Grid
Grid 4×4 is an autonomous apparatus that creates an endless series of geometric forms. The vertices of the form are located on discs, each of them rotatable by a motor. A computer software plays tenderly with the rotation of the discs and generates an endless amount of geometric and chaotic patterns.

growth table
Mathias Bengtsson developed unique computer software seven years ago to quickly design prototypes. Its initial intention was not to simply use a particular technology and deploy its possibilities, but to use it as a tool for the imitation of nature and natural forms. Such design software can, according to Mathias Bengtsson, be compared to the growth of a plant whose machine somehow registers the genetic code to calculate its final form. Mathias Bengtsson only has to guide this development to obtain the desired shapes.

New Age Demanded
“Inspired by classical Greek busts, Jon Rafman uses computer software to digitally render three-dimensional forms. The forms act as the structural surface on which two-dimensional Internet-sourced images are applied. The series is presented as large-scale archival pigment digital prints. Each print is created with its own specific texture and sculptural mutation. Rafman uses historically recognizable works from canonized artists like Mark Rothko, Georgia O’Keeffe, Piet Mondrian, and Wassily Kandinsky as the subjects of his appropriations.”

조용한 앙상블
Quintetto
Quintetto is an installation based on the study of casual movement of objects or living creatures used as input for the production of sounds. The basic concept is to reveal what we call “invisible concerts” of everyday life. The vertical movements of the 5 fishes in the aquarius is captured by a videocamera, that translates (through a computer software) their movements in digital sound signals. We’ll have 5 different musical instruments creating a totally unexpected live concert.

تويو ايتو
伊东丰雄
טויו איטו
伊東豊雄
도요 이토
Tower of Winds
During the day the perforated metal panels that cover the Tower of Winds reflect the city image and make the design appear humble and simple. But during the night, it gets lit up in an ever-changing combination of light intensity and colors. Using computer software, the lighting follows the wind speed and noise levels changing the Tower’s appearance accordingly. The Tower of Winds features more than 1300 light bulbs and 42 flood lights and neon rings (on each floor). The small lights change their colors according to the wind’s noise level and the rings change their intensity according to its speed.
Basically, the Tower of the Winds by Toyo Ito is a wind indicator in a constant relationship with the city and the natural environment, a junction between the two. It is placed at the train station area, welcoming the passengers arriving in Yokohama and its functional role is accommodating another natural element. Surprisingly the Tower of Winds houses the water tanks for the air-conditioning system of the underground mall below. The Tower is not a new construction, but a re-designing of an old concrete tower that already existed there since the ‘60s.

Random String of Emotions

Emotion recognition software analyzes our emotions by deconstructing our facial expressions into temporal segments that produce the expression, called Action Units (AU; developed by Paul Ekman), and breaking them down into percentages of six basic emotions, happy, sad, angry, surprised, scared, and disgusted. In this video the artist uses this decoding system to turn the process around. Here – instead of detecting AUs – a computer is used to generate a random string of AUs. In this way complex and perhaps even nonexisting emotional expressions will be discovered. These randomly formed expressions, played in random order, are then analyzed again by professional emotion recognition software.

RAIN PART I – THE OWL – KYBDslöjd
“We live in a time where hardware and software become obsolete even before we have learned how to use them. KYBDslöjd is a brutalist storytelling about technology and keystrokes using Commodore 64 computer, Teletext System, and typewriters. These technologies are not souvenirs from the past. They are hard-won knowledge.”more…

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.

Madakaripura

Digital image projection, software, real-time internet-based data, and sound
Installation shot at St. Saviour Church, London
Tromarama is an art collective founded in 2006 by Febie Babyrose, Herbert Hans and Ruddy Hatumena. Engaging with the notion of hyperreality in the digital age, their projects explore the interrelationship between the virtual and the physical world. Their works often combine video, installations, computer programming and public participation depicting the influence of digital media on the society perception towards their surroundings. They live and work between Jakarta and Bandung.

Tage Ohne Stunden
Eine künstliche Welt beschwört der Schweizer Computerkünstler Yves Netzhammer in seiner achtminütigen Videoinstallation “Tage ohne Stunden“ herauf. Das Blickfeld des Betrachter ist Teil des Werkes, er wird in die surreale Filmsequenzen einbezogen, in denen sich die Figuren wie Puppen bewegen, gezeichnet von einer Software, der ihnen eine glatte, künstliche Oberfläche verleiht.

Transfiguration (2020)
Transfiguration (2020) is a reworking of the Universal Everything studio classic from 2011, The Transfiguration. The Transfiguration was first shown at the studio’s first major solo exhibition Super-Computer Romantics at La Gaite Lyrique, Paris. Now completely remade using the latest procedural visual effects software, the updated CGI artwork brings new life to the ever-evolving walking figure, with a new foley-based soundtrack by Simon Pyke.

New Humans
In New Humans, emergent gatherings of synthetic humans rise from the surface of a black ferrofluid pool. Appearing to morph like a supernatural life form, these dynamic clusters of magnetic liquid produced by machine learning processes are images of communities of synthetic people–hybrid profiles modeled from actual DNA, fitness, and dating profile data sets sourced from public and leaked caches. The work questions how we can radically conceptualize the “user profile” to embody a self whose bounds are indefinable and multiple. Generative algorithm using machine learning (GAN, T-SNE) and fluid simulation (Navier Stokes), countour generation (OpenCV), user profile data caches (DNA, fitness, and dating), software production (Processing), ferrofluid, custom electromagnet matrix, custom PCB control system, computer, steel, wood, aluminum.

Fifty Sisters
“I am an artist and academic based in Melbourne, Australia. I am interested in the creative possibilities of computers and computation, in particular how computers can enhance and augment our creativity. My interests and research are relatively broad: philosophy, evolution, nature, visualisation, interaction design, software, sound, art and the moving image. I prefer the intersections between these fields, rather than the differences that set them apart.” Jon McCormack

TriangPaint

Holger Lippmann describes a part of his work as digital painting. What distinguishes digital painting from traditional painting on canvas or paper? We need to distinguish between two categories of digital painting. The first includes works created on the computer with ready-made graphic tools like virtual paint brushes or pens, in something like the way that non-digital pictures are created on paper or canvas. David Hockney’s painting of a sunflower on an i-pad is an example of this. The second category includes works using computer generation, in which programs coded by the artist continually produce new aesthetic concepts as images or animations. Every execution of the software creates new works within the pre-defined boundaries of the system. This process can be called generative painting.

Мути Рэндольф
මුටි රැන්ඩොල්ෆ්
মুটি র‌্যান্ডল্ফ
Generative Installation
Muti Randolph lives in Rio de Janeiro and studied Visual Communications and Industrial Design at the Pontificia Universidade Católica do Rio de Janeiro. One of the pioneers in computer art in Brazil, he has been shifting from virtual 3d to real 3d spaces creating sets, installations and interior architecture projects. In his work he explores the relation of time and space through music and interactive generative video using custom designed software and hardware. His projects are present in the most relevant art, design and architecture publications.

Currents

Peter Zimmermann is one of those artists who manage to find their own unique style and whose works are easily recognisable. His style is undoubtedly connected with a special technique, which features a combination of computer graphics and painting. Peter broadly uses capabilities of computer graphic software (principally Photoshop), making it an essential part of the creative process. Using different graphic algorithms, he modifies the source image until it becomes unrecognizable, abstract.

manimals

Der alte chinesische Tierkreis besteht aus einem Zyklus von zwölf Tierzeichen, die mit Geburtsjahren verbunden sind. Sie sind: Ratte, Ochse, Tiger, Kaninchen, Drache, Schlange, Pferd, Schaf, Affe, Hahn, Hund und Eber. Es wird angenommen, dass eine Person Verhaltens- und Persönlichkeitsmerkmale, manchmal sogar körperliche Merkmale, in Bezug auf das Tierjahr aufweist, in dem sie geboren wurde. In den zwölf Porträts der Serie „Manimals“ interpretiert der Künstler Daniel Lee den chinesischen Tierkreis in der Gegenwart Begriffe durch Computermanipulation von fotografischen Bildern. Jedes Porträt repräsentiert das Tierzeichen dieser Person. Die “Manimals” -Serie besteht aus zwölf 24 “x 30” -Farbfotos. Die Originalbilder wurden mit Ektachrome in einer Mittelformatkamera fotografiert, dann digital konvertiert und mit der Adobe Photoshop-Software auf einem Macintosh Quadra 950 neu angeordnet.

بول فريدلاندر
ポール·フリードランダー
SPINNING COSMOS
via highlike submit

Paul Friedlander is one of the greatest representatives of kinetic art in our time, a scientific artist, as he describes himself on his personal website, which also tells the origin and development of his interest in creating works with light. The long-term goal is to integrate light sculptures with digital art to create three-dimensional projections. He developed his own CEP / ART software for anyone to experiment with their computer’s light and color effects. This software is available on its website in an online version and one for download is free.