Art in Jasmax: Digital Biophilia v0.2b

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Sarah Rothwell

Digital Biophilia v0.2b encourages you to stop and play. With live sensors at the ready to capture your data as you pass by, this is the first interactive exhibition we've been lucky to host.

Architecture has traditionally been an analog process. An art form requiring the integration of both artistic, creative skill and a scientific, spatial awareness, to create a built environment experience relevant to its user. As the digital age accelerates, we’re seeing the process of design transition with it; such as the 3D modelling of spaces through the use of Building Information Modelling (BIM).

Digital Biophilia v0.2b is the latest iteration of an interactive exhibition designed to show how real-life data, captured from a living organism or weather system for example, can interact with and influence a physical output. Just as how an architect’s design is influenced by how people will use it and the environmental context it sits within.

Jasmax architectural graduates Krishna Duddumpudi and Hayden Grindell have worked alongside Victoria University’s Lecturer in Interdisciplinary Digital Design, Tane Moleta, and peers Mizuho Nishioka and Lance Kingi, to bring together this multi-faceted interactive exhibition.

Tane comments, “This project employs contemporary interactive technology to facilitate public engagement with natural systems, building on work undertaken in E.O.Wilson’s Biophilia hypothesis which states human beings, as living creatures, gain numerous physiological and psychological benefits through engaging in natural systems.”

Each of the designers have used visualisation techniques to create artistic outcomes expressed through computation, industrial design and photography. The three elements of the exhibition are discussed here:

“MachineTime,NatureTime” (2014) Historically photographic technology is presented as a series of hidden transactions, free from human interaction, in the production of a photographic image.

Acknowledging the role technology has in the production of photography, this body of photographic work examines how technology can be actively represented in the aesthetic and theoretical positioning of photographic practice. (Mizuho Nishioka)

HAL_9000 is a geometry generator that uses colour data from participants and real-time weather data as inputs.

The installation comprises three frames. In the first frame the colour and brightness of participants' clothing is extracted in the form of cloud of coloured points that shift to the second frame. In the second frame, six colours are selected and stored in a matrix. Finally, in the third frame a geometry is generated by stretching a basic form with forces equivalent to the brightness of the participants clothing and the wind speed and temperature at any given time. (Hayden Grindell)

Spectral Symbiosis engages with real-time weather data sets and interactions in digital space.

When you wave or jump, you release “energy” into another system – in this case, into a digital framework. In the age of “data-fication of everything”. Spectral Symbiosis interrogates the role of real-time data sets derived from natural systems. With ever evolving opportunities for representation and engagement through the digital, when the physical construct dilutes the relationship to nature can a digital representation provide compensation? And does this digital synthesis still retain its intrinsic properties? (Krishna Duddumpudi [Creative Direction + Programming], Lance Kingi [Audio Design], Pranshu Mishra [Programming])

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