Folium is a generative jewelry series inspired by the algorithmic structures of plants and algae. Each Folium design is one of a kind, a specimen of a new hypothetical plant species. Free from the constraints of biology and physics, a Folium can exhibit forms and patterns impossible in nature.
Folium is the result of a multistage digital growth process created by Nervous System based on L-systems and spatial colonization algorithms. Our system yields diverse results both in overall shape and texture. The variably branched forms of the generated Folia range from round to tree-like. Some recall the dissected forms of maple leaves while others can be likened more to the dichotomously branched forms of Chondrus crispus seaweed. Complex network patterns populate the interior of each Folium in several distinct styles that suggest leaf venation, city street grids, braided rivers, or other branched, anastomosed reticulations. The exterior boundaries influence the interior networks as they expand to fill the contours of the space available. Each specimen demonstrates a unique and dynamic interplay between its outer and inner growth systems with the result that no two shapes or patterns are alike.
This is a test of the mechanism for driving the physicalized output of the software solar wind harp for the "Aurora's Aeolian Harp" project.
I am using an Arduino board with a Motor Shield, and Arduino software co-written with Chris Coleman to control motor speed and direction based on the Max patch that derives control data from real-time ACE satellite solar wind data. The Harp software interfaces with the Arduino board via another Max patch that conditions the data for the serial port.
The motor drives tuning pegs that adjust tension on physical strings. The strings cause sheet metal plates with attached audio transducers to bow and flex, which causes fluctuations in the tones that are output from the Harp software to those attached transducers.
This is a "proof-of-concept" demo video. More to follow.
This major new site-specific commission by Hirokazu Kosaka kicks off the Pacific Standard Time Performance and Public Art Festival and transforms the Getty Center's Arrival Plaza into a sculptural and performative installation with an enormous spotlight, dancers, and hundreds of spools of colorful thread. In Sanskrit, kalpa means eon—a long period of time. Once every hundred years, an angel comes down from heaven and swipes the surface of a stone with her silk sleeves until the rock disappears. Kosaka builds a symbolic parallel between kalpa and the inevitable passage of time that slowly transforms our lives, histories, and memories.
Performers include Oguri, leads a small company of dancers; musician and composer Yuval Ron, who creates an aural environment with a combination of live and recorded music; and sounds featuring harmonica player Tetsuya Nakamaura.
Video comprising one episode of Madmen incompletely downloaded from the internet via bittorrent. The video has been linearly edited, no digital effects were used and all jump cuts and repeats are in the corrupted file.
The video captures an episode of the popular TV show in the act of being shared by thousands of users on bittorent. The video simultaneously acts as a visualisation of bittorrent traffic and the practice of filesharing and is an aesthetically beautiful by product of the bittorrent process as the pieces of the original file are rearranged and reconfigured into a new transitory in-between state.
It also avoids infringing the copyright of Madmen as it is incomplete.