This clock would be a drawing of flowers that grow as time passes. There would be a rain cloud above the flowers that rains a drop of water onto the flowers every second. Every ten minutes a new object, like a leaf or a petal, would grow on the flower, and every hour a new flower would grow.
This clock would be a drawing of two cups or buckets and leaky faucet. The faucet would drop a water droplet into one of the cups every second, and this first cup would fill up in relation to the minutes in the hour. Every hour, the first cup would rotate and fill the second cup to show the hours of the day.
This clock would display the time as a sentence from a grid of different words. Select words on the grid would light up or change color
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https://cargocollective.com/katesweetapple/Mr-Salmon-and-Mrs-Sparrow-Experimental-Cartography
This exhibition, “Mr. Salmon and Mrs. Sparrow,” by Kate Sweetapple is a cartography experiment that is a collection of six different maps of Sydney, Australia. Yet each map is only comprised of one type of unique, unusual reference point: celestial bodies, fish, birds, or people whose last names are colors. The result is six different art pieces in the shape of the map of Sydney. I find this these maps especially interesting because, even though this exhibition is geographically precise and demographically accurate, the maps provide no “useful” information.
I really enjoyed this exhibition because the artist, Kate Sweetapple, painstakingly remained so scientifically accurate yet contradicted herself at the same time by having these six maps be practically useless for locating places or being informative. The only purpose that these maps were made for was to be artwork–not for function. Out of the infinite number of objects to redesign, I thought that the artist choosing to redesign a map into art was an interesting choice since the primary purpose that map is usually made only for function and relaying information. But to me, this contradiction between the art and the function of the map is what makes this piece interesting.
For this project, I just drew a simple face with bezier curves and ellipses. The anchor points and control points are all randomized. One of the issues I faced during this project was that each time I clicked the mouse, the face would randomize several times instead of just once.
OpenProcessing Link: https://www.openprocessing.org/sketch/592596
One example of generative art that I found really beautiful was Weaving by LIA. It is composed of minimal, reduced black and white lines that are constantly shifting, braiding, and intertwining with each other. The black and white lines also alternate between existing in 3D and 2D; some lines are just stripes, but some lines form into cubes rising out of the piece. The resulting visuals are mesmerizing and very fun to look at. This composition was inspired by the Jacquard loom. The Engine for this can process the input data and “weave algebraical patterns just as the Jacquard loom weaves flowers and leaves.”
I think the idea of machine creation is really interesting. Since computers have already shown the ability to originate new creations that exceed the programmers’ expectations, to me, to most intriguing question of a computer creating art is how much intent a machine can have. In my opinion, art should be approached with an intent to express something like a concept, emotion, message, or etc. Even if the intent is just to create something beautiful, can a computer create something that is beautiful based on its own concepts of beauty and not based on human aesthetics?
I chose this Fluid Leaves project from the Processing exhibition. This project is a way for variable patterns to be continuously created and printed. These patterns were generated by simulating tea leaves floating on steeping tea. A brute force shape packing algorithm makes sure that none of the leaves overlap. The initial patterns were basic geometric functions, but they were developed to include fluid dynamics. In addition, the structure of each base leaf form can be customized with every iteration. The number of veins, distribution, rotation, length, and etc can all be changed so that the leaves can have the most organic shape.
This project started out of a tea boutique in Xian, and they use these randomly generated designs on their cups. I thought that this was a really elegant way to come up with new, unique patterns for printing.
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