Design Systems, Embroidered Sculptures and Isometric Projections
#042 - Creative Coding / Generative Arts Weekly
"Don’t worry if people think you’re crazy. You are crazy. You have that kind of intoxicating insanity that lets other people dream outside of the lines and become who they’re destined to be." - Jennifer Elisabeth
I would love to see some critique in the generative arts space.
But a traditional art critic would give us a perspective of how it fits into the tapestry of art history and the emerging trends within the community. I think it is tough to judge generative art simply because there is an aesthetic framework. That has yet been defined in which the art can be traditionally given critique.
I think many things have to be considered in judging art. I would say we in the generative/creative coding arts know the underpinnings of the techniques, so we value the difficulty of implementation in part of that. But in art, it's much more nuanced
it's part of the reputation of how you portray yourself as an artist
the endurance/persistence you have spent on your work
proven track record
the persona of the artist
conceptual thought depending on the time in which the artwork was created
abstract or concrete, can you bring an installation
You know a Picasso or a Monet if you see one. It is very explicitly defined by composition, color, brush strokes, etc. that determine the artist’s aesthetic
Significance of contribution
Take, for instance, the first modern paintings; when the abstractionistic painters started to rethink what it means to paint something, it began to take away from the importance of realism to started taking away the importance of authenticity and let interpretation become part. Before that, the unique aspects of art con.
Current trends (a.k.a, Identity politics, performance, and conceptualism are currently the explorations)
How is it unique from the rest of the art around it
Simply luck, as much as we want to say quality, quality is purely relative
A lexicon of writing
There is an entire art in the evaluation of artwork. In addition, there are conceptual aspects that have to be understood to more fully understand the critical nuances of the art.
In generative art, I think we also have to be careful to ensure that we understand art for art's sake and the identity of the art. Some of the defining themes I’ve been thinking about are starting points that might entail such a framework.
Extract the essence of an algorithm and interpret it in such a way that brings new or interesting meaning.
A generative system that produces diversity.
Address questions on how the computer interplays with humanity
I think this next one seems to be trending among generative artists in general.
I think this can be problematic when critiquing generative art for a couple of reasons.
Technique and skill do not equate to better or worse art.
An art critic may not be proficient in the code.
Code quality, code proficiency, or code purism is more the artistry of software engineering.
Who is coding
Though this can become a piece of the rubric, it becomes challenging when an artist who is less versed in the practice of software hires someone who does it for them. This is where ghost coders may play a part in the work, and thus, it can be challenging to evaluate an artist.
There is much more that can be discussed here, but I hope that will at least get us to consider what it means to critique generative art should it be there, or should we take some time for it to mature and let time take its course.
Have a great weekend!
I’ve watched the many different opportunities to connect with others in creative coding environments. I know many other local opportunities exist; reach out, and I’ll be happy to continue to add them to the list.
Eyeofestival - June 14 - 17, 2022
School of Poetic Computation - Multiple Courses
Anderson Ranch Art Center - Multiple Classes
🖌️ Unconventional Media
Amanda Cobbett suspends a singular moment in the fleeting lives of fungi by stitching their likeness in thread. The textile artist photographs and gathers specimens that she brings back to her Surrey Hills-based studio, where she finds fibers to match pale green lichens and golden chanterelles. Using a free-motion embroidery technique on a sewing machine, she then stitches multiple layers onto a piece of dissolvable fabric that, once the organism is complete, is washed away to leave just the mushroom or mossy bark intact. As a scroll through her Instagram reveals, the resulting sculptures are so realistic in color, shape, and size that it’s difficult to distinguish the artist’s iterations from their counterparts.
📸 Generative Graphics
Human existence is now permeated by non-human computer language. This includes poetry. Digital technologies can disseminate and publish contemporary poetry, and also create it. Digital artists combine human and computer languages to create digital poetry, which can be grouped into at least five genres.
🔖 Articles and Tutorials
Playing isometric games is super fun, but understanding the theory behind isometric projection is also extremely important for any beginner game developer. Programming isometric worlds is a huge topic, so I'll try to be as beginner-friendly as possible and cover the basics we need to learn how isometric projection is used in game development!
A solid introduction to creating isometric-like projections in a 2D package using P5.js.
NFTs are everywhere right now. Everyone’s dipping their toes in the NFT waters now and not just the crypto enthusiasts. They have sort of become a cultural movement with even Hollywood embracing the trend. Here, celebrities are launching their own NFT collections. There, prominent studios are releasing NFTs to hype up a movie release – yes, we’re talking about The Matrix Resurrections NFT.
No matter where you go, you are surrounded by systems. We use the word ‘system’ to describe a group of interacting parts as a common whole, and these can be simple, like a watch, or incredibly complex, like the web of computer networks we call the internet. In this book, the term ‘design system’ is used to describe a philosophy that encourages designers to define the rules of their designs as a system of instructions that can be used on more than a single product. This is best explained with a simple story.
An artwork may be generative in some ways and not in others. A piece could have generative aspects even if the artist didn’t have that intention. There are ways in which a painting could be considered generative. I prefer definitions to be inclusive, not restrictive, and my definitions are for the purposes of discussing generative art, not for the purposes of ruling on what “is or isn’t” generative art.
This book forms a connection between both the worlds of Grasshopper and 3D printing, explaining how to transform a design into a series of curves and paths for a 3D printer to use. It teaches how to write and create G-code directly within Grasshopper, without the use of scripts or plug-ins, in an easy format for existing Grasshopper users to understand. Big experience using the software is not required, but skilled users will be able to take full advantage of the content. The book focused mainly on clay 3D printing, but the same logic can be applied to thermo-filament 3D printing (FDM) as well. The methods taught open up a wide range of new possibilities when 3D printing, like non-planar 3D printing or non-conventional paths for the 3D printer.
I have been playing around with new mediums and new software to gain inspiration and explore new mediums to create something entirely different.