Video of earlier Prototypes: vimeo.com/38959713
Photos & Process: http://www.flickr.com/photos/ettubrute/sets/72157629909864772/
*UPDATE: Unfortunately Point Cloud has been destroyed :( You can read about it here:
Point Cloud is an attempt to reimagine our daily interaction with weather data. Weather has always had a unique place in our lives, because it has a multiplicity that encompasses both the concrete and the indeterminate. It is the intangible context within which we build our lives and our cities, but it is also the physical element against which we create protective shelter. Most of the time it is an invisible network that we can see but are not aware of; yet it can manifest in a spectacle or disaster, come forward and activate our senses, make us forget our rationality in delight or fear. With modern scientific and technological developments, we can now deploy sophisticated monitoring devices to document and observe weather. Yet despite these advances, our analysis and understanding of meteorology is still largely approximate, and in many cases, inaccurate. Weather continues surprise us and elude our best attempts to predict, control, and harness the various elements.
In contrast, however, the nuances of weather’s continuously shifting states are largely oversimplified as the information is transmitted into our daily experience. Our various home and mobile devices most likely distill a forecast into static representations, such as numeric values or simple infographics of sun, clouds, or rain. There is a deep discrepancy between the flatness of the visualizations we are accustomed to, and the rich mixture of tactility and perceptibility of our immediate physical experience. As a critical response to these issues, Point Cloud emerges as a sculptural form defined by a thin wire mesh, driven asynchronously by 8 individual servos controlled via Arduino. As whiteness of the hanging structure begins to disappear into the background, the viewer is treated to a constantly morphing swarm of black points dancing through midair.
The project’s ambitions are two-fold - first and foremost it seeks to meditate on the transmutation of digital data back into analog movement. In the current prototype, the speed, smoothness, and direction of rotation are modulated to interpret a live feed of weather data. Instead of displaying static values of temperature, humidity, or precipitation, Point Cloud performs the data, dynamically shifting between stability and turbulence, expansion and contraction. It re-introduces weather conditions as a permanently variable state, and creates a visceral experience in our interactions with weather.
The second aspiration of the project is an attempt to conceptually mime the structural complexity of meteorological systems - wherein predictable elements converge into unpredictable or unexpected outcomes. The various components of Point Cloud are functionally autonomous and clearly defined: 4 cables descend into a central control core, from which a lightweight steel space frame cantilevers and supports the 8 servos. Each servo powers a cam mechanism that activates 3 to 4 pistons that push and pull on various parts of the wire mesh - composed of over 300 feet of wire thread, and 966 intersection joints. Despite the fact that the only type of mechanical actuation is linear, the resulting motion is like that of a third degree digital surface; the effects each push and pull ripple out along the elastic tension of the wire threads, and in combination with the syncopated rhythm of the servos, create movement that is complex, unexpected, and hopefully wondrous.
Aether is a collaboration between mexican artists Thomas Sanchez and Gilberto Castro. A series of studies in geometric symmetry, dynamic particles and interactivity on a large format multitouch screens. It explores techniques of manipulating a digital sculpt throughout the interaction of the users. It is inspired by the works of Memo Akten, Quayola as well as similarly inspired modernist cubist works such Picasso´s “Seated Nude″ and the classical painter Poussin.
The audience are able to alter the geometry and the physics to transform the representation of objects into different viewpoints. The source for the study are various Nebula images taken from the the Hubble Space Telescope. Those images are exposed into a abstract form which is possible to manipulate in real time with the touch of the fingers, to provide insight between Audiovisual Design and Multitouch technologies.
AETHER is not a multitouch wall is a mirror of shapes.
Visuals and Interactivity Design: Thomas Sanchez Lengeling
Projection and Multitouch Hardware Integrator: Gilberto Castro Esparza
The installation consists of a custom designed cabinet and a Glass of 4.30 x 2.20 m with Capacitive Multitouch Technology and 4 projectors. Visuals are writing in C++ using Cinder, TUIO block and Fade2D library.
Webpage of the project: http://codigogenerativo.com/aether/
More about the installation in The Creators Project blog: http://thecreatorsproject.vice.com/blog/touch-the-cosmos-with-aethers-interactive-gallactic-makeover
Strata #4 is a multi-channel immersive video-installation commissioned by Palais de Beaux Arts in Lille. The subject of this work is a series of iconic pieces from the museum’s Flemish collection, focusing specifically on Rubens’ and Van Dyck’s grand altarpieces. Strata #4 is the result of a study and exploration of the paintings themselves, delving beneath their figurative appearance and looking at the very rules behind the composition, colour schemes and proportions of each piece. It is a precise process aimed at creating new contemporary images based on universal rules of beauty and perfection. Documenting the improbable collisions between classical figuration and contemporary abstraction, Strata #4 aims to create an harmonious dialogue between worlds that may appear very distant from one another, but in fact share so much in common.
MIRA - Live Visual Arts Festival
6-15 November MMXIV
Fabra i Coats, Arts Santa Mònica, Razzmatazz
Second teaser for the new edition of MIRA Festival.
We wanted to convey an overall view of all the contemporary visual culture disciplines offered by the festival, and we chose an aesthetic where the viewer can experience a virtual exhibition visit to discover different works related to all the topics of MIRA: Sound, Light and Movement.
The animation is reactive to the sound, so we made first the audio track and then we have setup all the parameters in the scene to get this automatic behaviour. We used the real time GPU render engine Octane Render.
The new graphic campaign revolves around three installations located in three imaginary galleries. Interaction and staging are the common factors of these pieces that play with a 3D realism mixed with elements out of context and impossible physical actions that help create a sense of confusion and disorder in the viewer. Imaginary avant-garde spaces, post-digital aesthetic and an important technological connection that brings the installations to life.
More info at: mirafestival.com
Direction, design, animation and audio: Amigo Total
Digital Grotesque is the first fully immersive, solid, human-scale, enclosed structure that is entirely 3D printed out of sand. This structure, measuring 16 square meters, is materialized with details at the threshold of human perception. Every aspect of this architecture is composed by custom-designed algorithms.
Partners and Sponsors:
• Chair for CAAD, Prof. Hovestadt, ETH Zurich
• Department of Architecture, ETH Zurich
• voxeljet AG
• FRAC Centre
• Strobel Quarzsand GmbH
• Pro Helvetia
Research for the Digital Grotesque project was carried out at the Chair for CAAD at the Swiss Federal Institute of Technology (ETH) in Zurich. All components were printed by voxeljet AG. The first part of Digital Grotesque is a commission by FRAC Centre for its permanent collection.
Maria Smigielska, Miro Eichelberger, Yuko Ishizu, Jeanne Wellinger, Tihomir Janjusevic, Nicolás Miranda Turu, Evi Xexaki, Akihiko Tanigaito