3D in Art and Science
Freitag, 30. Oktober 2020
Aktiv über Zoom oder passiv im Live-Stream in der Mediathek der HFBK Hamburg
Registrierung für Zoom-Link zum Mitdiskutieren und Fragenstellen:
12:00 - 13:00 Uhr
Matthew Plummer-Fernández (School of Digital Arts – SODA, Manchester)
This talk reflects on a body of art work, spanning the last ten years that have taken shape using 3D models either found online or produced from scans of existing objects. The project Shiv Integer for example, is a bot that automatically sourced and combined 3D models from a file-sharing platform and online community called Thingiverse, resulting in a vast collection of randomly generated assemblages. I shall also discuss a possible conceptual framework for understanding artistic practices that make use of large sets of data found online. The framework specifically differentiates practices that respect the norms of the digital commons, and actively contribute to it, to those taking a more extractivist approach.
British/Colombian artist Matthew Plummer-Fernández works across sculpture, print, software, and installation. After receiving an MA from London's Royal College of Art in 2009, he completed his practice-based doctorate at Goldsmiths, University of London, in 2019. Plummer Fernández's interests in copyleft culture, digital fabrication, and social-computational entanglements interrelate to form a varied body of work that is influenced by the artistic traditions of Generative Art, Critical Design, and Internet Art. Plummer-Fernández's work has been exhibited extensively, and commissioned by institutions including the Victoria & Albert Museum and Somerset House in London, ZKM in Karlruhe, AND Festival in Manchester. His works Digital Natives and Disarming Corruptor are in the collection of Centre Pompidou in Paris, and in 2014 Disarming Corruptor received an award of distinction at Ars Electronica. Plummer-Fernández is represented by Nome gallery, Berlin.
Moderation: Beate Anspach, Fabian Hesse
14:00 - 15:00 Uhr
Marc Rautenhaus (Uni Hamburg)
In meteorology and in climate science, visualization plays a major role in the analysis and communication of data gathered from observations and computer simulations. Visual depiction helps the scientist to make sense of large amounts of complex numerical data that otherwise would be incomprehensible. Advances in computer graphics and data analysis techniques, often driven by the entertainment industry, have in recent years also facilitated strong advances in scientific visualization techniques, with topics including interactive real-time graphics, 3D depiction, and uncertainty analysis. The "Met.3D" open-source project takes advantage of state-of-the art graphics technology and results from computer science research to make interactive 3D and uncertainty visualization accessible to the atmospheric community. Combination of 2D and 3D visualization with feature detection makes it possible to analyze weather forecasts and climate simulations in novel ways, for example, for the analysis of the dynamics of storms or of forecast uncertainty.
15:30 - 16:30 Uhr
Helen Pritchard: The underground is no longer (or never was) the exclusive realm of technocrats or geophysics experts.
The contemporary infrastructural complex of mining and measuring undergrounds depends on software tools for geological data handling, interpretation, and 3D-vizualisation. Such tools power techno-colonial subsurface exploration with computational techniques and paradigms. In this talk I will present the collaborative work of the *Underground Division* on the volumetric renderings that figure the so-called earth. Through speculative storying, queer infrastructural analysis and art-based inquiries I will discuss how these volumetrics are made operative by geocomputation, where geocomputation refers to the computational processes that measure, quantify, historicize, visualize, predict, classify, model, and tell stories of spatial and temporal geologic processes. In particular I will discuss what affirmative forms of queering damage, responsibility-taking or not, might be possible within these processes and practices of volumetric geocomputation.
Dr. Helen Pritchard’s work brings together the fields of computational aesthetics, more-than-human geographies, and queer trans*feminist technoscience. Her practice considers the impacts of computation and computational art on the figuration of environments and environmental justice–– for the development of inventive methodologies that propose otherwises. She is the co-editor of “Data Browser 06: Executing Practices”, published by Open Humanities Press (2018) and a special issue of Science, Technology and Human Values on “Sensors and Sensing Practices” (2019). Helen is an Associate Professor in Queer Feminist Technoscience and Digital Design at i-DAT, Plymouth University and a research fellow in Computational Art at Goldsmiths, University of London. Together with Femke Snelting and Jara Rocha she activates the creative research group the *Underground Division*. The *Underground Division* is an action-research collective that investigates technologies of subsurface rendering and its imaginations/fantasies/promises. As a follow-up on Possible Bodies' research on co-construction of so-called bodies and 3D paradigms, the-body-of-the-earth is now attended as the framework for a study on similar sensibilities but different spacetimes. The Underground Division bugs contemporary regimes of volumetrics that are applied to extractivist, computationalist and geologic damages. Their research will eventually culminate in the Trans*Feminist Scanning Program, a hands-on situation for device making, tool problematizing and "holing in gaug".
Moderation: Beate Anspach, Fabian Hesse
Die Vorträge finden auf Englisch statt.
Eine Veranstaltung der HFBK Hamburg und des Regionalen Rechenzentrums der Universität Hamburg im Rahmen des Programms Hamburg Open Science (HOS)