L'art Génératif. Complements to the book text
Return to summmary. See Index
2.6. Sculpture, Design, Architecture
2.6.1. Introduction. The 3D
As soon as we enter really into the 3D spaces (not the virtual 3D, even the 3CD cinema, or holograms) the work gets a substantial materiality. Then, int does not matter if it is fixed or mobile.
3D objects art object are of mutliple sorts, according to their scale, material, mobility level. Let's quote some kinds whic relate to generative art :
- light art (many artists, listed notably by Popper 2007 under the "optical art" banner,
- immersive environments, e.G. caves
- still sculpture and traditional design (for instance the coffee machines and their generative grammars),
- clothes and cooking,
- cinetic art, purely mechanical (Tinguely, Moholy-Nagy) or electronic (Schoeffer, Agam, Nam Jun Paik),
- fountains (Agam, Tinguely),
- animated architecture, intelligent buildings, façade projection, with Vitruve and Le Corbusier among the forerunnets. Xenakis in the Bruxelles paviliion.
- non digital bio-art.
See sculpture, cinetic art, design, embossing, jewellry, LED art, light art.
2.6.2. Rozin : aux frontières du 2D et du 3D
2.6.3. Leonel Moura : the Robotic Action Painter
2.6.4. Yoichiro Kawaguchi
2.6.5. Catherine Nyeki
2.6.6. Lachaise, Margolis, Verlinde = 2D + 3D
2.6.7. Douglas Repetto : the Giant Painting Machine
- Makes sound with the Anna's Music Box, by Larry Polanski.
2.6.8. A wide variety of genetic creation in 3D, or real objects
General diccan's note on architecture
Construction is more difficul to be automated than conception, for severa reasons: masses to play with, security and reliability, generally unique realisation of the model.