Converting Decimals into Mixed Numbers videos

"South Africa has always had an upcycling culture" - Ravi Naidoo

Vimeo 2:34

In the second part of our tour around Cape Town, Design Indaba founder Ravi Naidoo shows us the former industrial suburb of Woodstock, which...

In the second part of our tour around Cape Town, Design Indaba founder Ravi Naidoo shows us the former industrial suburb of Woodstock, which the city's design community has recently made its home, and explains the importance of upcycling in South African design.nn"If you have 36 hours in Cape Town and time is at a premium, you have to head down to Woodstock," says Naidoo. It is an area of Cape Town three kilometres from the city centre that has undergone an "extreme makeover" in recent years and is now home to an array of arts, craft, fashion and design studios and shops, as well as cafés and restaurants.nnNaidoo takes us to The Old Biscuit Mill, a 19th-century biscuit factory in the heart of Woodstock, which was originally redeveloped in 2005 by Kristof Basson Architects, and where many of the designers that present their work at the Design Indaba Expo are now based. It also hosts a weekly food market that draws crowds from across the city every Saturday.nnThe Old Biscuit Mill recently underwent its second phase of redevelopment, converting the old flour silo into six storeys of mixed-use space, which now houses the Cape Town Creative Academy as well as a new penthouse restaurant called The Pot Luck Club by leading South African chef Luke Dale-Roberts.nnDown the road from The Old Biscuit Mill, Naidoo also shows us a more recent development called the The Woodstock Exchange, another converted industrial building which aims to offer affordable studio and retail space for the creative industries.nnThroughout Woodstock you can find examples of products made from discarded waste materials: furniture constructed out of scrap wood; mirrors made out of old doors; chairs upholstered with disused coffee sacks. Naidoo believes this approach is thematic of South African design. "There's always been an acknowledgement [in South Africa], especially when we had sanctions, that we need to cobble things together with sticky tape and bubble gum," he explains. "There's this element of resourcefulness - of taking trash or waste and giving it a new utility - that's been here for years, even before it became fashionable to upcycle."nn"We spent most of the medieval era trying to find the philosopher's stone that was going to convert pig iron into gold, and I think the alchemy of the 21st Century is to convert waste into things of utility and extend the life of objects," Naidoo continues. "You'll find that in abundance in South Africa."nnThis movie features a MINI Cooper S Countryman. Look closely and you'll spot a brand new MINI Paceman too.nnThe music featured is by South African artist Floyd Lavine, who performed on Friday as part of the Design Indaba Music Circuit. You can listen to the full track on Dezeen music Project. Less

O2VASE / a collection of vases that are made by use of graphic and material.

Vimeo 1:38

O2 VASE is a collection of vase that expresses the purity of playing between graphic and material. It enables you to shape a beautiful delic...

Fungi Mutarium: Research

Vimeo 2:03

Livin Studio has, in collaboration with Utrecht University, developed a novel fungi food product grown on (plastic) waste, a prototype to gr...

Turbulence: Watercolor + Magic

Vimeo 3:20

This is the first experiment by Dr. Woohoo in a series that explores the relationship between a robot + a artist with the objective of enhan...

This is the first experiment by Dr. Woohoo in a series that explores the relationship between a robot + a artist with the objective of enhancing what is creatively possible by combining the strengths of each, while using watercolors as the natural media. nnThe following is a Q&A with Dan Nosowitz:nn"Can you tell me a little more about it?" – Dann"This is the 1st in a series of experiments using different art related media that explore the relationship between the artist, myself in this case, and a robot. I'm searching for the sweet spot in the center between robots and artists, with the objective of enhancing what is creatively possible by tapping into the strengths of each. In the Turbulence project, the first steps towards developing a more enhanced system focus on one-way communication, from the code to the robot, and control. nnI created the original design using a generative design application that I developed, with some early help from Jay Moretti, which runs in the browser and is based on Canvas and PaperJS (http://paperjs.org/). In Chrome, I began with a single hexagon and applied a 2d plane symmetrical (http://en.wikipedia.org/wiki/Plane_symmetry) layout pattern to it which creates copies and distributes the hexagons in a prescribed fashion. E.g., for this image, I used the P1 pattern which translates the hexagon in 2 directions. nnWith the basic layout of the hexagons in place, I then generate a Perlin Noise image as a hidden layer underneath the hexagons in order to determine the colors. For each hexagon, I sample the greyscale value from a single pixel from the Perlin Noise image at the center point of the hexagon. If it's above 50%, meaning that it's brighter, it's red. If it's below 50% and is a darker pixel, the color is blue. nnWhen I'm content with the final look and feel, I export all of the points for all of the hexagons as a CSV file. This CSV file is then imported in a Processing (http://processing.org/) robot controller application – co-developed by Stephane Bersot – that converts it into a script that the robot will understand and sends that script to the robot. The robot, upon receiving it, follows the instructions until it's finished painting." – WoohoonnWhat's the robot being used?nThe robot is Universal Robot's UR10 and the gripper is a 2-finger Robotiq 85.nnWhy does it draw in that way?nIn this video, I'm using 3-4 degrees of freedom (DoF) out of 6 potential, so the gripper and brush are always perpendicular to the canvas. Simply put, controlling 3-4 DoF is easy to accomplish, 6 is much more challenging, but not impossible. Another way to look at it... the robot has 3 wrists in addition to an elbow, shoulder and torso that need to be controlled in perfect synchronization! With 6 DoF, the major advantage will be brushstrokes that are more gesture based, allowing for a closer simulation of a brushstroke. The next experiment will include all 6 DoF. nnWhat was the inspiration for the project? nFor the majority of my career, I have focused on developing systems and software applications, plug-ins and scripts that extend what is creatively possible and most of the time they involved emulating natural media. Adding a robot into the equation allows me to return to the past with a modern approach, which to me is the best of both worlds. nnFrom an art perspective, Kandinsky and Josef Albers are as important as Edward Ihnatowicz's The Senster (http://www.senster.com/ihnatowicz/) and Jean Tinguely's drawing machines (https://www.youtube.com/watch?v=FZpEYLa9PGs). nnFrom a literary perspective, Herbert Weiner's (http://en.wikipedia.org/wiki/Norbert_Wiener) work on Cybernetics (http://en.wikipedia.org/wiki/Cybernetics) and specifically the feedback loop is critical in my work. It's not evident in this piece because the feedback from the robot is not being tapped into, but it's there and will be included in future experiments.nnThe inspiration for the hexagon comes from here: http://instagram.com/p/Z0mAYimluN/nnThe inspiration for the plane symmetry comes from the San Ildefonso Pueblo's ceramic designs, which I found throughout New Mexico and in Dorothy K. Washburn and Donald W. Crowe's exceptional book, Symmetries of Culture: Theory and Practice of Plane Pattern Analysis (http://www.amazon.com/Symmetries-Culture-Practice-Pattern-Analysis).nnFrom a software perspective, I was also inspired to develop the generative browser application because I wasn't able to match the functionality I wanted in applications like Adobe Illustrator or Inkscape and was curious to see how far away from desktop applications and into the cloud I could move and discover the current limits of cloud base applications. I have been a fan of PaperJS and the developers behind it – Jürg Lehni & Jonathan Puckey – so it was the perfect tool for me to use for this experiment. nnMusic: Kid Koala Less

Spatial - Phasor Count

Vimeo 5:26

pre-order the full release - a special edition, featuring DVD, 3" data cd with the code and executables used to generate the visuals, and a ...

pre-order the full release - a special edition, featuring DVD, 3" data cd with the code and executables used to generate the visuals, and a 12" with reworks from Spatial, Bass Clef, Sculpture and TVO - at http://store.broken20.com/nnSpatial has always been more exploratory than your average stepper, but with his audiovisual (or “opti-sonic” as he puts it) project ‘Primitives’, every aspect of his output blooms outward with android rigour.n‘Primitives’ was born when Spatial devised a performative installation of light and sound by coding his own software, exploring the OpenFrameworks platform. Influenced by the likes of Sally nGolding, Bruce McClure and Greg Pope, he sought to investigate a similar materiality of light, sound and space manifested via the digital domain, to “explore sonic and optical intensity articulated by simple geometric figures and extreme frequencies.” He continues: n“Projected images drive a sensory assault, consumed by your eyes, then ears, and existing somewhere between perceptions.” Elsewhere in his manifesto he states that he’s “interrogating hacked code for excruciating light” and that it “brings a new realisation to the relationships between seeing sound and hearing colour.”nn‘Primitives’ has made live appearances at Cafe OTO & Apiary Studios in London and Supernormal Festival in Oxfordshire building the piece to its current form via a variety of evolutionary configurations, developing from the initial single screen staging to an expanded setup that fully inhabits that performance space. The logical next step is to release it to the wider world in some shape – the work itself, Spatial’s software that created it and the underlying code to hack the project. But how does a producer and DJ release these related strands into a coherent package that envelops the project’s handmade, atavistic blossoming, both visual and aural? How could that blend with his prior output? And fundamentally, who would be mad enough to pull it all together?nnStep forward Broken20, the Glasgow label founded on “an aesthetic, not a genre – releases concerned with decay, erosion, entropy, mistakes and errors, line noise and tape hiss, hum and buzz”. And as Broken20’s first foray into vinyl following a multi-format splurge of tapes, DVDs and custom made USB sticks it made sense to collaborate on a 12” that was more than just a slab of wax.nSo we have ‘Primitives’, a DVD containing short films of live A/V content alongside an executable version of the software and the source code plus a 12” record containing four commissioned interpretations by Spatial himself, Broken20’s TVO, Bass Clef and Sculpture aimed somewhat more at the dancefloor. The combination of media represent the totality of the ‘Primitives’ experience. The DVD contains a series of live, improvised audiovisual art works under two distinct sections: Single Channel & Expanded.nnThe Single Channel works are most revealing of the performance process and the underlying software. These screen recordings highlight each sequence as a composition of four AVUgens - base units combining visual representation and its effecting properties on the accompanying sonic component. Deliberately simple relationships, such as a polygon interacting with a sine wave, animate, coalesce and interplay to create an immersive sensory experience.The Expanded section takes this technical setup and explores the relationship and geometry of light and sound inhabiting a performance space. Recorded live using various cameras and nsegmented into a number of short visual works, these films liberate the software from its digital domain to focus on the material aspects of the output within an architecture. Embracing the ensuing degradation of the stylised visual perfection into hacked light, the audio is freed to breathe deep within three dimensions, enjoying the implicit bit crushing and dithering that occurs as it’s captured through the camera’s built in microphones. Less

Spatial - Primitives - Hacked Light DVD teaser

Vimeo 1:51

Available Oct 2014 via http://broken20.comnhttp://spatial.infrasonics.net/primitivesnnSpatial has always been more exploratory than your ave...

Available Oct 2014 via http://broken20.comnhttp://spatial.infrasonics.net/primitivesnnSpatial has always been more exploratory than your average stepper, but with his audiovisual (or “opti-sonic” as he puts it) project 'Primitives', every aspect of his output blooms outward with android rigour.nn'Primitives' was born when Spatial devised a performative installation of light and sound by coding his own software, exploring the OpenFrameworks platform. Influenced by the likes of Sally Golding, Bruce McClure and Greg Pope, he sought to investigate a similar materiality of light, sound and space manifested via the digital domain, to “explore sonic and optical intensity articulated by simple geometric figures and extreme frequencies.” He continues: “Projected images drive a sensory assault, consumed by your eyes, then ears, and existing somewhere between perceptions.” Elsewhere in his manifesto he states that he's “interrogating hacked code for excruciating light” and that it “brings a new realisation to the relationships between seeing sound and hearing colour.”nn'Primitives' has made live appearances at Cafe OTO & Apiary Studios in London and Supernormal Festival in Oxfordshire building the piece to its current form via a variety of evolutionary configurations, developing from the initial single screen staging to an expanded setup that fully inhabits that performance space. The logical next step is to release it to the wider world in some shape – the work itself, Spatial's software that created it and the underlying code to hack the project. But how does a producer and DJ release these related strands into a coherent package that envelops the project's handmade, atavistic blossoming, both visual and aural? How could that blend with his prior output? And fundamentally, who would be mad enough to pull it all together?nnStep forward Broken20, the Glasgow label founded on “an aesthetic, not a genre – releases concerned with decay, erosion, entropy, mistakes and errors, line noise and tape hiss, hum and buzz”. And as Broken20's first foray into vinyl following a multi-format splurge of tapes, DVDs and custom made USB sticks it made sense to collaborate on a 12” that was more than just a slab of wax.nnSo we have 'Primitives', a DVD containing short films of live A/V content alongside an executable version of the software and the source code plus a 12” record containing four commissioned interpretations by Spatial himself, Broken20's TVO, Bass Clef and Sculpture aimed somewhat more at the dancefloor. The combination of media represent the totality of the 'Primitives' experience.nnThe DVD contains a series of live, improvised audiovisual art works under two distinct sections: Single Channel & Expanded.nnThe Single Channel works are most revealing of the performance process and the underlying software. These screen recordings highlight each sequence as a composition of four AVUgens - base units combining visual representation and its effecting properties on the accompanying sonic component. Deliberately simple relationships, such as a polygon interacting with a sine wave, animate, coalesce and interplay to create an immersive sensory experience.nnThe Expanded section takes this technical setup and explores the relationship and geometry of light and sound inhabiting a performance space. Recorded live using various cameras and segmented into a number of short visual works, these films liberate the software from its digital domain to focus on the material aspects of the output within an architecture. Embracing the ensuing degradation of the stylised visual perfection into hacked light, the audio is freed to breathe deep within three dimensions, enjoying the implicit bit crushing and dithering that occurs as it’s captured through the camera’s built in microphones. Less

Bitcoin diceware on a TI-89 graphing calculator

Vimeo 1:19

I wrote a program for the TI-89 graphing calculator to read die rolls from the user, convert them into a Bitcoin private key via base conver...

5 min Strawberry Modeling Tutorial + Quick Tip

Vimeo 5:06

Hello,ni had to model a strawberry in Cinema 4D for the university, unfortunately i have not found a good tutorial on the internet. Often, t...

Fiesta Transformer 1988-2013

Vimeo 11:27

Fiesta Transformer 2013nnMy first car was a 1988 Ford Fiesta gifted to me by my father as I turned 17. Born in the UK to immigrant Indian pa...

Fiesta Transformer 2013nnMy first car was a 1988 Ford Fiesta gifted to me by my father as I turned 17. Born in the UK to immigrant Indian parents, the passing of a car between generations provided me with my first taste of independence. In this new work, I’ve turned my hand to a newly acquired 1988 Ford Fiesta of the same specifications as my original car to create my first sculpture. Manufactured in England, this car stands as a symbol of working class Britain, a native body, albeit here a car body.nnAnother significant influence for me and this work are Transformers, an American film and toy franchise since 1984, and a widely recognisable pop culture reference that reaches far back in Hetain’s memory. In this new sculpture, Transformers have been made manifest, physically, in a literal transformation of a Ford Fiesta car into a large-scale squatting human-like figure. For me, these ‘robots in disguise’ (as per the cartoon’s theme tune) stand as a metaphor for the other, in a fantasy world where they can transform out of a marginal position into one of empowerment.nnImportantly, I created this sculpture together with my father, with additional help from my engineer brother and fellow Transformers enthusiast, Pritum Patel. My father, whose day job is to convert cars into hearses and limousines for funerals, has carried out all the fabrication and structural work with me. This work is the third in an ongoing collaboration between us (other works are: video work, To Dance Like Your Dad, 2009 and live performance Me and me Dad and me Wife, 2012, both presented in 2012 at the Tanks at Tate Modern).nnUnlike the popular toys and films, however, the car here is not a high-powered sports car or truck transformed into a powerful warrior, but rather a small inexpensive Ford Fiesta transformed into a human-like figure calmly squatting. This posture is a recurring image in my work and forges a link between the lower classes in India and my immigrant family in the U.K, both of whom sit comfortably this way. Naturally this introduces a tension in this sculpture between the seemingly submissive nature of the squat and in this case, it’s oddly larger than life scale.nnAs an artist who is most often the main protagonist in my work, this sculpture is the first time that my representation of the body is not immediately visibly linked to my ethnicity. The material and aesthetic of the work lend themselves to wider interpretations and contradictions around identity, exploring the increasingly murky ground between reality and fantasy, fixed identity and transformation.nnwww.hetainpatel.comnnThis project was made possible by the generous support of Asha Jadeja (rajeevmotwanifoundation.org) Less

Suiting Dennis: A family story of green funeral

Vimeo 26:57

Why is it so hard to die in a way that reflects how we have lived our lives? Directed and produced by award-winning filmmaker Grace Lee, thi...

Macchina Poetica

Vimeo 1:26

Macchina PoeticanFuturist performance of metallic soundsnnAuthor: Alessandra Angelucci, Aris Dotti, Rebecca GuzzonCourse: 1.4 Creating Tan...

ETCH Clock_nov16

Vimeo 0:24

ETCH Clock makes wake up your imagination about a new way to look at timennETCH is transforming an elastic membrane into digital numbers, wh...

Black Tiger Sex Machine - Numbers [4K]

Vimeo 4:36

Prepare to enter the world of the BTSM Church in the new video for "Numbers". Being big-time fans of sci-fi, action and horror movies, BTSM ...

Prepare to enter the world of the BTSM Church in the new video for "Numbers". Being big-time fans of sci-fi, action and horror movies, BTSM wanted to pay homage to one of their childhood favorites, Blade. This video transposes the legendary opening sequence of this action thriller into Black Tiger Sex Machine's universe. Are you infected?nn----------nnBlack Tiger Sex MachinenLike → https://www.facebook.com/official.btsmnFollow → https://twitter.com/OfficialBTSMnInstagram → http://instagram.com/officialbtsmnnKannibalen RecordsnLike → https://www.facebook.com/Kannibalen.R...nFollow → https://twitter.com/KannibalenRecsnInstagram → http://instagram.com/kannibalenrecordsnnCult Nation: www.thecultnation.comnCineGround: www.cineground.comnn----------nnActorsnnDaniel Rindress-KaynEden HarvestnMaxime Le FlaguaisnBenoit PriestnVicky BeaulieunJulien MarandanYue QinCarl LanglaisnGeneviève BerniernnCrewnnProduction Company : A Cult Nation CineGround ProductionnProducer : Alexandre AuraynDirector : Nguyen-Anh NguyennProduction Manager : Virginie JoubertnLocation Manager : Hervey Missereyn1st Assistant Director : Alexandra Larocque-Pierren2nd Assistant Director : Inès SteinmetzernCasting Director : Maxime Le FlaguaisnDirector Of Photography : Jean-Philippe BerniernSteadicam Operator : Derek Branscomben1st Assistant Camera : Jeanne Dupuisn2nd Assistant Camera : Benjamin GranetnData Wrangler : Fred GiguèrenGaffer : Hugo Ferland DionnenLighting Technician : Pierre-Luc JobinnLighting Technician : Abel Gauthier-PotvinnConsole : Kevin BellegardenKey Grip: Jason GoodallnGrip : Éric BélangernGrip : Pascal SteinhaeussernGrip : William ClémentnFight Choreographer : Goongala Stunt TeamnSound Recordists : Julien Lapsynski, Tim CrawshawnProduction Designer: Yola van Leeuwenkamp nArtistic Director: Maxime Normand nAssistant Artistic Director: Samuel B. CloutiernCostume Designer: Yola van Leeuwenkamp nAssistant Costume Designer: Jenn Pocobene nDresser: Jordan R. BruneaunDresser: Anaïs TrocherienLead Hair Stylist / Makeup Artist : Stéphanie BarrettenMakeup Artist : Audrey LampronnMakeup Artist : Geneviève HardynMakeup Artist : Tamsen RaenUnit Manager : François ComtennEditor: David ValiquettenAdditional Editor: Karel ChladeknSound Design / Mix : Cult Nation (Jean-David Perron)nPost-Production Supervisor: Simon AllardnPost-Production Coordinator: Alix Wagner-BerniernColorist: Charles-Étienne PascalnOnline: Alix Wagner-BerniernCineGround Head of Operations: Aurélie CrapeznnPost-Production Facilities: CineGroundnShot on RED Epic Weapon and Kowa Anamorphic Lenses from CineGroundnnA Much Fact/Cult Nation/Kannibalen Records/CineGround Production (2016) Less

Performance at Rough Mix 2, Summerhall, Edinburgh, March 2014

Vimeo 14:44

This video, filmed by Julien Pierrefeu, is a documentation of a twenty minute performance at Edinburgh's Summerhall. The performance emerged...

The Wolf of Wall Street Chest Thump Mix

Vimeo 2:39

MIX BY ECLECTIC METHODnhttp://www.eclecticmethod.netnnThe Wolf of Wall Street out on Bluray 25th March 2014nnMP3: https://soundcloud.com/ecl...

SPINBAD LIVE VIDEO MIX SERIES: EP 1 OLD SCHOOL ISH

Vimeo 9:55

Just started mixing videos. If you guys like this I plan on doing several more. Hit me up @djspinbad on Twitter and Instagram

Young designers transform insects into plastic and printing ink

Vimeo 2:33

Dezeen and MINI World Tour: in our next movie from Eindhoven, design graduates Aagje Hoekstra and Evelien Crooy show us the bioplastic and i...

Dezeen and MINI World Tour: in our next movie from Eindhoven, design graduates Aagje Hoekstra and Evelien Crooy show us the bioplastic and ink made from insects that they presented at this year's Dutch Design Week. nnHoekstra and Crooy, both recent Utrecht School of Arts graduates, presented their projects at the Klokgebouw building during Dutch Design Week last month.nnHoekstra showed a bioplastic called Coleoptera that she produced from the pressed shells of dead Darkling beetles.nnThe shells contain a substance called chitin, also commonly found in crustaceans, which Hoekstra converted into a polymer called chitosan and then heat-pressed to create a plastic.nn"It is waterproof and it can have [contact with] boiling water up to 200 degrees," she claims.nnDarkling beetles are the adult form of the mealworm, an insect larva that is often used as animal feed.nn"In the Netherlands, mealworms are bred for the animal food industry," says Hoekstra. "After laying its eggs the beetle dies, so insect farms in the Netherlands are throwing away 30 kilograms of dead beetles every week. I transform these insects into bioplastic."nnEvelien Crooy produced her own ink from female cochineal beetles, a cactus parasite native to South America, which is used to make the common red dye carmine.nnCrooy used the ink to screen-print the cover of a book about the insects, which highlights how many different products contain carmine dye.nn"It's an insect that lives in Peru," Crooy explains. "It's special because it has a colour inside and this colour is also used by the cosmetic and food industries. But, because I'm a graphic designer, I wanted to screen-print with it."nnCrooy experimented with mixing the natural pigment with lime and salt to produce different shades. "[You can produce] not only red, but also orange and pink ink," she explains.nnWe drove around Eindhoven in our MINI Cooper S Paceman. The music in the movie is a track called Family Music by Eindhoven-based hip hop producer Y'Skid. Less