ARTS AND SCIENCE
TOOLS AND SYSTEMS
University of Applied Sciences and Arts
Graphicdesign & Visual Research
After the extensive research of the project Segments of a Cell, the trained ai was applied to scientific facts of natural aspects of flora and fauna. Here, however, the focus was not only on the reproduction of elements, but much more on the ai-specific handling of the replication of elements. Natural growth patterns, structures and microorganisms were collected for this pur- pose and combined into one element each, and then abstracted and combined again and again. The result is a natural collection adjacent to the (un)-natural phenomenologies of our nature and environment and the effect of the uncanny valley of our own habitat and its morphologies.
The master project forms of the formless deals with the question in which form time as a process can be visualized in design. The philosophical work Philosophy of Duration by Henri Bergson and Gilles Deleuze was used as a basis for this. The reading was examined for philosophical as well as design approaches and divided into five temporal themes based on different views of time. The result of this investigation is a design interpretation of the temporal processes described in the work based on philosophical and design approaches. The aim is to find both a philosophical understanding of time and a design form-finding for temporal processes with the help of the theories of formless design. Aspects of the philosophy of time and the theories of formless design will be examined on a theoretical and practical level as well as with regard to their interaction. In addition to the theoretical discussion, in the practical approach different materials are analyzed considering their temporal mutability. This processual transformation is thereby also applied to the design approach, which can encompass several stages or a chain of creation. The five themes obtained in the examination of the work Philosophy of Duration present an artistic work composed of the components philosophy of time, design method and material.
The concept of time holds a vast complex of themes, a sheer outsize. Time is the central object of countless scientific and humanistic considerations, with which old and new masters of various disciplines - from Aristotle to Einstein - have grappled since antiquity. One of these disciplines is the philosophy of time, especially the considerations of Bergson and Deleuze. In this work it is not about an extension of time-philosophical approaches and insights, rather the creative interpretation of the same is in the foreground. Thus, no further question about philosophy of time shall be asked, but how it could look like in design. The core motivation behind this approach is to gain inspiration and new design approaches by interpreting the results of a particular niche of philosophy. Away from the current, digitally dominated, trends, the intention is to take abstract perspectives. How does philosophical content stimulate creative action in design? In what form can the philosophical understanding of time as a process be visualized in design? What happens when one plays with the temporal dimension? What happens apart from the solidity and stability of the things of space, which can gain and lose form?
Based on the theories of mutations and the formation of fossils or inclusions, the idea was developed to examine materials for their changeability over time. For this purpose, materials were selected that are amorphous or subject to the design methods. To create material as a shape imprint of its own structural composition, for example, requires the use of energy. Materials are placed in different states when heated. In the process, their natural struc- tural properties emerge and the deformation is equally captured as a form- less visual representation. For this purpose, materials are brought to borderli- ne points of external transformation in order to analyse when a material bends to the energy source. Furthermore, materials that can transform from liquid to solid or amorphous states are examined.
In Depicting Entropy, quantities from the signal processing of video and audio data were used for the real-time manipulation of a visual real input. Recorded in digitized sound energy (samples) as well as single video frames get a meaningful sequence via the temporal dimension first. These changes were taken from multimedia files or (streams) to manipulate a static image in real time. The entropy created by emitted sound energy or motion is thus taken from its proper origin and animates a static concept. Acoustic processes can alternatively be visualized via a spectrographic representation. Here, the temporal frequency change of a recording is represented.