materials with the physical space of the gallery itself. I think it would be interesting if there was some way of designing user flow throughout the gallery space to enhance the experience, possibly using sensors to give visitors more external stimuli, such as smell and touch. Overall, this is a really interesting piece and it really uses generative sound well with the subject matter and experience.

Christine Chen-Looking Outwards-04

Above is Jimmy Lakatoes, Murcof, Alexandre Burton and Julien Roy’s piece Three Pieces with Titles created in 2017
Source: https://vimeo.com/239921625

While scrolling through all the numerous works of sound and computation, my attention was captured by the piece Three Pieces with Titles created by Jimmy Lakatoes, electronic musician Murcof, Alexandre Burton and Julien Roy. The piece is consisted of three pieces of musical audio that is created and controlled through manipulation of movement of physical forms under the camera. The creators used openFrameworks for processing the visual inputs and driving videos. The visuals were then synchronized to trigger phrases and even in Csound orchestra. All of visual details, such as colors, that were recorded influenced the audio output. The creators’ artistic sensibilities were manifested in the final form through rearranging the rhythm of the audio output and editing out some minor background sounds to make the final sound output more pleasing, organized, and clean.

The creator’s use of computation to turn visual forms into audio forms changed my views on audio. Before reading about this piece, I have always thought of visual forms and audio as two distinct entities that are not really relate to each other although both are extremely important. How one can be used to generate the other is just fascinating to me and makes me start to think whether the other ones of the human’s 5 senses can be used to generate each other through computation.