From the very beginning, since Archillect was made to find images by following a certain relational structure, I had to trust that Archillect would have a certain character in what she found and shared, which would create an almost personal profile. This is the reason I wanted to present Archillect as a person rather than a random bot. As people perceived Archillect as a character, a personality, they also contributed to the project through the ways they interacted with the project as a result of this perception. This was important to me.
Posts tagged aesthetics
For the last ten years you’ve been told that the LHC must see some new physics besides the Higgs because otherwise nature isn’t “natural” – a technical term invented to describe the degree of numerical coincidence of a theory. I’ve been laughed at when I explained that I don’t buy into naturalness because it’s a philosophical criterion, not a scientific one. But on that matter I got the last laugh: Nature, it turns out, doesn’t like to be told what’s presumably natural. Now that the diphoton bump is gone, we’ve entered what has become known as the “nightmare scenario” for the LHC: The Higgs and nothing else. Many particle physicists thought of this as the worst possible outcome. It has left them without guidance, lost in a thicket of rapidly multiplying models. Without some new physics, they have nothing to work with that they haven’t already had for 50 years, no new input that can tell them in which direction to look for the ultimate goal of unification and/or quantum gravity. That the LHC hasn’t seen evidence for new physics is to me a clear signal that we’ve been doing something wrong, that our experience from constructing the standard model is no longer a promising direction to continue. We’ve maneuvered ourselves into a dead end by relying on aesthetic guidance to decide which experiments are the most promising. I hope that this latest null result will send a clear message that you can’t trust the judgement of scientists whose future funding depends on their continued optimism. Things can only get better.
Vanderbilt’s premise is: “We are strangers to our tastes.” He doesn’t mean that we don’t really like what we say we like. He means that we don’t know why. Our intuition that tastes are intuitive, that they are just “our tastes,” and spring from our own personal genome, has been disproved repeatedly by psychologists and market researchers. But where tastes do come from is extremely difficult to pin down. Taste is not congenital: we don’t inherit it. And it’s not consistent. We come to like things we thought we hated (or actually did hate), and we are very poor predictors of what we are likely to like in the future.
an· i· so· tro· py : the property of being directionally dependent, as opposed to isotropy, which implies identical properties in all directions. Anisotropic Formations is a proto-architectural exploration of anisotropic aesthetics and structures through vector based 3d printing. Taking inspiration from 3d printed fashion, composite sail manufacturing and experimental application of 6-axis robotics, the project takes the anisotropic approach as both an aesthetic and a fabrication logic. Anisotropic geometry is vector-based and is directionally dependent. Combinations of these vectors result in rich surface and 3d qualities of varied densities, hierarchies and multi-directional layering. There was an imperative to pursue this design research in a post-digital platform, stepping out from the Euclidean flatness of the computer screen onto the non-Euclidean platform of the physical. Plastic extrusion provided direct access to vector geometry in physical space, enriching it with material agency. Flexibility of the scaffold allowed for multiple configurations and other possibilities. The project was realized through a series of iterations that subjected the design agenda to a series of different machining workspaces and digital-to-physical workflows. From Cartesian workspace of a conventional 3d printer to spherical workspace of multi-axis collaborative robotics and from vector based workflows of 3d modeling to motion based work flows of animation. Anisotropic Formations_SCI-Arc 13FA_Testa ESTm Vertical Studio Team: Salvador Cortez / Cheng Lu / Avra Tomara / Nikita Troufanov Instructor: Peter Testa Robot Lab Coordinator: Jake Newsum Anisotropic Formations Nikita Troufanov
“Beauty really is a delicate subject in Germany,” Mr. Kjartansson said one morning last week, as he adjusted a scale model of the stage at the Art Deco-era Volksbühne, one of Germany’s largest state-run theaters. “In the name of beauty, the most despicable and disgusting things happened in this city,” he added.
We should not be overly worried about somatic cell nuclear transfer as a Food Science edible technique. The abnormalities that can be expected might be delicious. Our worries stem from the fact that a large percentage of breeders may not have had the Art Historical schooling that most Academic students of Aesthetics might have had. Right now, the only type of ‘taste’ we can see embedded in cloned livestock is based on ramping up meat production and maybe designing and cloning industrial beings born with zero percent transfat. If we are spending millions of taxpayer dollars on making copies of sires whose profitability is based on 4-H tropes of beauty alone, then we are missing much of what contemporary art can lend to contemporary breeding of gastronomic novelty