LookingOutwards-02 – Page 5 – [OLD SEMESTER] 15-104 • Introduction to Computing for Creative Practice

Blog 02: “Distributed Consciousness”

By Ilia Urgen

“Distributed Consciousness” is a collection of 12 digital illustrations from 2021, created by Turkish-born visual artist Memo Akten. For reference, I have included 1 of his illustrations below.

Akten is an artist who’s constantly inspired by the natural environment around him and how human interactions connect with nature. The main subject of the 12 illustrations is an octopus, which Akten saw while snorkeling in the Mediterranean Sea.

I admire the depths of dimensions in his collection, along with the use of contrasting textures and vivid-bright colors, all while keeping an underwater theme. The soft, gentle eyes of the octopus makes the observer feel at ease, where they can picture themselves being underwater just like Akten was. I also admire the ombre-effect in the background, making the illustration even more welcoming.

This collection involved a combination of artist, artificial intelligence, and ecological awareness. Akten’s greater understanding of digital computation, the natural world, and environmental design is what draws any person to this work of art.

aarnavp – LO 02 Generative Art

In the topic of Generative Art, I was especially inspired by Mitchell Whitelaw’s “Generative Heritage” pieces on New Castle, UK. Strictly from an anthropological standpoint, there is a lot of significance to the concept Whitelaw intends on emulating, as he intends on capturing the various facets of history embedded within this place as a “digital artifact.” Moreover, there is this idea of modernizing the practice of “collaging” in a way that effectively speaks more to the significance of the content. Mitchell talks about this idea of automation simplifying all the possible permutations of a design, whereas traditional art methods would involve a lot more selectability/omission of content. While this may apparently speak to the artists’ decisions, it diminishes the ability to emphasize the concept, which is the history of New Castle. This project especially changed my outlook on generative art, as it represents the idea of possibility as opposed to “meaningless art.”

Mitchell discussed part of the algorithm, which takes 5 source images from a dataset of 2000. The randomly selected images are then compositionally arranged with “semi-random” patterns/rules that allow for formal visual elements (such as unity and repetition) which create the aesthetic digital collages. The images’ opacities are all lowered for more interaction between the images.

While the process may seem extremely predetermined/predictable, there were several creative choices made within the code that correlate to artistic choices one would make on a physical medium. One method is that the compositor treats images differently depending on the textures/qualities of the material of images – lineweight drawings are treated in a different manner than photographic artifacts, which result in appropriate digital collaging that properly curates elements from the both of them.

LO: Computational Architecture

One of the computational architecture art piece created by artist Michael Hansmeyer is Zauberflöte, a grotto set design for Mozart’s Magic Flute. The thing that I admire most about this project is the combination of classic art and modern experimental art presented by this project to the audience. Mozart’s Magic Flute has been a famous classic opera art piece and Michael Hansmeyer made use of algorithm to design the set for the opera. In this way, this one art piece can draw attention from different groups of art audience: people who are interested in modern experimental art and also people who are interested in classic art. From my knowledge, the grotto’s geometry is completely composed by a generative subdivision algorithm. By using algorithms as a compositional strategy, the artist created an architecture whose processes are deterministic but the results are not necessarily entirely foreseeable, which shows that computational art has the power to surprise the audience.

Reference
Hansmeyer, Michael, Zauberflöte, 2018, https://www.michael-hansmeyer.com/zauberfloete

Computational design of ornaments

Muqarnas is elaborate structural ornamentation that transits between floor plans and dome ceilings. This project done by Michael Hansmeyer involves using an algorithm to replicate and generate new patterns of muqarnas. I am intrigued by the dazzling patterns computers generate using simple logic. Thanks to computational design, what took hundreds of hours to design in the past can be done in minutes. This project also has implications for ornamental design in other areas, including clothing, interior design, etc.

The algorithm first draws two contour lines marking the top and bottom of muqarnas, then subdividing the space in between recursively. To add variation, the software subdivides the space selectively based on the topographic features of each tile. Finally, contour lines are drawn between tiles of different tiers to add vertical dimension. The author shows his artistic sensibilities by subdividing the geometry so that each tile is too small to recognize. As a result, the muqarnas look like a continuous surface with concaves and convex features, which is different from traditional muqarnas. It is not just a replication of the past but a new design approach that utilizes the machine’s mighty computing power.

LookingOutwards – 02

Looking at Cytoplasmic Playgrounds (2012) by Markos Kay I admire how abstract the images of his collection are while still conveying the motion of the idea he’s trying to show, which is protein interactions. The movement within this collection of drawings brings life to abstracted molecular chemistry and the complexities of detail, depth, and fullness in the images are exciting to explore. The consistently, simple beige backgrounds throughout the collection also prevent the series from becoming too unrecognizable and random. While this image is computer generated, the artist, Kay, adds his own creativity in putting in the way chemical reactions are represented: what colors are used, what items to prioritize, and what movements to convey. The algorithm that Kay used to generate these looks very complicated. I think he does use the random function within bounds to generate the positions of items, especially the points in the clusters. The ‘movement’ in the drawings tends to appear to have a center, indicating that the algorithm might use vectors attracted to centers to give the appearance of centripetal movement.

Multiprotien Complexes: A set of similar proteins that allow for a simpler and more efficient pathway for protein (ie. enzyme) movement.

JUZY

Philip Rideout : Self portrait of Vincent Van Gogh {2010} on website Alteredqualia

A project that really inspired or perhaps struck a chord with me was the self portrait of Vincent Van Gogh created by Philip Rideout. The aspects which I liked about it was its simple nature but overwhelming presence. The artworks used in the work are simple, however, the digital manipulation is something that adds to the fun of it. The way the effect is too similar to the immersive Van Gogh experience, thus it reminded me of that. I do not know exactly how this artwork is created, but I do know that its algorithmic nature is what makes it special, a simple two dimensional piece would not have done justice to this. But, I do know that it was made using Deepwarp.

The creator has taken a simple approach towards a simple artwork, but his fine adjustments helped make it a fine artwork with commanding presence and a certain 3 dimensional quality. The warping quality sure adds to that. I really admire the way the artwork turns simple elements into complex art.

https://alteredqualia.com/xg/examples/vincent.html

xuyrrej-LookingOutwards-02

For this blog, I am choosing to write about Fluctus by Lia. Firstly, I admire its color palette. The entire project, whichever surface it is projected, gives off a futuristic feel, with its dark colors contrasting with bright blue. Second, I love that the project has moved and is not a static image. The movement gives the piece life and makes it seem like a living, breathing creature. Lastly, I enjoy the organic feel of the project. There are no straight lines, and even though everything seems to flow freely, organized patterns still manage to form.
I think the artwork is generated by an automatically repeating code that only needs to be set off by a single command. The continually running sequence might be simple at its core, with the patterns created being intended but not entirely planned.
Her other projects seem to follow a similar design language, with a strong preference for movement, organic design, and pattern.

Section A
https://www.liaworks.com/theprojects/fluctus/
https://vimeo.com/320461873

SydneyCha-LookingOutwards-02

The Arcs 21 project by Lia was made using Processing code and AxiDraw, a mechanical plotter–a calculated process, yet the final piece is as compelling as a drawing done by hand.

One of the most important aspects of creation is the process between the conception and execution of an idea. Pieces I find most compelling show bits of the process and the artist’s mind at a glance. To be transparent, I used to look down on computer-generated art for this reason. Computers to me were always cold and calculating, and I had the notion that anything that was processed through a computer would end up just as emotionless. I thought I wouldn’t be able to sense anything about the artist through a generated piece.

I was confused when I first saw No. 001. There were clusters of thin pen strokes that were playful, yet perfectly placed. Some of the other pieces felt too “obvious,” but No. 001 really felt like a piece from the artist’s heart. I was reminded of tree bark, desert sand, and the expressive ink exercises I did last year for Design. I think I feel especially attached to this piece because it has the ability to make me think about things I’ve experienced.

Mechanical Plotter Drawings – Arcs 21 from Lia on Vimeo.

https://www.liaworks.com/theprojects/mechanical-plotter-drawings-arcs-21/

LO 02: Generative Art

I am inspired by the work Flow Field Coloring by Juhani Halkomaki (from openprocessing.org). I think this project is really beautiful in the way it represents abstract art, shapes, and colors. This work is an interactive dynamic image of moving curved lines on the canvas that transform as the
mouse is moved across the screen. I am able to interact with this piece to create my own piece of art within an already defined system. The way the colors slowly transition and the lines move across the page is mesmerizing. The algorithm within this project, I would assume, incorporates code for the initial generated swirling shape and randomizes how each line flows between the defined points. The algorithm tracks the mouse and moves the lines and creates new colors. The creator incorporates their artistic vision in the piece in two ways where one is the interactive movement of the user’s mouse across the canvas, creating a harmony of different colors, and the other is when the image is static and shows the resulting abstract art that has resulted from the user.

Link to artwork

LO 02: Generative Art

“Flow” is an interactive art exhibit by Karl Sims. Developed in 2018, it is a computer simulation that displays particle flows and fluid dynamics in vibrant colors on very large screens. The simulation becomes an interactive art installation when viewers interact with it. A Kinect depth sensor registers the human form and mirrors their appearance, placing the viewer in the art. The program senses human gestures and the algorithm registers these gestures as disruptions in the flow; thus generating new and unique art with each viewer. The particle simulation is reminiscent of Van Gogh’s art and immerses the viewer in their own “Starry Night.” The fluid simulations look as though the viewer can paint with their gestures or as though they are immersed in blooming ink drops. Still others give the effect of being embodied in light or rainbow fabrics. In all there are 10 different effects in this exhibit.

There is simplicity in this installation that I admire. It combines the physics of particle flow and fluid dynamics with color. The flow algorithms give the art its initial form, but this dynamic form becomes dependent on viewers as they interact with it. The physics are based on vectors and fluid flow models. Details can be found here.

Sims has been creating flow simulations and generative art since the 1980s. The progression of his work in combining software, art, and the human experience is evident when viewing his earlier works. This installation was commissioned by MIT’s CSAIL, Computer Science and Artificial Intelligence Laboratory. It is currently on display at the MIT Stata Center, in Boston, Massachusetts.