Seamless: the digital in design.
Museum of Architecture and Design,
Ljubljana, Slovenia.
19th September – 3rd November 2013.

Brezšivno: digitalno v oblikovanju.
Muzej za arhitekturo in oblikovanje,
Ljubljana, Slovenija.
19. september – 3. november 2013.

Participants/ Sodelujoči.
Louise Adkins
Kirsteen Aubrey
Mark Beecroft
Keith Brown
Fabrizio Cocchiarella (+ Emma Hayward)
David Crow
Vanessa Cuthbert
Joe Duffy
Michael Eden
Jon Hannan (+ Robert George)
Steve Hawley
Toby Heys (+ Robert Saucier & Oliver Blank)
Saoirse Higgins
Jonathan Hitchen
Nigel Hurlstone
Hilary Judd
Alice Kettle (+ Huw Wahl)
Amanda Langdown
Jane McKeating
Joe McCullagh
Monomatic (+ Nick Rothwell)
Sally Morfill
CJ O’Neill
Alex Russell
Ulysses Sengupta
Annie Shaw

Professor of Sculpture and Digital Technologies.
Professor Keith Brown is one of the foremost digital sculptors currently working in Europe. He has made regular representations at an international level as a contributor to, and organiser of, symposia and exhibitions in electronic and digital art. Recently exhibiting in China, Japan, Australia, New Zealand, India, Turkey, USA, South Africa, Senegal, France, Czech Republic, Poland, Germany, Austria and the UK, he has gained international acclaim as a pioneer and leader in his field. Recent venues have been as broad and diverse as the Royal Academy of Arts Summer Exhibition 2002,2003 & 2005 London, SIGGRAPH Art Gallery (San Diego, Los Angeles & Boston) 2003, 2004 & 2006 and 5th Beijing International Art Biennale 2012 . He has done much to encourage and support digital art at a national and international level with assistance from the Arts Council of England, Manchester City Council and MIRIAD.
A postgraduate student at the Royal College of Art 1972-75, for the past twenty-five years he has directed his research and practice from within the digital arena. His work embraces a wide range of digital media, including, 2D, 3D, 4D, time-based installation and video animation.

Magic carpet.
Integral imaging is in essence 3D printing on lens arrays that project accurate 3D computer generated models in true space on a ratio of one-to-one. The solid 3D image is physically/visually situated on either side of the picture plane. Participants may place their hands into the same space as the 3D objects in front of the lenses, placing themselves in an augmented reality where the real and the virtual are united. Magic carpet is composed of a large number of computer generated forms that pass through each other seamlessly in the cyber environment, where objects have no material surface resistance. As the viewer’s body enters this strange environment, where there is no material being, they actively engage with what appears to be physically impossible, giving rise to a new and unique experience. The complex symmetrical geometry emulates the design of Persian carpets and the colours are derived directly from an original. Brown’s experiments with the application of this technology for fine art has given rise to the possibility of making manifest, visible objects that otherwise could not exist. By investigating the topological potentialities of manipulating 3D geometry, in an area beyond the limits of materiality, and the plastic arts, facilitates completely new avenues for creative and imaginative exploration. By utilising the integral space above and below the lens sheet, the objects in the composition appear to float in a void hovering off the surface of the floor.

Scramble.
“Scramble” (a 2D image rendered from a 3D model), explores the extremities of the levels of opacity and lighting effects in what is a complex arrangement of computer generated objects that self-intersect seamlessly occupying the same space at the same time, has led to an encounter with unusual visual phenomena and the creation of new sensual experiences. Cast shadows have been deactivated to make visible what would otherwise be, in dark shaded areas, obscured from view. These qualities are dependent on the way in which the receptors (normals) on surface geometry are programmed, determining the properties for receiving and reflecting light; this is unique to the cyber environment. Shadows may be manipulated in a variety of ways, regardless of light intensity, and even completely omitted. When bitmaps are applied to the geometry of three-dimensional objects, surface material mapping may be configured with a wide range of versatile modifiers. The colour, and light intensity are adjustable along with degrees of opacity and many other optical properties. In many respects it is akin to modelling light itself.




Keith Brown

Profesor kiparstva in digitalnih tehnologij.
Profesor Keith Brown je eden osrednjih ustvarjalcev v digitalnem kiparstvu, ki trenutno delujejo v Evropi. Redno se udejstvuje kot udeleženec in organizator mednarodnih simpozijev ter razstav o elektronski in digitalni umetnosti. Razstavljal je že na Kitajskem, Japonskem, Novi Zelandiji, v Indiji, Turčiji, ZDA, Južni Afriki, Senegalu, Franciji, Nemčiji, Avstriji, na Poljskem, Češkem in v Veliki Britaniji. Kot pionir in eden vodilnih na svojem področju si je pridobil mednarodni sloves. Razstavljal je tudi na poletni razstavi Royal Academy of Arts v Londonu (2002, 2003 in 2005), v Umetnostni galeriji SIGGRAPH v San Diegu, Los Angelesu in Bostonu (2003, 2004 in 2006) ter na 5. pekinškem bienalu umetnosti leta 2012. S pomočjo organizacij, kot so Arts Council of England, Manchester City Council in MIRIAD, je veliko prispeval k spodbujanju in podpiranju digitalne umetnosti na nacionalni in mednarodni ravni. Med letoma 1972 in 1975 je bil študent podiplomskega študija na šoli Royal College of Art, v zadnjih petindvajsetih letih pa je svoje raziskave in prakso usmeril na digitalno prizorišče. Njegovo delo zajema širok spekter digitalnih medijev, vključno z 2D, 3D in 4D, montažo, časovne instalacije in videoanimacije.

Čudežna preproga od zgoraj in od spodaj.
Integralno upodabljanje je v bistvu tridimenzionalno tiskanje na nize leč, ki v resničnem prostoru v razmerju ena proti ena projicirajo natančne računalniško ustvarjene tridimenzionalne modele. Trdna 3D-slika je fizično in vizualno prisotna na obeh straneh slikovne površine. Obiskovalci razstave lahko sežejo z roko v isti prostor, v katerem so predmeti pred lečami. S tem se postavijo v svet razširjene realnosti, kjer se realno in virtualno združujeta. Čudežna preproga je sestavljena iz številnih računalniško dobljenih oblik, ki brezšivno prehajajo druga skozi drugo v kibernetičnem okolju, kjer imajo predmeti zanemarljivo površinsko upornost. Ko del gledalčevega telesa vstopi v to nenavadno okolje, kjer ne obstaja nobeno materialno bitje, gledalec aktivno sodeluje z nečim, za kar se zdi, da je fizično nemogoče – kar ga privede do edinstvene nove izkušnje. Kompleksna simetrična geometrija posnema obliko perzijske preproge in njene barve prihajajo neposredno iz izvirnika. Avtorjeve poskuse uporabe te tehnologije v likovni umetnosti bi lahko označili kot povod za nastanek vidnih objektov, ki sicer ne bi mogli obstajati. S preučevanjem topoloških potencialov manipulacij tridimenzionalne geometrije, ki je zunaj meja snovnosti in upodabljajoče umetnosti, se odpirajo povsem nove možnosti za kreativno in domiselno raziskovanje. Z uporabo celotnega prostora nad lečami in pod njimi se zdi, da razstavljeni predmeti lebdijo v praznini nekje nad tlemi.

Scramble.
V delu Scramble (dvodimenzionalna podoba, ki izhaja iz tridimenzionalnega modela) avtor raziskuje skrajne meje motnosti in svetlobnih učinkov s kompleksnim razvrščanjem računalniško ustvarjenih predmetov, ki brezšivno prehajajo drug v drugega, kar privede do soočenja s nenavadnimi vizualnimi pojavi in ustvarja nova čutna doživetja. Padajoče sence teh predmetov so bile izbrisane in to omogoča, da vidimo tisto, kar bi bilo sicer našim očem zakrito. Opisano je odvisno od načina, kako so programirani receptorji na površini geometrije, ki določajo sposobnost za sprejemanje oziroma odbijanje svetlobe; to je edinstvena lastnost kibernetičnega okolja. Sence lahko obdelujemo na različne načine, ne glede na jakost svetlobe, ali pa jih celo popolnoma izničimo. Ko uporabimo bitno mapo za geometrijo tridimenzionalnih predmetov, lahko nastavimo preslikavo površine materiala s široko paleto vsestranskih modifikatorjev. Barvo in jakost svetlobe lahko prilagajamo skupaj s stopnjo motnosti in številnimi drugimi optičnimi lastnostmi. V marsikaterem pogledu je ta proces podoben modeliranju same svetlobe.

j.k.brown@mmu.ac.uk
artdes.mmu.ac.uk