Visual Complexity is a site maintained by Manuel Lima which collects projects that deal with complexity in information. Not always about communicating clarity the site’s predominant focus was acknowledging beauty that exists in complex representation of information and data. Within a year of it’s launch, Visual Complexity began to attract large readership, following closely every post were thousands of readers, often reblogged and quoted. Manuel became a Fellow of the Royal Society of Arts, nominated by Creativity magazine as “one of the 50 most creative and influential minds of 2009″ and prior to becoming Senior UX Design Lead at Microsoft Bing he has worked as a Senior User Experience Designer at Nokia and Senior Interaction Designer at the leading digital agency R/GA. He has also spoken about information visualization at numerous events such as TED, Lift, OFFF, Reboot, VizThink, IxDA Interaction, Royal College of Art and others.

The book Visual Complexity: Mapping Patterns of Information is Manuel’s voyage of trying reveal patterns that exists amongst designers, researches and scientist that employ innovative mixes of colour, symbols, graphics, algorithms and interactivity in a attempt to clarify and often beautifully, what would otherwise be a clutter of data. 

Continue reading.... Visual Complexity: Mapping Patterns of Information [Books]

Created by Rainer Kohlberger with sound by Wilm Thoben, field is an abstract audiovisual app that uses realtime camera feed as input. Brightness, saturation and color are interpreted, and translated into a constructed grid. The realtime image triggers different sounds as you pan around. Included are five different modes which you can switch through by double tapping the screen.

Continue reading.... field [iPhone, iPad, openFrameworks, Sound]

Kimchi and Chips have just finished exhibiting their latest project at FutureEverything in Manchester – Lit Tree. Through the use of video projection, a tree is augmented enabling the presentation of volumetric light patterns using itʼs own leaves as voxels (3D pixels). Kimchi and Chips developed their own structured light system to scan in the location of every pixel in 3D, allowing a cloud of scattered projector pixels to be used as 3D Voxels. The software was written using c++, openFrameworks, XCode and Visual Studio. As a person places their hand above a plinth, their hand is scanned in 3D using a Kinect. Their realtime 3D shape is reflected inside the tree allowing them to select a volume of the tree to highlight.

The tree invites viewers with a choreographed cloud of light that can respond visitors motion. As visitors approach, they can explore the immediate and cryptic nature of this reaction. The tree can form gestures in this way, and can in turn detect the gestures of its visitors. By applying a superficial layer of immediate interaction to the tree, can people better appreciate the long term invisible interaction that they share with it?

Material / Hardware (At Futureeverything):
Bamboo tree, 2 x High resolution webcams (reading structured light patterns), 2 x Video projectors, Microsoft kinect, Par 16 ‘Birdie’ light w/Black wrap, Wooden plinth, Mac Mini 2010

Exhibition
FutureEverything 2011, Manchester UK , May 11th-May 22nd

More about the process on their blog.

Project Page

Previously: Link [openFrameworks, iPad, Flash, vvvv] – Installation by Kimchi …

On daily basis we come across images that are built using various code techniques, whether this be pixelation, glitch, particle fields, swarms, reaction diffusion, looking that these images on Wired Science, it’s amazing to see the similarities between the works we create and the environment we inhabit. Even more apparent when we consider that they bare no correlation to one another and the large gap in scale that exists between them. Likewise, the images below appear strangely “Digital”…

Agriculture is one of the oldest and most pervasive human impacts on the planet. Estimates of the land surface affected worldwide range up to 50 percent. But while driving through the seemingly endless monotony of wheat fields in Kansas may give you some insight into the magnitude of the change to the landscape, it doesn’t compare to the view from above.

more on Wired Science

Used for the Posters and flyers for The Puddle (Stall 6), Andreas Gysin with Sidi Vanetti created this Processing for the production of the rasters, eventually screen printed on coloured paper.

Built with a modified version of Toxi’s cp5magic.

Try the applet version of the Puddle Builder 03 (PDF export is disabled).

Andreas Gysin. Born in Zürich. Design and code in Lugano, Switzerland. Occasionally teaching interaction at SUPSI, Lugano and ECAL, Lausanne. For projects and weirdness with pal Sidi Vanetti visit: www.gysin-vanetti.com

Previously: hms [iPhone] - a digital sculpture by Andreas Gysin

Japan’s leading electronic composer Ryoji Ikeda focuses on the minutiae of ultrasonics, frequencies and the essential characteristics of sound itself. His work exploits sound’s physical property, its causality with human perception and mathematical dianoia as music, time and space. Using computer and digital technology, Ikeda has been developing particular “microscopic” methods for sound engineering and composition. Since 1995 he has been intensely active in sound art through concerts, installations and recordings: the albums +/- (1996), 0 degrees (1998) and Matrix (2000) have been hailed by critics as the most radical and innovative examples of contemporary electronic music. With Carsten Nicolai, he works the collaborative project ‘cyclo.’, which examines error structures and repetitive loops in software and computer programmed music, with audiovisual modules for real time sound visualization. The versatile range of his research is also demonstrated by the collaborations with choreographer William Forsythe/Frankfurt Ballett, contemporary artist Hiroshi Sugimoto, architect Toyo Ito and artist collective Dumb Type, among others. Ryoji Ikeda received the Golden Nica prize at Prix Ars Electronica 2001 in the Digital Music category.

Here are some of his projects;

test pattern [2008] _ test pattern is a system that converts any type of data (text, sounds, photos and movies) into barcode patterns and binary patterns of 0s and 1s. Through its application, the project aims to examine the relationship between critical points of device performance and the threshold of human perception.

Test Pattern [nº1] In this first edition of the project, an audiovisual installation, test pattern involves a sequence of tests for machines and humans, comprising visual patterns converted and generated from sound waveforms in real–time. The installation comprises 8 computer monitors and 16 loudspeakers aligned on the floor in a dark space. The 8 rectangular surfaces of the screens flicker intensely with black and white images, floating and convulsing in the darkness. 16–channel sound signals are mapped as a grid matrix, passing and slicing the space sharply. Via a real–time computer program, the signal patterns are converted into 8 barcode patterns, which are tightly synchronized. The velocity of the moving images is ultra–fast, some hundreds of frames per second at certain points, providing a performance test for the devices and a response test for visitors’ perceptions.

Test Pattern [n˚2] presents flickering black and white imagery that floats and convulses in darkness on two screens, one on the floor and another floor to ceiling, in time with a stark and powerful, highly synchronised soundtrack. Through a real–time computer programme, Ikeda’s audio signal patterns are converted into tightly synchronised barcode patterns on the screens. Viewers are literally immersed in the work, and the velocity of the moving images is ultra–fast, some hundreds of frames per second, providing a totally immersive and powerful experience. The work provides a performance test for the audio and visual devices, as well as a response test for the audience’s perceptions.

Test Pattern [live set] presents intense flickering black and white imagery, which floats and convulses in darkness to a stark and powerful, highly synchronised soundtrack. Through a real–time computer programme, test pattern converts Ikeda’s audio signal patterns into tightly synchronised barcode patterns on screen. The velocity of the moving images is ultra–fast, some hundreds of frames per second, so that the work provides a performance test for the audio and visual devices, as well as a response test for the audience’s perceptions. Test Pattern is the third audiovisual concert in Ikeda’s datamatics series, an art project that explores the potential to perceive the invisible multi–substance of data that permeates our world. Taking various forms – installations, live performance and recordings – test pattern acts as a system that converts any type of data (text, sounds, photos and movies) into barcode patterns and binary patterns of 0s and 1s. The project aims to examine the relationship between critical points of device performance and the threshold of human perception, pushing both to their absolute limits.

datamatics [2006] _ datamatics is an art project that explores the potential to perceive the invisible multi-substance of data that permeates our world. It is a series of experiments in various forms – audiovisual concerts, installations, publications and CD releases – that seek to materialise pure data.

Using pure data as a source for sound and visuals, datamatics combines abstract and mimetic presentations of matter, time and space in a powerful and breathtakingly accomplished work. datamatics is the second audiovisual concert in Ryoji Ikeda’s datamatics series, an art project that explores the potential to perceive the invisible multi-substance of data that permeates our world. Projecting dynamic, computer-generated imagery – in pared down black and white with striking colour accents, Ikeda’s intense yet minimal graphic renderings of data progress through multiple dimensions. From 2D sequences of patterns derived from hard drive errors and studies of software code, the imagery transforms into dramatic, rotating views of the universe in 3D, whilst the final scenes add a further dimension as four-dimensional mathematical processing opens up spectacular and seemingly infinite vistas. A powerful and hypnotic soundtrack reflects the imagery through a meticulous layering of sonic components to produce immense and apparently boundless acoustic spaces. datamatics, alongside the recently released and critically acclaimed dataplex album, marks a significant and exciting progression in Ikeda’s work.

datamatics [ver 2.0] is the new, full–length version of Ryoji Ikeda’s acclaimed audiovisual concert. For datamatics [ver.2.0], Ikeda has significantly developed the earlier version of this piece (premiered in March 2006), adding a newly commissioned second part. Driven by the primary principles of datamatics, but objectively deconstructing its original elements – sound, visuals and even source codes – this new work creates a kind of meta–datamatics. Ikeda employs real–time programme computations and data scanning to create an extended new sequence that is a further abstraction of the original work. The technical dynamics of the piece, such as its extremely fast frame rates and variable bit depths, continue to challenge and explore the thresholds of our perceptions.

See more on www.ryojiikeda.com.
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Created by We Choose Fun, We Sliders is a simple puzzle game where the task is to arrange sliders into a vertical line. The game starts with only few rows and as you progress the number of rows increases. Each row is connected to a different row, ie dragging one to the left with make other move right. This does not work vice versa, meaning that sliders are not inter-connected. Your task is to find the perfect combination resulting in a continuos vertical alignment. This is all made extra wonderful by the colour of the sliders and the background which changes as you move the sliders. Absolutely lovely.

This is an unconventional game with an unconventional interface.
Learning how to use it is part of the game, that’s what you need to know.

See also Prelock for iPhone (itunes link)

Platform: iPhone
Version: 1.0
Cost: $0.99
Developer: We Choose Fun

Rain. is a minimalistic audio visual composition app for the iPhone created by Rainer Kohlberger. Tap to create black sound stripes, double tap to create moire phases, shake to create a colored beat, double swipe to change background loop. The longer a stripe the lower its pitch. After creating a stripe, use your second finger to alter the length.

Simple, beautiful, must have.

Rainer Kohlberger is a Berlin based Freelance Visual Artist and Designer. See also his blog blowup and bleed.

Platform: iPhone
Version: 1.0
Cost: $0.99
Developer: Rainer Kohlberger

Finalist in this years 2010 Independent Games Festival Mobile Awards, muBlip is a rhythm & shapes game memory game created by PARA9 (Tran-Quan Luong, Alexandre Grégoire and Mathieu Guindon) . The core gameplay is simple: learn multi-touch patterns then replay them as accurately as possible. The visual patterns of the game follow the rhythm of the song, so listening carefully to the music is important (headphones recommended) and timing is key. Each blip is represented as a distinctive shape, producing a distinctive sound which you will learn to recognise.

Features
- Play 10 great levels with original music by para9
- Choose between casual and hardcore mode
- Learn the basics via a quick tutorial
- Attempt advanced levels that include multi-touch gestures

Whilst the music generated is somewhat on the ‘popish’ side, the actual gameplay is quite enjoyable. Not like our much loved Lilt Line but another game that together with Auditorium which make our top music inspired games for the iPhone. Check it out..

Platform: iPhone
Version: 1.0
Cost: $1.99
Developer: PARA9

1:2-tone [=Halftone] converts your iPhone photos into halftone patterns. The process is simple; Browse your Photos album and pick an image, Zoom in or out and fit to the screen size, Choose dot size and then either make a wallpaper by saving the image to your library for later use or send the image by email.

iPhone 3GS users only: in case you’d take a 2048×1536 photo, 1:2-tone may refuse to open it. The fix is on its way to App Store in the next update.

1:2-tone was created by ANTIsoftware, a Polish iPhone development studio.

Platform: iPhone
Version: 1.0
Cost: $1.99
Developer: Mateusz Bajer

(via app.itize.us)