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PRACTICE 2 DATA DESIGN

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PROCES & RESEARCH P2 DATA DESIGN

Artist who work with data design

Moritz Stefaner - The rythm of food

The Rhythm of Food, a visualization project in collaboration with Google News Lab, sheds light on the many facets of food seasonality, based on twelve years of Google search data.they developed a new type of radial “year clock” chart to reveal seasonal trends for food items. Each segment of the chart indicates the search interest in one of the weeks of the past 12 years, with its distance from the center showing the relative search interest, and the color indicating the year. This allows to spot both rhythms that repeat on a yearly basis (such as natural season, peaks at holidays, …) but also year-over-year trends (such as the rise of avocado or the collapse of interest in energy drinks).

Robbie Barrat- ur-Balanciaga

Barrat's Balenciaga AI is a continual work of conversation, experimentation, and curation—just like analog designing so often is. The silhouettes are legitimate, but the gradients are unearthly and fragmented, with often no delineation between where the “human” model stops and the clothing begins. Sometimes it eerily perfects variations of what's really gone down the runway and sometimes—the best times—it ekes out the most bizarre and joyful spacey surprises. The results of the AI are weird and, yes, beautiful. They are Balenciaga, if you threw all their collections into an atomizing time machine and asked an alien on the other side to reconstruct the originals from the scrambled remains.

ALternatives by espen Kluge

ALternatives by espen Kluge

Norwegian artist Espen Kluge manages to render portraits. For his fascinating series, titled Alternatives, the tech-driven artist developed his own algorithm that takes in photographs as inputs and then turns them into colorfull, vector-based portraits. The code loops through the pixels in the raster image and chooses some at random. Then, it generates lines in between each pixel to create the strange, three-dimensional thread art effect. Kluge never knows how a piece will end up. “It’s impossible for me to have these things in my head before I start,” he says. “I would like to think this is true for all generative artists. It is a very playful process.”