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REVERBERATING ACROSS THE DIVIDE

BRIDGING VIRTUAL AND PHYSICAL CONTEXTS IN DIGITAL FABRICATION & DESIGN

 

Reverberating Across the Divide reconnects digital and physical contexts through a custom chronomorphologic modeling environment. This modeling interface uses a three phase workflow (3D scanning, 3D modeling, and 3D printing) to enable a designer to craft intricate digital geometries around pre-existing physical contexts.

Please contact us for purchasing inquiries, or with requests for custom designed pieces.

MODELING INTERFACE

Chronomorphology — like its nineteenth-century counterpart chronophotography — is a composite recording of an object’s movement. Instead of a photograph, however, the recording medium here is a full three-dimensional model of the object  —  a virtual creature simulated within a digital environment.  This virtual creature exists as a 3D printable module; it is constructed as a closed mesh, with a spring skeleton that prevents self-intersections. The composite, chronomorphologic model (of the virtual creature over time) retains these printable properties at each time-step. Therefore, no matter how intricate or complex, the digital geometry will always be exported as a valid, 3D printable mesh.

The modeling interface uses a three phase workflow (3D scanning, 3D modeling, and 3D printing) to enable a designer to appropriate a physical context for their digital designs. This digital-physical workflow begins in the scanning phase, which imports a physical context into the virtual environment. A depth camera translates a physical space or object into a three-dimensional point cloud. The point cloud is used as a persistent reference on which to base a digital design; it gives a sense of scale and materiality to an otherwise empty virtual space. The modeling phase creates an expressive digital form around the previously scanned context. The same depth camera is used to continuously capture a designer’s realtime hand gestures. These gestures then manipulate an animate digital geometry within a chronomorphologic modeling environment. The designer aggregates the animate 3D model to create complex geometries around the 3D scanned context. The printingphase then translates the digital geometry into physical matter. Once the geometry is 3D printed, the digitally fabricated artifact can then be immediately embedded into the physical environment.

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DIGITAL-TO-PHYSICAL-TO-DIGITAL

The chronomorphologic modeling environment facilitates  rapid generation of baroque and expressive spatial forms that both respond and expand on existing physical contexts. By mediating 3D scanning and 3D printing through the modeling environment, the designer has a streamlined workflow for oscillating between virtual and analog environments. These complementary behaviors  — transcribing bits into atoms, and atoms into bits  —  create a closed loop in which a designer can recursively generate imaginative digital forms to integrate back into the built environment. Moreover, the ease in shifting between digital design and physical production provides a framework for rapidly exploring how subtle changes in the virtual environment, physical environment, or designer’s gestures can create dynamic variation in the formal, material, and spatial qualities of a generated design.

COLLAR STUDIES

WRIST STUDIES

COLUMN STUDIES

For high resolution images, please click here.


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THIS PROJECT WAS SUPPORTED IN PART BY FUNDING FROM THE CARNEGIE MELLON UNIVERSITY FRANK-RATCHYE FUND FOR ART @ THE FRONTIER


 

http://www.madlab.cc/reverberating-across-the-divide

 

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http://nos.nl/l/660372

De symbolische aftrap was maar kort in beeld | NOS

De symbolische aftrap was maar kort in beeld | NOS

Een volledig verlamde man verrichtte gisteravond de symbolische aftrap van het WK voetbal in Brazilië. Dat kon dankzij een speciaal robotpak dat bestaat uit een exoskelet van metaal waardoor hij kon lopen. Het moment was maar kort in beeld, maar het was een bijzondere en unieke gebeurtenis volgens hoogleraar revalidatiegeneeskunde Sander Geurts van het Radboud UMC.

Wat was daar zo bijzonder aan?

“Het bijzondere aan dit Braziliaanse exoskelet is de aansturing via de hersenen. In Nederland hebben we ook sinds twee jaar zo’n skelet, maar dat wordt aangestuurd door fysiotherapeuten die op de juiste knoppen moeten drukken om de benen aan te sturen. Gisteravond zagen we een model waarbij de loopbeweging vanuit de hersenen via elektroden naar het skelet wordt gebracht. Het skelet maakt vervolgens de beweging.”

Waar komt het pak vandaan?

“De ontwikkeling van dit robotpak komt vanuit defensie. Het is ontwikkeld om militairen te ondersteunen bij zware taken, zoals het lopen van lange afstanden met een zware rugzak. Geleidelijk is het ook toegepast bij verlamde mensen.”

Wat viel u op aan het pak bij de opening?

“Dat de man zijn balans niet kon houden. Daar had hij steun voor nodig. Maar hij kon wel zijn benen bewegen door de robot aan te sturen met hersensignalen. Hij deed hele rustige stappen om zijn balans te houden, maar dat kan niet anders. Dat is nog steeds het grote probleem.”

Wat vinden patiënten van zo’n skelet?

Mensen die dit hebben vinden het een fantastische ervaring dat ze voor het eerst in jaren hun benen weer kunnen bewegen. Maar het gaat niet alleen om de beweging, ook om de beleving. Ze zeggen ook dat het prettig is dat ze hun benen kunnen voelen. Dat komt door de bloedsomloop die door de beweging gestimuleerd wordt en het gevoel dat ze kunnen staan. Zelfs de stoelgang kan door het staan verbeterd worden.”

Kunnen veel mensen hier in de toekomst mee geholpen worden?

“Ik denk wel dat dat realistisch is. We moeten nog een paar stappen zetten om het toepasbaar te maken voor een grote groep mensen. De prijs moet bijvoorbeeld omlaag. Het Braziliaanse exoskelet kost nu 120.000 euro. Maar techniek is relatief. Als het verder ontwikkeld wordt kan het goedkoper worden. Ik heb de Braziliaanse wetenschapper, Miguel Nicolelis, tegen CNN horen zeggen dat hij verwacht dat hij in zijn leven nog mensen hiermee op straat zal zien lopen.”

 

 

Going onwards with the approach of motion detection, kinetic sculptures and combining it with robotics, I chose for Geoffrey Drake-Brockman’s headspace. Headspace is an interactive robotic artwork with 256 independently moving rods in a matrix some 1.5m by 1.5m. The control system is loaded with 3D scans of 700 school students. Headspace is a variable relief sculpture. Collaboration proposal (With Erik Stehmann) is a proposal to make furniture pieces or living spaces made of wood that react to the human form by first detecting it.

Geoffrey Drake-Brockman’s work involve a lot with human interaction aswell. He also made origami flowers that open up when you pass by.

Courtesy of Golan Levin and Zachary Lieberman Messa di Voce ( Italian for “voice placement” ) is an audio-visual system in which the oral speech, shouts and songs of two vocalists dramatically increase in real time by custom interactive visualization software. In this installation, abstract communication gives synesthetic relationships, the language of strips, and the writing of a system and production scores are discussed… Within the framework of a sophisticated and fun virtual world. It stimulates the eye and ears, and attracts you to engage with it. It’s responsive, and in a modern day and age people will still feel the need to patch up the idea of non-responsiveness. Another great example of recognition and response is the ideal concept of the future virtually conceptualized by the movie ‘Her’. Levin and Lieberman’s Software transforms every vocal nuance graphs. It’s corresponding complexity, subtly differentiated and highly expressive. Through these displays not only the voices of users are displayed, but it also serves as a ‘device’ to pre-record sound and play during performance. While the voice charts as a tool that observers/performers can use to interpret physical manipulations of these graphics, the screens reformulate the sounds of voices of users, to mimic them, so a cycle of interaction occurs and fully integrates public in connection to a healthy environment. It’s a matter of virtual objects and real- time processing. The installation was made in a different time (2003) than XBOX’s kinect (2010), which uses a similar idea of voice and movement recognition. ‘Messa di Voce’ lies at the crossroads of two extremes, human and technological, and adds the unpredictable spontaneity of the human voice with advanced visual computing technologies and discourse analysis. No words, but deep verbal sounds, the ‘Messa di Voce’ project is designed to reflect on the meaning and implications of speech, sounds provoke acts of language and absorb a language environment. It’s a form of visual art which can certainly be implemented for various technical solutions such as interactive supermarket displays or ad space when you walk along or make a sound. There’s even a possibility something might exist generated from your interests by shouting them out. http://lsdcrosslab.tumblr.com/ pinterest link: http://www.pinterest.com/mswontwerp/experiment-bliss/

Chris O’Shea is a multidisciplinary artist who works a lot with openFrameworks projects. His work always had a kinetic approach and he plays a lot with human interaction. Human interaction interferes with the intellect of things and it lets objects recognize you.

Hand From Above is the latest project from Chris O’Shea, a joint co-commission between FACT: Foundation for Art & Creative Technology and Liverpool City Council for BBC Big Screen Liverpool and the Live Sites Network. It premiered during the inaugural Abandon Normal Devices Festival.

Inspired by Land of the Giants and Goliath, the project aims to remind us of mythical stories by mischievously unleashing a giant hand from the BBC Big Screen. Passers are playfully transformed being tickled, stretched, flicked or removed entirely in real-time by a giant deity.

Fitted with a CCTV camera, The BBC Big Screen is linked into a computer that runs the custom built software then outputs to the screen. The software picks a person based on their proportions & how alone they are from other people, then tracks the blob over time using optical flow. If the giant hand removes, flicks or shrinks a person, firstly it rubs out the person from the live video using the background reference pixels. Then the tracked person is redrawn over the top in relation to what the hand is doing, i.e. being picked up, or flying out to the left of the screen (not shown in this video). When the hand shrinks a person it redraws them into the video at half scale. When there is too big a crowd it resorts to tickling people, with a random selection.

Many people thought it was a real hand, or at least controlled by an operator. Many didn’t care how it worked. People liked seeing themselves on a big screen and then were completely surprised when this big hand came in and did something to someone. Apparently one lady said “I haven’t had a man’s hand all over me like that in years!” Chris

Hand from Above was built using openFrameworks & openCV.

09/2013 MER KA BA Exhibition, The Jewish Museum (New York City)

A Ready-to-wear collection by the design collective threeASFOUR.

“It reveals the varied visual aspects of Nature and its inherent sacred geometries through a topographic approach. Within the collection, surface shapes, elevations and textures relate to each other as well as to the terrain of the human body.””The archetypal language of sacred geometry, which is inherent in nature’s design, is a key in understanding the universe from the microcosm (which is within), to the macrocosm (which includes everything that surrounds us)’. The New York based trio of fashion designers Gabriel Asfour, Adi Gil, and Angela Donhauser, have created a collection of 3D printed, laser cut silk and origami folded dresses that reflect their origins from Lebanon, Israel and Tajikistan, respectively. When put together, are symbolic of the energy fields that the body transitions through as it ascends to a higher plane.’

MATERIAL USED:

Lasercut, 3D printer, fabric, origami folding, mirrored structure and projections.

TECHNOLOGY USED:

A collection of 3D printed, laser cut silk and origami folded dresses that reflect the origins of their homelands. The trio explored new mediums in mirrored structures and projections. The structures reflects on itself and forms a multi-dimensional pointed star, aka a hexagram. The installation represents material and spiritual worlds, symbolic for the energy of the human body.

EFFECT/EXPERIENCE:

The geometric patterns make us feel connected to the dimensions of all things created. The installation invites visitors into a moody and textural space, this space represents the geometrics in the sacred synagogues and mosques. The clothes are both wearable art and a platform for their free-spirited philosophy.

They combine something rather new, innovative, and techy with old spiritual believes and ancient cultures.