Month: September 2020

My Portrait

I came into this project with no specific idea or image in my head, so I put in a random shape that turned out to look like a cat‘s head. To add a mouth I thought I would just duplicate the shape but with the bottom point skewed so as to create an “open” mouth. Recalling my past origami obsession, I noted it looked like it was a paper folding, and so I took that theme and ran with it.’

Eamonn Burke
function setup() {
    createCanvas(750, 750);
    background(220);
    text("p5.js vers 0.9.0 test.", 10, 15);
}

function draw() {
	background(128,222,250);
		fill(236,174,66);    //light blue
	rect(200,300,70,700);	//neck
	quad(100,200,300,600,600,100,400,100);	//vhin
		fill(246,111,255);    //pink
	quad(125,200,305,580,550,100);    //mouth
	line(400,100,300,600);    //mouth center line
		fill(236,174,66);    //orange
	quad(100,200,450,600,600,100,400,100);    //head
	triangle(100,200,250,150,200,50);	 //left ear
	triangle(600,100,500,100,520,30);    //right ear
		fill(255,255,255);    //white 
		strokeWeight(3)
	ellipse(300,300,100,100);    //left eye
	ellipse (525,300,65,100);	//right eye
	strokeWeight(1)
	line(400,100,450,600);    //head center line
		fill(6,165,1);    //green
		strokeWeight(10);
	ellipse(300,300,50,50);    //left eye pupil
	    fill(52,100,212);    //blue
	 ellipse (525,300,32.5,50);    //right eye pupil
	 	fill(236,174,66);
	 	strokeWeight(1);
	arc(300,300,100,100,0,PI);    //eyelid
	    fill(246,111,255);
	triangle(130,180,210,140,200,70);    //left inner ear
	triangle(582,92,515,87,525,45);    //right inner ear
	    fill(0,0,0);
	triangle(408,550,467,540,450,600);    //nose
		fill(226,226,226,200);    //light gray
		stroke(186,186,186);    //gray
		strokeWeight(5);
	circle(100,750,250);	//clouds
	circle(300,750,275);
	circle(450,750,230);
	circle(650,750,250);
		fill(0,0,0);	//white
		noLoop()
	

}

Project 01 – Goggle Portrait

An example of the project for 01.

aleks_project_01_copy
function setup() {
    createCanvas(200, 200);
    background(220);
}

function draw() {
    fill (145, 63, 153);
    strokeWeight (4);
    ellipse (70, 70, 80);
    fill (245, 66, 197);
    quad (24, 35, 86, 20, 90, 70, 20, 50);
    stroke (245, 66, 197)
    line (25, 35, 25, 140);
    line (25, 35, 27, 144);
    line (24, 35, 20, 140);
    line (25, 34, 20, 147);
    line (34, 34, 22, 145);
    stroke (0);
    fill (260);
    ellipse (60, 60, 25); //first eye
    fill (220);
    ellipse ( 90, 60, 35); //seccond eye
    fill (0);
    ellipse (60, 60, 5); //first eyeball
    fill (40);
    ellipse (90, 60, 15); //seccond eyeball
    fill (180, 240, 244);
    triangle (70, 70, 70, 80, 85, 80);
    stroke (180, 240, 244)
    line (50, 100, 80, 100);
    noLoop ();
}

LO-1: Inspiration

Nicholas Wong
Section A

Daniel Rozin creates these beautiful “mechanical mirrors”, which are interactive sculptures that mimic the presence of the viewer. His sculptures consist of rectangular panels of various materials attached to motors and a camera, which are all connected to a computer. Software on the computer then determines the angle at which each panel should tilt to replicate the image received from the camera, effectively turning each panel into a physical pixel. The sculpture reflects the movements of the viewer through the rotating panels, making the viewers the content of the artwork. Many of his works use wooden panels of various wood species, however he uses a variety of materials for different effects. Rozin started making his mirrors in 1997, and gained recognition through his “Rust Mirror” series starting in 1999. He developed the software that changed each panel in response to the live image received from the camera on his own.

Having seen one of these mechanical mirrors myself, at the time I was really interested in the code used to make the mirrors move, as I thought I could probably replicate something like that for an art project in high school.

http://www.smoothware.com/danny/

LO-My Inspiration

Prior to starting this course, I was not familiar with any computational projects. I am working toward my master’s degree in music performance and I have never been very familiar with computers. In looking for a project, however, I found John Maeda and his work. I am especially interested in “Commute” (2003) because of the colors and textures that are present. Maeda used jello in real life to create layers of color. He then developed his own custom program to correct the order of the colors of the jello layers. He wanted the work to emcompass all colors in the rainbow and for the colors to be in spectral order.
Maeda selected jello because he did not like the layers of plastic that many artists were using to create colorscapes. While he does not reference a specific artist or project, Jill Nathanson is an example of a contemporary artist who uses layers of plastic for her work.
This project shows the opportunity to continue using both studio and computational techniques to create a work. Is is not that the artist is creating a studio work and using a computer to edit or improve their mistakes, rather, they are using both as separate techinques that give the project a unique result.
https://maedastudio.com/2004/desktop/jello1.jpg
Commute (2003), John Maeda

LO: My Inspiration

A project that influenced me to take this class was programmed by a former student of 15-104. They decided to create a code to indicate when 60 seconds have gone by. He was able to visualize the amount of time that’s increased through the opacity/intensity of rings of light that pulse every second. It was a project done individually, and he looked at alternatives to time and sound in the world to gain an idea of what direction to go. It seems as though he developed a custom code for this function. Digital tools have created an accommodating environment for multiple users, so the fact that this student looked at how we can use technology to form a better experience and understanding, makes it stand out to me. I know that the creator of this project has been interested in using different senses to change or enhance things, which was most likely a reason for them deciding to develop this project. It was a simple look into the impact of computational design.

LO-1: My Inspiration

The interactive fashion couture work by Iris Van Herpen is one of the most eye opening project for me among the field of technological art. Employing smart textiles, garments are able to move with the movement of the model and the movement of the environment. For the one of the runway show “Hypnosis”, it is realized by a team of collaborating artists to achieve the final production who are active in the technological art field, such as the multi-disciplinary architect Philip Beesley.  A total of 20 looks took six months for the concepts to turn into physical work. The development of the work are made by both custom software and commercial software. For example, the 3d twisted vortex structure are constructed in Rhino and Grasshopper while the e-textile from certain pieces are build with custom scripts. 

Iris Van Herpen writes in her show notes that the first thread of inspiration comes from the Spanish neuroanatomist Ramón y Cajal, who translated the symptoms captured from the neural systems to sophisticated graphics. The projected guide to the forthcoming explorations on how human senses are able to influence the functions of wearable textiles. 

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‘Hypnosis’ reflects the beauty and complexity of our environment, exploring the patterns and structures within its fragile landscape ∞ the ‘Hypnosis’ technique, developed in collaboration with Professor Philip Beesley involves ten of thousands of plottercut mini ripples that continuously dissect the dress through each movement of the body, revealing skin in between the whimsical spheroid patterns that are designed to move faster than the eye can follow. ∞ Show credits Special thanks to collaborating artist: @anthony.howe.art Collaborating artist: @philip.beesley Video by @blitzkickers Styling: @patti_wilson Music direction: @sssalvadorrr Model: @iamsabaah Casting: Maida Gregory Boina, @maximevalentini & @caromauger Make up: @silbruinsma1 & the @maccosmeticsfrance PRO Team Hair: @martincullen65 for @streetersldn Shoes by @unitednude Manicure: @jessicascholten_ Press: @karlaotto ∞ #irisvanherpen #hypnosiscouture #parisfashionweek

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LO-01 (my inspiration)

Urban Imprints by STUDIO INI was an interactive piece that aimed to fight the preconception of rigid urban ‘walls’ that restrict human expression and individuality. The piece was created through a system of pulleys and flexible custom shaped wooden mesh surface that responded to human movement. When movement was detected towards the surface, it would retract and move away from the person, in effect, acting as a living organism celebrating human interaction instead of restricting it. The use of a custom piece of code is not confirmed, but I assume some sort of program must have been created in order for this level of interaction to take place. This work enables a new way for designers to consider interactive elements as part of a feasible options and could be used in new and innovative ways.

Studio INI at ADO Final Selects Luke Walker 7_1.jpg

http://www.nassia-inglessis.com/works-recent#/urban-imprint-1/

Looking Outwards: My Inspiration

When I think of inspirational art involving technology, the use of lights always comes to mind. For example, one of my favorite things about Carnegie Mellon University, are the lights used as art at the Hunt Library and the lights on the Pausch Memorial Bridge. One piece of artwork that comes to mind and is similar to these is the “Final Response” in London. The lights in this piece of art interact with people’s movement as they walk by. The artwork consists of invisible sensing technology which was created by Software Programming and Electrical Engineering company, White Wing Logic Ltd. I imagine they created custom software for this project, although not much is released about the work put into this project. Along with them, a structural engineering company, installation company, assembly and fabrication company, and a concept and design company (Cinimod Studio) helped make this possible. Cinimod Studio says to have gotten their inspiration from Soho’s evolution of the media district. These changing lights offer something new and futuristic (at least it was at the time, in my opinion), with the opportunity to evolve just as the media district has. While I have never been to London, I feel it would be very peaceful to walk by here and would give me just as much joy as the lights displayed at CMU do. Here’s the link for a more in-depth description, https://www.cinimodstudio.com/experiential/projects/finial-response, unfortunately, I wasn’t able to find much information about the project itself.

LO-1

One work that I have found inspirational is the installation made by Nader Tehrani at the Moma in 1998. It is a sculptural piece,
essentially just an orthogonal grid push thru and projected across a distorted plane. The work is made of intricately folded metal, and
was completely custom fabricated. It was one of the first explorations in computational design in architecture aside from the work of
Frank Gehry. I was fascinated at how small the margin of error in the construction was due to the precision of the computational work
and its inherent intricacy. One can look at the work and only see the orthogonal grid, but as the move around the work, it begins to
distort from that shape heavily.

ON THE NECESSITY OF MESSY RESEARCH