Maki Namekawa

Pianographique
Pianographique is a series of collaborations of real time visual artist Cori O’Lan and Maki Namekawa. The visualisations are not videos that are more or less synchronous to the music and it is also not the musician’s playing to prefabricated material, they are jointly created together in the moment of the performance. As with most of Cori O’Lan’s visualizations, all graphic elements are derived directly from the acoustic material, i.e. the sound of the music. For this purpose, the piano is picked up with microphones and these signals are then transformed by the computer into a multitude of information about frequency, pitch, volume, dynamics, etc… This information, in turn, is used to control the graphics computer, create graphical elements or modify them in many ways. Since these processes take place in real time, there is a direct and expressive connection between the music and visual interpretation. The visualization is actually not “created” by the computer but much more by the music itself – the computer is rather the instrument, the brush operated, played by the music.

Riccardo Torresi, Maxime Lethelier, Asako Fujimoto

Satellarium II
Sun Outage is a degradation or temporary interruption of satellite signal caused by solar radiation. In these moments satellites occur to be in between the Sun and the Earth, producing with their shadows an invisible eclipse. Satellarium II shows these astronomical events through a variation of visuals and sounds in the room in which it is exhibited. The installation consists of a set up of multi channel surround speakers and graphics projected on a disk above the viewers, representing the fragment of the visible sky from the location of the artwork. Visuals and sounds are based on real time tracking of the satellites position and magnitude (brightness of a satellite as it appears in the night sky from Earth). The gradient on the background of the projection represents the sun and it is related to its real-time position in the sky.

Takahiro Tsushima

Allegory of Media Art
This section also features modern Japanese artists such as Takahiro Tsushima, who fused contemporary computer-graphics technology and early stereoscopes in his 2006 work “Allegory of Media Art” using images of Johannes Vermeer’s masterpiece “Allegory of Painting.”

YOICHI YAMAMOTO

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.

Jascha Dormann

Sounds of Silence
Inside the exhibition, there’s not a word of written text, and few traditional photos or videos. Instead, you get abstract spatial graphics. Tracking systems respond as you navigate the exhibit, and an unseen voice hints at what you might do. There’s a snowy cotton-like entry, radio-like sound effects, and then a pathway to explore silence from the start of the universe until this century.

Vvzela Kook

gods and Pilgrims

New media artist Vvzela Kook works in various audiovisual media,including performance, theatre, computer graphics and drawing to explore contemporary performing arts such as the possibility that dance and computer-generated arts could co-exist. Kook’s video works combine technology with her artistic practice to reproduce and convert urban cityscapes into an integrated virtual experience. The condensed textures in her works connect with multiple sensual levels in our perception and reintroduce the unexplored potential of video as a medium

Richi Owaki

The Other in You
The Other in You, developed as a new way to experience dance, has realized a novel dance audience experience. We assembled the cutting-edge Computer Graphics, haptic feedback device which directly express the dance to the body, 16 stereophony channels sound and research on Virtual Reality techniques to realize this work. How can we relate to others, who are supposed to be distant from us? Do we really know what it is to “see”? The Other in You is an attempt to revive the notion of our body in relation to an object, a notion, which had been forgotten in the act of watching. Virtual reality technology enables us to bring the act of watching, once detached from the body, back to where it belongs. And as a result, it reconstructs the notion of seeing“.

Matt Taylor

Motion Graphics Designs
He is working on abstract art, motion graphics, and computer based arts using Cinema 4D and Houdini.

Nicolas Bernier

frequencies (light quanta)

The project is part of an ongoing process entitled «frequencies», exploring basic sound and light dichotomic systems. Here, frequencies (light quanta) stems from a fascination towards science, light, and granular synthesis allowing to create clouds/grains of sounds. The conceptual focus lies in the quantum — the smallest measurable value of energy —, on the smallness of matter. The whole project is based on the possible conceptual relationships between basic quantum physics principles applied to the audio-visual creative process: particles, probabilities, wave/particle duality and discontinuity. Metaphorically structured around these notions, the audio-visual composition stems from 100 sound and light micro-sequences that develop themselves, generating an ever expending but yet disruptive form in time and space. With the use of randomness, the vectorial graphics are always creating new ways to look at the visual, physically superimposing pattern images.

Robert Henke and Anna Tskhovrebov

CBM 8032 AV
The CBM 8032 AV project is an exploration of the beauty of simple graphics and sound, using computers from the early 1980’s. This work is about the ambivalence between a contemporary aesthetic and the usage of obsolete and limited technology from 40 years ago. Everything presented within the project could have been done already in the 1980, but it needed the cultural backdrop of today to come up with the artistic ideas driving it.

KOHEI NAWA

كوهي ناوا
名和晃平
КОХЕЙ НАВА
stroke-yana

TRANS, the newest series of sculptures by the artist Kohei Nawa, was produced using techniques that involve the use of the computer and a 3D scanner. The artist scans people using a 3D scanner and then uses computer graphics to create works using the scanned data as a basis. Once with the scanned models, Kohei uses techniques such as texture mapping and smoothing to carve and apply reliefs to his digital models. When finalized, the 3d models are used to create molds for the final sculptures.

THOMAS ROBSON

Томас Робсон
توماس روبسون
トーマス・ロブソン

Art Remixer” Thomas Robson says he “develops collision art to confront received aesthetics & critically re-appraise imagery in a visually saturated world.” Whatever he says, the stuff is freaking cool. He has worked in graphic design and in interactive design for the web & TV for the BBC. But it seems like he’s more interested now in coloring outside the lines:
It is remarkable how diverse his work is in various series like Landscape with Data, Made in China and Luxe Art with styles and materials including collage, photography, computer graphics and even ceramics.

simon colton

The Painting Fool

The Painting Fool is software that we hope will one day be taken seriously as a creative artist in its own right. This aim is being pursued as an Artificial Intelligence (AI) project, with the hope that the technical difficulties overcome along the way will lead to new and improved generic AI techniques. It is also being pursued as a sociological project, where the effect of software which might be deemed as creative is tested in the art world and the wider public. In this chapter, we summarise our progress so far in The Painting Fool project. To do this, we first compare and contrast The Painting Fool with software of a similar nature arising from AI and graphics projects. We follow this with a discussion of the guiding principles from Computational Creativity research that we adhere to in building the software.

PLAPLAX

FILE SAO PAULO 2017
KAGE-TABLE
Since old times, the shadow proved the existence (for a ghost has no shadow). However, like the image projected on the TV monitor (which is “virtual” in this sense) the shadow itself doesn’t have substance. And at the same time, as we can see in the shadow picture, the shadow or silhouette stands as the basis of the image. In “KAGE-table”, we took the notice of this shadow-substance characteristic and by using cone-shaped object I created its shadow with computer graphics.

Muti Randolph

Deep Screen
Muti Randolph lives in Rio de Janeiro and studied Visual Communications and Industrial Design at the Pontificia Universisade Católica do Rio de Janeiro. One of the pioneers in computer art, animation and 3d illustration in Brazil, he has been shifting from virtual 3d to real 3d spaces creating visual identities, graphics, illustrations, sets, and interior architecture projects for clients mainly in the entertainment, fashion and technology areas.

KATE COOPER

Rigged
A hybrid of consumer associations, ranging from the glossy iconography of the TV commercial and the sterility of video game graphics to the luminosity of the department store poster and the smell of freshly opened cosmetics, create a subconscious lure. Her use of CGI technology in her artistic practice surpasses a simple study of digital textures (think nostalgic glitch-making) to occupy a full-fleshed, hyperreal space, usually reserved to corporate giants in advertising or entertainment.

MIAO XIAOCHUN

МЯО СЯОЧУНЬ
缪晓春
مياو شياو تشون
last judgment in cyberspace (detail)

Printed in black and white. Miao’s photos conceive the celestial as a silvery futuristic tableau that’s enchantingly serene and threateningly industrial. In combining the sublime awe of religious painting with malevolent science fiction theme, Miao uses photography to engage the viewer in an ultra-modern way. In using digital process to create his subject ‘from scratch’, Miao’s photographs authenticate a virtual world rather than document reality. Similar to video game graphics and ‘screen shots’, Miao’s images involve the viewer by casting them as ‘avatars’ within the action.

John Liebler

The Inner Life of the Cell
короткий фильм 3D-анимации, рассказывающий о различных биологических процессах в лейкоците, клетке человеческого тела. Фильм создали Дэвид Болинский (иллюстратор Йельского университета), ведущий аниматор Джон Либлер и Майк Астрахан из XVIVO для факультета Молекулярной и клеточной биологии Гарвардского университета. 8,5 минут анимации заняли 14 месяцев работы. Впервые фильм был продемонстрирован в 2006 на ежегодной конференции SIGGRAPH (short for Special Interest Group on GRAPHics and Interactive Techniques) в Бостоне.

VADIM STEIN

Вадим Штейн
Vadim Stein is an Ukrainian artist resident in St. Petersburg (Russia). He worked as an actor and a lighting designer in the Theater of Plastic Drama and later on decorative sculpture and graphics. Taking photos of his own works he became keen on photography. His photos are able to recreate a parallel universe, to tell a story made of eroticism and mystery through a great mastery of the light and the elegance of bodies.

KEIICHI MATSUDA

Augmented (hyper)Reality
Keiichi Matsuda (BSc. MArch) is a designer and film-maker. He began working with video during his Masters of Architecture at the Bartlett school (UCL) as a critical tool to understand, construct and represent space. Keiichi’s research examines the implications of emerging technologies for human perception and the built environment, focusing on the integration of media into everyday life. He has a multi-disciplinary approach to his work, using a mixture of video, motion graphics, interaction design, and architecture to create vibrant “hyper-real” environments where the distinctions between physical and virtual start to dissolve.

Alexis Christodoulou

From a lifelong fascination of digital worlds and 3D graphics from playing video games a boy, Alexis became frustrated with the lack of modern aesthetics represented therein. The images he creates are a simple extension of this desire to see fantastic spaces come to life that echo a more modern and clean aesthetic.

ZEITGUISED

Unspoiled by formal computer graphics training, ZEITGUISED have been pushing their own rules onto computer aided art by creating a dense universe parallel to motion graphics, drawing heavily from fashion photography, sculpture, installation and architectural set design.

birgit jurgenssen

Birgit Jürgenssen’s multifaceted artistic practice spans painting, drawing, photography, Polaroids, rayographs, printed graphics, collages of different materials, body projections and installations. Her work is characterised by visual wit and a great deal of self-deprecation, which the artist referred to as a kind
of “autobiographical strategy”.

Maxime Guyon & Benoît Jeannet

Guyons’ still life photography is his strongest and most explored work, where graphics, media art, and digital manipulation are all amalgamated to create striking and realised pieces. Evidentially each aspect of his work is measured and deliberate– that’s not to say though that spontaneity isn’t an element of his process.

Oliver Laric

Betweenness
“Installed in the main gallery is Betweenness (all works 2018), a video montage that sorts the natural world, including a few humans, into simple, line-drawn motion graphics. There’s a frolicsome quality to the animations: when the animals move, grow, shift, and, quite literally, evolve, the scenes appear to follow a playful intuition, rather than exhibiting any scientific fact.”more

Peter Zimmermann

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.

VADIM STEIN

Вадим Штейн
Vadim Stein is an Ukrainian artist resident in St. Petersburg (Russia). He worked as an actor and a lighting designer in the Theater of Plastic Drama and later on decorative sculpture and graphics. Taking photos of his own works he became keen on photography. His photos are able to recreate a parallel universe, to tell a story made of eroticism and mystery through a great mastery of the light and the elegance of bodies.

STEVE WILHITE

dancing baby
GIF (JIF)
graphics interchange format

The inventor of the Gif file has revealed that the world has been mispronouncing his creation.
Steve Wilhite, who invented the Gif file in 1987, told the New York Times that the word is pronounced “jif” not “giff”.
“The Oxford English Dictionary accepts both pronunciations. They are wrong. It is a soft ‘G,’ pronounced ‘jif.’ End of story,” he said.
The internet has reacted strongly to Wilhite’s claim, pointing to a range of evidence from the White House announcing their allegiance via a note on their Tumblr: “Animated GIFs (Hard ‘G’)”, to simple common consensus.
Others have suggested that the hard ‘G’ relates to the acronym that the word springs from, which stands for Graphical Interface Format.
The Gif has enjoyed a surge of success in the last five years thanks to Buzzfeed-style listings of puppies and kittens and ‘live-giffing’, a form of on-the-spot reporting that had its first major outing during the 2012 presidential debates.
Wilhite may be the parent of the Gif, but most agree that the creation has outgrown its creator.
When even the White House is on the other side of the debate, it seems it might be best if Wilhite concedes defeat with grace.

TOM BEDDARD

Том Беддард
Pyramid

After his PhD, the world of the “dot-com” internet boom was more appealing than academia, so Tom became a web developer specializing in e-commerce content management systems. For the past ten years Tom has worked at a variety of agencies in Scotland and now currently works at Glasgow based 55 Degrees, which specializes in interactive museum exhibits and video production. Tom considers himself to be a ‘creative coder,’ a techie who also has an appreciation for the aesthetics. His site, subblue.com, is where he writes programs and plugins exploring mathematical and generative graphics. Where possible, these experiments are interactive and have the source-code available for download. The exposure of his site and the Photoshop and After Effects plugins he has released have resulted in the creation of book covers, music videos, and stage visuals.

WE ARE PI,THE KOENER UNION AND BIG PRODUCTIONS

Human Arabesque
WE ARE Pi collaborated with the Koener Union and Paris’ BIG Productions. Together, they fused architecture, dance, math and magic into a bespoke18-meter high triangular mirrored structure that hovered over a multi-colour moving floor to create the world’s first Human Arabesque (with no computer graphics).