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Reverberating Across the Divide
Art tech project by Madeline Gannon for Madlab explores designing virtual forms through gestures, which are then physically realized with 3D printing - video embedded below:
Reverberating Across the Divide reconnects digital and physical contexts through a custom chronomorphologic modeling environment. The modeling interface uses a three phase workflow (3D scanning, 3D modeling, and 3D printing) to enable a designer to craft intricate digital geometries around pre-existing physical contexts.
Chronomorphology –– like its nineteenth-century counterpart chronophotography –– is a composite recording of an object’s movement. Instead of a photograph, however, the recording medium here is a full three-dimensional model of the objectвЂЉ—вЂЉa virtual creature simulated within a digital environment. This virtual creature exists as a 3D printable module; it is constructed as a closed mesh, with a spring skeleton that prevents self-intersections. The composite, chronomorphologic model (of the virtual creature over time) retains these printable properties at each time-step. Therefore, no matter how intricate or complex, the digital geometry will always be exported as a valid, 3D printable mesh.
The chronomorphologic modeling environment facilitates the rapid generation of baroque and expressive spatial forms that both respond and expand on existing physical contexts. By mediating 3D scanning and 3D printing through the modeling environment, the designer has a streamlined workflow for oscillating between virtual and analog environments. This ease between digital design and physical production provides a framework for rapidly exploring how subtle changes in the virtual environment, physical environment, or designer’s gestures can create dynamic variation in the formal, material, and spatial qualities of a generated design.
Examples developed with this project includes not only wearables, but also possibilities for sculptural motifs.
You can find out more about the project at Madlab here
What do the “black widow” Islamist suicide bombers reported to be headed for the Winter Olympics in Sochi look like? I think back to May 2012 when a series of Islamist bombings in Makhachkala, the capital of Dagestan, left 13 dead and over 130 injured.
Two weeks later, two suspected terrorists were cornered in a house by security forces and, after the intervention of protesters, some women carrying babies were allowed to leave the premises. The women were angry. One, who claimed both her brothers had been killed by Russian forces, said to me, “I am ready to do anything. I can blow myself up, together with all these nonbelievers.”
This week I was informed by an official in Makhachkala that the furious woman I spoke to was none other than Ruzana Ibragimova, one of the black widows desperately being sought by police after warning they had intelligence she was on her way to bomb the Winter Olympics in Sochi.
Police suspect Ibragimova is already in the Olympic city, having arrived from from Dagestan earlier this month. I also met recently another woman closely associated with Islamist terrorism, “Aisha” - not her real name - a niece of Doku Umarov, the leading Chechen terrorist who has promised to wage war against the Kremlin until his country is free of Moscow rule. Russians call him “the Russian Osama bin Laden.”
Umarov has been seen so rarely in the past decade, the authorities have pronounced him dead eight times. I asked Aisha when she had last seen him. It was in a mosque in the Ingush city of Nazran more than 10 years ago, in the midst of the second Chechen war, she said. (MORE: I Met the Black Widow Suicide Bomber - Newsweek)
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