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This is onformative a studio for generative design.

How we work Work When working on traditional commissions, we give advice and support to our agency customers from the conception to the implementation of their projects. Depending on the task’s requirements, we use generative and/or classical design methods efficiently and sensibly. work Lab

http://www.onformative.com/

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A take on Generative Art  Ok, I did some generative art-like things before. But it was never my goal, they where always somehow the side effect of experimenting with code. But recently I did a nice project for Little Miss Robot. Software Development as Artistic Practice: How Open Source Has Changed the Way Art is Made Artists are notoriously secretive about their processes. Rothko never revealed the complex formulas behind his diaphanous color fields. Picasso gave his famous dictum, “Bad artists copy. Good artists steal,” which may have been why Brancusi was so loathe to let the Cubist into his studio.

Designing Visualizations for Time-Based Data Most interaction designers understand the concept of timelines and other time-based data. Blogs, calendars, and to-do lists are all examples of time-based data. However, if you are trying to fit 400 data points into a 1024 x 726 screen you’ll quickly see how challenging time-base data can be. Currently, many interaction designers are turning to visualizations to overcome many of the issues associated with this form of data representation. Below you’ll find a list of some of the best time-based visualizations on the web. Please use the comments section of this post to let the community know of any useful resources I’ve left out.

Flashback: Arts Centre – Casa Das Mudas / Paulo David Flashback: One of Archdaily’s goals is to bring you up to date information about projects that are being designed and constructed around the world. We’ve created a new category to cover inspiring projects that were constructed between the 1990′s and the early 2000′s. Architect: Paulo David Location: Vale dos Amores, Calheta, Madeira, Portugal Project Year: 2004 Photographs: FG + SG Fernando Guerra The city of Funchal gathers a whole structure of articulated museological spaces in its urban matrix, which creates a network of a way to read the city through a route connected to its expansion, without the existence of any space destined for contemporary art. The construction of this Arts Centre comes from decentralised politics causing the unexpected possibility to create an exhibiting space outside the limits of the capital.

Codes - GENERATIVE GESTALTUNG 2016-03-15RT @bndktgrs: 幸せなコーディング! Launched: Our #GenerativeDesign book has also a 🇯🇵 website now!👍 [Link] Cheers @BugNews! Dance Technology: Proximity, with VDMX, Quartz Composer, OpenFrameworks, Syphon With new hybrid performance comes new hybrid tools, as artists can work with an arsenal of evolving, often open, creative visual software. In a new performance for Australian Dance Theater, multiple tools merge to produce an array of visual features to accompany the choreography. Some of the glue is Syphon, the open source framework for sharing textures on the Mac, so it’s fitting this news comes our way from Syphon co-creator Tom Butterworth. Tom writes:

The Work of Edward Tufte and Graphics Press Graphics Press LLC P.O. Box 430 Cheshire, CT 06410 800 822-2454 Edward Tufte is a statistician and artist, and Professor Emeritus of Political Science, Statistics, and Computer Science at Yale University. He wrote, designed, and self-published 4 classic books on data visualization. The New York Times described ET as the "Leonardo da Vinci of data," and Business Week as the "Galileo of graphics." He is now writing a book/film The Thinking Eye and constructing a 234-acre tree farm and sculpture park in northwest Connecticut, which will show his artworks and remain open space in perpetuity. INEVITABLE ARCHITECTURE How important is it—if at all—for architects to consider the ultimate decay of the buildings they design? After all, it is the new building that realizes best their ideas, hopes, aspirations, and the prospect of its being diminished over time amounts to their diminishment, as well. Most architects dislike the idea of buildings’ decay and work hard to avoid it by the careful selection of materials, systems, and methods of assembly that will withstand the forces of nature continually attacking them, chiefly those of weather. Nevertheless, there is a tendency to decay inherent in materials and systems themselves—an entropy—that no amount of care in design or maintenance can overcome. Buildings will inevitably decay, and there is nothing architects or those charged with a building’s upkeep can do about it. So, what is an architect to think or do about it?

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