This ended up being a little tricky, but as long as you have access to a webserver to load the PHP script that parses your data and stores it to an on-server text file, you can run your processing applet from anywhere and just send parameters in via url specified variables.
For example, the string: http://littlegreencocktail.com/php/loadstrings.php?file=test1&type=save&x=200&y=100
includes variables ‘file’ that is set to ‘test1’, ‘type’ that is set to ‘save’, ‘x’ set to 200, and ‘y’ to 100.
With some editing of the sample code from the first source listed above, my php script now saves “200, 100” to the file test1.txt, adding a new line to the file if it pre-exists, otherwise first creating the file.
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I’ve been working with gears on and off for the past year now. They are obviously complicated to mesh together properly depending on ratios, pitch, teeth, etc. But there are a limited set of rules that can be defined for creating perfect pairings of gears.
For my project I’m inspired by the obsession we have as academia to figure out how all things work. Therefore I want to create a rhinoscript which allows a generation of unnecessarily complicated scheme of gears. I’m imagining being able to specify a STARTING motor/torque point and then a FINAL output point and have the program generate hundreds of gears and random configurations in between.
For this project if I can get a script working with a few generated models and/or animations I will be happy. But preferably I would like to be able to laser cut these final confusing nightmares of random gears so that they function and move.
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Georg Nees (Germany)
He was pupil of Max Bense, the founder of the Information Aesthetics. He, together with Herbert Franke and Frieder Nake is the pioneer of ComputerArt in Europe. The following the the work from him. He is in the first generation of digital artist. Though due to the limitation of the hardware and software at that time, the art work is not very flashy. However, you can still see the randomess which is always used in visual digital art.
Tape Recorders
Rafael Lozano-Hemmer is a Mexican electronic artist, who develops interactive installations that are at the intersection of architecture and performance art. “Tape Recorders” is one of his recent installation which was commissioned by the Museum of Contemporary Art in Sydney. http://www.lozano-hemmer.com/tape_recorders.php
This work inspires me to think the concept of circle. The end point is the same to the start point. And the repetition in it is just like the way we live our lives, and everyday. And it is very good to see the instant feedback from the work towards the observers. If later I want to add interaction into the work. It is good to make the interaction rapid and understandable for the observers. If there is something that I would add to the work, is that I would make the recorder much more longer like 20 feet-long to make it more dramatic.
Murayama takes his chosen flower and dissects it using a scalpel to reveal the “hidden mechanical and inorganic elements”, which are then sketched, then modelled using 3ds MAX, before being finished up in Photoshop and Illustrator. The results are wonderfully digitalized representations of the intricate engineering that is present in Mother Nature’s handiwork. It is good to see how the artist transform “the real life” into digital format with a very rich and complete way of storing it.
I liked this piece for simpleness of the interaction and the generation of the forms. A more modern take on earlier computation art techniques, using vibrant color and a small degree of interactivity.
An interesting play on subdividing a doric column using algorithmic patterns. Functional, beautiful, and computational. Could this class really ask for more?
And one more super cheaty one from class that was briefly mentioned:
Marc Newson’s Voronoi Shelves
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Starting with another relatively light generative project, this project was done as a Halloween present for the creator’s children. The monsters were created by algorithmically placing “monster bits” like tentacles and eyeballs from a kit of parts. This is an extremely straightforward application of generative programming, but one that is quite appealing to me. The graphics used here are pleasant but not particularly inspired, but I could see a similar system being used to create some really inspirational stuff. For example, generating silhouettes for Monster designs based on a given physiological feature (Make me some tentacle monsters, some quadrupeds, some stuff with shells, etc).
Evolution picks up on the trail blazed by many of the genetic algorithms we discussed in class, specifically Ludivine Lechat’s Graphical Cellular Domestication. The program creates organisms from a template, assigning each various properties based on each creature’s taxonomy. Each creature can then go on to mate and predate, passing on its computational DNA to future generations. The notion of dynamically generating creatures is very appealing to me from a purely aesthetic view, while the notion that physical characteristics and inherited data can affect their behavior makes this sort of project highly compelling.
Simple concept, elegant execution. Cell-F essentially takes data from the classic Game of Life program and stacks results from each generation vertically. When these points are translated into 3D volumes, they take on a sort of eerie hybrid of the orthogonal and biological.
This week I explored work translating sound into other domains. The difficulty here is finding pieces that are more generative, rather than data-visualization based. There is a definite spectrum between these two endpoints, with most work falling somewhere in between.
The first is Sound Structure by Leander Herzog. He used laser-cut plastic to create forms that interpret the sonic qualities of a piece of music. The piece is extremely complex, but its overarching curves and contours guide the viewer through a kind of musical composition. They are reminiscent of some kind of biological pattern; DNA comes to mind. It’s unclear what the audio input for these sculptures was, but we can use our imaginations to make a guess.
Next is the Cylinder project by Andy Huntington. These 3D sculptures are designed to illustrate the complexity of nature, specifically natural sounds. On the left is a visualization of a saturday morning flea market, and on the right is the sound of human breath. The jagged lines of the market piece convey a sense of constant flux and instability. Breath, on the other hand shows a kind of peaceful solemnity that express peace and constancy. It would be interesting to somehow insert these works into their original environments, as a way for people to view their sonic presences in realtime.
Last is a generative audio visualization from Patric Schmidt and Benedikt Groß. They took a unique approach by composing an electro-tech soundtrack in its entirety before beginning on the visualization component. This allowed them to precisely calibrate each visual component to correspond to an audio element. I’m in love with the visual style here, everything is nicely aligned to the feel of the track. The rotation adds a bit of drama to the whole experience as well. I’m wondering about the utility of this work however. It seems destined to live on the web, you can’t really use this is a free-standing music video, but it also would not fit within a gallery environment.
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A variety of works by artist Allan Mccollum who often uses variation on objects to generate hundreds or thousands of variations as proxies for various social phenomena.
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So my original idea for this project was to try to generate meshes that look something like this, using a particle system with toxilibs mesh drawer class, and rig it so that the simulation could follow a three dimensional curve through space. However, after working on it last night, I think this is just way too similar to things I’ve already done, and am not nearly enamored with it anymore.
Fields
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This is an innovative “generative video painting” that displays different sizes and croppings of video frames to create a new image overall. The dynamic nature reminds me of the moving paintings/portaits in harry potter.
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Massive software has been used for crowd sim in many major motion pictures. LOTR super nerds will recognize it from the extra-special extended version of the DVDs. This was exposed at a time I was just beginning to use 3D CAD modeling for digitalia. It was probably the first time since the original TRON that I looked at what was augmenting live action. Critique, yeah, sorry. I think it’s pretty solid.
[youtube https://www.youtube.com/watch?v=3C8sr1nHTBg]
I’m old. At least, I’m older than most of my class mates. I’m actually 53. Being from a bygone era, I remember when a major car company first announced all-computer testing. It was around 1993 and the car, or series of cars were the Chrysler LH series. Lee Iacocca did the commercials then and boasted (paraphrasing) ‘…the first car completely designed and tested by computers’. It would have been more accurate to say, ‘the first consumer car’ as land-speed-record rocket cars were probably actually first. The video shows what is current in crash simulation. It is inspiring to see simulation becoming reliable enough to push the boundaries of design. It allows us to push our own boundaries in the universe.
You can read the details HERE about a TUFT’s U. study using e-coli bacteria to encode messages. It’s interesting that biologic computation works both ways in the simulation realm. We synthesize patterns like growth, and use organisms to simulate things something like QR codes. It’s also interesting to think of microorganisms and genes as synthesizing a sense of purpose in human life, which may be no more important than it was for troglodytes. Survival of the fittest.
