During the last days I've done some simle tests on UDP communication between Processing and Maya. I've uploaded the resulting system, it works quite well and really fast with up to 250 agents, above that limit it slows down a bit, but it still good (I've tested it with up to 2000 agents, and it still works, even if quite slow...). The flocking script is based on Jose Sanchez's example "flocking_01" for the Plethora library ( www.plethora-project.com) The Python script is based on the examples of UDP communication from the Python wiki (http://wiki.python.org/moin/UdpCommunication)
INSTRUCTIONS (Availabel also in the Processing script)
- open Maya and load the 'processingToMaya_UDP_lineTracing.py' file in the script editor. - check that the 'IP port', 'bufferSize' fields are the same in the two scripts, and that the 'numElements' field in the Python script has the same value that the 'numParticles' field in Processing
- define the value of 'curveStep', in order to define the resolution of the final trajectory curves.
- run the Processing script and press 'u' to start the UDP stream. - run the Phyton script. It should start to stream the Processing particles into Maya. - if Maya is giving you a '10400 error', you need to increase the value of 'bufferSize' in both the scripts, or you need to check that all the values set above are the same in the two scripts. - when you want to stop the stream, go to the Processing window and press 'u' again. - in the Maya script editor you should get a message 'stream stopped'. If this does not happen, try to restart and restop the stream for processing. Do not try to do anything in Maya before getting the message, otherwise the software will crash. - once stopped the stream, you'll find in Maya one polyCube object for each Processing particle and a curve describing the particle trajectory. - if you do not want to have the trajectories curves,comment out all the lines after 'sock.close()' in the Python script and run the scripts again.
TYCHONIAN SEHNSUCHT - Sublime Bodies Fibers Team final submission for the Maribor 2112YC exhibition at the Venice Biennale 2012
Team Members: Xian Gong, Selma Koudsi, Yasser Mehanna, Andreea Nica, Andrea Rossi, Koichi Sugawara , Matteo Taramelli , Tanya Zabavska.
Sublime Boides Studio by Matias del Campo & Sandra Manninger Dessau Institute of Architecture
Divinior et excellentior sit Triangulorum sphæricorum cognitio, quam fas sit eius mysteria omnibus propalare. (Tycho Brahe)
Maribor, 15th June 2112 Everything started from a point. The most abstract point in the middle of the mountains in the North. From there, the rotation started.
In the beginning it was totally unclear what was all about. A gigantic organism slowly emerged from the ground, swallowing the land in a recursive spinning movement of expansion. Its fibers were ceaselessly weaving with each other, creating a continuously shifting scenario of growth.
Gradually, the system opened up, embracing the old city of Maribor in wide circles. Since then, people started to feel seduced by that weird organism that was flowing outside their houses. It was a strange feeling, mixing a fear for uncertainty and a yearning towards its incomprehensible complexity.
At that point the system suddenly started to grow back onto itself. Fibers started to spin around repeatedly narrower orbits, generating a redundant labyrinth of claustrophobic abysses. In this way, the organism emerged to be what we know today, or better, what we try to know.
The only way to explore and attempt to understand it is to enter, involving our bodies with the sensual experience of the space unfolding through time. The excessive nature of this encounter, rather than allowing for a complete understanding of the system, generates an erotic bond between us and the undefined spaces of the system we inhabit.
Until we won’t be able to grasp it, we’ll always desire it.
During next semester I'm going to be a tutor, togheter with Matteo Taramelli, Galileo Morandi and Silvia Bertolotti, of a series of workshops at Politecnico di Milano centered on computational tools for architecture.
The series is articulated in three separated workshops:
Convergent Ambiguities: From Slime Mold to Temporary Autonomous Architecture
Ambiguous: from Latin ambiguus "having double meaning, shifting, changeable, doubtful," adj. derived from ambigere "to dispute about," lit. "to wander," from ambi- "about" + agere "drive, lead, act".
Convergence: 1960s, from Latin convergere "to incline togheter" from com- "togheter" + vergere "to bend".
The City and The City is a book about borders, mental separation, illusion and ambiguities generated by the existence of two cities in the same body.
Slime mold (Physarum Polycephalum) is a biological organism that also has many ambiguities: it categorizes as a protist, it is a single cell organism but it contains multiple nucleuses, it shows complex behaviors despite its simple structure.
“Anonymous” is a cyber-activist collective based on self-organization and on the doubling of the identity, operated by its own members in order to remain “anonymous”.
This project draws inspiration from all these ambiguities and tries to create a new kind of architecture able to express them rather than eliminate dualities. It explores the world of biological organisms not as simple metaphors but as a repertoire of active production systems. The project also relies on the concept of “Temporary Autonomous Zone” (TAZ), defined as a momentary space of liberation from the control grid of the contemporary society, a space of continuous insurrection and change.
Situated in the near future, where censorship and repression are harming the freedom and the self-organized nature of the biggest network ever built by humans, the World Wide Web, we envisioned an architecture able to host the operations of the rebels of the new millennium.
The network logic derived from Slime Mold informs the creation of a virtual communication network between the different abandoned buildings of the IBA area, transforming them into pulsating nodes of an alternative topography of insurrection, hiding them and at the same time connecting them to the common world trough the virtual realm of the internet.
The nodes created become the place of birth of a new kind of architecture: non-planned, self-growing and self-sustaining, these “living organisms” could shelter the hacktivists in their foldings, offering at the same time a protection and the possibility of renegotiating the relationship between human, nature and architecture.
The materials of this architecture are not just inspired by biology, but they are biological by themselves, and the encoding of Internet protocols into protein chains and chemical gradients creates a biological firewall against intrusions in the virtual network of the rebels. The biological nature of the system itself accepts time and temporality as positive drivers of change and adaptation to different flows of matter and energy.
In all this, the project tries to create a vision, in which the architecture abandons its inert nature, in order to open itself to a positive dialogue between nature and the humankind, between the real and the virtual, between reality and Utopia, between “biophilia” and “technophilia”.
CodesInTheClouds design studio - prof. Liss C. Werner
Dessau Institute of Architecture
Slime Mold team: Lila Panahi Kazemi, Andrea Rossi