Skärgården

Skärgården (The Archipelago)

Skärgården re-imagines cold war paranoia in the Stockholm archipelago in light and sound.

These rocky islands serve both as the city’s summer playground and, since Viking times, as a defensive maze guarding the sea approach to Stockholm. In the 70s and 80s, worries about encroaching soviet submarines and electronic warfare sparked public controversy leading to the creation of secret military installations in the islands, and even live fire incidents with depth charges being deployed against the possibly imaginary invaders.

The heart of this art installation is a self-organizing wireless mesh network that alludes to Sweden’s early lead in wireless technology with node behavior that mirrors aspects of both the isolation and cooperation of an interconnected system of separate parts.

This work made possible by the Frank C. Springer Family Innovative Faculty Award.

digital fabrication / networked object
Media: microcontrollers, plywood, 3D prints
Dimensions: variable
Year: 2017-2018
A node in the net

© 2018 chad eby

With dance is sedative dogsbody. No blame.

With dance is sedative dogsbody. No blame.

This piece is a textual meditation on meaning and obfuscation. A mash-up between nonsense emails meant to poison Bayesian spam filters and commentary from the I-Ching, the piece presents a shifting wordscape teetering on the brink of sense.

Tune in by scanning for open WiFi access points on your mobile device.​

networked object
Year: 2018
Exhibition view

© 2018 chad eby

I am RenderBot

I am RenderBot (I dream pixels)

A networked autonomous art machine consisting of a Raspberry Pi 3 with Blender and Python scripting. Every two hours, at fifteen minutes after the hour, the little bot posts the most recently generated image to its own account on Twitter.

Currently, @IamRenderBot is creating reticulated biomorphic forms based on the “superformula” algorithm by Johan Gielis and rendering them as 800×800 px images with HDR-based lighting. Now, images are also stamped with the generating parameters for recreation at higher resolution later.  

The idea for the render bot came from a Medium article by Etienne Bouteillé, who provides an excellent write-up on how to get a Raspberry Pi rendering images with Blender.

render machine
Year: 2018
Blender environment

© 2018 chad eby

Experimental Renders

Experimental Renders

Recent visual experiments with 3D modeling and rendering, often involving procedural or generative geometric elements (and or letterforms) combined with intense physical simulation of light and surface interaction. 

Most of these images were produced with free and open source software, including Blender (with its venerable Cycles rendering engine), MeshLab and Wings 3D.

renders
Year: 2018
Non-photo-real rendering

© 2018 chad eby

Color Box

Color Box

This project grew out of my experience teaching beginning design students who had been through a traditional color class and seemed to have no intuitive sense of the digital representation of color.

The device has three sliders and a toggle switch: in RGB mode, each slider represents proportions of red, green and blue respectively, and in HSV mode they represent hue, saturation and value. In both modes, the sliders regulate those parameters of a set of colorful LED lights.

By setting the mode and then playing with the sliders, a feeling for the proportions of red, green and blue or hue position required to make a particular color soon develops—and without the sometimes intimidating interface of an Adobe product.

digital fabrication / interactive object
Media: microcontroller, plywood, acrylic, code
Dimensions: variable
Year: 2017-2018
RGB red

© 2018 chad eby

Subdivision Surfaces

Subdivision Surfaces

A collaboration with Stefan Petranek and Herron students to produce a series of digital prints as a commission for a biomedical research facility.

Subdivision surface modeling is a type of 3D form creation that begins with a primitive geometric mesh, the polygonal faces of which are then iteratively subdivided and refined into progressively more complex and organic forms. The objects derived from this process tend to conserve volume while minimizing surface area; a feature common to very small organisms such as diatoms.

Each piece shows a snapshot of the progressive iteration of
form from planar cage to complex organic figure. The prints are meant to convey the notion of progressive refinement, the positive power of iterative processes and the complex relationships between technology and nature.

digital print
Media: large format ink-jet on aluminum
Dimensions: 79cm x 79cm
Year: 2017
Still under wraps

© 2018 chad eby

Antinodal

Antinodal

This piece, part of Primary Colours’ Installation Nation is a participatory listening piece where people can experience the ambient soundscape filtered by polycarbonate tubes into a pleasant drone.

The tubes are cut to lengths that resonate at frequencies tuned to the pentatonic scale–so that by placing different tubes to each ear, various harmonies may be enjoyed. Requiring no power or circuitry, Antinodal nonetheless provides a subtle shift to the sounds in the outdoor space around the participant to evoke a playful sense of mindfulness. Visually, the piece is mysterious (and a little intimidating), but engagement with it reveals its benign fun.

sound object
Media: plywood, polycarbonate tubes, plastic chair
Dimensions: 6 m x 1.5 m x 1.24 m
Year: 2017
In production

© 2018 chad eby

Phlogiston

PHLOGISTON

PHLOGISTON is an ever-changing minimalist generative video piece using strategies of drunk walks, logical operators and cellular automata rules to produce a lively monochromatic tiled bitscape. 

The title of the piece refers to an 18th century notion of a combustible substance that was thought to exist in flammable materials. In this work, the “burning” pixels ebb and flow from ember to flame, and alternate between architectural grids and organic cell clusters.

Since there are over 2.4 * 10^173 possible graphical combinations of the grid, if PHLOGISTON generated a unique image every frame, it would require about 1.9 times the current age of the universe to exhaust all possibilities. (Based on Bitfill code from Andrew Benson’s Jitter Recipes Book 4)

motion
Media: generative code
Year: 2017
Still frame

© 2018 chad eby

Semantic Light

Semantic Light

My role as part of a small team at KTH and LivingNetworks provided me an opportunity to work with talented entrepreneurs, scientists and developers to imagine and create new experiences related to mobile devices. Much of that activity was focused on Semantic Light, smart lighting that is human-, task- and context aware. What follows is a very brief synopsis of some of that work.

various
Projects: soundLight, PCC, IKEA Lillebo, mobiSLIM
Role: Research Engineer (KTH) / Lead Designer (LivingNetworks)
Year: 2011-2017
Exhibition at the Swedish National Museum of Science and Technology

© 2018 chad eby