Ongoing project uses urban geographic information as a creative colourful grammar and highlight the changing forms of these places:
Blinking City is a project investigating the inadequacy of traditional maps for city environments characterized by fast pace transformation and urban growth. As soon as the map is done, the city it describes has already gone. We transferredone of the Blinking City pattern, based on a collage of several Hutongneighbourhoods of Beijing, onto a wall of a dilapidated courtyard house inXianyukou district, located in the core of the city
Currently, there are three forms of this project, graffiti, lenticular animated disks, and an animation, embedded below:
First of two news stories that could get you thinking about the future of technology and art museums.
The first, a student puts together a database of examples of art history for a computer program to visually analyse and make connections (such as above) - from Lawrence Technology University blog:
LTU student Jane Tarakhovsky showed, for the first time, that computers can match art historians in understanding and analysis of visual art.
In the experiment she let the computer analyze ~1000 paintings by 34 well-known painters, and let the computer automatically deduce the similarities between the artistic styles without using any information other than the visual content. The similarities were then visualized using a phylogeny (a tool normally used to visualize similarities between genomes of different species, but in this case was used to visualize the similarities between artistic styles). Surprisingly, the analysis of the computer was almost identical to the analysis of Art Historians.
For instance, the computer automatically placed the High Renaissance artists Raphael, Da Vinci, and Michelangelo very close to each other, and the Baroque painters Vermeer, Rubens and Rembrandt were placed by the algorithm in another cluster, indicating that the computer sensed that these painters share a common artistic style.
The work is made using computer code to draw, using an open source programming language to create the series of images. I set guidelines for the program to read GPS data, then interpret and process this data into the above set of moving images.
The work that I have made is deliberately not nature-based, that is it makes no attempt to imitate the gestures of drawing or painting to produce representations.
The work is informed by a number of 20th century art movements, from Constructivism and Suprematism, art movements that focused on fundamental geometric forms. Whose actions replaced identifiable brush marks with anonymous monotone surfaces, free lines with ruled lines and complexity with apparent geometric simplicity. Additionally the work is informed by the St Ives school of artists, like those of the British artists Barbara Hepworth and Ben Nicholson. Artists who had a strong interest in seeking out and making use of geometric forms found within the lyrical landscapes, who drew inspiration from the science and mathematics of their day. They used theoretical models as new visual stimuli to develop fresh ways of thinking and working.
Also been reading up on Sol LeWitt and his Wall Drawings, which are done from a set of instructions he issued. With his Wall Drawings, he removed his hand from the production of his artwork. I see why he has been so influential an artist, as he has definitely chimed with my thoughts on the work I was seeking to make - of how I was creating the parameters through which the work would be created. There is an obvious connection with how I am creating parameters that then makes the work.
The Supervisions series, begun in 2002, are based on images of urban areas revealing both views of public sites and their surfaces, as well as offering insights into closed areas from a bird’s-eye perspective.
By means of an elaborate photographic technique, Gefeller creates these »possible« and »impossible« view-points. Hundreds of individual shots are digitally joined, giving rise to the impression that the overall sight has originated from a much higher perspective. The uncommon formation process is betrayed by the detail-richness resulting from the high-resolution quality of the images of »scanned« surfaces and the optical breaks between single segments originating through perspective shifts. Yet this only becomes apparent to the observer through close inspection (…)