"I started writing and the result was something unreadable."
Mirtha Dermisache (1940-2012) from Argentina, practiced asemic writing since the early 1970s. It is a wordless open semantic form of writing. The word asemic means having no specific semantic content. Asemic writing seeks to make the reader hover in a state between reading and looking.
Austrian artist LIA started experimenting with a 3D-printer and she shows all her discoveries on her tumblr. She says she’s not interested in creating 3D models in a 3D programme and then simply have them printed out. She rather wants to know what can be achieved with the actual properties of filament and the movements of the printhead.
It’s pretty amazing to see all of her discoveries from beginning to end.
Color Problems by Emily Noyes Vanderpoel
Images from Color Problems: A Practical Manual for the Lay Student of Color by Emily Noyes Vanderpoel, (1903)
Considered a major force in the Op Art movement, Anuszkiewicz is concerned with the optical changes that occur when different high-intensity colors are applied to the same geometric configurations. Most of his work comprises visual investigations of formal structural and color effects (from wikipedia).
Above screenprints are from his Sequential series, I am in love…
Paper foldings by Andrea Russo
Adobo HelpDeluxe 13.0
Adobo HelpDeluxe 13.0 is created by the Singapore graphic designer Darius Ou Dahao. Pretty fabulous.
140 mm x 205 mm
Photocopy paper 60gsm
Strange Attractors: an ode to mathematics
These should be printed in 3D!! But I don’t think they are, they’re meant to be 2D pictures. They are created by Chaotic Atmospheres, an illustrator from Switzerland.
“I wanted to create a series of pictures representing mathematical shapes on white background, like a ‘tribute to mathematics’ that I often use in my work. I chose the ‘strange attractors’ for their dynamic forms and ‘chaotic feel’.”
I came across this genius book about fractals
Ron Eglash: African Fractals: Modern Computing and Indigenous Design
Fractal geometry has emerged as one of the most exciting frontiers on the border between mathematics and information technology and can be seen in many of the swirling patterns produced by computer graphics. It has become a new tool for modeling in biology, geology, and other natural sciences.
In Europe and America, we often see cities laid out in a grid pattern of straight streets and right-angle corners. In contrast, traditional African settlements tend to use fractal structures-circles of circles of circular dwellings, rectangular walls enclosing ever-smaller rectangles, and streets in which broad avenues branch down to tiny footpaths with striking geometric repetition. These indigenous fractals are not limited to architecture; their recursive patterns echo throughout many disparate African designs and knowledge systems.
Drawing on interviews with African designers, artists, and scientists, Ron Eglash investigates fractals in African architecture, traditional hairstyling, textiles, sculpture, painting, carving, metalwork, religion, games, practical craft, quantitative techniques, and symbolic systems. He also examines the political and social implications of the existence of African fractal geometry. His book makes a unique contribution to the study of mathematics, African culture, anthropology, and computer simulations.
Publisher Rutgers University Press, 1999
ISBN 0813526140, 9780813526140
And the best thing is, you can download the pdf FOR FREE! :)
(via monoskop.org – great site! you should check it out)
FrActaLyZing using XRVG
Created by Julien Léonard, above creations are what Julien refers to as a combination of electronic lace, algae and Indian plankton. They are created with XRVG which stands for “eXtended Ruby Vector Graphics”. The purpose of XRVG is to define and implement a high-level and powerful programming environment for vector graphics generation.
Brain patterns by Yamamoto Motoi
Japanese artist Yamamoto Motoi was born in Hiroshima, Japan in 1966 and worked in a dockyard until he was 22, when he decided to focus on art full-time. Six years later, in 1994, his younger sister died from complications due to brain cancer and Yamamoto immediately began to memorialize her in his labyrinthine installations of poured salt. The patterns formed from the salt are actually quite literal in that Yamamoto first created a three-dimensional brain as an exploration of his sister’s condition and subsequently wondered what would happen if the patterns and channels of the brain were then flattened.
Although he creates basic guidelines and conditions for each piece, the works are almost entirely improvised with mistakes and imperfections often left intact during hundreds of hours of meticulous pouring. After each piece has been on view for several weeks, the public is invited to communally destroy each work and help package the salt into bags and jars, after which it is thrown back into the ocean.
(via iso50 incl. text)