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Themesicon: navigation pathGenerative Toolsicon: navigation pathGenerative Art
sodaconstructor (soda)∞ (Nicolai, Carsten), 1997Fünf Räume, 2003

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rules. The soda group works in the same domain with its project sodaconstructor [21]. This involves the building of a graphical creature that moves back and forth with simulated independence. The joints of the structure can be moved with the mouse and it can be turned, pushed or distorted. Alternatively, it can be influenced by virtual gravitation, collisions or friction. The structure can be equipped with other mass constellations, even reconstructed, and can produce sounds. Carsten Nicolai used generative methodology in his installation bausatz noto (construction kit noto infinity), at the Galerie Eigen + Art in Leipzig in 1998. Four record turntables (Technics MKII) were placed next to one another, set within a table. On each of the turntables lay a record. On a total of 48 grooves loops were added which could be played over headphones or external loudspeakers in the gallery foyer. Because of the high variability of the playing, an infinite variety of versions could be generated by the individual elements. Carsten Nicolai supplied the material and the equipment; the public (as the DJ) produced the sounds. The results depended on chance and were not repeatable. With his Fünf Räume


project was developed in the course of a research scholarship at the Institute for Media Design. (five rooms) project (2003), Sven Bauer made the task of the serial composers visual_the freeing of form from the artist. He sees his artistic work as research. Bauer prepares his research results in an almost didactic way. Using an approach similar to that of the serial composers, he isolated five design parameters (colour, substance, position, inclination and abstraction) and subjected the form to the so-called attractor principle, borrowed from astronomy. In each of the five rooms, formative influence is assigned to the three attractors, which rotate around the three-dimensional form (the cube as initial form). The 15 attractors (three per room) are assigned continuously controllable degrees of freedom. They may therefore suddenly change their movement, and by so doing, partially shift the influence radius on the object, they may slow down or even come to a complete stop. By this means, Bauer succeeds in carrying out test arrangements for detailed settings as well as giving free rein to chance aspects and making possible the combination of both. The respective parameters are transferred to a two-dimensional graphic which then endlessly reflects the interaction

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