Thom Kubli

Brazil Now
BRAZIL NOW is a composition that addresses increasing militarization and surveillance within urban areas. Its geographical and acoustic reference is São Paulo, the largest megacity in Latin America. The piece is based on field recordings that capture the symptoms of a Latin American variant of turbo-capitalism with its distinctive acoustic features. Eruptive public demonstrations on the streets are often accompanied by loud, carnivalesque elements. These are controlled by a militarized infrastructure, openly demonstrating a readiness to deploy violence. The sonic documents are analyzed by machine learning algorithms searching for acoustic memes, textures, and rhythms that could be symptomatic for predominant social forces. The algorithmic results are then used as a base for a score and its interpretation through a musical ensemble. The piece drafts a phantasmatic auditory landscape built on the algorithmic evaluation of urban conflict zones.

Gwyllim Jahn & Cameron Newnham +Soomeen Hahm Design +Igor Pantic

Steampunk Pavilion
Steampunk is a pavilion constructed from steam-bent hardwood, designed by Gwyllim Jahn, Cameron Newnham (Fologram), Soomeen Hahm Design and Igor Pantic for the 5th edition of Tallinn Architecture Biennale.
“Steampunk explores a path to rethink applications and traditions of craft in pursuit of their evolution.” Soomeen Hahm Design
“The structure challenges the idea of the primitive hut –showing how, by using algorithmic logic, simple raw materials can be turned into a highly complex and inhabitable structure”.Gilles Retsin

STELARC

Stickman inclinable
Le StickMan inclinable est un robot de 9 m de long, actionné par des muscles pneumatiques en caoutchouc. Les visiteurs de l’AGSA peuvent animer intuitivement le robot à partir d’un panneau de commande. Aux périodes indiquées, les personnes en ligne ailleurs peuvent chorégraphier ses mouvements et ses sons. Un algorithme d’arrière-plan anime le robot par intermittence si personne n’intervient, localement ou à distance.

NAHO MATSUDA

Tout à chaque fois
La pièce présente un commentaire continu sur l’activité de la ville dans laquelle elle se situe. La «poésie», qui est créée par un algorithme qui sélectionne et réorganise au hasard les données collectées à partir d’un certain nombre de points spécifiques au site, et est publiée sur un site Web. Les Pis tirent la poésie du site Web sur 4G, puis transmettent les adresses de lettres via Ethernet aux arduinos, puis aux moteurs en utilisant le protocole réseau I2C. L’acte de ceci déclenche alors l’algorithme pour générer un nouveau poème.

Refik Anadol

Quantum memories
Quantum Memories is Refik Anadol Studio’s epic scale investigation of the intersection between Google AI Quantum Supremacy experiments, machine learning, and aesthetics of probability. Technological and digital advancements of the past century could as well be defined by the humanity’s eagerness to make machines go to places that humans could not go, including the spaces inside our minds and the non-spaces of our un- or sub-conscious acts. Quantum Memories utilizes the most cutting-edge, Google AI’s publicly available quantum computation research data and algorithms to explore the possibility of a parallel world by processing approximately 200 million nature and landscape images through artificial intelligence. These algorithms allow us to speculate alternative modalities inside the most sophisticated computer available, and create new quantum noise-generated datasets as building blocks of these modalities. The 3D visual piece is accompanied by an audio experience that is also based on quantum noise–generated data, offering an immersive experience that further challenges the notion of mutual exclusivity. The project is both inspired by and a speculation of the Many-Worlds Interpretation in quantum physics – a theory that holds that there are many parallel worlds that exist at the same space and time as our own.

Refik Anadol

WDCH Dreams
The Los Angeles Philharmonic collaborated with media artist Refik Anadol to celebrate our history and explore our future. Using machine learning algorithms, Anadol and his team has developed a unique machine intelligence approach to the LA Phil digital archives – 45 terabytes of data. The results are stunning visualizations for WDCH Dreams, a project that was both a week-long public art installation projected onto the building’s exterior skin (Sept 28 – Oct 6, 2018) and a season-long immersive exhibition inside the building, in the Ira Gershwin Gallery.

STELARC

Reclining Stickman
Reclining StickMan is a 9m long robot, actuated by pneumatic rubber muscles. Visitors at the AGSA can intuitively animate the robot from a control panel. At indicated periods, people online elsewhere can choreograph its movements and sounds. A background algorithm animates the robot intermittently if no-one intervenes, locally or remotely.

Ong Kian-Peng

Particle Waves
“Particle Waves” is a kinetic sound sculpture comprising of a 4×3 grid of 12 individual kinetic bowls. Within each bowl contains tiny metal beads of various sizes, creating noises as the bowl rotates in various angles. The noise from a single bowl forms collectively to become a soundscape, reminding us of waves and oceans. The bowls are arranged in a 4×3 grid and controlled as a whole by a microcontroller running a wave algorithm. This creates a continuous wave-like kinetic motion over the grid, at the same time creating a spatialized soundscape. This installation is a continuous attempt of exploring the correlation between sound and nature.

VTOL

Until I die
This installation operates on unique batteries that generate electricity using my blood. The electric current produced by the batteries powers a small electronic algorithmic synth module. This module creates generative sound composition that plays via a small speaker. The blood used in the installation was stored up gradually over 18 months. The conservation included a number of manipulations to preserve the blood’s chemical composition, color, homogeneity and sterility to avoid bacterial contamination. The total amount of blood conserved was around 4.5 liters; it was then diluted to yield 7 liters, the amount required for the installation. The blood was diluted with distilled water and preservatives such as sodium citrate, antibiotics, antifungal agents, glucose, glycerol etc. The last portion of blood (200ml) was drawn from my arm during the performance presentation, shortly before the launch of the installation.

ARTHUR ELSENAAR

The Varieties of Human Facial Expression
12 bit version
“The Varieties” is an algorithmic exploration of human facial expression. Six muscles on each side of the face are triggered in succession by means of electrical stimulation, resulting in 4096 different facial expressions.

Neri Oxman

Neri Oxman: Material Ecology

Vespers

“Vespers is a collection of 15 3-D-printed masks that explore the idea of designing with live biological materials. The collection consists of three distinct series, each reinterpreting the concept of the death mask—traditionally a wax or plaster impression of a corpse’s face. Taken as a whole, the three series form a narrative arc from death to rebirth. In the first series, Oxman and The Mediated Matter Group looked at the death mask as a cultural artifact. Fabricated using an algorithm that deconstructed polyhedral meshes into subdivided surfaces, the masks were 3-D printed with photopolymers, as well as with bismuth, silver, and gold, and rendered in color combinations that recur in religious practices around the world.” Rachel Morón

Raven Kwok

1194D^3
Initially started as a tweak of 115C8 in 2013, one of Kwok’s Algorithmic Creatures based on finite subdivision, 1194D is an experiment on multiple geometric creatures co-existing within a tetrahedron-based grid environment. In 2017, The project was improved and revised into an immersive triple-screen audiovisual installation as 1194D^3 for .zip Future Rhapsody art exhibition curated by Wu Juehui & Yan Yan at Today Art Museum in Beijing, China. The entire visual is programmed and generated using Processing. All stages are later composed and exported using Premiere.

Myriam Bleau

SOFT REVOLVERS
Soft Revolvers is a music performance for 4 spinning tops built with clear acrylic by the artist. Each spinning top, 10’ in diameter, is associated with an ‘instrument’ or part in an electronic music composition. The tops are equipped with gyroscopes and accelerometers that communicate wirelessly with a computer where the motion data collected (speed,unsteadiness at the end of a spin, acceleration spikes in case of collisions) informs musical algorithms designed in Pure Data. LEDs placed inside the tops illuminate the body of the objects in a precise counterpoint to the music.

Naho Matsuda

EVERY THING EVERY TIME
The piece presents a running commentary on the activity of the city in which it’s located. The ‘poetry,’ which is created by an algorithm which randomly selects and rearranges the data collected from a number of site-specific points, and is posted on a website. The Pis pull the poetry from the website over 4G and then transmits the letter addresses via ethernet to the arduinos and then to the motors using I2C network protocol. The act of this then triggers the algorithm to generate a new poem.

Driessens & Verstappen

Breed
Breed (1995-2007) is a computer program that uses artificial evolution to grow very detailed sculptures. The purpose of each growth is to generate by cell division from a single cell a detailed form that can be materialised. On the basis of selection and mutation a code is gradually developed that best fulfils this “fitness” criterion and thus yields a workable form. The designs were initially made in plywood. Currently the objects can be made in nylon and in stainless steel by using 3D printing techniques. This automates the whole process from design to execution: the industrial production of unique artefacts.
Computers are powerful machines to harness artificial evolution to create visual images. To achieve this we need to design genetic algorithms and evolutionary programs. Evolutionary programs allow artefacts to be “bred”, rather than designing them by hand. Through a process of mutation and selection, each new generation is increasingly well adapted to the desired “fitness” criteria. Breed is an example of such software that uses Artificial Evolution to generate detailed sculptures. The algorithm that we designed is based on two different processes: cell-division and genetic evolution.

satoru sugihara

A(g)ntense gallery installation
ATLV is a computational design firm based in los angeles, california. Founded by satoru sugihara, the studio pushes the boundaries of practice and research in contemporary architecture and spatial design. Through integration of technological innovations, design problems can be approached with many different perspectives. Using tailored software tools, ATLV is able to employ algorithms alongside electronic hardware and robotics to seek broader ideas of design, fabrication, and process.

Troika

AVA

Ava’ is Troika’s first sculptural manifestation of their exploration of algorithms. ‘Ava’ is the physical result of emergence and self organisation brought about by ‘growing’ a sculpture through the use of a computer algorithm that imitates the emergence of life by which complexity arises from the simplest of things. As such the sculpture probes at the nature of becoming, existence and our strive to understand and replicate the complexities of life.In a landscape where our personal data is a raw material, and where we, humans, have become subordinate spectators of algorithms and a computerised infrastructure, we ask the question how much or little are we capable of influencing our surrounding reality, how much is predetermined, how much is down to chance.

Anne de Boer

Ikarus

Des éléments qui semblent essentiels à la pratique de De Boer sont présentés aux algorithmes, aux fonctions de lecture aléatoire, aux randomiseurs ou à d’autres structures codées. En soumettant son propre matériel à ces facteurs décisifs, l’œuvre est réarrangée en permanence selon ces chemins algorithmiques en constante évolution.

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FILE SAO PAULO 2015

Rob Seward

Death Death Death
File Festival
“Death Death Death” is book written by an algorithm. It utilizes a word association study conducted by the University of South Florida between 1976 and 1998. It contains over 10,000 words and their associations to each other. “Death Death Death” traces a path from each word to the word death. The book starts off with the words most closely associated to death. The beginning reads like this: Life – Death Funeral – Death Coffin – Death. Later, it takes several associative leaps to get to death: Enthusiasm – Spirit – Soul – Death Folly – Funny – Sad – Death Bahamas – Paradise – Heaven – Death Waggle – Wiggle – Worm – Maggot – Death. Reading soon becomes humorous, as every line reads like a joke-death is always the punchline. “Death Death Death” is 405 pages, contains an index so you can find any word, and a detailed description of the algorithm. Death Death Death was nominated for the 2010 File Prix Lux in the Digital Languages category.
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Martina Menegon

when you are close to me i shiver
sound design: Alexander Martinz
“when you are close to me I shiver” is an algorithmically controlled live simulation, a real-time generated virtual reality that takes place in a version of the future in which humans, out of desperation, gather in masses on the last remaining piece of land. Inspired by the walrus scene in the documentary “Our Planet” narrated by David Attenborough and produced by Silverback Films, the project proposes an intense scenario encompassing our environmental and personal crises. It reflects on how we identify and connect ourselves in different realities while addressing the human condition in a world in ecological and therefore social crisis. On the tablets, virtual cameras scan the environment from various point of views, like surveillance drones. On the main screen, a similar camera randomly targets and focuses on different situations while a familiar voice-over narrates the tragic story.

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MANFRED MOHR

Reflexions sur une esthetique programmee

Influencé par son expérience de musicien de jazz et par les théories du philosophe allemand Max Bense sur l’esthétique rationnelle, Manfred Mohr a été un innovateur dans le domaine de l’art généré par ordinateur. Pour manipuler, par exemple, la myriade de variations de l’hypercube à 11 dimensions, Mohr a créé des algorithmes en langage de programmation FORTRAN et les a imprimés sur des traceurs à plat avant l’avènement des imprimantes laser. La série «Klangfarben» de Mohr (2008) présente des peintures et des animations numériques de lignes diagonales aux couleurs vives et de plans qui se croisent sur un fond noir mat. .

FILE LED SHOW 2013

1024 ARCHITECTURE

FILE FESTIVAL

The project consists of a podium with a microphone installed on the sidewalk of the Paulista Avenue, where people could interact through the vocal conversion into musical notes. The 1024 architecture group elaborated a brand new algorithm for this project, which changes the graphic behaviors by means of sounds. Depending on the note sung, several parameters of the program, such as colors, shapes and density.

EDUARD HAIMAN AND VADIM SMAKHTIN

Struct- Generative Realtime Audio-Visual Environment
The target of “Struct” was to create installation which could make immersive environment inside the space of public event dedicated to the opening of the office of an architectural company UNK Projects. It was planned to make this installation fully autonomic during the several hours as well as there was an idea to hold the public interested and immersed into the space of environment during the all period of time.

The main conception of the installation is to create the second alternative scale inside the internal space of the office. It was realized screen projection for this with the size of 18×4 meters and taken almost whole the length of the interior. The Animated surface was projected as the extension of the super-graphic situated on the facade of office`s building. The external graphic was created by Vladimir Garanin. The first one layer is the super-graphic onto the facade and another one layer is the real-time generative graphic inside the interior. The visual image and algorithmic sound of the whole structure are connected each other and are forming the whole organism.

Michael Najjar

史上第一位進入太空的藝術家
laokoon, from the work series “bionic angel”

„Bionischer Engel“ Die Arbeitsreihe „Bionischer Engel“ geht von der zukünftigen Transformation und technologischen Kontrolle der menschlichen Evolution aus. Die rasante Entwicklung auf dem Gebiet der sogenannten „g-r-i-n-Technologien“ (Genetik, Robotik, Information und Nanotechnologie) verändert unseren Körper, Geist, Erinnerungen und Identitäten, wirkt sich aber auch auf unsere Nachkommen aus. Diese Technologien laufen alle zusammen, um die menschliche Leistung zu verbessern. Durch die pränatale genetische Bestimmung können Kinder nach Plan gebaut werden. Klonkörper werden zu Aufbewahrungsorten für Ersatzorgane, während durch Manipulation der Atomstruktur neue Körper entstehen, die die alten in Bezug auf Robustheit, Elastizität und Haltbarkeit weit übertreffen. Die neuen Karosserien sind an die Bedürfnisse der Hochgeschwindigkeitsdatenautobahn angepasst. Diese Entwicklungen, die auf genetischen Algorithmen und neuronalen Netzwerken basieren, ermöglichen es nun, die biologische Evolution zu steuern. Sie eröffnen dem Menschen den Weg zu einer neuen und überlegenen Existenzform.