LookingOutwards-02

LO 02: Memo Akten – Circa 2018/2019

Memo Akten is a computational artist whose work revolve around converting data into speculative videos through generative design. One of his projects titled Cicra is a video essay that revolves around interconnectedness of algorithms and human existence in this world. Most of the generative artists work with video and sound to produce an atmosphere. The most I admire about Akten’s work is the storytelling along with the stitched snippets of videos which are algorithmically generated, which emphasizes the human-machine relationship.

Memo Akten is a computational artist whose work revolve around converting data into speculative video through generative design. One of his projects titled Cicra is a video essay that revolves around interconnections of algorithms and human existence in this world. Most of the generative artists work with video and sound to produce an atmosphere. The most I admire about Akten’s work is the storytelling along with the stitched snippets of videos which are algorithmically generated, which emphasizes the human-machine relationship.

A selection of (camera friendly) work in 4 minutes with voice-over (as of 2020) from Memo Akten on Vimeo.

Blog 02

I looked into Edward Zajec’s paintings. Though they seem basic at first glance, I was drawn to the order and systematic organization of the geometries in the paintings. I admire the commentary on the reality of computers in our lives. In the earlier days when computers were being introduced, Zajec decided to turn to these hand painted graphics that emulate the construction a computer generates. Additionally, the rules the Zajec assigns to the composition remains simple. Though with only two rules, there are almost an infinite amount of repetitions and unique compositions that the logic can produce. The act of producing the painting by hand though, makes the art work feel more local to “reality” or to the way humans were before the complex algorithms of the digital world took over basic needs in our lives.

https://www.atariarchives.org/artist/sec16.php

Blog 02

Roman Verostko, originally a traditional painter, moved to generative art using simple programming techniques and pen plotting tools. Since then, he has spent his artistic career expanding upon these tools which he deems “elementary,” and has built a vast portfolio of pieces with many differences in techniques that make them look visually different, but are all developed from the same principles. His work, Epigenesis: The Growth of Form, shows off, in a 40 foot long mural, the range in aesthetics his algorithmic process can create. From pen marks that create almost blurry-looking works to clear, contrasting, brushstrokes, the mural uses symmetry and subtle changes in color and orientation to create eleven panels of artworks. Though it is possible this work could be created by hand, Verostko’s passion lies in the mastery of one ultimately, simple, technique that can be expanded upon to create a body of work that shows off its range through changes in material, but not in process.

Epigenesis: The Growth of Form

Sifting through the reference projects on the assignment sheet, I was very intrigued by the work of Leander Herzog. The projects from Herzog that really stood out to me were Very Large Array and Gerhard. Although Herzog has programmed an algorithm for the pieces and has a vague idea of what the piece will look like, there is an infinite number of possibilities as to what can be produced because the user is the one generating the art. I really enjoyed how involved I felt contributing to the art work. Both pieces had a similar effect where the art work generated based on how you click on the screen; however, the addition of sound in Very Large Array was fascinating as the sounds looked like they were creating the art with me. From what I understand so far, I believe the program has to be using lots of randomization, but this randomization is constricted by a series of rules and code that Herzog has layed out.

https://leanderherzog.ch/

https://leanderherzog.ch/2022/gerhard/

https://leanderherzog.ch/2022/vla/

Blog 02 – Generative Art – srauch

I’m inspired by the landscape-generating algorithm Minecraft uses to build its maps. Each Minecraft world has a completely unique map, but they are generated piecemeal rather than all in one go–the map is built one 16×16 block “chunk” at a time under the player as they wander. The worlds are built a layer at a time, using a 64-bit random number called a seed that determines the shape, biome, and finally content of each chunk, though the game also relies on “smoothing” functions that ensure biomes blend logically into one another–for example, there won’t be a snowy forest next to a desert.

The landscape-generating algorithm Minecraft is the soul of the game. It creates in the player a sense of thrill and wonder about exploring a completely unknown landscape spreading out around them – a feeling that’s hard to come by in a highly connected 21st-century world. In a more technical sense, it’s also nifty in that it allows the game itself to be quite small–the whole thing, fresh out of the box (so to speak), takes up less than a gigabyte, making for an easy download.

LO: “Hidden Order” Generative Muslim Geometric Art and Music

As a Muslim American I’ve had the privilege of coming from an artistic heritage of geometric graphic art. From the Alhambra to the niche at the CFA, Muslim geometric art is one of the most amazingly simple yet dazzlingly complicated art forms I’ve ever studied. (historical studies, of course. I’m not good enough at drawing it yet!) So naturally I went looking for some Muslim generative geometric art, and I found this amazing project called A Hidden Order, a cross disciplinary collaboration between traditional Muslim-British geometer Sama Mara, and English musician Lee Westwood.

By combining sound and geometry they have created a generative art process where the music and sound informs the composition of the piece. First, Lee Westwood (and co) play a pre-composed piece. This is then run through algorithms and code to generate a colorful geometric image which assembles itself over the course of the piece. Some of them could then be photographed and turned into prints like these:

Octagon III – Conga – Variation I. 80 by 80cm

I’m not sure how exactly they might have even approached the algorithms to this. Just the concept boggles my mind. To see them actually performing and having the piece assemble as they play is even more astounding. This was what was said of the project by the author of the Islamic Digital Arts blog: “Each key or note was interpreted by a program that would then convert the sound to form part of a colour and shape system.” And yes, while some might think it looks like a kaleidoscope, it isn’t so simple. These forms are not just refractions of glass but are a part of a sacred geometry which has influenced the architecture and art of large parts of the world for over a millennia. If these were ceramic tiles, I could see them decorating the walls of grand mosques from Morocco to Indonesia. Were they carved stone, I could imagine them as the dazzling domes of the mosques in Isfahan. Not only is there a mathematical and artistic significance here, but a cultural one as well.

At the end of the day, I’m not so concerned with the algorithm as with the intersections and overlap of Western, Islamic, musical and visual arts and math. It’s really a gorgeous representation of how so many seemingly different things can come together to create beautiful art!

Looking Outwards 02: Generative Art _Alicia Kim

The generative art piece that inspired me was Aaron Koblin’s project called Flight Patterns. This piece of art is created by parsing FAA data and creates different lines and colors according to flight paths. This project is impressive not only because of the technology and algorithm put into it but also the presentation of different colors and how he made multiple days worth of flights into one photo. Especially the intersections between flight paths generate a big spectrum of colors of light and as well as more tones. I suppose that he parsed multiple days of FAA data and made it into a single data piece and the colors represent different time, generating a large spectrum of colors. The different colors for different time was very intentional and generated a beautiful combination of brightness and tone. The creator’s ability to program and analyze data boosted his artistic ability to create this great piece.

http://www.aaronkoblin.com/project/flight-patterns/

LookingOutwards-02, SectionB

LO2: Generative Art

Work Title: Quantum Fluctuations

Artist: Markos R. Kay

https://www.mrkism.com/

This work is made from multi-layered virtual experiments that demonstrate the fundamental and transient nature of the quantum world that we all live in. What fascinates me the most is the work’s visual impact. Although the quantum world is a difficult object to measure, this drawing allows me to see things that are not visible to the naked eye, which also resonates with the value of art: allows one to visualize imaginative ideas. In this art piece, parallel to those experiments conducted in the laboratory, the particles are simulated as brush strokes in order to paint the image of a proton collision. The algorithms behind this artwork consist of rigorous data collection of the proton beams, particle analysis, time, etc. According to the artist’s website, the visualizations of these processes are created with “input from scientists working on Large Hadron Collider at the CERN, Geneva. Beyond algorithms, the artist uses color combinations to create depth that draws our attention to its innermost point. The colors are stacked together with different alpha values to create blurriness and reflections. The realistic effects of the shapes and their splashing particles bring the artwork to life as if it was a standing painting.

LO 2: Generative Art

I found that the work Into the Trees by Robert Hodgin is very interesting and inspiring. This work depicts a walk into the forest with colorful small path that change colors and glowing light all the time. The feeling it brings to me as the scene goes into the forest is very refreshing. The change of day and night also makes the project more interesting, making me feel like I’m exploring the forest for a very long time.

I think the changing colors of the path is really the greatest part of the project. This rainbow glowing path catches my eyes from the start, and as it extends into the forest, I can’t help myself imagining this as a game scene and I’m following this path to a place where there’s a very beautiful creature.

From the technics used, I think the artist generates a 3-D world that’s generating new scenes. With a background showing changing day and night, the artist then randomly generates the path and trees alongside.

Looking Alp-wards

Leander Herzog’s “Alp” (2021) is a browser-based program that presents an “alpine” landscape of (presumably) randomly generated shapes. It layers 6-7 coordinated colors in a random yet recognizable landscape form, which is simple yet beautiful to me. The colors are especially eye-catching, and I wonder if they are determined by the same code used by color swatch-generating sites like Coolors and Adobe Color.

my favorite variation of Herzog’s “Alp”

Both the colors and the shapes of the “rocks” seem to be generated concurrently and randomly. Perhaps the shapes are polygons with constrained coordinates that change whenever the function repeats itself. The ellipse in the top left “sky” area doesn’t change in placement or diameter, but its color changes to fit the palette.

Herzog’s other work generally seems to share the “less is more” ideology. Many of his other algorithms use only 2 colors and simple geometry that reacts to mouse clicks and movement. The graphics are so mesmerizing, I could play around with them for hours, and I think you all should too!