Sometimes I feel as if I might know a small window of the world of artists/drawings/animations, and then my mind is blown when I have extra time to research and explore rabbit holes on the internets.
I just discovered the art of Sougwen Chung. For the past few years she has been exploring collaborations with robots. Exquisite Corpus is an installation combining drawings, visual projections, sound, and biofeedback.
Earlier installations and works are explorations of line and form in space, engaging the audience in different ways.
I came across her work while looking at recent installations from the great Shantell Martin, who I’ve been following for a few years. Different styles but there is some intersection in how they explore line through 3D space (and as a 2D animator, I love this realm).
This image from a collaboration with Kendrick Lamar – I would have loved to see it live.
From the unexpected fortune, which brings misfortune, which allows for a fortunate twist of events…who’s to say what’s good or bad? Only time will tell.
“We deceive ourselves if we think we have the capacity to say whether something is a success or a failure. Of course we can make a call based on the available evidence at the time, but if you take the long view, the truth can turn out to be different.
May we all be given an unexpected joy this holiday season…and may we be wise enough to welcome the joy.
This article introduces the animated encaustic painting technique Theodore Ushev developed to animate his latest film, The Physics of Sorrow.
He has made a practice of using a new technique for each of his short films, a challenge which I respect greatly – pushing past the comfort zone and allowing each story its own visual language.
Based on Georgi Gospodinov’s novel The Physics of Sorrow, Ushev translates and presents the story as a time capsule of his own experiences.
Ushev writes, “The first ever time capsules were the Egyptians tombs. And they had these beautiful, realistic portraits on the cover of their sarcophagus, created with encaustic painting. Made of melted beeswax and color pigments, they stayed absolutely intact for 20 centuries. So I thought this would be the perfect technique to employ for my film.”
This meant he not only had to learn the technique, but also a way to animate the frames…using different kinds of wax to layer the paintings, he was able to add animation just to the moving figures on the top layer, a kind of stop motion approach to painting.
It’s just debuted and is making the festival rounds – I’m keeping an eye out and hope to see it soon!
Our futures are being influenced, if not developed, by artificial intelligence. Behavioural-targeting algorithms on social media, on the surface used to ‘tailor’ our feeds, but too easily abused by bad actors to manipulate our feelings, alter our beliefs, undermine democracy and keep us trapped inside filter bubbles that reinforce our biases and tell us what we want to hear.
Our society’s future – really, the global future – is being built on these big-tech influenced platforms. Chase recently signed a five-year commitment with Persado (a.i. created marketing). Ads created by machine learning were clicked on more than ads written by humans…words chosen by generative machines are now more appealing than those from humans.
Is this really because they sound better, or are we just taking the bait? To quote Roy Amara, a researcher on futurism from the 70s, “It is the decisions we make now that do more than anything else to shape the future that we end up in.”
How can we use artificial intelligence responsibly…embrace emerging technology but also help navigate the best ways to apply it?
There is a responsibility in art, but (there should be and I wish there was) also in advertising and entertainment, to keep the focus on creative…to not follow the formulas for success or consumption, but to push the boundaries of what is possible. And it should be about compassion – to keep checking the pulse of one’s own humanity. Fight the power.
Later, bots – I’m signing off…I’ll stick with reading Janelle Shane / AI Weirdness!!
This is a great way to use the power of advertising – and art for that matter…it asks for user interaction in a natural way. Within that interaction the advertising needs are met, and vice versa.
NYC-based artist BuffMonster was asked by agency TBD to create a large summer-inspired mural “as part of the Brazilian flip-flop brand’s marketing push to help raise awareness in the U.S.”
It was printed on soft material similar to Havainas slippers – passersby were encouraged to shed their shoes and “Step Into Summer.” To make the interaction experience even more fun, they used Google Vision technology to allow consumers to “shop” at the mural.
AdAge details the setup: “Consumers could aim their phone’s cameras at the mural’s different patterns and embedded Easter Eggs to shop products with their respective themes. The site not only took them to the point-of-purchase, it also offered styling tips from celebrity stylist Tara Swennen on how to wear the sandals with outfits from day to night.”
There was a recent call for mural ideas where I live – the design they picked was fine, just not especially inspiring, certainly not interactive. I’m for seeing more work like this – let’s bring the best of art and technology together, with advertising money, for the good.
Currently I’m developing an animated portrait series – audio interviews, recorded soundscapes, drawings and forms assembled as experimental animations. The visual language and vocabulary will vary to best describe each person.
I love the way the short audio clips are brought to life with his evocative drawings, or sometimes the other way around. Both sound and visuals complement one another in a way that doesn’t always happen.
The presentation reminded me of why I also loved animated Marfa by The Brothers McLeod…like looking through a sketchbook, we experience the hints of narrative as an environment of visual and sound bytes, and the overall interpretation stays up to us.
I first began noticing SWOON‘s artwork on the streets in Brooklyn in 1998? 99 – beautiful intricate art pasted to buildings, on walls and in doorways. Her installations have also long been an inspiration, and now I’m loving seeing her new experiments with animation.
“[stop motion] opens up so much potential for the creation of meaning and narrative. And because our thoughts and dreams unfold over time, I really get the sense that time-based mediums speak to the subconscious in unique ways, which I’m enjoying playing with. It’s so much fun to take a deep dive and learn something solo, from scratch.”
So good to see new experiments and here’s to all those pushing themselves (and their work) onward.
The mechanics, mathematics, and ancient technology of knitting is the subject of a new study, “What a Tangled Web We Weave,” by Elisabetta Matsumoto, an applied mathematician and physicist at the Georgia Institute of Technology.
This great New York Times article describes her study in greater depth. Knitted fabric is also a metamaterial. A length of yarn is all but inelastic, but when configured in slipknots — in patterns of knits and purls — varying degrees of elasticity emerge. “Just based on these two stitches, these two fundamental units, we can make a whole series of fabrics, and each of these fabrics has remarkably different elastic properties,” Dr. Matsumoto told the audience.
Myself, I am no knitter – my mother and sister are, and many friends – and now I am more intrigued to learn. I experiment with paper and its own structural and elastic properties when folded and manipulated – those models can often be extrapolated and used with other materials. If you don’t follow Kelli Anderson‘s work, you should – so cool.
I wonder at the crossover applications with fabric analysis. The article mentions applications in game engines and animation software (also check out this amazing organization in Africa using knitting to teach coding), but I wonder at applications even in cell regrowth and larger scale constructions.
Certainly it’s time to admit that our current setups (transportation, housing, energy) are no longer viable and need immediate restructuring from the individual to largest scales…so imagining what the future of cities might look or sound like is important work.
Sounds have not been exploited to the extent our visual landscapes have been modified and structured, as host sites for advertisements and explorations of themes. But can they be used in a similar way?
This CR article brought up some interesting ideas…I especially liked thinking about how music can affect one’s mood “Interactive sonic façades on the side of public buildings could be designed specially to enhance the mood of the environment whilst also tempering background noise pollution.” Also, thinking about how sound can inform us, “…as we move into a screenless age where visual interaction is losing ground to voice recognition, the audible ‘earconography’ of the city will become ever more important. These will be short, nonintrusive and aesthetically pleasing sound sets that let consumers know they are interacting with or travelling through a certain branded or public space. “
It’s a good reminder that our current pres may be the face representing ugly truths about this country, but that the depth of prejudice and oppression against minorities, specifically African Americans, in the United States, has a long and powerful history of deliberate design.
Red zone property values, highways designed to interrupt African American neighborhoods, and other unconstitutional policies exploiting and targeting people and neighborhoods, preventing economic advancement.
You probably know about these policies already, but lest we forget – similar policies of systemic oppression are designed, delivered, and enforced, in current times. Watch – listen – learn – fight the power.
On behalf of our government, we must change to make things better.