Poems Not Demos – How are a new breed of artist-developer hybrids exploring the creative and expressive nature of computational approaches to art and design? What sort strange, impractical and magical work are they making? What is this new landscape, what are its contours and how do we navigate it? Join Zach as he explores and argues for the field of poetic computation.
A curated collection of projects created with Processing. New software added each month.
CreativeApplications.Net [CAN] was launched in October 2008 and is one of today’s most authoritative digital art blogs. The site tirelessly beat reports innovation across the field and catalogues projects, tools and platforms relevant to the intersection of art, media and technology. CAN is also known for uncovering and contextualising noteworthy work featured on the festival and gallery circuit, executed within the commercial realm or developed as academic research. Contributions from key artists and theorists such as Casey Reas, Joshua Noble, Jer Thorp, Paul Prudence, Greg J. Smith, Marius Watz, Matt Pearson as well as CAN’s numerous festival involvements and curation engagements are a testament to it’s vital role within the digital arts world today.
Created by Basel (CH) based visual designer Cyrill Studer for “Baby Behold” by the band Carvel’. The graphics were generated entirely in Processing, manually controlled and performed with a midi controller and recorded through the Syphon with the Syphon Recorder. Premiere Pro was used for cutting and After Effects to edit the image in post in order the achieve the vintage look of early computer graphics.Processing libraries used included Ani, PeasyCam, Syphon and The MidiBus. https://www.creativeapplications.net/processing/carvel-baby-behold-music-video-by-cyrill-studer/
Thoughts about circuit bending, experimentation and discovery.
The Humor Of Machine Learning. Janelle’s neural network blog, AIweirdness.com, features algorithms that try to invent human things like recipes, paint colors, and Halloween costumes. Their struggles produce a characteristic sort of humor and an unexpected creativity. In this talk she addresses various questions about machine learning and AI. What is a reasonable project to tackle with a neural network? What alternative approaches might work better? What kinds of results might one expect from a given dataset? What do neural networks actually understand about the data they’re given?
Daily sketches, mostly with OpenFrameworks.
Last year, faced with the prospect of turning 40, feeling a bit burnt out with the media arts field, Zach decided to radically change the way he works. In this talk he discusses some of the patterns of creative behavior he explored, such as daily sketching and having regular office hours, as well the patterns he started to see in his own work and the works of others. While this discussion sounds really personal, in the talk he links out heavily to other artists and designers whose work he finds inspiring and challenging (lots of footnotes! get your pen!). In addition to discussing his own process, Zach has interviewed a number of people who have interesting methodologies for their creative practice and he’ll be discussing some of the things learned from talking to them.
The ReCode Project is a community-driven effort to preserve computer art by translating it into a modern programming language (Processing). Every translated work will be available to the public to learn from, share, and build on.
Frieder Nake belongs to the founding fathers of (digital) “computer art” (as it was called). He produced his first works in 1963.
Interview of Frieder Nake
Views of the installation in progress
For Casey Reas, software is the most natural medium to work with. He uses code to express his thoughts—starting with a sketch, composing it in code, and witnessing the imagery that it ultimately creates. We visit his studio to see how he uses color to convey emotion and how his programming language Processing is closing the gap between software and object.
Computer generated images have a certain aesthetics to them that make them immediately recognizable as such by the trained eye. Weird Faces is an attempt to combine my old interest in illustration with programing, to create something procedural that has a truly individual artistic touch to it and is not instantly recognizable as a generative art piece. Even though, the faces look hand-drawn, they are entirely expressed by algorithmic rules. Each face is random, each face is unique. Still, they look similar to my actual hand drawn faces.
Exquisite Realities (0% organic)
Test pattern is a system that converts any type of data (text, sounds, photos and movies) into barcode patterns and binary patterns of 0s and 1s. Through its application, the project aims to examine the relationship between critical points of device performance and the threshold of human perception.
Counterparts, 2017. Driven by our responsibilities and pleasure, nowadays we spend a remarkable amount of time on the web, sometimes so much that it becomes difficult to draw a straight line between the two. Counterparts aims to disclose how vanishing is the line between virtual and physical worlds. Bridge through these two realities is made possible by the playful variation of projected shadows and highlights.
(video projection, dimension: variable, 1.40min, loop)
Black Waves, teamLab, 2016, Digital Work, Single channel, 4 channels, 6 channels, 8 channels and 12 channels, Continuous Loop.
Creative coding tutorials and examples.
Max/msp,openFrameworks. Tatsuru Takeishi, Takayuki Sone.
Scars by Phantom. Video and 3D Kinect Visualization by Delicode Ltd & Studio Lumikuu. Directed by Julius Tuomisto & Janne Karhu. Visuals done with Z Vector, http://www.z-vector.com.
Indigo aesthetics: Minimalist sceneries, light and shadow, audio reactivity, delicate balance between the sync and chaos, strobe-like flashes in the eye.