FIBERBOTS is a digital fabrication platform fusing cooperative robotic manufacturing with abilities to generate highly sophisticated material architectures. The platform can enable design and digital fabrication of large-scale structures with high spatial resolution leveraging mobile fabrication nodes, or robotic “agents” designed to tune the material make-up of the structure being constructed on the fly as informed by their environment.https://www.media.mit.edu/projects/fiberbots/overview/
Some of nature’s most successful organisms collaborate in a swarm fashion. Nature’s builders leverage hierarchical structures in order to control and optimize multiple material properties. Spiders, for instance, spin protein fibers to weave silk webs with tunable local and global material properties, adjusting their material composition and fiber placement to create strong yet flexible structures optimized to capture prey. Other organisms, such as bees, ants and termites cooperate to rapidly build structures much larger than themselves.
Rapidly increasing demands to enhance speed and safety for on-site and site-specific construction drive the need to develop collaborative and autonomous systems. Such systems generally involve the use of retrofitted gantry and robot arm systems, which have size constraints and are computationally complex to use in collaboration with other machines. This paper describes an alternative multi-robot system built from the ground up to enable collaborative and site-specific construction. The strategy simplifies design workflows while simultaneously maintaining structural, environmental, and robot dynamic constraints. This system of ‘swarm fabricators’ enables robotic agents to operate in parallel, digitally fabricating independent tubular forms. Each robot controls its position allowing the system to effectively ‘grow’ a large-scale woven architecture. The robots fabricate by pulling fiber and resin from ground-based storage and winding a composite around their own bodies. Additional sections of a composite tube are appended upon each other, starting from a base. The system relies on an environmentally informed flocking-based strategy to design the structure and inform the robots’ trajectories.https://link.springer.com/chapter/10.1007/978–3-319–92294-2_22
British set designer Es Devlin has been chosen to create the UK Pavilion at the Dubai Expo 2020, with a performative structure that will use artificial intelligence to write poems.
Called the Poem Pavilion, the structure will be the first UK Pavilion created by a female designer. It will feature an illuminated “message to space” made up of numerous AI-generated poems, which the Expo’s anticipated 25 million visitors will be invited to contribute to.
The 20-metre-high, cone-shaped pavilion will be made up of rows of protruding slats that extend outwards from one central point to form a circular facade. Poems lit up in LEDs will scroll across the facade.
An artwork created by Paris-based art collective Obvious using artificial intelligence has been sold at Christie’s auction house in New York for nearly half a million dollars.
The AI painting, titled Portrait of Edmond de Belamy, sold for for $432,000 (£337,000) – more than 40 times the estimated selling price of $7,000 to $10,000.
Christie’s became the first auction house to put an artwork generated by an algorithm under the hammer, when the abstract portrait was sold by the company’s New York branch.
Frieder Nake belongs to the founding fathers of (digital) computer art. He produced his first works in 1963. He first exhibited his drawings at Galerie Wendelin Niedlich in Stuttgart in November 1965. His early work was influenced by Max Bense’s Information Aesthetics. Until 1969, he went through a succession of increasingly complex programs, from machine language to PL/I. His main work phases are identified by the collection of programs, compArt ER56 (1963–65), Walk-through-raster (1966), Matrix multiplication (1967/68), Generative aesthetics I (1968/69). He declared not to continue producing computer art in 1971 when he published the note, There should be no computer art in page, the Bulletin of the Computer Arts Society. His reasons were mainly of political origin: He did not see how he could actively contribute to computer art and, at the same time, be a political activist against capitalism. He resumed publishing on computer art in the mid 1980s with the break-down of the radical left. With the start in 1999 of project »compArt: a space for computer art«, Nake returned to his roots as a theoretician, writer, creator, and teacher in the domain of digital art and way beyond. He is head of »compArt: Center of Excellence Digital Art«.
Frieder Nake has been a full professor of computer science at the University of Bremen, Germany, since 1972. Since 2005, he has also been teaching at the University of the Arts, Bremen. His teaching and research activities are in computer graphics, digital media, computer art, design of interactive systems, computational semiotics, and general theory of computing. Nake was represented at all important international exhibitions on computer art. He has published in all the areas mentioned above, with a preference for computer generated images.
“The drawings were not very exciting. But the »principle« was!“ (Nake 2004/2005).http://dada.compart-bremen.de/item/agent/68
한겨레 신문 기사 ‘AI의 창작활동’, 예술의 위기인가 지평 확대인가
2018년 11월 25일 기사
인공지능이 미술품을 창작하는 환경에서 예술과 창작 활동의 의미는 어떻게 달라지게 될까? 인공지능이 예술품을 만든다는 것은 인간의 고유한 능력으로 여겨져온 창의성에 대한 도전인가, 아니면 사진기술처럼 예술 영역을 새롭게 확장하는 도구의 등장인가. 최근 인공지능이 인간 수준의 예술품을 만드는 상황이 벌어지면서 인공지능 환경에서 예술의 본질에 대한 질문이 움트고 있다.
Dennis is a music video with music from popcorn_10 produced by Always & Forever. It’s a generative 3D experience whose every movement responds to the song’s finest details. Each frame is created in real time with code—nothing is pre-rendered. An interactive camera allows you to explore the scenes, which are created procedurally every time you press play. You’ll never see the same video twice.
AsiaHaptics is a new type of international conference for the haptics fields, featuring interactive presentations with demos. AsiaHaptics welcomes all attendees related to or interested in haptic hardware, human haptic perception, and other haptic applications, from not only Asia but also all over the world. The third conference, AsiaHaptics 2018, will take place during Nov. 14 – 16, 2018 at CONVENSiA convention center, Songdo international business district, South Korea.
Computational creativity—a subdomain of artificial intelligence concerned with systems that replicate or assist human creative endeavors—has been the subject of academic inquiry for decades. Now, with recent improvements in machine learning techniques and the rising popularity of all things AI, computational creativity is a medium for critically and commercially successful works of art. From a 2016 Rembrandt to Jukedeck’s instant music (or muzak?), AI-assisted and AI-driven works are a reality. This raises mind-bending questions about the nature of creativity, the relationship between the artist and the viewer, even the existence of free will. For many lawyers, it also raises a more immediate question: who owns all of this art?
Cyberlaw Clinicians Jess Fjeld and Mason Kortz discuss copyright in AI-generated works, the need for a shared understanding of what is and isn’t up for grabs in a license, and how forward-thinking contracts can prevent AI developers and artists from having their rights decided by our (often notoriously backwards-looking) legal system.
By Jessica Fjeld and Mason Kortz
21 November 21, 2017