Category: SectionC

Joanne Chui – Project 01 – Face

selfportrait

// Joanne Chui
// Section C
// jchui1@andrew.cmu.edu
// Assignment-01

function setup() {
    createCanvas(600, 600);
    background(255, 255, 204);
}

function draw() {

	//BACK HAIR
	fill(0);
	rect(250, 225, 100, 220);

	//NECK
	fill(190, 150, 90);
	rect(270, 350, 60, 40);
	fill(0);
	ellipse(270, 370, 10, 50);
	ellipse(330, 370, 10, 50);
	ellipse(280, 410, 20, 10);

	//FACE
	fill(226, 183, 108);
	stroke(226, 183, 108);
	ellipse(300, 295, 115, 130);

	//MOUTH
	fill("white");
	stroke(164, 110, 97);
	arc(300, 332, 30, 15, 0, PI, CHORD);

	//EYES
	//left
	fill("white");
	stroke("white");
	arc(274, 285, 20, 6, 0, PI, CHORD);
	stroke("black");
	arc(274, 285, 20, 12, PI, PI + PI, OPEN);
	fill(64, 40, 34);
	ellipse(274, 283.5, 9, 9);
	fill(0);
	ellipse(274, 283.5, 5, 5);
	//right
	fill("white");
	stroke("white");
	arc(326, 285, 20, 6, 0, PI, CHORD);
	stroke("black");
	arc(326, 285, 20, 12, PI, PI + PI, OPEN);
	fill(64, 40, 34);
	ellipse(326, 283.5, 9, 9);
	fill(0);
	ellipse(326, 283.5, 5, 5);

	//NOSE
	stroke(200, 145, 90);
	fill(226, 183, 108);
	arc(300, 315, 15, 8, 0, PI, OPEN);
	arc(290, 300, 15, 40, TWO_PI - QUARTER_PI, QUARTER_PI, OPEN);

	//EYEBROWS
	//left
	fill(0);
	arc(276, 272, 40, 15, PI, TWO_PI - QUARTER_PI, OPEN);
	//right
	arc(319, 274, 50, 18, PI + QUARTER_PI, TWO_PI, OPEN);

	//SHIRT
	fill(255, 204, 229);
	stroke(255, 204, 229);
	arc(300, 450, 200, 140, PI, 0, CHORD);
	fill(190, 150, 90); //neck
	stroke(190, 150, 90);
	ellipse(300, 380, 49, 30);

	//HAIR
	fill(0);
	stroke(0);
	arc(290, 255, 120, 100, PI, TWO_PI - QUARTER_PI, CHORD); //left part
	arc(325, 255, 75, 80, PI + QUARTER_PI, TWO_PI, CHORD); //right part
	arc(253, 345, 70, 230, HALF_PI, PI + HALF_PI, CHORD);
	arc(347, 345, 50, 230, PI + HALF_PI, HALF_PI, CHORD);





}

While creating my self portrait, I wanted to avoid making the face look really geometric. The flexibility of the arc function allowed me to achieve that.

Jai Sawkar – Looking Outwards – 01

Sensacell’s Interactive Floor Shows Trail of LED Footprints

This is Sensacell’s New Interactive Floor. Currently installed in part of the Comunitat Valenciana in Spain, this interactive floor lights up as you walk along it; the lights then slowly fade away as you move further from the spot. The installation has over 1,000 interactive modules, each using weight sensors and an LED lighting system to fulfill the piece. Sensacall is a small, interactive lighting design and manufacturing company based out of Thailand, and their work is geared towards architects & designers to be used in public spaces. All this is done to provide a more memorable experience for users.

It always interests me when designers and programmers alike strive to innovate mundane systems to be more engaging to everyday people, and this is something I would love to work with in the future. Moreover, the interest of merging the two different fields, design, and computing, to make a piece of art adds a new dynamic to the installation as a whole; this merge is the reason I am taking 104, and I believe there is a lot that can be fostered through these terms.

https://www.engadget.com/2008/08/13/video-sensacells-interactive-floor-shows-trail-of-led-footprin/

Nawon Choi— Looking Outward 01



“The Smithsonian’s design museum goes high tech” by The Verge

The New Cooper Hewitt Experience

The Cooper Hewitt Smithsonian Design Museum’s interactive pen and tabletop experience left a deep impression on me when I first experienced it.

I was inspired by the way it augmented a typical museum experience by personalizing each visitor’s journey throughout the galleries. While there are many features of this unique project, one of the key computational/interactive art moments is the Immersion Room. This room takes inspiration from the museum’s own permanent wallpaper collection, and transforms the way people experience it. In the Immersion Room, visitors can not only digitally project wallpapers from the Museum’s collection, but also draw and display their own creations on the wall. When visitors draw on the tabletop interface using their pen, their drawing is projected on the walls in real-time.


Demo of the Immersion Room

Many different teams were involved in ideating, designing, and developing this experience. It integrates existing products, such as Sistelnetworks’ “vWand”, which have been re-engineered to fit the specific needs of the museum. I admire the way this project not only challenges the traditional museum experience, but also opens up the possibility for other industries/organizations, such as schools, to utilize these interactive technologies to enhance or radically change the way people experience and learn new things.

Aaron Lee-LookingOutwards-01

Images: teamLab

teamLab Borderless is known to be the world-leading digital art collective lab consisted of not just engineers but also architects and artists. Like their name suggests, the team seeks for border-less communication between different genre of fields in order to create an transcending experience in the realm of media art. This project is inspiring since it breaks the traditional relationship between media art and space. Here, media art itself is an architecture. The project overcomes flat screens and challenges uneven surfaces and objects as possible medium in future. Its only limitation seems to be the safety issue. Considering many of the visitors are children and family, projected illusion might sometimes cause an accident. Although intentional, many visitors actually gets disoriented in this exhibition. Interestingly, the creator says that they were more inspired by the beauty of nature and sense of the organic more than anything else. The project proofs that the media art is ultimately about human experience and emotions not just special effects.

Video:teamLab

Sean Meng-project-01-Face


hmeng-project 1

When I draw myself I found it very interesting to represent my own features such as hairstyle and glasses using abstract geometries and shapes. And drawing using coding is a brand new workflow that requires a different logic from drawing with hands.

//Sean(Han) Meng
//Section C
//hmeng@andrew.cmu.edu
//Project-01-self portrait

function setup() {
    createCanvas(600, 600);
    background(250);
 
}

function draw() {   
//BackGround
    stroke(229, 172, 211);
    strokeWeight(1);
    point(0, 300);
    point(250, 250);
    point(600, 450);

    noFill();
    strokeWeight(30);
    beginShape();
    vertex(0, 300);
    quadraticVertex(250, 250, 600, 450);
    endShape();

    stroke(89, 0, 89);
    strokeWeight(1);
    point(0, 500);
    point(300, 400);
    point(620, 100);

    noFill();
    strokeWeight(18);
    beginShape();
    vertex(0, 500);
    quadraticVertex(300, 400, 620, 100);
    endShape();

    stroke(255, 235, 50);
    strokeWeight(1);
    point(0, 360);
    point(300, 400);
    point(620, 600);

    noFill();
    strokeWeight(20);
    beginShape();
    vertex(0, 360);
    quadraticVertex(300, 400, 620, 600);
    endShape();

//Body
    stroke(0, 0, 103);
    fill(0, 0, 73);
    strokeWeight(3);
    strokeJoin(ROUND);
    beginShape();
    vertex(165, 365);
    vertex(140, 400);
    vertex(130, 600);
    vertex(450, 600);
    vertex(423, 400);
    vertex(380, 365);
    endShape();  

//Hoodie
    stroke(150);
    fill(150);
    strokeWeight(3);
    strokeJoin(ROUND);
    beginShape();
    vertex(205, 295); 
    vertex(175, 330); 
    vertex(260, 370);
    vertex(270, 370);
    vertex(290, 370);
    vertex(385, 330);
    vertex(350, 295);
    endShape(); 

//Neck
    stroke(230,214,169);
    fill(230,214,169);
    strokeWeight(3);
    strokeJoin(ROUND);
    beginShape();
    vertex(250, 330); 
    vertex(245, 370); 
    vertex(310, 370);
    vertex(305, 330);
    endShape();  

//Hoodie out
    stroke(210);
    fill(210);
    strokeWeight(3);
    strokeJoin(ROUND);
    beginShape();
    vertex(270, 360);
    vertex(175, 330); 
    vertex(165, 365); 
    vertex(272, 370)
    endShape();  

    stroke(210);
    fill(210);
    strokeWeight(3);
    strokeJoin(ROUND);
    beginShape();
    vertex(385, 330);
    vertex(300, 355);
    vertex(295, 370);
    vertex(390, 370);
    vertex(385, 330);
    endShape(); 

 //Left Ear
    stroke(240,224,179);
    fill(240,224,179);
    strokeWeight(1);
    strokeJoin(ROUND);
    beginShape();
    vertex(200, 240);
    vertex(187, 240);
    vertex(180, 260);
    vertex(200, 290);
    vertex(215, 300);
    vertex(215, 260);
    endShape();

//Right Ear
    stroke(240,224,179);
    fill(240,224,179);
    strokeWeight(1);
    strokeJoin(ROUND);
    beginShape();
    vertex(360, 240);
    vertex(364, 240);
    vertex(370, 260);
    vertex(350, 290);
    vertex(345, 300);
    vertex(215, 260);
    endShape();

 //Face
    stroke(255,244,189);
    fill(255,244,189);
    strokeWeight(3);
    strokeJoin(ROUND);
    beginShape();
    vertex(215, 270); 
    vertex(215, 310);  
    vertex(250, 335);  
    vertex(267, 342); 
    vertex(290, 345);
    vertex(337, 298); 
    vertex(337, 225);   
    vertex(215, 225); 
    endShape();

 //Hair
    stroke(0);
    fill(0);
    strokeWeight(4);
    strokeJoin(ROUND);
    beginShape();
    vertex(202.5, 262.5);
    vertex(187.5, 220);
    vertex(200, 150);
    vertex(270, 127.5);
    vertex(337.5, 150);
    vertex(360, 202.5);
    vertex(348, 263.25);
    vertex(342, 265.25);
    vertex(337.5, 225);
    vertex(318, 231);
    vertex(300, 225);
    vertex(275, 235);
    vertex(260, 230);
    vertex(250, 235);
    vertex(217, 230);
    vertex(215, 270);
    vertex(202.5, 262.5);
    endShape();

//Glasses
    strokeWeight(3);
    fill(255);
    arc(245, 265, 42, 37, 0, PI + PI);
    strokeWeight(3);
    fill(255);
    arc(305, 265, 42, 37, 0, PI + PI);
    stroke(150);
    curve(266, 263, 266, 260, 280, 260, 300, 263);
    stroke(0);
    line(215, 260, 225, 260);
    line(325, 260, 339, 260);

//Nose
    strokeWeight(2);
    line(275, 270, 270, 300);
    line(270, 300, 275, 300);

//Mouth
    noStroke();
    fill(240,214,159);
    triangle(260, 325, 293, 325, 270, 320);


//Arms
    stroke(50, 50, 150);
    strokeWeight(3);
    line(175, 440, 170, 600);
    line(390, 440, 410, 600);

//Strings
    fill(255);
    stroke(255);
    strokeWeight(1);
    rect(260, 370, 1, 80);
    rect(300, 370, 1, 75);
    rect(259, 450, 4, 15);
    rect(299, 445, 4, 15);
//graphic
    fill(230);
    strokeWeight(5);
    stroke(10, 60, 130);
    circle(345, 460, 40);

}

Taisei Manheim- Looking Outward – 01

The Teletroscope as seen from the New York City side.

The interactive project that I chose was The Teletroscope, an installation during the summer of 2008 in London and New York City by Paul St. George, an artist that is based in London.  Near Tower Bridge in London and similarly positioned by the Brooklyn Bridge in New York were identical telescopes that allowed people to watch those on the other side in real time. These giant telescopes were huge and angled into the ground as to almost give the impression that there was a literal tunnel from London to New York City in which you could see those on the other side.  It was based on a Victorian engineer’s idea of connecting London and New York through a series of lenses and mirrors. This illusion of a giant tunnel under the Atlantic Ocean was made possible by broadband internet cable that transmitted video images between the two venues at a high speed. Paul St. George couldn’t complete this project by himself so he got help from the British arts organization Artichoke.  They loved the project’s idea and thought it would be easy to make, but it ended up costing $787,000.  Historically, the idea of the teletroscope helped to fuel the ideas of technologies, such as TV and the internet and even when this installation was made in 2008, video calling people around the world was not nearly as common as it is now today.

Timothy Liu — Project01 — Face


I really enjoyed this project as it allowed me to take creative liberties in portraying a few aspects of who I am—an upbeat, fun-loving, Yankees/sports fan—through graphic fundamentals of P5. The coding process was tricky in how long it took to align each of the components I included on the grid system (especially the hat logo), but it was a really rewarding first project.

tcliu-self-portrait

//Timothy Liu
//15-104 Section C
//tcliu@andrew.cmu.edu
//SELF-PORTRAIT

function setup() {
    createCanvas(600,600);
    background("#CAE9F5");
}

function draw() {

    fill("#F5CB9A");
    noStroke();
    rect(260,270,80,50);
    //neck

    fill("#FFD3A1");
    noStroke();
    ellipse(300,200,160,180);
    fill("#FFD3A1");
    noStroke();
    ellipse(220,210,20,45);
    fill("#FFD3A1");
    noStroke();
    ellipse(380,210,20,45);
    //head

    fill("#23120B");
    noStroke();
    quad(218,170,235,170,230,195,218,195);
    fill("#23120B");
    noStroke();
    quad(380,170,365,170,370,195,382,195);
    fill("#23120B");
    noStroke();
    arc(310, 165, 80, 25, TWO_PI, PI, CHORD);
    //hair

    fill(255);
    noStroke();
    arc(270,200,30,25,PI,TWO_PI);
    fill(255);
    noStroke();
    arc(330,200,30,25,PI,TWO_PI);
    fill(0);
    noStroke();
    ellipse(270,193.5,12,12);
    fill(0);
    noStroke();
    ellipse(330,193.5,12,12);
    //eyes

    fill(255);
    noStroke();
    ellipse(270,190,3,3);
    fill(255);
    noStroke();
    ellipse(330,190,3,3);
    //pupils

    fill("#003366");
    noStroke();
    quad(200,320,400,320,410,height,190,height);
    fill("#1261A0");
    noStroke();
    quad(203,443,195,height,202,height,208,447);
    //shirt/body

    fill("#1261A0");
    noStroke();
    arc(300, 320, 95, 50, TWO_PI, PI, CHORD);
    fill("#F5CB9A");
    noStroke();
    arc(300, 320, 85, 40, TWO_PI, PI, CHORD);
    //collar area

    fill("#CAE9F5");
    noStroke();
    triangle(200,320,250,320,190,350);
    //Left shoulder

    fill("#CAE9F5");
    noStroke();
    triangle(400,320,350,320,410,350);
    //Right shoulder

    fill("#003366");
    noStroke();
    quad(105,450,110,500,200,440,200,345);
    fill("#003366");
    noStroke();
    quad(90,350,110,500,150,450,120,340);
    fill("#1261A0");
    noStroke();
    quad(140,415,138,420,200,360,200,349);
    fill("#1261A0");
    noStroke();
    quad(200,349,200,360,257,327,253,324);
    //Right arm

    fill("#003366");
    noStroke();
    quad(495,450,490,500,400,440,400,345);
    fill("#003366");
    noStroke();
    quad(490,500,470,height,430,height,450,400);
    //Left arm

    fill("#FFD3A1");
    noStroke();
    ellipse(105,340,60,55);
    fill("#FFD3A1");
    noStroke();
    quad(83,275,93,315,108,320,95,272);
    fill("#FFD3A1");
    noStroke();
    quad(120,273,108,315,118,330,132,276);
    fill("#FFD3A1");
    noStroke();
    triangle(73,322,77,350,120,308);
    fill("#F5CB9A");
    noStroke();
    quad(73,322,82,348,105,340,94,313);
    fill("#E4B98E");
    noStroke();
    quad(97,335,120,364,133,350,105,327);
    //Right hand (with peace sign)

    fill("#D39972");
    noStroke();
    arc(300,225,10,40,PI,TWO_PI);
    //nose

    fill(255,150,150);
    noStroke();
    arc(300, 235, 60, 60, TWO_PI, PI, CHORD);
    //mouth

    fill("#003366");
    noStroke();
    arc(300,170,165,180,PI,TWO_PI);
    fill("#003366");
    noStroke();
    rect(218,155,190,15);
    fill("#CAE9F5");
    noStroke();
    triangle(381,155,420,170,420,155);
    //hat

    fill(255);
    noStroke();
    rect(285,120,5,25);
    fill(255);
    noStroke();
    rect(310,120,5,25);
    fill(255);
    noStroke();
    quad(290,120,315,142,310,145,287,126);
    fill(255);
    noStroke();
    quad(290,105,300,118,300,123,287,111);
    fill(255);
    noStroke();
    quad(310,105,300,118,300,123,313,111);
    fill(255);
    noStroke();
    rect(297.5,120,5,28);
    //logo on hat
   
}

Austin Garcia – Looking Outwards – 01 – Section C

Virtual Nature by Toyo Ito Architects

I had the opportunity to visit the 2019 Venice Architecture Biennale this past year. The overall concept for the Biennale was that of ‘Freespace’ – defined by the Biennale committee as architectural space that was given back to the community, back to humanity and freed for new opportunity. I was particularly inspired by Toyo Ito’s “Virtual Nature” installation while exploring the Arsenale exhibition hall. In this installation, Toyo Ito removed a part of the space by encircling it in an opaque curtain with a single entrance. Projected along the interior wall of this curtain were many technologically generated renders of wave forms. visible from all directions on the many beanbags lining the floor, the visual intricacy of these computer generated wave forms gave a feeling of serenity and tranquility like that of being under the sea.

Through understanding of people and what spaces we enjoy, nature and its connection to us all, and technology with its infinite versatility and adaptability, Toyo Ito created a space that suggests a future where these three subjects mesh beyond what we currently can imagine.

Toyo Ito Biennale Web Entry

SooA Kim: Looking Outwards-1

Light Barrier Third Edition, 2016 by Kimchi and Chips

“Light Barrier Third Edition” is a multimedia light installation work from Kimchi and Chips, a studio based in Seoul founded by artists, Mimi Son (KR) and Elliot Woods (EN). This installation is an ongoing developmental series since 2014, the latest edition has been presented in Asian Cultural Centre, Gwangju, South Korea in 2016. 

The work consists of projection beams, concave mirrors, haze, and some scanning/interactive coding work to animate lights. This work requires precise calculation between the projection beams and the structure of concave mirrors to create a volumetric images or “light sculpture” through haze. They use materialized physical objects to create a non-materialistic object, light. It is interesting because we normally see and use light as a source of material to support our physical objects within space, however; Kimchi and Chips used it the other way around – having light as the object of imagery, shown as a geometric floating objects in this installation. 

Their art practices have been inspired by the values from the Impressionist movement in the 19th century and the first introduction to photography. Presenting their work as “viewerless images” as they focus on the visible brush strokes and emphasize on the depiction of light, rather than the contextual subjectivity of the work. I have been fascinated by their works and the use of their mediums, which consists of video projection, light, and coding in 3d softwares to create digital light installation art.

Light Barrier Third Edition [2016] (4K) from Mimi Son on Vimeo.

Joanne Chui: Looking Outwards – 01

http://artasiapacific.com/Magazine/WebExclusives/SyntheticSeductionShihChiehHuang

 installation view of “Synthetic Seduction” at Yerba Buena Center for the Arts, San Francisco

“Synthetic Seduction” is an installation made by Taiwanese artist Shih Chieh Huang to investigate bioluminescence. The installation consists of many miscellaneous objects assembled together to create forms similar to creatures in the deep sea, and portrays movement through mechanical installations that try to mimic the movement of bioluminescent creatures. These objects come to life through glowing neon colors and the audible sounds of the continuous motions of the mechanics. This project is interesting in how it seeks to mimic nature, but a part of nature that we do not really understand. Huang exploits the methodology in which bioluminescent creatures use their lights to seduce and captivate prey to similarly captivate visitors to his installation. A critique that I would have is that the individual pieces seem extremely robotic and angular, contrary to the fluidity and curving nature of nature in the deep sea. However, that may be his interpretation of bioluminescent life, because he purposefully makes the mechanical sounds obvious to visitors.