No Man's Sky: Virtual, Seamless, Infinite Procedural Universe.




Several big-name titles were unveiled at E3 earlier this month, but none dominated the conversation more so than the upcoming PlayStation 4 game “No Man’s Sky,” which wowed players with its whimsical art direction and infinite procedural universe that guarantees an unique adventure for every gamer.

 Many wondered how a game like “No Man’s Sky," where you can seamlessly hop from planet to planet and explore every crack and crevice  all without a single loading screen is even possible. But thanks to an interview with the game’s creators lovingly coordinated and compiled by Kotaku’s Tina Amini, we now have an excellent idea of how the tiny

Hello Games development studio has been able to pull off this game of (literally) epic proportions.





"The trailer, that's real time," David Ream, creative director at Hello Games, told Kotaku. "In order for that trailer to exist as it is we captured from real time. Everything in the game, that is the game functioning. In order to build that trailer, all the systems that we've been talking about have to exist otherwise it would be nothing. From the outside you go, 'Wow, how can that be true?' From the inside, in order to show anything it has to be true." If you’re trying to understand the concept of “No Man’s Sky,” here it is:

There are no missions and there’s no general storyline. You start the game on a random planet and very few tools, and your sole directives are to explore, and survive. All gamers play in the same universe, where you’ll run into unique flora and fauna on each planet you visit, but with an endless number of planets, where no two are alike, "No Man's Sky" will offer an infinite variety of creatures and objects in the game — something never before seen on a major console, but currently being attempted by just a handful of talented British game developers (with the support of Sony, of course).







So how can one infinitesimal studio in Guildford, UK, build an infinite universe? According to Hello Games’ founder and managing director Sean Murray, the company worked for a long time building its own engine that instantly creates variants off a singular design based off the skeletons of each creature and object. "You're building a blueprint," Murray said. "And that's true of everything in the game. So say one of our artists will build something and that will take say a week. But what they get from that is every possible variant of that. So if you build a cat, you also get a lion and a tiger and a panther and things that you've never seen — kind of mutations beyond that." In other words, while all the different species of rhinos in "No Man's Sky" are built on similar foundations,

Hello Games can offer virtually unlimited variations of colors, sizes, and physical characteristics of what a "rhino" might look like — it gets particularly fun when you can alter and vary the animal’s muscular structure. This sophisticated engine powering "No Man's Sky" can also churn out male, female and baby versions of different animals, and this same toolset is applied to spaceships, trees, and every other object you’ll find in the game. The possibilities, according to the developers, are endless.

Interview:


Takeshi Murata: Multimedia Art




Created by digital artist Takeshi Murata, this rippling, reflective sculpture was unveiled at Ratio 3 gallery as part of the Frieze art fair. Titled Melter 3-D, the sculptural animation is technically a zoetrope, and only achieves the illusion of motion with the help of a strobe lights or perfectly synchronized still images captured with a camera. That is to say, it’s a physical object but it wouldn’t look exactly as you see here if you were standing in front of it, not unlike Matt Kenyon’s Supermajor. Read more about Melter 3-D over on Creator’s Project.




Smoke&mirrors:: The Cave

The Cave is a a back-projection mapping installation, done for the Creative Review Annual launch party at Village Underground in London. The unusual canvas is a suspended laser cut cast acrylic pyramid covered with a frost film. We wanted to explore how the perception of the viewer can be bent when a small room become an infinite corridor. Done by Nicola Gastaldi in The Studio at Smoke & Mirrors.

thestudio.smoke-mirrors.com
smoke-mirrors.com/
The Cave from Smoke & Mirrors on Vimeo.

Teehan+Lax Labs: Painting with Digital Brush


Painting with a Digital Brush from Teehan+Lax Labs on Vimeo.

An attempt to free ASCII Art from the confines of the screen and enable it to exist in physical space - with light and paint.

Read more:teehanlax.com/labs/painting-with-a-digital-brush/

Tara Donovan : generative sculptures made out of everyday materials.





Tara Donovan (b. 1969, New York) is an American artist who lives and works in Brooklyn, New York. She is known for site-specific installation art that utilizes everyday materials whose form is in keeping with generative art.
Donovan's work uses everyday manufactured materials such as Scotch tape, Styrofoam cups, Paper plates, Toothpick, and drinking straws to create large scale sculptures that often have a biomorphic quality. Her sculptures must be assembled and disassembled carefully, which sometimes involves an extremely tedious process. With regards to her artistic process, Donovan explained that she chooses the material before she decides what can be done with it. She noted in an interview that she thinks "in terms of infinity, of [the materials] expanding."
Her work was featured in the Whitney Biennial in 2000 and the All Soviet Exhibition. She was the recipient of the Alexander Calder Foundation's first annual Calder Prize in 2005. In 2006 her work was featured in a solo exhibition at The Pace Gallery in New York, the gallery that has represented her since 2005. Donovan presented new works in a 2011 solo show at Pace entitled Drawings (Pins). Donovan installed Untitled (Mylar) in November 2007 at the Metropolitan Museum of Art, New York, made of silver Mylar tape. She was the fourth artist selected by the museum for an ongoing series featuring contemporary artists, preceded by Tony Oursler, Kara Walker, and Neo Rauch. Donovan was a 2008 MacArthur Fellow.
Donovan says of her work, "It is not like I'm trying to simulate nature. It's more of a mimicking of the way of nature, the way things actually grow." Fellow artist Chuck Close told a reporter that "“At this particular moment in the art world, invention and personal vision have been demoted in favor of appropriation, of raiding the cultural icebox. For somebody to go out and try to make something that doesn’t remind you of anybody else’s work and is really, truly innovative—and I think Tara’s work is—that’s very much against the grain of the moment. To me, it represents a gutsy move.”






Robotic heavy metal bands


Compressor Head


Compressorhead Blitzkrieg Bop from Fantastic Style on Vimeo.



Z Machines


Z Machines & Squarepusher

Urbanscreen: 26th Floor (augmented sculpture)


26th Floor | Augmented Sculpture from URBANSCREEN on Vimeo.
An 'Augmented Sculpture' made for the Four Seasons Hotel Beirut. This permanent light sculpture was exclusively developed for the rooftop of the Four Seasons Hotel in Beirut. Sculpture development and content development refer to each other in an interdependent design. By assimilating specific aspects of the environment, this work was developed from scratch as a site-specific piece of art. www.urbanscreen.com

GGIJS: Next level circuit bending / modular synthesis




Casiotone CT-660




Analog Harddrive


Nintendo GameBoy Classic


Radio and Metronome


Kawai MS-20


Casio SK-1


Casio CT-380


Exhibition


Exhibition

Alberto Seveso : Paint in water photography










More info:http://burdu976.com/

Yuri Suzuki : Looks Like Music (Robotic music drawing sequencer)




Yuri Suzuki is a sound artist, designer and electronic musician whose recent work explores the physical and technological characteristics of sound production, an interest that has arisen since the loss of the music library stocked in his laptop when the hard drive crashed.

For his Royal College of Art graduation show in 2008, he presented work which involved an innovative way of playing conventional vinyl records, including Sound Chaser (a miniature electric circuit constructed from pieces of old records on which small cars circulate and transmit sound) and the Finger Player, a transmitter handled like a thimble, enabling the physical experience of the retransmission of sound by running a finger along a record.

Suzuki’s intention is ‘‘to raise public awareness of the way in which sound and music is produced’’ and in most cases this occurs through performances and workshops requiring public participation. For Mudam Summer Project he is therefore presenting workshops led by invited artists and creators that tackle a variety of themes such as learning the basic principles of electronic music and the creation of sound pieces using transformed objects.

Yuri Suzuki was born in Tokyo in 1980 and now lives in London and Stockholm. His installations and sound pieces have been presented in exhibitions around the world. Between 1999 and 2005 he collaborated with the art department of the Japanese firm Maywa Denky where he became interested in music and technology. He moved to London in 2005 for his studies at the Royal College of Art, during which he undertook projects for Yamaha and Moritz Waldemeyer. After graduating in 2008, he founded his own firm in London. In 2011, he became guest designer and artist of the Teenage Engineering collective in Stockholm. In 2013, he launched Dentaku Ltd, a research and development consultancy working for companies such as Widen+Kennedy, KK Outlet and AIAIAI. -

See more at: http://www.mudam.lu/en/expositions/details/exposition/yurisuzuki/#sthash.QEeMQWm5.dpuf












Colour Chasers Test from Yuri Suzuki on Vimeo.

Looks Like Music - Mudam 2013 from Yuri Suzuki on Vimeo.

Amazing Plasma TV Lightning Show 2000V Through Panel

Filipa Valente : Liminoid Ecologies







Liminoid Garden* was part of the Skyline 2014 festival, a 10 day long free event featuring 10 interactive installations at different sites in Downtown Los Angeles. The project featured a collaboration between Filipa Valente [limiLAB] and Heidi Duckler Dance Theatre, who performed and interacted with the artificial blooms exploring the interaction between machine, environment and the city.  


Liminoid Garden* @ SKYLINE 2014 Festival DTLA from Filipa Valente on Vimeo.


The Liminoid Garden* - an interactive machine interface between the environment, the city and its users - responded to real-time environmental data from the city, giving awareness to the audience while simultaneously making him/her part of the behavior. Set in the context of Downtown Los Angeles, a bouquet of artificial ecology mechanisms communicate between the penthouse of the Cooper Design building and the city at large. The mechanical blooms are equipped with electronic controllers that receive readings of light, temperature and pollution from the exterior and reinterpret these into physical movements and light fluctuations.

The pieces then reflect a kind of breathing behavior that is altered by the actions of audience members - creating a play space between conditions of the outside and inside.

Video and edit : Elia Urquiza

More info : cargocollective.com/limilab


Responsive Prototype - Liminoid Ecologies from Filipa Valente on Vimeo.















Chris Cunningham : Mysterious laser/robotic installation Jaqapparatus 1















From his formative years sculpting alien heads to his recent "jaqapparatus 1" robotic performance-art installation, seminal music video director-turned-artist Chris Cunningham retraces his varied and critically acclaimed career in this personal, self-directed short. One of an elite group of directors alongside Spike Jonze, Michel Gondry and Jonathan Glazer who redefined MTV in the 1990s, Cunningham elevated the pop promo to a burgeoning art form with daring and disturbing music videos for the likes of Aphex Twin, Björk and Madonna. While his peers graduated to the big screen, Cunningham went underground, quit making promos and commercials, and spent the best part of a decade experimenting with fusions of film, music, art and technology that culminated in a string of live audio-visual performances at festivals in Japan and Europe.

For "jaqapparatus 1", his first installation unveiled last month at the Audi City London high-tech concept store—a shadowy, sci-fi set involving two laser-firing robots locked in what seemed like a brutal mating ritual-cum-war—Cunningham cast two Talos motion-controlled camera rigs as his anthropomorphized protagonists. “Mounted on the robots heads are powerful lasers which they use to attack, repel and communicate with each other,” explains Cunningham, “a kind of duel, a surreal mating display which sees each machine trying to dominate the other.”



Chris Cunningham: jaqapparatus 1 from Chris Watling on Vimeo.

Sven Meyer & Kim Pörksen : Studies Of Visible Sound & Vibrations ::








Sonic Water is an interactive installation by Sven Meyer [Elfenmaschine & kymat.de] and Kim Pörksen [Piece of Cake] that creates an interactive environment for visualizing sound and vibrations that reminds us that sound is truly physical. How does it work?

Our installation at the Photography Playground in Berlin consists of two different areas. A self-running installation and a DIY water-sound-image laboratory where people can experiment with their own cymatics. The setup in both areas is almost identical. The only difference is, that you can use your own camera and create your own soundscapes in the DIY laboratory.

The installation is very simple: A sound signal is used to vibrate a speaker. On top of the speaker membrane we have applied a plate and on the plate we have then glued an ordinary bottle cap. The bottle cap (or the whole plate) is filled with water. The water works as a flexible three-dimensional sculpture mass, that translates the sound into pictures. The vibration of the speaker creates one of a kind water-sound-images in response to the respective sound impulse – from chaotic patterns to standing mandala-like waves. The camera films the speaker from above and basically shoots a macro mode live view of the bottle cap action which is projected onto a large screen.

When people enter the room they initially just see the big screen cymatics projections. However, once they approach the cube with the speaker they suddenly grasp the setup and have this moment of incredulity and utter bewilderment, that a setup as simple as ours can create such astounding visuals. But this part of our installation is actually just an incentive or an ice breaker. Our actual intention is for the audience to have fun in the laboratory, where they can create and document their own cymatics. In the DIY laboratory you clamp a Olympus OMD camera on the stand, which you get upon entering the exhibition and you can then film or take photos of the water-sound-images you create by means of sound signals from a synthesizer, by using your own voice (via a microphone) or by just playing your favorite song on your smartphone.