Post on 28-Mar-2016
description
PROCESSFOLIO++ ILLUSIE/
ERROR
PROCESSFOLIO++ ILLUSIE
Willekeurige inspiratie
4inspiratie
Vorm en Emotie
12onderzoek Kleur en Emotie
16onderzoek
Videomapping24
inspiratie
inspiratieLightpainting
30i
PROCESSFOLIO++ ILLUSIE
constructivisme
35inspiratie
De Stijl
42inspiratie
Shape of a song
48onderzoek
muziek + vorm
50inspiratie
Hedendaagste vormgeving
54Metric 72
Simon PageAtelier Olschinsky
Andreas Nicolas FischerChristoph KlemmAndy Huntington
James ClarEva Schindling
Jul et MatAndrew Nip & Andrew
SpitzCandas Sisman
Experimentele Typografie
76
Logo Expo
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inspiratie
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WILLEKEURIGE++ INSPIRATIE
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insp
irat
ie
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WILLEKEURIGE++ INSPIRATIE
SELECTIE METINSPIRATIE ++
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inspiratie
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WILLEKEURIGE++ INSPIRATIE
SELECTIE METINSPIRATIE ++
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insp
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WILLEKEURIGE++ INSPIRATIE
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inspiratie
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WILLEKEURIGE++ INSPIRATIE
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insp
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inspiratie
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SELECTIE METINSPIRATIE ++
WILLEKEURIGE++ INSPIRATIE
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insp
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SELECTIE METINSPIRATIE ++
WILLEKEURIGE++ INSPIRATIE
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the emotion of shape
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THE EMOTION OF SHAPE
Pavlova, M., Sokolov, A.A., & Sokolov, A. (2005). Perceived dynamics of static images enables emotional attribution. Perception, 34, 1107-1116.
Assigning emotions to shapes is nothing new. In experiments as early as the 1940s, individuals have been found to consistently apply the same emotions to shapes in schematic cartoons: “angry” triangles and “loving” circles. But only one study had attempted to see if people consistently assigned emotions to static shapes based on the appearance of dynamic forces.In that study, participants viewing two slashes ( / / ) tended to see the slash leaning towards the other as “bossy,” while the one leaning away was “submissive.” In 2005, Irena Pavlova, Arseny Sokolov, and Alexander Sokolov made the first study of emotions and dynamics in single shapes: they showed participants triangles,
ovals, and lines in a variety of orientations, and asked them to rate the figures for the emotions they conveyed.The triangle balanced on its point (Number 1 in the above figure) or lying on its side was viewed as the most stable, and similarly, the oval balanced on either its end or its side was seen as stable as well. Instability correlated significantly in these figures with perceived suffering and fear. For the triangle, the oval, and the line, there was a significant negative correlation between joy and the degree of rotation from vertical: the more vertical, the more joyous the figure appeared. This correlation held for anger as well, but only in the case of the oval and the line.Pavlova and her colleagues
argue that the implied imbalance in the pictures of static objects is what leads individuals to attribute emotion to them. They note as well that neural imaging of patients with Asperger Syndrome shows that the parieto-frontal circuits in these individuals are activated differently compared to normal individuals. Since one symptom of Asperger Syndrome is an inability to detect emotional states of others, the team suggests that there is a direct link between perception of the physical orientation of an object and perception of emotional states.This finding has implications for the field of art as well. If certain shapes are indeed associated with emotions, then this may partially explain the appeal
of abstract art. Rather than being a seemingly random collection of shapes, abstract art may evoke common emotions in many viewers.
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the
emot
ion
of s
hape
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THE EMOTION OF SHAPE
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the emotion of shape
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THE EMOTION OF SHAPE
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the
emot
ion
of s
hape
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THE EMOTION OF SHAPE
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color and moodchanging
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The most emotionally intense color, red stimulates a faster heartbeat and breathing. It is also the color of love. Red clothing gets noticed and makes the wearer appear heavier. Since it is an extreme color, red clothing might not help people in negotiations or confrontations. Red cars are popular targets for thieves. In decorating, red is usually used as an accent. Decorators say that red furniture should be perfect since it will attract attention.The most romantic color, pink, is more tranquilizing. Sports teams sometimes paint the locker rooms used by opposing teams bright pink so their opponents will lose energy.
COLOR AND MOODCHANGING. A THEORY OR?
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colo
r an
d m
oodc
hang
ing
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COLOR AND MOODCHANGING. A THEORY OR?
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color and moodchanging
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COLOR AND MOODCHANGING. A THEORY OR?
Currently the most popular decorating color, green symbolizes nature. It is the easiest color on the eye and can improve vision. It is a calming, refreshing color. People waiting to appear on TV sit in “green rooms” to relax. Hospitals often use green because it relaxes patients. Brides in the Middle Ages wore green to symbolize fertility. Dark green is masculine, conservative, and implies wealth. However, seamstresses often refuse to use green thread on the eve of a fashion show for fear it will bring bad luck.
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colo
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hang
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COLOR AND MOODCHANGING. A THEORY OR?
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color and moodchanging
The color of the sky and the ocean, blue is one of the most popular colors. It causes the opposite reaction as red. Peaceful, tranquil blue causes the body to produce calming chemicals, so it is often used in bedrooms. Blue can also be cold and depressing. Fashion consultants recommend wearing blue to job interviews because it symbolizes loyalty. People are more productive in blue rooms. Studies show weightlifters are able to handle heavier weights in blue gyms.
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COLOR AND MOODCHANGING. A THEORY OR?
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colo
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hang
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COLOR AND MOODCHANGING. A THEORY OR?
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color and moodchanging
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COLOR AND MOODCHANGING. A THEORY OR?Cheerful sunny yellow is an attention getter. While it is considered an optimistic color, people lose their tempers more often in yellow rooms, and babies will cry more. It is the most difficult color for the eye to take in, so it can be overpowering if overused. Yellow enhances concentration, hence its use for legal pads. It also speeds metabolism.
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colo
r an
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oodc
hang
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COLOR AND MOODCHANGING. A THEORY OR?
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videomapping
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++MAPPING
VIDEO++MAPPING
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vide
omap
ping
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++MAPPING
VIDEO++MAPPING
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videomapping
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Video Projection Mapping is an exciting new projection technique that can turn almost any surface into a dynamic video display. Specialized software is used to warp and mask the projected image to make it fit perfectly on irregularly shaped screens. When done right, the end result is a dynamic projection installation that transcends ordinary video projection.
VIDEO++MAPPING
++MAPPING
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vide
omap
ping
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VIDEO++MAPPING
++MAPPINGA-cero XV Aniversario. 3D Mapping
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videomapping
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VIDEO++MAPPING++MAPPING
vj constructiv augmented sculpture
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vide
omap
ping
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VIDEO++MAPPING++MAPPING
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lightpainting
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LIGHT ++ PAINTING
BEWEGING ++ KLEUR
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LIGHT ++ PAINTING
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lightpainting
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Light painting, also known as light drawing or light graffiti is a photographic technique in which exposures are made usually at night or in a darkened room by moving a hand-held light source or by moving the camera. In many cases the light source itself does not have to appear in the image. The term light painting also encompasses images lit from outside the frame with hand-held light sources.
LIGHT ++ PAINTING
all works can be found on lightgraff.org
BEWEGING ++ KLEUR
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light
pain
ting
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LIGHT ++ PAINTING
BEWEGING ++ KLEUR
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constructivisme
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CONSTRUCTIVISME
1919+
VORM ++ KLEUR
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cons
truc
tivis
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CONSTRUCTIVISME
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constructivisme
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Constructivism was an artistic and architectural philosophy that originated in Russia beginning in 1919, which was a rejection of the idea of autonomous art. The movement was in favour of art as a practice for social purposes. Constructivism had a great effect on modern art movements of the 20th century, influencing major trends such as Bauhaus and the De Stijl movement. Its influence was pervasive, with major impacts upon architecture, graphic and industrial design, theatre, film, dance, fashion and to some extent music.
CONSTRUCTIVISMEKazimir Malevitsj - black squareKazimir Malevitsj - red and black squareKazimir Melevitsj - red square
1919+ VORM ++ KLEUR
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cons
truc
tivis
me
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CONSTRUCTIVISME
VORM ++ KLEUR
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constructivisme
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CONSTRUCTIVISME
1919+ VORM ++ KLEUR
Lyubov Popova - no titleLyubov Popova - no titleLyubov Popova - no title
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cons
truc
tivis
me
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CONSTRUCTIVISME
VORM ++ KLEUR
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constructivisme
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CONSTRUCTIVISME
1919+
VORM ++ KLEUR
Alexander Vesnin - compositionAlexander Vesnin - compositionAlexander Vesnin - composition
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cons
truc
tivis
me
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CONSTRUCTIVISME
1919+
VORM ++ KLEUR
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de stijl
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DE STIJL
1917+
VORM ++ KLEUR
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de s
tijl
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DE STIJL
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de stijl
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Proponents of De Stijl sought to express a new utopian ideal of spiritual harmony and order. They advocated pure abstraction and universality by a reduction to the essentials of form and colour; they simplified visual compositions to the vertical and horizontal directions, and used only primary colors along with black and white.
DE STIJL
1917+
VORM ++ KLEURTheo van Doesburg and architect Cornelis Van Eesteren, drawingTheo van Doesburg Composition IXTheo van Doesburg Composition XIII
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de s
tijl
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DE STIJL
1917+
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de stijl
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DE STIJL
Piet Mondriaan Victory boogie woogiePiet Mondriaan Broadway boogie woogie
VORM ++ KLEUR
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de s
tijl
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DE STIJLVORM ++ KLEUR
1917+
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shape of a song
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The diagrams in The Shape of Song display musical form as a sequence of translucent arches. Each arch connects two repeated, identical passages of a composition. By using repeated passages as signposts, the diagram illustrates the deep structure of the composition.For example, the picture on the right was built from the first line of a very simple piece: Mary Had a Little Lamb. Each arch connects two identical passages. To clarify the connection between the visualization and the song, in this diagram the score is displayed beneath the arches.This diagram visualizes the refrain from the folk song Clementine. As you would expect, the refrain consists of multiple repetitions of the same passage--and that is exactly what the diagram shows. The score isn’t shown in this diagram since the notes would be too small to read.More complex compositions create more intricate diagrams. The diagram above represents one of the Goldberg Variations. It shows that the piece divides into two main parts, each made of a long passage played twice--or what a musician would call an “AABB” structure.The diagram, however, provides much more detailed information than the simple “AABB” notation. For instance, you can see that the A and B passages are loosely related, as shown by the bundle of thin arcs connecting the two halves of the piece.
SHAPE OF
A SONG
Arc Diagrams: Visualizing Structure in StringsMartin WattenbergIBM Research
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shap
e of
a s
ong
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SHAPE OF
A SONG
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muziek en vorm
MUZIEK + VORM
Ljósið (previously known as Let Yourself Feel) from Esteban Diácono on Vimeo.
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muz
iek
en v
orm
VORM + GELUID
MUZIEK + VORM
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muziek en vorm
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VORM + GELUID
140 dB from Tadas Svilainis on Vimeo.
MUZIEK + VORM
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muz
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VORM + GELUID
MUZIEK + VORM
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metric 72
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++INSPIRATIE
VORM ++ KLEUR
ACTUAL THREATGeometry of space 1-2-3
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met
ric
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METRIC 72
++INSPIRATIE
VORM ++ KLEUR afbeeldingen en info op www.metric72.com
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simon page
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Broken tilesalbum art
++INSPIRATIE
VORM ++ KLEUR
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sim
on p
age
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SIMON PAGE
afbeeldingen en info op simoncpage.co.uk
++INSPIRATIE
VORM ++ KLEUR
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atelier olschinsky
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Cities IV / Deconstructed
ATELIER OLSCHINSKY
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atel
ier
ols
chin
sky
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ATELIER OLSCHINSKY
++INSPIRATIE VORM ++ KLEUR
afbeeldingen en info op www.olschinsky.at
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Andreas N
icolas Fischer
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PL IVPL IIIPL I
ANDREAS NICOLAS FISCHER
++INSPIRATIE
VORM ++ KLEUR
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And
reas
Nic
olas
Fis
cher
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ANDREAS NICOLAS FISCHERVORM ++ KLEUR
afbeeldingen en info op http://anf.nu/
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Christoph K
lemm
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CHRISTOPH KLEMM
++INSPIRATIE
VORM ++ KLEUR
Orproject
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Chr
isto
ph K
lem
m
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CHRISTOPH KLEMM
++INSPIRATIE
VORM ++ KLEUR
afbeeldingen en info op http://www.klemmt.com
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Andy H
untington
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VORM ++ KLEUR
Cylinder
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And
y H
untin
gton
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afbeeldingen en info op http://andyhuntington.co.uk
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James C
lar
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++INSPIRATIE
VORM ++ KLEUR
Rolex Tower Order Chaos Order
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Jam
es C
lar
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JAMES CLAR
VORM ++ KLEUR
afbeeldingen en info op http://www.jamesclar.com/
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Eva S
chindling
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EVA SCHINDLING++INSPIRATIE
VORM ++ KLEUR
Liquid Sound Collision
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Eva
Sch
indl
ing
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EVA SCHINDLING++INSPIRATIE
VORM ++ KLEURafbeeldingen en info op http://www.evsc.net/
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Jul et Mat
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Metronomy - on the motorway
JUL & MAT
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VORM ++ KLEUR
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Jul e
t M
at
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JUL & MAT
++INSPIRATIE
VORM ++ KLEUR
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Andrew
Nip &
Andrew
Spitz
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Paper Note
ANDREW NIP & ANDREW SPITZ
++INSPIRATIE
VORM ++ KLEUR
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And
rew
Nip
& A
ndre
w S
pitz
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ANDREW NIP & ANDREW SPITZ
VORM ++ KLEUR
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Candas S
isman
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Flux
CANDAS SISMAN
++INSPIRATIEVORM ++ KLEUR
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Can
das
Sis
man
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CANDAS SISMAN
++INSPIRATIEVORM ++ KLEUR
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experimentele typografie
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TAAL IS ++ GELUID BEELD ++
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expe
rim
ente
le t
ypog
rafie
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TAAL IS ++ GELUID BEELD ++
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experimentele typografie
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logo expo
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BELGISCHE ++LOGO TENTOONSTELLING
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logo
exp
o
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BELGISCHE ++LOGO TENTOONSTELLING
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logo expo
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