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This is onformative a studio for generative design.

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Infographic Design Agency: Killer Infographics - Killer Prices, Killer Service, Killer Designs! 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. Rather than locking their studio doors, media artists are in a constant, open dialogue over how, and how best, to make use of the technologies that drive their work. Though these open-source creative tools were developed by artists, they don’t need to be considered works of art in and of themselves. The difference between a media artist creating a tool like OpenFrameworks and a painter developing a new admixture of oil paint, for example, is that the coding tools are designed to be functional and public, a provocative quality in the traditionally covetous art-world context. Creative programming environments are functional by necessity, especially with utilities like Processing and OpenFrameworks.

M.A. Thesis Visual tools for the socio–semantic web This thesis contributes to a new discipline of science: web science, as introduced by Tim Berners-Lee and others in 2006. Designers, computer scientists, sociologists, cognitive scientists, psychologists etc. have individual perspectives on the complex and rapidly evolving interplay of technological and social infrastructure and human society. However, a well-defined discipline — unifying the scientific analysis of social and human factors to understand, but also to shape and steer web developments by informed design and engineering —is not established yet. I hope to contribute to an interdisciplinary dialogue between science, engineering and design with this thesis. Master’s Thesis Interface Design Programme University of Applied Sciences Potsdam Moritz Stefaner, June 2007 Supervisors: Prof. Best Masters Thesis at FH Potsdam in 2007 Analysis These findings shed a new light on our understanding of content, hypertext and metadata. Guidelines More

Immaterials – the form of meta data Immaterials – the form of meta dataCover and article for Weave Magazine 05.11 Client: Weave Magazine / Page publisher Collaboration with: Christopher Warnow Immaterials – Data between visibility and invisibility Designers are increasingly faced with the problem of understanding and visualizing data-filled space and making it inhabitable. Now that location-based metadata waft through the space, thereby redefining contexts and places, a new field opens up to designers: How will information be usefully integrated into the physical space? Immateriality as material is currently being discovered, opening up a new poetic field in which to narrate with space and information. weave cover and article For the issue 05.11 of Weave Magazine we wrote a seven page article about the form of meta data: »Immaterials – Data between visibility and invisibility«, as well as designed the issue’s cover image in collaboration with Christopher Warnow who has already explored the subject in the past. images

JESS3 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: I’ve just been doing some coding work for something I thought might make a good CDM story. Agreed! As reviewed in The Australian:Dance on the spider’s web of technology You can also hear audience reactions via Australian Dance Theatre’s Twitter Behind-the-scenes interview at bottom; images here via the Australian Dance Theater Facebook page.

Phylogenetic tree In a rooted phylogenetic tree, each node with descendants represents the inferred most recent common ancestor of the descendants, and the edge lengths in some trees may be interpreted as time estimates. Each node is called a taxonomic unit. Internal nodes are generally called hypothetical taxonomic units, as they cannot be directly observed. Trees are useful in fields of biology such as bioinformatics, systematics, and comparative phylogenetics. Unrooted trees illustrate only the relatedness of the leaf nodes and do not require the ancestral root to be known or inferred. History[edit] Charles Darwin (1859) also produced one of the first illustrations and crucially popularized the notion of an evolutionary "tree" in his seminal book The Origin of Species. Types[edit] Rooted tree[edit] Unrooted tree[edit] Unrooted trees illustrate the relatedness of the leaf nodes without making assumptions about ancestry. Bifurcating tree[edit] total rooted trees and total unrooted trees, where leaves.[4]

Fragments of RGB fragments of RGBinteractive installation An ordinary situation in a technoid world: strolling through the streets and passing enormous LED screens consisting of tiny points of light that generate an impression of reality. This reality is such a familiar and an integral part of our daily life that the viewer hardly reflects on it. What would happen if the image were to change as the viewer approached it? This project experiments with illusion and perception on various levels. What would happen if the image were to change as the viewer approached it? We became interested in the observer’s personal view and in »re-projecting« this. Video Images

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