Research through Design of Bendable Interactive Playing Cards

Ph.D

Computational expressionism : a study of drawing with computation

Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, February 1999.Includes bibliographical references (leaves 68-73).This thesis presents computational expressionism, an exploration of drawing using a computer that redefines the concepts of line and composition for the digital medium. It examines the artistic process involved in computational drawing, addressing the issues of skill, algorithmic style, authorship, re-appropriation, interactivity, dynamism, and the creative/evaluative process. The computational line augments the traditional concept of line making as a direct deposit or a scratching on a surface. Digital representation is based on computation; appearance is procedurally determined. The computational line embodies not only an algorithmic construction, but also dynamic and interactive behavior. A computer allows us to construct drawing instruments that take advantage of the dynamism, interactivity, behavioral elements and other features of a programming environment. Drawing becomes a two-fold process, at two distinct levels of interaction with the computer. The artist has to program the appearance and behavior of lines and subsequently draw with these lines by dragging a mouse or gesturing with some other input device. The compositions incorporate the beauty of computation with the creative impetus of the hand, whose apparent mistakes, hesitations and inspirations form a complex and critical component of visual expression.by Joanna Maria Berzowska.S.M

Twig Dances: Improvisation Performance as Ecological Practice

This is a digitised version of a thesis that was deposited in the University Library. If you are the author and you have a query about this item please contact PEARL Admin ([email protected])Merged with duplicate record (10026.1/892) on 03.01.2017 by CS (TIS)ecology by analyzing data collected from a series of experiments in improvisation. Conducted in a number of locations in Europe and Asia, these experiments examine the usefulness of improvisation performance practices to notions of “ecology” and common understandings of humans’ relationships to our environment. Using “ecology” to describe an investigation of interrelationship as well as a commitment to act with an awareness of one’s actions in the social, mental and natural spheres discussed by Felix Guattari (2000), I outline ways contemporary improvisation practices can facilitate this investigation. To do this I draw on my own experience as a dancer at the Performing Arts Research and Training Studios (PARTS) in Brussels from 2004-2006, and as codirector of the TWIG Project in China in 2006. Using the experiences of improvising, learning dance, seeing dance, performing dance, creating scores for dance, and teaching movement improvisation, I argue that ecological practice is defined by its ability to instill a sense of “response ability” and personal agency in its practitioners. As a way of observing and incorporating new knowledge, improvisation functions herein both as a research practice and as the object of study. By improvising and documenting my experiences using a phenomenological lens derived from Merleau-Ponty’s work, I reflect on how practices of awareness in dancing can constitute new ways of knowing. I discuss how improvising can assist awareness of the body’s relationship with the environment at a number of levels including sensory, spatial, temporal, conceptual, social and political. I also investigate the notion of paradox as a theme throughout the thesis and present its usefulness as a way of producing and reflecting upon a practice of bodily research. The term “twig dances” represents an expanded understanding of what I mean by “improvising”, and points to my use of improvisation as a research process. As an action taken “to understand or realize something”, a twig dance is any of a number movement practices which take as their focus an active investigation into relationships between people and the non-human world.Dartington College of ArtsThe Jack Kent Cooke Foundation; Vitamin Creative Space; Nanling Eco-Tourism, Ltd

Interactive authoring of bending and twisting motions of short plants using hand gestures

In this paper, we propose an approach to interactively author the bending and twisting motions of short plants using hand gestures, especially suitable for grass, flowers, and leaves. Our method is based on the observations that hand motions can represent the bending and twisting motions of short plants and using a hand to describe motions is natural and proficient for human. We therefore use a hand as a “puppet” to author the animation of one single short plant based on transferring the motions of a hand to the motions of a short plant. We first author the global motions of the short plant followed by the motions of its elements such as leaves and flowers. We also propose a framework to utilize the animation results to animate a field of short plants and further adjust the motion effects according to the properties of the short plants, such as rigidity. As a result, users can intuitively and rapidly author and generate their desired motions of short plants under the influence of external forces. Especially, our method is accessible to non‐expert users and suitable for fast prototyping and authoring specific motions of short plants such as in cartoons

Proceedings of the 9th Arab Society for Computer Aided Architectural Design (ASCAAD) international conference 2021 (ASCAAD 2021): architecture in the age of disruptive technologies: transformation and challenges.

The ASCAAD 2021 conference theme is Architecture in the age of disruptive technologies: transformation and challenges. The theme addresses the gradual shift in computational design from prototypical morphogenetic-centered associations in the architectural discourse. This imminent shift of focus is increasingly stirring a debate in the architectural community and is provoking a much needed critical questioning of the role of computation in architecture as a sole embodiment and enactment of technical dimensions, into one that rather deliberately pursues and embraces the humanities as an ultimate aspiration