For this project, I was inspired by recurrent patterns that can be found in nature and that are transposed into our manufactured world. I wanted to create abstract objects that would mirror these movements and cycles. In creating my first piece of computational art, I wanted to look at the roots of computer-based art and pay homage to these foundational processes. In particular, I am drawn to the work of John Whitney, whose use of color, shapes, and unique composition were a major inspiration for my work.
As the name would suggest, this first scene was inspired by the hypnotic cycle of wind turbines and the tide. The reason I link the phenomena of wind and water together is that I perceive them to be inherently connected to the same overarching system. They are often seen in close proximity to each other in nature, which is complementary to the interconnectedness of tide and wind patterns as sources of energy in an industrial capacity. Ultimately, in both natural and manmade spaces, they affect one other as driving factors in their co-functioning.
In tending to succulents, you start to adapt to their scale of time and growth. In doing so, you begin to notice the slow self-similar pattern of growth. I find this pattern of growth to not only be applicable to my succulents but also to the proliferation of culture and content in a networked society. Specifically, I am referring to the metaphorical aspect of growth cycles, as opposed to their physical structure, which demonstrates a dense interconnectivity that grows at an unstopping pace.
For this final scene, I was inspired by the way the loose ground bubbles near a hot spring or in boiling water. I decided on restricting each bubble’s movement to only allow the radius to expand slightly before contracting with noise. I wanted to highlight how these repetitive processes are actually quite linear and predictable in expelling energy.
Overall, in this project, I have demonstrated several competencies. In bubbles, I used noise to make a grid of circles expand and contract, which demonstrated the relative uniformity of seemingly random systems, such as those found in nature. In fractal, I used a recursive function to represent the proliferation of networked culture growth that is reminiscent of the natural growth of succulents. Last, in turbines, I display the comparable interface between natural and manmade systems through a series of loops, rotations, and custom functions. When talking about natural systems and their visual representations, it is essential to move beyond their mere physicality and consider their role as metaphor for comparable manmade systems. As a result, form is liberated, which allows my images to be abstracted from their literal representations.