Archives for the Month of May, 2010

Selected Tweets #7: March-May 2010

Imaginary Architectures, Hotel -  El Ultimo GritoImaginary Architectures, Hotel – El Ultimo Grito

Microblogged: recent selected tweets from my Twitter stream. Some posts have additional descriptive text, overriding their original 140 character version.

Félix Luque Sánchez’s Dodecahedron Symbology depicts an invented mythology of an interactive polyhedral object.

Nils Seifert’s Vimeo video set contains work dealing with Voronoi, particles, surfaces and collision algorithms.

Reza Ali’s 3D Field Flow is generated using fluid flow computations and thermodynamic algorithms to create turbulent optical spaces.

Baltan Laboratory Case Study 8: A computer simulation of the classic Mondrian painting style, in three dimensions, with viewer generated/interactive depth lines.

Visionary drawings, collages, paintings from the heyday of the archetypal experimental architectural outfit, Archigram, have found their way online at the Archigram Archival Project.

Designers El Ultimo Grito have created some imaginary glass architectures with topologies reminiscent of nested Klein Bottles.

IcosadodecahedronShell_Bradford_HansenIcosadodecahedron Shell – Bradford Hansenbr />

The Crystal Zoetrope by The Design Media Laboratory at the Korean Institute of Science and Technology uses Sub-Surface Laser Engraving to create a 3-d animatronic table.

Douglas Capron’s ‘Hydrology: Visions in Ice’ series of photographs explore long exposures of water crystallization patterns.

Bradford Hansen-Smith’s site collates and documents a wild variety of paper folded Polyhedra as well as spiral and organic paper fold constructions.

Pete McPartlan’s Long Drawings consist of continuous procedural facets, acting as references to Chinese scrolls paintings.

Mike Davey builds a Turing Machine, which up until now remained a theoretical proposition. The ‘intelligent’ device can simulate the workings of any computer algorithm.

Ralf Baecker’s ‘The Conversation’, a pataphysical processing environment, is constructed from an array of Solenoids. Inseparable elements try to adapt to the forces within the network.

Softlab’s Chromaesthesiae is a spatial and chromatic investigation of space. The fabricated installation uses photo ink jet paper, binder clips and laser cut acrylic to create chromatic funnel shaped sculptures.

Perry Hall – Decalcomanic, Asemic & Cymatic Forms

Perry Hall
Live Paintings – Perry Hall

Perry Hall’s paintings use a variety of process techniques from Decalcomania, a method originally favoured by the Surrealists to the sonification of oils or acrylics. In the former, patterns are generated by transferring a high viscosity paint from one surface to another, and then pulling the two surfaces apart. The resultant textural figures are not random but instead form a characteristic pattern of fine branching structures, filigree networks and dehiscent structures. In Perry’s ’2008′ paintings the Decalcomanic procedure is created with a radial action to create structures similar to dendrochronological tree-ring patterns. At other times the textures, aligned in parallel, give the impression of a kind of asemic calligraphy.

Perry’s sound drawings, single frames taken from HD videos, bare all the hallmark patterns of sonically transduced liquids – with lattice arrangements and organic and periodic tessellated patterns.

The highlight of the portfolio, arguably though, is the ‘live paintings’ series which documents videos of the dynamics of paint, including fluid vortexes, convectional processes and turbulence. Abstracted from environment context these images might have been derived from space probe photography. The wave structures and vortexes are identical in form to those found moving across the surfaces of the great gaseous planets of the Solar system.

Optofonica – Anharmonics, Synthaesthesia & Sound Spatialization

Sonolevitation – Evelina Domnitch & Dmitry Gelfand

Optofonica is an ongoing project and experimentation lab founded by TeZ [Maurizio Martinucci], Evelina Domnitch, Dmitry Gelfand, and including Martijn Van Boven as a fellow artist, devoted to the investigation of synaesthetic artworks and sound spatialization techniques.

The collective divide their time by working on their own personal projects, forming specific internal collaborations, as well as inviting established artists and musicians to get involved for special projects.

A good example of the latter is the Optofonica Capsule constructed by TeZ and Janis Pönisch. The capsule is a sensory chamber constructed for the solitary and immersive experience of audiovisual artworks. Resembling a giant flys head, the user enters the capsule and is allowed to define her/his own program of audiovisual works (a collection of pieces curated TeZ himself). The confinement cuts out any external sensory information and the sound surround technology provides a ‘tactile audio’ experience. The capsule has already travelled widely around the World, destinations have included Transmediale in Germany, Nemo in France, and Elektra in Canada.

A companion DVD compilation documenting the artworks viewable in the capsule has been released on the Line imprint [part of 12k]. Often transcending typical science-art barriers, the works explore such phenomena as magnetism, fluid dynamics, acoustic levitation and brain-wave interference.

Anharmonium – TeZ

TeZ’s most recent personal work, Anharmonium, concentrates on utilising cymatic processes to create sonic visual projections using high density light sources. Currently installed in the Melkweg media room, the piece explores ‘interference patterns within a sonically activated fluid illuminated by laser emissions to create an augmented meditative space – a psycho-physical observatory.’

Whereas a lot of recent works exploring visual phenomena generated by sound remain strictly within the realm of computation, TeZ’s Anharmonium operates outside the digital box relying on the physical properties of sound on materials and the inherent emergent properties of light reflections interacting with sonified fluid dynamics. In this respect TeZ’s operations are more akin to pre-computational methods of generating synaesthetic experiences. It’s not so much of a surprise then that the analogue aesthetics generated by Anharmonium are more akin to the work of someone like Thomas Wilfred and other pioneer syntheasthetes. The Anharmonic aesthetics include the apparent illusion of extruded form-lattices transforming and merging in 3-dimensional space.

Camera Lucida – Sonochemical Presence
10000 Peacock Feathers in Foaming Acid

Flickr Fruits #34 | Fractal Planetoids, Palindromic Robots, Sonic Colour Bursts & Brushwork Algorithms

The Formula - Subblue
The Formula – Subblue

Sublue’s Mandlebulb set explores various species of 3D Mandelbrot fractals in exquisite detail. Their forms exist between baroque planetoid objects with hyper-dimensional surface ornamentation and microscopic diatomic organisms.

Zeno’s Palindromus series uses the palindrome as a metaphor model for bilateral reflection of angular forms to generate symmetrical neon robot architectonics.

Marius Watz’s KBG set contains a group of sound visualisations executed in his trademark ‘more is more’ bold colour style. Sound files obtained from artists related to the Konsberg Jazz Festival were interpreted as explosive radial wave form patterns in concentric formations.

William Ngan’s Mosumi set contains computational simulations of Chinese ink paintings. Combinations of sharp black lines with thicker lighter marks successfully provides the impression of ink washes, and the blurring effect of water on brush strokes.