Kelly Luck
Strangeland 1 (excerpt)

FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
Kelly Luck – Strangeland 1 (excerpt) – United States

From a surrealist point of view, the main attraction of generative AI, for the artist, is its lack of memory. At any given moment, she only has the current frame and instructions on how to proceed, similar to free association in dreams. This work is part of a series of long-term environments designed to immerse the viewer in a constantly evolving and never-ending landscape, inviting relaxation and engagement.

Bio

As part of the first generation to grow up around computers, Kelly Luck quickly became fascinated with the creative possibilities of this new technology. Her journey has ranged from pixel art and graphic ‘hacks’ to the 90s demoscene, 2D and later 3D graphics, and now the modern tools of digital art. With the emergence of generative AI, it endlessly explores how technology continues to blur the line between imagination and reality.

DIMENSION
Mamoru Hosoda collaborated with Morinaga to create this great collection film. It begins with the formation of the clothes as Morinaga designed them, not through cut and drape but via cut and paste, and we see the garments as digital toiles made up of fractal contours true to the representation of futuristic facades stretching back to Metropolis and Tron. Then the dresses form more tangibly, but still in 2D, filling those vectored spaces with the angled jigsaw of reclaimed denim, chino cotton, and gabardine, plus reflective material (all seamlessly bonded) from which they are made. It slowly becomes kind of clear that we are seeing a fashion show in U, the virtual world which Belle’s heroine inhabits—and that it is also being streamed on U’s equivalent of YouTube. There are rooms within rooms within rooms.

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仮想世界は二次元。非日常の世界。現実世界は三次元。日常の世界。仮想とは、現実にはない世界を仮にあるものとして考えてみること。現実とは、事実として目の前にあらわれている世界そのもの。2022年春夏コレクション「DIMENSION」は二次元と三次元を越境する。画面の中の世界は二次元。細田守監督最新作「竜とそばかすの姫」のアニメーションの世界。劇中に存在する仮想空間’’Ｕ’’でコレクションが幕を開ける。CGアバターモデルが、宙に浮くガラスのランウェイを歩く。画面の外の世界は現実。‘’U’’が投影された真っ白な空間を、実在のモデルが歩く。コロナ禍がもたらしたデジタルのファッションショーは、軽々と世界の距離を縮め、すべてをフラットにした。画面の中では、立体と平面の区別はなくフラット。画面の中と外の境界もまた、消えていく。画面の外で纏うだけでなく、画面の中でも纏うことができる。

Espace aérien
En 2016, Dirk Koy a fondé le studio de motion design et de film expérimental «Dirk Koy Bild und Bewegung». Dans son travail, il utilise différentes technologies (drones / animation 2D et 3D / photogrammétrie / AR / VR) pour créer des images numériques en mouvement. Il explore l’interface entre réalité et virtualité et recherche également la composante picturale dans le contexte numérique. L’expérience joue un rôle central.

Three Supermarkets
Three Supermarkets is an infinite loop film with a shopping cart riding across multiple coexisting fictional supermarkets. As the first episode of the Phygital Supermarket Trilogy, this film explores the hybrid compositing of the emerging physical and digital media and techniques. The production process of this film uses industrial-grade six-axis Staubli robot arm as shooting equipment, green screen shooting, volumetric video capture, photogrammetry, Cinema 4D Mograph, Redshift shading & rendering, 2D/3D compositing, and other custom build techniques and workflows. Familiar but neglected objects, such as apples and snack bags, were scanned as either static models or animated model sequences from the physical world to the digital space.

Mens SS 2020
“After the scene shifted from a selection of 2D garments, removed to reveal Browne’s brilliant designs below, the show began in earnest. The looks, as gleefully playful as ever, took on elements of Browne’s typical offerings and elevated them to the level of supreme costume design. Several imposing silhouettes recalled dresses worn by Antoinette-era aristocracy, with gargantuan trousers and shapely sportcoats crafted to resemble distorted Ivy League staples. Elsewhere, pleated skirts emerged as a prime trouser replacement, with cropped jackets and seersucker jockstraps to introduce a sporty motif.” Jake Silbert

MATT3R
De reis begint in de eerste dimensie, de beelden evolueren en nemen fysieke parameters en constanten op in het gedrag van de verschillende digitale deeltjes. Tijdens de interactieve audiovisuele ervaring reageren de deeltjes op de fundamentele krachten van het universum zoals zwaartekracht, elektromagnetisch, sterk nucleair en zwak nucleair. Omdat licht een fundamenteel element is als het gaat om praten over het universum, de schepping en de materie, bevat Matter een reeks lichtbuizen die reageren op het audiovisuele en deel uitmaken van de interactieve ervaring. Hoe kan het ook anders, Vitamin heeft de hele audiovisuele ervaring ontworpen met interactiviteit. Tijdens de hele ervaring kunnen gebruikers communiceren met de beelden door hun trajecten te wijzigen en parameters toe te voegen, waardoor elke passage uniek en onherhaalbaar wordt. Om de interactie uit te voeren, wordt een reeks dieptecamera’s gebruikt die de beweging vastleggen van mensen rond het afgebakende gebied om te communiceren. De 2D- en 3D-visuals zijn ontworpen met Touchdesigner, een tool waarmee je in realtime audiovisuals kunt ontwerpen, terwijl de audio is ontworpen door Carlos Vera, van Noiz.es, met behulp van Ableton.

線分スペース
スレッドのアーキテクチャのウェブは、ヌルスペースの範囲内にあります。それは抽象的な未定義の、間の暗いネガティブスペースをセグメント化する薄いポジティブ要素のセットをぶら下げます。ダイナミックな想像上の形は、この糸の素材と光の半素材によって物理的なボリュームに明確に表現されます。間のスペースを占めるフィラメントの視覚的重力。 2Dキャンバスは、サーフェスピースからラインセグメントに縮小されますが、別の次元であるボリュームに構築されます。光は線上にコントラストと秩序を生み出し、デジタル物質を明確に表現します。デジタルフォームは、相互接続された空間の境界に生息し、視覚的な塊として具現化されます。

Japanese firm yoichi yamamoto architects has completed ‘2D/3D chairs’ for tokyo fashion labels issey miyake store. featuring a series of traditional dining chairs, the installation transforms from a two dimensional graphic into a tangible piece. The perspective is manipulated creating a unique appearance from different vantage points for onlookers. graphics of legs in varying perspectives are printed onto a horizontal plane while the chair backs rest upon the surface. The seat backs maintain a seamless transition from the graphics by utilizing assorted sizes, heights and placed at diverse angles.

Phantom Geometry
“We are developing a system of moving streaming information through space, in the form of light, to generate material form. This system is a full-scale, generative fabrication process that is innately non-linear, is interruptible and corruptible at any time, and does not rely on periodic flattening to 2D. Light is the medium for data in our system. There resident data can be drawn through physical space, at full scale, to generate a photographic artifact, or to instantiate material form through the selective polymerization of proximal photo-responsive resin. This thesis, then, begins to investigate a design paradigm centered on the material reification of light. That paradigm questions the supremacy of the digital model, and the static flattening and stacking logics inherent to typical fabrication workflows. It is part of a conversation about representation, about the role of the designer, and about the way we make.”

Coworo
Coworo is an installation with a shape changing liquid that loses its texture under a spotlight and looks almost solid. After a while, bubbles appear on the surface and disappear again, as if it were breathing. The waves gradually change their size, position, and frequency and develop into physical, continual, kinetic, three-dimensional animations that extend beyond the discrete 2D pixel pattern. Through the hybrid combination of the digitally programmed machine and the organic properties of the physical material, the object creates a constant flux of ephemeral shapes and patterns.

Algorithmic Architecture
This short film is intended to encourage a creative audience to seek out Kevin Slavin’s talk Those Algorithms Which Govern Our Lives. It employs an effect which takes place in Google Earth when its 3D street photography and 2D satellite imagery don’t register correctly. This glitch is applied as a metaphor for the way that our 21st century supercities are physically changing to suit the needs of computer algorithms rather than human employees.

Line Segments Space
An architectural web of threads subtends a null space. It hangs abstract and undefined, a set of thin positive elements segmenting the dark negative space between. Dynamic imaginary forms are articulated into the physical volume by the material of this thread, and the semi-material of the light. The visual gravity of the filaments occupying the space between. A 2D canvas is reduced from a surface piece into a line segment, but then constructed into another dimension, a volume. Light creates contrast and order on the lines to articulate digital matter. Digital forms inhabit the interconnected boundaries of space, becoming incarnate as visual mass.

Limbo
Arnt Jensen
File Festival
FILE GAMES

Limbo is a 2D sidescroller, incorporating the physics system Box2D to govern environmental objects and the player character. The player guides an unnamed boy through dangerous environments and traps as he searches for his sister. The developer built the game’s puzzles expecting the player to fail before finding the correct solution. Playdead called the style of play “trial and death“, and used gruesome imagery for the boy’s deaths to steer the player from unworkable solutions.

Luftraum
In 2016, Dirk Koy founded the studio for motion design and experimental film «Dirk Koy Bild und Bewegung». In his work, he uses different technologies (drones / 2D and 3D animation / photogrammetry / AR / VR) to create moving digital images. He investigates the interface between reality and virtuality and is also looking for the painterly component in the digital context. The Experiment plays a central role.

мясо Мейер
Meats Meier is a freelance illustrator and animator living in Los Angeles, California. An award-winning digital artist, Meier works in both 2D and 3D using Maya and Zbrush for modeling and animation as well as Photoshop and After Effects to composite the images into animations and high resolution artwork.

The Great Haul
Artist Anna Hepler breaks it all down into the perfect representation of form and leaves the viewer to ponder… which is exactly what every artist should do. Her 2D work evolves from her 3D sculpture that she constructs using various cast off pieces of plastic that are assembled and inflated. She then uses those structures as the spring board for her drawings, paintings and prints.

Black Hole
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Bill Domonkos is a filmmaker, GIF maker and stereoscopist. His work combines 2D and 3D computer animation, special effects, photography, video and manipulated archive film footage. His work has been shown internationally in cinemas, film festivals, galleries and museums.

Penny Slinger is a surrealist artist. She produced 50%-The Visible Woman (1971) and An Exorcism (1977), two collections of powerful and haunting collages. Her 2D collages and 3D installations incorporated images and lifecasts of herself. Her media during this period included pencil and paint, printmaking, life casts and other 3-dimensional constructions, as well as photography, film and collage.

Smoking man
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Ο Bill Domonkos είναι εικαστικός και πειραματικός σκηνοθέτης. Το έργο του συνδυάζει 2D και 3D animation, ειδικά εφέ, φωτογραφία, βίντεο, ενώ ειδικευεται επίσης και στο αρχειακό υλικό φιλμ. Η δουλειά του έχει μεταδοθεί και προβληθεί διεθνώς σε κινηματογραφικές αίθουσες, φεστιβάλ, γκαλερί και μουσεία.

Алексе Мид
human portrait (paintings with real Humans)
Rather than creating representational paintings on a flat canvas, Alexa Meade creates her representational paintings directly on top of the physical subjects that she is referencing. When photographed, the representational painting and the subject being referenced appear to be one and the same as the 3D space of her painted scenes becomes optically compressed into a 2D plane.

Clavilux
Clavilux 2000は、生成音楽を視覚化するためのインタラクティブな楽器であり、デジタルピアノで演奏される音楽のライブ視覚化を生成できます。インスタレーションの設定は、88キーとMIDI出力を備えたデジタルピアノ、vvvvパッチを実行するコンピューター、キーボードの上の垂直投影の3つの部分で構成されています。
キーボードで演奏されるすべての音に対して、新しい視覚要素がストライプの形で表示されます。これは、特定のキーがストロークされたときの寸法、位置、および速度に従います。色は、視聴者と聴取者に調和のとれた関係の印象を与えます。各キーには独自の配色があり、「間違った」音は対照的な色で際立っています。
すべてのストライプは相加的に残り、重なり合うため、最終的には一種のパターン（音楽の要約）が残ります。これは、作曲の音符とピアノ奏者の解釈が影響を及ぼしているため、常に一意です。結果。さらに、ピアノ奏者は、演奏中に標準の2Dビューとビジュアライゼーションの追加の3Dビューを切り替えることができます。

キーボード

Клементу Валла
Postcards from Google Earth
「GoogleEarthのポストカードで…。 これらは、2D衛星画像と3D地形が完全に整列していない場合、または橋などの構造物が下の地形に投影されて、すばらしい意図しない歪みが発生した場合に発生するグリッチです。 これらの画像は、ファンハウスの鏡のようなものです。奇妙な幻想と現実の反射です。」
Clement Vallaは、なじみのないアーティファクトを生み出し、現実を歪めるプロセスに関心のあるアーティスト兼プログラマーです。 米国、フランス、中国で建築家およびデザイナーとして働いた後、彼はコンピューターとデジタルテクノロジーを使用して、形式的、数学的、言語的、社会的システムを探求し始めました。 彼は、個性と大規模な共同執筆の問題、および複製システムに適用される生成アルゴリズムに焦点を当てて、アートとコンピュータープログラミングの交差点を研究しました。

Matija voulait créer des vêtements qui s’inspiraient de types historiques sans s’appuyer sur des techniques de construction traditionnelles. Il s’est consciemment abstenu de tricoter, de coudre ou d’adhérer pour développer un système expérimental de fabrication: les scans 3D du corps sont manipulés à l’aide d’un logiciel de modélisation, transposés en motifs découpés au laser 2D, puis rationalisés à travers des scripts en formes qui peuvent être imbriquées comme un puzzle. pièces. L’objet résultant est un polyèdre complexe sans aucune couture. Plus important encore, le processus qui le crée est une variation entièrement originale du tissage avec des possibilités illimitées pour un design novateur et une nouvelle construction. En associant manuellement des centaines de pièces uniques découpées au laser à un savoir-faire techno-couture, il rend tangible une pensée ambitieuse et intégrée. L’œuvre de Matija esthétise la curiosité en s’efforçant constamment d’authentifier la possibilité d’une véritable innovation dans la mode contemporaine.

Matija wanted to create garments that drew upon historical types without relying on traditional techniques of construction. He consciously abstained from knitting, sewing, or adhesion to develop an experimental system of fabrication: 3D scans of the body are manipulated using modelling software, transposed into 2D laser-cut patterns, and then rationalised through scripts into shapes that can be interlocked like puzzle pieces. The resultant object is a complex polyhedron without any seams. More significantly, the process that creates it is an entirely original variation of weaving with unlimited possibilities for novel design and new construction. Manually interlocking hundreds of unique laser-cut pieces with techno-couture craftsmanship, he makes ambitious and integrated thought tangible. Matija’s work aestheticises curiosity by striving constantly to authenticate the possibility of genuine innovation in contemporary fashion.

New Tangible Interfaces TTI

Interactive surfaces makes everyday objects multi-functional and fun. Reactive technologies have now enabled normal interfaces with new functions and new possibilities. The role of the surface is changing radically, according to how it’s designed and incorporated with objects. My proposal was to re-define the role of the surface in future lifestyle, exploring how surfaces can be an integrated as part of a product or environment.

TTI, (standing for Tangible Textural Interface) is a new sound system that embeds a tactile surface. TTI has flexibility that enables people to physically touch and feel the response through the controls and physical morph of the surface. TTI delivers new aesthetics through integrated flexible surfaces as interface material unlike adapting conventional materials for interfaces such as plastic or glass. Unlike existing 2D interfaces, TTI has a curved 3D surface opening up new possibilities in making flexible forms and shapes within the interface.

TTI consists of 3 main functions, backwards and forwards, volume control and equaliser, having a physical feedback and control interface within one surface. As you control the functions, the left surface physically responds to the controls. Tactile surface also responds to the beat of the music.

ニューヨークのアーティストSongK Kwakは、ダクトテープを唯一の表現素材（ほとんどの場合黒）として使用して感情を表現し、その言語は壁の彼女の体のジェスチャーに投影されます。キャリアとして、黒いマスキングテープは2Dと3Dの表面の間を自由に移動します。通常のテープの柔軟性とアクセスしやすさから、彼はストロークを身体の延長として指定します。このプロセスは、さまざまな視覚的および環境的空間を妨げられることなく流れる環境と統合する試みです。黒い線は、独特の建築とその周辺の間に生じる多くのエネルギーのダイナミズムを伝えています。韓国で生まれ、アーティスト、クワクとして教育を受けました。ニューヨークで勉強している間、彼は独自のフリーハンドマスキングテープ技術を開発し、階段、公共の建物のロビー、小さなアートギャラリー、建物のファサードなどの建築空間の表面に直接ペイントしました。彼は暴露します。彼のインスタレーションは、ドローイングと彫刻の中間にある空間と体験を生み出します。

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