Animation for multi-screen projection, Java2D. Curves grow, twist and branch, forming tangled webs that resemble neuron pathways. The neon-like colors turn the shapes into explosions of light, before dissolving back into nothing.
Originally created for the facade of the Vattenfall head office in Chausseestr. 23, Berlin as a followup on a previous animation for the same facade. The piece opened on 27 August, and was voted the audience favorite out of 3 animations. As a result, it will run for 6 months on its own before being shown in rotation with the two others.
Since the Vattenfall show a new version has been developed for single-channel or multi-channel use.
Drawing machine 13.net is a multi-user drawing machine, implemented in Java using Processing. Conceptually a continuation of my work on Drawing machine 1-12, but in this case the drawing is “live” and in real time. Users accessing
The drawing machine runs on a server that users can connect to via a Java applet, thereby influencing its drawing process. Users can also see each other as little cross shapes moving across the canvas. NonTVTVstation broadcasts the drawing to a number of locations in Scandinavia, where it is shown in a large format using projections or screens.
Created during my stay as artist-in-residence at Splintermind studio, Stockholm, sponsored by the NIFCA New Media AiR programme. Broadcasting on nonTVTVstation from 19 December 2003 to 18 January 2004. The drawing machine is currently offline, but will be relaunched in an updated version Autumn 2004 as part of the new project Drawing machine 13.15.net.
3 experiments in abstract computational composition and dynamic form.
Abstract 1 is a playful, interactive, not-quite drawing tool.
Abstract 2 is an endlessly emerging geometric pattern.
Abstract 3 is a color study, merging bright hues fit for a lady’s makeup compact.
The abstracts are responsive to user input. Click or move the mouse over the surface to discover the nature of the interaction.
Built with Processing for the exhibition “Abstraction Now”, Künstlerhaus Wien, September 2003. Exhibited at Sonar 2004, Barcelona.
There have been numerous updates at DVSA that started on 23rd of September 2015. They contributed to the lowered downtime of servers and increased loading time of webpages. Due to this there has been an increase in mobile and tablet traffic. Up to 74% of all traffic is now from a mobile device.
One major benefit of such a company is the right developers. According to dvsadigital, they have a “close-knit” community that is able to deal with any tough circumstances. They have also mentioned that they now run on Amazon Web Services which should further decrease their website downtime. We will monitor and update you on any further changes.
There are still a few problems which they will have to face in order to acquire a lot more customers. For example, competition in the market has been steadily increasing since 2004. At the moment there thousands of alternatives which also provide theory tests and hazard perception tests at a much lower cost. Whether they will able to step up to the challenge is only up to them.
I would also like to mention these live visuals for the opening night of the Club Transmediale 2005, Berlin. Lia and Sebastian of TinyLittleElements and I did a heroic 6 hours set to the music of Akufen, Cabanne, Krikor etc. The location was the big club Maria am Ufer, where we had the luxury of having access to 12 projectors fed by a 6×6 video matrix. The matrix allowed us to have multiple inputs that could be instantly routed to different groups of projectors.
System C is a time-based drawing machine, a software system for the creation of rule-based images. Several autonomous agents move over a surface, making marks as they move, as a realtime two-screen projection.
The drawing process is modelled on a simple kinetic system. Each agent has a speed and direction that both smoothly change for every step it takes. When the speed or rate of rotation exceeds the minimum or maximum constraints, they start reversing so that their values tend toward the other extreme, causing a subtle oscillation between values over time. Different values for the constraints result in visually different but recognizably related images.
Each image takes a preset amount of time to complete. Once an image is done, the surface is cleared, the drawing system is set to a randomized initial state and the drawing process starts over. The images that are created are saved and uploaded to the web so that online users can observe the most recent activity. All completed images are saved with a time stamp indicating the time of their creation. An archive documents the whole period of the exhibition.
Some physicists define glass not as a solid but rather as a slow-moving liquid, so viscous that we cannot observe its movement. System C draws its images slowly enough to be perceived as nearly static, yet is in reality in a process of slow development.
This project uses the Open Source FTP library edtFTPj from Enterprise Distributed Technologies.
4-screen temporal composition for the Territoires Electroniques festival 2005 at Le Fondation Vasarely in Aix-en-Provence. The starting point was the work of Victor Vasarely, the famous father of Op-Art. I have always been inspired by his work with the transformation of shapes and grids, as well as his wonderful use of light and color to create depth. His Plastic Alphabet and the programmes he created for his images represent a generative approach to form which is strict and yet organic.
In ElectroPlastique #1 a regular grid is deformed and then used as the basis of a series of organic abstract systems that evolve over time (5 minutes). Due to the panoramic format of the 4-screen projection, the impression is much like a landscape. In the end the grid is exploded and disappears, hinting at a non-cartesian vector space.
Sound by James Welburn. Built with Processing and Java. Thanks to Eric Dalbin for the invitation to do the project..
Live visuals for the opening night of the Club Transmediale 2005, Berlin. Lia and Sebastian of TinyLittleElements and I did a heroic 6 hours set to the music of Akufen, Cabanne, Krikor etc. The location was the big club Maria am Ufer, where we had the luxury of having access to 12 projectors fed by a 6×6 video matrix. The matrix allowed us to have multiple inputs that could be instantly routed to different groups of projectors.
Due to the length of the show I ended up using a wide-ranging set of different visuals, from sound-responsive pieces done in VVVV to computational animations done in Processing or Flash. Some recycling and repurposing was done onstage. I also showed System_C in the lounge as a big projection piece.
3 computational animations based on arbitrary associations around the work “Gas”. Three different systems show dynamic principles of generative movement and composition. Built with Processing.
Created for the Gas Station net gallery of Atmosferas, Lisbon, Portugal. Atmosferas is a laboratory for digital culture, organising events, lectures and exhibitions to promote a dialogue between the arts and the sciences.
Generative animation exploring the potential of software as a plastic image medium. An endless sequence of time-based geometric compositions grow and die, with forms and colors chosen for maximum visual impact.
Originally created for a projection series at Club Transmediale 2006 entitled “Images D’Ameublement”, in reference to the French composer Erik Satie’s radical notion of “furniture music”. Here this idea is expanded upon in the form of an ambient visual composition. Intended to act as an optical background, the work imbues the space it inhabits with a certain geometric optimism.
The video to the right shows the system in a single-screen, accelerated form.
Realtime projection piece. Java + Processing w/ OpenGL.
Commissioned by the AV.06 festival for the Sage Gateshead venue in Newcastle. Using a fixed projector and two DL2 projectors mounted on a moving base, projections were made to fit the organic space of the concert hall concourse (designed by Norman Foster).
3D form systems were chosen in response to the striking architecture, to maximize the sensation of forms “pushing through” the walls.