Camille Utterback’s “Abundance” is a commissioned artwork by ZER01 that was publicly installed in San Jose. This piece involves a setup video camera that takes the images and movements of people at the plaza, in order to translate these images and display it by projecting an animation. This animation shows silhouettes in color, of those walking in the plaza. These silhouettes are colored in cool tones unless if people are walking in groups, where then the silhouettes would be warm colored. I really admire how the artist aimed to create a piece that was ongoing and constantly changing by taking the whole environment of the plaza and transforming it into a digital piece. Different colored silhouettes seem to be highly significant, in how the public can easily view how many of those in the plaza came by themselves. Because of this, this project overall seems to create a conversation between strangers in a way.
The artist Camille Utterback studied at Williams College and got her masters from NYU’s Tisch School Of The Arts. She currently works as an assistant professor of Art Practice at Stanford University. She is interested in creating interactions between technology and people, and so she continues to create digital artworks that connect computational softwares and human behavior.
The Game: The Game is a video game design by Angela Washko. The game presents contents relating politics, tactic practices of male pick-up artist, seduction community and feminism advocating aspects. Like a dating simulator, players can experience coaching lessons of seduction from pick-up artists. The game provides players opportunities to explore the structure of social behaviors as well as revealing the danger and complexity of this path.
Angela Washko, an artist, writer and facilitator, is devoted in creating new topics of feminism in the spaces. Living and working in Pittsburgh, Angela Washko is currently an assistant professor of College of Art at carnegie Mellon University.
Rosa Menkman, a Dutch artist, specializes in glitch art and resolution theory. She investigates visual compression and glitches to create an artwork by combining different sensory systems. Developing glitch art as a genre, the artist proposes a programming structure that takes the use of compression artifacts into dicrete cosine transform blocks. Such an approach successfullly builds a subtle relationship between an artifact and a process.
What attracts me the most is her creative insight into illustrating compressive art. The glitches mark a transformation of audios and sounds that are hard to describe or see into a visual language that can have colors, scopes, continuity and variance. Such clear yet bold compositions give us a more insightful knowledge of how different types of art can work through visualizing those elements. What’s more, it can be interesting to study such patterns to find out the aesthetics and the universal “golden ratios” behind all those different genres and expressions.
Janet Echelman is an artist who defies categorization. She creates experiential sculpture at the scale of buildings that transform with wind and light.
How it’s made: Atomized water particles and colored lighting, 60 ‘ x 230′ x 5’
This is the first part of a permanent installation which opened on September 12, 2018 in the heart of Philadelphia’s thriving downtown. It is integrated with Kieran Timerlake’s Dilworth Park Plaza (opened to public in 2014), on the west side of City Hall, where many transit lines run below. The artist was commissioned by the Center City District to incorporate the site’s historic associations with water and transportation. The trains passing below will activate four-foot-tall curtains of colorful atomized mist that shows the path of a specific transit line. “These rail lines bring over 70,000 passengers to the site each day.”
Permanent artwork installation made from moving mist and colored light, “Pulse” traces in the surface of the fountain the paths of the subway and trolley lines that converge under the plaza in real time.
This piece is really interesting because the specialized pumps create an ephemeral fog-like mist made of filtered, softened water onto which lighting is projected so it is completely safe for children to play in. I learned that this design and plaza integration took 9 years from the start of construction to the first reveal and launch of the green line phase and they’re fundraising to open the blue and orange lines, each will correspond to different SEPTA transit lines. I think this project starts to show how Philly is really harnessing the strength of their Center City District, a non profit org, to show how public efforts can successfully be directed towards creating better lives and experiences for people in the city. As much as this art celebrates history (first water pumping station in this area and also across from Pennsylvania Railroad Station) it also embraces the future by bringing technology into public space for not only spectatorship, but also interaction.
CREDITS
Artist: Janet Echelman Studio Echelman Team: Melissa Henry, Daniel Zeese, Cameron Chateauneuf, Drew Raines, Melanie Rose Peterson, Rachel Kaede Newsom, Becky Borlan, Daniel Lear The Olin Studio: Susan Weiler, Richard Roark, Ben Monette, Greg Burrell, Kasey Toomey ARUP Lighting: Brain Stacy, Christoph Gisel Urban Engineers: Andrew Scott Kieran Timberlake: Steve Kieran, Marilia Rodrigues CMS: Nadine Nemec, Chris Cook, Roy Kaplan Center City District: Paul Levy Images: Sean O’Neill, Melvin Epps, Sahar Coston-Hardy
Jenny Sabin is an American architect, designer, artist and professor in Cornell AAP. She is exceptionally interested in designing structures based on biology and mathematics. She focuses on design and cutting-edge technologies and emphasizes on computational design, data, visualization and digital fabrication.
I am particularly inspired by her studio’s new project “ADA,” done in 2018 – 2019. The project is named after Ada Lovelace, a polymath, mathematician and first computer programmer. The project produces a human-driven cyber physical architectural pavilion. It uses lightweight knitted structure that was generated by responsive data-driven tubular and cellular modules. The high-performing pavilion offers unique spaces to wonder and experience with its filtered light and dynamic shadows.
This Much I Worth by Rachel Ara Link : https://www.2ra.co/tmiwfull.html
“This much I’m worth [The self-evaluating Artwork]” by female digital artist Rachel Are is a digital art piece that continually displays its sale value through a series of complex algorithms called “the endorsers”. It is constructed with materials that have a history loaded with association. Implicated in the history of neon is its use in the sex trade, its cultural significance today is more commonly a trope of contemporary art. It is both a functional object and spectacle seeking to question values, worth and algorithmic bias.
Dancer, designer, and Dance Medicine Specialist Kristin Neidlinger is a bio media designer and founder of SENSOREE. SENSOREE specializes in therapeutic bio media. This concept was derived from her masters thesis. She wanted to look into the future: what will healthcare look like with all this new technology? She tackled issues like sensory processing disorder, a condition from ADHD and autism. Now with SENSOREE, she creates bioresponsive fashion that reflects and promotes externalized intimacy.
Her project GER Mood Sweater uses electronic sensors used commonly in lie detectors. Her version, the Galvanic Extimacy Responder, is based on the Galvanic Skin Response which reads electrodermal activity. It shows excitement level. She uses her GER to detect and show emotion to externalize your most intimate emotions. The modern and cropped sweater is white, however, has a large collar with LED lights inside that change colors based on your emotions. The ironic concept of externalizing intimacy makes this piece of wearable art. interesting to ponder about.
USER_IS_PRESENT is a 2017 installation by Oblong designer and developer Kate Hollenbach. The installation is three screens with three different videos. The videos show the activities of three different people on their mobiles devices by blending the front and back cameras and screen capture from them using a custom technique. She had further developed screen recording software used in a previous work called phonelovesyoutoo: matrix to capture the screens of the phone in use while now also capturing the shots from the two cameras. The parameters were that when the phone was being used, it would record the three different shots. After capturing the footage, the respective shots from each person would be layered on top of one another, creating what Hollenbach described as a “space that is between physical and virtual realities: it blends elements of user, interface, and environment.” The portraits being next to each other allows comparison in aspects like phone quality and chance juxtapositions and/or similarities.
I really like the concept of blending the virtual with the physical. I’ve covered people who have done similar in past posts, and it was always amazing to see the different ways they would try to accomplish the same things. I like this blending since it not only offers an interesting visual with all the layers kind of interacting with one another, but also sort of bring two worlds together. This is something that decades ago couldn’t be done, but now is being accomplished pretty easily. It’s an interaction between a world humans didn’t create and one they did.
Kate Hollenbach earned an MFA from UCLA Design Media Arts and a B.Sc. in Computer Science and Engineering from MIT. She is currently a teacher of interactive media design and programming at DePaul University School of Design in the College of Computing and Digital Media. In the past however, she was the Director of Design and Computation at Oblong Industries, overseeing the design of Mazzanine, one of the company’s most well-known products. To sum up her work, she is an artist, programmer, and educator, developing new tech and interactive systems relating to gesture, body, and physical space, and has spent years as an interface designer and product developer.
Here is a photo of Mimus interacting with someone.
Mimus is an industrial robot coded to explore and respond to her surrounding environment from data collected through sensors. Typically industrial robots follow instructive movements, but she is different. She is in a glass room, so that she can interact with people walking around her by approaching them and moving along with their movements. Madeline Gannon is the designer. Gannon created Mimus to help people that fear that robots are taking work away from humans. She believes in “a more optimistic future, where robots do not replace our humanity, but instead amplify and expand it.” In her works, robots are treated as living creatures with emotions rather than objects, and she works towards a relationship of empathy and companionship between man and machine.
For you to better understand what Mimus is, here is a video.
Gannon graduated from Carnegie Mellon University with a Ph.D. in Computational Design. After graduating, she has been developing projects with natural gesture interfaces and digital fabrication. Her work intends to blur the line between man and machine and to break the stereotypical idea of dominance, and to prove that co-existence and collaboration can better amplify our human capabilities. I think it is really cool how she tries to bring together man and machine, because it seems like many people are trying to divide them as much as possible. In addition, as a design major who is interested in computational design, it is interesting to see what she does.
This is a clear sketch model of how Mimus can interact with people.
As a graduating project, Hannah Rozenberg of the Royal College of Art created a project by the name of “Building without Bias: An Architectural Language for Post-Binary”. This project is a digital aimed to calculate underlying gender bias in our english architectural terms to hopefully create more gender-neutral environments. The project works by using a algorithm which helps you find out whether or not a building is biased & helps the user add or subtract elements to improve the balance. The calculator in the program basically assigns a “gender unit” to various architecture terms (such as steel, cement, or nursery) and based of their “gu”, the user can then create spaces that are not weighted either more feminine or masculine by the calculation of all the components. I appreciate how Rozenberg has began to tackle something like gender biases and spaces in architecture because I think its something that isn’t given enough attention in terms of gender-studies. Rozenberg’s project allows design to still occur in a responsible manner and align traditional practice like architecture with ideas and societal advancements in the 21st century.
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