Media Arts Watch Lab - www.arts-numeriques.info - laboratoire de veille Arts Numériques - twitter @arts_numeriques - @processing_org - @DigitalArt_be - by @jacquesurbanska @_Transcultures
Découvrez l'exposition "Mutations-Créations / Imprimer le monde" du 15 mars au 19 juin 2017 au Centre Pompidou à Paris
Les technologies numériques ont bouleversé la conception et la fabrication des objets, transformant la pratique des architectes, des designers, des artistes. Quel est le statut de l’auteur à l’ère de la production d’objets « non standards », à la fois uniques et produits industriellement ? Quel est le statut de cet objet « imprimé » en 3D, tout à la fois objet du quotidien, objet technologique, œuvre d’art, objet de design, prototype d’architecture ?
Comment expliquer sa généralisation à l’ère du numérique à tous les domaines de production ? Qualifiée de « technologie disruptive », l’impression 3D se diffuse depuis une quinzaine d’années à une large échelle à travers les plates-formes de logiciels « open source » et se développe dans l’industrie, de l’aéronautique aux biotechnologies.
Depuis les années 80, l’activité humaine poursuit sa métamorphose « digital » passant d’îlots automatisés à une numérisation globale de la société, toujours plus hybridée à notre travail, notre créativité et notre intimité. LES ARTS CODÉS est un lieu de recherche, de création et de production partagé par plusieurs partenaires qui investissent la conjugaison des savoir-faire traditionnels et de la programmation, vers un possible entre artisanat et micro-industrie numériques. Notre collaboration est riche à la fois d’exigences nouvelles par rapport au travail mais aussi d’expériences concrètes qui permettent de toucher du doigt des façons originales de produire, d’innover, de collaborer, de concevoir...
The OMA Ironic speaker is an open baffle type, cast from a special kind of iron, with no enclosure. The hypo eutectic gray iron (high graphite content) used in this speaker is employed in high technology applications such as photolithography machines for silicon chip production, where there can be no movement due to resonance or vibration. The complex form of the speaker derives from quadratic diffusers universally used in studio and broadcast applications.
The unique form of the Ironic is impossible to cast using traditional pattern making methods. The molds are 3D printed in sand, and every mold is consumed/destroyed in the casting process. Every single Ironic thus requires a new, 3D printed mold to be made.This is an extremely expensive process...
Jonathan Weiss, born in New York City, studied International Relations and Political Philosophy at Princeton University, and Public International Law at London School of Economics. After years of travel Weiss changed direction and became a filmmaker. He produced and directed a full length feature adaptation of J.G. Ballard's infamous non narrative novel, The Atrocity Exhibition into a similarly non narrative film. After discovering Oswald's Mill in Eastern Pennsylvania, a vast restoration project, he embarked on a new direction for audio with OMA.
Deep Matter is a 3D printer that is observed by a camera while printing an object. This printing is choreographed: by transforming the gcode, the printer moves up and down, pause and print. The image is analyzed by a neural network which describes what it sees. His misinterpretation is used to select the second object to be printed and so on. These errors and theses prints create a collection of surrealist objects. The printer produce the soundtrack of the installation.
Design and create seamless, ready-to-wear garments based on custom 3D geometries. All from your desktop. No sewing required.
Inspired by 3D printers, the maker movement, and accessible design, we set out to build a technology that enables people to design and manufacture clothes from scratch. And now, after a year and a half of development, we're ready to find our first set of alpha testers. Introducing, the Electroloom Developer Kit.
Additive Manufacturing of Optically Transparent Glass developed by the Mediated Matter Group at the MIT Media Lab in collaboration with the Glass Lab at MIT.
Ancient yet modern, enclosing yet invisible, glass was first created in Mesopotamia and Ancient Egypt 4,500 years ago. Precise recipes for its production - the chemistry and techniques - often remain closely guarded secrets. Glass can be molded, formed, blown, plated or sintered; its formal qualities are closely tied to techniques used for its formation.
From the discovery of core-forming process for bead-making in ancient Egypt, through the invention of the metal blow pipe during Roman times, to the modern industrial Pilkington process for making large-scale flat glass; each new breakthrough in glass technology occurred as a result of prolonged experimentation and ingenuity, and has given rise to a new universe of possibilities for uses of the material. ...
The Mark One 3D printer from MarkForgedprints in carbon fiber, Kevlar, fiberglass, and nylon formulations. With a build volume of 320 x 132 x 160 mm, it makes use of one nozzle to print a plastic material as another nozzle prints the fiber material.
The finished parts appear similar to traditional FFF printed parts but include strands of fiber running through them. Parts that include just one or two layers of carbon fiber or fiberglass are exceptionally rigid, and MarkForged Creative Director Jeff Klein says the specifications for the strength of those parts and materials has now been officially benchmarked. ...
Now, despite the high cost of creating thousands of 3D printed figurines, a French filmmaker has independently created a short film that uses over 2,500 3D printed parts that were printed using a Form 1+ 3D printer and used over 80 liters of liquid resin.
“When I first saw the Form 1 3D printer on Kickstarter, I knew that was what I needed to make a 3D printed film. I wanted to bring 3D printing technology to the art of stop-motion animation to create a new kind of film,” says Gilles-Alexandre. ...
Publisher Gestalten writes: 3D printers will soon be found in more and more workshops, offices, and homes. With them, we will be able to print out small pieces of furniture, prototypes, replacement parts, and even a new toothbrush on-site at any time. Consequently, new production methods and business models are developing--along with a new visual language of multidimensional formal explorations. Today, 3D objects and complex forms can already be printed out that were previously impossible to achieve with traditional methods.
Printing Things is an inspirational and understandable exploration of the creative potential of 3D printing. The book not only introduces outstanding projects, key experts, and the newest technologies, but it also delves into the complex topics that these paradigm-shifting technologies bring up, such as how to handle copyrights and seamless manufacturing. ...
La 6e édition de 3D Stereo MEDIA (Liège, 9-11 décembre 2014) est l’occasion de présenter la première conférence internationale sur le thème du 3D Food Printing, rencontre professionnelle organisée à l’initiative des équipes de Gembloux Agro-Bio Tech (Université de Liège).
Imprimer soi-même, où l’on veut, quand on veut, ses propres aliments n’est plus une utopie. Experts et visionnaires s’accordent pour prédire que l’alimentation et la gastronomie deviendront digitales et 3D, ce qui signifie que les recettes et les menus dans leur forme digitale pourront prendre concrètement forme grâce à des imprimantes 3D. Pour d’aucuns, les imprimantes alimentaires 3D sont les micro-ondes de demain !
By Andrew Wheeler Rania Sedhom Managing Partner of the firm Sedhom and Mayhew, PLLC (A Bespoke Law Firm) is an attorney who represents a number of clients in the fashion and jewelry industries who have a vested interest in 3D printing. According...
One of the most interesting applications of 3D printing is bioprinting.
BAB and TSIM were unveiled by Advanced Solutions on 1st August 2014.Advanced Solutions is a private biotechnology company in Louisville and has been pushing for breakthroughs in biotechnology since its establishment in 1987.
As the idea of 3D bioprinting became popular in the first decade of 21st century, Advanced Solutions gave the task of designing a bioprinter to Dr. Stuart Williams and his colleagues. The result of their efforts was BioAssemblyTool (BAT), a very advanced 3D bioprinter, released in 2007.
Printed human skin sounded like some kind of sci-fi fantasy when the idea first emerged a decade ago. Now, like so many futuristic ideas that have come to fruition, bioprinting is not only here but it's become cheaper, faster, and smaller. It may soon be ready for mainstream use.
PrintAlive is a compact bioprinter, about the size of a hardcover book, that can print synthetic skin much more quickly and affordably than any other competing device on the market. Designed by PhD students at the University of Toronto, it recently won the 2014 James Dyson Award. ...
The 3D Additivist Cookbook is a compendium of imaginative, provocative works from over 100 world-leading artists, activists and theorists. The 3D Additivist Cookbook contains 3D .obj and .stl files, critical texts, templates, recipes, (im)practical designs and methodologies for living in this most contradictory of times.
You are kindly invited to submit your suggestions for the International RethinkArtDigitalFestival, taking place in Rethymno Crete, 9-10-11&12 September 2016.Artists may submit artwork falling into the following categories:
Digital Installations
Videomapping
3D printing objects
Videoart up to 15΄
Digital illustrations
Digital photographies
Performing arts with digital features
Animation videos up to 15΄
Artwork with digital elements
All those who are interested must submit their application forms by Sunday, July 31, 2016.
Digital Grotesque is the first fully immersive, solid, human-scale, enclosed structure that is entirely 3D printed out of sand. This structure, measuring 16 square meters, is materialized with details at the threshold of human perception. Every aspect of this architecture is composed by custom-designed algorithms.
Architects: Michael Hansmeyer Benjamin Dillenburger
Partners and Sponsors: • Chair for CAAD, Prof. Hovestadt, ETH Zurich • Department of Architecture, ETH Zurich • voxeljet AG • FRAC Centre • Strobel Quarzsand GmbH • Pro Helvetia
When President Obama first mentioned 3D printing in his State of the Union speech in 2013, it served as a delayed but inevitable herald of the digital fabrication revolution:
"A once-shuttered warehouse is now a state-of-the art lab where new workers are mastering the 3D printing that has the potential to revolutionize the way we make almost everything. There’s no reason this can’t happen in other towns."
Led by the influx of 3D printers and desktop CNC routers, this “revolution” promises to diminish the barrier of manufacturing, to release workers from systems that once bound them by bringing manufacturing to our home, our workplace. In scaling down the size of components manufactured, proponents now claim “anybody can make”, a belief mirrored by their cousins in Silicon Valley. Both assert that the very act of creating will liberate those who buy products to now make and sell their own, which will in turn somehow dissolve existing class and racial differences...
A talk and Q&A session by Morehshin Allahyari and Daniel Rourke about The 3D Additivist Manifesto + The 3D Additivist Cookbook and the artist’s own research and practice in relationship to #Additivism, activism, and critical/poetic approaches to 3D printing.
#Additivism is a collaboration between artist and activist Morehshin Allahyari and writer/artist/academic Daniel Rourke. In March 2015 they released The 3D Additivist Manifesto: a call to push additive manufacturing technologies to their absolute limits and beyond, into the realm of the speculative, the provocative and the weird. They then issued a call for submissions for a radical ‘Cookbook‘ of blueprints, designs, 3D print templates, and essays on the topics raised by their Manifesto including text and projects on environmental ethics, objects in movements for social and political change, the renewed contemporary significance of the artist manifesto by the likes of the Accelerationist and Xenofeminist movements, and the potential of radical intervention in contemporary technocapitalism.
by Yizhong Zhang, Chunji Yin, Changxi Zheng and Kun Zhou Technical Paper at ACM SIGGRAPH 2015
Hydrographic printing is a well-known technique in industry for transferring color inks on a thin film to the surface of a manufactured 3D object. It enables high-quality coloring of object surfaces and works with a wide range of materials, but suffers from the inability to accurately register color texture to complex surface geometries. Thus, it is hardly usable by ordinary users with customized shapes and textures.
We present computational hydrographic printing, a new method that inherits the versatility of traditional hydrographic printing, while also enabling precise alignment of surface textures to possibly complex 3D surfaces. In particular, we propose the first computational model for simulating hydrographic printing pro- cess. This simulation enables us to compute a color image to feed into our hydrographic system for precise texture registration. We then build a physical hydrographic system upon off-the-shelf hardware, integrating virtual simulation, object calibration and controlled immersion. To overcome the difficulty of handling complex surfaces, we further extend our method to enable multiple immersions, each with a different object orientation, so the combined colors of individual immersions form a desired texture on the object surface. We validate the accuracy of our computational model through physical experiments, and demonstrate the efficacy and robustness of our system using a variety of objects with complex surface textures.
REIFY transforms sound into something we can see, sculpt and hold.
Using 3D digital technologies, we build collaborative tools for creating cross-sensory experiences of sound.
We are collective of visual artists, musicians, designers & technologists who are driven by a shared curiosity in the interplay of form and meaning — a digital synesthesia.
It took over a year of intense reflection and exploration for San Francisco-based new-media artist and art activist Morehshin Allahyariand London-based writer and artist Daniel Rourketo create The 3D Additivist Manifesto, a research project that combines art, engineering, science fiction and digital media aesthetics into a call to arms to soar beyond the current limits of 3D printing.
Here, the creative, "intelligent," and evolutionary technology—for which the possibilities are still being explored—is probed in a 10-minute video essay that takes viewers deep into an uncanny journey of 3D-rendered landscapes and surreal objects, set to a soundtrack by Andrea Young.
Ce projet animé par le net-artiste Bastien Didier propose une initiation libre à l'électronique. Il initie aux possibilités ludiques de la fabrication numérique (imprimante 3D, stylo 3D…).
Les participants utiliseront ces "nouveaux jouets" technologiques, et fabriqueront un objet d'"artisanat numérique" le temps d'une séance.
What if you could just print light on whatever you wanted? We’re watching 3D printing make progress in nearly every arena, so using it for creating one of the most basic needs we have on a daily basis seems only logical.
We’ve long been using creations of light based on inventions from historical geniuses and technological giants. Today though, as 3D printing advances, you will be headed in the direction of printing your own lighting with the help of US-based Rohinni and their new product, Lightpaper. ...
Copying a song, movie or image without the creator's permission is illegal in many instances, especially so if the infringement is intentional. But what if that piracy is done on a nanoscopic scale, so that infringed works are imperceptible to human senses? How does that affect the artists?
Skylar Tibbits, an architect, designer and computer scientist presented a new concept in February 2013: 4D printing. This emerging technology will allow us to print objects that then reshape themselves or self-assemble over time. Just imagine, a printed cube that folds before your eyes, or a printed pipe able to sense the need to expand or contract.
Can we create objects that assemble themselves -- that zip together like a strand of DNA or that have the ability for transformation embedded into them? These are the questions that Tibbits investigates in his Self-Assembly Lab at MIT, a cross-disciplinary research space where designers, scientists and engineers come together to find ways for disordered parts to become ordered structures.
Using the unique Objet Connex multi-material 3D printing technology from Stratasys Tibbits is able to program different materials properties into each of the various particles of the designed geometry. When using some materials with different water-absorbing properties he could just program them to activate the self-assembly process.
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