Created by Schnellebuntebilder, four installs now on display at the ZCOM Zuse Computer Museum in Hoyerswerda, Germany, capture and celebrate the pioneering work of Konrad Zuse, famed German engineer and inventor whose biggest achievement, the 1941 Turing-complete programmable computer Z3, is regarded to be the world’s first of its kind.
Machine Art in the Twentieth Century is a recent MIT Press-published book by Andreas Broeckmann exploring ‘machinic’ art-making. CAN weighs in with a review of this survey of moments, movements, and key figures spanning futurism to the present day.
Just discovered: a presentation by Instrument builder and sound artist Derek Holzer, in which he catalogues the history of optical synthesis. It is worth a look as it cites a number of fairly obscure (and fascinating) precedents of interest to anyone working in audiovisual design.
CAN reviews “Digital Design Theory,” a recent Princeton Architectural Press text compiling writing from over five decades of thought on computation and design.
CAN interviews Grant D. Taylor, author of the 2014 book “When the Computer Made Art: The Troubled History of Computer Art,” on the past, present and future of digital art.
Anecdotes and questions about climbing up and down the ladder of abstraction: Atari, ARM, demoscene, education, creative coding, community, seeking lightness, enlightenment & strange languages.
Created by Tim Clark at the Royal College of Art, Design Interactions, High Speed Horizons is a design-driven, critical exploration into technology, innovation, big thinking, and our constantly changing attitudes towards the three, told through projected visions of alternative energies and flight.
“The Crystal Line” is the latest work by critical engineer Julian Oliver. Re-creating an authentic crystal radio design that was used widely during WWI, the device broadcasts a transmission of ‘future of warfare’ chatter culled from various defence blogs that is translated from text to speech.
Created by William Fairbrother, Alberto Ruiz Soler and Oliver Smith, ERIS—2000 is a fictional scientific instrument invented by cybernetician Erica Symms in 1971. The device was used to show and study, through a simplified simulation, the consequences of human decisions on complex systems.
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Created by Kyle McDonald, “Sharing Faces” uses a megapixel surveillance camera and custom software to match the face locations of the persons looking at the screen. As the person moves, new images are pulled from the database matching the new location and create a mirror-like image of yourself using the images of others.
The following is a collection of new generative pieces created by Walter Gorgosilits aka dextro from Austria, one of the pioneers of generative Macromedia Director programming.
Produced by Timo Arnall, Internet Machine is a multi-screen film about the invisible infrastructures of the internet. The film was made to reveal hidden materiality of our data by exploring some of the machines through which ‘the cloud’ is transmitted and transformed.
Created by Marc Faasse, Playground NDSM is an interactive photomontage that includes 7 years of photographs taken by Marc and mapped on the googlemaps.
Metro is Chris Coleman’s every day commute on the Denver Light Rail, recorded using a handheld 3D scanning device and a laptop.
19th-century “disruptive” optical drawing tool updated for the 21st century by Pablo Garcia & Golan Levin. Own a piece of media archaeology.
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.
“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.”