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Circles

Modify the circles to create your own pattern

Jessica Dong

https://youtu.be/piWDTs8MOgA

Description

With symmetric structure, anyone can use the simplest geometrical shapes to build aesthetic patterns. You can change the size and color to see which colors fit each other best and the animation makes the process more interesting.

IMA/IMB Shanghai
INTM-SHU.135.1
Creative Coding Lab
Art
Posted on

Hacking The Vinyl Cutter

Four projects created with the Cameo 4 vinyl cutter on everything but vinyl.

Aidan Fowler

https://vimeo.com/419435385

Description

When school went remote, ITP sent the subtraction students a Cameo 4 vinyl cutter. It was a godsend. I have been using it almost daily. In the past five weeks I have created a lamp with dichroic platonic solid filters and lenticular lens shades which presents the live colors from a times square webcam. Additionally, I vinyl cut lenticular platonic solids and project color onto them from LED matrices. I also built a tool to generate vector halftone images and cut portraits out of dichroic film. Lastly, I generated spirals with Perlin noise, overlaid them to see the moire effect and plotted them using the Cameo pen attachment.

IMA/ITP New York
ITPG-GT.2273.001, ITPG-GT.2133.001, ITPG-GT.2719.001
The World, Pixel By Pixel, Light and Interactivity, Subtraction
Art,Product Design
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What is a computer?

CPU's anatomy.

Liyu Chen

https://youtu.be/VNbDj7aVyW8

Description

In this project, I plan to make the working theories of how computers work more accessible to audiences without prior background. I designed and implemented a 4-bit Arithmetic and Logic Unit from scratch using 74-series Integrated Circuits. The circuit is controlled by a microprocessor hosting a website on the Local Area Network. After logging into the website, the user would follow the “machine code-like” instruction prompted, input the designated values, select the mode of computation, then submit the form. The circuit would show the inputs in binary form, then calculate, show the output in binary form as well. By following the instruction and seeing the binary results being returned, the user can understand better how a computer functions from a more “down-to-earth” perspective.

IMA/IMB Shanghai
INTM-SHU.130.1
Working with electrons
Education,Art
Posted on

Music Wheel

A rotating electronic music box.

Haorui Li, Liyang Zhu

https://youtu.be/wtYCK3cwIN0

Description

It is common for music boxes to be powered by spiral springs while the plectrums make the sound. However, we are thinking of the possibility of combining the idea of the music box with the electromagnetics we learned in our course – Working with Electrons. Our project is basically an electronic music box that rotates like a sky wheel. As a result, we named it “Music Wheel”.

This project requires a comprehensive understanding of the motors (especially the stepper motors which we are using in this project), NE555 timer, operations on Arduino, PCB design, and also basic circuit operations. To make a speaker produce sounds, one of the ways is to use a NE555 oscillating circuit. In order to make multiple frequencies of sounds, we decide to attach the resistances with different values to the different axles of the wheel. When the wheel rotates, we can switch the resistance connected to the NE555 IC and produce a different sound.

However, the trickiest part of our project, is the stepper motor. Basically, a stepper motor is a kind of motor that can rotate certain steps in response to the electric signal given to it. The advantage of this kind of motor is that it produces almost no noise (compared to brush motor). And to produce such a set of electric signals, we need to use Arduino and ULN2003 IC to make it work – a challenging work.

Lastly, as an art piece, it also takes us a lot of time working on the delicate design of the wooden structure of our wheel. We have looked through some of the world’s most famous sky wheels and learn from their grant but well-organized design.

Student information: Tom Zhu (tomzhu@nyu.edu), Harry Lee (harrylee@nyu.edu)

IMA/IMB Shanghai
INTM-SHU.130.1
Working with electrons
Art,Music
Posted on

Visual Emotions: A Multi-sensory Documentary Photography Series

It is an audiovisual installation that creates a sonic viewing experience for digital photography.

Zeping Fei

https://www.youtube.com/watch?v=Jp_sksC-dq8

Description

Visual Emotions: A Multi-sensory Documentary Photography Series is an audiovisual installation that creates a sonic viewing experience for digital photography. Photographic contents were shot on one of the oldest and most vibrant morning markets in Harbin and audio contents were recorded separately during each shooting process. Field recordings are analyzed as audio spectra in Touchdesigner that affect positions, colors, brightness, and sizes of pixels in rendered photos. In my photography world, each shutter press is triggered by an emotional resonance between the self and the environment, and the use of audio data translates these personal emotions that arise from each situation and are unique to each photograph. By engaging both visual and auditory sensations from the audience, this project proposes an alternative to displaying and viewing photographic works and. This work aims for arousal in people’s photography viewing experience and opens up more space for imagination and interpretation of visual and audio information. It intends to reflect on how economic instability caused by COVID-19 is gradually affecting common people’s living conditions. This series translates the artist’s emotional resonance with the pandemic, speaks for the calmness within ordinary as well as the longing for hope within helplessness during the toughest time in human history.

IMA/IMB Shanghai
INTM-SHU.401.2
Capstone Studio (Shanghai)
Sound,Art
Posted on

Our Time Compared and Visualized: Optimistically Looking Forward

A series of clay dioramas that show human life in three different time periods: the industrial revolution, the modern day and in a post-labor utopian future.

Patricia Wier

https://www.youtube.com/watch?v=KJJ9XcH_3So

Description

The chief purpose of my project is to present my idea of a utopian future in which robots do all work. It explores what could drive humans without work. Also, it explores what humans do with their time in three different time periods: the industrial revolution, the modern-day, and in this utopian future. The time periods are presented to help the audience better understand the stark differences between them and the potential for the future. Many dramatic things were happening in regards to labor during the industrial revolution, including machines replacing humans to some degree. My utopian idea is addressing the common perception that machinery taking over jobs is a bad thing and it challenges pessimistic views of the future.

I chose the diorama form because these kinds of ideas are, in my experience, usually presented in written form. Presenting this project in diorama form speaks to an audience in a different way. A diorama is a more concrete, immersive, and clear presentation of my idea. Although similar ideas to mine exist, my idea is in a new form and puts certain issues such as humans’ new purpose at the forefront. The diorama form was cemented in museums soon after the industrial revolution so that adds to my longing to include that time period. I would like people to have a more optimistic view of the future and understand several ways in which machines can continue to improve our lives.

IMA/IMB Shanghai
INTM-SHU.401.2
Capstone Studio (Shanghai)
Art
Posted on

in:verse

What is a programming language, and what can it be? What does a programming language that is not imbued with values of efficiency, utility and terseness look like? Can a poem be a program? Can code be as compelling as the artifact it attempts to create? in:verse is an experiment and exploration to answer these questions.

Sukanya Aneja

https://vimeo.com/416123586/83eff36cad

Description

Programming languages are associated with utility and efficiency, but for decades, programmers have been exploring the bounds and definitions of programming languages through the creation of impractical, whimsical and absurd languages — designed not for their utility value, but rather the experience they propose. Much like the constraints and rules that writers and poets use to fuel creativity, these “esoteric” languages present constraints that create space for different kinds of thinking, and posit new ways of examining the communication between humans and machines.

Inspired by this rich history, in:verse is a programming language and development environment with embedded values that stand in opposition to the languages we are accustomed to; where poetry is code, random chance is valued more than precision, and telling a story is valued more than succinct, terse code. It is an experiment in engaging a broader audience in the speculations of what a programming language can be.

in:verse allows writers to create visuals with words, to mold the language to their liking, and to effortlessly explore unusual variations to their programs — with the assurance that their programs will never crash. It presents a writer with a puzzle in three parts — writing a shader, which requires a different mode of thinking than most computational drawing tools; using a stack-based programming paradigm, that is rarely seen in mainstream programming languages; and telling a story or writing poetry within these constraints.

in:verse encourages writers to build worlds in their minds as they write programs; to indulge in the practice of constraint-based writing; to explore new modes of collaboration; to forgo the need for speed and efficiency; and to embrace uncertainty and a lack of control.

https://inverse.website/

IMA/ITP New York
ITPG-GT.2099.00003
Thesis Part 2: Production
Art,Tool\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\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Posted on

DisneylandToyFactory.com

DisneylandToyFactory.com is a two-part critical art project made up of a satirical website and an ongoing 3D printing experiment. Through a repeated, cyclical process of 3D scanning and printing the same figurine of Mickey Mouse from a renowned Disney-branded Mold-A-Rama machine new, more compelling, figures are produced ,which are then advertised with satiric consumerist language on the accompanying website.

Stefan Skripak

https://www.youtube.com/watch?v=XWG7xMykIsE&feature=youtu.be

Description

The 1960s and 70’s in the United States were the peak of popularity for a rare type of Disney vending machine called the Disneyland Toy Factory, which produced injection-molded Disney figurines on-demand at theme parks and zoos. DisneylandToyFactory.com is a satirical project in the lineage of these machines that instead allows the unpredictability of digital fabrication technology to reveal what Claudia Hart refers to as “expressiveness through imperfection”. The first part of this project is the objects themselves called “Mold-A-Rama Mickey”, a series of 3D printed replicas of an actual Toy Factory figure manipulated by a unique process of iterative 3D printing and scanning that produces sequential Mickey figures, in a way such that each is more deformed than the last. This morphing as a result of a theoretically lossless process reveals a more interesting, meaningful form as mediated by the idiosyncrasies of that process itself. The second component of DisneylandToyFactory.com is a website, serving as the contemporary replacement for the physical vending machine. The main page offers simplified and vague exaltations of “Mold-A-Rama Mickey”, claiming that, “thanks to the advancements of 3D printing” these collectibles can be printed on-demand and uniquely for every customer. The reality, however, is that each Mickey sold is actually just the latest iteration of the transformed figures from the cyclical 3D printing process. By framing this subversive concept in consumerist terms, it both offers a light jab at the emptiness of consumption as well as provides a stealthy way of bringing the resistance of this new more expressive object to more people. Finally, the artistic merit of the imperfections is further emphasized through the creation of high-quality resin versions of a selection of the figures, all glitches, and striations intact.

IMA/ITP New York
ITPG-GT.2102.00001
Thesis
Culture,Art
Posted on

W E N I V E R S E

Interdimensional immersive space for people to connect

Alizarin Waissberg

https://youtu.be/0J93DmqCFkY

Description

Originally envisioned as an onsite video sculpture concept

for galleries, festivals and nightlife venues, reimagined as a virtual visionary video chat interface, encouraging human connection.

IMA/ITP New York
ITPG-GT.2102.00002
Thesis
Art,VR/AR
Posted on

What does Apple mean to a bat?

An ontological fantasy that surveys humans from non-human perspectives.An examination of the inter-relation between human’s phenomenal worlding and vision-based perceptual experience, which has been modernized through spectacle and media.

Wenjing Liu

https://vimeo.com/user104639372/review/418945144/56edf75ccb

Description

A look at looking (through not looking) is an artistic research project that consists of three experiments that defamiliarize users’ predominant way of perceiving familiar contexts with other animals’ perceptual mechanisms.

Episode I. How does a dog understand a map?

A physical map of the ITP floor made from smells. Users sniff around the map to feel the spatial relation.

Episode II. How does a digital interface feel to a mole?

An AR application in which users are invited to experience the haptic texture of a digitally rendered blanket from artist’ childhood.

Episode III. What does /Apple Logo.jpg/ mean to a bat?

A VR experience in which users are embodied as a bat wandering in Time Square, trying to understand humans through echolocating.

IMA/ITP New York
ITPG-GT.2099.00002
Thesis Part 2: Production
VR\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\AR,Art