- Works
- 69
- Views
- 1.1K
- Likes
- 29
- Updated
By placing our trust in any of the "future techs" to solve today’s environmental problems, we run the risk of postponing the actions that mattered.
Carbon capture is one of those technologies we’ve engaged in to give us an impression of action; perhaps, unconsciously, in order to cover up our anguish, our helplessness or our guilt.
As I developed this work, it felt oddly like building a relationship with modulo. It kept surprising me with complex and unpredictable patterns. I introduced it to more familiar concepts like noise, and trigonometric functions, and continued to see new patterns.
My hope is that you will see a little bit of modulo's personality in this work, and consider getting to know this awkward fifth wheel of the arithmetic operators.
Prepare a rectangular or square canvas. Pick one or two sets of pigments. Plot one or two fields of slightly irregular dots, with one layer for each pigment.
Offset each layer slightly, horizontally or vertically. Apply a level of randomness to the placement of each dot so that pigments in lower layers can obscure pigments in higher layers. Optionally, divide and displace the randomness in rectangular patches.
Each Funktor is defined by a sequence of mathematical functions called signed distance functions. This type of function describes the relationship between the interior and exterior of shapes, yielding negative or positive values depending on whether a point in space belongs to the inside or the outside of the shapes they describe, and values close to zero for points on the boundary between them.
In that sense, they are like architectural drawings, only instead of lines, they use the the value zero to mark the boundaries between outside and inside - in other words, walls. A room, in this context, is therefore a region of space that return negative values when its defining function is sampled.
by Erik Swahn
Particle systems have always held a special place in my heart. The inherent simplicity of each particle and the complexity of what emerges is a theme I have always enjoyed exploring.
With Drift, I continue this exploration and delve deeper into the intricacies of one such system, to see what emotions it can evoke.
Inspired by mosaic pattern work and expressionism, Möbius inverts a trend of generative art, imperfect detailing. Instead using perfect detailing to make an imperfect whole. By playing with this idea it asks us to reevaluate these norms. Does our fascination with imperfection run deeper, beyond simple analog emulation?
By evoking tidal oceans, landmasses and typhoons composed of granular geometry, Möbius sets out to draw parallels with nature. Exposing our attraction to imperfection as something universal and atomic.
Linea came from me wanting to go back to the beginning and start anew. From this point zero, I found myself back at physical work, experimenting with ink bleeds and impasto paint. It was expression through the media itself. If I could use algorithms in the same way - could I paint with code?
To do this the algorithm needs to be treated like a material, by using only lines I am trying to investigate the self expression of the digital media - only algorithms, no rasterised graphics or pixels. An approach to explore not just the images in my mind but also the creativity of a dynamic material.
by office ca & {protocell:labs}
In Structura, this rational, modular, tectonic (constructed) space frame is contrasted with an amorphous entity residing between physical matter and empty space. Diagrammatic and actual, formed and formless, the amorphous volume pierces the frame to produce unexpected conditions. At times, the volume represents natural rock formations; other times, clouds, vapor, or smoke. Perhaps most accurately, it is a placeholder for flowing space, an idea investigated since at least the Baroque period, reinterpreted in modern times by architects such as Greg Lynn and Zaha Hadid.
Here, the space itself and its enclosure are superimposed but fully independent, passing through with little regard for each other, z-buffer on the graphics card being the ultimate judge on what is shown first. This superposition creates tension further amplified by the field of spatial disturbance affecting both, seemingly independent but originating from the same algorithmic source, ultimately revealing their purely digital nature.
by Studio Yorktown
This version of Tekton is a fully generative version of a previously released, non-generative capsule collection of ten pieces entitled Tekton.
The original intent behind the first collection was to explore the possibility of creating structures through the use of reuseable models, similar to playing with blocks of LEGO.
by Anna Lucia
The artist describes the work as 'patches of code hand stitched together; for loops, rectangles, if statements, and randomness,' referencing the recurring theme in Anna Lucia's work that seeks the tension between computer science concepts and traditionally feminine crafts, such as textile work. It suggests that working with code has a material character for the artist and can be likened to craftsmanship. Using "hand stitched" may imply an element of following intuition in the construction of the work rather than following a systematic structure or technique. These ideas come together upon examination of the variety of outputs where rectangles overlap in a balancing act between following a strict grid and improvisational placement.
by Olga Fradina
Lithography is a printing technique that has been used since the late 18th century, and is considered to be one of the first mechanical means of reproducing an image.
As an individual who has been captivated by this technique since childhood, my current project aims to explore the use of minimal means to achieve maximum emotional impact through lithography. This approach aligns with the traditional principles of the medium, which prioritize simplicity and elegance in the creation of an image. By limiting the amount of detail, it is believed that the image will be more impactful as the viewer is able to focus on the essentials of the image, rather than being distracted by excess detail. Furthermore, this approach may also contribute to the creation of a sense of universality and timelessness in the image, making it more relatable to a wider audience.
by Anaglyphic
Taken in an overly literal French sense, an antichambre is the opposite of a room. In a more reasonable one, it is as smaller room that acts as a buffer between a public space and a private one. It is the limbo in which one forgets the past to sink in the anticipation of the high-stake social interactions to come.
The topographies depicted by Antichambre iterations naively represent what can be at stake with these intermediary spaces. The floating moments spent in these rooms are what some of the present is made of, as the past is gone and the future is always to come. By making a slices of time a slice of space, the Antichambre algorithm provides cognitive helper to anchor a perspective on the instant.
John Provencher
Circles is a generative script composed on a letter-sized piece of paper (8.5” x 11”). While circles is a digital artwork, the material of the piece refers to the dithering found when printing on common b/w laser printers. Each output is a step by step guide on how to draw a circle ... programmatic interferences of time and light distort each attempt to render a circle(s), creating compositions of imperfection with hopes to create something new.
by Matt Perkins
You are on the shore of a lake, waiting for the festival to begin. A soft wind blows, and the remains of a storm are passing away.
In art school, I discovered and fell in love with impressionist art. The style of capturing the essence of a scene with bold marks and colors captured my creative curiosity. Throughout my life, I've had a spot in my heart for this movement.
As I began my generative art journey, I looked back at these artists, wondering if I could capture the feeling of an impressionist masterpiece with code. Over time and with experimentation, I've developed and honed my algorithms to closely mimic true brush strokes and applied color mixing techniques to realistically mimic paint mixing.
by KRANKARTA
A drop of rain seems fleeting and inconsequential. Yet, within each lies a microcosm.
by Stuart Batchelor
by Stuart Batchelor
by Paolo Čerić
by Erik Swahn
by Nat Sarkissian
by Zancan