Still images from generative software (source format 8000x5000px at 300dpi)

While the compelling and eye-catching beauty of generative patterns based on moving beziér curves are already old hat and widely cited, I’m still thinking that there’s room for conceptual enhancement and further analysis of the topic.

Currently, I’m testing various interfaces and input stimuli / formats (i.e. sound, image-analysys and various data formats & sources) to create interactive structures not only producing decorative drawings, but creating generative patters based on logical sequences and structures.

Current prototypes are using a simple graphic-tablet to trigger and stimulate swarm-based simulations involving up to 250 autonomous agents of different life cycles.

» More stills of created generative patterns are available at Flickr.com

In previous experiments I completely missed out on the morphing functionality provided by the library and just after some quick testing of available surfaces I came up with some quite interesting forms and results. Combinations of two surfaces – a 1st more complex like a Tranguloid Trefoil and more simple counterparts (i.e. Spheres) turned out to be a valuable source and basis for further sketching.

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Current versions and prototypes are combining rotation and scaling as well as growth-like animations using the underlying mathematical structures (see Paul Bourke) and qualities of certain surfaces.

While still being impressed by the aesthetic value of generated forms and artfully arranged elements, I’m already thinking about using underlying procedures and algorithms for more applied usage in upcoming projects.

See more stills of created generative forms at Flickr.

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The vinyl artworks showcased here are featuring graphic forms based on simple geometric shapes arranged by fractal patterns. Underlying algorhythms (see Fractal And Lindenmeyer Systems) are forming the generative compositions.

Used software was built with Processing

More high-res photos and stills can be found at Flickr.

Based on Paul Bourke’s Mathematical Shell (created in May 1989) a stripped down generative form was developed, more supposed to be a supplementing design element rather than a sign to shape the labels visual identity. In a second step a reduced logotype based on classy Helvetica lettering was created to form a contrast to the round and seamlessly flowing generative shapes. The creation process behind was following grid-based rules and a concept of steady reduction and simplification to form an abstract, yet memorable Logo.

Cautious and systematic reduction and transformation of classic Helvetica lettering

Both elements of the labels identity are based on cautious deconstruction and simplification of underlying structures and original forms to create a unique visual representation. Various aspects of music production and the labels output (i.e. iteration, patterns, rhythm and changes in tempo) where working as reference points and influencing factors during the design process.

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Logotype and generative form where introduced through the labels first vinyl record releases and continuously implemented in various digital and print media.

Besides designing the logo for Berlin based label Synket, I did numerous experiements and sketches to find a visual aesthetic that fits the approach and style of the musical projects. I ended up with a really stripped down version based on rotating horizontal and vertical strips of a shell surface that feels simple, yet complex in it’s own unique way.

Below you’ll find a few more pictures of the final products. High-res versions are available at Flickr.

Read more about concept and idea behind at the project page.

Image source: “Airships Fill the Sky” cd artwork and superDraw screen capture by Joshue Ott

superDraw presents more or less a simple line drawing application created in/ported to Processing, but the visual aesthetic of resulting forms and animaions is truly worth a closer look and listen. Especially in interaction with Packard’s sound – that is marked by a well-balanced interplay of acoustic and electronic elements – the visual patterns and shapes are unfolding their unique charm und particularised perfection. A preview of resulting audio-visual compositions is available at the Anticipate website.

“…The collaboration between Ott and Packard (which includes almost exclusively different music from the CD) is the culmination of two years of playing live shows together and consistently honing their interaction and the means by which their computers can communicate with each other. Though individual scenes can be devised beforehand, neither program allows deferred creation, so no editing is possible and the entire piece had to be recorded live in one take. …”

Read more at Anticipaterecordings.com.

The results can be seen below in the form of low-res stills and video footage – high-res versions can be found at Flickr.

Related Resources…

• Color workshop by Joshua Davis
• Colorstripping.joshuadavis.com – Color Array Tool

Stills: TwistingBoxes sketch, 2007-04-03

Video: Screencapture of TwistingBoxes.

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* Update

Extended the TwistedBoxes sketch by the use of modified L-system algorithms. High-res stills are available in the Processing set at Flickr.com.

Stills: TwistingBoxesFractal sketch, 2007-04-05

“raster-noton . archiv für ton und nichtton” is meant to be a platform – a network covering the overlapping border areas of pop, art and science. Emerged from the fusion of the two labels Rastermusic and Noton (in 1999) they realize music projects, publications and installation works. common idea behind all releases is an experimental approach – an amalgamation of sound, art and design. Read more at raster-noton.net

Main idea was to create a virtual representation of raster-noton’s artistic output since 1999 which manifests itself in a multifaceted back catalogue consisting of more than 70 releases by now. The result is a generative visual form, that utilises simulated and behaviour-driven organic structures embedded in an interactive environment.

In addition to it’s visual part, the software was designed as an interface to interact with Cycling’s Max/Msp to provide several ways of creating generative (sound) compositions based on the contextual relations between individual releases and elements within the labels catalogue.

Sign and visual structure

Based on their structuring function the catalog’s “series” are representing central clusters within the form and are shaping the basic structure of the generative sign. Each released item / format is represented by an element within the basic shape, while contextual relations between individual releases are displayed through pre-defined ring-objects and resulting combinations.

Visual parameters of containing elements and ring forms are displaying specific qualities of unique releases (i.e. playtime, format: CD, vinyl, catalogues & books) as well as their relations to each other (same artist, same release year, same series, etc.).

Generative form

The dynamic form is based on a flock simulation containing all release items from the labels catalog – each of them presented by a unique element within the swarm. In random temporal intervals a single release is selected by the system itself and the relations to all remaining element are displayed through uniquely defined rings objects.

In combination with surrounding series elements the emerging rings forms are shaping the visual appearance of the generative sign whose underlying structure and content are continually changing with each newly released item.

Print-design mockup for presentation purpose

software – user interface

In addition to it’s formal structure, the sign can be defined as a floating map, which is abstract and concrete all at once. Graphic forms are replacing / representing real objects, which are organized within a dynamic mapping and can be perceived spatially and temporal through associative exploration.

software – software interface

Direct communication between Java application and Max/Msp is enabling participants (performers) to retrieve contextual relationships within the release catalogue as numeric data that can be used for controlling and triggering sound and visual generating software. These data / signals are receivable within simple network structures – creating a collaborative layer for multi-user performances.

Generative Composition

The acoustic layer is utilizing the same relationships between single catalog elements, which are now translated into sonic structures. The series clusters are shaping random, yet unique rhythmical patterns while relationships between released elements are triggering generative sound synthesis and manipulating sound attributes such as envelope, grain, frequency and stereophony.