A dissection of a tricky arts/tech collaboration.Read More
The Digital Gothic, manifesting the trauma of the digital.Read More
I've been working with Altair, who do Finite Element Analysis for vehicle manufacturers. I had a great meeting with them a couple of weeks ago and have been emailing since. My interest lies in the crossover between aesthetics and disasters so I've been playing with very simple strategies for exploring this. The first is to mirror the geometry of a crashed car so the result is perfectly symmetrical. After working through the file conversion challenges I've finally got a model I could work with. It's very heavy geometry but here are the results of my initial tests. Very early days.
Remember when animation was just drawing? Wasn't that nice? NOT ANY MORE.
Here's a nicely pitched retro-styled explanation of some of the most advanced computing in the known world. Very much appreciated, thanks Disney.
You don't need to be an engineer, an architect or even an animator to work with CGI, so why do so few artists know how to use CG software? Here's my story.Read More
A report on my first week of research and development while learning SideFX Houdini. Thinking about transitioning between software packages, bilingualism and the creative function of software.Read More
One of the fascinating things about CG software is that functions are created that produce effects that seem to derive from natural processes but you can't quite figure out what planet these processes come from.
An introduction to the work of Colombian artist Alberto Lezaca.Read More
Morgan Beringer is a video artist who creates some of the most distinctive work I've ever seen. I felt like something inside me was filling up as I watched his work. His films work in the way perfume does: for just a moment, we're connected with a memory we'd long forgotten, then it's gone. One moment a door is opening behind crimson gauze, next a sand dune warps through watery half-closed eyes, then torchlight illuminates the translucency of fingers. Then nothing, then another door opens and a new perspective is hinted at before it disappears. I feel like he understands eyes and light better than most cinematographers.
The editing and technique defies me. These are not calculated images, they are felt somehow, corralled improbably onto the internet. The eye and the lens and the pixel collapse into one unending mutation and I'm in love with it.
Eyal Weizman's Forensic Architecture project uses image recognition and crowdsourced data to create reliable testimony in complex and contested conflict zones.Read More
John Gerrard uses realtime 3D graphics to address wider concepts of the virtual.Read More