Last December 3 artists were working at The University of Salford, as part of the ScreenLab artist in residence initiative by Elliot Woods and Kit Turner. The initiative aims to explore modes of perception and interaction under the theme ‘Future of Broadcast’. The invited artists, Kyle McDonald (USA), Joanie Lemercier (France) and Joel Gethin Lewis (UK) spent over 2 weeks developing open source tools and methods […]
In less than 3 days Resonate 2013 Festival kicks off in Belgrade and we have been making final preparations to greet over 1200 visitors from all over the world. This should also explain the lack of posts on CAN in the last few days and also the next few days. In case you missed info […]
(above: #oneseccond by Philipp Adrian – A connection between 5522 people all across the world that have been active on Twitter within the timeframe of one second.) basil.js is a scripting library that has been developed at the Visual Communication Institute at The Basel School of Design during the last nine months and is now made […]
For more than a decade, the artist collective Squidsoup have been designing rich interactive experiences. From their early navigable sonic environments, through their playful experiments with computer vision and interest in ‘volumetric visualizations’, an email exchange between Squidsoup’s Anthony Rowe and CAN begat a mammoth interview abound light, sound and many of the collective’s projects.
CAN talks to Ash Nehru (Director of software) and Matt Clark (Creative Director) about d3 – visual production suite that brought us the memorable Massive Attack tour in 2002 and more recent projects like the Origin. We talk how it all came about, what is the tool, it’s features, working methodology and the future.
Flat-e have been commissioned by Warp Records and Jamie Lidell to create the album artwork, a music promo, video teasers, live show visuals and even costume for the campaign for his soon to be released self-titled album. Taking the self-titled album’s personal themes of love, betrayal, deception and perceptions and the power of Jamie’s voice, […]
Senseless Drawing Bot #2 is the new version of it’s predecesor, version #1 created by Takahiro Yamaguchi and So Kanno. As with the version #1, the machine is built around the similar concept – to produce highly unpredictable results using the inertia generated by movement. The first version used the liner movement to swing spray-can equipped mechanical arms where the […]
“Kentucky Route Zero” is a magic realist adventure game about a secret highway in Kentucky and the mysterious folks who travel it. The player controls Conway, an antique furniture deliveryman, as he attempts to complete the final delivery for his financially troubled employer. Along the way he’ll meet dozens of strange characters and make a […]
Created using Processing, ModelBuilder Library by Marius Watz and a 3D printer, Amanda Ghassaei at instructables managed to print a 33rpm music record that actually doesn’t sound too bad considering the limitations of currently available 3d printing technologies. These records play on regular turntables, with regular needles, at regular speeds, just like any vinyl record. Though the audio output from these records […]
It’s that time of the year when we slowly begin wrapping up the 2012. Before we say goodbye, take a short but well deserved break, lets take a quick moment to look back at some of the best and most memorable projects of 2012. Like last year, there is no mechanism in deciding these and neither-nor all […]
“The main change in the design process achieved by using generative design is that traditional craftsmanship recedes into the background, and abstraction and information become the new principal elements.”
Created by Matthias Dörfelt aka mokafolio, Weird Faces Study uses PaperJS library to produce computer generated faces that have a certain aesthetics and are immediately recognisable. Weird Faces Study is an attempt to combine my old interest in illustration with programing, to create something procedural that has a truly individual artistic touch to it and is not instantly recognisable as a generative art […]