Above is John Cage’s “Dereau #11”, which he created in 1982 as a part of his visual chance art. The randomness was implemented in this work through several aspects. First, once a shape had been selected to be drawn, the quadrant in which it was drawn was randomly selected. Then, the color of the object appears alone or in combination with one of forty-five colors in chance-determined percentages with or without white. This work is admirable to me because it seems to follow no structure, but the procedure behind it is fairly well-defined. This piece could have turned out in an endless number of ways, and the odds of this exact work being created through his defined mechanism again are infinitely slim.
The work is called Schotter (Gravel Stones) by Georg Nees, created in 1966. It is a vertical piece with a slightly tilted rectangle made of little clear squares that slowly separates and comes apart as the viewer looks further down it. It was meant to show the effects of change and relationship between order and disorder.
I really like the simplicity of the piece. It’s hard to explain why, I just like how Nees was able to do what he did with so little. I also like how despite the simplicity, he was able to still convey his message about order developing into disorder and vice versa (depending how the viewer looks at it). A lot of times, art this simple, if it has any meaning at all, tends to be very obscure, leaving it all up to the viewer. Here, the piece is still simple and leaves some interpretation, but there is still pretty clear intention and meaning behind it.
According to Media Art Net, the piece was produced by the programming language ALGOL, and was created by random generators. It was made by “invoking the SERIE procedure” (which controls the composition process), with the “non-parametric procedure QUAD”. QUAD is located in lines four through 15 of the generator and generates the squares with constant lengths and random locations along with varying angles. The position of the squares at certain points are influenced by random generators, such as J1, and the angles by J2. Counter index 1, invoked by each QUAD call, controls the “successively increasing variation between the relative coordinates P and Q, and the angle position PSI of a given square…” So essentially, Nees had influence over his work, creating an outline for what it would look like, but the end result was left up to the pseudo-random numbers.
Georg Nees is considered a founder of computer art and graphics. He seemed to experiment with what he was given, using languages like ALGOL, made for scientific computers, to create his works. He experimented quite a bit with random numbers. A lot of his work seemed to involve basic clear shapes and/or lines, along with a little pseudo-randomness. This can all be seen in Schotter, since the shapes being used are simple squares, and there is a bit of randomness to things like their placement and angles.
//Fallon Creech
//Section B
//fcreech@andrew.cmu.edu
//Project-05
var x = 40;
function setup() {
createCanvas(560, 560);
}
function draw() {
background(220);
noStroke();
for (var i = 0; i < 15; i++) {
for (var j = 0; j < 15; j++) {
//fill every other column with all orange ellipses
if (j % 2 == 0) {
r = 245;
g = 125;
b = 0;
}
//fill every other column with orange circles in every other row
else if (i % 2 == 0) {
r = 255;
g = 165;
b = 0;
}
//fill every other column with purple circles in every other row
else if (j == j) {
r = 50;
g = 80;
b = 220;
fill(r, g, b);
rect(x * j, x * i, x, x);
}
fill(r, g, b);
ellipse(x * j, x * i, x, x);
}
}
}
I chose to approach this project as an extension of the assignments we worked on in lab, so I created a pattern of circles that used color to differentiate between row and column with one circle that adopted another quality.
“genesis4321” belongs to Pedersen’s Generative Art collection.
Generative artist Thomas Lin Pedersen explores the quality and beauty of dynamic systems. He writes about the process of designing a system that is familiar and the positive surprise that unfolds as he uncovers new information in highly complex systems. He believes “the process of generative art is dual,” meaning both system development and visualization method are required.
Pedersen uses R to program his generative art and has even developed his own tools that fit into his process, including ggplot2, ggforce, ambient, particles, tidygraph, and ggraph. Though some generative artists choose to share their code with internet users in order to transparently showcase their workflows, Pedersen believes in keeping his code unrevealed; to him, the code is as important as the resulting visualization, and every artist has their own style and method.
“genesis4653” belongs to Pedersen’s Generative Art collection.“genesis39672” belongs to Pedersen’s Generative Art collection.
E-volver is a site specific work for the Research Labs of the LUMC (Lieden University Medical Centre) in Leiden. The software allows people to interact with the screen by tapping on it. Four images of random genetic patterns are displayed on the screen, and the person interacting with the software can touch the image that interests them the least. Voting out the least exciting animation, devalues those particular genes and also upgrades the genes of the three surviving animations. Thus, the selection process evolves a group of agents that generate the most intriguing animation.
A person interacts with E-volver by touching the least interesting of the four images
I found this project interesting due to the combination of art, genetics and the process of evolution. For this project the artists developed software that generates artificial pixel-sized agents. Each agent is made up of thirteen genes that determine how the agent will behave on the screen. The genes read the properties of their eight surrounding pixels and tell the agent what to do with the pixel on which it stands and to which pixel it should move to next. In this way, each of the agents leaves its individual traces on the screen. This project allows one to understand the process of evolution while providing an aesthetic experience.
Four random genetic patterns displayed by the software
var dx = (500/4);//width divided by # of lilies per row
var dy = (500/4);//height divided by # of lilies per column
function setup(){
createCanvas(500,500);
noLoop();
}
function draw() {
//background(66, 85, 255);
background(35, 57, 252);//blue
noStroke();
//for loops
for(var w = 0; w < 4; w++){ //draws horizontal rows of lilies
for(var h = 0; h < 4; h++){ //draws vertical columns of lilies
//lily pads
fill(101, 224, 150);//green
arc((dx / 2) * (2 * w + 1),(dy / 2) * (2 * h + 1), dx / 1.3, dy / 1.3,
-0.4, 1.4 * PI + QUARTER_PI, PIE);//main lily pads (largest)
fill(58, 201, 168);//bluer green
arc((dx / 2) * (2 * w + 1) + 30,(dy / 2) * (2 * h + 1) + 55, dx / 5, dy / 5,
-0.3, 1.4 * PI + QUARTER_PI, PIE);//lily pads 1 (largest of the side ones)
fill(58, 201, 191);//bluer bluer green
arc((dx / 2) * (2 * w + 1) + 48,(dy / 2) * (2 * h + 1) + 35, dx / 8, dy / 8,
-0.3, 1.4 * PI + QUARTER_PI, PIE);//lily pads 2
fill(58, 196, 201);//light blue
arc((dx / 2) * (2 * w + 1) + 56,(dy / 2) * (2 * h + 1) + 17, dx / 10, dy / 10,
-0.3, 1.4 * PI + QUARTER_PI, PIE);//lily pads 3
fill(58, 175, 201);//blue
arc((dx / 2) * (2 * w + 1) + 57,(dy / 2) * (2 * h + 1) + 0, dx / 12, dy / 12,
-0.3, 1.4 * PI + QUARTER_PI, PIE);//lily pads 4 (smallest)
//lily pad flowers (pink)
fill(255, 199, 217);
ellipse((dx / 2) * (2 * w + 1) + 30,
(dy / 2) * (2 * h + 1) + 55, 25,10);//horizontal lily pads 1
ellipse((dx / 2) * (2 * w + 1) + 30,
(dy / 2) * (2 * h + 1) + 55, 10,25);//vertical lily pads 1
fill(255, 140, 177);
ellipse((dx / 2) * (2 * w + 1) + 48,
(dy / 2) * (2 * h + 1) + 35, 15,7);//horizontal lily pads 2
ellipse((dx / 2) * (2 * w + 1) + 48,
(dy / 2) * (2 * h + 1) + 35, 7,15);//vertical lily pads 2
fill(255, 105, 153);
ellipse((dx / 2) * (2 * w + 1) + 56,
(dy / 2) * (2 * h + 1) + 17, 10,5);//horizontal lily pads 3
ellipse((dx / 2) * (2 * w + 1) + 56,
(dy / 2) * (2 * h + 1) + 17, 5,10);//vertical lily pads 3
fill(255, 66, 127);
ellipse((dx / 2) * (2 * w + 1) + 57,
(dy / 2) * (2 * h + 1) + 0, 8,4);//horizontal lily pads 4
ellipse((dx / 2) * (2 * w + 1) + 57,
(dy / 2) * (2 * h + 1) + 0, 4,8);//vertical lily pads 4
//lily pad flower (white)
fill(255);
ellipse((dx / 2) * (2 * w + 1),
(dy / 2) * (2 * h + 1), 28,13);//horizontal lily pads 1
ellipse((dx / 2) * (2 * w + 1),
(dy / 2) * (2 * h + 1), 13,28);//vertical lily pads 1
}
}
}
I decided to make my designs plant based and chose ferns as one of the plants. I then realized those would be complicated, so I chose lily pads and flowers instead. I decided to vary the sizes of my lilies to make them prettier and give my design variation. I then varied the colors as well. After, I added flowers and also varied the colors and sizes of them. I changed the colors throughout to make them complement each other more and make the piece as a whole more aesthetically pleasing. For example, my background was originally very dark brown.
Gustavo Henrique – from his series, “Scenes #1,” some scenes he did for fun
The artist I chose to write about this week is Gustavo Henrique, a 3D artist and freelancer from Brazil. I really admire not only his use of color and how he frames his work, but also the playfulness and movement he captures. Through his use of a matte finish, his forms come off as organic, friendly, and fluffy, almost as if you could make them out of clay or reach into the illustration to squish them. Moreover, by blurring the edges and forms that aren’t the main focus, his creations look like they’re miniatures, as if you took a picture of them using a high aperture on your camera. Henrique uses Cinema 4D and Octane Render to create his illustrations.
Gustavo Henrique – another illustraion from his series, “Scenes #1,” some scenes he did for fun
//Minjae Jeong
//Section B
//minjaej@andrew.cmu.edu
//Project-05
function setup() {
createCanvas(350, 350);
background(0);
stroke(255);
}
function draw() {
stroke(255);
for (i = 0; i < 4; i++) { //Xs
for (j = 0; j < 4; j++) {
var x1 = 45 + i * 80;
var x2 = 65 + i * 80;
var y1 = 15 + j * 100;
var y2 = 35 + j * 100;
line(x1, y1, x2, y2);
line(x2, y1, x1, y2);
}
}
stroke("red");
for (i = 0; i < 3; i++){ //circles
for (j = 0; j < 3; j++){
noFill();
var x = 95 + i * 80;
var y = 75 + j * 100;
ellipse(x, y, 30, 30);
}
}
// big X
stroke('red');
line(0, 0, 350, 350);
line(350, 0, 0, 350);
stroke('red');
ellipse(175, 175, 165, 165);
stroke('white');
ellipse(175, 175, 255, 255);
}
For this project, I got my inspiration from crosshair of a firearm. When I thought of a crosshair, it was appropriate to use crosses and circles. With black background and red elements, it provides a feeling that no one is safe.
The works by Piotr Kosinski attracted me more than other arts because I like cars. The artist produces many car projects, not only the exterior but also the interior of cars. At first when I looked at his works, I thought they were high quality photos of cars taken by professionals to promote the automobile. However, knowing that it is a work done with 3D computer graphics, I’m amazed how detailed it can be, and also how it perfectly represents the real vehicles. With such details, I’m sure the 3D computer graphics are useful in many ways for companies to promote and design their products.
I was confused at first on what to draw, but then I became hungry and thought of pizza. I was then inspired by this pizza wallpaper I found online. I started coding first the initial pizza on the top left, then I initialized the variables using the numbers I got from my first pizza. I then incorporated for loops and other elements to flip the pizzas and make it a repeating pattern.
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