Tag: section C

Shariq M. Shah – Looking Outwards 04 – Sound Art

http://

Demonstration of Hamdan’s work: Saydnaya

Lawrence Abu Hamdan is a sound researcher and designer studying the intersection of sonic research, politics, art, and forensics. Using his background as a musician, he uses computational processes and calibrated research models for his political and artistic investigations. One of his works, Saydnaya, consists of a sound box in a dim room in a way where voices of 4 inmates become quieter after 2011 protests in his country. There is a level of abstraction in his work that allows the work to be understood as not only sets of decibel data and forensic investigations, but also as emotional and evocative maps of the human condition.

The Hummingbird Clock, on the other hand, functions as a public time piece that exists both physically and online. It records, second by second, the buzz of the electronic grid picked up by surveillance cameras in a highly public location, so that it may be viewed in the public domain rather than exclusively by government security agencies.

These highly novel yet highly calibrated approaches to the interactions between computation, forensics, politics, and design push the boundaries on what can be conceived as art.

Hummingbird Clock in public space

Shariq M. Shah – Looking Outwards 03


Neri Oxmann and MIT, in this project, explore the intersection of biomimetics, digital fabrication, and material properties. Bio-composites, cellulose, chitosan, and pectin, which are among some of the most abundant organic materials, are digitally fabricated to dynamically respond to changes in heat and humidity. There is an interesting relationship between digital and computational processes and highly organic matter that both intersect to develop something that is neither clearly computational nor organic. However, it is clear that the use of such techniques allows for an architecture that is deeply engaged with natural conditions. Although the process that  creates the artifact is highly calibrated and computational, the result is something that, as a system, behaves and performs like an organic structure. A challenge of this process seems to be quantifying and measuring that which is highly nuanced: natural materials. Many systems in nature are highly complex, and the implementation of digital fabrication techniques into such nuanced systems could prove to be difficult.

https://www.archdaily.com/894979/neri-oxman-and-mit-develop-programmable-biocomposites-for-digital-fabrication

Shariq M. Shah – Dynamic Drawing – Project 03

shariqs_project-03

// Shariq M. Shah
// Section C
// shariqs@andrew.cmu.edu
// {Project - 03



var posC = 0;
var angle = 0;
var t = 'polar'

var midX = 320
var midY = 240



function setup() {
    createCanvas(640, 480);
    background(0);

}

function draw() {

//Rotating ellipses creating void in the center

    push();
    translate(320, 240);
    rotate(radians(angle));
    noFill()
    stroke(250, mouseX, mouseY)

    ellipse(0, 0, 100, posC + 250);

    pop();

    angle = angle + mouseY * 0.1
    posC = posC + 0.5


//Text that changes color acccording to rest of the graphic

  textSize(10);
  rectMode(CENTER)
  text('polar', midX - 10, midY);
  fill(250, mouseX, mouseY);


//If mouse is moved to center, lines become black creating vortex

  if ((mouseX > midX - 20 & mouseX < midX + 20) && (mouseY > midY - 20 & mouseY < midY + 20)) {

    push();
    translate(midX, midY);
    rotate(radians(angle));
    noFill()
    stroke(0)

    ellipse(0, 0, 100, posC + 250);

    pop();

    angle = angle - mouseY * 0.5
    posC = posC + 0.5
  }


}

In this project, I explored geometries and mathematical aggregation of an ellipse to create highly articulated and complex patterns. Using a limited amount of code, the program is able to use the user’s input to create a variety of vibrant mandala like patterns. The geometry is calibrated to leave a perfect circle in the center of the canvas, where the text changes color according to the the lines that are being drawn.

Ammar Hassonjee – Looking Outwards 03

Computer Aided Knitting by MIT CSAIL

Pictures of various knit garments using computational techniques.

The CSAIL lab at MIT recently completed a new project that develops systems for streamlining the process of automating knit garments. One of the systems developed is called “InverseKnit” in which photographs of knitted patterns are analyzed using a program to create instructions for robots to fabricate clothing.

According to the CSAIL website, researchers first started by creating a dataset of knitting instructions/patterns and then programmed a network to interpret these images into rules that can be used to fabricate clothing items such as a sock.

Video showing how the machine operates.

What I admire about this project is its goal to revolutionize an age old process of knitting and apply algorithims in order to streamline this process we’ve been using for thouasands of years to make clothes. The real world application of this project is incredible as it can potentially reduce the manufacturing cost of clothes by so much. I think the algorithms used are image based processors that use the knitting image patterns as inputs and then analyze the geometry in the patterns. The original intent of the project was acheived as the creators sought to craft a simple and straightforward knitting machine that fabricates with accuracy, and they accomplished that.

Shariq Shah – Looking Outwards- 02


Michael Hansmeyer is a computational designer interested specifically in the architectural implications of computational systems that generate a variety of complex design possibilities. Some of his latest works include a two full scale 3D printed sandstone grottoes and an iron and lace gazebo at the Gwangju Design Biennale. Hansmeyer employs a computational approach that emphasizes a level of hyper resolution in architectural spaces that can only be achieved rigorously with a computational and generative system. Because of this, algorithmic frameworks allow the specificity and complexity of surface conditions, ornament patterns, and material expression to take on a life of its own and characterize entirely new spatial conditions. As an architecture student, this work is fascinating as the role of architect is brought into question. This type of work calls for a paradigm shift from the view of the architect as the omniscient designer to one where the architect sets up a system and chooses from the results.

Shariq Shah – Project 02 – Variable Faces

shariqs_VariableFaces-02

// Shariq M. Shah
// Section C
// shariqs@andrew.cmu.edu
// Assignment_01

//setting up variables

var eyeWidth = 20
var eyeHeight = 20
var eyePosL = 240
var eyePosR = 340
var mouthC = 80
var backColor = 200
var earPos = 280
var nosePos = 320
var faceWidth = 220

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

function draw() {
  background(230, backColor, 211);
  noStroke()

  fill(250, 200, 0)
  ellipse(300,600,600,300)

  strokeWeight(2)
  rect(220, 400, 150, 150, 15)

  //Face
  fill(200, 162, 132)
  rect(170, 180, 250, 250, 30, 100, 150, 150)

  fill(0,0,0)

  ellipse(300,180, faceWidth, 150)
  rect(150, 180, 300, 80,30)

  //Left Spec
  noFill()
  stroke(300)
  ellipse(240, 290, 60, 60)
  ellipse(240, 290, 55, 55)


  //Left Eye
  stroke(300)
  fill(300)
  ellipse(240, 290, eyeWidth, eyeHeight)
  fill(0)
  ellipse(eyePosL, 290, 15, 20)
  ellipse(eyePosL, 285, 2, 2)


  //Right Eye
  stroke(300)
  fill(300)
  ellipse(340, 290, eyeWidth, eyeHeight)
  fill(0)
  ellipse(eyePosR, 290, 15, 20)
  ellipse(eyePosR, 285, 2, 2)

  line(175, 180, 425, 180)

  //Right Spec
  noFill()
  stroke(300)
  ellipse(340, 290, 60, 60)
  ellipse(340, 290, 55, 55)

  line(310,290, 270, 290)
  line(310,285, 270, 285)

  line(210,285, 170, 280)
  line(210,290, 170, 280)


  line(370,285, 420, 280)
  line(370,290, 420, 280)

  //Nose
  noStroke()
  fill(240, 171, 142)
  triangle(290, 300, 290, nosePos, 310, 360)
  fill(214, 171, 139)
  triangle(290, 300, 290, nosePos, 270, 360)

//Mouth
	fill (300);

	ellipse (290, 382, mouthC, 42);
	fill (200, 162, 132);

	rect (220, 360, 120, 21);

  //Ears
  ellipse(425,earPos, 20, 80)
  ellipse(165,earPos, 20, 80)


  fill(300-backColor)



  //Logo
  bezier(105, 20, 10, 10, 90, 90, 15, 80)

  //Collar
  bezier(220, 460, 300, 650, 150, 650, 370, 460)
}



function mousePressed() {

    eyeWidth = random(15, 50);
    eyeHeight = random(20, 35);
    eyePosL = random(240, 250);
    eyePosR = random(340, 350);
    mouthC = random(30, 90);
    backColor = random(100, 200);
    earPos = random(300,310)
    nosePos = random(320, 360)
    faceWidth = random(220, 250)


}

In this exercise, I explored multiple ways to vary the way different shapes and colors that change as a result of the mousePressed() function. The result is a strange, expressive, and colorful face that alters itself randomly, with constraints, as a result of pressing on the image.

Shariq M. Shah – Looking Outwards – 01

Holger Lippmann is a generative artist working at the intersection of art and technology whose work, through processing, seems to challenge perceptible reality. Initially training as a traditional visual artist, Lippmann later moved to Berlin in the middle of the electronic music boom. These interests in the visual arts and in electronic music merged into explorations in digital and computational art. Key works from his ‘noise warp’ collection use collectives of elongated shapes to define highly organic and warped field conditions. Lippmann draws inspiration from the flowing brushstrokes of Van Gogh, even drawing from the color palettes of his various paintings. A central concept of Lippmann’s works seems to be the aggregation of a relatively simple shape or element, i.e a line or rectangle, into varying densities and arrangements where they, as a collective, articulate complex and nuanced field conditions. As an architecture student, these visualizations provoke thought and introspection as spatial possibilities can be speculated. Explorations upon the responsiveness of such systems could have aesthetic as well as practical implications.

Holger Lippmann Website:

http://www.lumicon.de/wp

Ammar Hassonjee – Project 01 – Face

ammars-portrait

// Ammar Hassonjee
// Section C
// ahassonj@andrew.cmu.edu
// Project-01

function setup() {
    createCanvas(600, 600);
    background(200);
}

function draw() {
  //Drawing my shirt
    stroke('navy');
    fill('navy');
    if (mouseX < width / 2) {
        fill('black');
    }
    arc(300, 600, 500, 275, PI, 0);

    //Making the neck
    stroke('rgb(205, 161, 132)');
    fill('rgb(205, 161, 132)');
    quad(217, 470, 244, 400, 348, 400, 374, 470);
    ellipse(295, 470, 155, 60);

    //Forming the head
    stroke('rgb(215, 165, 132)');
    fill('rgb(215, 165, 132)');
    ellipse(300, 280, 250, 300);

    //Creating the Hair
    stroke('black');
    fill('black');
    beginShape()
    vertex(186, 215);
    vertex(198, 153);
    vertex(201, 161);
    vertex(242, 107);
    vertex(242, 127);
    vertex(313, 90);
    vertex(303, 111);
    vertex(377, 100);
    vertex(351, 117);
    vertex(427, 118);
    vertex(406, 140);
    vertex(452, 126);
    vertex(439, 157);
    vertex(461, 156);
    vertex(444, 185);
    vertex(454, 187);
    vertex(414, 215);
    endShape();

    //forming the ears
    stroke('rgb(215, 165, 132)');
    fill('rgb(215, 165, 132)');
    beginShape();
    vertex(180, 258);
    vertex(161, 260);
    vertex(151, 267);
    vertex(165, 326);
    vertex(180, 326);
    endShape();

    beginShape();
    vertex(419, 258);
    vertex(437, 260);
    vertex(447, 267);
    vertex(433, 326);
    vertex(326, 326);
    endShape();

    //creating the eyes
    noStroke();
    fill('white');
    ellipse(256, 266, 40, 30);
    ellipse(346, 266, 40, 30);

    noStroke();
    fill('rgb(132, 100, 80)');
    if (mouseIsPressed) {
      fill('rgb(220, 5, 5)');
    }
    ellipse(256, 266, 20, 20);
    ellipse(346, 266, 20, 20);

    noStroke();
    fill('white')
    ellipse(250, 263, 5, 5);
    ellipse(340, 263, 5, 5);

    //shaping the mouth
    stroke('rgb(229, 229, 229)');
    fill('rgb(229, 229, 229)');
    triangle(263, 377, 300, 388, 338, 377);

    // forming the nose
    stroke(132, 100, 80);
    strokeWeight(2);
    line(300, 281, 314, 338);
    line(314, 338, 318, 345);
    line(318, 345, 304, 350);

    //eyebrows
    noStroke();
    fill('black');
    triangle(226, 239, 277, 241, 278, 235);
    triangle(324, 242, 324, 236, 375, 238);
}

My process for completing this portrait began with experimenting with the different functions of ps.j5 and learning how the variables controlled shapes like ellipses and curves. I then began to digitally sketch the kind of drawing I wanted and then used the same coordinates in other softwares to code accurate shapes.