Grid distortion
Code & Form: Computational Aesthetics
Exhibition: ElectroPlastiques
via ___ lowstandart > /reBlog
Monday, March 24, 2008
Exhibition: ElectroPlastiques
Grid distortion
Code & Form: Computational Aesthetics
Exhibition: ElectroPlastiques
via ___ lowstandart > /reBlog
Thursday, March 20, 2008
Building Blocks
by Christopher Wayne
Artist's Comments
Experimental display type created in Illustrator.
The intention was to make a typeface with only the most crucial elements of each letter represented, all while fitting each into a uniform size to allow no-brainer kerning, and uniform line lengths. Some embellishments, like curved corners, were added to make it feel a little more friendly.
Spaces should not be used. This is not really made to convey information clearly so the user should be willing to let go and let the message make it to the reader if they are willing to take the time to decipher.
The set on the right side is an attempt to get a more even colour in the large sets of type.
Other notes:
- The 'I' is set so that, if needed aesthetically, it can be flipped to make it more bottom heavy or to match with the counters of surrounding letters; e.g "C-I-S"
- The 'X' is problematic and I am trying to find a more elegant solution for it.
-No punctuation or numbers are planned, but I may add them once I get a few weights made
-Please ask before using in any work. I will be more than happy to allow you to use it if you email me for permission and give credit.
via NOTCOT.org
Eco-Speakers
These earth-friendly speakers are made from recycled materials and not only sound great, but help save the environment too. Each speaker folds flat for convenient storage and portability. Universally compatible; no batteries required.
via FASHIONATION
-
Boxes are usually portable and eco-friendly!!!!
"Crate Stacker"
"New Video Game Designed To Have No Influence On Kids' Behavior"
The Onion, Dez.05
Electronic-entertainment giant Take-Two Interactive, parent company of Grand Theft Auto series creator Rockstar Games, released Stacker Tuesday, a first-person vertical-crate-arranger guaranteed not to influence young people's behavior in any way. "With Stacker, the player interacts with an environment full of boxes—lightweight, uniformly brown boxes with rounded corners—and uses diligence and repetitive hard work to complete his mission," said Doug Benzies, Stacker's chief developer. "We're confident that the new 'reluctantly interactive' content engine we designed will prevent any excitement or emotional involvement, inappropriate or otherwise, on the part of the player." ...
via Aram Bartholl - Blog
James Turrell
James Turrell definitely is one of the masters of boxes and other 3D spaces. His approach to space and its composition also reminds me of Cy Twombly's paintings, but in most simplified and minimalistic way. It is a strange connection but somehow they work well together for me.
Here are some pics of his work:
The Light Inside, 1999
Ondoe Blue, 1967
Skyspace
Catso, Red (1967), 1994
The Inner Way, 2001
Here are some pics of his work:
The Light Inside, 1999
Ondoe Blue, 1967
Skyspace
Catso, Red (1967), 1994
The Inner Way, 2001
Saturday, March 15, 2008
Galleries with Boxes and Cubes (according to google)
Cube Gallery By Christian Richters
The order in which these galleries are listed is not relevant. Also, these are obviously not ALL the galleries with boxes and cubes, I assume, because my google search is very basic (just first two pages of the search result) and I'm not that patient..
Boxes:
White Box NY
http://www.whiteboxny.org/
Online Gallery Box
http://www.gallerybox.com/
Parker's Box Gallery
http://www.parkersbox.com/
Box Portrait Gallery
http://www.boxgallery.net/
Box Gallery
http://www.boxgallerysf.com/
The Box - Gallery
http://www.boxboxbox.com/
Box Heart Expressions Art Gallery
http://www.boxheart.org/
Alabaster Box Art Gallery
http://alabasterboxartgallery.com/
Cubes:
Cube Gallery (Ottawa)
http://www.cubegallery.ca/
Cube Gallery (Bristol)
Cubegallery.com
http://www.cubegallery.com/
The CUBE
http://www.cube.org.uk/
White Cube
http://www.whitecube.com/
Evisu Cube Gallery (blog/project)
http://www.evisu.com/blog/tag/cubegallery
-
In my opinion, Boxes' simplicity and abstract minimalism bring out the maximum contrast and attention that is beneficial to the exhibited art works. A box functions as a blank, white canvas. Its functionality is also related to the contrast and relationship between the "non"-colors: black and white. They are also clean and sleek. They look nice.
However, I am kind of getting sick of this trend in contemporary art. Do not get me wrong, I LOVE boxes and minimalism. But most "prestigious" or/and common contemporary art is incorporating this kind of aesthetics some way or another, and I don't like it when things are getting overused. I love the beginning of a trend, but never towards the end.
I'm glad boxes and art happened because it does make sense and has worked out quite well. But I guess I'm looking for something else, now.
...I always do this thing where I complain about something but never give a solution. Perhaps a possibility for a new exploration.
Tuesday, March 11, 2008
The Monument by Elizabeth Bishop
Now can you see the monument? It is of wood
built somewhat like a box. No. Built
like several boxes in descending sizes
one above the other.
Each is turned half-way round so that
its corners point toward the sides
of the one below and the angles alternate.
Then on the topmost cube is set
a sort of fleur-de-lys of weathered wood,
long petals of board, pierced with odd holes,
four-sided, stiff, ecclesiastical.
From it four thin, warped poles spring out,
(slanted like fishing-poles or flag-poles)
and from them jig-saw work hangs down,
four lines of vaguely whittled ornament
over the edges of the boxes
to the ground.
The monument is one-third set against
a sea; two-thirds against a sky.
The view is geared
(that is, the view's perspective)
so low there is no "far away,"
and we are far away within the view.
A sea of narrow, horizontal boards
lies out behind our lonely monument,
its long grains alternating right and left
like floor-boards--spotted, swarming-still,
and motionless. A sky runs parallel,
and it is palings, coarser than the sea's:
splintery sunlight and long-fibred clouds.
"Why does the strange sea make no sound?
Is it because we're far away?
Where are we? Are we in Asia Minor,
or in Mongolia?"
An ancient promontory,
an ancient principality whose artist-prince
might have wanted to build a monument
to mark a tomb or boundary, or make
a melancholy or romantic scene of it...
"But that queer sea looks made of wood,
half-shining, like a driftwood, sea.
And the sky looks wooden, grained with cloud.
It's like a stage-set; it is all so flat!
Those clouds are full of glistening splinters!
What is that?"
It is the monument.
"It's piled-up boxes,
outlined with shoddy fret-work, half-fallen off,
cracked and unpainted. It looks old."
--The strong sunlight, the wind from the sea,
all the conditions of its existence,
may have flaked off the paint, if ever it was painted,
and made it homelier than it was.
"Why did you bring me here to see it?
A temple of crates in cramped and crated scenery,
what can it prove?
I am tired of breathing this eroded air,
this dryness in which the monument is cracking."
It is an artifact
of wood. Wood holds together better
than sea or cloud or and could by itself,
much better than real sea or sand or cloud.
It chose that way to grow and not to move.
The monument's an object, yet those decorations,
carelessly nailed, looking like nothing at all,
give it away as having life, and wishing;
wanting to be a monument, to cherish something.
The crudest scroll-work says "commemorate,"
while once each day the light goes around it
like a prowling animal,
or the rain falls on it, or the wind blows into it.
It may be solid, may be hollow.
The bones of the artist-prince may be inside
or far away on even drier soil.
But roughly but adequately it can shelter
what is within (which after all
cannot have been intended to be seen).
It is the beginning of a painting,
a piece of sculpture, or poem, or monument,
and all of wood. Watch it closely.
built somewhat like a box. No. Built
like several boxes in descending sizes
one above the other.
Each is turned half-way round so that
its corners point toward the sides
of the one below and the angles alternate.
Then on the topmost cube is set
a sort of fleur-de-lys of weathered wood,
long petals of board, pierced with odd holes,
four-sided, stiff, ecclesiastical.
From it four thin, warped poles spring out,
(slanted like fishing-poles or flag-poles)
and from them jig-saw work hangs down,
four lines of vaguely whittled ornament
over the edges of the boxes
to the ground.
The monument is one-third set against
a sea; two-thirds against a sky.
The view is geared
(that is, the view's perspective)
so low there is no "far away,"
and we are far away within the view.
A sea of narrow, horizontal boards
lies out behind our lonely monument,
its long grains alternating right and left
like floor-boards--spotted, swarming-still,
and motionless. A sky runs parallel,
and it is palings, coarser than the sea's:
splintery sunlight and long-fibred clouds.
"Why does the strange sea make no sound?
Is it because we're far away?
Where are we? Are we in Asia Minor,
or in Mongolia?"
An ancient promontory,
an ancient principality whose artist-prince
might have wanted to build a monument
to mark a tomb or boundary, or make
a melancholy or romantic scene of it...
"But that queer sea looks made of wood,
half-shining, like a driftwood, sea.
And the sky looks wooden, grained with cloud.
It's like a stage-set; it is all so flat!
Those clouds are full of glistening splinters!
What is that?"
It is the monument.
"It's piled-up boxes,
outlined with shoddy fret-work, half-fallen off,
cracked and unpainted. It looks old."
--The strong sunlight, the wind from the sea,
all the conditions of its existence,
may have flaked off the paint, if ever it was painted,
and made it homelier than it was.
"Why did you bring me here to see it?
A temple of crates in cramped and crated scenery,
what can it prove?
I am tired of breathing this eroded air,
this dryness in which the monument is cracking."
It is an artifact
of wood. Wood holds together better
than sea or cloud or and could by itself,
much better than real sea or sand or cloud.
It chose that way to grow and not to move.
The monument's an object, yet those decorations,
carelessly nailed, looking like nothing at all,
give it away as having life, and wishing;
wanting to be a monument, to cherish something.
The crudest scroll-work says "commemorate,"
while once each day the light goes around it
like a prowling animal,
or the rain falls on it, or the wind blows into it.
It may be solid, may be hollow.
The bones of the artist-prince may be inside
or far away on even drier soil.
But roughly but adequately it can shelter
what is within (which after all
cannot have been intended to be seen).
It is the beginning of a painting,
a piece of sculpture, or poem, or monument,
and all of wood. Watch it closely.
Sunday, March 9, 2008
Bloxes
What are Bloxes?
Bloxes are building blocks made of interlocking pieces of corrugated cardboard, folded together. Their unique shape and structure make them exceptionally strong and lightweight — you could build yourself a platform to stand on, and then pick it up and move it wherever you need to.
via notcot.org
A cube on MS Excel
A cube on MS Excel
via selectparks
for more info: gamasutra - "Microsoft Excel: Revolutionary 3D Game Engine?"
Monday, March 3, 2008
Sunday, March 2, 2008
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