Jake Barton is the Principal of Local Projects, an experience design and strategy firm for museums, brands and public spaces based in New York. His work focuses on storytelling and engaging audiences through emotion and technology. His work touches on the overlap of physical and digital, creating a range of applications for museums, education, architecture and memorials.
Gallery One is one of the notable works by his firm. During his presentation he talks about keeping the key concepts simple and clear for any design work but having interesting results and impact with them. I find that really important because essentially the whole interactive portal of the Cleveland Museum follows simple concepts of timeline, mimicking form and expressions etc. However the heart installation in Times Square that they did in collaboration with BIG architects is my favourite interactive piece. It is a public attraction, is collaborated with my favourite architect, is cute and is simple (consists of LED light tubes that glow brighter and faster with increase in pulse rate).
During his time working with the 9/11 Memorial, Jake led a team, in partnership with Jer Thorpe,to create an algorithm that solved the names arrangement on the panels. The names are not listed alphabetically or chronologically, but through personal relationships between the victims themselves.
Local Projects website – http://localprojects.net/projects/
The ‘HiddenHUB’ by Hidden Radio Design is an audio nucleus that adapts musical needs to the household. It detects when users are home, conforming the waves to the shape of the room, resulting in a more immersive sound experience. With its intelligent sensors and proprietary logic board, the speaker analyzes a room’s layout and dynamically adjusts its audio profile to fit that space. It distributes the frequencies and individually regulates each driver’s power in order to evenly fill corners with sound.
I admire how the device is able to adjust automatically without interference from the user. It takes hands-off to a new level. The designers used their own experiences and preferences to jumpstart this innovative technology.
This project is still being developed with the help of Kickstarter. It is expected to arrive in March, 2016.
Video courtesy of HiddenHUB.
In this assignment I tried to integrate a transitioning gradient with my moving clock. It was hard to find a range of color that transitioned relatively smooth.
The project I chose to explore this week is called LandFilles, created by Keiko Uenishi, a New York-based sound artist and Katherine Liberovskaya.
LandFilles is an ongoing project; nevertheless, the small segment taken from the final performance at Cyberfest in 2010 in St. Petersburg really struck me. Its concept was highly interactive and collaborative. The installation consisted of three phases: collection, performance, and demolition. Collection involved collecting empty clear plastic bottles (anyone could contribute), followed by construction of a giant mass of transparent bottles. Performance involved using the structure created as an “instrument” used for multi-channel and projection audiovisual information, where Uenishi interacts with the created environment through audio-feedback while Liberovskaya uses cameras, analog monitors and projectors to interact through video-feedback. Lastly, the accumulated mass of bottles is torn down and given away to the audience as a token of gratitude for participation.
I really admire the concept of level of interaction in this piece. The fact that this art installation is built from the collaboration of small contributions from different people — strangers — and used to create something greater, then again taken apart to be distributed among a crowd of strangers, is a very powerful thought. I found it interesting as it almost seems like the piece could be recreated again and again with different people, and it could just keep going continuously as different people come together to create structures much like, but are unique to the one in the clip. I also found the aesthetics very delicate; colours were very clean and futuristic, which was very appropriate to the theme of what was displayed.
I think that the algorithms that are involved generate different Decibels and pitches depending on the volume and spatial relation of the structure. However, the construction of the structure itself is quite organic.
Together, the visual elements and the sounds really form a synthetic and comprehensive representation of a sound-art piece that reflects futuristic possibilities. I felt that the juxtaposition of the two was very effective, especially with the transparent bottles reflecting the projected colours of the lights and synchronizing with the intensity of the sounds.
Year: 2012 / 2014 / 2015
The project Landwaves was created by the duo, Binaura. The project digitally displays behaviors of fluids in their reaction to sound waves. The frequencies of the sound waves cause the sonification of the pixels controlled by brightness. What I admire about this project is how fluidly the artists combined the two elements of sound and imagery. Although the sounds used are almost unpleasant to listen to, the combination with he digital imagery makes it mesmerizing to watch which is where the artist’s creative talent came in. I would think that if sounds could be visualized, this project is what it would make it look like. I would think he set each sound wave and frequency to a number and used if, else statements to control the behavior of the lines.
Designer Noa Raviv has used classical art and its evolution as inspiration for a fashion collection created during her time at Shenkar College of Engineering and Design. In collaboration with Stratasys in 2014, one of the largest manufacturers of 3D printers in the world, Raviv has developed manipulated digital images with computer modeling software
The pieces are envisioned by a command that would be difficult for technology to execute without setting a complex configuration of parameters, components, and codes. According to the designer, ‘these objects cannot be printed, nor produced in reality. they exist only in the virtual space. the tension between the real and the virtual, between 2D and 3D inspired me to create this collection’.
What’s inspiring about this piece is the way it highlights the endless bounds of programming. Raw and unique beauty was created by something so mechanical; this juxtaposition makes the series even more breathtaking.
Photos courtesy of Design Boom.
I became really interested in the way the stripes lay over one another depending on the syntax I used.
Andrew Kudless’ Pinterest page on computational design shows interesting artworks produced through algorithms and looping patterns. There are artworks produced in digital and in sculpture and most of them show obvious signs of algorithmic properties and looping code. Elijah Porter’s piece looks uses triangular patterns to generate an art piece that looks like a flower. This digital piece looks like it is made simply through creating rows and columns of different shapes.
Another piece that seems interesting is the white looping architecture. It looks super cool and is probably made from code that generated itself in 3d. I am not quite sure how it is made but I think it is probably tons of ellipses generated across a canvas and then printed on a thick sheet of plastic. I think it would be useful to know how to turn code into 3d objects.
For Project-03, I made an 800×800 grid with a blue background and filled it with squares and circles. I used similar code to the hexagonal grid assignment to generate the rows and columns of the shapes. It was interesting to see how I could use what I have learned in past assignments to create a new wallpaper for my computer.