LookingOutwards-02 – Page 4 – [OLD SEMESTER] 15-104 • Introduction to Computing for Creative Practice

Looking Outwards 02

The project and business “Nervous System” is created by cofounders Jessica Rosenkrantz and Jesse Louis-Rosenberg, who were studying at Harvard, and MIT, respectively when they began their generative design company, which designs puzzles, jewelry, and lampshades using computer-generated designs. I was specifically drawn to this project because of how they approached it in a very architectural manner, and coincidentally Jessica was studying for her Masters’s in Architecture at Harvard’s GSD when she created Nervous System. I’m very drawn to the organic and biological quality of the computer-generated forms which they use in all their works, specifically the jewelry. Additionally, the fact that their art is for sale at relatively reasonable prices (for handmade wooden puzzles and silver jewelry) is really inspiring, because not only did they choose a super exploratory and playful field (as opposed to architecture), they are actually making a living off of it. This lively exploration of biomimicry as a precedent for shape and form in relation to computer science is, to me, clearly her chosen artistic style, seeing as Jessica is the lead artist and also studied biology as an undergrad. The algorithm that is used to create these forms is undoubtedly designed to prioritize and create these natural forms, and while the shapes are all seemingly random, it is clear that a lot of technical effort has been put into making the forms cohesive.

Looking Outwards 2 – Generative Art

Title: Modular Lattice
Author: Marius Watz
Link: http://mariuswatz.com/2012/08/08/modular-lattice/

I am very interested in Marius Watz’ project called “Modular Lattice”, as I enjoy that it has a 3-dimensional component to it, unlike the typical 2-dimensional drawings. Being from an architecture background, I admire how these “forms” can almost be seen as structural. It would be interesting to see these 3D elements supporting buildings or even become the overall building form. I also admire that due to a change in set of parameters, these forms not only vary in the overall form, but the textile qualities (there seems to be various densities). Unfortunately I was not able to find much information on how these 3D elements are derived specifically, however with some knowledge in 3D generative modeling; I can assume that there are variables containing height, width, percentage of infill or number of faces that want to be generated in the final form. These variables can be changed or adjusted depending on specific parameters set. This perhaps allows an unlimited number of different generations of the form (however each are similar due to the same basic / standard elements). Marius Watz’ artistic sensibilities seem to manifest in the algorithm, as he tends to create very random and radially generated works. Therefore, there has to be something in the algorithm that connects to some origin point, with perhaps a randomizer function that allows unlimited possibilities but with parameters that the artist can set / control.

Looking Outwards: 02

Panoramical, a generative video game created by Fernando Ramallo and David Kanaga responds to the player’s movements to create an audiovisual experience that combines the worlds of both music and art. The game’s psychedelic experience gives nods to virtual reality and is mostly used now by DJ’s at music sets. Not only is this video game visually beautiful, but it is admirable for the endless mediums it can be used for. Music is often a personal experience for the consumer, so Panoramical pairs well with concerts, studying, virtual and augmented reality, or even something to just play around and get mesmerized in. It’s assumed that the algorithm relies on user touch interface to randomly generate different patterns for the visual element, and different rhythms and beats for the musical element. Ramallo wants the heart of the experience to be the multiple sensory abilities that can be created within the game. One can get absolutely lost in this interface, and a very personal element arises as the user creates an experience tailored for themselves, by themselves.

Looking Outwards 2

The project I’m choosing is Michael Hansmeyer’s Zauberflöte(2018), which is a stage design for Mozart’s Magic Flute. In my previous research about Hnsmeyer’s architectural design, I admire how he focused more on the process of generating design and the visual impact. And for this stage design specifically, Hansmeyer used the computer to generate countless details and constellations, which makes astonishing visual effects for the audience. The visual impact helps the audience directly sense the stage atmosphere. With the cooperation of actors, the audience will be able to gain novel spacial feelings about the show, using their own imagination to dig into the deeper core of the opera’s philosophical part.

Moving on to the algorithm that generated the work, Hansmeyer said that they “seek to create an architecture that defies classification and reductionism”. The algorithm runs continuously and forms a constant and holistic shape. The computer algorithm plays a major role in the design: with the organization of designers, the computer can bring some of the expected effects, while also bringing unexpected results with its own permutation.

here is a link: https://www.michael-hansmeyer.com/zauberfloete

LO2-Generative Art

Meander – Robert Hodgin

“Meander is a procedural system for generating historical maps of rivers that never existed”

I find this project especially interesting and inspiring because it is a representation of art that transcends time. Hodgin not only uses animations of rivers on a map, but also 3d representations that depict the effect of these rivers on the surrounding terrain, as well as the overall topography of the area. As an architecture student i find this super unique because it combines animation and art with useful information that can make predictions based on the condition of the earth.

The algorithm of this piece seems to involve the usage of vectors to produce bends that form the curves of the appearing rivers. Hodgin was inspired by the artist Harold Fisk, who first created these maps that visualize time along with engineers in the US Army Coup. in 1944. It’s fascinating that now, with more evolved technology, idealizations of many artists in the past can be produced by later generations.

Meander

Blog 02

Akten, True Colors 2020

https://www.memo.tv/works/true-colors/

One of the artists I really enjoyed the work of was Memo Akten, his work with AI intrigued me. The computer could only recognise things that it already knows, one of the demonstrations was a video of a woman moving some keys and headphones around. Next to that video was one that was a record of what the computer could comprehend, in that video appeared flowers and moving water. The interpretation struck a chord because it shows that the computer, although not “feeling” , pieced together beautiful things and saw them as default shapes (probably because they’re less complex than things like faces). I’m not sure how he creates art like this but I assume it’s something along the lines of feeding a computer program a bunch of pictures and then showing it new pictures and watching it try to figure out what it is. I’ve seen other programs that you can put two words into and a program try to create something that fits the two words together. I assume that this is almost like the opposite of this. It’s also kind of interesting that the motivation behind Akten’s projects is to create something but he’s doing it in a second hand way. He creates the thing that then creates the final product, I can appreciate the level of detachment he has from his final product while still being able to orchestrate it.

Looking Outwards – 02

When exploring generative art and different artists, I discovered Georg Nees and had fun looking through his work. Nees has a background in math and physics and started working in the field of computer graphics in 1964. He was one of the first artists to use algorithms on a computer to create his artwork. He first publicly displayed his work in 1965. The artwork was first coded on punched paper tape before being created by a drawing machine (Zuse Graphomat Z64). I think it is pretty cool to hear about an older system of coding like punching paper and translating to a drawing machine, and I admire the want to make art with a different system like computers. I enjoy looking at Nees’s artwork as it holds both a simplicity and complexity. The black line on a white background seems simple, but the patterns and images become so complicated. There is a sense of order and chaos. Pretty amazing that they are all created with code!

Artist: Georg Nees
Source: http://dada.compart-bremen.de/item/agent/15

Looking Outwards 02: Generative Art

The project I admired the most about is the ” algorithmic modulations” by Manfred Mohr. It’s a projection of a rotating 12-D hypercube onto a 2-D surface with thin black lines in the center that changes upon the movement of the quadrilaterals to provide visual impact.

I was first attracted because I thought the shapes of cubes looked like the shape of a human with different movements. As I watched the animated version, I was impressed by the beauty of images created by the randoms of rotating quadrilaterals. The randomness of the quadrilaterals was impressive not only for its excitement for unknown changes of the image, but also for a pattern due to the rotation of the 12-D hypercube that there are rules in the randomness.

The work was generated by the algorithm with random transparency and random 3 colors for the quadrilaterals . The code was also created with blacks lines that extend to negative x-values with different thickness to create a visual effect of reflection of different black lines.

The creator’s artistic sensibilities were demonstrated in the randomness that created by the rotation 12-D hypercube and the dynamicness of colors and transparency of the image.

Link: Manfred Mohr, algorithmic modulations, P2610, animation example, 2019 (emohr.com)

LO 2 – Generative Art

For a while, I assumed that for works to be classified under the genre of ‘generative art’, they had to hold a certain level of complexity. I used to picture them as works that completely stray away from all pre-established artistic styles. Manolo Gamboa Naon makes me think otherwise. Through experimentation with basic geometric shapes, his work bridges the world of digital and analog art. In manipulating the most bare artistic elements, Manolo explores the divides between organic and artificial. The fluidity of his works are achieved by approaching the digital surface as a plastic space. Even though this field of generative art may be new to many, historical influences (such as Kandinsky) in his work furthers a sense of relatability. For me, the rhythm and beauty of his works are derived from simple manipulations of color and composition. Even through minor shifts of pattern and placement of shape, Manolo achieves a great range of emotion.

While it may take me a while to understand the specifics of his algorithm, Manolo translates techniques like Decalcomania–a blotting process where paints create a mirror image–into code. Through–presumably–random layering of color, his program creates gradient-like surfaces that each fade into one another. Thus, these digital tools enable him to create levels of fluidity that cannot be achieved with any other analog techniques.

Looking Outwards-02

Music has always been a large aspect of my life, as my daily routine essentially revolves around it. Whether I’m getting ready in the morning, studying, or cooking, there’s always some kind of playlist being played. After perusing through a variety of generative art creators, I discovered an artist that also shared a love for music.

Toni Mitjanit is well known for their ‘Spaghetti Coder’, a project that has a complex and tangled control structure that creates rhythm through motion and sound. I admire the blend Mitjanit created between art and mathematics, and their goal of modeling nature’s appearance, motion, and sound. The interesting variations of Mitjanit’s coded designs give off a sensual and “vibey” feel when you watch them on top of music, and I can definitely see them being played at festivals or concerts.

AAAC (An Autonomous Agent Coder) from Spaghetti Coder on Vimeo

Mitjanit uses a combination of different mathematical tools (i.e. trigonometry, calculus, matrices, etc.) with programming languages like C++, Java, Processing, and openFrameworks in order to generate these unique visuals. If Mitjanit wants to include an user interaction aspect to their artwork, they also utilize communication hardware like MIDI, OSC, or DMX protocols. I think my favorite usage of programming and media that Mitjanit used was using fractal brownian noise as texture a piece involving for geometric lines and patterns.

Mitjanit’s artistic sensibilities can be clearly seen throughout their algorithm, the play between mathematics and physics coupled with their creative nature-centered concepts are a work of art, and a step forward in the mix between modernization and appreciation for our environment.