Automated Animation – Programming

Processing is an environment that allows artists to create work using code and programming as their medium. It is a form of coding and environment intended to help artists generate interactive visual work directly. This leads to a form of art often referred to as ‘Generative art’ or when it is moving image ‘Generative animation’. This is a new way of creating art and animation where the final image is not created directly but is the result carefully selecting and crafting new computer algorithms.

‘Conspiracy – chaos theory [HD] 64k’

‘Farbrausch & Haujobb’ – fr-034 [hjb- 104]: time index [HD]

Liquid Wen/ Haujobb (PC Demo)

YouShould by Haujobb[HD] – Evoke 2010 invitation

Polina Alexeeva, SCI-Arc 2015 Generative Animations with Ivan Bernal

Musicians with guns – Astroblast

Generative animations

Generative Art

The formula

Generative animation circles

Punkt (final version)

I created this animation when I wrote my bachelor thesis about generative animations a year ago.
It was entirely coded in Processing (processing.org), no cuts no keyframes. I can’t say this is the way to go when it comes to creating animations in general, but I definitely learned a ton when I created this.

Partitura

Foliage shoal

Decode: Recode

The decode logo is formed from 250,000 cubes which separate, swarm and flock like tiny futuristic cuboid fish.

The snail on the slope

The Snail on the Slope is a generative movie based on a book of the same title by Strugatsky brothers. The novel is set on an unknown planet, where humans have a base from which they are investigating and trying to conquer the Forest. The Forest, which is a huge single organism is constantly changing and fighting back. It is also dangerous and there are a lot of unexplained phenomena that they are discovering.

The movie is made of five chapters, which critically address the questions of artistic and scientific efforts to understand nature. The topics that arise in those chapters are: sublime view on nature, role of knowledge, ubiquitous bureaucracy, and destruction of nature.

In the movie, all the scenes are generated with Processing. They are created as abstractions and visualizations of the atmospheres in which all of the action takes place.

Tales of the unexpected

Piece commissioned by Ei’Kon store in Denmark

Interim Camp

Poor visibility; weather again unsettled today. Surreal rocks and riven lowlands, valleys fog-shrouded. Frightening depths, and emptiness. Rarity of air is noticeable. What are you looking for in this hostile stretch?

THATS NUMBERWANG!

The folks at Pixar are widely known as some of the world’s best storytellers and animators. They are perhaps less recognized as some of the most innovative math whizzes around. Pixar Research Lead Tony DeRose delves into the math behind the animations, explaining how arithmetic, trigonometry and geometry help bring Woody and the rest of your favourite characters to life.

Math and Movies (Animation at Pixar) – Numberphile

Pixar: The math behind the movies – Tony Derose

https://www.processing.org/

Processing is a flexible software sketchbook and a language for learning how to code within the context of the visual arts. Since 2001, Processing has promoted software literacy within the visual arts and visual literacy within technology. There are tens of thousands of students, artists, designers, researchers, and hobbyists who use Processing for learning and prototyping.

Superficie – Possible, plausible, potential.

Traces, Physical Programming of Freeform Folding in soft matter

Research Group – Dana Zelig, Ido Bachelet, Hadass Jessel
Music – Ire’ne Schweizer, Piano Solo Vol.1 – 08 Look In

Traces project explores the concept of programming everyday materials, a form of “physical programming”, where objects are “made to act” by re-forming following a set of specific instructions.

To explore this idea, I developed 12 processed-folding objects series, using custom built software in Processing and various physical techniques – printing, twisting, laser-cutting, knotting and framing. Both the digital tools and the physical techniques were used systematically in order to explore spatial, structural & geometrical conditions, leading to the emergence of prototypes. I used sheets of “Shrinky-Dinks”, a shrinkable pre-stressed polystyrene sheets that are used commercially in kids’ creativity kits. After creating various black and white patterns in Processing, she printed them on the sheets in black, using a simple desktop printer, and then induced folding by placing the sheets under an IR light bulb at a set distance. The printed sheets folded repeatedly within seconds upon exposure to the light, according to the black-line patterns. The energy from the light gets absorbed preferentially by the black line, which acts as a hinge because it converts the light effectively into heat. The heat relaxes the polymer directly under the hinge region in a gradient across the sheet thickness.

Letter size polystyrene sheets 8-1/2” x 11” were used, and the experiment sizes that were cut from the sheets vary between the size of a business card to the size of a postcard. In order to retain clarity, legibility and consistency, she used a minimum size of 12% the width of the format (A5, A6, 5.5*8.5cm). The optimal thickness of the black line varies between 0.5mm – 2mm. A thinner line is usually not effective, while a thicker one demands more time under the light which eventually causes the polystyrene to burn.

I used Processing as a drawing tool, working with primitives (lines) and more complex curves. The patterns were then exported as vectors in Adobe Illustrator to eliminate unwanted glitches/errors. Variables include Size, Location, Area Symbols, Orientation, Thickness, Leading, Texture, Lightness, Time, heat. The effectiveness of this limited palette was used to depict light and space, mimic 3 dimensionality, and allow for a greater focus on form and line.

This research is based on the article “Self-folding of polymer sheets using local light absorption”, Michael D. Dickey et al. The Royal Society of Chemistry 2011. The code originates from the Generative Design publication examples available on GitHub.

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