Immaterials by Onformative imagines the form of metadata.
Onformative on their project:
Immateriality as material is currently being discovered, opening up a new poetic field in which to narrate with space and information. Location-based metadata waft through the space, and are thereby redefining contexts and places. A new field opens up to designers.
We have made a new media art form called The Fiber Optic Tapestry. Fiber optic panels are woven on a handloom and attached to a custom made, computer controlled lighting system, which displays information from the internet onto the tapestry’s surface.
The tapestry parses information from Twitter and other data sources to display color, light, and pattern onto woven fiber optic panels using RGB LEDs. The resulting real-time animation is an abstract, data visualization that continually updates as data changes.
You can learn more about it and see it in motion here:
Ever since industrialization took over mainstream design we have wanted to make objects inspired by nature: from art nouveau and jugendstil to streamline and the organic design of the sixties. But our digital age makes it possible to not just use nature as a stylistic reference, but to actually use the underlaying principles to generate shapes like an evolutionary process…
Trees have the ability to add material where strength it is needed, and bones have the ability to take away material where it is not needed. With this knowledge the International Development Centre Adam Opel GmbH, a part of General Motors Engineering Europe created a dynamic digital tool to copy these ways of constructing used for optimizing car parts. In a way it quite precisely copies the way evolution constructs. We didn’t use it to create the next worlds most perfect chair, but as a high tech sculpting tool to create elegant shapes with a sort of legitimacy. After a first try-out and calculation of a paper Bone Chair, the aluminium Bonechair was the first made in a series of 7. The process can be applied to any scale until architectural sizes in any material strength. The Bone furniture project started in 2004 with a the research of Claus Mattheck and Lothar Hartzheim, published on Dutch science site Noorderlicht.
Data are taken from two images. One is a color map, the other is a bump map of sorts. The color map only controls the colors of the stroke. while the bump map controls the width of the stroke, within pre-set limits.
The motion is primarily controlled via epicyclic motion, inspired by early attempts by astronomers to make celestial motion make sense in a terre-centric model of the universe. Given enough epicycles and non-rhythic periods, the motion can become quite chaotic and appear to be wholly random.
These works come from a study of organic natural forms and their relationship to simple mathematical rules.
Influenced by the work of D’Arcy Thompson, Alan Turing and Ernst Haeckel, they study how intricate forms of plant and coral like structures can be created by digital simulation of flow and deposition.
The sculptural shapes are created by a process of accretion over time. They are gradually grown by simulating the paths of millions of particles randomly flowing in a field of forces. Over time they build on top of an initial simple seed surface to produce structures of immense complexity.
Walking Inside is a generative project by Eshwar-Emilio Cassanese in which math, music, points and algorithms were combined to “follow an idea”.
About the project:
[These are] experiments to combine generative art in illustration. All textures and elements were created in generative, mathematical formulas for wind and biological organisms. processing and after effect.
Using Kinect sensors and 22,000 points of computation, Daniel Franke and Cedric Kiefer have created what appears to be a sort of dancing sandstorm. The figure of a dancer seems to appear, dissolve and then reappear again within swirls of simulated motion.
Stamen Design has just released a visualization tool that transforms web maps into works of art. It’s available in three styles and was made possible through funding by the Knight News Challenge. The News Challenge is part of Knight Foundation’s $100 million plus Media Innovation Initiative, which rewards “new ways to meet community information needs in the digital age”.
Lorenzo Oggiano’s Quasi-Objects is an ongoing project of generative imaging “that aims to stimulate thought and dialogue on the progressive relativisation of natural forms of life as a result of techno-biological evolution”.