Model Ideas: From Stem Cell Simulation to Floating Art Work

2012

FutureFactories is a design research project exploring the creative possibilities afforded by digital design and manufacturing technologies. A specific aim of the project is mass individualisation; the industrial scale production of one-off artefacts. Tangible products would ‘printed’ direct from virtual meta-designs using additive manufacturing (Atkinson 2003). Distinct from mass customisation, where the product is configured to a specific consumer need or desire, individualisation involves introducing elements of random variance similar to the idiosyncrasy seen in natural forms. In the initial research a computational design approach was adopted in which computer scripts were used to ‘drive’ parametric CAD models (Unver 2003). A barrier to the adoption of such systems however, is the level of programming involved. Methodologies were developed to simplify the task such a Constructive Solid Geometry, CSG, building block approach (Dean 2009) whereby complex geometries are ‘assembled’...

Perception, 2005

Interactive art and science An increasing amount is being written about art and science and the ways in which they can interact. Editorials in Perception speak to this point (Gregory 2003, 2004; Tyler 2002; Wade 2003). Despite all these wise words, exhortations to scientists to involve themselves more with artistsöand vice versaöappear not to have been heeded. The languages and methods adopted by each group seem to be too disparate. Perhaps we should examine the methods each employ in a little more detail. Scientists now tend to work in groups rather than individually, with the reverse for artists. The individual thumbprint of the artists on the works they produce seems sacrosanct. There are examples of artists who work in pairs, but they are rare. Scientists collaborate in order to pool their respective skills. Such a procedure seems anathema to artists, as it was once to scientists, but times (and methods) have changed. The point has been made quantitatively by Cavonius (1999) with regard to visual science. He analysed the paper and poster presentations at meetings of the European Conference of Visual Perception (ECVP) from 1979 to 1997. In this period, the number of contributions from more than one author increased from about 46% to 77%. The trend is even starker for articles appearing in Perception. Examination of papers published in the years 1972, 1988, and 2004 reflects a shift from single to multiple authorship of articles (see table 1): the percentage of articles published by a single person has declined as the total number of articles has increased. Perception was initially a quarterly journal; by 1988 it was published bimonthly, and now it is monthly. The number of papers per year was 45, 57, and 97 for 1972, 1988, and 2004, respectively. The shift to multiple authorship is dramatic, and it could reflect, in part, the emphasis placed by research-granting bodies on collaboration.

Proceedings of the Winter Simulation Conference 2014, 2014

Dynamic computer simulations seek to engage the viewer by providing an intuitive representational mapping of common knowledge features to new knowledge concepts. Our research aims to provide enhanced understanding of complex systems through participatory interaction with our dynamic simulation models. Previous research has indicated that virtual and tangible models are well suited for use in informal education spaces, as they increase user interaction and curiosity amongst children and adults. We designed and implemented an interactive virtual environment as well as an interactive tangible "water computer" to represent the complex interspecies behavior of Lotka-Volterra predator-prey dynamic system. We designed our simulation models for use in informal STEM education settings, with a design focus on enhanced interactions and reflexive thinking.

The Emergence of Interactive Art, 2008

About the connection between interaction in biological (life) processes and interactive art. Jakob von Uexkülls mark signs and work signs. Claude Shannons concept of information. The difference between behavioral interactivity and formational interactivity.

2018

Computer simulations (CS) profoundly alter many aspects of our lives yet exhibit an ontological recalcitrance that impede our understanding of what they are and how they function. The dominant theoretical framework for understanding computer simulation (CS) related artworks is rooted in postmodern ideas that proliferate ‘immaterial readings, consequently hiding the making processes of the artwork, and making it difficult to discuss the material points of contact between the physical and virtual world. There is limited literature that focuses specifically on CS-related contemporary art. This thesis draws together the most pertinent history, theory and practice for artists and curators working with CS-related artworks. This study employs a reflective practice methodology to explore the changing modes of materiality ascribed to computer simulation-related artworks. The research consists of three phases of practice, theoretical analysis and reflection. Five artworks were created for thr...

This paper highlights and analyses the realization of three examples of Art/Science hybrids that resulted from close collaboration of artists, scientists and engineers: First, the Scheinwerfer Live Visuals project was accompanied by the development of the media-processing software Soundium. Second, the Digital Marionette was based on Soundium, and extended with realtime speech recognition and facial animation. Finally, the Procedural City installation used a fingerprint scanner and a generative urban modeling tool to create personalized 3D cities. The examples started from uncertainty in terms of technology, design and anticipated result. A common denominator was the interaction between artistic process, scientific research and engineering: Artistic ideas often were beyond the capabilities of available technology, thus triggering research and development. New solutions then returned in a generalized form, spawning new artistic demands. This paper identifies processes and strategies involved, and argues that a close iterative interplay between domain experts is a key ingredient for rapid emergence from uncertainty to a final work.

Interactions, 2008

Creativity, 2022

This article compares creative work in science and the arts based on the author’s own experience. In the field of science, the author works in the field of computer vision and is most interested in modelling 3D shapes from depth images. He started to collaborate with new-media artists almost three decades ago to produce interactive art installations that used also computer vision technology. Gradually, he developed also his own art installations. Ten years ago, he took up sculpting in wood and stone using the direct carving method. He has sought to enrich his sculptures in a virtual dimension by means of video projection. The scientist/artist describes how his experience in computer vision modelling 3D shapes has influenced his sculptures and compares how creativity is expressed in both fields. Although there is usually a wide gap between science and art, creative activity in both fields has surprisingly many common features.

Leonardo, 2015

Traditional artist-in-science-residency schemes have tended to focus on artists using scientific tools and technology as a medium for their art. What kind and quality of work might occur, however, between scientists working on cutting-edge solar energy research and a visual artist (a sculptor) when they are integrated in a truly collaborative environment? Is it good for the art? Is it good for the science? The authors describe a new methodology for art-science interactions whereby they have integrated arts practice within a scientific environment. A critical aspect of the methodology for the residency was the development of an interaction framework that ensured that both artist and scientist had equal voice in discussions involving the art and science of the project within an environment of mutual respect. The integration led to the development of outcomes that would not have occurred otherwise.

A co-lab in Cyborg Arts was conducted at Parsons/New School University, a leading design school in New York City, over the course of sixteen weeks. This paper discusses the use of Bruno Latour's Actor Network Theory (ANT) (Latour, 2007) in facilitating creative collaboration solutions. Previously, an open call had been placed in targeted venues such as Art and Education, as well as a number of technology user groups in the New York City area to solicit ideas and participants. With the assistance of the Cyborg Foundation three teams were chosen to build prototypes of a new cyborg sense: Team Glass, Team Radiation, and Team Haptics. Team Glass strove to make a cyborg sense detecting the rhythm of changes in the sun's solar flares. Team Radiation made a sense that distinguished between, and alerted the user to different types of organic and inorganic radiation in the environment. Team Haptics used the team leader's own body as a site environment to correct a medical problem by developing a new cyborg sense. Students from Parsons chose which team to work with. Experts and guests either visited the co-lab in person, or used Skype to converse with the participants throughout the course of the semester. Registered Parsons students stayed committed to the lab in order to receive a grade. Other participants had various reasons to remain involved, such as learning new skills, seeing their ideas realized, or stepping outside of their core discipline. The major conduits of communication for the teams outside of lab time were the web-based Slack application that logged a history of their thoughts and interactions, as well as a private student Tumblr to document their progress. This paper discusses how an ANT analysis of practice based learning led to incremental breakthroughs such as starting, stopping, abandoning, and resuming developing these sensing techniques. This resulted in proof of concept artworks, and showcased new aspects of cyborg art.