The latest in an ongoing series of themed collections of creative projects assembled by Prosthetic Knowledge. This edition continues an exploration of computational sculpture, objects that are shaped by computational processes, beginning with this article on early examples in the field.
Pussykrew, from the series "Unidentified Fabulous Objects."
For anyone with any interest in technology over the past four or five years, the emergence of 3D printing has been unavoidable yet incredibly inspiring, a method of fabrication that has been applied to everything from movie hero costumes to prefab houses.
The latest in an ongoing series of themed collections of creative projects assembled by Prosthetic Knowledge. This edition brings together works dealing with early computational sculpture, looking at objects designed and fabricated with the computer. Add your suggested additions in the comments below.
Isa Genzken holding one of her Hyperbolos in her studio in Düsseldorf, 1982.
As with all fields of the arts, the role of computing in the field of sculpture and form-fabrication is rapidly growing. 3D printing is the most obvious example, with its now familiar method of taking a 3D design file and producing a physical object to match, line upon line from the supporting surface upwards. Also, with the assistance of programmable electronics, installations of arranged matter can be maneuvered into various forms and performances, receptive to local stimuli or external data, all of which is connected to an out-of-range laptop orchestrating the spectacle.
For this submission, though, the aim is to explore some of the earliest examples of computing and sculpture, by artists who were in a position to explore the potential in an at-the-time esoteric field. These artists glimpsed the possibilities and problems that emerge when the object becomes a digital entity, long before the rise of 3d printing.
The latest in an ongoing series of themed collections of creative projects assembled by Prosthetic Knowledge. This edition takes a look at creative projects and cultural implications that emerge from the meeting of computing culture and economics.
It's interesting that the etymology of the word "economics" goes back to the Greek oikonomikos, meaning "practiced in the management of a household or family," "frugal" or "thrifty," especially considering the term's modern-day association with big capitalism. On a small or large scale, economics has always been concerned with the distribution of wealth and the management of resources, and its principles can therefore be applied in a range of other fields. For example: In the mid-70's, the subject entered into dialogue with the biology (such as Gary Becker's paper "Altruism, Egoism and Genetic Fitness: Economics and Sociobiology" and "Economics from a Biological Viewpoint" by Jack Hirshleifer), where resources such as fitness, energy, disease, or environment were studied in an economic framework.
The latest in an ongoing series of themed collections of creative projects assembled by Prosthetic Knowledge. This edition brings together projects that make use of the Oculus Rift, a device that has reignited interest in virtual reality and provided creative inspiration for hackers and artists alike.
Kim Laughton, Timefly.
There are, however, new possibilities opening up around the next generation of mediated experiences. Of course, the artistic possibilities are tremendous, but the implications are far greater for many fields which may be struggling with their digital upkeep. From advertising to fashion, art to pornography, the photograph will not be "flat" anymore. The image can be seen from any angle, from the swipe of a touchscreen or drag from a mouse, or explored step-by-step with a headset and motion detector. "Photoshopping" will be 3D. It is not only industry-class endeavours that will change, as depth-sensing is now smaller and portable, and could give the (word-of-the-year contender) selfie an added dimension. Will the Facebooks or Flickrs support this new format? Or will another contender arise to facilitate a new process of creative self-identification?