Though matter itself has always found its expressions through nonlinear organizations, architecture’s modes of intervention in the life of matter have been linear and willful. As architecture continues its age-old struggles against material realities, the future holds astonishing possibilities as we slowly discern the nuances of complex material organizations and cultivate new regimes of expression. Rather than superimposing design on the inscrutable patterns of a complex material history, the most optimistic cases in material practices today are characterized by a shift towards a collaboration with the material world.

Though digital fabrication technologies have been celebrated as ever more efficient ways to conduct business as usual, the convergence of computation, life sciences, and radical new experiments in material research points to a far less predictable future for design culture. 3d printing a building, manufacturing without tooling, weaving and braiding composite materials to form a structural system, designing building components with intelligent agents, are some of the astonishing projects being investigated today. This year’s conference evaluates the NSO’s ongoing research into Nonlinear Fabrication and opens the discussion to the frontiers of material practice.

Nonlinear Fabrication begins 6:30pm, April 3 with Manuel DeLanda’s keynote lecture at the Wu & Chen auditorium (Levine Hall, UPenn). Panel discussions begin Friday morning at 9am in the Upper Gallery (Meyerson Hall, UPenn).

In addition to the NSO team (Cecil Balmond, David Ruy, Detlef Mertins, Ferda Kolatan, Jenny Sabin, and Peter Jones) visiting participants include: William Braham, Winka Dubbeldam, Behrokh Khoshnevis, Anne Plant, Roland Snooks, Andrew Snow, Marcelo Spina, Theo Spyropoulos, Peter Testa, Chris Tuck, and Tom Wiscombe.

‘The model was then taken into Rhino and contoured into horizontal and vertical 2d layers. The intersections were set and vectors cleaned in illustrator. After that individual parts were cut with a laser cutter and assembled into the final work.’

The density of the cell sites reflect the speed and frequency of movement within the city. The more often Andreas visited a place, the more cell sites were added to the map. Aside from the aesthetics, the work was aimed at making people aware of the German telecommunications data retention act (Vorratsdatenspeicherung) which requires the telecommunications providers to collect the connection data of all customers. This is a good example of the confluence of two growing areas of interests within the computational art scene, abstract data visualisation and digital fabrication. [posted by Paul Prudence on Dataisnature]

Also: YesYesNoNo’s Invisible Journey’s (Datalooknise) project aims at mapping fields of Wi-Fi node signals during bike and car trips. Using various kinds of representation systems to visualise different properties of the nodes (such as encryption settings) these abstractions act as timelines of the journey and, at times, give the impression of some kind experimental music notation. Detailed information on the methods used to collect and apply the data is annotated with each image in the development sequence. More >>

Watz uses the computer to generate work which he describes as “a particular brand of visual hedonism, marked by colorful organic shapes and a ‘more is more’ attitude.” Most of his works deal with drawing machines implemented in software, live visuals for music or large-scale projections. The exhibition will showcase a variety of Watz’s generative work, including large scale projections of ElectroPlastiques #1 and #2, five rapid prototypes, large format printouts, and his Universal Digest Machine, which received an Honorary Mention at Ars Electronica — the world’s leading media arts festival in Linz, Austria.

Marius Watz is a Norwegian artist who currently lives in Berlin where he edits the Generator.x blog (a platform for generative art and design) and prepares future Generator.x events including concert tours, exhibitions and conferences. In addition, Watz travels around the world to teach workshops in computational design and generative art.

There are a few things to say about manufacturing, design and digital arts. First, we’re not talking about manufacturing. Manufacturing is about making things on a large scale using machinery. Manufacturing evokes cavernous, cold, awesomely huge assembly lines with scales all out of proportion to the experiences of mere mortals. Factory floors throwing sparks, littered with metal shavings, huge overhead cranes moving impossibly large masses of steel - this is what manufacturing means. Half million ton crude oil-carrying super tankers are manufactured. The Airbus 380 is manufactured. Millions of Herman Miller Aeron Chairs are manufactured. Billions of cellular phones are manufactured. These things have meaning in the idiom of manufacturing. Manufacturing is the engine of growth and despair of the 20th century.

If anything, we’re talking about a kind of materialization of ideas. Slick connections between an your imagination, a circuit board and a 3D printer. It’s artful for its scale and personalization. Small-scale, passionate, individual ideas made material. Why is this different from manufacturing? Because manufacturing deals in enormous scales - scales of time, material, logistics, operational fortitude, finances, consumption of natural resources. Ultimately, manufacturing endeavors are impossible imbroglios of spin-doctors and reassurances, speculation, trust and hope as much as they are supply-train logistics and CAD systems. Just ask the Boeing 787 “Dreamliner” team. Is it advanced avionics and carbon-fiber-reinforced plastic skins or spin-control and renegotiated contracts that’ll make that perpetually delayed endeavor a success?

The sad consequences of manufacturing’s scale is that it defaults to the least common denominator. Manufacturing on a mass scale can only be an effective business enterprise when you make one thing that millions and millions of people are convinced they need to buy. Customization as a manufacturing process has not moved much beyond Henry Ford’s Model T color option - you can have any color, so long as it’s black. An iPod is an iPod is an iPod, hand-painting and laser etching not withstanding. True customization means materializing one’s own designs, one’s own imagination. This is where we begin.

What we are talking about are emerging “materialization” - not manufacturing - processes. What makes it worth talking about is that it is the power of creation that manufacturing is able to achieve, but done at an entirely different scale - quicker, cheaper, individually, with fewer intermediaries and fewer incumberances. This is the crucial element - there are fewer and less awkward hurdles, deals, negotiations and alliances to be formed in the process of materializing an idea. The power of the idea and its “moment” is not lost through the trials of enrolling people, machines, enterprises, financiers into your cause. It’s as if a sketch in a notebook can materialize immediately. No more fumbling around with awkward descriptions of your weird idea - let the material object speak for you.

What else can be said about this different kind of idea-manufacturing? How does it integreate with design and digital arts? It relies on “toolkits” consisting of digital software and hardware, fab machines, CNC “Robodrills” and 3D modeling. As importantly, the toolkits are also the far-flung networked communities of craftspeople and designers, artists and technologists sharing ideas and insights. The practical tradecraft starts from the bottom and works its way up. We’re familiar with the elements of this process, and the activities taking place in various corners of the digital arts and art-technology communities. This is an emerging practice informally taken up by thoughtful designer-tinkerers. It is a practice that will find greater adoption within more formal and conservative design, engineering and art communities as its significance is refined.

The “tooling” for this practice includes open-source firmware for inexpensive microcontroller-based kits like the Arduino; hacked Nintendo Wii controllers; low-cost, rapid-turnaround printed circuit board production houses; free development environments like Processing; online knowledge sharing communities; parts suppliers with no minimum orders, and so forth.

The “manufacturing process” is a kind of extended sketching activity. Ideas are first expressed informally, perhaps with a simple “wouldn’t it be cool if..?” question at a moment of inspiration. But the question should be answered - and it can be, often enough, with a quick pen drawing, some poking around the net for practical answers or to source some parts or other material - perhaps even finding other people who have asked the same question and thereby entering into conversations with all the other similarly inspired folks out there on the networks. In short order a refined, functional technology engine is created using small-scale surface mount printed circuit board techniques so as to fit within the refined contours of a fab’d surface model. Now you have a fully functioning materialization of your idea - much easier to answer that initial question with the real-deal. You can share it, put it in other people’s hands and work through the nuances of your idea.

What does this all mean for an emerging design-art-technology practice? At present, the evidence of something compelling centered around new interactions is indicated by a richly stocked cabinet of curios - expressive artifacts and objects that, like early Net Art, stitch together inputs and create expressive outputs. Only — and this is important - they do so off the computer screen, and with no keyboard and mouse. Rather, these expressive objects form their interactivity around physical actions that may include the Nabaztag’s articulating rabbit-like ears, or Clocky the coy alarm clocks that roll away when you try to hit the snooze button, or Maywa Denki’s punch-drunk dancing BitMan character. These are distinct kinds of digital objects that mix physical space, digital technology and design.

We know that the art of digital media continues to emphasize the screen, the keyboard, the mouse and the network. The weak signals suggest kinds of design-art-technology that are growing tired of the screen. Digital art is ready to move beyond the confines that Douglas Englebart and his contemporaries created in 1968 with their patent line drawing depicting the now canonical assembly of keyboard, screen and mouse. If there is a “new materiality” to digital arts, it will emphasize material interactions in physical space, embodied experiences and contexts beyond the typically sedentary confines of the screen/keyboard/mouse/network assemblage.

For this new process to do something new, it must become a ployglot practice steered by undisciplinary craftspeople who believe in the possibility of creating fictional, unbelieveable, even preposterous objects that say as much about what they’re moving away from - the uninspired, least-common denominator landfill-destined plastic device - as they say about what sort of near future world we could have. What is emerging is an ability to make your own stuff - not just “skinning” your mobile or modding an MP3 player. Materializing ideas is about making your own - “whatever” - unanticipated, unknown, visionary, expressive things. It is not a manufacturing process. This is a process that requires multiple perspectives and multiple skills thoroughly mixing engineering-design-art into a hybrid sensibility. It is a process that’s strictly for trouble-makers and boundary crossers. Nothing expected and everything unexpected will come from this. [blogged by Julian Bleecker on Near Future Laboratory]

The theme for the 2008 edition, which will dominate the contents of the conferences, round tables, workshops and performances, is the new materiality of digital arts. In the 90s the net art phenomenon addressed a need to reach beyond its own limits, drawing immateriality into the equation and threatening the real. Nowadays, society relates to technologies in a natural way by allowing the immaterial to become real. By exploring new, intelligent interaction between man and machine, this relationship has been completely integrated into everyday life. In the new millennium man and machine interact on the same level, shaping and changing the surrounding environment as they see fit. The Piemonte Share Festival is an international cultural event that probes the vast panorama of new technologies and investigates their applications in art and design.

Because of recent advances in digital fabrication technology, manufacturing is becoming a digital art and culture enterprise. The exciting advent of 3-D printing, rapid prototyping, and rapid manufacturing is of profound importance to SHARE, for it bring the power to create physical objects to the techno-artist’s lab-bench, studio and atelier. It means that digital artists, whose work was once mostly virtual, can create in the actual.

SHARE has chosen the theme Manufacturing for its 2008 event for two compelling reasons. First, we want to demonstrate digital manufacturing to our core audience, who are very technically adept people, but not used to the idea that they can create real objects with CAD, fabricators and the Internet. The second reason is that Torino is the World Capital of Design 2008. Torino is a strong manufacturing center. SHARE is very international in its outlook and audience, but in 2008 this Torino festival should and will emphasize the fact that it is from Torino.

Generator.x in collaboration with Club Transmediale and [DAM] presents Generator.x 2.0: Beyond the screen, a workshop and exhibition about digital fabrication and generative systems. Digital fabrication (also known as “fabbing“) represents the next step in the digital revolution. After years of virtualization, with machines and atoms being replaced by bits and software, we are coming full circle. Digital technologies like rapid prototyping, laser cutting and CNC milling now produce atoms from bits, eliminating many of the limitations of industrial production processes. Once prohibitively expensive, such technologies are becoming increasingly accessible, pointing to a future where mass customization and manufacturing-on-demand may be real alternatives to mass production.

For artists and designers working with generative systems, digital fabrication opens the door to a range of new expressions beyond the limits of virtual space. Parametric models apply computational strategies to the analysis and synthesis of space, producing structures and surfaces of great complexity. Through fabbing these forms may be rendered tangible, even tactile.

“Beyond the screen” explores these new types of spatial constructs in a hands-on workshop, bringing together artists and designers working with code-based strategies for producing physical form. The workshop will feature public presentations bringing the topics of the workshop to a broader audience, culminating in an exhibition of fabbing works at the [DAM] gallery. In a continuation of the Generator.x concert tour, “Beyond the Screen” will also include an evening of concerts, showing the use of generative systems in audiovisual performance.

Call for participants

We are looking for 15 artists, designers and architects who have an existing practice based on generative systems and custom software, and who are interested in investigating physical formats through digital fabrication. The workshop will be practical in nature, and will produce a selection of works that will be included in the exhibition at [DAM].

Participants will have access to an on-site laser cutter, and an introduction to this technology will be part of the workshop. The workshop is free of charge, but we will not be able to provide support for travel or accommodation. Participants are expected to have experience with programming software that will allow them to produce work suitable for production, such as Processing, VVVV or any other system capable of producing vector output. Previous experience with laser cutting or digital fabrication technologies is a bonus, but not a requirement.

Applications must be in PDF format and should including a CV and a short statement of intent, describing why you want to participate in the workshop and how fabbing relates to your existing practice. You should include a maximum of 5 images of relevant work, with a total file size of 2 megabytes. Feel free to provide links to web sites containing documentation such as videos or downloadable software, but please dont send such content by email.

Please submit applications by email to generatorx [at] clubtransmediale.de. The deadline for application is December 21, 2007, accepted participants will be notified at the beginning of January 2008.

Generator.x & Club Transmediale

Generator.x is a platform for generative strategies in art and design, founded in 2005 to produce the conference Generator.x: Art from Code at Atelier Nord in Oslo. Other events have included a travelling exhibition as well as a series of audiovisual concerts. The Generator.x blog promotes code-based work of an experimental nature, bringing a critical discourse to the field of generative art.

Club Transmediale 2008 is the 9th edition of this international festival for adventurous music and related visual arts, and takes place in Berlin under the theme “predictable” currently and cooperatively with the transmediale - international festival for art and digital culture. It is a prominent festival dedicated to contemporary electronic, digital and experimental music, as well as the diverse range of artistic activities in the context of sound and club culture. Characterised by the title Unpredictable, the 2008 festival investigates artistic concepts that imply the surprising and unforeseeable, accidents, mistakes and coincidences as a means to alter the dynamics of creative processes and to discover new aesthetic forms.

[DAM] Berlin has since its opening 2003 been a leader in the field of digital art, showing pioneers of new media as well as emerging contemporary artists.

Generator.x 2.0: Beyond the screen is supported by The Office for Contemporary Art Norway. We also thank our partners, Institut HyperWerk HGK FHNW and Lasern.

Marius Watz
Work: http://www.unlekker.net/
Blog: http://www.generatorx.no/
Play: http://www.evolutionzone.com/