IDP2

THIS IS A RESOURCE, A COLLECTION. a repository of INTERdisciplinary & INTRAdisciplinary art practices and thinking. MAINTAINED BY: kevin-townsend

[s-c-arch-blog]

anisotropic_formations

SCI-Arc ESTm Fall 2013 | Testa Vertical Studio

Salvador Cortez | Cheng Lu | Avra Tomara | Nikita Troufanov

Instructor: Peter Testa


Robot Lab Coordinator: Jake Newsum

an· i· so· tro· py : the property of being directionally dependent, as opposed to isotropy, which implies identical properties in all directions.

Anisotropic Formations is a proto-architectural exploration of anisotropic aesthetics and structures through vector based 3d printing. Taking inspiration from 3d printed fashion, composite sail manufacturing and experimental application of 6-axis robotics, the project takes the anisotropic approach as both an aesthetic and a fabrication logic. Anisotropic geometry is vector-based and is directionally dependent. Combinations of these vectors result in rich surface and 3d qualities of varied densities, hierarchies and multi-directional layering.

There was an imperative to pursue this design research in a post-digital platform, stepping out from the Euclidean flatness of the computer screen onto the non-Euclidean platform of the physical.Plastic extrusion provided direct access to vector geometry in physical space, enriching it with material agency. Flexibility of the scaffold allowed for multiple configurations and other possibilities. The project was realized through a series of iterations that subjected the design agenda to a series of different machining workspaces and digital-to-physical workflows. From Cartesian workspace of a conventional 3d printer to spherical workspace of multi-axis collaborative robotics and from vector based workflows of 3d modeling to motion based work flows of animation.

–VIDEO–

[exhaustedscreen-deactivated2019]

Sample cards from Brian Eno and Peter Schmidt’s ‘Oblique Strategies’, first published in 1975.

[sevenknotwind]

My future of art is different from what art is today. When I build my school, I’m going to teach people that whatever is taught at the MFA level is akin to elementary school. In elementary school students will learn replica, mise-en-scène, and representation. In middle school, they will learn about reflexivity, reproducibility, reaction, and reflection. In high school, students will learn to see the invisible, to understand the philosophies of the invisible, will learn physics and religion. As undergraduates, my future pupils will learn transgression, systems of power, how to be a system of power, and how to harness systems of power. They will learn how to mine for gold, dig for diamonds. They learn how to fish. In graduate school, students will learn how to levitate. Until we’re willing to think about the complexities, until we’re willing to think about the human capacity to understand complex symbols and thought forms and the invisible, we will think that murals alone can solve social problems. I would never make a mural to solve a social problem. It takes money to solve social problems; it takes hard conversations and political power—artists should also sculpt those things.

Theaster Gates (via sevenknotwind)

[archatlas]

Real Scale Vardehaugen

The ability to visualize the unbuilt is an important part of the architectural profession: Both in order to evaluate – and communicate concepts and solutions. However, the bodily sensation of scale or the notion of simply walking through a room cannot be experienced through traditional 3D visualizations or scaled models.

Architecture is not an abstract geometrical size, but something concrete that relates to our bodily existence and the world around us.

We therefore conduct real scale drawings in our backyard to ensure a greater understanding of size and proportions in our projects. This enable us to simply take a stroll through our projects and get a sense of dimensions and spatial sequences, – even before they are built.

Images and text via Vardehaugen

[sevenknotwind]

Art in this era has veered dramatically toward an approach that hasn’t been seen in the West for more than 1,000 years: a concerted urge, almost a rage, to be totally communicative to the largest possible audiences, addressing cognoscenti, novices, and newcomers in the same register, telling stories of social, political, and philosophical conditions. Of course, not everybody today is making this kind of work. But taken together, it does constitute a real aesthetic movement, one that is biographical, autobiographical, personal — the art of the first person.

— Jerry Saltz (via sevenknotwind)

[fleursartificielles]

Art for Tomorrow Conference 2016 - How Is the Internet Redefining the Value of Art? with David Gryn and David Goodman

Art for Tomorrow is a conference that took place recently (March 12 - 16). The overall theme was ‘Technology, Creativity and the City’, but their discussions about the impact of digital technology on the practice, dissemination and acquisition of art is of particular interest to me (of course). They’ve posted some of the ‘highlights’ of the conference online that can be found here: http://artfortomorrow.com/gallery/art-for-tomorrow-2016. 

[archatlas]

Oiwa Island 2 Oscar Oiwa

Expanding on his work previously created for the 2013 Triennale and housed within a gymnasium on Ibuki Island, “Oiwa Island 2” will be installed within a building once used as a soy sauce warehouse. The audience will be allowed to walk inside the work of art: essentially a massive, 360-degree drawing made with black permanent marker on a 40-ft diameter inflatable vinyl dome. It’s located on Shodoshima.

New sections were added to the drawing, which will depict sky, forest and a small cottage on the sea shore. At this point we can only imagine the odd sensation of arriving on an island, walking into a soy sauce factory (which leads to the door of the cottage) and then suddenly being immersed in a black and white island.

Images and text via

[sevenknotwind]

Alexandra Charlotte Pullen paper houses (city of paper houses) made from receipts

[sevenknotwind]

William Powhida

[nearlya]

Alexander Barton. Blood Reflects (The Bleeding Painting), 2012, V performance of swine blood on linen

see the video

[wittacism241253-deactivated2016]

It’s essay writing season for tons of students!

After being a college writing tutor for over a year, I thought I would share my advice with all you awesome people on tumblr. This is how I write essays, but if you’ve got more tips, feel free to add them below. 

Happy writing. You can do it!

[lindsaaayyy]

I’m going to take the cuss words out and give this to my 5th graders.

[idp2]

[sevenknotwind]

Peter Foucault drawing machines / works from the embryo series

[sevenknotwind]

Matthew Woodward

[idp2]

large scale works fusing drawing, sculpture and installation (with some heavy influence from architecture)

[idp2]

What we have now in institutionalized art education is a small group of artisans intended to serve a bigger group of onlookers. If we were to translate the art situation to literacy, it’s like training a small group of calligraphers in the hope that they will have some ideas that merit a Nobel Prize in literature. It’s then also expected that the rest of society will understand what they are doing. When dealing with literacy directly, however, we expect that everybody (not just the calligraphers) will know how to read and write. Even if they don’t know how to correctly spell Nobel. What is at heart here is really how we process information. We are surrounded by a technology based on algorithms, conceptualization, pattern recognition, “fuzzy thinking,” and the absorption of errors as an integral part of systems. Technology surpassed quantity to move within the realms of quality. Meanwhile our pedagogical systems are still operating within the realist aesthetics of the nineteenth century based on arithmetic numeracy and rational accumulations. The infinite dots that compose visual reality were then transferred one by one to a canvas. Letters today add up to words and words to sentences.

Luis Camnitzer http://supercommunity.e-flux.com/texts/thinking-about-art-thinking/

[sevenknotwind]

In the Museum for 100 Days, a Performance Artist Pushes Us to Reflect on Time

BOSTON — There are so many layers to Marilyn Arsem’s piece at the Museum of Fine Arts that it’s a bit hard to know where to start.

[sfmoma]

SubmissionFriday: 

 KEVIN TOWNSEND in ghost time  2016, unfixed chalk on panel  |  72" X 108" a durational, ephemeral drawing performance rendering time as a topographical structure through the obsessive accretion of marks. The drawing was produced in Boston and live-streamed to Toronto as part of Duration & Dialogue performance symposium

[sevenknotwind]

thank you @sfmoma