Simulation Hypothesis

In Simulation Hypothesis, Zhestkov equally seeks inspiration in pre-historic cultures of cave art and ancient bas-reliefs. He plays with a visuality that precedes written language, from a time in which early humans used clay to make vessels and figurines.
The artist uses the inspiration from ancient forms of art and transforms it into digital sculptures using simulations and algorithms based on principles of nature.
The show takes viewers on a conceptual journey, immersing them first in Clouds of Creation, a large-scale projection that recreates the Big Bang, and then guiding them through micro manifestations of this transformative moment of genesis.

Sunshowers
(AI) infinite simulations
FILE FESTIVAL SP 2019
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‘Sunshowers’ is the third in our series of real-time animation artworks. It is inspired by the opening chapter of Akira Kurosawa’s film Dreams which follows a young boy as he explores a forest and stumbles across a fox wedding (Kitsune no Yomeiri). Our piece explores ideas of animism and techno-animism by assigning life in the form of artificial intelligence to all of the objects, both natural and man-made, within the virtual world. The piece unfolds in real time with the characters themselves deciding which paths they will follow.

asphyxia
The performance is centered in an eloquent choreography that stresses the desire to be expressive without bounds. Motion data was captured using inexpensive sensors and that data paved the way through an extensive number of steps. Once all the scanned point cloud data were combined, they were used as the base for the creative development on the piece. A series of iterative studies on styles followed and several techniques and dynamic simulations were then applied using a number 3D tools for various results.

“Entropy Wrangler,” Ian Cheng’s 2013 exhibition at Off Vendome in Dusseldorf, was an excellent introduction to the logic behind this artist’s practice. The centerpiece was a large projection in the gallery’s basement described as “a live computer simulation that changes and evolves, forever.” Like all of Cheng’s simulations, it was programmed with motion capture techniques that register the physical movements of performers that are then translated onto digital bodies. These bodies coexist as individual entities subject to the laws and dynamics of a causal, virtual world: avatars of people and common objects, like hammers and basketball players, rendered in basic three-dimensional form and caught in the zero gravity of the digital screen

Test Studies
In the 20th century, the film industry largely monopolized the representation of human feelings, whereas in the 21st century, the video game industry engages our emotions through participation. At least that is what Ed Fornieles is trying to demonstrate with his video installation Test Studies in which three-dimensional simulations of a role-playing game are juxtaposed with the emotional comments of those who experience it.
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BOB

Cheng’s work explores mutation, the history of human consciousness and our capacity as a species to relate to change. Drawing on principles of video game design, improvisation and cognitive science, Cheng develops live simulations – virtual ecosystems of infinite duration, populated with agents who are programmed with behavioural drives but left to self-evolve without authorial intent, following the unforgiving causality found in nature.

Photo: Andrea Rossetti

Morphogenetic Creations
Created by a mathematician, digital artist and Emmy award winning supervisor of computer generated effects – Andy Lomas, Morphogenetic Creations is a collection of works that explore the nature of complex forms that can be produced by digital simulation of growth systems. These pieces start with a simple initial form which is incrementally developed over time by adding iterative layers of complexity to the structure.The aim is to create structures emergently: exploring generic similarities between many different forms in nature rather than recreating any particular organism. In the process he is exploring universal archetypal forms that can come from growth processes rather than top-down externally engineered design.Programmed using C++ with CUDA, the series use a system of growth by deposition: small particles of matter are repeatedly deposited onto a growing structure to build incrementally over time. Rules are used to determine how new particles are created, and how they move before being deposited. Small changes to these rules can have dramatic effects on the final structure, in effect changing the environment in which the form is grown. To create these works, Andy uses the GPU as a compute device rather than as a display device. All the data is held in memory on the GPU and various kernel functions are called to do things like apply forces to the cells, make cells split, and to render the cells using ray-tracing. The simulations and rendering for each of the different animated structures within this piece take about 12 hours to run, Andy explains. By the end of the simulations there are over 50,000,000 cells in each structure.The Cellular Forms use a more biological model, representing a simplified system of cellular growth. Structures are created out of interconnected cells, with rules for the forces between cells, as well as rules for how cells accumulate internal nutrients. When the nutrient level in a cell exceeds a given threshold the cell splits into two, with both the parent and daughter cells reconnecting to their immediate neighbours. Many different complex organic structures are seen to arise from subtle variations on these rules, creating forms with strong reminiscences of plants, corals, internal organs and micro-organisms.

After Party

(AI) infinite simulations

‘After Party’ is an animation about two young girls, Ada and Milica. They find themselves in a strange space where an adult party is happening. With every new simulation their personalities evolve in unpredictable ways: between Childhood and Adolescence, Refined and Savage. Our digital work consists of creating artificial environments in the form of real-time animation using our own custom software, where artificial intelligence characters interact with each other as well as with the virtual world that surrounds them. These pieces are usually inspired by stories or myths found in different cultures.

FILE SAO PAULO 2019

Кристофа Сенсена
dead man float
CAVEman 3-D Virtual Patient Is a Holodeck For the Human Body

The virtual-reality rig at the University of Calgary visualizes aspirin’s journey through the body in 3-D. First stop: the stomach and intestines [red], where the drug is absorbed. Next up is the bloodstream [light green] and finally the kidneys [dark green], which flush by-products into the urine
In this image, three stereoscopic projectors mounted on the floor and one on the ceiling display a computer-animated body. Looking through the goggles, researchers can watch its bloodstream turn from white to red as aspirin travels through it. Sensen hopes to develop computer simulations that will model the progression of diseases like Alzheimer’s and diabetes and help scientists quite literally look for cures. Updated to reflect what’s happening inside a real patient, the technology could also help doctors diagnose and treat cancer. “You could stand inside your patient,” Sensen says, “and see how big the tumor is, how to treat it, and what the outcome will be.”

Waterfall
Waterfall Sculpture created using fluids simulation (particle based simulations. These particles are influenced in a multitude of ways by point-based nodes, known as daemons, which can simulate gravity, fluids, water surfaces flow and collision.

Magnavox Odyssey
Even if you’re a devoted fan of video games, there’s a decent chance you’re not familiar with the name Ralph H. Baer. This should be considered gamer high treason considering Baer’s importance in creating the concept of home video games and the vast, varied entertainment ecosystem now built upon them. Despite being the one to push the dominoes toward an industry that currently makes billions of dollars annually, the bulk of the gaming community has largely forgotten about him.Now a 91-year-old widower, the German-born Baer is the inventor of the Magnavox Odyssey, the world’s first video game console. The Odyssey is predated in the games-on-screens space only by experiments like Willy Higinbotham’s Tennis for Two and the coin-op dud Computer Space. But Baer also has a long and distinguished record as an engineer and inventor. The list of patents and gadgets in his name encompasses surgical-cutting equipment, “muscle-toning pulse generators,” submarine-tracking radar systems, video simulations for trainee pilots, talking books and talking doormats, iconic ‘80s toys like SIMON and Laser Command, and even launch displays and a lunar-resistant camera grip for the Saturn V and Apollo 11 space programs.