Friday, February 8, 2008
Ben Fry Lecture MIT 5/16 / 2008
http://moma.org/exhibitions/exhibitions.php?id=5632&ref=calendar
Speaker: Ben Fry, Processing
Date: Friday, May 16 2008
Time: 2:00PM to 3:00PM
Refreshments: 1:45PM
Location: Patil/Kiva Seminar Room G449
Host: Rob Miller, MIT CSAIL
Contact: Michael Bernstein, x3-0452, msbernst@mit.edu
Relevant URL:
Speaker Bio:
Ben Fry received his doctoral degree from the Aesthetics + Computation Group at the MIT Media Laboratory, where his research focused on combining fields such as Computer Science, Statistics, Graphic Design, and Data Visualization as a means for understanding complex data. After completing his thesis, he spent time developing tools for the visualization of genetic data as a postdoc with Eric Lander at the Eli & Edyth Broad Insitute of MIT & Harvard. During the 2006-2007 school year, Ben was the Nierenberg Chair of Design for the the Carnegie Mellon School of Design. He currently works as a designer in Cambridge, MA.
With Casey Reas of UCLA, he currently develops Processing, an open source programming environment for teaching computational design and sketching interactive media software that won a Golden Nica from the Prix Ars Electronica in 2005. In 2006, Fry received a New Media Fellowship from the Rockefeller Foundation to support the project.
His personal work has shown at the Whitney Biennial in 2002 and the Cooper Hewitt Design Triennial in 2003. Other pieces have appeared in the Museum of Modern Art in New York, at Ars Electronica in Linz, Austria and in the films “Minority Report” and “The Hulk.” His information graphics have also illustrated articles for the journal Nature, New York Magazine, and Seed
See other events that are part of HCI Seminar Series Spring 2008
See other events happening in May 2008
Speaker: Ben Fry, Processing
Date: Friday, May 16 2008
Time: 2:00PM to 3:00PM
Refreshments: 1:45PM
Location: Patil/Kiva Seminar Room G449
Host: Rob Miller, MIT CSAIL
Contact: Michael Bernstein, x3-0452, msbernst@mit.edu
Relevant URL:
Speaker Bio:
Ben Fry received his doctoral degree from the Aesthetics + Computation Group at the MIT Media Laboratory, where his research focused on combining fields such as Computer Science, Statistics, Graphic Design, and Data Visualization as a means for understanding complex data. After completing his thesis, he spent time developing tools for the visualization of genetic data as a postdoc with Eric Lander at the Eli & Edyth Broad Insitute of MIT & Harvard. During the 2006-2007 school year, Ben was the Nierenberg Chair of Design for the the Carnegie Mellon School of Design. He currently works as a designer in Cambridge, MA.
With Casey Reas of UCLA, he currently develops Processing, an open source programming environment for teaching computational design and sketching interactive media software that won a Golden Nica from the Prix Ars Electronica in 2005. In 2006, Fry received a New Media Fellowship from the Rockefeller Foundation to support the project.
His personal work has shown at the Whitney Biennial in 2002 and the Cooper Hewitt Design Triennial in 2003. Other pieces have appeared in the Museum of Modern Art in New York, at Ars Electronica in Linz, Austria and in the films “Minority Report” and “The Hulk.” His information graphics have also illustrated articles for the journal Nature, New York Magazine, and Seed
See other events that are part of HCI Seminar Series Spring 2008
See other events happening in May 2008
ben Fry ex in MOMA
http://moma.org/exhibitions/exhibitions.php?id=5632Today at MoMA
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Design and the Elastic Mind
February 24–May 12, 2008
The International Council of The Museum of Modern Art Exhibition Gallery, sixth floor
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In the past few decades, individuals have experienced dramatic changes in some of the most established dimensions of human life: time, space, matter, and individuality. Working across several time zones, traveling with relative ease between satellite maps and nanoscale images, gleefully drowning in information, acting fast in order to preserve some slow downtime, people cope daily with dozens of changes in scale. Minds adapt and acquire enough elasticity to be able to synthesize such abundance. One of design's most fundamental tasks is to stand between revolutions and life, and to help people deal with change. Designers have coped with these displacements by contributing thoughtful concepts that can provide guidance and ease as science and technology evolve. Several of them—the Mosaic graphic user's interface for the Internet, for instance—have truly changed the world. Design and the Elastic Mind is a survey of the latest developments in the field. It focuses on designers' ability to grasp momentous changes in technology, science, and social mores, changes that will demand or reflect major adjustments in human behavior, and convert them into objects and systems that people understand and use.
The exhibition will highlight examples of successful translation of disruptive innovation, examples based on ongoing research, as well as reflections on the future responsibilities of design. Of particular interest will be the exploration of the relationship between design and science and the approach to scale. The exhibition will include objects, projects, and concepts offered by teams of designers, scientists, and engineers from all over the world, ranging from the nanoscale to the cosmological scale. The objects range from nanodevices to vehicles, from appliances to interfaces, and from pragmatic solutions for everyday use to provocative ideas meant to influence our future choices. The exhibition will be accompanied by a fully illustrated catalogue.
Organized by Paola Antonelli, Curator, and Patricia Juncosa Vecchierini, Curatorial Assistant, Department of Architecture and Design.
The exhibition is supported by NTT DoCoMo, Inc. and Patricia Phelps de Cisneros.
Additional funding is provided by The Contemporary Arts Council of The Museum of Modern Art.
Upcoming related events:
Wednesday, February 20, 2008
10:30 a.m.–5:30 p.m.
Members Events | Members Previews
Design and the Elastic Mind
Thursday, February 21, 2008
10:30 a.m.–5:30 p.m.
Members Events | Members Previews
Design and the Elastic Mind
Friday, February 22, 2008
10:30 a.m.–8:00 p.m.
Members Events | Members Previews
Design and the Elastic Mind
Saturday, February 23, 2008
10:30 a.m.–5:30 p.m.
Members Events | Members Previews
Design and the Elastic Mind
Saturday, March 1, 2008
10:30 a.m.
Family Programs | Tours for Tweens
Design and the Elastic Mind
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Sunday, March 2, 2008
10:30 a.m.
Family Programs | Tours for Tweens
Design and the Elastic Mind
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Saturday, March 8, 2008
10:30 a.m.
Family Programs | Tours for Tweens
Design and the Elastic Mind
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Monday, April 7, 2008
12:30 p.m.
Lectures & Gallery Talks | Brown Bag Lunch Lectures
Design and the Elastic Mind
Thursday, April 10, 2008
12:30 p.m.
Lectures & Gallery Talks | Brown Bag Lunch Lectures
Design and the Elastic Mind
Young Hyun, Cooperative Association for Internet Data Analysis, San Diego Supercomputer Center, University of California, San Diego. Walrus graph visualization tool (detail). 2001–02. Java and Java3D software. Image by Young Hyun and Bradley Huffaker
Susana Soares. Face Object from BEE'S project (prototype). 2007. Blown handmade glass, 14 1/8 x 97/8" diam. (36 x 25 cm diam.). Prototype by Crisform, Portugal, 2007. Collection of Susana Soares. Image by Susana Soares
Projection Inspiration: BBC Researches Projecting in Surround
The picture says it all. BBC Research & Innovation is considering presenting video in surround. Just as audio surround assumes a still-central source, enhanced by additional material in the 360-degree audio field, the idea here is to capture ambient visuals using a fish-eye lens and then project that beyond the screen.
Of course, whatever the (uh, dubious, potentially) practical applications of such technology, there are plenty of compelling directions this could lead VJs. In general, the ability to control more of the environment and break out of the rectangular frame helps live visuals and installations. And there are other consumer, examples, as well: TV maker Phillips has toyed with creating ambient, colored light that matches the on-screen image with Ambilight, something DIYers have already cloned (see Hack a Day).
Hmmm.. I think BBC should just give us all projectors and we’ll go work on it, eh?
Graham Thomas, one of the researchers, explains:
Surround Video is a means of visually immersing the viewer into a TV programme.
It is like surround sound, an optional extra that enhances viewing on a normal display. The idea is to use a wide angle (or fisheye) camera fixed rigidly alongside the normal camera shooting the programme, and project the image onto the walls, ceiling and floor of the viewer’s room.
mind control
http://www.firstbornmultimedia.com/#/our-portfolio/430/
http://www.parentalmindcontrol.org/index.aspx
processing_ installation- let's learn the processing again!
http://www.firstbornmultimedia.com/gallery/player.asp?title=Digital%20Kitchen&stitle=Microsoft%20Live&file=dk_fb&width=480&height=270
http://www.firstbornmultimedia.com/#/our-portfolio/1007/
Thursday, February 7, 2008
Yugo
http://www.transphormetic.com/
http://www.actionscript.com/flashweek/00000655.html
Computational art with ActionScript
Posted by Paul Prudence, at 7/1/2004 - 11 comments
Click to view this author's website.
http://www.yugop.com/
Primitive artificial life forms, studies in fractal plant growth, interactive particle-clouds, user-controlled evolutionary acceleration and regeneration. Just as endless combinations of DNA code go towards describing our natural world, the Flash Artist instantiates behaviour into his building blocks of life, the movieclip, by becoming a biologist of computer code. ActionScript is a kind of DNA mnemonic to the Flash eco system, to be arranged as a blueprint for growth, behaviour and organisation. Hybrid algorithms spliced together from clippings of code -- hit F12 and watch your mutant code fill the browser with something quite unexpected and beautiful.
Optical colour-geometries reminiscent of Victor Vasarely's paintings, Internet data traffic maps, generative tessellations and strange attractors. Its not just about playing at God; with actionscript abstract mathematical equations that are meaningless on paper become a raw material to make a new kind of Art. Esoteric formulae become meaningful through their visualisation and we can finally appreciate their elegant symmetry and geometric beauty -- at last they begin to say something to us.
In 2002 an artist, Militos Manetas, and writer, Peter Lunenfeld, attracted some attention within the traditional art world by challenging the notion that large art establishments don’t really care much about art outside of physical space. Together they registered whitneybiennal.com and on it housed an exhibition to run concurrently with the internationally recognised Whitney Biennial. The exhibition was to contain net-art made entirely with Flash. Manetas cited two essays in explaining his reasons for choosing Flash. The first 'Generation Flash' by Lev Manovich looked at the phenomenon of Flash art and the creative energy of the community of artists that use it. The second, 'Flash is poptec' by Peter Lunenfeld, argues that Flash was "the irrepressible joy and lightness of being digital after the boom economy had gone bust."
Undoubtedly Whitneybiennial.com was a kind of milestone but artists that have been using actionscript way before 2002 may they be left wondering what all the fuss was about. Flash is an old timer on the taxonomy chart of computational net-art environments and many of these actionscript alchemists had been producing processor art since Flash 4 arrived.
In the late 90's Joshua Davis's Praystation.com set the benchmark standard in code. Together with Yugo Nakamura’s Yugop.com the limits of Flash were obliterated, rearranged and redefined. DuplicateMovieClip(), attachMovie() and recursive functions were chants of a new Actionscript-based cult. Nearly every artist using actionscript cites Joshua’s or Yugo’s work as the inspiration for getting started in the first place.
So how did a commercial application designed to produce 'compelling immersive marketing experiences' end up being used to produce computational art?
* Multidimensional Environment. The Flash authoring environment caters for animators, illustrators, and programmers alike. Flash provides complete synergy between drawing, animating and scripting never better illustrated than at Presstube.com. Flash is also a relatively easy programming environment to learn compared with its counterparts.
* Dedicated Community. The community that gathered around Flash has fostered a great cross-fertilisation and excitement of ideas. The open source model adopted by actionscripters has furthered inventiveness by allowing artists and designers to build on ideas already freely available, it allows artists to learn new techniques through inspection of each others code. Online competitions such as 5k and 25line contests have dared artists to visualise complexity through economy of file size and has a cyber-folk culture reminiscent of the computer graphics Demo scene.
* Ubiquity. Flash is ubiquitous across many platforms and is now built into browsers by default and works across different browsers without any fuss. The artist can avoid the asphyxiating culture of the art gallery in favour of the autonomy of the browser-space. This space has an everywhere-non-locality which means the art can be viewed anywhere a networked computer exists. The tiny Flash file sizes only further the propagation of Flash art through these networks.
A few years ago a Friends of ED published "Flash Math Creativity." This book wasn't aimed at commercial developers or laden with tutorials on how to build web applications. Instead it extolled the virtues of Flash as a creative tool and championed what business heads might call 'pointless flash'. Its premise was that with a little bit of code, some rudimentary math, and a lot of imagination you could make beautiful iterative art, and very addictive it could be too. A striking aspect was how many beautiful full-page colour pictures of the work it contained - less of a computer book, more coffee table art tome. It was a forward thinking approach and unfortunately nothing has been published like it since.
In the next instalment the author will take a closer look at the techniques and philosophies behind particular artworks made using actionscript.
Replies: 11 comments
1) good stuff. interesting read. will be back for pII
posted by scott (), 07/09/2004 06:18 AM CST
2) thanks
posted by immagini porno (), 07/14/2004 03:42 AM CST
3) thanks
posted by immagini erotiche (), 07/14/2004 03:46 AM CST
4) hello!
i have checked ur site.but one thing i like to know that,i dont no the basic languages, c or c++ etc., ilike to know the basic of flash, how to start a simple program like move a mouse on the image or any other thing to create some thing different.
thank you
posted by mamtha (), 07/30/2004 12:12 AM CST
5) hello mamtha,
i would first try having a look at the basic tuturials on some of the community sites out there.
http://www.flashkit.com/tutorials/Getting_Started/
http://www.were-here.com/homepage/featured.asp?zid=7
you can download examples and persue the source.
I would also thinK about investing in a good book and just dig-in.
we've all learnt a hell of a lot from colin moocks excellent book!
http://www.amazon.com/exec/obidos/tg/detail/-/059600396X/002-3770069-3947243?v=glance
posted by paul (), 07/30/2004 10:19 AM CST
6)
flow ITerator
genERa/t1v3
fluidiscence
express3nc3
5hittoleth
s4y sooth
zooph
maKe worldz
o Kreator design8
Wednesday, February 6, 2008
Joshua
http://www.joshuadavis.com/
studio@joshuadavis.com
http://www.wired.com/wired/archive/14.03/joshdavis.html
http://www.idonline.com/features/feature.asp?id=1507
http://twitter.com/home
What is Dynamic Abstraction?
I didn’t know.
It wasn’t until 2004 when I was asked by MIT digital designer, educator, and artist John Maeda to write an essay in his book “Creative Code: Aesthetics + Computation” in the chapter entitled “Dynamic Abstraction”, that I finally had the 2 words that described a process that I was using to create my work for several years.
In the essay, I identify two clear points.
“Among modern artists I conceptually identify with Jackson Pollock - not that I’m a particular fan of his visual style, but because he always identified himself as a painter, even though a lot of the time his brush never hit the canvas. There’s something in that disconnect - not using a brush or tool in traditional methods.”
and…
“Pollock might argue that it’s the process of abstraction that’s dynamic, not the end result, which in his case is a static painting. In my own work, the end result is never static; by making room for as many anomalies as possible, every composition generated by the programs we write is unique to itself. I’ll program the “brushes,” the “paints,” the “strokes,” the “rules”, and the “boundaries”. However it is the software that creates the compositions — the programs draw themselves. I am in a constant state of surprise and discovery, because the program may structure compositions that I may never have thought of to execute or might take me hours to create manually.”
“Dynamic Abstraction”, Dynamic because the programming could output an endless array of compositions. Abstraction defined multiple meanings in the process… I was abstracting the act or process of being a designer and doing design, but also my personal visual aesthetic is rooted in abstraction.
This website will act as a companion to the ideas presented and files produced in many of the workshop classes that I teach each year around the world. For information on attending a workshop please visit the “calendar of events” section on the http://www.joshuadavis.com website for workshop locations and dates.
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