(...) · Motion Graphics

Thank You

Via dvdp

(...) · Digital Media · Motion Graphics

Via dvdp

Digital Media · Film/Video/New Media · Motion Graphics · Photographics · Technology

IR SCANS HUMANS and their Multi-Sky 3D Scan Demo

Infinite Realities® is the 3D scanning service provided by Lee Perry-Smith, the leading 3D modelling and Scanning specialist based in Suffolk, UK. In simple terms, according to them: “We can scan any human being and replicate them in three dimensions as data held in a computer. Our scanning process picks up every detail of their eyes, face, hair, skin colour, body shape and distinguishing features – everything that makes them who they are.”

A downloadable demo by Infinite-Realities put together in Unity features high resolution 3D scans of people in a virtual environment. Incredibly realistic, and can be viewed through an Occulus Rift headset. You really need a next-gen PC to run this demo.

Below are two videos which demonstrate the demo:

Combining 3D scans of real life models in ultra high detail with the Oculus Rift and the Razer Hydra for movement controls to make one of the most realistic and uncanny experiences in Virtual Reality.

Thanks to Yoni Goldstein.

Digital Media · Film/Video/New Media · Motion Graphics · Photographics

3-Sweep: Extracting Editable Objects from a Single Photo

Impressive demonstration of turning 2D objects in photographs into manipulable 3D objects, using a simple 3 point method at key areas. Via kesen.realtimerendering.com

(...) · Digital Media · Motion Graphics

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Via Reuben-Thomas

Architectonic · Art/Aesthetics · Bio · Digital Media · Film/Video/New Media · Motion Graphics · Performativity · Technology

Techné/Dance/Dechné/Tance: body+motion+computation

This is only a small selection of recent dance work and therefore is a omitting a long list of dance collectives, performance artist, and other experimental movers/thinkers who have contribute tremendously to the development of what you will see below. Thanks to all of them.

SERAPH(2010): Created by Robby Barnett, Molly Gawler, Renée Jaworski, and Itamar Kubovy in collaboration with the MIT Distributed Robotics Laboratory, directed by Prof. Daniela Rus and including current and former MIT PhD students William Selby, Brian Julian, Daniel Soltero, Andrew Marchese, and Carrick Detweiler (graduated, now assistant professor at University of Nebraska, Lincoln). Music: Schubert Trio no.2 in E Flat, Op.100. ll Andante con moto

Anarchy Dance Theatre (From the project description): The collaboration project between Anarchy Dance Theatre and Ultra Combos focused on building up a new viewer centered performance venue. In this space all movements including the dancers’ and audience’s can be detected and interact with each other through visual effect. The audience is not merely watching the show but actively participating in it. More HERE

Trinity (From the project description): a dance performance with high levels of real time interaction and close relationship between: dance, sound and visuals.

The interactive link is done through a videocamera installed above the stage and under infrared lighting. Besides positional tracking the project is focus in measuring movement qualities as: forces and directions, accelerations, stage position, velocity and body area.

The performance has been created and executed in live using the environment MAX/MSP/JITTER by Cycling74 and the computer vision library CV.JIT by Jean-Marc Pelletier. More HERE

Dance and Projection Mapping from Daito Manabe (http://www.daito.ws/#2)

Instrumental Bodies (From the project description): Researchers at the Input Devices and Music Interaction Lab at McGill University recently released a video documentary on the design and fabrication of “prosthetic digital instruments” for music and dance. These instruments are the culmination of a three-year long project in which the designers worked closely with dancers, musicians, composers and a choreographer. The goal of the project was to develop instruments that are visually striking, utilize advanced sensing technologies, and are rugged enough for extensive use in performance.

The complex, transparent shapes are lit from within, and include articulated spines, curved visors and ribcages. Unlike most computer music control interfaces, they function both as hand-held, manipulable controllers and as wearable, movement-tracking extensions to the body. Further, since the performers can smoothly attach and detach the objects, these new instruments deliberately blur the line between the performers’ bodies and the instrument being played. More HERE

Cadence I – IV (The artist’s description): The institution of the military is steeped in performative traditions, rituals and practices. Indeed the collective military body can be thought of as being characterised by a carefully calibrated choreography of movement.

Cadence (2013) is a series of four new-media artworks whose subject sits between war and performance. In these new video works, the figure of the Australian, US and Taliban soldier is placed within formal landscapes appropriated from pro-military cinema and military training simulators.

Rather than enacting standard military gestures or postures, the simulated soldier performs a slow and poetic dance. The usual politics of movement, discipline and posture of the military body are subverted, and instead rendered soft and expressive.

The seductive visual rhythm of cadence, camouflage and natural mimicry in these works gesture towards the dark mysticism of military history, where soldiers and psychedelics have often combined to disrupt landscapes and produce mystic escapes.

Technological backstage – Mr & Ms Dream a performance by Pietragalla Derouault Company & Dassault Systèmes: a behind-the-scenes process, showing how a dance piece that uses projection and real-time processing is put together.

Gideon Obarzaneks Digital Moves: Hailed by The Australian as the countrys best modern dance company, choreographer Gideon Obarzaneks Chunky Move dazzles audiences with its use of site-specific installations and interactive sound and light technologies. Obarzanek’s avant-garde performances explore the tensions between the rational world we live in and richness of our imagination.

Dance techne: Kinetic bodily logos and thinking in movement.

…and a beautiful composition by Ryoji Ikeda called Forest Of Memories. Taken from dumb type’s memorandum. A performance that brings their unique audiovisual architectonics to an investigation of memory.

Memorandum (Text via Epidemic): Combining elements of multimedia, dance and fragmented narrative, memorandum explores the hazy dimensions of recall that ground and disquietly erode our experience minute-by-minute.
The set is simple – almost an abstraction. A bare stage is bisected by an impenetrable but translucent wall, a screen onto which will be projected a barrage of images.
Amidst a cascade of white noise and REM-speed visual flashes, the performers break down the motions into displaced gestures in silhouette.
Penetrating deeper beneath the surface of moment, dancers drift in a slow sensual subconscious slidestep through the “forest of memory” haunted by voices and desires.

Unnoticed by waking reason, a lone witness/observer records evidence of the scene and is repeatedly eliminated.
Whereupon three figures cycle through three different accelerated subroutines of emotion, instinct and intellect, scarcely intersecting, each oblivious to the oblique “orbital” workings of the other.
Until finally, the dance emerges onto a primal oceanic frieze simultaneously flooded and exhausted of meanings.

Motion Graphics · Photographics

Uncured by BEN DEHAAN

Uncured by BEN DEHAAN

Motion Graphics · Science · Theory


The familiar trigonometric functions can be geometrically derived from a circle.

But what if, instead of the circle, we used a regular polygon?

In this animation, we see what the “polygonal sine” looks like for the square and the hexagon. The polygon is such that the inscribed circle has radius 1.

We’ll keep using the angle from the x-axis as the function’s input, instead of the distance along the shape’s boundary. (These are only the same value in the case of a unit circle!) This is why the square does not trace a straight diagonal line, as you might expect, but a segment of the tangent function. In other words, the speed of the dot around the polygon is not constant anymore, but the angle the dot makes changes at a constant rate.

Since these polygons are not perfectly symmetrical like the circle, the function will depend on the orientation of the polygon.

Via 1ucasvb.tumblr.com/

Digital Media · Motion Graphics · Sonic/Musical


Fullscreen it.

Daniel Sierra’s animation done at School of Visual Arts, class of 2013, Computer Art MFA.. Music download link: soundcloud.com/dee-san
Software used: Houdini (animation), Reason (music), Nuke (comp), After Effects (final render), Processing (pre-viz)
A full description of the piece along with some still frames can be found at: dbsierra.com

(...) · Motion Graphics


Thanks to dvdp

Design · Digital Media · Motion Graphics · Sonic/Musical · Technology · Videos

Cube with Magic Ribbons

Cube with Magic Ribbons is a computer visual and synthesised sound composition for live performance. The piece takes its title from a drawing of M.C.Escher which is rich with contradictory perspectives but it is also inspired by the wrapped spaces found in the two dimensional graphics of early computer games such as Asteroids and Pac-Man. It was created using a custom visual sequencer SoundCircuit, which rather than employing a conventional DAW layout, allows multiple virtual tape-heads to travel through a two-dimensional wrapped space along tracks that can be freely inter-connected. As the tape-heads travel through the resultant network, the topological layout of the tracks comes to directly influence the macro form of the music. Furthermore, as the piece unfolds the nature of this already confusing space reveals itself to be increasingly elastic and complex, yet inexorably intertwined with the musical form.

Motion Graphics · Net.label Release · Sonic/Musical · Videos

Captain Murphy’s DUALITY


Motion Graphics


Mathematica code:

R[n_] := (SeedRandom[n]; RandomReal[])
G[A_, s_, c_, T_, x_] := A*T*Exp[-(x – c)^2/s]

100 – n +
Sum[G[.05, 6, 100*R[n],
Sum[G[1, .01, k – R[2 n], 1, m/100 + t],
{k, -3, 3, 1}],
{n, 1, 100, 1}],
{x, -10, 110}],
PlotStyle -> Directive[Black], PlotRange -> {{-10, 110}, {0, 100.5}},
Filling -> Axis, FillingStyle -> White, Axes -> False, AspectRatio -> Full,
ImageSize -> {500, 700}],
{n, 0, 100, 1}]],
{t, 0, .95, .5}, AnimationRunning->False]

Via Intothecontinuum

Digital Media · Film/Video/New Media · Motion Graphics · Videos

Remember Carthage

0.32.46 PM

An essay film in the tradition of experimental documentarians like Chris Marker or Harun Farocki, Remember Carthage takes the viewer on an epic journey in search of an abandoned resort town deep in the Sahara desert. However, one travels not through archival or personal images but through footage sourced from PS3 video games and Second Life, depicting ancient civilizations that seem at once familiar and totally fantastical. Presented in conjunction with the exhibition “Museum as Hub: Walking Drifting Dragging,” which centers on artist expeditions, Remember Carthage is a first-person journey through a historical fantasia that highlights the fictionalizing and exoticization of culture within gaming and virtual worlds.

The voyage begins on the swaying deck of a ship in unnamed waters and proceeds through a myriad of different landscapes, from arid deserts to the gaudy interiors of what appear to be Persian palaces, to barrooms and bedrooms—each new scene unfolding in sync with the narrator’s melancholic remembrances. As in other works by Rafman, a feeling of alienation and loneliness structures the story, with the narrator searching for a connection and yet unable to grasp what is real or stable around him. In Remember Carthage, the filmmakers emphasize how digital media makes history seem both totally accessible through archival information and, at the same, completely foreign to us. Here, the narrator’s search for the abandoned town is rendered increasingly futile as he traverses a landscape where markers of time and place often appear to be unmoored, floating signs. And, as his journey continues, he becomes unable to distinguish authentic sites from simulated versions.

The repetitive and circular sequencing of the film, with recurring locations and characters, furthers the protagonist’s sense of dislocation and interpolates the logic of gameplay—continual death and resurrection—into his journey. It is unclear whether the narrator in Remember Carthage ever arrives; despite constantly moving, he is caught in a horizontal, virtual dreamworld where his goals become ever more distant.

Jon Rafman is an artist, filmmaker, and essayist whose work explores the impact of technology on consciousness. His films and artwork have gained international attention and have been exhibited at the New Museum, the Palais de Tokyo in Paris, and the Saatchi Gallery in London. Rafman’s work has been featured in Modern Painters, Frieze, the New York Times, and Harper’s.

Rosa Aiello is a writer and video artist. She has recently completed an MA at Oxford in literature and philosophy, and an artist’s residency at the Banff Centre for the Arts. Her writing and video practice deals with the limits of language, reason, and humanness. Aiello has been exhibited at the Museo d’arte contemporanea Roma and the Festival de Nouveau Cinéma in Montreal.

See REMEMBER CARTHAGE. Text via New Museum

Digital Media · Earthly/Geo/Astro · Motion Graphics

SKYFALL: Every meteorite (+ 1000 grams) fall on earth mapped

Every meteorite fall on earth mapped or at least those we know about. And where are the known meteorite landing places on earth? These impact zones show where scientists have found meteorites, or the impact craters of meteorites, some dating back as far as the year 2,300BC. The data is from the Meteorological Society and doesn’t show those places where meteorites may have fallen but not been discovered.

See interactive map HERE

Design · Digital Media · Film/Video/New Media · Motion Graphics · Sonic/Musical · Technology · Videos

Numbercult – Triangulation Music

Numbercult has created a series of visual music pieces that explore the use of Voronoi tessellation, and intersecting nodal networks using VVVV. The works are marked by a refined use of color, and a cross-wiring of sound and video resulting in narratives of pure geometric abstraction.

Motion Graphics · Science · Sonic/Musical

J.S. Bach’s “Crab Canon” Visualized on a Möbius Strip

A rudimentary animation and a mind blowing assertion.

By graphic artist Jos Leys

(...) · Digital Media · Motion Graphics · Videos

Post Christmas Spirit

Animated GIF above via gifwrapping.net/

Motion Graphics · Videos

Vector Fields by Taylor Holland

Animations of sports fields created with Adobe Illustrator and pirated screen-capture software. The speed of play is relative to the ability of my MacBook to process the effect in real time. Presented in two full counterclockwise rotations. — Taylor Holland. Vector Fields

(...) · Motion Graphics

ooo OOO ooo

Via dvdp

Festivals · Film/Video/New Media · Motion Graphics

The Creator

The Creator explores the legendary myth of the father of the computer age and maker of AI (Artificial Intelligence) machines, Alan Turing. Combining Lynchian nightmare with the prophetic themes of J.G. Ballard, The Creator takes you into the surreal dream world of the visionary scientist, where his binary children embark upon a mystical quest to discover their origins and destiny in the universe. This unique new film commission premieres on the occasion of the centenary of Turing’s birth. Contains scenes of a sexual nature and optical effects.

Written and directed by Al & Al

Showing as part of Abandon Normal Devices Festival Preview, Abandon Normal Devices (AND) Festival 2012

Text and Image via Cornerhouse

Film/Video/New Media · Motion Graphics

Cloudy by Friends With You

Cloudy is the newest short by artists Samuel Borkson and Arturo Sandoval III of Friends With You. More info via Friends With You

Animalia · Digital Media · Film/Video/New Media · Motion Graphics · Sonic/Musical · Videos

Olympic Vermin

A short film by Amael Isnard and Leo Bridle.

Sound Design and Music by Aaron Lampert

Made at Beakus

Digital Media · Motion Graphics · Technology · Videos

Female Orgasm in Brodmann Brain Regions

The human brain can be separated into regions based on structure and function – vision, audition, body sensation, etc, known as Brodmann’s area map.

This animation shows the functional magnetic resonance imaging, fMRI, brain data of a participant experiencing an orgasm and the corresponding relationships seen within these different regions based on utilization of oxygen levels in the blood. 20 snapshots in time of the fMRI data are taken from a 7 minute sequence. Over the course of the 7 minutes the participant approaches orgasm, reaches orgasm and then enters a quiet period.

Oxygen utilization levels are displayed on a spectrum from dark red (lowest activity) to yellow/white (highest). As can be observed, an orgasm leads to almost the entire brain illuminating yellow, indicating that most brain systems become active at orgasm.

Text and Image by The Visual MD

Via The Guardian

Design · Digital Media · Film/Video/New Media · Motion Graphics · Paint/Illust./Mix-Media


novastructura is maintained by Giuseppe Randazzo, a designer from Turin (Italy).

According to him: “This site wants to be an open and evolving place where to share my works and experiments as well interests on several topics, ranging from generative art, new-media art and contemporary art, to architecture, coding, science, tech, and so on. The meaning and the reason of novastructura may be seen as the need to explore the blurred boundary between art and science. The site for this purpose is divided in two parts, the personal works database (generative related) and a blog where I will try to collect – through my personal point of view – the most meaningful suggestions coming from the net about the above topics.”

Film/Video/New Media · Motion Graphics · Videos

Hypno SF: Kalle Mattson – Water Falls

Music by Kalle Mattson / http://www.kallemattson.com
Directed by Kevin Parry / http://www.kevinbparry.com
Filmed by Andrea Nesbitt / http://www.candyglassproductions.com

Digital Media · Motion Graphics

rrrrrrrroll gifs

New Favorite Minimal Animated Gifs: http://rrrrrrrroll.tumblr.com/

Blog-Sites · Digital Media · Film/Video/New Media · Motion Graphics · Sonic/Musical · Technology

Gitching video files in Audacity

Quart Avant Poing has put together a tutorial to process videos with glitch effects by using the freeware sound program Audacity. Using videos from different file formats produce various results. Try it HERE

Film/Video/New Media · Motion Graphics


Bendito Machine is an animation show which reflects on the innocence of a small, naive and clumsy species that cannot live without their machines, and which is guided by small, enlightened greedy bastards, who believe they have the answers to everything. In fact, this project would not be possible without the brainlessness of this greedy 1%. Let’s be thankful to them. The show covers many topics and contains situations recognizable in every corner of the world, displayed in a primitive way without dialogs. The ebb and flow of this clumsy species, which lives adrift in a vast and mysterious universe, might look pretty familiar to you.

See More Episodes HERE

Digital Media · Film/Video/New Media · Motion Graphics · Sonic/Musical · Videos

2 Video Beauties

Dir: Koichiro Tsujikawa
Sound: Cornelius

Dir: Benjamin Ducroz
Sound : Singlesignal