Category: Section E

Rachel Lee-Looking Outwards-03

Living Mushtari by MIT Media Lab Mediated Matter Group, 2015.

The project that I have decided to focus on is Living Mushtari by the MIT Media Lab. While I was first drawn to this project because of the beauty of the generated wearable factory, what I admire the most about this project is how the team who created this project were able to harness biological processes and adapt them for greater human use in a non destructive/ obstructive way. While throughout history humans have not hesitated to destroy for personal gain, Living Mushtari allows for existing biological structures to take place naturally and respects its processes. This project was created using generative growth algorithms that mimic patterns in biological growth, and produce recursive forms over time. The products of such algorithms are useful materials such as pigments and drugs that are a product of microbial symbiosis. While this project serves a practical purpose, the creator’s artistic sensibilities are showcased as the wearable forms are produced in a way that reflect symmetry and conform to the shape of the wearer’s body, as well as highlight the detailed bacterial channels via colors and transparency.

Elena Deng-Looking Outwards-03

The project I’m analyzing is Polymorph by Jenny Sabin. I admire the details within the structure as well as the simplicity of color. Through the use of generative computer concepts, she was able to create a format for the arrangement of various ceramic units. Based purely on the appearance, it reminds of me of the inner biological makings of a human body, however she refers to it as “feedback derived from material constraints.”
Judging by the appearance of the project, I can assume that the project was made using a mold in order to create the textured ceramic finish of the sculpture. I don’t know how she was able to get the shape, however in her overview of the project she states she used novel applications of ceramic components in order to create a 3D prototype. The final product shows the artists sense of simplicity as well as craftsmanship that was able to be manifested through computer aided technology.

Polymorph by Jenny Sabin

(Didn’t know about applied algorithms)

Carley Johnson Project 3

sketch

/*Carley Johnson
cbjohnso@andrew.cmu.edu
Section E
Project 3
*/



var x = 80;
var y = 30;
var w = 12;
var h = 12;
var starR = 252
var starG = 234
var starB = 109
var moonR = 236
var moonG = 236
var moonB = 236
var moonR2 = 109
var moonG2 = 110
var moonB2 = 106
var bckgrndR = 37
var bckgrndG = 21
var bckgrndB = 66

function setup() {
    createCanvas(640, 480);
    frameRate(10);
}

function draw() {
  background(bckgrndR, bckgrndG, bckgrndB)
  
    fill(252, 234, 109)
    noStroke()
    ellipse(mouseX, mouseY, 10, 10) //constellation
  
    fill(moonR, moonG, moonB)
    ellipse(100, 100, 80, 80) //moon
  
    fill(moonR2, moonG2, moonB2)
    ellipse(115, 100, 50, 70) //moon dark side

    stroke(252, 234, 109)
    line(mouseX, mouseY, pmouseX, pmouseY);
    print(pmouseX + ' -> ' + mouseX); //constellation maker

    noStroke()
    fill(starR, starG, starB) //Begin stars for night sky
    ellipse(x, y, w, h);

    ellipse(x + 80, y + 310, w, h); //star 1

    ellipse(30, y + 400, w, h - 2); //star 2

    ellipse(x + 10, y + 190, w, h); //star 3

    ellipse(x + 200, y +30, w, h); //star 4

    ellipse(x + 250, y + 90, w - 2, h - 2); //star 5

    ellipse(x + 270, y + 380, w, h); //star 6

    ellipse(x + 180, y + 30, w - 2, h -2); //star 7

    ellipse(x + 400, y + 75, w - 2, h - 2); //star 8

    ellipse(x + 420, y + 300, w, h); //star 9

    ellipse(x + 370, y + 130, w - 2, h - 2); //star 10

    ellipse(x + 500, y + 30, w, h); //star 11

    ellipse(x + 20, y + 285, w, h); //star 12

    ellipse(x + 120, y + 120, w - 2, h -2); //star 13

    ellipse(x + 145, y + 200, w, h); //star 14

    ellipse(x + 500, y + 300, w, h); //star 15

    ellipse(x + 200, y + 205, w - 2, h); //star 16

}

function mouseMoved() {
  starB = starB + 3;
  if (starB > 250) {
    starB = 109;
  }
}

function mousePressed() {
  if ( moonR === 236) {
    moonR = 252;
  } else {
    moonR = 236;
  }

  if ( moonG === 236) {
    moonG = 234;
  } else {
    moonG = 236;
  }

  if ( moonB === 236) {
    moonB = 109;
  } else {
    moonB = 236;
  }

  if ( moonR2 === 109) {
    moonR2 = 252;
  } else {
    moonR2 = 109;
  }

  if ( moonG2 === 110) {
    moonG2 = 234;
  } else {
    moonG2 = 110;
  }

  if ( moonB2 === 106) {
    moonB2 = 109;
  } else {
    moonB2 = 106;
  }

  if ( bckgrndR === 37) {
    bckgrndR = 108;
  } else {
    bckgrndR = 37;
  }

   if ( bckgrndG === 21) {
    bckgrndG = 214;
  } else {
    bckgrndG = 21;
  }

   if ( bckgrndB === 66) {
    bckgrndB = 251;
  } else {
    bckgrndB = 66;
  }

  if ( starR === 252) {
    starR = bckgrndR;
  } else {
    starR = 252;
  }

  if ( starG === 234) {
    starG = bckgrndG;
  } else {
    starG = 234;
  }

  if ( starB === 109) {
    starB = bckgrndB;
  } else {
    starB = 109;
  }

}

This was fun! Move your mouse to make the stars twinkle and create a shooting star, and if the night isn’t your thing, click to turn the scene to daytime! It was tough juggling a lot of elements and variables, but I think this is quaint and I feel like I learned a lot twiddling with the different mouse functions.

Alice Fang – Looking Outwards – 03

Vespers, Series 2, Mask 5. Bottom View. 2016. Photo: Yoram Reshef
Vespers, Series 2, Mask 5. Close-up view.

Vespers: Series II is the second of a three-part series produced by the Mediated Matter group at MIT’s Media Lab that explores how designing masks relates to “design (with) life.” This part examines the transition between life and death, and marks a progression from the first part of the project- looking at death masks as a cultural object- to the third part- using death masks as a “functional biological interface.” A theme that surrounds this second part is the idea of metamorphosis, moving from a symbol of life and death to the concept of wearable skins and interfaces.

The structures of these masks are designed to match actual biological structures observed in nature, and spatial mapping algorithms are used to translate color and geometry from the first part of the series into internal structures in this second part. Each mask also has a unique dataset that informs the distribution of the materials in its print.

I admire how a concept so abstract as this can create objects that are so detailed and delicate-looking from computer generation. It amazes me that these were 3-D printed, but I suppose 3-D printing has evolved so much in the past few years, where glass and porcelain can be printed now too. It’s also very interesting conceptually, to consider how the idea of life and death can transform into a technological and biological tool for skins and surfaces.

Emily Zhou – Looking Outwards – 03

FLUIDIC – Sculpture in Motion is an art installation produced design studio WHITEvoid for the Hyundai Advanced Design Center.

Single phase of FLUIDIC – Sculpture in Motion

The project is intended to embody Hyundai’s adaptive and evolving design language; as tiny spheres act as randomly distributed molecules that aggregate and illuminate based on viewer interaction. I am inspired by the breadth of visual experience that is created by such a large collective small objects.

The work uses a water pond, 12,000 illuminated spheres, and 8 high-speed laser projectors to create a physical point cloud. A computer algorithm randomizes the arrangement of the cloud particles based on the positions and projection angles of the projectors. The program also analyzes the positions of the viewers by calculating their posture and gestures using 3D camera tracking systems. This data is used to determine the cloud’s dynamic motion.


[above]
Video documentation of the FLUIDIC – Sculpture in Motion installation; shows viewer interaction and reaction.

The artwork is an innovative example of parametric 3D fabrication that I particularly admire for its ability to account for viewer interaction in its algorithm.

Carley Johnson-Looking Outwards- 03

I’m inspired this week by an Ukranian architectural chef named Dina Kasko. Kasko uses the term “architectural chef” to describe the process of her cake making. She creates 3D silicon molds for all of her cakes, coded using graphical algorithms inspired by and made with knowledge from her mathematical background. All of her molds use sharp, modern, geometrical architecture to shape beautiful and satisfying desserts.

I love this artist partly because I love dessert, but also partly because she is able to make such beautiful art using the exciting enigma that is the 3D printer. I suppose her algorithms are highly detailed and singular to each of her projects. One project (pictured bellow) required molds and calculations for 81 singular cakes to make the geometry of this full piece work the way it does. Though not minimalist in artistic style myself, I am fascinated by the satisfaction and beauty of Kasko’s sleek style.

View this post on Instagram

This project was made for the presentation of new chocolate Ruby. The idea was to create a set of elements (cakes) that together would form a single composition. As a result, we got algorithmically modeled cake that consisted of 81 individual cakes, every single was unique in shape. This composition was made using a graphical algorithm editor Grasshopper that can build forms from the simple to the awe-inspiring. Inspyred by Matthew Shlian we took a pyramid and changed the tilt of each object and the area of each top plane, programming and scripting the set of cakes. All of the cakes are different. Inside: mousse with chocolate Ruby and meringue, ganache Ruby. I added a berry confit to the recipe to emphasize the berry flavor of chocolate and add accent. Also the biscuit with Ruby, with raspberries and of course a crispy layer with chocolate and royalty. . Этот проект был сделан специально для презентации нового шоколада Ruby от Cacao Barry в Шанхае. Идея заключалась в том, чтобы создать множество элементов (пирожных), которые вместе будут формировать единую композицию. В итоге мы получили динамический рисунок который состоит из 81 пирожного, каждое из которых уникально по форме. Эта композиция была сделана с использованием специального графического редактора алгоритмов Grasshopper, который может генерировать формы от простых до совершенно впечатляющих. Под впечатлением работ Matthew Shlian мы взяли пирамиду и изменили наклон каждого объекта и площадь каждой верхней плоскости, программируя набор пирожных. Все они разные по форме. Внутри: мусс с шоколадом Руби и меренгой, ганаш Руби, чтобы подчеркнуть ягодный вкус шоколада и добавить акцент я добавила в рецепт ягодное конфи, также бисквит с Руби с малиной и конечно хрустящий слой с шоколадом и роялтином. @dinarakasko #grasshopper3d #rhino3d#okmycake #pastryinspiration #chocolatejewels #pastryart #cake #kharkov #харьков #chefsofinstagram #gastroart #pastryart #dinarakasko #chefstalk #pastry #chefs #instadessert #foodporn #beautifulcuisine #siliconemould #baking #cakes #dessert #cakestagram #dessertporn #parametric #art #geometry #designmilk#торт#artselect

A post shared by Dinara Kasko (@dinarakasko) on

This is her project where she used algorithms to 3D print 80+ individual cakes to create the geometric swirling effect.

View this post on Instagram

Experiment. Tart #1 These tarts were made for the new issue of SoGood Magazine @sogoodmag This work is the result of collaboration with José Margulis @j.margulis Great talented artist from Venezuela who works with Geometric abstractionism and Kinetic art. He creates different 3D sculptures, visual compositions of colorful plastic sheets. I tried to transform his creations, made of plastic, aluminum and acrylic, into something edible, using basic techniques and ingredients. Yet, I wanted to preserve his message and feel. It had to be an installation-performance where the art was created by José Margulis and then transformed by me into an edible piece of art which would be later consumed – thus disappear. Composition: streusel, almond cream, confit strawberry – red currant, mousse with white chocolate Read more on my website dinarakasko.com . Експеримент. Тарт #1 Эти тарты были сделаны для нового выпуска кондитерского журнала SoGood Magazine. Эта работа является результатом совместной работы с José Margulis @j.margulis талантливым скульптором из Венесуэлы, который работает с геометрическим абстракционизмом и кинетическим искусством. Он создает различные 3D-скульптуры, визуальные композиции из красочных пластиковых листов. Я попыталась превратить его творения, сделанные из пластика, алюминия и акрила в кондитерские изделия, используя основные техники и ингредиенты. Тем не менее, я хотела сохранить его посыл и концепцию. Это должна была быть инсталляционная работа в которой мы трансформировали, превратили объект искусства в нечто съедобное, что вскоре исчезнет, подчеркивая эфемерность искусства, его мимолетность в нашей жизни. Внутри: ореховый штройзель, выпеченный миндальный крем, конфи клубника-красная смородина, мусс с белым шоколадом. Читайте всю статью на моем сайте dinarakasko.com . #dinarakasko #cake #desserts #pastrychef #chefstalk #okmycake #pastry #pastryinspiration #cakes #kharkov #харьков #pastryart #sweets #geometry #kineticart #art #jmargulis #geometricart #sculpture #kinetic #parametric

A post shared by Dinara Kasko (@dinarakasko) on

Another project where the top geometric design is created from chocolate shaped from 3D molds

Miranda Luong- Looking Outwards-02

Bubbles Scanner 2 is a visual created by Dan Schiffman, the man behind Coding Train, a web series on Youtube. Using Processing, he created a loop in which stacks of “bubbles” are generated on top of each other. Each bubble is a different color with subtle transparency. I admire the fluidity of his visual; there is something very calming and melodic to it. This is most likely due to his pacing of the stacking which is slow and somewhat graceful. The positioning of the bubbles slightly change in horizontal position every time they are added creating mimicking natural motion, but never to the point that the stack looks like it should tilt over. From what I can guess, his code is continuously generating bubbles that draw on top of each other, with their vertical positions slightly increasing so that the bubbles look like there stacking. The artist’s intentionality is well received, which is what I most admire about his code, because although it is very simple, viewers understand the accuracy and detailed attention required to create such a graceful generative art.

Jason Zhu-Looking Outwards-02

Cinemagraphs: When Face Tracking Meets Animated GIFs

View post on imgur.com

View post on imgur.com

Created by Dr. Drew Woohoo. Titled CinemaGraph.Published March 11th, 2016.

CinemaGraph is an algorithm that generates animations around a selfie (picture of the face). I think it is really cool, especially given its relevance in today’s world. In fact, it similarly resembles tools like Snapchat and Instagram in the way it operates. I like to imagine it as a primitive version of the technology being employed, but admirable nonetheless given its context to what we’re learning in class now at an even more primal level.

From what I understand, the algorithm employs facial tracking algorithms that are able to pin certain defining features of any face inputted in order to overlay and appropriately warp certain elements on top of it accurately. I think the creators artistic abilities or sensibilities manifest in the algorithm through the overlays that are involved. Whether that be the ‘hipster’ overlay or the ‘portrait overlay’. Creating these overlays is just as tedious of a task as creating the algorithm that allows for such an overlay to naturally occur.

Jason Zhu-Project-02-Variable-Face

sketch

var eyeSize = 45;
var pupilSize = 15;
var faceWidth = 150;
var faceHeight = 150;
var mouthWidth = 10;
var mouthHeight = 10;
var skinColor = 250;
var hairColor = 142;
var hairHeight = 50;
var hairWidth = 50;
var bodyColor = 100;
var bodyAdjustor = 2.5
function setup() {
    createCanvas(300, 300);
}
 
function draw() {
    background(220,220,240);
    strokeWeight(0);
    //body
    var bodyPosition = width / 2 + bodyAdjustor
    fill(bodyColor, 150, 100);
    ellipse(bodyPosition, (height / 2) * 1.75, 200, 200);
    //Hair
    fill(hairColor, 150, 200);
    ellipse(width / 2, height / 3, faceWidth + 48, faceHeight + 22)
    //Face
    fill(skinColor, 220, 182);
    ellipse(width / 2, height / 2, faceWidth,  faceHeight);
    //Eyes
    fill(255);
    var eyeLX = (width / 2) * 1.09 - faceWidth * 0.25;
    var eyeRX = (width / 2) * .91 + faceWidth * 0.25;
    ellipse(eyeLX, height / 2, eyeSize, eyeSize);
    ellipse(eyeRX, height / 2, eyeSize, eyeSize);
    //Pupils
    fill(0);
    var PupilLX = (width / 2) * 1.09 - faceWidth * 0.25;
    var PupilRX = (width / 2) * .91 + faceWidth * 0.25;
    ellipse(PupilRX, height / 2, pupilSize, pupilSize);
    ellipse(PupilLX, height / 2, pupilSize, pupilSize);
    //Mouth
    fill(0);
    arc(width / 2, height / 1.5, mouthWidth, mouthHeight, TWO_PI, PI, OPEN);


}
 
function mousePressed() {
    // when the user clicks, these variables are reassigned
    // to random values within specified ranges. For example,
    // 'faceWidth' gets a random value between 75 and 150.
    eyeSize = random(35, 45);
    pupilSize = random(5, 15);
    mouthWidth = faceWidth / random(3, 10);
    mouthHeight = faceHeight / random(3, 10);
    skinColor = random(225, 255);
    hairColor = random(50, 220)
    bodyColor = random (0, 255)
    bodyAdjustor = random(-30, 30)
}

I found this assignment to be tremendously insightful as well as informative. I learned a lot about various principles such as the usage of variables as well as the randomization factor. Overall, this was an enjoyable and good assignment.

Eunice Choe – Looking Outwards-02

A piece of generative art that inspired me is Geode (2017) by Nervous System, which is a generative jigsaw puzzle influenced by agate stones. I admire Nervous System’s ability to take inspiration from nature and create a beautiful piece of art. In addition, I admire their ability to take something as mundane as a jigsaw puzzle and turn it into something that is more complex and original.

Nervous System created this puzzle with an algorithm called Maze, which intricately laser cuts wood into puzzle pieces based on growing elastic rods. Maze mimics the idea of growing elastic rods within a restricted boundary, which causes the rods to continuously bend and push into each other. Nervous System incorporates artistic sensibilities by mimicking the natural process of agate formation. The designers were sensitive to the natural patterns that agates create as shown through the similarities between the natural process and the computer generated process. Like the real agate, the computer generated agate develops patterns from the outside in.