Dan Goods, Nik Hafermaas & Aaron Koblin
The eCLOUD is a dynamic sculpture inspired by the volume and behavior of an idealized cloud. Made from unique polycarbonate tiles that can fade between transparent and opaque states, its patterns are transformed periodically by real time weather from around the world. It is a permanent sculpture between gates 22 and 23 at the San Jose International Airport and was a collaboration between Dan Goods, Nik Hafermaas, and Aaron Koblin.
Dazzle Camouflage is a mode of camouflage that uses confusion rather than concealment as its method. Developed in the early 20th century, Dazzle Camouflage was often added to naval ships, which were painted to feature perplexing black and white patterns. In these uncertain times with access to immense amounts of information and when terms such as fake news, deep fakes, alternative facts are becoming part of our lexicon, we often find that the true meaning of our inquiries as with all our desires is concealed by confusion. To participate a user can enter a search word or hashtag to search Twitter. The frequency of the word on Twitter is used to generate black and white patterns. The software will continue to search for the word on twitter and create more complex patterns as the frequency of the word increases.
Supernova is an experimental 4K art film directed and designed by Maxim Zhestkov and made in Zhestkov. Studio Everything around and inside us was conceived in a huge explosion of a star billions of years ago… and, probably, recycled from other matrices myriad times. In this eternal carousel of matter, particles gather, form complicated structures and then burst into all directions fusing atoms together and producing new elements and points of view, new colours and patterns of perception.
머시 디스 커닝햄
Dancer Matthieu Chayrigues
Compagnie Centre National de Danse Contemporaine-Angers.
Photo: Charlotte Audureau.
“Ever the experimentalist, Cunningham collaborated with digital artists Paul Kaiser and Shelley Eshkar using motion capture technology to create BIPED. As the name suggests it’s in its most basic sense an exploration of the biped, the ambulatory two-legged body.
Eshkar and Kaiser place a scrim in front of the dancers on which they project a moving décor of lines and patterns.” Lisa Traiger
POLYMORF: Marcel Van Brakel & Frederik Duerinck
RASA SMITE & RAITIS SMITS
Atmospheric Forest is a large scale VR point-cloud installation that visualizes and sonifies the relations between the forest and climate. It reveals the interaction patterns between the pine-tree emissions in Pfynwald, an ancient Swiss Alpine forest, and weather conditions in this valley, effected by drought. The trees do not only produce oxygen, but they are living bodies who breath too. I.e., they emit part of carbon dioxide, sometimes even up to 20 perc. from what they have consumed. When trees die, they release all the carbon they have collected during their lives back into the atmosphere. Atmospheric Forest explores the effects of drought on local forest ecosystems, and how such stress situations influence production of resin and volatile emissions (such as usual pine-tree scent).
The OCR began work on Specimen Box in 2014 at the request of Microsoft’s Digital Crimes Unit. Microsoft’s Cybercrime Center monitors communications coming from hundreds of millions of PCs around the world that have become infected by botnet malware. Employing data sonification together with advanced visualization techniques, Specimen Box provides a configurable multi-sensory presentation of botnet signal activity in real time. It also features a multitouch gesture-based interface for navigating, exploring, selecting, and examining the billions of signals that have previously been collected. Users can access the collected signals based on their activity levels, the geographic locations of their sources, or their daily activity patterns over time, using clustering to group sources with similar behavior.
LING LI TSENG
The Search of The Glow
Sprinkling the mist while attaching the tree trunk. Interweaving a scenery with the forest which is inside the deep mountain. Sight with clarity or blur. Light stream lead the mysterious mist to venture the forest. Found a light object under the crowd of trees which is constructed by blend woods. Wood sticks are overlapping and winding as a hollow pinecone. Its construction and pattern go well with the line of the treetop. It’s a whispering between human and the nature.
Moncler’s Genius 2020 Collection
The british fashion designer reinterpreted the brand’s iconic expression as a series of monochrome designs resembling padded samurai armour and brightly colored inflatables[…] Injecting flat sheets with down quilting, Craig Green uses a series of zips that allow the body to inhabit the garments and give them volume. Further defined by outlines printed on the outside, each piece is clad in ripstop nylon, a light-weight nylon fabric with interwoven ripstop reinforcement threads in a crosshatch pattern.
Refik Anadol Studios
Wind of Boston: Data Paintings
Wind of Boston: Data Paintings is a site-specific work that turns the invisible patterns of wind in and around Boston into a series of poetic data paintings within a 6’ x 13’ digital canvas. By using a one-year data set collected from Boston Logan Airport, Refik Anadol Studios developed a series of custom software to read, analyze and visualize wind speed, direction, and gust patterns along with time and temperature at 20-second intervals throughout the year.
Design Research Laboratory (AADRL) and the experimental design studio Minimaforms examining a behavior-based agenda that engages experimental forms of material and social interaction. Cybernetic and systemic thinking through seminal forms of prototyping and experimentation will situate the work through continued experiments that have manifested since the early 1950s as maverick machines, architectures and computational practices exploring the generative potential of self-regulating phenomena as proto-architectural environments. Through explicit models of interactions, observable patterns and proto-animalistic agency; the research will discuss the capacity of these systems to evolve, adapt and self-structure through computation.
Ricardo Barreto and Raquel Fukuda
Chess Auto-Creative (Self-Replicating )
‘Chess Auto-Creative (CHEAC)’, takes the form of a cube where each face corresponds to an 8 x 8 chessboard. The six chessboards can also be arranged in a line to make them easier to see. There are 16 white pieces and 16 black pieces on each of the chessboards, made up of elements such as: kings, queens, bishops, knights, castles and pawns, each of which moves according to the rules of the game. However, instead of the pieces being arranged as normal, they are first set out in patterns where each element is repeated […]Each time a piece is moved to a new position, symmetrically or asymmetrically, a new variation of proto-chess is produced – in other words, a new game emerges. All games generated in this way are, in principle, variations of proto-chess – including the official chess game itself. This means that ‘Chess Auto-Creative’ is not a variant of the official chess game, but its origin.
The animation in FLORA is generated by overlapping sine waves that travel through a string of lines. This wave principle often appears in nature when energy is transmitted through a medium like water, air or simply a rope. It can also be observed in the locomotion of animals and human-beings, in which kinetic energy is transmitted successively through joints.
The FLORA algorithm of is based on the discovery that a simple system of rotating lines can create endless variations of abstract shapes – ranging from curved harmonious lines to edgy and chaotic patterns. The resulting aesthetics combine computational accuracy with an organic playfulness, and tend to trigger diverse associations in the mind of the viewer.
Asao Tokolo studied at the AA School of Architecture in London following graduation from Tokyo Zokei University in 1992. His decorative patterns based on the concept of ‘connection’ stem from September 11, 2001, and he continues to work in fields straddling art, architecture, and design. He designs and creates simple geometric crests and patterns that can be drawn with a ruler and compass, and three dimensional forms using the same principles.
In early 2011 I was exploring the relations of geometry, nature and the human being in a series of 25 pictures that I called ”Fractal Experience”. This is part two – continuing the exploration of geometric shapes, patterns, and fractals with an added element: space-time. This time I’ve worked in 3D and produced a set of animated looping gif’s.
I’ve limited each animation to at most 48 frames, most are around 10-15 frames – to keep the file size small and to maximize the creativity with in these frames.
Hansje van Halem
w for w
Hansje van Halem has run her studio in Amsterdam since 2003. In between deadlines for book designs, she fills time gaps with type drawings and empty book space with patterns. With a “practice makes perfect” mind-set, she taught herself not to be afraid of failure. Her time gaps soon took the upper hand and became her core business. While working on commissions from patterns for endpapers, architectural typography, and all scales in between, she creates a lot of overproduction.
Håkan Lidbo & Max Björverud
FILE SAO PAULO 2017
“The Flooor” is a collaborative music instrument and a social meeting place. 36 sensors under a carpet, connected to a music computer mounted under the floor and loudspeakers mounted in the ceiling.
The patterns printed on the carpet invite people to explore different combinations. 6 groups with different instruments, 6 zones in each group. By standing or dancing on different combinations of the 6 zones, 64 different loops can be triggered.
I was inspired by how the sunlight bounces around in our artificial forest.
“Squint” is a kinetic light installation consisting of 49 mirrors that reflect lights in a bright space. The mirrors track and reflect lights on audiences’ face with composed patterns of movements. It extends the generated perception by focusing on how lights pass across our visual senses physically, and combines with our perception of images through flickering. “Squint”, which extracts various daily experiences to an abstraction brings the audience to expand their interpretation of lights and perceived imagination into a non-linear experience.
“Squint” simulates light source and intentionally shines lights on audience’s faces. Bright light is projected in the gallery, a clean bright space.
Everyday people are dynamically moving around in the city. Sunlight reflects and flickers even when it is indirect and hidden behind the artifacts. While we are traveling, we are experiencing motion. We are also experiencing the shift of light intensity, visual patterns and textures. The varieties of light forms inspire the artist to explore the potential of light textures, select and sort out the combined complexity in urban space. The artist turns them into a minimal form of light experience, while maximizing its diversity of perception.
Even though he was only given a few days’ notice of the royal’s attendance, Quinn lived up to the expectations. He maintained his focused vision, shining the spotlight on his impressive printwork and flair for standout, dramatic silhouettes. An array of abstracted floral prints — all created in-house at the designer’s print studio in Peckham — were mashed up on loose halterneck dresses, delicately pleated chiffon skirts and oversize bomber jackets, to create a visual feast of color and pattern.
‘Crocheted Membrane’ experiments with creating a momentary fiction through fashion artifacts. Starting with the physical needs of one individual human body in an outdoor temperature of 10 degrees Celsius, seven hand-crocheted body forms were produced. The clothing’s texture got thinner or opened up completely on areas of the body that needed less warmth and were thicker where warmth was lacking. In this way, a fundamental change in the aesthetic and function of clothes was displayed. Fixed forms, such as trousers, were recreated into new, unique body forms. Instead of one uniform surface, the textures became alive and inimitable. “Her concept of clothing does not derive in the same way as most fashion design, from shape or historically patterned form with embedded social hierarchy and material richness, but is instead determined by the needs and sensations of the human body – performing in the same way that bacteria populations individually respond.” (Villeré 2014) The resulting fictional artifacts illustrate how we could use knowledge about our unique bacteria population to create a novel layer.
Tokamak Asdex Upgrade Periphery | Max Planck IP,Garching
Since the end of the 1970s Thomas Struth dedicates his work to the world of buildings and constructions as a visible, physical and sculptural symbol of our civilisation.
Struth’s earlier works mainly comprised architectural shots of deserted streets, squares and houses which he aimed to capture by the term unconscious places. His more recent work, however, reveals his interest in sites of high technology and places of exhibition and display. Both his work Tokamak Asdex Upgrade Interior 2 (2009) which was taken at the Max-Planck-Institute in Garching and his photography of a massive concrete construction at the Acropolis Museum, Athens (2009) bear evidence of this new focus.
This excellent selection of Struth’s works enables us to trace his development as a Photographer from small-sized prints from his time as a student of Bernd and Hilla Becher to large-sized photographic tableaus, and to experience Struth’s sculptural understanding of architecture. In addition to that the installation is supplemented by his largest work, a shot of visitors in front of the Aquarium, Atlanta, Georgia (2013) which follows the pattern of his Museum shots.
레오 비야 레알
Multiverse is one of Villareal’s largest and most complex light sculptures. It is experienced by visitors as they pass through the Concourse walkway between the East and West Buildings. The work features approximately 41,000 computer-programmed LED (light-emitting diode) nodes that run through existing channels along the 200-foot-long space. The programming both instructs the lights and allows for an element of chance, so that it is very unlikely that any pattern will repeat during a viewer’s experience.