Tagged: Data Visualisation

Mixed Signals 29092015

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This is clearly very similar to some of the work I’ve been doing this year, visualising online connections. It also highly contradicts what I wrote at the beginning of the term, but I couldn’t help myself. I’m looking into including Twitter’s open source APIs to integrate live feed information based on conflict. Its an ongoing struggle, especially as I get to terms with learning to code…..

However, these are stills from an interactive, Javascript model of the work. The next step will be to use the Leap Motion to interact with the programme. I’m looking to exhibit some prints in an exhibition this month. I’m thinking I may use the format from the first two, as there is almost a sense of conflict between the two sides. Ultimately though, I’d like to project it, and give the viewer some sort of interaction, whether its a mouse or a leap motion etc.. I still haven’t successfully integrated my figurative and architectural work with these systems, however I thought I’d display this version. Again, this isn’t I hoped, I want to move more towards meaningful displays of information, however this is proving harder than I thought… nonetheless I still feel a sense of progress from previous versions of the work.

16092015 – Back to School Shoeshine

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My research has focussed on two elements. Digital Beings….. and the Virtual Space they inhabit….. The way I have attempted to represent these ideas has been highly experimental, and the hearty balance of media I wished for at the beginning of the course has yet to reach fruition. The act of researching the alternative to a real being in physical space from the point of view of a physical person naturally promotes a level of balance between the two but practically, in some cases, I’ve found more comfort in digital process over physical. My desire to physically paint has hopelessly diminished over the past 6 months, and instead an interest in combining physical drawings with 3D animation and processing has evolved.

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A mixed media approach has always been my direction, however, their integration with one another is crucial. I feel my successes in the previous year have been in one medium, never the integration of many.  For both the mini workshop and the Interim show, I’ve produced physical canvases, one oils, one inks (and wool)… the concepts behind these works have differed, “Society of Spectacle” visualised the ‘meta-city’ and its disconnected inhabitants, constantly missing the spectacles in front of their eyes whilst focussing on endless handheld distractions. “Congregation” is a composition of red-blooded empty shells of people each captivated by their own individualised sermon being read to the them by their personal devices. These works have focused on information addiction, which maybe goes hand in hand when trying to decipher the definition of Digital Identity, but then again, each individual represents identity differently, and its definitely a horribly broad umbrella term. After spending most of first year looking at the definition of digital identity in a very singular way, towards the end, I began to realise my interest in the representation of religion. I’m not a religious person, but I’m fascinated by religious art. In my eyes, nothing more important could have happened to humanity than the invention of religion. The ethics, arts and evolutions that have come from it are unrivalled. There are of course some very nasty moments in history where religion can be blamed, but I’m looking at it positively. Many of the worlds treasures would not have been created without a belief in God, and in simpler times, the question of the Unknown may have been a much more frightening prospect.

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These thoughts about the online individual, his offline counterpart, how these individuals bunch up together to make communities and their eradication of traditions over facts, have then often been placed in images attempting to visualise the complexity of internet traffic?… The results have been aesthetically complex but conceptually very simplistic. I’ve spread my focus across a number of keen interests, and need to find more depth. Maybe thats the definition of quantitive over qualitative.  But do these ideas not all come hand in hand? If we are to look at the stained glass windows of church interiors, the likelihood is the vast glass areas display what appear to be very complex aesthetics, but the stories behind them are intentionally made to be accessible to the masses. Or in fact maybe its the importance of an ethical question made simple to connect with the masses. Either way, trying to present overly complex ideas only promotes exclusivity, which has been, in my mind, the worst aspect of the contemporary art world in the past century. Then again, overly inclusive themes and concepts can be deemed ‘pop’ and sellable in an increasingly financial art world. As with anything, either side of the spectrum is extreme. I read an interesting article by Guardian art critic Jonathan Jones on Ikeda’s ‘Supersymmetry’ and how he believes that although the work was an impressive spectacle, the perceived complexity of it only strengthened Jones’s belief that Ikeda had no idea what was going on in CERN. Particle physics is complex, and therefore Ikeda represented it with aesthetic complexity…. but unlike Ikeda’s work… the complexity of CERN’s research actually means something. This has brought me back to my own work, and visualising internet traffic… Obviously the internet is a busy place, but empty lines can’t represent its manic behaviour, whats its made up of? what times and when is it used? The lines must be textured with media, or better yet, represent actual data.

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My work with reactive sensors came to a halt over my sheer lack of experience in the area, yet had I successfully completed my aims with the project, I would not have considered the conceptual significance behind the ability to “turn on” a painting with your presence. At first. I felt the crucial aspect was to reflect the necessity for the individual to make an active choice to interact with their tech, and the internet. Now, its about why they want to. There was an interesting sets of stats released in the news about a week ago claiming that collectively people in the UK use their smartphones 1.1 billion times a day…. the average being around 40/50, and some extremists as high as 1000 times a day. What used to be an extension of communication has become an integral part to the way we think about everyday actions. But what are these interactions? Emails? News? Social Media? etc etc… Another approach is the Angler fish, and its use of light to attract its prey. This may be a route I take a little further. Going forward with the light – distance project, I’d love to create physical versions, however for the time being, and the recent success I’ve had with Leap Motion, I’m going to create it digitally. The narratives of these works will be an intersection of anatomy and architecture, fact over faith, the growth of global communications and the rise of narcissism in the online world.

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Digital Architecture – Another vague term I’ve been using… At the start this was to me the information that makes up the web, and the forms they create when moving. This is still the case, however, I want my work to be more accommodating for people, rather than just residing amongst floating bits of spaghetti….

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Its the beginning of 2nd Year, and quite worryingly, I’m beginning to think about my final piece. There a elements of it appearing in some of the work I’ve produced, but the equilibrium is yet to be established both in concept and process. I’m excited to get going, if only I could get into the building! Oh well… More self-obsessed dribble to follow.

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Supersymmetry @ Vinyl Factory, Brewer Street 26052015

Amazing exhibition that finished last week. I hadn’t heard of Ryoji Ikeda before, but his work is wholly inspiring, and since being to this, I’ve done some research, and I can’t believe I’d never heard of him… Error! The event really showcased exciting, futuristic work that seems to surpass as simply art. The first room was mesmerising. Shifting tables, moving with a strobe light show, forced small metallic, or clear ball bearings to roll around, like a handheld maze game. When the table stops, the balls create a new, original pattern.

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The second room was more problematic. Although a very impressive light show, co-ordinated through multiple i-macs and projectors, the work felt too repetitive and less scientific than it pretends to be. Ryoji has been working with CERN, whose Hadron Collider in fact started up again yesterday, and the installation aims to show the transition of the particle data from the first room to the next. In other words, the structures, patterns and other data from the ball bearings in the first room were translated into a data visualisation in the second.

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For me, the biggest impact of the visualisation was the sound. The sound really made you feel as if you standing in the Game room in TRON. Its co-ordination with the lights, and its movement in such a huge space, really created something special for the audience. It was definitely a spectacle for both eyes and ears.

Ikeda is furthering his artistic practice by working with scientists and his work certainly encompasses this idea of art in the age of techno-science. The installation felt like a showcase for things to come. Then again, his beacon of light, in London, to mark the centenary of the First World War was also a big display. This is certainly an artist on the hunt for large-scale exhibition opportunities. Overall I enjoyed the experience. I was particularly impressed with the ball bearings work, and although was amazed by the light show in the second, I feel, or at least I hope, there’s more applications for this sort of display / interface in the future.

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