Category Archives: looking-outwards

Robb

06 Feb 2013

Grower – 2004 – Sabrina Raaf

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This robot crawls along the wall and paints hopeful blades of grass which correspond to C02 emissions.
This doesn’t actually appear to have anything to do with environmentalism, which is refreshing and strange.
The artist sees it as more of a visualization of organic life and the chemical impacts organisms have on one another.
As an early example of data-driven kinetic art, this piece subscribes to what will later become tropes in the genre.
I am seriously considering doing a data-driven eco-themed sculpture, and happening across this really well done example is informing my research well.
This is not a guilt dispensing device, as much environmentally themed art tends toward, but a truly though provoking exploration of the relationships between living things, expressed effectively by an artificial living thing drawing fake living things. Whoa.

Colony – 2013 – Nervous System

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The work of Nervous System is a beautiful set of examples in the field of generative tangibles. They have coined their wares as physibles.
Their attention to aesthetic detail and current architectural trends sets them apart from other product design firms. Biomimetic forms have always been beautiful and are just coming around to the mass market spotlight. The combination of Product Design, Architecture, Programming, and fashion is quite striking.

Bueno

06 Feb 2013

First up, The Art of Reproduction by the duo Fernanda Viégas and Martin Wattenberg, a project done in 2011. This project might be considered a unique curatorial perspective – the internet as a museum.

Viégas and Wattenberg gathered up as many digital copies of images of a select few famous artworks they could. Then, they coded up a program that would construct a mosaic out of components of each reproduction, forming a new whole imitative of the original painting/photograph. The huge variances in color are astounding. Even dimensions and proportions do not remain constant, thanks to small croppings of the images here and there. The resulting visualization is a concise observation of the innaccuracies of (digital) artistic reproduction.

http://hint.fm/projects/reproduction/

 

Next is a visualization that I feel more ambivalent about. Note that with the current goings on in the US I am quite invested in the topics of gun violence and gun legislation. I was even considering trying to tackle them for a while as part of this project. That said, Perioscopic’s U.S. Gun Murders in 2010 seems to go against the normal grain of infovis somewhat.

The graph consists of curved lines over an axis representing time. Each line is a person’s life. At some point the lines switch from yellow-colored to gray-colored, representing the point in their life where they were killed by someone with a gun. The rest of the trajectory represents the life they could have lived. Now, for me the problem is this last bit, the blatant speculation on the part of Perioscopic. While the graph is less visually striking without such a feature, it seems a tad dishonest or ill-considered. Should infovis consist solely of hard facts? I always thought so.

http://infosthetics.com/archives/2013/02/us_gun_murders_in_2010_an_alternative_view.html

This last one is really cool, though it isn’t strictly infovis in that it references no concrete data set. It does, however, help us to visualize the ever present but always invisible electomagnectic fields, radio waves, etc. They physically affect our world, never seen, never heard, but integrated into our surrounding space.

The light sculptures that Anthony Dunne and Fiona Raby created in this series, Immaterials, have no real tangibility, of course. But they are beautiful, and certainly a good use of an old technque.

http://www.onformative.com/work/immaterials/

Michael

06 Feb 2013

Conway’s Game of Life

Game of Life

First published in 1970, Conway’s Game of Life is the prototypical example of cellular automata.  What I find fascinating about this simulation of artificial “life” is the incredible ratio of emergent behaviors to governing rules.  While there are many variations, the original game has only four basic rules, yet these can give rise to machines that translate, reproduce, oscillate, and count, among many other behaviors.  There are plenty of good simulators, both online and offline, though I haven’t played with any of them extensively enough to have a recommendation. Golly seems to have very high praise. Over the past four decades, many initial conditions have been identified which give rise to desired behaviors.  I’m interested to learn if there is a way to essentially run the game in reverse from an end condition or behavior to its simplest origin.  This is difficult, as the game is only deterministic in the forward direction, given that cells and structures can cancel out and leave no trace.

 

Gaussian Processes (the ML/statistical technique)

Unfortunately I haven’t found any great images that make sense on their own, so instead I’ll recommend this gentle introduction to the topic.

Gaussian processes are a set of statistical techniques from machine learning and robotics that can be used in a variety of ways to make predictions about missing or sparse data.   Rather than explain the details of how this works in a short space, I will try to describe what it can do for us.  If I told you the barometric pressure outside my house, and you knew the pressure outside of yours, we might guess that the pressure at a friend’s house in between ours would be about the average of our two numbers, assuming the distance between houses isn’t all that great and there aren’t any massive environmental discrepancies.  Expanding this, if we had a tight enough mesh of sensors across a much larger area, we can predict the empty spaces fairly well.  We don’t usually have the luxury of uniform information density, though, so this method breaks down easily.  Gaussian processes approach problems like these from a different direction, where the “distances” that we care about actually exist in a feature space containing not just latitude and longitude, but other values that describe that point in physical space.  One particularly notable application is the prediction of soil quality in countries like Honduras where there are areas where direct measurements simply cannot be made.  We can still get indirect information about these areas from satellite images and geographical data, which can tell us things like distance from rivers, altitude, foliage density, etc.  If we have soil quality data in other far away locations with similar characteristics, we can use gaussian processes to make predictions even in areas where we’ve never been.  See this paper for more details.

…So why am I suggesting this is a generative process?  It’s a bit of a stretch, but I would argue that this is a generative method because it can be used with real, known data to create predictions anywhere in the world.  If you still aren’t convinced, consider this:  If I mined the Lord of the Rings books for as many geographical descriptions as I could find, I could use data from the real world to give you my prediction about what plants would most likely grow in the Shire and the pH of the soil in Mordor, along with a numerical confidence for each.  (Or maybe I shouldn’t write blog posts this late at night.)

 

Minecraft (and other procedurally-generated worlds)

Minecraft

I love Minecraft.  Minecraft is art.  My apologies for yet another Minecraft-related Looking Outwards.  Part of what attracts me to this game the most is that no two worlds are even remotely similar.  The development team has done an amazing job at procedurally generating voxellated terrain, and in recent years terrain generation has expanded to include diverse biomes including deserts, swamps, and tundra (complete with reproducing plants and fauna).  When a player finds a village in the middle of the plains, the houses and structures there are unique to that game and likely will not be generated ever again.  The world is also boundless.  As the player walks in a certain direction, the world continues to generate far beyond the player’s field of view.  (It used to be that walking in a huge circle would result in bizarre discontinuities in the landscape when new land merged with old, but this has been fixed recently.)  In my opinion, the procedural nature of the game is what provides the sense of discovery rarely found in other games.  It can be found to some degree in huge worlds like those in the Elder Scrolls series, but these still fail to feel like true discovery, because the player knows that many others have found the exact same hard-coded locations.  In Minecraft, that scary cave you found is yours and yours alone.

John

06 Feb 2013

So, I’m really interested in generative work that functions as an interplay between a controller who sets things in motion and a second group who produce some novel/unique result set. Below are examples of this sort of work utilizing different techniques and even species to fulfill themselves.

Terry Riley In C

This is an aleatory composition by Terry Riley in which musicians are given a selection of phrases to play more-or-less as they choose with minimal instruction from Riley’s score. The resultant structure of piece varies widely from performance to performance. This piece demonstrates the significance of meticulously considered input and algorithmic process in service of exceptionally beautiful output. 

Hubert Duprat Trichopterae

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Duprat’s project involves removing carapaces from fly larvae and placing them in enclosures with decorative materials (gold, precious stones etc.) The larvae utilize these materials to recreate their protective shells, which are then shared, shed and augmented by successive generation of larvae. The result of this process is the production of art objects whose materials are selected by Duprat, but whose form is created by the natural life processes of insects. Here’s a link to an article about the work in Cabinet.

 

Anna

05 Feb 2013

In my last post, I was mixing and matching generativity and infoVis, and this post is really no different — hopefully between the two, I’ll have delivered a complete blogpost on both topics.

Heartbeats — realistically.

A powerful and biologically accurate simulation of the beating human heart, with applications in medicine, pharmacology, and general awesomeness. This is great data viz on a number of levels, from the code to the graphics to the articulate video describing the purpose of the simulation. What I particularly love about this model is that despite the complexity of the mathematics and biological phenomena involved on the back end — and without abandoning that complexity — the researchers have created a simulation that is so aesthetically pleasing, in a way mirrors the deceptively simple elegance of the human body itself. How many people actually realize that heartbeats are this nuanced?

Daily dose of words: Shakespear(e) & Silenc(e).
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Understanding Shakespeare

I’m a little bit bitter about anything in InfoVis that tackles Shakespeare, mostly because I’ve done a bunch of meddling with it myself, and then saw a kickstarter campaign with thousands of dollars of funding for essentially the same thing I’d abandoned. In //any// case, I really enjoyed these windows into William’s classic texts. They manage to convey a lot of data while still looking typographically appealing, which is something that a lot of word/language-based pieces seem to neglect. I feel an interesting tension when I look at these pieces. On one hand, they’re great (as the creator realized) as large posters; the immense amount of text contributes to visual interest. On the other hand, I wonder if I could learn something a little more meaningful if I weren’t shown //everything//. Making these interactive with more filtering options would enhance them a lot. My biggest lament? : Where is The Tempest?!


Silenc

Another project with text that is easy on the eye, and curious in concept. I’ve always wondered how the number of silent letters varies from language to language. When learning foreign languages, one feels surprisingly aware of all the ‘stuff’ one is skipping over in pronunciation: french seems to swallow everything, whereas german seems like all sharp stops and well defined vowels. Yet it’s difficult to ascertain whether this is reality or just perception. In my opinion, the most successful iteration of this project is the version where the ‘silent’ letters are moved to the bottom of the page, so one can easily visually compare quantities. One qualm: very few of the silent letters are truly ‘silent’; removing them — even from the title word ‘silenc(e)’ — has a drastic effect on how the word is said. So I guess my question is: what are we really trying to filter for here?

Soccer Stats. Because soccer is awesome, but the data viz is so poor…?

As somebody who tries very hard to coerce all my friends into playing fantasy champions’ league soccer while everybody else in the country plays fantasy NFL, and who therefore is always trying to answer questions like ‘who should I field this week?’ … ‘what’s a holding midfielder?’ … ‘offside?’… and ‘what country is [X] club from?’ I feel like I’m hyper aware of how hard it is to find good visualizations of soccer statistics, rules, and history. Below are two sort-of-nice but sort-of-anemic attempts at saying something about the world’s golden sport. The first actually tackles FIFA’s development work, which has the potential to be a fascinating socio-political resource as well as a sports’ resource, but the content is disappointingly shallow. The second is the interactive map from last year’s Eurocup, which I found charming, if simplistic. It’s also incorrect: Germany should’ve been the last team standing. [cough… hack… cough]


fifa

A map of FIFA development projects

euro2012
A Roadmap of Eurocup 2012

Can

05 Feb 2013

The interesting, and amazing thing about generative music, is that it has a 4th dimension. You can’t just put a screenshot online to describe what it is. And because it involves time, it is in a sense, interactive. Even if it’s not a direct interaction, it has an indirect interaction with time.

Scape – by Brian Eno

Turns out, the very person who coined the term : Generative Music, has a couple of iOS apps for making generative music. One of them is particularly interesting, because I think the way you interact with the app also is unique like the music.

 

Heart Chamber Orchestra

The Heart Chamber Orchestra – HCO – is a rather different piece of generative music. performance. It’s an orchestra, and it consists of 12 classical musicians. Using their heartbeats, the musicians control a computer composition, and the score is generated in real time by the heartbeats of the musicians. They read and play this score from a computer screen placed in front of them. Custom-made software analyzes the incoming heart-beat data and via different algorithms it generates the real-time musical score for the musicians, the electronic sounds and a CG visualization via 2 projectors in the space.

 

Quasar – Envis Precisely

Quasar is a midi-visualization app for iphone. However, the visuals, are also computer generated. So it’s partly visualization, partly generative. Makers of the app, did not take the usual route of creating a piece of music first and then find some visualization for it; instead both elements have been developed at the same time.

Dev

05 Feb 2013

Brett Victor’s Bio

http://worrydream.com/#!/Bio

bretVictorBio

Brett Victor is awesome! Check out all of his work. The first thing I looked at when I visited his page a while back was this awesome Bio. Something like that one guy who charts pieces of his life, brett uses a simple timeline to show both the quantitative, like where he has lived, and mostly the non-quantitate like his certainty. I think its cool he is able to tell you a story about him using 6 graphs, most of which are hardly scientific.

The Billion Dollar-o-Gram

http://www.ted.com/talks/david_mccandless_the_beauty_of_data_visualization.html

I really liked most of the visualizations McCandless’s presented in the video. The one I’ll talk about is presented early on. The Billion Dollaro-Gram shows various economic spendings using tightly packed colored rectangles. The proximity and size of rectangles opens the door for users to make a multitude of interesting points. The effect of the financial crisis was actually tangible in comparison to all of the other expensive above it. I found it funny that Walmart revenues in that year were greater than the entire African debt. This reminded me how big our nation really was.

When Sea Levels Attack

http://www.informationisbeautiful.net/visualizations/when-sea-levels-attack-2/

As a whole this work can serve as to explain the effects of global warming. That is not what makes it special. What I like about this work especially is the number of variables of change it conveys without confusing the reader. There is data about time, water height, elevation of cities, An ever changing world map, and information about what caused the sea level change. All of this data is important in understanding each other. I think this article is able to compress this material perfectly with little loss.

Keqin

05 Feb 2013

N-Body Problem

The n-body problem involves predicting the motion of celestial objects under mutual gravitation. With many objects, this simulation can be computationally taxing due to n2 force calculations. Here we simulate two hundred massive objects, using the Barnes–Hut algorithm to approximate forces in O(n log n). Using dynamic properties, we can easily encode speed using color, and velocity with a white arrow.

 

Generative Art Prints

This art prints are all comprised of very simple graphics and simple colors. But it’s very beautiful and I like this simple style.

Here’s the link:http://benguerrette.com/category/generative-art/

Protovis

An intuitive approach to network layout is to model the graph as a physical system: nodes are charged particles that repel each other, and links are dampened springs that pull related nodes together. A physical simulation of these forces then determines node positions; approximation techniques that avoid computing all pairwise forces enable the layout of large numbers of nodes. In addition, interactivity allows the user to direct the layout and jiggle nodes to disambiguate links. Such a force-directed layout is a good starting point for understanding the structure of a general undirected graph. This kinds of graph will be very direct for people to see and to know the relations between each node.

Kyna

05 Feb 2013

Fluid Dynamics –

link

I found this originally with the first looking outwards assignment, as cited by Memo Akten in his fluid simulation. The organic movement of fluid is something that I think would be a huge challenge to recreate digitally and always with beautiful results.

Procedural Terrain Generation –

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Procedural terrain generation usually uses Perlin noise to create a 2D terrain with varied height, where the noise controls the y-value of the horizon line as it is generated. The midpoint displacement algorithm is also sometimes used, and involves splitting the horizon line into halves and offsetting the ‘halfway’ points by raising them or dropping them by a random height. According to this paper, a major problem with procedural generation is the creation of overhangs or caves. While some games like minecraft appear to have overcome this obstacle, it has not been overcome in a general sense.

Equilibrioception –

Equilibrioception is the sense of balance that almost all organisms possess. I couldn’t find any scientific papers on mimicking the phenomenon in artificial life outside of robotics. Maybe that’s because it’s trivial in cyberspace but I think it would be interesting to have AI with a non-trivial sense of balance. Regardless, here’s a link to my favorite robotics video of all time.

Elwin

05 Feb 2013

Phenomenon: A Confidence of Vertices (2008) // Brandon Morse

Tension, morph and twist under physical constraints of stripped-down architectural forms in a tug-of-war.

I like how the buildings become “alive” when a kinetic force is applied through a network of nodes. This phenomenon in physics seems to create dramatic effects when a (virtual) force influences seemingly ordered constructs. I think the the setup of the piece and the placement of the camera displays the chain of action and reaction of the force on the constructs very well.
 

Method / technique: Aggregation – Once a Mathematician always an Artist (2006) // Andy Lomas

A fractal growth model to simulate organic natural forms through mathematical rules.

Through “diffusion limited aggregation”, Andy Lomas was inspired by the fractal growth model to create these amazing generative art pieces. I really like how it resembles the corals of the oceans. The black and white rendering creates an ambient of an living organism. I’m very curious about how a simple mathematical rule is able to generate such a complex shape and form. This might be something to look into for my assignment.
 

Generative Design: Interim Camp (2008) // FIELD

The creation of artificial and abstract worlds.

I really like this experimental film which simulates and creates synthetic spaces and “alien” abstract worlds. Especially, how the environments are constantly changing due to the rendering choices rather than having a smooth render. The camera motion and music complements the spatial design of these abstract worlds in a way in which it creates frightening depths and emptiness.

There’s another wonderful piece from FIELD which simulates the transformation of inspiration into an ocean of color.