DesignMorphine is a creative hub for design trough workshops, lectures, projects and explorations in the field of architecture, design and arts. The themes of their workshops vary from digital experimenting in order to learn new software, to fabrication or art related topics, defining the DesignMorphine multi-oriented ideology. Their goal is to provide the essential elements of trending design practices in a condensed way. They have conducted over 30 workshops and courses in Europe, the Middle East and USA and among them are successful collaborations with Harvard and MIT.
Arte Robotica V.01: Computational Robotic Painting Workshop
The workshop will take place between the 6th-8th October in Paris, at Woma. It will be tutored by Lidia Ratoi, Kunaljit Chadha and Amaury Thomas.
Tristan Tzara’s „To make a Dadaist Poem” was a true manifesto towards the renewal of art, and an invitation to the first manifestations of controlled chaos.
To make a Dadaist poem:
Take a newspaper.
Take a pair of scissors.
Choose an article as long as you are planning to make your poem.
Cut out the article.
Then cut out each of the words that make up this article and put them in a bag.
Shake it gently.
Then take out the scraps one after the other in the order in which they left the bag.
The poem will be like you.
And here are you a writer, infinitely original and endowed with a sensibility that is charming though beyond the understanding of the vulgar.
Computational design and digital fabrication are associated with precise, effective and optimized strategies, tools used towards enhancing design and fabrications processes. But what if they become art, under the aegis of randomness?
By gathering real-time data from sound waves, a series of patterns will be generated algorithmically. Through computational tricks, the original patterns will be distorted and will generate a path for the robot arm.
While in traditional painting the canvas is still and the color source moves, DesignMorphine proposes the inverted situation – three static “color sources” will be placed in front of the robot. One will be a spray paint, the other a scrapping instrument, while the third will be a marker-type brush.
The transparent canvas will be mounted on the robot, and will move according to the sound-wave patterns, thus creating a painting that is in no way predictable, yet totally controlled. Therefore, you are not able to see what is being painted, but you can only introduce the parameters and see the end result.
The impromptu “painting” will be designing itself on an almost imaginary canvas, which is constantly changing the parameters of the design as it moves itself. The precision of the tool is always succumbed to the authority of the randomness of the movement patterns.