# Studio A N F — Full Index > https://studioanf.com — Berlin-based generative art and media installation studio, founded 2008 by Andreas Nicolas Fischer. > Machine-readable index of all pages and projects. Generated 2026-09-10. ## About Studio A N F URL: https://studioanf.com/info Studio A N F is a Berlin-based studio creating generative, realtime and interactive systems for physical space. Its work combines computational art, realtime graphics, simulation, sensing and artificial intelligence across architecture, media façades and immersive environments. Founded in 2008 by media artist and designer Andreas Nicolas Fischer, the studio has developed computational work across software, screens, installations and architecture for more than fifteen years. The underlying approach remains consistent: rather than designing fixed sequences of images, Studio A N F builds systems that generate, evolve and, where appropriate, respond to their surroundings. What Studio A N F does - Media architecture. Permanent computational artworks developed specifically for architectural LED surfaces, media façades, atriums and large-scale displays. - Interactive systems. Realtime environments that use cameras, sensors and live data to perceive activity and respond dynamically. - AI & adaptive media. Neural generation, computer vision and machine-learning models integrated into larger realtime systems. - Realtime environments. Generative visual systems computed continuously for architectural displays, lobbies and immersive spaces. - Generative systems. Rule-based computational works, visual identities and physical outputs produced from systems rather than fixed compositions. A systems-based practice Studio A N F approaches digital media as something that can behave rather than simply play back. Algorithms, simulations and generative rules define how a work develops over time, while sensors, data and machine-learning models can extend those systems with perception and adaptation. The studio's practice moves between art, design and engineering. Projects can exist as autonomous software artworks, permanent architectural installations, interactive environments or computational systems translated into print and physical form. Technology is selected according to the requirements of the work rather than determining its aesthetic. Current projects combine realtime graphics engines, GPU computation, custom shaders, simulation, computer vision and neural models where they provide meaningful behaviour or new visual possibilities. Andreas Nicolas Fischer Andreas Nicolas Fischer is a Berlin-based media artist and generative designer working with computational systems, generative processes and digital media. He began developing generative software work in 2007 and founded Studio A N F in Berlin in 2008. Fischer graduated from the Berlin University of the Arts, where he studied under Professors Joachim Sauter and Jussi Ängeslevä. His practice has developed from early generative software and physical works into large-scale realtime installations and permanent media architecture. Selected clients and collaborators Studio A N F has developed work for and with organisations including Hyundai, Volkswagen Group / CARIAD, Samsung, Audi, Mercedes-Benz, Hugo Boss, Diesel, OPPO and Time Warner. Selected exhibitions and presentations Studio A N F and Andreas Nicolas Fischer's work has been presented internationally at institutions and events including HEK Basel, Kiasma Helsinki, Eyebeam New York, Today Art Museum Beijing, LEAP Berlin, DAM Berlin, the Austrian Film Museum in Vienna, Rua Red Arts Centre Dublin, SECCA in the United States and GLOW Eindhoven. Other projects include a live audiovisual performance with the Winston-Salem Symphony Orchestra and visual work created for the Flying Lotus 2016 tour. Based in Berlin, working internationally Studio A N F is based in Berlin, Germany and develops projects internationally with architects, developers, brands, cultural institutions, art consultants and technical partners. For commissions and collaborations, email studio@studioanf.com. Press and citation Preferred credit: Studio A N F / Andreas Nicolas Fischer, Berlin. ## FAQ URL: https://studioanf.com/faq Who is Studio A N F? Studio A N F is a Berlin-based studio creating generative, realtime and interactive systems for physical space. The studio develops computational artworks for architecture, media façades, LED installations and immersive environments using generative software, realtime graphics, sensing and artificial intelligence. Founded by Andreas Nicolas Fischer in 2008, Studio A N F has delivered permanent and temporary projects internationally. Recent work includes Hyundai Headquarters Seoul, Volkswagen Group / CARIAD at IAA Mobility 2025, 1275K Washington DC and MIXC Hangzhou. Where is Studio A N F based? Studio A N F is based in Berlin, Germany and works internationally. Projects are developed in collaboration with architects, developers, art consultants, brands, media integrators and local production teams around the world. Who founded Studio A N F? Andreas Nicolas Fischer founded Studio A N F in Berlin in 2008. Fischer is a media artist and generative designer and studied at the Berlin University of the Arts. His work with computational and generative systems began in 2007. What is media architecture? Media architecture integrates digital media into the physical and spatial experience of a building. This can include LED façades, large architectural displays, atriums, lobbies and other surfaces designed as permanent parts of the architecture. Studio A N F approaches these surfaces as computational environments. Instead of relying on a fixed sequence of prerecorded content, the studio can create realtime systems that generate and evolve continuously as part of the building. What is a generative media façade? A generative media façade is an architectural display driven by software rather than a fixed video timeline. Algorithms, simulations and computational rules continuously determine what appears on the surface, allowing the artwork to produce new visual states over time. Studio A N F's projects for MIXC Hangzhou and Hyundai Headquarters Seoul are examples of generative systems developed specifically for architectural LED surfaces. What does a media architecture commission cost? Site-specific architectural commissions typically begin around 30,000 EUR and increase according to the scale of the installation, software complexity, display geometry, sensing or data requirements, technical integration and commissioning requirements. Each architectural project is quoted individually after reviewing the location, display system, intended behaviour and production scope. Licensing of existing artworks is handled separately from custom commissions. What is the difference between generative art and AI art? Generative art is created through systems of rules, algorithms, simulation, probability and other computational processes defined by the artist. AI-generated art uses trained neural networks such as GANs or diffusion models to generate or transform visual information. Studio A N F works with both. The studio has developed rule-based generative systems since 2007 and neural generative work since 2018. In contemporary projects, AI can become one component within a larger realtime system rather than defining the work by itself. What does AI mean in Studio A N F's practice? AI is treated as a computational material rather than a visual genre. Neural models can generate imagery, interpret camera input, transform data or influence the behaviour of a realtime environment. The model is usually only one layer of the system. Realtime graphics, simulation, sensing and custom software determine how the installation behaves continuously in physical space. Does Studio A N F use AI image generators? Yes, where they are appropriate to the project. The studio works with diffusion models, GANs and other neural techniques, but generally builds them into broader computational pipelines rather than using prompting as the finished production method. Models can run as part of realtime installations, interact with generative graphics or respond to cameras, sensors and live data. Can AI run locally without cloud services? Yes. Where reliability, privacy or long-term operation requires it, neural models can run directly on the installation hardware. This removes dependency on external APIs and allows data and model inference to remain within the local system. What software does Studio A N F use? Studio A N F primarily works with TouchDesigner, Unreal Engine, GLSL, GPU computation and custom software. AI workflows can incorporate ComfyUI, diffusion models, StreamDiffusion and other neural tools. The technology is selected according to the visual concept, hardware, resolution, latency and operational requirements of each project rather than determining the aesthetic in advance. Can I hire Studio A N F for TouchDesigner development? Yes, although Studio A N F typically works on complete realtime and generative systems rather than software development in isolation. Projects can include TouchDesigner development, custom shaders, simulation, computer vision, sensing, media-server integration and deployment. Email studio@studioanf.com with the project context, location and timeline. Does Studio A N F create interactive installations? Yes. Interactive systems can use cameras, spatial tracking, sensors, environmental information and live data to influence generative environments in realtime. Interaction can range from direct responses to individual movement to more ambient systems that adapt gradually to audience activity or changing environmental conditions. Can interactive installations operate without storing personal data? Yes. Camera-based systems can extract abstract information such as position, movement, direction and occupancy without using facial recognition or storing personally identifiable imagery. Where required, computer vision can also run entirely on local installation hardware. Can realtime generative installations run permanently? Yes. Studio A N F develops permanent systems for unattended operation on dedicated media hardware. Installations can include automatic startup, recovery, remote monitoring and maintenance so that they operate as part of the building rather than requiring daily playback management. Five realtime environments developed for 1275K in Washington DC have operated as part of the building's permanent media installation since 2022. Can Studio A N F work with our LED integrator or architect? Yes. Studio A N F regularly collaborates with architects, LED integrators, media consultants, art consultants and local technical teams. The studio can develop the artwork and computational system while specialist partners provide display hardware, structural engineering and local installation infrastructure. The studio can join a project with an existing technical specification or collaborate during the design phase before the media system has been finalised. Does Studio A N F work internationally? Yes. Studio A N F is based in Berlin and works internationally, with projects delivered across Europe, Asia, North America and South America. On-site commissioning can be provided where required, while development and technical coordination can also take place remotely with local partners. Does Studio A N F take commissions? Yes. The studio accepts commissions for media architecture, realtime environments, interactive systems, generative artworks and AI-driven adaptive media. For a project inquiry, email the studio with the location, intended installation, timeline and any available information about the display or spatial context. Does Studio A N F sell generative prints? Yes. Selected generative works are available as physical editions from series including V0ID, Schwarm, Karst and others. Email studio@studioanf.com for current availability and pricing. How do I contact Studio A N F? For commissions, collaborations, press and other inquiries, email studio@studioanf.com. Studio A N F is based in Berlin, Germany and works with clients and collaborators internationally. ## Contact URL: https://studioanf.com/contact Studio A N F is a Berlin-based studio creating generative, realtime and interactive systems for physical space. The studio works internationally with architects, developers, brands, art consultants, cultural institutions and technical partners. Project inquiries For commissions and collaborations, email studio@studioanf.com. Studio A N F handles project inquiries directly by email and usually responds within two to three business days. A useful first message includes: - Project context. Location, architectural setting and, where relevant, LED dimensions, resolution, screen configuration or spatial plans. - Timeline. Target installation, opening or launch date and any important production milestones. - Budget. An approximate production range where available. Early-stage inquiries without a defined budget are also welcome. - Client. The company, developer, institution or project the work is being developed for. - Scope. A short description of what the installation should do, how permanent it is and whether realtime graphics, interaction, sensing or AI are being considered. Projects normally begin with a short introductory call to review the creative direction, technical context and production requirements. Studio A N F then proposes an appropriate scope, production approach and quotation. Working internationally Studio A N F is based in Berlin, Germany and works on projects worldwide. The studio can collaborate directly with local architects, media consultants, LED integrators and production teams, with on-site commissioning where required. Press and interviews For press inquiries, interviews and publication requests, email studio@studioanf.com with "Press" in the subject line. Preferred credit: Studio A N F / Andreas Nicolas Fischer, Berlin. Studio Studio A N F Berlin, Germany studio@studioanf.com ## Service: Media Architecture URL: https://studioanf.com/services/media-architecture Studio A N F creates permanent computational artworks for architecture. Installed on large-scale LED surfaces, media façades and architectural displays, these systems generate their imagery continuously in realtime — responding to time, data, environment and, where appropriate, artificial intelligence. Rather than producing content that is rendered and played back, Studio A N F builds the software system that becomes part of the architecture. The artwork runs autonomously, continuously generating new visual states over months and years. Founded by Andreas Nicolas Fischer in Berlin in 2008, Studio A N F has developed generative and computational artworks for architectural environments for more than fifteen years. Recent permanent installations include Hyundai Headquarters Seoul, MIXC Hangzhou, Beomjin Building Seoul and Longhua Hui Shanghai. Computational systems for architecture - Site-specific systems. Every work is developed around the architecture, physical context, viewing conditions and characteristics of its display surface. - Realtime generative software. The artwork exists as software rather than a fixed timeline, continuously generating new visual states. - Autonomous operation. Systems are engineered for permanent, unattended operation and integration with architectural media infrastructure. - Responsive environments. Time, weather, cameras, sensors, live data and machine-learning models can become inputs to the work. - Architectural integration. Studio A N F works directly with architects, media consultants, art consultants, developers and LED integrators from initial concept through commissioning. - Long-term operation. Remote support, maintenance and continued development can be provided after installation. Generative, responsive and intelligent A media architecture project can operate as a completely autonomous generative system or respond dynamically to its surroundings. Computer vision, environmental sensing, live data and machine-learning models can allow the work to perceive and respond to changes in the building and its environment. These inputs do not determine a fixed sequence of images. They influence the behaviour of the underlying computational system, creating an artwork that remains recognisable while continuously producing new states. Recent projects Hyundai Headquarters, Seoul — 2026 Permanent ultra-wide generative installation for the headquarters atrium, developed with LED.art. MIXC Hangzhou — 2024 Large-scale realtime generative media façade delivered with Vantaly Shanghai. Beomjin Building, Seoul — 2023 Permanent full-building generative media façade curated by LED.art. Longhua Hui, Shanghai — 2023–2024 Realtime synthetic natural environment developed as a continuously evolving architectural landscape. How Studio A N F works 01 — Architecture Studio A N F analyses the building, viewing conditions, display geometry, pixel grid and technical infrastructure. 02 — System A computational concept defines how the artwork behaves, evolves and responds over time. 03 — Prototype The system is developed against the actual display geometry and tested through simulation, realtime previews and hardware tests where required. 04 — Integration The finished software is deployed together with the local media or LED integrator and calibrated on the architectural surface. 05 — Operation The work runs autonomously on the building's media infrastructure, with optional remote monitoring, maintenance and continued development. Technical integration Each system is engineered for the actual resolution, aspect ratio, pixel geometry, brightness limits and viewing distance of its architectural surface. The artwork runs natively as a realtime system rather than as a prerecorded video timeline. Studio A N F can integrate with existing media-server infrastructure or collaborate with the project's technical team during system design. Depending on the installation, projects can incorporate realtime graphics engines, custom software, sensors, cameras, environmental data, external data sources and machine-learning systems. What does a media architecture commission cost? Permanent architectural commissions are quoted individually based on scale, software complexity, sensing and data requirements, integration, commissioning and long-term operational requirements. Studio A N F can work from an existing architectural media specification or collaborate with architects, consultants and integrators during the technical design phase. A project scope and quotation are developed after reviewing the location, display system and intended behaviour of the artwork. Does the system need staff to operate it? No. Studio A N F's media architecture systems are designed for autonomous operation on the building's media infrastructure. Once deployed, the artwork continuously generates its visuals without requiring a playback operator or manually scheduled video content. ## Service: Interactive Systems URL: https://studioanf.com/services/interactive-systems Studio A N F creates interactive and adaptive media systems that perceive what is happening around them and respond in realtime. Cameras, sensors, live data and generative software are combined into a single computational system, allowing an installation to react continuously to people, movement and its environment. Rather than triggering a fixed set of animations, Studio A N F designs systems in which perception becomes an input to an evolving visual process. The result is an environment that changes with its audience while retaining a coherent visual identity. For Volkswagen Group / CARIAD at IAA Mobility 2025 in Munich, Studio A N F developed a camera-tracked realtime system spanning a 14,000 × 2,000 px LED wall measuring approximately 15 × 5.5 metres. Two network cameras translated audience movement into anonymized spatial data used by the generative system. Realtime perception and response - Computer vision and tracking. Cameras can translate presence, position, movement and activity into abstract realtime data that drives the artwork. - Generative response. Interaction influences the behaviour of a continuously running visual system rather than simply triggering prerecorded sequences. - Sensors and live data. Physical sensors, environmental conditions, external data sources and networked systems can become inputs to the installation. - Privacy-conscious design. Interactive systems can operate using anonymous positional and motion data without facial recognition or storage of personally identifiable information. - Adaptive environments. Screens, LED surfaces, lighting and spatial media can operate as one coordinated system responding to the same realtime inputs. - Local AI and machine learning. Where useful, computer vision and machine-learning models can interpret complex input directly on the installation hardware without sending data to external cloud services. From interaction to behaviour The objective is not simply to make a screen react when someone walks past it. Studio A N F develops computational behaviours that connect perception and visual output in more subtle ways. Audience density, direction, speed, proximity, gesture or environmental conditions can influence composition, movement, colour, structure and the evolution of the system over time. This allows interaction to range from immediate and clearly legible responses to ambient systems whose behaviour changes gradually as activity in the space changes. Recent projects Volkswagen Group / CARIAD @ IAA Mobility 2025 Camera-tracked realtime generative environment spanning a 14k × 2k LED wall and 360-degree wraparound display in Munich. The Origin of the Quantum Dot — Samsung, IFA 2016 Large-scale spatial media installation combining 45 SUHD displays with approximately 9,000 suspended pieces of stained glass in Berlin. Reflection II — 2010 Interactive sculptural installation developed with Benjamin Maus, exploring the relationship between physical presence, computation and visual response. How Studio A N F works 01 — Space Studio A N F analyses the venue, audience flow, display configuration, viewing conditions and technical infrastructure. 02 — Perception The appropriate sensing approach is defined, from cameras and spatial tracking to physical sensors, environmental data or external information sources. 03 — Behaviour A computational model defines how the system interprets its inputs and how those inputs influence the visual environment. 04 — Prototype Tracking, latency, interaction logic and visual response are tested before deployment using representative hardware and simulated environments where appropriate. 05 — Integration The complete system is installed, calibrated and integrated with the project's LED, display, lighting and media infrastructure. Privacy and computer vision Interactive installations do not need to identify individual visitors. Studio A N F can design camera-based systems that extract only the abstract information required by the artwork, such as position, movement, direction or occupancy. Facial recognition is not required, and personally identifiable imagery does not need to be stored. Where project requirements allow, perception and machine-learning processes can run locally on the installation computer so that visual data remains inside the system. Can interactive systems run permanently? Yes. Studio A N F designs realtime systems for both temporary events and permanent architectural installations. Permanent systems can be engineered for autonomous operation, automatic startup and recovery, remote monitoring and long-term maintenance without requiring an operator to run the experience manually. ## Service: AI & Adaptive Media URL: https://studioanf.com/services/ai-adaptive-media Studio A N F develops AI and adaptive media systems in which neural networks become part of a larger computational environment. Models can generate imagery, interpret sensor input, transform live data or influence the behaviour of a realtime visual system. The objective is not simply to generate images with AI. Studio A N F integrates neural models with realtime graphics, simulation, sensing and generative software to create systems that can perceive, generate and adapt continuously. The studio has worked with generative neural networks since 2018, from early GAN-based experiments to contemporary diffusion and realtime inference pipelines. AI is treated as a computational material — one layer within a broader system rather than a visual genre in itself. AI as part of a realtime system - Neural generation. GANs, diffusion models and other generative networks can produce or transform visual material continuously as part of a running installation. - Realtime integration. Neural pipelines can operate alongside TouchDesigner, Unreal Engine and custom software, connecting AI output directly to realtime graphics and simulation. - Adaptive behaviour. Cameras, sensors, environmental conditions, live data or audience activity can condition how the system generates and evolves. - Computer vision. Neural models can interpret movement, objects, spatial activity and other visual information before translating it into abstract inputs for the artwork. - Project-specific models. Fine-tuning, custom datasets and specialised workflows can be used where existing models do not provide the required visual language or behaviour. - Local inference. Where required, models can run entirely on installation hardware without depending on external AI services or cloud APIs. From generation to adaptation A conventional generative-AI workflow produces an output from an input. An adaptive media system introduces a continuous feedback loop: the environment provides data, the system interprets it, computation changes its internal state, and the resulting output becomes part of an evolving realtime experience. Neural networks can operate at different points inside this loop. They may generate visual material directly, analyse camera input, classify environmental information, transform data into latent representations or influence the parameters of an existing generative system. This makes AI particularly useful when combined with media architecture and interactive environments, where an installation may need to remain visually coherent while responding to changing conditions over long periods of time. Selected AI work AI Hypercore: Digital Pop Art Maximalism — 2024 Generative AI used to construct highly dense synthetic visual worlds exploring contemporary image culture and machine-generated aesthetics. Hypercore Mandelbrot Set — 2024 AI-augmented generative work combining the mathematical structure of the Mandelbrot set with neural image synthesis. Generative Adversarial Portraits — 2020 Early GAN-based work exploring the latent visual space of machine-generated portraiture. GAN Sculptures — 2020 Physical sculptures derived from neural generative processes and translated from computational forms into 3D-printed objects. How Studio A N F works 01 — System Studio A N F defines what role AI should play within the project: generation, perception, transformation, classification or adaptive control. 02 — Pipeline The appropriate models, realtime engines, data sources and hardware are combined into a working computational pipeline. 03 — Prototype Models and system behaviour are tested against the actual visual, performance and latency requirements of the installation. 04 — Integration The neural pipeline is integrated with the project's realtime graphics, sensors, media servers and display infrastructure. 05 — Deployment The complete system is delivered for ongoing operation, including the required models, software configuration and technical documentation. Does the AI system require a cloud service? No. Where privacy, reliability or long-term operation requires it, Studio A N F can run neural inference locally on the installation hardware. Models and weights remain part of the deployed system, eliminating dependency on external APIs and allowing installations to continue operating independently of third-party AI services. How is this different from prompting an AI image model? Prompting produces an output. Studio A N F designs the computational system around the model: how it receives information, how it generates or interprets data, how its output interacts with realtime graphics, and how the entire process behaves continuously in physical space. The model is therefore not the finished work. It is one component inside a larger system that can run, perceive and evolve. ## Service: Realtime Environments URL: https://studioanf.com/services/realtime-environments Studio A N F creates realtime generative environments that are computed continuously rather than played back as prerecorded content. Each frame is generated live, allowing the visual system to evolve over time without relying on a fixed video timeline. These environments can inhabit architectural LED surfaces, lobbies, atriums and immersive spaces, transforming screens into continuously running computational systems rather than passive display surfaces. Studio A N F develops realtime environments using TouchDesigner, Unreal Engine and custom GPU-based software. At 1275K in Washington DC, five generative environments have operated continuously as part of the building's permanent media installation since 2022. Generative systems running live - Realtime generation. Visuals are computed frame by frame rather than rendered in advance, allowing the system to generate continuously changing compositions. - Architectural scale. Systems can be designed for conventional displays, ultra-wide LED surfaces, atriums, lobbies and large immersive environments. - GPU-based graphics. TouchDesigner, Unreal Engine, GLSL shaders, particle systems, simulation and custom software are combined according to the requirements of each project. - Autonomous operation. Permanent installations are engineered for unattended operation, automatic startup and recovery on architectural media servers. - Adaptive input. Time, environmental data, sensors, cameras or external data sources can influence the behaviour of the environment in realtime. - AI integration. Neural generation and machine-learning pipelines can become additional layers within the realtime system where they provide meaningful new behaviour or visual possibilities. Beyond playback A prerecorded animation has a beginning, an end and a fixed sequence of frames. A realtime environment behaves more like a living visual system: rules, simulations and generative processes determine what appears on screen at any given moment. The system can evolve gradually, introduce variation at multiple timescales and respond to changing inputs while maintaining a consistent visual language. This makes realtime environments particularly suited to permanent architectural installations, where the work may be experienced repeatedly over many years. Depending on the project, the resulting behaviour can range from subtle ambient evolution to complex simulated worlds containing particles, natural systems, procedural geometry or adaptive machine-generated imagery. Recent projects 1275K, Washington DC — 2022 Five permanent realtime generative environments developed for a high-resolution architectural LED installation and operating continuously since 2022. 1275K Reflections — 2022 Permanent generative light environment extending realtime computational behaviour from the primary media installation into the surrounding architectural lighting. Longhua Hui, Shanghai — 2023–2024 Realtime synthetic natural environment developed in Unreal Engine as a continuously evolving architectural landscape. Hotel JEN Kunming — 2024 Permanent realtime generative environment developed for a large-scale media installation in the hotel lobby. How Studio A N F works 01 — Environment Studio A N F analyses the architecture, display geometry, resolution, viewing conditions and media-server infrastructure. 02 — Behaviour A generative concept defines the rules, simulations and visual processes that determine how the environment evolves over time. 03 — Prototype The realtime system is developed against the actual pixel geometry and tested for visual quality, performance and long-term stability. 04 — Integration The finished environment is deployed on the installation hardware and calibrated with the project's LED, media-server and technical teams. 05 — Operation The system runs autonomously, with optional remote monitoring, maintenance and future extensions after commissioning. Realtime technology Studio A N F primarily develops realtime environments with TouchDesigner and Unreal Engine, supplemented by custom GLSL shaders, GPU computation and additional software where required. The technology is selected according to the visual system rather than defining its aesthetic. AI models, computer vision, sensors and external data can be integrated into the same architecture, allowing a realtime environment to develop from a purely autonomous generative system into a responsive or adaptive one. Can a realtime environment operate permanently? Yes. Permanent realtime environments are designed for continuous unattended operation on dedicated media hardware. Systems can include automatic startup, recovery and remote maintenance so that the work functions as part of the building rather than requiring an operator to launch or manage content manually. ## Service: Generative Systems URL: https://studioanf.com/services/generative-systems Studio A N F designs generative systems: computational frameworks that create visual outcomes from rules rather than fixed compositions. Instead of designing a single image, the studio defines a visual language and the system capable of producing many variations within it. A generative system can exist as an autonomous artwork, a visual identity, a print process or the underlying logic of a large-scale installation. Each output can be different while remaining recognisably part of the same system. Andreas Nicolas Fischer has developed generative work since 2007, preceding the foundation of Studio A N F in Berlin in 2008. The studio's practice has since moved between software art, algorithmic drawing, large-scale prints, generative identities and permanent computational environments. Designing systems instead of images - Generative artworks. Rule-based software creates drawings, images, compositions and continuously evolving visual works rather than reproducing a predetermined image. - Computational identities. Logos, patterns and graphic elements can exist as variable systems whose outputs change while preserving a coherent visual identity. - Executable design rules. Visual principles can be encoded directly into software, turning design logic into a system that produces its own applications. - Multiple outputs. A single generative system can produce material for print, digital displays, products, publications and architectural surfaces at different resolutions and formats. - Physical translation. Computational structures can be translated into large-scale prints, murals, textiles, objects and other material applications. - Spatial extension. Generative systems can become the visual foundation for realtime environments and permanent media architecture. A space of possibilities Traditional design defines a finished composition. Generative design defines the conditions from which compositions emerge. Parameters, constraints, probability, geometry, simulation and algorithmic processes establish a space of possible outcomes rather than a single final image. The central design problem therefore becomes one of authorship at the level of behaviour: determining what can change, what remains constant and how variation can occur without losing the identity of the work. This approach allows a visual language to expand across thousands of outputs or continuously over time while retaining the underlying characteristics that make the system recognisable. Selected projects MOMACS Generative Identity — 2019 Generative logo system for the MOMACS Institute at the University of Pittsburgh, producing algorithmic variations within a defined visual structure. Ilaria Nistri × ANF — 2015 Generative visual systems translated into textile patterns for fashion applications. Third Nature II — 2022 Large-scale architectural mural translating the studio's Third Nature generative system from computation into physical space. Supervoid One — 2020 Generative software artwork from the V0ID series, constructed as an autonomous computational system rather than a fixed digital image. How Studio A N F works 01 — Language Studio A N F defines the visual principles, constraints and characteristics that should remain recognisable across the system's outputs. 02 — Rules Those principles are translated into algorithms, parameters and relationships that determine how the system can vary. 03 — Exploration Large numbers of outputs are generated and evaluated to understand the boundaries of the system and refine its visual behaviour. 04 — Application The system is adapted to its intended formats, whether identity, print, product, screen, architectural surface or realtime environment. 05 — Delivery Depending on the project, Studio A N F delivers finished outputs, production tools or the executable generative system itself. What is a generative identity? A generative identity replaces one rigid graphic configuration with a controlled system of variation. Software generates different logos, patterns or compositions according to defined visual rules, allowing each application to be distinct while remaining recognisably part of the same identity. The system therefore becomes part of the design itself: not merely a tool used to create the identity, but the mechanism through which the identity continues to produce new forms. Can generative systems produce physical work? Yes. Computational systems can generate source material at extremely high resolution for prints, murals, textiles and other physical applications. Studio A N F has used generative processes across digital and physical media, allowing the same underlying visual logic to move between software, screen, architecture and material objects. ## Hyundai Headquarters Seoul Year: 2026 Category: media-architecture Location: Seoul, South Korea Client: Hyundai Headquarters Seoul, with LED.art Scale: Monumental ultra-wide LED canvas spanning the central atrium Technology: Generative realtime system, algorithmically evolving visuals Video documentation of the generative media installation Hyundai Headquarters Seoul is a permanent media facade by Studio A N F, delivered in 2026 at the Hyundai Headquarters in Seoul, South Korea. The work is a monumental, ultra-wide LED canvas suspended in the central atrium, presenting a generative realtime artwork that evolves algorithmically. Realized in collaboration with LED.art, the permanent installation operates continuously in the atrium. Studio A N F designed the generative realtime artwork; LED.art delivered the LED canvas. Spanning the open architectural void, the work engages directly with the building's scale, transparency, and layered circulation. The composition unfolds as a continuously evolving flow of color and structure—fluid fields of luminous blues, violets, and warm gradients that shift across the panoramic surface. Rather than displaying fixed content, the installation operates as a living system: algorithmically generated visuals create a sense of motion and transformation that changes throughout the day. Positioned at the heart of the headquarters, the piece becomes a spatial anchor. It activates the atrium, interacts with natural light and reflective glass surfaces, and introduces a dynamic counterpoint to the building's clean, geometric architecture. The permanent installation embeds generative art into the everyday experience of employees and visitors in the headquarters atrium. URL: https://studioanf.com/project/hyundai-headquarters-seoul ## Interactive Media Installation for Volkswagen Group / CARIAD @ IAA Mobility 2025 Year: 2025 Category: interactive-systems Location: IAA Mobility, Munich, Germany Client: CARIAD / Volkswagen Group Scale: 14k x 2k high-density LED wall (15 x 5.5 m) plus 360-degree wraparound LED screen Technology: Realtime generative graphics with 2 PoE camera tracking, anonymized data only Volkswagen Group / CARIAD IAA 2025 is an interactive media installation by Studio A N F, delivered in 2025 at IAA Mobility in Munich, Germany. The work runs on a 14,000 × 2,000 px high-density LED wall (15 × 5.5 m) plus a 360-degree wraparound LED screen encasing the booth, with two PoE overhead cameras tracking visitor position and motion to drive the realtime graphics. It was commissioned by CARIAD, the automotive software company of the Volkswagen Group, for the Group's Auto × Software Night, using anonymized data only. The Volkswagen Group booth featured a 14k × 2k high-density LED wall measuring 15 × 5.5 metres plus a 360-degree wraparound LED screen. Two PoE cameras positioned facing down in the trusses tracked visitors' position and movement and incorporated it into the realtime graphics, making the installation interactive. Data protection was paramount: only anonymized data was used, which cannot be connected to individual persons. URL: https://studioanf.com/project/interactive-media-installation-for-cariad-vw-iaa-2025 ## MIXC media facade Hangzhou Year: 2024 Category: media-architecture Location: Hangzhou, PRC Client: MIXC Hangzhou, via Vantaly Shanghai Scale: Large-scale LED media facade Technology: Generative software art, abstract particle system MIXC Media Facade Hangzhou is a large-scale generative media facade by Studio A N F, delivered in 2024 at the MIXC development in Hangzhou, China. The work runs on the building's LED media facade as an algorithmically driven swarm of abstract particles, generated in realtime. It was commissioned via Vantaly Shanghai as art consultant, developed for The Mixc by Chengbei, and photographed by StudioSZ Photo. Photography StudioSZ Photo Development Hangzhou, Chengbei, The Mixc Art consultant Vantaly Shanghai The artwork is a manifestation of Studio A N F's generative software art: an algorithmically driven swarm of abstract particles generated in realtime across the facade's LED canvas, so the composition never repeats itself on the building envelope. URL: https://studioanf.com/project/mixc-media-facade-hangzhou ## Beomjin Building Media Facade Year: 2023 Category: media-architecture Location: Seoul, South Korea Client: Beomjin Building, curated by LED.art Scale: Full building media facade Technology: Generative realtime system on LED media facade Beomjin Building Media Facade is a generative media facade artwork by Studio A N F, delivered in 2023 on the Beomjin Building in Seoul, South Korea. The work runs across the full building media facade as an algorithmic realtime composition, generating an ever-evolving visual field. It was curated by LED.art as part of their Seoul media facade screening program. The work explores the interplay between architecture and digital art, using generative systems to produce visuals that respond to the unique proportions and geometry of the facade. Patterns emerge, dissolve, and reconfigure in real time, creating a dialogue between the rigid structure of the building and the fluid, organic nature of the generative process. The result is a striking fusion of computational aesthetics and urban space. Experiencing generative art at this scale—projected across an entire building facade—fundamentally shifts the viewer's relationship with the work. What might appear intimate on a screen becomes monumental and immersive in the urban environment. LED.art's curatorial vision plays a vital role in bringing media art to public spaces, bridging the gap between gallery-based digital art and the broader cityscape of Seoul. URL: https://studioanf.com/project/beomjin-building-media-facade ## 1275K Generative Realtime Art Installation Year: 2022 Category: realtime-environments Location: Washington DC, USA Client: 1275K building Scale: Five realtime artworks on a large high-resolution LED lobby screen plus LED lighting strips Technology: Realtime generative software (TouchDesigner) Third Nature 1275K Generative Realtime Art Installation is a permanent realtime generative graphics installation by Studio A N F, delivered in 2022 at the 1275K building in Washington DC. The work consists of five realtime artworks including Scape, Third Nature, Emergence and Hypertecture, displayed on a large high-resolution LED lobby screen and complemented by LED lighting strips. It is built in TouchDesigner and includes an interactive piece, Emergence, that responds to visitors in the lobby via a ZED stereoscopic camera. The installation is part of Studio A N F's Realtime Environments practice: a generative system that runs continuously on the building's lobby display, producing visuals that never repeat. Scape Overview of the Installation The installation comprises five realtime artworks displayed on a large, high-resolution LED screen, accompanied by LED lighting strips. The artworks include: Scape Scape renders mountainous landscapes that are constantly regenerated, presenting new terrain as the system evolves. Third Nature Third Nature is a virtual forest garden of digitally rendered plants that sway gently, simulating a natural setting within the lobby's digital context. Emergence Emergence transforms the movement of people in the lobby into a dynamic visual display. A ZED stereoscopic camera detects the presence of individuals, portraying them as digital brushes that emit multicolored particles, creating an interactive and abstract visual field. Hypertecture Hypertecture is an ongoing digital construction of virtual architecture, featuring stylized animated abstract sculptures within a constantly changing virtual environment. Emergence Hypertecture Scape Third Nature URL: https://studioanf.com/project/1275k-generative-realtime-art-installation ## Reflections - Realtime Generative Light Media Art Installation Year: 2022 Category: realtime-environments Location: Washington DC, USA Client: 1275K building Scale: LED lighting strips across the building lobby, active at night Technology: Generative lighting design system Reflections is a permanent realtime generative light installation by Studio A N F, delivered in 2022 at the 1275K building in Washington DC. The work is a system of colorful LED strips placed throughout the building lobby, driven by a custom generative lighting design software that runs at night. It complements the studio's daytime realtime graphics installation at the same site and extends Studio A N F's generative practice into architectural lighting. As night falls, the 1275K lobby transforms into a public-space media installation: Reflections' LED strips paint the space with vibrant hues and dynamic patterns, redefining the way visitors perceive and interact with the building. The Essence of Reflections: Blending Art with Technology At the core of Reflections lies the seamless blend of art and technology. This media art installation isn't just a visual treat; it's an intelligent system that uses generative lighting design to create an ever-evolving visual narrative. The LED strips, strategically placed throughout the lobby of the 1275K building, come to life at night, painting the space with vibrant hues and dynamic patterns. Generative Lighting Design What sets Reflections apart in the world of public space media installations is its generative lighting design. This approach allows the artwork to generate patterns and colors algorithmically, ensuring that no two moments are the same. Visitors are treated to a unique experience with each visit, as the installation responds to various environmental and contextual inputs, making it a living, breathing entity within the urban landscape. A New Era in Public Space Media Installations Reflections is more than just a visual spectacle; it's a pioneering project in the field of public space media installations. By integrating art into a public space, it offers an immersive experience that enriches the daily lives of those who pass through the 1275K building. This installation challenges conventional notions of public art, inviting viewers to engage with and reflect on the interplay of light, color, and space. Reflections Timelapse Reflections at the 1275K building in Washington DC is more than an art installation; it's a beacon of innovation and creativity. As a standout example of generative lighting design in public spaces, it challenges and inspires, pushing the boundaries of what media art installations can achieve. It's a vivid reminder of the power of art to transform spaces and experiences, making every visit to the 1275K building a journey into the heart of contemporary art and technology. Photography by DavidMadisonPhotography URL: https://studioanf.com/project/1275k-reflections-realtime-generative-light-art-installation ## Longhua Hui Media Installation Year: 2023-2024 Category: media-architecture Location: Shanghai, PRC Client: Longhua Hui, with Vantaly Scale: Architectural media installation Technology: Generative realtime natural environment in Unreal Engine Longhua Hui Media Installation is a permanent architectural media facade by Studio A N F, delivered in 2023–2024 at the Longhua Hui development in Shanghai, China. The work runs as a generative realtime natural environment produced in Unreal Engine, rendered live to the site's LED media surface. It was delivered in collaboration with Vantaly Shanghai. The 2023–2024 project was developed with Vantaly. URL: https://studioanf.com/project/longhua-hui-media-installation ## The Origin of the Quantum Dot Year: 2016 Category: interactive-systems Location: IFA 2016, Berlin, Germany Client: Samsung Electronics Scale: 45 SUHD TVs and 9,000 shards of stained glass Technology: Stained-glass-inspired installation combining video, lighting and musical elements The Origin of the Quantum Dot is a large-scale interactive installation by Studio A N F, Schnellebuntebilder, Christopher Bauder, and kling klang klong, delivered in 2016 for Samsung Electronics at IFA 2016 in Berlin, Germany. The piece is a stained-glass-inspired installation built from 45 Samsung SUHD Quantum dot TVs and 9,000 shards of stained glass, combining video, lighting, and musical elements. Commissioned as Samsung's headline exhibit at IFA 2016, it is the largest installation the studio has produced. Photo by Christopher Bauder Samsung Electronics, the global TV industry leader, is elevating its presence at IFA 2016 with a special exhibition designed by a team of emerging German artists. The installation, entitled The Origin of Quantum Dot, showcases the beauty of Samsung's SUHD TVs with Quantum dot display, while incorporating video, lighting and musical elements. The Origin of Quantum Dot is a stained glass-inspired art installation designed by Andreas Nicolas Fischer, Schnellebuntebilder, Christopher M. Bauder and kling klang klong. The artists came together from different creative backgrounds including sound, media art and sculpture to build the unique work of art. The piece contains 45 SUHD TVs and 9,000 shards of stained glass. We designed The Origin of Quantum Dot exhibition, the largest we've ever produced, so that visitors at IFA can directly experience the visual excellence of the premium SUHD TV with Quantum dot display, said HS Kim, President of the Visual Display Business at Samsung Electronics. We are proud to have partnered with such talented, local artists to bring this visual concept to life. Photo by Christopher Bauder Photo by Christopher Bauder URL: https://studioanf.com/project/the-origin-of-the-quantum-dot-installation ## Banque LCL Paris [Screening] Year: 2016 Category: realtime-environments Location: Paris, France Client: Banque LCL, via Brig.ht Paris Scale: Custom video installation programming Technology: Curated selection of video and software artworks The Banque LCL in Paris Banque LCL Paris [Screening] is a curated video and software art screening by Studio A N F, delivered in 2019 at Banque LCL in Paris, France. The screening presented a custom selection of Studio A N F video and software works, including pieces from the Schwarm series, installed on-site at the historic bank interior. It was coordinated by Brig.ht Paris. The screening at Banque LCL in Paris was liaised by Brig.ht Paris. Banque LCL Installation View Schwarm Video Installation at Banque LCL URL: https://studioanf.com/project/screening-at-banque-lcl-paris ## Hotel JEN Kunming Year: 2024 Category: realtime-environments Location: Kunming, Yunnan, PRC Client: Shangri-La Hotel JEN Technology: Unreal Engine (Blueprint setup for vegetation, lighting, camera animation) Hotel JEN Kunming is a generative media installation by Studio A N F, delivered in 2024 for the Shangri-La Hotel JEN in Kunming, PRC. The work is a custom generative vegetation system based on the regional flora and fauna of Yunnan, built as a Blueprint setup in Unreal Engine that controls lighting, camera animation and vegetation. It is representative of the studio's Unreal Engine hospitality-installation work. ANF was commissioned to create an artwork for the Shangri-La Hotel JEN in Kunming, PRC. As it is our custom, we created a custom generative vegetation system using regional flora and fauna local to the province the hotel is in. The project was realized with a custom Blueprint setup in Unreal Engine, which controls the lighting, camera animation and vegetation. URL: https://studioanf.com/project/hotel-jen-kunming ## Hypercore Mandelbrot Set Year: 2024 Category: ai-adaptive-media Location: Berlin, Germany Technology: Generative AI (prompt-wildcard base composition + recursive upscaling) Hypercore Mandelbrot Set is a generative AI print series by Studio A N F, delivered in 2024 from the studio in Berlin. The images are produced in two steps: base compositions from prompt-wildcard combinations, then a recursive upscaling pass that hallucinates extra textural detail matching the base composition. It is part of the studio's Hypercore genre alongside the "AI Hypercore" long-form text (2024). Hypercore Mandelbrot Set is a series of images created with generative AI. The artworks were created in 2 steps - first generating the base composition with a set of wildcards randomly combining lists of keywords as prompts. The resulting images were then ran through a second upscaling process, hallucinating in extra detail. This creates a second recursive layer of textural detail that matches the base composition, but creates a shift in perspective, micro and macro at the same time, in the same picture. This references the idea that the natural world can be explained with mathematical formulae that mathematician Benoit Mandelbrot came up with. A Mandelbrot Set is a set of complex numbers named after the mathematician Benoit Mandelbrot, who studied and popularized fractals. A fractal is a never-ending pattern, self-similar across different scales. They are not just theoretical constructs but are also observed in nature, such as in the branching of trees, the structure of snowflakes, and coastlines. This mathematical concept is a powerful metaphor for understanding the complexity and interconnectedness of the natural world. The images were generated at a size larger than what the model used to generate them was trained on, which leads to a third level of recursion within the image, in this case a skull within a skull. This recursion is often not as obvious in plants, landscapes and geological formations, which is why they were chosen as the theme of this series. The second step of upscaling to add recursive layers of textural detail, which hallucinates extra detail into the images, mirrors the self-similarity inherent in fractals. This process not only enhances the visual richness of the artwork but also introduces a shift in perspective for the viewer. Just as zooming into a fractal reveals infinitely complex patterns, this upscaling reveals new details and textures that were not apparent in the base composition, suggesting the endless layers of complexity that can exist within a seemingly simple structure. This references my idea of Hypercore, which describes a style of images that are absolutely loaded with textural detail, which would be difficult if not impossible to produce with traditional means. The artwork often depicts surreal landscapes or strange, dreamy environments, blending ordinary elements with completely foreign ones. This style is characterized by its lavishness, pumping the artwork full of a wealth of visual elements that captivate and ideally overwhelm the observer's senses, leading to their ultimate dissatisfaction with other images. The works try to maximise dopamine levels in the viewer, overloading the nervous system with visual stimuli, hence addicting the viewer to the art. The reference to Benoit Mandelbrot's work underscores the idea that the seemingly chaotic and complex forms found in nature can be described using mathematical principles. This parallels the artistic process involved in the Hypercore Mandelbrot Set, where the initial randomness and diversity of the AI-generated compositions are refined and deepened through a process that echoes natural fractal patterns. We live in an age with unprecedented levels of stimulation and novelty, all the while descending into levels of economic precarity, crisis following crisis, a meta crisis that afflicts everyone but the top strata of wealth. There is no solution to this, but, as a creator, to work constantly, refine and produce swaths of “content” until it is no longer viable to do so. Feeding the machine with machine generated work, seen only by bots and the occasional human. The ai models are now being trained on their own creations, becoming a destructive digital ouroboros, feeding on itself and thus decaying over time, until human agency is completely displaced. Thank you for coming to my TED talk. URL: https://studioanf.com/project/hypercore-mandelbrot-set ## AI Hypercore: Digital Pop Art Maximalism Year: 2024 Category: ai-adaptive-media Location: Berlin, Germany Technology: Editorial long-form text "AI Hypercore: Digital Pop Art Maximalism" is a long-form editorial text by Studio A N F, published in 2024 from the studio in Berlin. The article defines Hypercore as a genre that combines digital pop-art maximalism with AI-generated hallucinatory imagery, and traces its lineage from 1960s computer art through the 2020s AI image tools. It is one of three long-form texts published on studioanf.com. In the ever-evolving realm of digital art, a new trend has recently captured the imagination of artists and audiences alike: Hypercore. This innovative style represents a blend of digital pop art maximalism with the cutting-edge capabilities of artificial intelligence (AI), creating a genre that is both visually arresting and conceptually profound. Hypercore is characterized by its use of AI-generated, hallucinatory imagery that pushes the boundaries of traditional aesthetics and challenges our perceptions of art and technology. Origins and Influences Hypercore's roots can be traced back to the early experiments in digital art, where artists began to explore the potential of computers and software to create visual experiences beyond the scope of traditional media. This digital revolution laid the groundwork for the development of ai media art, leading to the birth of Hypercore. It draws inspiration from various artistic movements, particularly pop art's use of bold colors and mass culture imagery, as well as the maximalist approach of embracing excess and complexity in design. The Role of AI in Hypercore ai media art plays a central role in the creation of Hypercore art. Artists use advanced algorithms to generate complex, often surreal imagery that appears to be 'hallucinated' by the machine. These AI models are trained on vast datasets of images, allowing them to produce unique visual compositions that can be both abstract and hyper-realistic. This process results in a fusion of human creativity and machine intelligence, blurring the lines between artist and tool. Characteristics of Hypercore Art Hypercore art is distinguished by its vibrant color schemes, intricate patterns, and often overwhelming detail. The imagery can range from fantastical landscapes to bizarre, dream-like scenes, featuring elements that combine the familiar with the utterly alien. This style embraces a sense of overabundance, often packing the canvas with a plethora of visual stimuli that engage and sometimes overload the viewer's senses. Themes and Interpretations Thematically, Hypercore art often delves into the relationship between humans and technology, exploring the impact of AI on society, culture, and individual identity. It raises questions about the nature of creativity and the role of the artist in an age where machines can produce art. Many Hypercore works also comment on the information overload of the digital age, reflecting the chaotic, fast-paced nature of modern life. Hypercore in the Art World The rise of Hypercore has been meteoric in the art world, with exhibitions and galleries increasingly showcasing these AI-assisted creations. Its appeal lies in its novelty and the way it challenges traditional art forms. Critics and enthusiasts alike are fascinated by the potential of AI to revolutionize artistic expression, and Hypercore has become a symbol of this potential. Technological Challenges and Ethical Considerations The creation of Hypercore art is not without its challenges. The technology behind AI-generated imagery is complex and requires significant computational resources. Moreover, there are ethical considerations regarding the use of ai media art, such as the originality of the work and the potential replacement of human artists by machines. Hypercore series by Andreas Nicolas Fischer Hypercore's Influence Beyond Art Hypercore's influence extends beyond the corporate media art world. Its aesthetic has started to permeate other areas, such as fashion, advertising, and even user interface design. This crossover showcases the style's versatility and its ability to resonate with a broader audience. Future Directions As AI technology continues to advance, the possibilities for Hypercore art will expand further. We can expect to see more sophisticated and nuanced works as artists and machines collaborate more seamlessly. Additionally, Hypercore might pave the way for new forms of interactive and immersive art experiences, leveraging virtual and augmented reality technologies. Conclusion Hypercore represents a significant milestone in the evolution of digital art. By merging AI-generated imagery with pop art maximalism, it offers a fresh, provocative perspective on the role of technology in artistic expression. As Studio A N F stand at the frontier of this new artistic era, Hypercore not only captivates our visual senses but also stimulates deep reflection on the future of creativity in an increasingly digital world. Hypercore series by Andreas Nicolas Fischer URL: https://studioanf.com/project/ai-media-art ## Generative Art Media Installations with Standard Vision LA Year: 2022 Category: writing Location: Los Angeles, USA Client: Standard Vision Los Angeles (Divco) Technology: Editorial long-form text Divco with Standard Vision "Generative Art Media Installations with Standard Vision LA" is a long-form editorial text by Studio A N F, published in 2022 from the studio in Berlin. The article defines generative art as a rule- or algorithm-driven process that generates work autonomously, and situates the studio's Divco collaboration with Standard Vision Los Angeles within that history. It is one of three long-form texts published on studioanf.com. Defining Generative Art Generative art refers to a process where an artist creates a set of rules or an algorithm that autonomously generates a piece of art. The roots of this concept lie in the idea that art can emerge from a system defined by rules, rather than from the direct hand of the artist. This system can include computer programs, mathematical equations, or even mechanisms involving natural phenomena. The key aspect is that the artist relinquishes direct control over the final outcome, embracing unpredictability and variation. Historical Evolution The evolution of generative art is deeply intertwined with the advancement of technology. Its earliest forms can be traced back to the use of mechanical systems in the late 19th and early 20th centuries. However, the real transformation occurred with the advent of computers in the mid-20th century. Artists like Vera Molnar and Manfred Mohr pioneered the use of algorithms and computing in the 1960s and 1970s, setting the stage for the explosion of digital generative art. In the 1980s and 1990s, as personal computing became more accessible, generative art expanded beyond the confines of elite art circles and academia. This period saw the rise of fractal art, which used mathematical algorithms to create complex, self-similar patterns. The development of the internet and open-source culture in the late 1990s and early 2000s further democratized the field, leading to an influx of creativity and experimentation. Generative Art in Public Spaces Transitioning from galleries to public spaces, generative art has redefined the way we interact with our environments. Public space media installations using generative art principles offer dynamic, ever-changing experiences that contrast with traditional static art forms. One of the earliest examples of generative art in public spaces is the “Ars Electronica Center” in Austria. Opened in 1979, it featured large-scale public installations that used generative principles. Since then, cities around the world have embraced this art form, using it to animate urban landscapes. In New York City, the “Times Square Midnight Moment” is a famous example. Here, digital billboards are synchronized to display generative art, transforming the commercial epicenter into an immersive art experience each night. Similarly, the “Illuminale Boston” festival showcases interactive installations that respond to environmental factors like wind and sound, engaging the community in a dynamic dialogue with art. Technological Integration and Interactivity A defining feature of generative art in public spaces is its interactive nature. Many installations use sensors and cameras to respond to the presence and actions of viewers. This creates a participatory experience, where the public becomes an active element of the artwork. For instance, Rafael Lozano-Hemmer’s “Pulse” series uses biometric sensors to incorporate people’s heartbeats into light and sound displays, creating a deeply personal yet communal art experience. The integration of advanced technologies such as AI and AR is taking generative art to new frontiers. AI algorithms can analyze and respond to complex data sets, from traffic patterns to social media trends, allowing installations to reflect the pulse of the city in real time. AR adds another layer, enabling people to interact with generative art through their smartphones, blurring the lines between the physical and digital worlds. The Future of Generative Art in Public Spaces As we look to the future, generative art in public spaces is poised to become more immersive and integrated into urban life. With advancements in technology, artists will have new tools to explore the intersection of art, environment, and interactivity. The potential for generative art to transform public spaces into dynamic, responsive environments is immense, offering new ways for communities to engage with art and with each other. In conclusion, generative art represents a compelling blend of creativity and computation, offering new perspectives on the role of the artist and the audience. Its evolution from a niche digital art form to a significant element in public space installations reflects a broader shift towards interactive, technology-driven art experiences. As it continues to evolve, generative art will undoubtedly play a pivotal role in shaping the aesthetic and interactive landscapes of our public spaces, inviting us to reimagine our relationship with art, technology, and the urban environment. Long Beach City Hall with Standard Vision Evolution of Public Space Media Installations: The Synergy of Technology and Artistic Vision In the realm of public art, media installations have emerged as a powerful medium that intersects artistic vision and technological innovation. Over time, these installations have evolved from simple static displays to complex, interactive experiences that engage, challenge, and communicate with audiences in public spaces. This 1000-word article explores the evolution of public space media installations, focusing on the role of technology and artistic vision. The Emergence of Public Space Media Installations The genesis of media installations in public spaces can be traced back to the late 20th century, coinciding with the digital revolution. Early installations were primarily experimental, often spearheaded by artists and technologists who were exploring the potential of digital technologies as a new medium for artistic expression. These installations were typically characterized by large-scale projections or electronic displays, offering a novel visual experience to the public. The Technological Leap The rapid advancement of technology has been a pivotal factor in the evolution of media installations. In the early days, limitations in technology meant that installations were often static or played pre-recorded content. However, as digital technologies evolved, so did the complexity and interactivity of these installations. The introduction of LED technology, for example, enabled artists to create brighter, more vivid displays that were visible even in daylight. This development expanded the possibilities for outdoor installations, allowing them to be more dynamic and engaging. The advent of the internet and wireless communication technologies further revolutionized these installations. Artists were no longer restricted to static displays; they could now create works that were interactive and could change in real-time. This led to the emergence of installations that could respond to environmental factors, such as weather or the movement of people, creating a more immersive and engaging experience for the audience. Artistic Vision and Interactivity The evolution of media installations is not just a story of technological advancement but also of the evolving artistic vision. Artists began to see public space media installations not just as a means to display art but as a tool to interact and engage with the public. Interactive installations invite the audience to become part of the art itself. This has been achieved through various means, such as motion sensors, touch screens, and even augmented reality. Such installations create a dialogue between the art, the space, and the audience, transforming public spaces into dynamic environments that encourage participation and exploration. A notable example is Rafael Lozano-Hemmer’s “Pulse Room,” where the installation responds to the heartbeats of the participants, creating a personalized light display. This kind of interactivity transforms the viewer from a passive observer to an active participant, deepening their connection with the artwork. Blurring the Boundaries Between Art and Technology As media installations continue to evolve, the line between art and technology becomes increasingly blurred. Artists are now collaborating with engineers, programmers, and scientists to push the boundaries of what is possible. This multidisciplinary approach has led to groundbreaking installations that not only mesmerize with their visual and interactive qualities but also push forward conversations about technology, society, and the environment. One significant development in this regard is the use of sustainable technologies. Artists are increasingly mindful of the environmental impact of their installations and are exploring the use of solar power, energy-efficient LEDs, and recycled materials. This shift not only reduces the environmental footprint of the installations but also integrates the message of sustainability into the art itself. Cultural and Social Impact Public space media installations have a profound impact on the cultural and social fabric of urban environments. They often serve as landmarks and gathering places, contributing to the identity and vitality of public spaces. Moreover, they have the power to transform mundane or neglected spaces into centers of community interaction and cultural exchange. These installations also serve as a platform for social commentary and civic engagement. Artists have used this medium to address a range of issues, from political and social justice themes to environmental concerns. By bringing these issues into the public eye, media installations can provoke thought, encourage discussion, and inspire action. Future Directions Looking to the future, it is clear that public space media installations will continue to evolve in exciting ways. Emerging technologies like augmented reality (AR), virtual reality (VR), and artificial intelligence (AI) offer new avenues for creative expression and audience engagement. These technologies can create even more immersive experiences, blurring the lines between the physical and digital worlds. Furthermore, as urban spaces become increasingly digitalized, we can expect a greater integration of media installations into the urban infrastructure. This could lead to a future where art and technology are seamlessly woven into the fabric of our cities, enhancing our daily experiences and interactions with public spaces. The evolution of public space media installations reflects a fascinating interplay between technological innovation and artistic vision. From their humble beginnings as simple projections to the complex, interactive experiences of today, these installations have transformed the way we interact with art and public spaces. As technology continues to advance and artists continue to push the boundaries of creativity, we can expect these installations to play an increasingly significant role in shaping the aesthetic and cultural landscapes of our urban environments. Los Angeles Central Library with Standard Vision The Role of Interactivity in Generative Art Installations In the contemporary art world, generative art installation stand out for their unique blend of creativity and technology. At the heart of these installations lies the concept of interactivity, a dynamic element that fundamentally alters the traditional relationship between the artwork and its audience. This 1000-word article delves into the role of interactivity in generative art installations, exploring how it transforms the viewer’s experience and the artwork itself. Understanding Generative Art Generative art, in its essence, is art that in some way has been created with the use of autonomous systems. These systems can range from computer algorithms and AI to non-digital processes that follow a set of rules. The key aspect of generative art is the element of unpredictability and autonomy, where the artist creates the system or the rules, but the outcome is left to the system itself. The Emergence of Interactivity Interactivity in art is not a new concept, but its integration with generative art has opened up new avenues of exploration. Initially, generative art was mostly non-interactive, where the system generated artwork independently without any real-time input from viewers. However, as technology evolved, so did the capability to incorporate interactive elements into these installations. Transforming Viewer into Participant The primary impact of interactivity in generative art is the transformation of the viewer's role from a passive observer to an active participant. Interactive generative art installations often respond to the presence or actions of the audience, making each experience unique. This engagement can range from physical movements, such as walking or gesturing, to physiological inputs like heartbeat or voice. For example, in Rafael Lozano-Hemmer’s “Pulse Room,” the installation responds to the heartbeats of its participants. This direct involvement creates a personal connection with the artwork, as viewers see their own biological rhythms translated into visual and auditory elements. Enhancing Emotional Connection and Engagement Interactivity enhances the emotional connection and engagement between the audience and the artwork. When participants realize that their actions can alter the art piece, it evokes curiosity, surprise, and a sense of wonder. This level of engagement often leads to deeper contemplation and interpretation of the artwork, as viewers are not just looking at a piece of art but are part of the creation process. The Use of Sensors and Data in Interactivity The technological backbone of interactivity in generative art is often sensors and real-time data processing. Sensors can detect motion, touch, sound, light, and even physiological data, which the system then translates into visual or auditory outputs. This technology allows for a responsive and dynamic artwork that can change from moment to moment, offering a living, breathing artistic experience. For instance, in many interactive installations, motion sensors are used to track the movement of viewers. As people move around the space, the artwork changes – it could be a shift in the pattern of lights, a change in sound, or a transformation in the visual elements on a screen. This responsiveness to human activity makes the artwork seem alive and conscious, deepening the interactive experience. Creating a Community Experience Generative art installations, especially those placed in public spaces, often foster a sense of community. When an artwork responds not just to one person but to a group, it creates a collective experience. This shared interaction can break down barriers between strangers, encouraging collaboration, conversation, and shared enjoyment. Challenges and Considerations While interactivity adds a rich layer to generative art, it also brings its own set of challenges. Balancing the artistic vision with the technical complexity of interactive systems can be difficult. The artist must consider not only the aesthetic and conceptual aspects of the artwork but also the robustness and responsiveness of the interactive system. There is also the challenge of making the interaction intuitive and accessible to people of all ages and backgrounds. The design of the interactive elements must be such that it invites participation without overwhelming or confusing the audience. The Future of Interactive Generative Art Looking ahead, the future of interactive generative art appears rich with possibilities. Advancements in technology, such as augmented reality (AR), virtual reality (VR), and artificial intelligence (AI), are opening new frontiers for artists to explore. These technologies can create even more immersive and personalized experiences, pushing the boundaries of how we define art and interaction. For instance, AI can be used to create installations that not only respond to current inputs but also learn and adapt over time. This could lead to installations that evolve and grow, offering new experiences with each interaction. The role of interactivity in generative art installations is a testament to the evolving nature of art in the digital age. By bridging technology and creativity, these installations offer a new way of experiencing and understanding art. They invite us to not just view but participate, to not just observe but interact. As technology continues to advance, we can anticipate more innovative and engaging interactive generative art, further enriching our cultural and artistic landscapes. MIT Engineering School with Standard Vision Emerging Technologies and Generative Art: Shaping the Future of Immersive Interactivity In the realm of contemporary art, the advent of technologies such as Artificial Intelligence (AI), Virtual Reality (VR), and Augmented Reality (AR) has initiated a seismic shift, particularly in the field of generative art. This 1000-word article delves into how these emerging technologies are influencing generative art, expanding its boundaries, and paving the way for future possibilities in creating immersive and interactive installations. AI: A New Palette for Artists Artificial Intelligence, with its capability to learn, adapt, and create, has become an invaluable tool for artists exploring generative art. AI algorithms can analyze vast amounts of data, recognize patterns, and generate outputs that are complex, nuanced, and often unpredictable. This has opened up new avenues for creativity that were previously inconceivable. For example, AI can be used to create visual art that evolves in real-time, responding to external data inputs such as social media trends, weather patterns, or even stock market fluctuations. This dynamic interplay results in artwork that is not static but a living entity, continuously changing and evolving. Moreover, AI's ability to generate realistic text, imagery, and sound has enabled artists to craft experiences that are increasingly sophisticated and emotionally resonant. Generative artists are using AI to create not just visual pieces but also generative music, interactive narratives, and complex multimedia experiences. VR and Generative Art: Immersive Worlds of Creativity Virtual Reality takes the concept of generative art to an entirely different level by immersing the viewer in a completely fabricated, yet highly realistic, digital world. VR allows artists to create environments that are not only visually spectacular but also interactive and responsive. In the context of generative art, VR can be used to create environments that evolve in response to the user’s actions or emotions. For instance, a VR art installation might change its landscape, colors, or sounds based on the viewer's movements or biometric data, such as heart rate or eye movement. This creates a deeply personal and immersive experience, where the viewer is not just observing but is an integral part of the artwork. Augmented Reality: Blending the Real and the Imaginary AR adds another dimension to generative art by overlaying digital information onto the real world. This technology allows artists to create works that interact with the physical environment in real-time, offering a hybrid experience that combines elements of both the real and the virtual worlds. In generative art, AR can be used to transform ordinary physical spaces into interactive, digital landscapes. For example, an AR installation in a park could allow visitors to see and interact with virtual flora and fauna that respond to their presence or actions, effectively turning the space into a dynamic, ever-changing art piece. The Future of Immersive and Interactive Installations As these technologies continue to evolve, the future possibilities for immersive and interactive installations in generative art are boundless. We can envision installations that are more personalized, responding not just to physical inputs but also to emotional and cognitive states of the viewer. AI could analyze a viewer's reactions and adapt the artwork in real-time, creating a truly personalized experience. Furthermore, the convergence of AI, VR, and AR could lead to new forms of art that transcend traditional boundaries. Imagine a generative art installation where AI creates a constantly evolving narrative, experienced through VR, while AR elements integrate this narrative into the physical space around the viewer. Such an experience would blur the lines between reality and virtuality, art and experience, creator and viewer. Challenges and Ethical Considerations While the integration of AI, VR, and AR in generative art opens up exciting possibilities, it also brings challenges and ethical considerations. One of the primary concerns is the accessibility of these technologies. High costs and the need for specialized equipment can limit access to these art forms, potentially creating a divide between those who can and cannot experience them. Additionally, the use of AI in art raises questions about authorship and creativity. As AI systems become more advanced, discerning where the artist's input ends and the AI's creativity begins can be challenging. This raises fundamental questions about the nature of art and creativity in the age of AI. The influence of emerging technologies like AI, VR, and AR on generative art is undeniable. These technologies are not just tools but collaborators, opening new horizons for artistic expression. They allow artists to create works that are more interactive, immersive, and personalized than ever before. As we look to the future, the potential for these technologies to transform the landscape of generative art is immense, promising experiences that are not only visually and emotionally captivating but also profoundly transformative. URL: https://studioanf.com/project/generative-art-media-installations ## Third Nature II - Large Scale Mural Artwork Year: 2022 Category: generative-systems Location: Caen, France Client: L'unique Caen (Vincent Auvray) Scale: Large-scale public mural Technology: Third Nature generative system Third Nature II is a large-scale mural artwork by Studio A N F, delivered in February 2022 for a public space in Caen, France, commissioned by Vincent Auvray of L'unique Caen. The mural stages lush foliage against a high-rise-building backdrop as a large-scale trompe-l'œil, produced with the studio's Third Nature generative system. Previous artists in the same public-space programme include Gregory Chatonsky and Sabrina Ratte. In February of 2022 we were commissioned by Vincent Auvray of L'unique Caen to create a nature themed Mural for a public Space in Caen, France. Previous artists include Gregory Chatonsky and Sabrina Ratte. The artwork shows a large mural of lush, vibrant foliage set against the backdrop of an urban environment, specifically juxtaposed with a high-rise building. The mural's photographic quality and the large scale on which it is painted create an immersive experience, echoing the tradition of trompe-l'œil, a technique used since the Renaissance to trick the eye into perceiving painted detail as a three-dimensional environment. The dense, richly colored plant life in the mural brings to mind the exuberant tropical scenes painted by the Post-Impressionist artist Henri Rousseau. His works often featured jungles with lush, imagined vegetation. The use of intense, saturated colors in the mural also has parallels with the Fauvist movement, where artists like Henri Matisse used vivid, non-naturalistic colors. This fusion of naturalistic detail with a heightened color palette can also be seen as a nod to the tradition of large-scale natural history and botanical illustration, which has its roots in the detailed studies of artists and naturalists from the 17th century onwards. In contrast to its historical references, the mural is distinctly contemporary, engaging with public art practices that bring art into communal urban spaces, often as a means of revitalization or to bring the serenity and beauty of nature into stark, man-made environments. It reflects a modern desire to reconnect with the natural world amidst urban settings. URL: https://studioanf.com/project/third-nature-ii-large-scale-mural-artwork ## Nondual Live Performance Machine for Albert van Abbe Year: 2020 Category: generative-systems Location: Berlin, Germany Client: Albert van Abbe Technology: OpenFrameworks with GPU shaders (VOID software port from Processing) Nondual in Kyiv Nondual is a live-performance visual software system by Studio A N F, delivered in 2020 for Dutch composer and producer Albert van Abbe. The system is a port of the studio's VOID software from Processing to OpenFrameworks, running shaders on the GPU at 4K 60fps, controllable via MIDI for live performance and with an unattended ambient mode. It has been performed in Kyiv among other venues. In 2020 we were commissioned to create a live performance visual software machine for Dutch composer and producer Albert van Abbe. For this project, we ported our custom VOID software from Processing to OpenFrameworks to be able to run the shaders directly on the gpu at 4k 60fps resolution for a massive performance boost. The software can be used with a midi controller for live performances, but it also can be set to ambient mode where it performs without human inputs. URL: https://studioanf.com/project/nondual-live-performance-machine-for-albert-van-abbe ## GAN Sculptures Year: 2020 Category: sculpture Location: Berlin, Germany Technology: GAN-generated shapes, adversarial texture enhancement, mapped onto 3D geometry GAN Sculptures is a 3D print series by Studio A N F, delivered in 2020 from the studio in Berlin. The series uses neural networks as generative shape tools and adversarial networks to increase the depth and detail of 2D textures, which are then mapped onto roughly modelled 3D geometry. It is representative of the studio's early GAN-based practice (since 2018). Work from the wretched year of twenty twenty, the beginning of the downfall of all civilization on planet earth. Artificial intelligence and Neural Networks were once again recruited as generative tools to create interesting and evocative shapes. Then even more neural networks competed against each other to increase depth and detail in the 2d textures, which were then mapped to roughly modelled 3d shapes. We bow down to our new machine overlords - as we always have and always will. Artificial intelligence is reshaping the frontier of sculpture, introducing a novel category of art known as AI-generated sculptures. This intersection of technology and creativity leverages AI algorithms to conceive and construct three-dimensional artworks, offering a new perspective on the creative capabilities of machines. AI-generated sculptures stir debate around creativity, authorship, and the essence of art. Critics question the emotional depth of AI-created works, while supporters view AI as an extension of traditional artistic tools, pushing the boundaries of crativity. These sculptures also challenge notions of originality, as AI can generate countless variations on a theme, complicating concepts of uniqueness and copyright in art. The evolution of AI suggests more intricate and interactive sculptures ahead. Incorporating real-time data could lead to pieces that evolve with environmental changes or audience interactions, blurring the lines between art, viewer, and context. Additionally, merging AI art with virtual and augmented reality technologies promises new experiential dimensions, allowing for immersive encounters with art that transcend physical space. The rise of AI in sculpture prompts ethical questions about creativity's nature and the implications of using AI to produce art that may infringe on existing copyrights or dilute the human touch in creativity. These concerns underline the need for ongoing dialogue about the role and regulation of AI in the art world. AI-generated sculptures represent a dynamic fusion of AI technology and artistic exploration. While they challenge conventional views on art and creativity, they also open up unprecedented possibilities for innovation and expression in sculpture. As AI technology advances, it promises to further expand the horizons of what can be imagined and created, inviting both artists and audiences to rethink the essence and potential of art in the digital age. URL: https://studioanf.com/project/generative-ai-sculptures ## Generative Adversarial Portraits Year: 2020 Category: ai-adaptive-media Location: Berlin, Germany Technology: StyleGAN portraits mapped onto 3D geometry (specularity/metallicness/roughness inputs) GAN Portraits [in situ] Generative Adversarial Portraits is a GAN print series by Studio A N F, delivered in 2020 from the studio in Berlin. The series generates portraits with StyleGAN, deliberately "breaks" the system to find aesthetics at its margins, then maps the resulting images onto rough 3D geometry using them as inputs for specularity, metallicness and roughness. It is representative of the studio's early GAN-based practice (since 2018). We tried out a few variants of Machine Learning Art headshots generated with StyleGAN but were quickly bored, after the initial novelty of being able to generate new perfect humanoids at will wore off. These portraits represent the effort of trying to "break" the system and finding a novel aesthetic at the margins. The generated images were then mapped to a rough 3d geometry using the textures as input for specularity, metallicness and roughness. This gives depth and a physicality that the low resolution flat GAN Art images lack. GAN Portrait 01 A Below you can find some placeholder text, which consists of a rewritten Wikipedia article (with the help of some machine learning as a matter of course). The generative system creates competitors while the discriminative system assesses them. The challenge works regarding information dispersions. Normally, the generative system figures out how to plan from a dormant space to an information circulation of intrigue, while the discriminative system recognizes up-and-comers delivered by the generator from the genuine information conveyance. The generative system's preparation objective is to build the blunder pace of the discriminative system (i.e., "fool" the discriminator organize by creating novel up-and-comers that the discriminator believes are not blended (are a piece of the genuine information distribution)). GAN Portrait 01 B A referred to dataset fills in as the underlying preparing information for the discriminator. Preparing it includes giving it tests from the preparation dataset, until it accomplishes satisfactory exactness. The generator trains dependent on whether it prevails with regards to tricking the discriminator. Commonly the generator is seeded with randomized info that is tested from a predefined dormant space (for example a multivariate ordinary circulation). From that point, competitors combined by the generator are assessed by the discriminator. Backpropagation is applied in the two systems with the goal that the generator delivers better pictures, while the discriminator turns out to be progressively gifted at hailing manufactured images. The generator is regularly a deconvolutional neural system, and the discriminator is a convolutional neural system. GAN Portrait 01 C GANs regularly experience the ill effects of a "mode breakdown" where they neglect to sum up appropriately, missing whole modes from the information. For instance, a GAN prepared on the MNIST dataset containing numerous examples of every digit, may by the by tentatively preclude a subset of the digits from its yield. A few specialists see the root issue to be a feeble discriminative system that neglects to see the theme of exclusion, while others allocate fault to an awful decision of target work. Numerous arrangements have been proposed. URL: https://studioanf.com/project/generative-adversarial-portraits ## Frame Null Abyss - A Decade of A N F Year: 2020 Category: realtime-environments Location: Made in NY Media Center, New York, USA Client: Made in NY Media Center Technology: Retrospective exhibition (2010–2020) "Frame Null Abyss – A Decade of A N F" is a retrospective exhibition of Studio A N F, delivered in 2020 at the Made in NY Media Center in New York, USA. The exhibition covers ten years of Andreas Nicolas Fischer's media-art practice, from abstract explorations to narrative and experiential works. It is a milestone in the studio's exhibition history. The Made in NY Media Center's latest exhibit, "Frame Null Abyss - A Decade of A N F," celebrates a significant milestone in the career of Andreas Nicolas Fischer, a visionary in the realm of media artwork. Over the past decade, Fischer has meticulously carved out a unique niche within the digital arts experience landscape, transitioning from abstract explorations to crafting deeply narrative and experiential works that challenge and expand our understanding of technology, society, and human existence. This retrospective not only showcases Fischer's evolution as an artist but also invites viewers to immerse themselves in a thought-provoking journey through the digital zeitgeist of our era. Over the last ten years, Fischer's work has evolved from a place of abstraction into more pointed, guided experiential work with an emphasis on narrative. Early works, such as the Drone series, are overflowing with color and seem to be primarily concerned with technique. Fluid dynamics simulations and particle systems combine to form abstract worlds that coalesce and disperse in response to both sound and the whims of the artist. Fischer's artistic trajectory is marked by a profound transformation. His early endeavors, exemplified by the "Drone" series, are vibrant tapestries of color and motion, where technique takes center stage. These pieces leverage sophisticated fluid dynamics simulations and particle systems to create ephemeral, abstract worlds. They are immersive experiences, responding dynamically to sound and the artist's interventions, offering viewers a glimpse into the boundless possibilities of digital creation. As his work progressed, however, Studio A N F's Fischer began to infuse his digital arts experience with more substantive thematic concerns. The shift is palpable, moving from the abstract to the pointedly existential, where fears and fascinations regarding our entanglement with technology and its societal implications come to the forefront. This phase of Fischer's oeuvre is not just an exploration of new visual forms but a profound inquiry into the nature of humanity in the age of digital ubiquity. Through innovative visual languages and structural approaches, Fischer engages with themes that are at once universal and intimately personal, reflecting broader cultural anxieties about technology's role in shaping human destiny. Later works, however, begin to incorporate fears about our relationship with technology, the workings of society, and our increasing unhappiness. While many creative technologists are contemplating and exploring similar themes, Fischer brings innovative visual and structural sensibilities to this familiar discourse. The result is at once visually arresting and philosophically thought-provoking, with horrifying implications. His Computer Visions series begins ominously with a quote from Karl Marx rendered as white text on a gray background before shifting to a familiar particle system. But that familiarity is quickly discarded as the imagery transforms into lines of expressionless automatons and the text takes on a more subjective, narrative tone, contemplating the nature of what it means to be human and what it means to evolve, before eventually positing that our eventual obsolescence might not be a bad thing. The second installment of Computer Visions continues to see the artist growing not only his technique but his structural and philosophical leanings, as well. An onyx carcass on a beach gives way to a walk through a desecrated landscape with imagery on disembodied screens as a voice plays psychiatrist and questions the moral and ethical ramifications of fame, wealth, pharmaceuticals, and even our very existence before closing by saying, remember, I'll always love you. Throughout this creative evolution, Fischer has maintained a sense of visual playfulness that contrasts nicely with the deep and often dark philosophical questioning that underpins his work. Bright colors and whimsical physics simulations serve to usher the unsuspecting viewer into Fischer’s worlds, lulling them into a state of complacency before turning those worlds upside down and inside out with philosophical inquiries and existential dread. But these are not depressing works – they force viewers to confront the most difficult questions human beings have to contemplate and one is left with a sense of advancement, of being changed for the better after having faced our own mortality. Fischer's media art studio work, however, is not merely a catalogue of dystopian visions. There is a playful, almost whimsical quality to his use of color and simulation, a testament to the artist's ability to balance the gravitas of his thematic concerns with a visually engaging approach. This duality serves to draw the viewer in, offering an accessible entry point into complex philosophical debates about existence, ethics, and the future of humanity. "Frame Null Abyss" is more than a retrospective; it's an immersive experience that culminates in a new, site-specific generative work designed for the Media Center's 360-degree projection. This piece, like much of Fischer's recent work, is not just to be viewed but experienced, enveloping the audience in a multidimensional exploration of digital consciousness. URL: https://studioanf.com/project/digital-arts-experience ## Supervoid One - Generative Software Art Year: 2020 Category: generative-systems Location: Berlin, Germany Technology: Custom generative software (V0ID code base evolution) Supervoid 01 R131_N131_108010 Supervoid One is a generative software artwork by Studio A N F, delivered in 2020 from the studio in Berlin. The work produces flowing, fluid compositions with a wide colour range from deep blacks and earthy browns to vivid yellows, electric blues and reds. Supervoid One is a large-scale evolution of the studio's V0ID code base that began in 2015. This generative artwork by Andreas Nicolas Fischer is an ethereal display of fluidity and color. A digital canvas comes alive with flowing forms and hues that seem to dance across the surface in a choreographed spectacle of digital brushwork. Each stroke melds seamlessly into the next, creating a complex network of intertwining lines and shapes. The palette is a vivid spectrum of color ranging from deep, velvety blacks and earthy browns to bright yellows, electric blues, and passionate reds. These colors swirl together in a natural yet surreal pattern, reminiscent of geological strata or the psychedelic swirls of a retro lava lamp. The soft gradients and transitions between the colors are smooth and give the impression of a continuous, dynamic fluid motion. This artwork suggests a process of perpetual transformation, much like the constant change seen in nature's own designs—cloud formations, the flow of water, or the shifting sands of a dune. There's a semblance of topography, as if we're looking at a satellite view of a vibrant, otherworldly landscape, where the normal rules of physics and geography do not apply. Fischer’s technique possibly involves a complex algorithmic process where mathematical rules translate into visual output, resulting in patterns that evoke the natural world while being entirely digital. His method likely includes a form of randomness, contributing to the uniqueness of each piece within the series. The result is a striking balance between chaos and order, planning and spontaneity, human intention and computer interpretation. The lines in the artwork have a certain fluidity that suggests movement. They flow like rivers of color, meandering through different emotional landscapes. The denser areas where the dark colors pool could represent deeper thoughts or feelings, while the brighter, more vibrant areas might symbolize moments of clarity or joy. In some places, the lines converge into points of intense color, as if we're witnessing the birth of stars in a nebula, or the focal point of an artistic explosion. The brushstrokes have a tactile quality; one can almost feel the thickness of the paint, the drag of the brush, despite knowing that this texture is a digital construct. The viewing experience is immersive. As the eye travels across the canvas, new forms and transitions reveal themselves. It’s easy to get lost in contemplation, each observer likely to interpret the tangle of colors and shapes in a personal way. Fischer's work challenges the viewer to reconsider the boundaries between the digital and the organic, the planned and the random, the created and the naturally occurring. Overall, the piece is a testament to Fischer's mastery of digital tools to emulate the complexities and beauty of the natural world. It encourages a contemplation of the essence of art in the age of technology: the role of the artist when creation involves code as much as it does creativity, the place of human emotion in the midst of calculated algorithms, and the profound beauty that emerges from the fusion of these realms. Supervoid 01 R138_N138_192017 This second piece of generative artwork by Andreas Nicolas Fischer, which is from the same series as "Supervoid One," is a vibrant and dynamic digital creation. The image is characterized by a mesmerizing flow of colors with a sense of depth and fluidity that seems to be in constant motion. Rich magentas, deep blacks, and a spectrum of greens and blues coalesce into ribbon-like formations, giving the impression of a digitized version of marbled paper or the swirling patterns of a kaleidoscope. The organic, wave-like structures suggest a topographical map of a fantastical landscape or the churning surface of a colorful sea. The layering of colors and the way they blend into each other give the piece a three-dimensional quality, as if one could dive into the swirls and eddies. The variation in color density and the interplay between light and dark areas create a rhythm within the piece, almost like visual music. Like other works by Fischer, this piece may explore the relationship between natural forms and digital processes, showcasing how algorithmic methods can emulate and amplify patterns found in nature. The artwork is a testament to the power of generative art to create complex and evocative visual experiences that can evoke emotional responses similar to those elicited by the natural world. Supervoid 01 R317_N880_552000 The artwork titled "Supervoid One R317_N880_552000" by Andreas Nicolas Fischer (Studio A N F) presents a captivating and fluid composition that resembles the organic movement of viscous fluids or the colorful interplay of light through a prism. Dominated by hues of purple and green, the piece creates a dynamic sense of movement through digital brushstrokes that swirl and twist around each other. The colors graduate smoothly from one to another, with pockets of more intense saturation that draw the eye. This digital piece could be a reflection of natural phenomena, an abstract representation of space and depth, or an exploration of color dynamics in a digital medium. It is a fine example of Fischer's style, which often utilizes digital algorithms and data to produce visually stunning pieces that blur the line between the digital and the natural world. The smooth, almost silky texture suggests a depth that invites the viewer to look deeper, hinting at the void or space referenced in the title. The artwork is distinctly modern, harnessing technology to create an aesthetic experience that could not be achieved with traditional media. URL: https://studioanf.com/project/supervoid-one-generative-software-art ## V0ID MMXX 02 - generative large scale mural artworks Year: 2020 Category: generative-systems Location: Los Angeles, USA Client: Fairmont Century Plaza Scale: Large-scale mural print Technology: Custom generative software VOID MMXX 02 1568418369226 V0ID MMXX 02 is a large-scale generative mural artwork by Studio A N F, delivered in 2020 for the Fairmont Century Plaza in Los Angeles, USA. The piece is a wall-scale generative print produced with the studio's custom software, dominated by wave-like forms in various shades of blue. V0ID MMXX 02 extends the V0ID series that began in 2015. The artwork by Andreas Nicolas Fischer to be displayed as a mural at the Fairmont Century Plaza in Los Angeles is a stunning piece of generative software art that captures the fluidity and dynamism of natural forms through digital means. The composition is reminiscent of the gentle undulations of a body of water or the swirling patterns of clouds in a stormy sky. Dominant in various shades of blue, the artwork exudes a sense of serene motion, with wave-like forms that ripple across the canvas. These forms are layered with varying degrees of transparency, creating a complex network of lines and textures that suggest depth and movement. The use of blue, ranging from pale ice-like tones to deep indigo, evokes the natural world, calling to mind the rhythms of oceans, rivers, and the atmosphere. img src The piece's generative nature is evident in the organic, almost lifelike patterns that seem to have been created through algorithmic processes that mimic natural forces. The fluid dynamics of the work suggest a meticulous study of motion, where digital tools have been employed to simulate the ebb and flow of natural phenomena. This mural will likely become a focal point at the Fairmont Century Plaza, offering viewers a space for contemplation and a momentary escape into a digital landscape that blurs the line between the artificial and the elemental. Fischer's work is an ode to the beauty of natural patterns distilled through the lens of cutting-edge technology, inviting a contemplative engagement with the artwork. VOID MMXX 02 1568758153757 This artwork by Studio A N F Berlin is a serene and captivating visual experience. It features an intricate blend of wavy lines and organic shapes that flow across the canvas in a harmonious dance. The color scheme is predominantly a range of blues, from pale to steel, interwoven with delicate grays and whites, which may remind one of layers of ice or the intricate patterns of frost. The fluidity of the composition suggests movement, as if capturing a moment in time within a dynamic, ever-changing landscape. The patterns and textures bear a resemblance to natural formations such as stratified rock layers or the graceful undulations of a mountainous terrain shrouded in mist. The depth and layering of the lines create a three-dimensional effect, giving the impression that one could reach out and feel the contours of the artwork. This piece, like many generative software art works, combines the precision of algorithmic calculation with the aesthetic of natural phenomena, resulting in a piece that is simultaneously structured and organic. There is a tranquil, almost ethereal quality to the artwork, inviting viewers to lose themselves in the details and contemplate the intersection of technology, art, and the natural world. The elegance of Studio A N F Berlin's creation lies in its ability to evoke a sense of calm and introspection, making it a striking addition to any space it adorns. img src VOID MMXX 02 1568776575273 This generative art software's artwork by Studio A N F Berlin features an array of swirling patterns that resemble natural phenomena such as marble, the churning of ocean currents, or the fluid motion of clouds. Dominated by a palette of blues and whites, with subtle hints of purple, the piece evokes a sense of both tranquility and dynamism. The image presents a fluid, organic aesthetic, suggesting movement frozen in time. The various shades of blue, ranging from deep navy to soft sky blue, intertwine with whites to create a soothing, yet complex visual experience. The intricacies of the patterns and the gradients of color demonstrate a sophisticated algorithmic manipulation, indicative of the generative software art process. Studio A N F Berlin's work is characteristic of creating visuals that are not only striking in color and form but also provoke a contemplation of natural beauty as interpreted through digital media. This piece, with its graceful, flowing lines and forms that gently fold into each other, embodies a digital interpretation of natural textures and movements. The artwork likely provides viewers with a calming, introspective experience, inviting them to decipher the fluid chaos that mimics natural elements, yet is constructed through digital algorithms. It is a testament to the studio's ability to harness technology to create art that resonates with the rhythm and patterns found in nature. VOID MMXX 021568740047041 URL: https://studioanf.com/project/v0id-mmxx-generative-art-prints-two ## V0ID MMXX 01 - large scale generative artwork prints Year: 2020 Category: generative-systems Location: Los Angeles, USA Client: Fairmont Century Plaza Scale: Large-scale mural print Technology: Custom generative software VOID MMXX 1568598842087 V0ID MMXX 01 is a large-scale generative artwork by Studio A N F, delivered in 2020 for the Fairmont Century Plaza in Los Angeles, USA. The piece is a wall-scale generative print produced with the studio's custom software, characterized by a soft, ethereal palette of whites, greys and blush tones. V0ID MMXX 01 extends the V0ID series that began in 2015. This artwork by Andreas Nicolas Fischer presents a delicate and ethereal visual experience, with a soft palette that subtly plays with light and shadow. The piece is dominated by gentle, flowing forms and lines that gracefully move across the canvas, suggesting natural elements like water ripples, cloud formations, or the intricate patterns found within marble stone. Hints of soft pink and blush tones gently infuse warmth into the predominantly white and gray composition, creating a sense of depth and a touch of organic life amidst the tranquility. These pink accents appear almost as if they are the first light of dawn touching a frost-laden landscape, giving a feeling of warmth to an otherwise cool palette. The fluidity of the artwork is characteristic of Fischer's generative digital art style, where the complexity of the forms and the subtlety of the color gradients likely result from a sophisticated algorithmic process. This method allows for a seamless blend of colors and shapes that mimic the randomness and beauty of natural phenomena. The artwork has a meditative quality to it, inviting viewers to contemplate the gentle ebb and flow of the composition. There's a certain serenity in the soft undulations and the subtle interplay of colors, suggesting a calming, reflective environment that could encourage a viewer to pause and engage with the piece on a deeper level. Fischer's work often explores the intersection of nature and technology, and this piece is no exception. It bridges the gap between the digital and the natural world, creating an artwork that resonates with the fluidity of both realms. VOID MMXX 1568565917110 VOID MMXX 1568556757192 The artwork is a compelling generative piece by generative art Studio ANF that exemplifies a fluid and dynamic interplay of form and color. It is characterized by a dreamlike quality, with swirling patterns that suggest a blend of natural textures, such as the layering of geological strata or the delicate gradations of color in a sky at dawn. The color palette is soft and predominantly composed of shades of gray, with graceful strokes of white that add a sense of depth and complexity to the image. Accents of pink and hints of a warmer spectrum imbue the piece with a subtle vibrancy, suggesting the ephemeral glow of morning light or the gentle caress of floral hues in a monochromatic landscape. This piece appears to capture a moment of organic movement, frozen in time yet full of potential energy. The layers and lines seem to flow naturally, creating a tapestry of waves and folds that invite the viewer's eye to wander through its intricate details. The use of color and the manipulation of shapes produce a sense of softness and tranquility. Studio A N F's work often conveys a dialogue between the precision of digital art and the unpredictability of natural processes. This artwork continues that conversation, with patterns that might be seen as digital renderings of natural phenomena, created through the application of algorithms that emulate the complexity of nature’s own designs. Viewers will find themselves contemplating the boundaries between the artificial and the organic, as the piece offers a space where digital technology and natural beauty converge in a harmonious and evocative visual symphony. VOID MMXX 1568549817366 The generative artwork by Studio A N F unfolds in soft, undulating patterns that give an impression of organic fluidity and subtle movement. The palette is a delicate mix of grays and whites, with gentle hints of pink that bring a soft warmth to the composition, reminiscent of the faint blush on the horizon at dawn. The interplay of the colors and the smooth transitions between them create a sense of depth and texture, as if one is looking at a natural phenomenon through a dreamy, soft-focus lens. The swirls and folds within the piece mimic natural formations such as the curves of wind-swept sand dunes or the gentle flow of water in a slow-moving stream. This piece evokes a serene and contemplative atmosphere, inviting the viewer to let their gaze drift along the natural rhythms of the artwork. It's a testament to Studio A N F's ability to harness the power of algorithmic processes to create art that resonates with the complexities and beauty of the natural world. There's an elegance to the simplicity of the color scheme, which allows the intricate details and the overall fluidity of the piece to stand out, offering a tranquil visual experience. URL: https://studioanf.com/project/void-mmxx-generative-artworks-one ## Hyperschwarm - Generative Art Installation Year: 2019 Category: generative-systems Location: Berlin, Germany Scale: 3 triple-channel installations, 3 × 4:00 min each Technology: Schwarm generative software (self-generating color composition) Hyperschwarm is a generative video installation by Studio A N F, delivered in 2019 from the studio in Berlin. The work is a series of three triple-channel media installations, each consisting of three 4-minute videos at 4K UHD, produced with an update of the Schwarm system in which color composition is generated in real time rather than pre-defined. Hyperschwarm is the moving-image scale-up of the Schwarm series that began in 2012. Hyperschwarm is a series of 3 triple channel generative media installations, each consisting of 3 4 minute videos in 4k UHD resolution. Hyperschwarm is an update of the Schwarm series, which uses the same generative system with the difference that the color composition is being generated from within instead of being pre-defined. The colors are re-generated at specific intervals during the execution of the software, shifted in hue over time and faded over the last set that was drawn onto the canvas. The installation is evolving slowly over time, revealing new colors through the particles that flow across the canvas. Each set has 3 different scales at which the points flow across the drawing surface at varying opacities. Hyperschwarm 1 - Triple Channel Video Installation ( 4:00; 4k per screen) Hyperschwarm is a digital representation of a triptych, which is a three-paneled piece of art, commonly found in the world of painting and art installations. This particular piece called "Hyperschwarm" by Andreas Nicolas Fischer, is a generative video installation, which is created by a system that autonomously generates the visuals through the use of algorithms. The panels are vibrant and full of swirling colors, resembling the fluid, dynamic motions often found in natural phenomena such as the movement of fluids, the flocking of birds, or the swarming of insects. Each panel is a feast for the eyes with a complex interplay of colors blending into each other, creating a sense of depth and movement. The colors range from fiery reds and oranges to cooler blues and purples, with patches of green, yellow, and other hues intermixed, suggesting both harmony and chaos within the natural world. The piece evolves in real-time or through a predetermined sequence, offering an ever-changing visual experience that defies static interpretation. It is a digital canvas that explores the intersection of art, technology, and nature, inviting viewers to interpret the flowing forms and colors that emerge and dissipate across the panels. The installation's title, "Hyperschwarm," hints at an enhanced or exaggerated state of swarming, suggesting a sensory-overloading experience of being surrounded by intense, collective movement. Hyperschwarm 2 - Triple Channel Video Installation ( 4:00; 4k per screen) The generative art installation consists of a triptych, three separate panels that together form a cohesive visual narrative. Each panel is alive with an abstract interplay of colors and organic shapes that seem to undulate and flow dynamically, suggesting constant motion. The color palette is rich and varied, with bold reds, deep blues, purples, vibrant oranges, and muted greens swirling together to create a visual effect that is both chaotic and harmonious. The contours and the color gradients give the impression of a fluid, almost liquid motion, as if each panel captures a frozen moment of a larger, unseen dance of colors. The artwork evokes a sense of organic growth and transformation, reminiscent of natural processes such as the blooming of flowers or the complex patterns of weather systems. The visual style is reminiscent of marble patterns or the intricate details of a Rorschach inkblot test, inviting viewers to project their own interpretations onto the fluid shapes. The installation's generative nature means that it likely uses software algorithms to create these patterns, resulting in a unique and ever-changing piece of art that never repeats itself. The frames are designed to highlight the continuity between the panels, emphasizing the seamless flow of colors and shapes across the boundaries of each individual piece. Hyperschwarm 3 - Triple Channel Video Installation ( 4:00; 4k per screen) The work features three vibrant panels that are each marked by a dynamic and fluid interplay of colors. The left panel bursts with warm tones of pink, red, and yellow that flow into each other like the petals of an opening flower. The central panel serves as a stark contrast with its deep black void surrounded by an eruption of reds and yellows, suggesting a volcanic energy or a nebulous creation in space. The right panel cools down the composition with blues, greens, and purples cascading together, reminiscent of ocean depths or the plumage of an exotic bird. The movement in the artwork is accentuated by the sweeping gestures of color that suggest vigorous brush strokes despite their digital origin. The colors are layered with a depth that gives the sense of a three-dimensional space, inviting the viewer to look deeper into the image. The abstract forms do not resolve into any specific shapes, leaving the interpretation to the imagination of the viewer. The juxtaposition of the three panels creates a visual dialogue between the colors and forms, with each panel contributing to a narrative of organic growth, transformation, and the cyclical nature of creation and dissolution. This triptych is likely meant to be experienced as a continuous loop, where the boundaries of each panel are not the end but rather a transition to a new beginning, reflecting the generative algorithm's perpetual motion. URL: https://studioanf.com/project/hyperschwarm-generative-art-installation ## Megaschwarm - Video Art Installation Year: 2019 Category: video-art Location: Berlin, Germany Scale: 3 triple-channel installations, 3 × 4:00 min each Technology: Schwarm generative software (self-generating color composition) Megaschwarm is a generative video installation by Studio A N F, delivered in 2019 from the studio in Berlin. The work is a series of three triple-channel media installations, each consisting of three 4-minute videos at 4K UHD, produced with an update of the Schwarm system in which color composition is generated in real time. Megaschwarm is a companion piece to Hyperschwarm (2019) and part of the Schwarm series that began in 2012. Megaschwarm is a series of 3 triple channel generative media installations, each consisting of 3 4 minute videos in 4k UHD resolution. It is an update of the Schwarm series, which uses the same generative system with the difference that the color composition is being generated from within instead of being pre-defined. The colors are re-generated at specific intervals during the execution of the software, shifted in hue over time and faded over the last set that was drawn onto the canvas. The installation is evolving slowly over time, revealing new colors through the particles that flow across the canvas. Each set has 3 different scales and densities at which the points flow across the drawing surface at varying opacities. Megaschwarm 01 Installation View ( 4:00; Triple Channel 4k) A triptych of abstract generative art by Andreas Nicolas Fischer. The artwork consists of three vertical panels, each featuring a fluid and dynamic blend of colors that flow into each other, creating a marbled or topographical effect. The colors are vibrant and range from bright greens, yellows, and oranges to deep purples, blues, and subtle whites. The fluidity suggests a digital manipulation where colors seem to be in a state of mix or flux, perhaps reminiscent of natural patterns such as geological formations, clouds, or the swirling surface of a planet. The panels are framed in black, which contrasts sharply with the vivid colors, and they are displayed on a gallery wall, which is dimly lit, focusing the viewer's attention on the bright and complex colors of the artwork. The pieces are likely a combination of algorithmically generated patterns and artistic choices, resulting in a unique and mesmerising installation. Megaschwarm 02 Installation View ( 4:00; Triple Channel 4k) The three vertical canvases display a dynamic and vivid mix of colors that seem to flow and blend with an organic and fluid motion. The left and right panels show a brighter palette with dominant reds, greens, and purples, while the central panel features a darker theme with black spaces that provide a stark contrast to the vibrant hues surrounding them. It gives the impression of a digital creation where the colors have been pushed and pulled into swirling patterns that might resemble a psychedelic interpretation of natural phenomena, like flowers in bloom or the undulations of a vibrant, living coral reef. The artwork is displayed against a dark gray wall with subtle lighting, emphasizing the luminosity and depth of the colors. Similar to the previous artwork, the black frames encase the riot of colors and help to define each panel as a distinct piece of a cohesive whole. This installation would likely draw the viewer in, inviting them to find shapes and forms within the abstract designs. Megaschwarm 03 Installation View (4:00; Triple Channel 4k) Another triptych of abstract generative art, each panel bursting with an even more complex interplay of colors and shapes than the previous ones. The swirling patterns are reminiscent of smoke or liquid in motion, creating an almost hypnotic effect. The left panel features a darker background that sets off the bright, flame-like colors in the foreground, suggesting depth and movement. The middle panel is lighter, with a variety of hues that give a more ethereal and less structured appearance. The right panel returns to a darker base with the colors vividly standing out, almost like a lively dance of fire and wind. The colors themselves are incredibly rich and varied, ranging from neon greens and blues to deep purples, fiery oranges, and reds, with transitional shades that add to the complexity of the visual texture. The overall effect is organic, dynamic, and visually captivating, inviting the viewer to get lost in the intricate details and the flow of colors. The art seems to have a life of its own, giving an impression of constant change, as if each moment the shapes and colors could swirl into a new form. The panels are set against a dark background, emphasizing their luminosity and the vibrancy of the colors used. The framing is simple, yet it serves to contain the wild energy of the artwork within a structured space. URL: https://studioanf.com/project/megaschwarm-generative-installation-art ## V0ID Vaporwave I Year: 2019 Category: generative-systems Location: Berlin, Germany Technology: Custom generative software (V0ID code base) V0ID Vaporwave I is a generative print series by Studio A N F, delivered in 2019 from the studio in Berlin. The series is an ultra-high-resolution set of digital artworks produced with the studio's custom generative software, referencing the vaporwave microgenre and its 1980s–1990s visual palette. V0ID Vaporwave extends the V0ID series that began in 2015. Void Vaporwave is a series of ultra-high-resolution digital artworks generated with our custom generative software based on the void series. It is a microgenre of electronic music and an Internet image that developed in the mid-2010s. The style is characterized by its allotment of the 1980s and 1990s state of mind music styles, for example, smooth jazz, lift music, R&B, and parlor music, regularly examining or controlling tracks by means of slashed and screwed strategies and different impacts. Its encompassing subculture is here and there related with an uncertain or humorous interpretation of customer free enterprise and popular culture, and will, in general, be described by a nostalgic or surrealist commitment with the well-known diversion, innovation and publicizing of earlier decades. It additionally joins early Internet symbolism, late 1990s website architecture, glitch craftsmanship, anime, 3D-rendered articles, and cyberpunk tropes in its spread fine art and music recordings. Void Vaporwave I 1568894967288 Void Vaporwave I 1568907691131 Void Vaporwave I 1568923578696 Void Vaporwave I 1568921589485 URL: https://studioanf.com/project/void-vaporwave-l ## Public Space Media Art Installation at Pitch Festival Year: 2019 Category: generative-systems Location: Grampians, Victoria, Australia Client: Pitch Festival (curated by Nic Hamilton) Technology: Public-space single-channel media installation Pitch Festival is a public-space media art installation by Studio A N F, delivered in 2019 near Ararat in the Grampians, Victoria, Australia. The work was part of a curated programme by Nic Hamilton featuring six international video artists alongside the festival's international music programme. It is representative of the studio's festival-installation work. In 2019, Pitch Festival, held near Ararat in the picturesque Grampians of Victoria, unveiled an extraordinary public space media art installation that captivated attendees with its innovative design and collaborative creativity. This installation marked a significant moment in the festival's history, blending visual arts seamlessly with its renowned international music program. Installation View [Single Channel] Nic Hamilton coordinated six other international video artists to make works for the festival to ensure visual arts were represented alongside the broadly international music program. Joe Hamilton, Lucy Benson, Michael Tan Ezra Miller ,Tristan Jalleh and Andreas Nicolas Fischer each made site-specific works displayed across the 4 days of the pitch festival. Photography by Pat Hamilton The centerpiece of this installation was an array of ten large-format, high-resolution LED screens. These screens were uniquely arranged back-to-back in groups of five, resembling totem-like structures. This strategic setup not only created an immersive environment but also allowed festival-goers to meander among the luminous panels, experiencing the art from various angles and perspectives. From a distance, especially when approaching the main stage, this installation presented itself as a singular, unified surface. However, as visitors moved closer, the individual elements of the totem structures became more apparent, offering a dynamic and engaging visual experience. This design cleverly played with the perception of space and form, a testament to the thoughtfulness behind the project. Pitch Installation Vis In summary, the 2019 Pitch Festival's commitment to integrating visual arts into its program through this innovative media art installation set a new standard for public space art. It highlighted the potential of technology and collaboration in creating engaging, dynamic environments that resonate with a wide audience. As such, this installation stands as a shining example of how public space media art can enrich cultural events, fostering a deeper appreciation of both art and community. URL: https://studioanf.com/project/pitch-festival-screening ## Momacs - Generative Logo Design Year: 2019 Category: generative-identity Location: University of Pittsburgh, USA Client: MOMACS Institute, University of Pittsburgh (via Hiker, New York) Technology: Custom parametric logo-generation software Momacs is a generative logo system by Studio A N F, delivered in 2019 for the MOMACS Institute at the University of Pittsburgh. The system generates the logo parametrically: a custom software produces on-brand logo variations from a defined rule set, so every application is unique. The engagement was commissioned via New York agency Hiker, which produced the surrounding brand identity in-house while Studio A N F delivered the generative logo system. New York City Based agency Hiker approached A N F with the creation of a parametric logo design for the MOMACS institute at the University of Pittsburgh. All branding / identity work besides the logo was done in-house at Hiker. Logo Generation Processes - custom software Momacs Process - Logo Variations URL: https://studioanf.com/project/momacs-generative-logo-design ## Hypervoid X - Large Scale Generative Art Prints Year: 2019 Category: generative-systems Location: Berlin, Germany Scale: Large-scale C-print series Technology: Custom generative software in Processing (V0ID code base) Hypervoid X is a large-scale generative print series by Studio A N F, delivered in 2019 from the studio in Berlin. The series is a high-density procedural pop-art C-print set generated over days with the studio's custom Processing software, in a palette that references consumer products, neon lighting, and package design of the 1970s and 1980s. Hypervoid X extends the V0ID series that began in 2015. Hypervoid X is new high-density procedural pop art c-prints based on the void series, which were generated over a period of days with our custom procedural software written in Processing. The colors are chosen to evoke associations to consumer products, neon lighting, and package design, similar to the artists of the 70s and 80s. Pop art is a development that risen in the United Kingdom and the United States during the mid-to-late-1950s. The development displayed a test to customs of compelling artwork by including symbolism from well known and mass culture, for example, promoting, comic books and everyday social items. One of its points is to utilize pictures of well known (rather than elitist) culture in craftsmanship, accentuating the worn-out or kitschy components of any culture, frequently using irony. It is likewise connected with the specialists' utilization of mechanical methods for multiplication or rendering systems. In pop craftsmanship, the material is now and again outwardly expelled from its known setting, confined, or joined with inconsequential material. Among the early specialists that formed the pop craftsmanship development were Eduardo Paolozzi and Richard Hamilton in Britain, and Larry Rivers, Robert Rauschenberg and Jasper Johns among others in the United States. Pop art is broadly translated as a response to the then-predominant thoughts of dynamic expressionism, just as a development of those ideas.[4] Due to its use of discovered items and pictures, it is like Dada. Pop art and moderation are viewed as art developments that go before postmodern craftsmanship or are the absolute most punctual instances of postmodern art themselves. URL: https://studioanf.com/project/hypervoid-x ## Megavoid - Generative Software Art Installation Year: 2019 Category: generative-systems Location: Berlin, Germany Scale: 3 triple-channel installations, 3 × 4:00 min each Technology: V0ID generative software (self-generating color composition) Megavoid is a generative video installation by Studio A N F, delivered in 2019 from the studio in Berlin. The work is a series of three triple-channel media installations, each consisting of three 4-minute videos at 4K UHD, using the V0ID system with self-generating (rather than pre-defined) color composition. Megavoid is the moving-image scale-up of the V0ID series that began in 2015. Megavoid is a series of 3 triple channel generative media installations, each consisting of 3 4 minute videos in 4k UHD resolution. It is an extension of the VOID series, which uses the same generative system with the difference that the color composition is being generated from within instead of being pre-defined. The colors are re-generated at specific intervals during the execution of the software, shifted in hue over time and faded over the last set that was drawn onto the canvas. The installation is evolving slowly over time, revealing new colors through the particles that flow across the canvas. Megavoid 01 - Installation View Megavoid 02 - Installation View Megavoid 03 - Installation View URL: https://studioanf.com/project/megavoid-generative-art-installation ## Computer Visions 2 Year: 2018 Category: video-art Location: Berlin, Germany Technology: 3D animation with AI-voice narration (short film) Computer Visions 2 is a short 3D-animated video artwork by Studio A N F, delivered in 2018 from the studio in Berlin. The video is an animated short about an artificial intelligence acting as psychotherapist and life coach, with sound design by Mr Kamp, AI voice by Jim D Johnston, and text by Sascha Pohflepp. Computer Visions 2 continues the Computer Visions series that began in 2016. An animated short film about artificial intelligence as psychotherapist and life coach. Sound design by the talented Mister Kamp AI voice by Jim D Johnston Text [below] by Sascha Pohflepp Many developments in the history of everything have started out as a mimesis of one kind or another. The arm became the lever while the horse became the steam engine and the mind became the computing machine. At some moment then typically comes a sort of inflection point at which the mimic surpasses its model: suddenly, there were hundreds of horses in the space of one. Often, this leads to other effects, ones much less obvious, unintended and almost impossible to foresee. Those horses, history tells us, facilitated a fundamental change in the urban landscape of North America; a change that came with a universe of social, ecological and economic transformations, not all of them for the better. Cognitive technologies are likely to follow a similar pattern, although their mode of mimicry is much less linear. Consequently, inflection points may differ: instead of being an analog of our own thinking apparatus, they started off as apparatuses of logic. Running mechanically at first, such as the Antikythera mechanism, Charles Babbage’s difference engine or Gottfried Wilhelm Leibniz’s stepped reckoner, those machines could perform as many simple calculations as mechanical resistance (the arm) would allow for. The rise of electrical power and the vast paradigm shift it initiated then changed the mode of resistance into one of scale and integration: logical formations, materialized into ever-shrinking circuits, now powered by an invisible force at the speed of light. A sense of inflection followed: what if our souls fundamentally work the same way? But it turned out to be a mirage: our brains are not digital computers, just as little as the steam engine is a horse. After more decades of trying to construct an apparatus that can think, we may be finally witnessing the fruits of those efforts: machines that know. That is to say, not only machines that can measure and look up information, but ones that seem to have a qualitative understanding of the world. A neural network trained on faces does not only know what a human face looks like, it has a sense of what a face is. Although the algorithms that produce such para-neuronal formations are relatively simple, we do not fully understand how they work. A variety of research labs have also been successfully training such nets on functional magnetic resonance imaging (fMRI) scans of living brains, enabling them to effectively extract images, concepts, thoughts from a person’s mind. This is where the inflection likely happens, as a double one: a technology whose workings are not well understood, qualitatively analyzing an equally unclear natural formation with a degree of success. Andreas N. Fischer's work Computer Visions II seems to be waiting just beyond this cusp, where two kinds of knowing beings meet in a psychotherapeutic session of sorts, consistent with the ideas that Joseph Weizenbaum first raised half a century ago with his software ELIZA. Yet, in Fischer’s interpretation, this relationship presents itself as a peculiar clash of surreal images and a voice tending to the very human. It is perhaps no coincidence then, that some of the images, particularly the carcass of an animal, are reminiscent of Werner Herzog’s 1971 film Fata Morgana, which depicts the Sahara and Sahel deserts to the sound of Lotte Eisner’s voice reciting the Mayan creation myth. Like Herzog, Fischer created the images first and the voice-over followed after, almost in an effort to decode them and with them offer an experimental analysis of a future to come. Herzog’s film, after all, was initially intended as a science fiction narrative and only later turned into an exegesis of the origin of the world. In both films, the images serve as surreal divining rods to explore the nature of dreams and visions. “What kind of life is it?” asks the therapist. We do not hear the answer, but perhaps we have not heard the question right either: in a time of talk, simultaneously, of both the Anthropocene and the possibility of a posthuman condition, should the question not rather be what the dreams are, at their base of bases? And would it not be only fitting if—after passing the epochal inflection point of a machine that truly knows—its first words would be: “hi there, do you want me play back some of your dreams for you?” Sascha Pohflepp, September 2017 URL: https://studioanf.com/project/computer-visions-2-video-art ## Drone III Year: 2017 Category: video-art Location: Berlin, Germany Technology: Generative motion design Drone III is a generative motion-design work by Studio A N F, delivered in 2017 from the studio in Berlin. It continues the Drone series that began in 2009. URL: https://studioanf.com/project/drone-lll-generative-motion-design ## KARST II Year: 2017 Category: generative-systems Location: Berlin, Germany Scale: 3 × C-print, 160 × 120 cm each Technology: Custom procedural landscape software Karst II is a generative landscape print series by Studio A N F, delivered in 2017 from the studio in Berlin. The series consists of three large-format C-prints at 160 × 120 cm each, rendered from procedural landscapes. Karst II continues the Karst series that began in 2012. KARST II 01; C-print 160 × 120 cm KARST II 01; Detail 01 KARST II 01; Detail 02 KARST II 01; Detail 03 KARST II 02; C-print 160 × 120 cm KARST II 02; Detail 01 KARST II 02; Detail 02 KARST II 02; Detail 03 KARST II 03; C-print 160 × 120 cm KARST II 03; Detail 01 KARST II 03; Detail 02 KARST II 03; Detail 03 URL: https://studioanf.com/project/karst-large-scale-landscapes ## V0ID VIII Year: 2017 Category: generative-systems Location: Berlin, Germany Scale: 3 × C-print, 160 × 120 cm each Technology: Custom generative software in Processing V0ID VIII is a generative print series by Studio A N F, delivered in 2017 from the studio in Berlin. The series consists of three C-prints at 160 × 120 cm each, generated with the studio's custom Processing software. V0ID VIII is part of the V0ID series that began in 2015. V0ID VIII 01; Installation View V0ID VIII 01; C-print; 160cm × 120cm V0ID VIII 02; Installation View V0ID VIII 02; C-print; 160cm × 120cm V0ID VIII 03; Installation View V0ID VIII 03; C-print; 160cm × 120cm URL: https://studioanf.com/project/void-vlll-colorful-generative-art-prints ## V0ID VI Year: 2017 Category: generative-systems Location: Berlin, Germany Scale: Triple-channel video, 4:00 minutes Technology: Custom generative software V0ID VI is a generative video installation by Studio A N F, delivered in 2017 from the studio in Berlin. The work is a triple-channel video at 3× 4K UHD (3840 × 2160), 4:00 minutes at 30fps, generated with the studio's custom software. V0ID VI is the moving-image counterpart to the V0ID print series that began in 2015. Triple Channel Video; 3 X 4k UHD 3840 x 2160; 4:00; 30fps URL: https://studioanf.com/project/void-vi-unique-new-media-installation ## Schwarm 2k14 Year: 2014 Category: generative-systems Location: Berlin, Germany Scale: 3 procedural drawings Technology: Schwarm generative software Schwarm 2k14 is a generative print series by Studio A N F, delivered from the studio in Berlin. The series consists of three procedural drawings generated with the studio's Schwarm software. Schwarm 2k14 is part of the Schwarm series that began in 2012. Schwarm 2k14 I Schwarm 2k14 II Schwarm 2k14 III URL: https://studioanf.com/project/schwarm-generative-drawings ## V0ID V Year: 2017 Category: generative-systems Location: Berlin, Germany Technology: Custom generative software in Processing V0ID V is a generative print series by Studio A N F, delivered in 2017 from the studio in Berlin. The series consists of three procedural drawings generated with the studio's custom Processing software. V0ID V is part of the V0ID series that began in 2015. V0ID V 01 Installation View V0ID V 01 V0ID V 02 Installation View V0ID V 02 V0ID V 03 Installation View V0ID V 03 URL: https://studioanf.com/project/void-v-generative-drawings ## V0ID IV Year: 2017 Category: generative-systems Location: Berlin, Germany Technology: Custom generative software in Processing V0ID IV is a generative print series by Studio A N F, delivered in 2017 from the studio in Berlin. The series consists of three high-density procedural drawings produced with the studio's custom Processing software. V0ID IV extends the V0ID series that began in 2015. V0ID IV 01 Installation View V0ID IV 01 V0ID IV 02 Installation View V0ID IV 02 V0ID IV 03 Installation View V0ID IV 03 URL: https://studioanf.com/project/void-iv-generative-drawings ## V0ID III Year: 2017 Category: generative-systems Location: Berlin, Germany Technology: Custom generative software in Processing V0ID III is a generative print series by Studio A N F, delivered in 2017 from the studio in Berlin. The series consists of three procedural drawings generated with the studio's custom Processing software. V0ID III is part of the V0ID series that began in 2015. V0ID III 01 V0ID III 01 V0ID III 02 V0ID III 02 V0ID III 03 V0ID III 03 URL: https://studioanf.com/project/void-lll-generative-drawings ## Computer Visions Year: 2016 Category: video-art Location: Berlin, Germany Technology: 3D animation (short film) Computer Visions is a short 3D-animated video artwork by Studio A N F, delivered in 2016 from the studio in Berlin. The video stages a dialog between an artificial intelligence and a human, rendered as 3D animation. Computer Visions is the first entry in the Computer Visions series, continued in 2018 with Computer Visions 2. A dialog between an artificial intelligence and a human. URL: https://studioanf.com/project/computer-visions-video-art ## Second Nature Year: 2016 Category: video-art Location: Berlin, Germany Scale: Series of 3D video loops Technology: Point-of-view video reconstructed as virtual-camera 3D scenes Second Nature is a series of 3D video loops by Studio A N F, delivered in 2016 from the studio in Berlin. The work reconstructs walks the artist took in the Alps south of Munich as virtual camera paths, then builds a fictitious vegetation (tropical leaves on northern European trees) around each path. It is representative of the studio's memory-and-landscape 3D video work. Second Nature is a series of video loops which show an alternate reality layered on top of our own. During a return to the Alps in the south of Munich where I grew up, I took walks in the forest, filming them from my own point of view and recording ambient sounds. The video footage was then analyzed and a virtual camera was calculated which reconstructs my movements. Then, working around the path of the camera in space, the environment was created only to cover the field of vision. The vegetation is an obviously ficticious one, where tropical leaves populate northern European trees. A fern’s structure was misappropriated and given banana leaves. The plants and soil have a dull metallic finish. The POV perspective and gait recognizable in the camerawork shows the influence of first person shooter games, while its enemies and objectives remain absent or unknown. There is no clear narrative or purpose other than the wish to be transported to this world, creating a false memory of a place that does not exist. URL: https://studioanf.com/project/second-nature-video-installation ## V0ID I Year: 2015 Category: generative-systems Location: Berlin, Germany Technology: Custom generative software in Processing (Schwarm code extension by Abraham Pazos Solatie) V0ID I is a generative print series by Studio A N F, delivered in 2015 from the studio in Berlin. The work is generated with custom Processing software that extends the studio's Schwarm code base to produce noise-driven, high-density abstract compositions. V0ID I is the first entry in the V0ID series, which the studio has continued to develop as prints, murals, and installations through 2020. Void 1448452241591 Void 1448461364556 Void 1448469432396 Credits Extension of the Schwarm Code by the multitalented Mr Pazos URL: https://studioanf.com/project/void-l-noise-data-driven-artwork ## A Brief History of Generative Art [Text] Year: 2015 Category: writing Location: Berlin, Germany Technology: Editorial long-form text "A Brief History of Generative Art" is a long-form editorial text by Studio A N F, published in 2015 from the studio in Berlin. The article defines generative art as work created wholly or in part by an autonomous system, and traces the field from the analog-computer experiments of the late 1950s through pioneers such as A. Michael Noll, Vera Molnar, Frieder Nake, Manfred Mohr and Casey Reas to contemporary practitioners including Marius Watz, Refik Anadol, and FIELD.io. It is one of three long-form texts published on studioanf.com. Computer art is an art form in which computers play a role in the process or final product, such as display of artwork. Generative art is at the same time more specific and more encompassing than computer art. Generative art refers to art that in whole or part has been created with the use of an autonomous system. The autonomous system can be a computer, but more broadly an autonomous system is non-human and can independently determine features of an artwork that would otherwise require decisions to be made directly by an artist. In many cases, the artist, or human creator, can claim that the generative system represents their own artistic idea. There are, however, cases in which the system takes on the role of creator entirely. What is Generative Art? The late 1950s saw artists and designers begin to experiment with mechanical devices and analog computers. This served as a precursor to the work of the early digital pioneers who would follow in the 1960s. Interestingly enough these early digital pioneers were not artists or designers but engineers and scientists, as they had access to more powerful computing resources at university scientific research labs. A. Michael Doll, an engineer, and professor at the University of Southern California, was the first person to program a digital computer solely for artistic purposes. His later computer generated patterns simulated the visual effects of paintings by artists such as Piet Mondrian and Bridget Riley. One of the challenges faced by early generative artists using computers was the limitation of output devices. The primary source in operation at the time was the plotter, a mechanical device that holds a pen or brush with its movements controlled by a computer. The computer guides the pen or brush across the drawing surface or alternately moves the paper underneath, according to the instructions programmed. The plotter was a linear output device, with shading only possible through crosshatching. This resulted in much of the early output of generative art focusing on geometric forms and structures as opposed to more fluid content. The pure visual form was prized above content by early practitioners as they considered the computer an autonomous machine that would enable them to carry out their visual experiments in an objective manner. Plotter drawings were typically black on white paper and as such most of the early work produced was black and white, even after printers began to be used. One of the first artists to produce plotter drawings in color was Frieder Nake. Frieder Nake Popular Names in Generative Art In addition to being a pioneer of computer art Frieder Nake is also a mathematician and computer scientist. Nake was one of the first to exhibit computer art, displaying his work at Galerie Wendell Niedlich in Stuttgart. While a few of Nake’s works were limited edition silkscreen prints, the majority of his work was in the medium of China ink on paper, carried out by a flatbed high precision plotter, the Zuse Graphomat Z64. Nake participated in important group exhibitions in the 1960s and 1970s and his book Ästhetik als Informationsverarbeitung (1974) was one of the first to study connections between aesthetics, computing and information theory, and has become a seminal work for the multidisciplinary area of digital media. Another early proponent of generative art from a scientific background was Herbert Franke. Having studied subjects as diverse as physics, mathematics, chemistry, psychology and philosophy, Frank received his doctorate in theoretical physics in 1950 for a dissertation he wrote about electron optics. In this capacity, Franke experimented with computer art, and from 1973 to 1997 he lectured a course entitled Cybernetical Aesthetic at Munich University. The course was later renamed Computer Graphics - Computer Art. In 1979 Franke was a founding member of Ars Electronica, a cultural, educational, and scientific institute active in the field of new media art located in Linz. Ars Electronica Though the majority of early generative artists were of scientific backgrounds, this was not exclusively the case. Vera Molnar trained as a traditional artist at the Budapest College of Fine Arts. She found her style naturally gravitate to the non-representational, and she experiments with systematically determined abstract geometrical painting as early as the 1940s. After establishing the research group Art et Informatique, which investigated the relationship between art and computing in the 1960s Molnar set out to learn Fortran and Basic, two early programming languages and gained access to a computer at a research lab in Paris where she made computer graphic drawings with a plotter. Another pioneer of digital art that came from a fine art background was Manfred Mohr. Mohr, a graduate of the École des Beaux Arts, was an action painter of the abstract expressionist school who began experimenting with algorithmic art in 1969. His early computer works were based on drawings he had formerly done with a strong emphasis on rhythm and repetition. Work by Vera Molnar Manfred Mohr, P-197pz, 1977–87, ink on paper, 29 x 29" Rise of Conceptualism Simultaneously to the rise of computer art, a more encompassing art movement was coming to the fore: conceptualism was a movement that prized ideas above formal or visual components of artworks. Rather than being a tightly cohesive movement, conceptualism was an amalgamation of various tendencies and took on many forms. From the mid-1960s through to the mid-1970s conceptual artists produced works that completely rejected standard ideas of art of the time. Their primary claim - that the articulation of an artistic idea suffices as a work of art - implied that traditional concerns such as aesthetics expression, technique, and marketability were all irrelevant standards by which to judge an artwork. Famous Artists in Conceptualism One artist working in the conceptual vein was Sol LeWitt. LeWitt came to fame in the mid-1960s for his wall drawings, which were essentially the end result of a preconceived set of instructions or simple diagrams for two-dimensional works drawn directly on to walls. The line drawings were purely the result of varying permutations of systems of changing combinations. The parameters of these were chosen by LeWitt himself, and many times the permutations had a systematic ordering about them. John Cage, arguably one of the most influential musicians of the 20th century, was another artistic proponent of conceptualism. He is perhaps best know for his composition entitled 4’33’’, in which musicians who present the work do nothing aside from being present for the duration specified in the title - the work takes place in the absence of deliberate noise, but not in silence. The content of the work is rather the sounds of the environment heard by the audience during the performance. Cage was a pioneer of chance controlled music. Influenced by Eastern texts on decision-making tools in the 1950s, which he employed in his work, aleatoric or chance-controlled music remained his standard composition method for the remainder of his life. Ellsworth Kelly’s contribution to conceptualism was his persistent inquiry into the dynamic relationship between shape, form, and color. He was one of the first artists to works with irregularly shaped canvases and his later work in layered reliefs and flat sculpture would further challenge accepted notions of space. Kelly’s intention was for viewers to experience his work with instinctive physical responses to the works’ structure, color, and surrounding space rather than with contextual or interpretive analysis. He encouraged bodily participation between the viewer and the artwork, by presenting bold, contrasting colors, free of gestural brushstrokes or recognizable imagery. Modernization of Generative Art It was during the 1970s that generative art began to look beyond the computer labs in which it was being practiced and out towards the greater art world. The term soon came to be used to describe geometric abstract art where simple elements were repeated, transformed or varied to generate more complex forms. In so doing the work of Sol LeWitt, John Cage and Ellsworth Kelly became, in a sense, generative art. The broadening of the definition of generative art was not only happening from inside the computer labs but from inside fine art institutions too. In 1970 the School of the Art Institute of Chicago created a department entitled Generative Systems, which focused on art practices using new technologies for the capture, inter-machine transfer, printing and transmission of images. Theorists began placing their own parameters on what generative art was. In 1988, one theorist, Henry Clauser, identified the aspect of systemic autonomy as a critical element in generative art, highlighting that process (or structuring) and change (or transformation) are among generative arts most defining features, and that these features and the actual term ‘generative’ imply dynamic development and motion. As ways of thinking about generative art changed, the practice of generative art changed and a new wave of artists came about bringing with them fresh ideas and new modes of expression. Next Generation Trendsetters in Generative Art Casey Reas is one of the new waves of artists whose conceptual, process-focused and minimal artworks explore ideas through the contemporary lens of software. The images he creates derive from short software-based instructions. These are expressed in different media including natural language, computer code, and digital simulations, resulting in both static and dynamic images. Each iteration reveals a differing perspective on the process and combines with others to produce continually evolving visual traces. Casey Reas is perhaps best to know for having founded, along with Ben Fry in 2001, the Process programming language. The process began as an open source programming language based on Java to assist the visual design and electronic arts communities to learn the basics of computer programming in a visual context. It is still widely used by artists, designers, and educators. Co-founder of Process, Ben Fry’s digital art focuses more on the potential it holds for use in data visualization than as an independent fine art expression of formal quality only. He is widely considered an expert in the field of data visualization. Casey Reas - RGB Marius Watz is another new wave artist who produces works within the visual abstraction category through generative software processes. His work focuses on the synthesis of form as the product of parametric behaviours in both two-dimensional and three-dimensional space. His works display hard edged geometrical forms in vivid colours, working in a diverse field of outputs, from pure software work, physical objects produced with digital fabrication technology to public projections. Watz lectures in Interaction Design at the Oslo School of Architecture and Design in addition to giving workshops and lectures on generative systems, parametric design and computational aesthetics. He is represented by DAM Gallery, an affiliate of DAM Berlin (Digital Art Museum Berlin). DAM is an online resource for the history and practice of digital fine art. It informs on historical and contemporary positions chosen by an advisory panel and exhibits the work of leading artists in this field. Marius Watz - UCracking A female pioneer of the new wave is LIA, an Austrian artist who has been producing works since 1995. She uses media as diverse as video, performance, installation, software, sculpture, digital projections and applications. Her primary working material is code which she uses to translate a concept into a formal written structure that can then be used to create a machine or program that generates real-time multimedia outputs. The written code element of her work require engineered precision, despite this, her concept is fluid - she treats the translation process between machine and artist as a conversation. LIA continues this conversation until she is satisfied with the machines interpretation, at which point the generative framework is considered finished and the artwork can then develop. Her works typically combine traditional drawing and painting idioms with the aesthetic of digital art, while being characteristically minimalist and conceptual. LIA A South American component of the new wave is Leonardo Solaas, based in Buenos Aires. His work explores complex systems through computation, interactivity and generative process for both commercial and personal projects. He has used the Process software in experiments in which he explores the subtle differences and undefined boundary territories between art and generative design, calling into use his background in philosophy. Through his work, Solaas has explored various areas of digital cultures in diverse ways such as data visualisation, interface design, net artworks, interactive installation, mobile games, social networks and collaborative creative platforms. His main focus, however lies in the exploration of algorithmic processes for semi-automated production of paintings, drawings, video and sound. Leonardo Solaas - Propagations How Generative Art Found its Way to Studios Towards the turn of the century, much of the focus of generative art practice moved away from artists working independently and towards studios and their production. It is not unlikely that studios would be focussed on the output of a single artist. Despite this, however, studios allow for a more collaborative environment within the practice of generative art, and when it comes to commercial production studios had the added advantage of giving off a more professional flair, much like design agencies, than solo or independent practitioners. One such studio is Field. Field, operating from London, aims to blend physical and digital experiences, connecting audio-visual experiences with photography, sculpture, and film in an attempt to reflect upon how the world is changing through technology. As ever more complex data systems begin to drive our lives, Field’s artistic and design focus is to create new metaphors that help people, brands and institutions better understand these abstract and intangible concepts. Generative Art Studio A N F in Berlin Founded in 2008 in Berlin, Studio A N F operates at the intersection of art and technology. Having worked with brands as diverse as Diesel, Audi, Hugo Boss, Samsung and Mercedes-Benz, Studio A N F aims to imbue something of its own aesthetic practice into each of its commercial projects. Through its symbiosis of algorithm and human intervention, Studio A N F has completed projects in a variety of media such as graphics, animation, data visualisation, sculpture and installations in public spaces. Its founder, Andreas Nicolas Fischer is a graduate of the Berlin University of Arts where he studied under professors Ängeslevä and Sauter. Fischer has exhibited at HEK Basel, Kiasma Helsinki, Eyebeam New York, Today Art Museum Beijing, LEAP Berlin, DAM Berlin, Film Museum Vienna, Rua Red Art Centre Dublin and the Southeastern Centre for Contemporary Art in North Carolina in addition to performing alongside the Winston Salem Symphony Orchestra and contributing visuals for the Flying Lotus 2016 tour. Nervous System is a generative product design studio that creates using a novel process, employing computer simulation to generate designs and digitally fabricate products based in Palenville, New York. Finding their inspiration in natural phenomena, Nervous System writes computer programs based on processes and patterns observable in nature, then uses these programs to create unique and affordable art, jewellery and houseware. Nervous System was founded in 2007 by Jessica Rosenkrantz and Jesse Louis-Rosenberg. Rosenkrantz, an artist, designer, and programmer, graduated from MIT in 2005 with degrees in architecture and biology after which she pursued graduate studies in architecture at the Harvard Graduate School of Design. Following this she founded Nervous System and now also lectures design at MIT. Jesse Louis-Rosenberg is an artist and computer programmer, interested in how simulation techniques can be used in design and in the creation of new kinds of fabrication machines. Jesse studied mathematics at MIT, having previously worked in building modelling and design automation at Gehry Technologies. Through their unique backgrounds Jessica and Jesse have grown Nervous System into what it is today, as it now releases online design applications that enables customers to co-create products in an attempt to make design more accessible. This further allows for endless design variation and customisation. Nervous System has exhibited its work in the Museum of Modern Art, the Cooper- Hewitt Smithsonian Design Museum, and the Museum of Fine Arts in Boston. Waltz Binaire is another Berlin based studio that designs synthetic realities and moments of engagements in immersive audio-visual experiences, interactive media performances, and digital narratives. Their aim is to translate data into meaningful artworks and convert algorithms into creative patterns by applying generative design and artificial intelligence to their creative process. Their output spans media as diverse as the moving image, mobile platforms, theatres, and unusual stages. Waltz Binaire aims to envision, design and implement new artistic perspectives towards human identity and innovative technology. Waltz Binaire was founded by Christian Mio Loclair, a computer scientist and choreographer. Refik Anadol Studio is the creative studio of Turkish artist Refik Anadol located in Los Angeles, California. Anadol works in the field of site-specific public art, creating parametric data sculptures, live audiovisual performances, and immersive installation pieces. His works explore the space between digital and physical entities by creating a hybrid relationship between architecture and media arts with machine intelligence. Anadol holds a master’s degree in fine art from the University of California specialising in media arts and has won many awards in his field. By embedding media arts into architecture, Anadol questions the possibility of a post digital architectural future in which there are no non-digital realities. Through his work, he thus suggests that all spaces and facades have the potential to be utilised as the media artist’s canvas. Anadol seeks to explore the new challenges that ubiquitous computing imposes on architects, media artists, and engineers such as how our experience of space is changing now that digital objects, ranging from smart phones to urban screens, have colonised our everyday lives, how media technologies have changed our perception of space, and how architecture has embraced these shifting perceptions. Refik Anadol Studio - Melting Memories Generative Art - The Next Gen Art As we see this questioning of the place of generative and computer art in the future due its immersive nature in contemporary society, it is a good time to look to the past, to the roots of generative art. Starting with a handful of scientists in the 1950s, then being taken over by those operating in creative fields, until a harmony is put forth in which science, art, and design can all coexist within the field of generative art at the beginning of the 21st century, as it gains more traction within popular culture. Generative art is certainly set to make further leaps and bounds in its field while spilling over into others as it helps us better understand the world around us. Text by Kayleen Wrigley URL: https://studioanf.com/project/a-brief-history-of-generative-art ## Schwarm 2015 Year: 2015 Category: generative-systems Location: Berlin, Germany Technology: Schwarm generative software (2015 revision) Schwarm 2015 is a generative software update by Studio A N F, delivered in 2015 from the studio in Berlin. The release refines the Schwarm particle-agent code base first published in 2012. Schwarm 2015 continues the Schwarm series that runs through the studio's later V0ID, Megaschwarm, and Hyperschwarm works. URL: https://studioanf.com/project/schwarm-2015-software-painting ## Ilaria Nistri X A N F - generative fashion fabric designs Year: 2015 Category: generative-identity Location: Berlin, Germany Client: Ilaria Nistri (A/W 15/16 collection) Technology: Custom generative-design software for textile patterns Ilaria Nistri × ANF is a generative fashion-pattern commission by Studio A N F for the Italian fashion house Ilaria Nistri, delivered in 2015 for the A/W 15/16 collection. Studio A N F produced the generative fabric patterns using custom generative-design software. It is a milestone in the studio's generative-branding practice. Collaboration with Italian Fashion House Ilaria Nistri for their A/W 15/16 collection. The collaboration between Berlin-based design Studio A N F and Italian fashion house Ilaria Nistri for their Autumn/Winter 15/16 collection represents a fusion of high fashion with cutting-edge digital artistry, yielding a unique blend of aesthetics that pushes the boundaries of traditional design. This partnership marked a significant moment in the fashion industry, showcasing how technology and generative designs can create innovative patterns that not only accentuate the human form but also narrate a story of digital evolution within the fabric of high fashion. ANF, known for its pioneering work in digital design and generative art, brought a fresh perspective to Ilaria Nistri's sophisticated and avant-garde approach to fashion. The studio's expertise lies in creating complex patterns and visuals through algorithms and computational processes, a technique that transforms the traditional approach to textile design. For the A/W 15/16 collection, ANF focused on developing black and white generative patterns that were both abstract and deeply intricate, reflecting the collection's theme of natural elements intersecting with digital realms. Ilaria Nistri, an Italian fashion house renowned for its exploration of materials, shapes, and the interaction between light and shadow, provided the perfect canvas for ANF's art. The collaboration was an exploration of contrasts - between the organic and the synthetic, the tangible and the virtual, the traditional and the futuristic. Ilaria Nistri's designs, known for their fluidity and ethereal qualities, were enhanced by ANF's generative patterns, adding a layer of complexity and depth that challenged conventional fashion narratives. The black and white color palette chosen for the generative patterns emphasized the collection's focus on duality and harmony. Black and white, as fundamental opposites, symbolize the balance between light and darkness, presence and absence, and the interplay between these forces. ANF's patterns in this monochromatic scheme were not merely decorative but carried within them the essence of dynamism and transformation. The patterns seemed to move and evolve, mirroring the natural processes that inspired them, from the branching of trees to the flow of water, all captured within a digital framework. The collaboration between ANF and Ilaria Nistri was not only a testament to the possibilities of integrating technology with fashion design but also highlighted the importance of interdisciplinary approaches in pushing creative boundaries. The generative patterns developed for the A/W 15/16 collection were more than just fabric designs; they were a statement on the evolving relationship between humans and technology, and how this synergy can lead to unprecedented forms of beauty and expression. In conclusion, the collaboration between Berlin-based design Studio A N F and Italian fashion house Ilaria Nistri for their A/W 15/16 collection stands as a landmark in the convergence of technology and fashion. It showcases how the use of generative design can bring a new dimension to textile patterns, creating garments that are not only visually stunning but also embody the principles of innovation and sustainability. This partnership has set a precedent for future collaborations between designers and digital artists, suggesting a future where fashion continues to evolve through the integration of new technologies, and where the boundaries between the digital and the physical are further blurred in the quest for new forms of expression and creativity. URL: https://studioanf.com/project/ilaria-nistri-pattern-fashion-design ## Thoughts of Rome Year: 2014 Category: interactive-systems Location: Diesel flagship, Piazza di Spagna, Rome, Italy Client: Diesel (via Postmatter London) Technology: Generative 360° real-time audiovisual installation in Processing (with Abraham Pazos Solatie; music by Nikolai von Sallwitz) Thoughts of Rome is a generative 360° real-time audiovisual installation and WebGL experience by Studio A N F, delivered in 2014 for Diesel's flagship store at Piazza di Spagna, Rome, Italy, commissioned via Postmatter London. The installation was built in Processing with Abraham Pazos Solatie and scored by Nikolai von Sallwitz. It is representative of the studio's early real-time retail-installation work. Generative 360° realtime audiovisual installation & WebGL interweb experience The fine people from Postmatter London approached A N F in the spring of 2k14 to create a bespoke installation view for Diesel, purveyors of lustrous Italian denim, timed for the freshly opened flagship store at Piazzi di Spagna in Rome. Luckily, the talented Mr Pazos, who had collaborated with me on the SuperRatings project came on board early on developing the concept and 3d framework in Processing. More good fortune was upon the project, because composer & musical mastermind Nikolai von Sallwitz was available to do the generative score for the piece. The final installation software was then ported to 3js for the online version. The official Press release: On the occasion of its latest flagship store opening in Rome, Diesel has paid homage to the city with an unprecedented art experience, an exclusive screen-based artwork created in partnership with POSTmatter magazine. Drawing together a creative and forward-looking vision, this collaboration showcases exciting possibilities in digital art. The choice of the Berlin based artist Andreas Nicolas Fischer made possible to bring to life an abstract digital organism, housing it in an enclosed atrium that will serve as the gateway into the store. With all walls completely tiled with screens, and a mirrored ceiling, the space will envelop its audience and involve them to "feed" the interactive art piece. Based upon localised data sources drawn directly from Rome, the flux and evolution of the city will be brought into the space through Fischer's striking, animated visuals. Rome and its powerful role in shaping art history as we know it are central to the new commission. Diesel store is located in the heart of the city - next to the Spanish Steps, and this installation unites the surrounding landscape and its equivalent digital space into a pulsating heart of information. The digital organism will be first drawn from topographical data, taken from maps of Rome. Its growth and movements will be based upon the use of #rome and #roma online. Evolving into new visual outcomes, the city's data will create a starting point from which Fischer's beautiful, impressionistic forms can grow. Expanding upon the immersive and responsive nature of the in-store installation, the shape-shifting organism will also be accessible for participants around the world through social networks. Each time the hashtag ‘#POSTroma’ is used on Twitter, a unique response will be tweeted back to each individual user. A specially programmed algorithm created by Fischer will generate a haiku poem and a striking screenshot of the in-store visual mutation at that moment, both of which will be delivered directly to the Twitter account of the original user. Diesel has been consistently promoting and supporting creativity in all its forms, with a special focus on independent artists that capture their drive towards a bold future. Leading the way, the POSTroma project is at the forefront of a new age of boundary crossing creative participation. Producer PostMatter Lana Elie of PostMatter Art Direction Yann Binet with PostMatter Creative Code Abraham Pazos Solatie Video Documentation Pietro Daviddi URL: https://studioanf.com/project/thoughts-of-rome-realtime-installation ## Island Physics Year: 2014 Category: video-art Location: Eyebeam, Governors Island, New York, USA Client: Eyebeam Art + Technology Center Technology: 3D simulations inside a virtual recreation of Eyebeam Building 15 (multi-artist commission) Island Physics is an exhibition and 3D-simulation project by Studio A N F, Chris Woebken and Sascha Pohflepp, delivered in 2014 at Eyebeam's house on Governors Island, New York, USA. The show commissioned a series of computer simulations by 3D artists Kai Kostack, Mohamad Zeina, Gottfried Hofmann, Tayfun Ozdemir and Andreas Nicolas Fischer, running inside a virtual recreation of Eyebeam's Building 15. It is a collaboration between Studio A N F and Eyebeam Art + Technology Center. Chris Woebken, Sascha Pohflepp and Andreas Nicolas Fischer will spend their time on Governors Island commissioning a series of computer simulations that will run within a meticulous virtual recreation of Building 15. The individual simulations are being created by a selection of 3D artists who form part of a community that is exploring the aesthetics of simulation in the context of contemporary computer graphics, often disseminating their work on social media rather than in an academic context. These participating artists include: Kai Kostack, Mohamad Zeina, Gottfried Hofmann, Tayfun Ozdemir and Andreas Nicolas Fischer. Island Physics - Exhibition Walkthrough Island Physics will turn Eyebeam’s house on Governors Island into a testing-ground for alternate realities, simulating the impossible in a living room. So Meta from A N F So Meta "B" from A N F Apple Fall by Kai Kostack Floating Fluid Particles by Blazraidr URL: https://studioanf.com/project/island-physics-eyebeam-exhibition ## Brute Force Method V Year: 2014 Category: generative-systems Location: LEAP, Berlin, Germany Client: LEAP (Synthetisch Vernünftig, curated by John McKiernan and Daniel Franke) Scale: 3 variations (A, B, C) Technology: Custom procedural 3D generation software Brute Force Method V is a generative 3D artwork by Studio A N F, delivered in 2014 and shown at the LEAP gallery in Berlin as part of the "Synthetisch Vernünftig" exhibition curated by John McKiernan and Daniel Franke. The work consists of three variations (A, B, C) rendered as prints. Brute Force Method V is the final entry in the Brute Force group (2013–2014). Installation View at Synthetisch Vernünftig at the LEAP Berlin curated by John McKiernan and Daniel Franke Brute Force Method V - A Brute Force Method V - B Brute Force Method V - C Brute Force Method V - A - Detail 01 Brute Force Method V - A - Detail 02 Brute Force Method V - A - Detail 03 Brute Force Method V - A - Detail 04 URL: https://studioanf.com/project/brute-force-method-v-3d-artwork ## Axis Year: 2014 Category: video-art Location: Berlin, Germany Client: Egyptrixx / Night Slugs Technology: 3D animation and live audiovisual system Ax//s is an audiovisual collaboration by Studio A N F and Egyptrixx (David Psutka), delivered in 2014 for the Egyptrixx world tour and the "A/B til Infinity" album on Night Slugs. The project consists of the album artwork, the Ax//s music video, and an audio-visual live set. It is a follow-up to the Old Black collaboration between Egyptrixx and Studio A N F (2011). Music Video Axis for Egyptrixx Toronto’s Egyptrixx (David Psutka) returns to Night Slugs with his immersive second album “A/B til Infinity” Since his 2011 debut LP “Bible Eyes”, Psutka has been busy with various studio production projects as well as recording and touring with his side-project Hiawatha. His return as Egyptrixx takes the form of a multi-media collaboration with Berlin-based visual artist A N F - Andreas Nicolas Fischer. The project consists of the album, the video for Ax//s and an Audio/Visual live set for the Egyptrixx world tour 2014. Album artwork A/B til infinity Live A/V Set for the A/B til Infinity World Tour 2013 / 2014 URL: https://studioanf.com/project/axis-live-audiovisual-performance ## SuperRatings Year: 2014 Category: datavis Location: Berlin, Germany Client: SuperRatings (via Argonaut Studio + Associates; creative direction: Future Days) Technology: Custom generative design software (creative code: Abraham Pazos Solatie) SuperRatings is a generative design commission by Studio A N F for SuperRatings, delivered in 2014 with creative direction by Future Days and creative code by Abraham Pazos Solatie. The series consists of numbered generative designs (SUP #01 through #34). It is a commercial generative-design project by the studio. Generative designs commissioned by Argonaut Studio + Associates for SuperRatings Creative Direction Future Days Art Direction Andreas Nicolas Fischer Creative Code Abraham Pazos Solatie SUP #01 SUP #04 SUP #08 SUP #14 SUP #16 SUP #21 SUP #23 SUP #32 SUP #34 URL: https://studioanf.com/project/superratings-data-driven-art ## PL VI Year: 2013 Category: sculpture Location: Berlin, Germany Scale: 45 × 60 × 3 cm Technology: CNC-milled MDF with car paint (deterministic-randomness generative process) PL VI is a CNC-milled generative relief by Studio A N F, delivered in 2013 from the studio in Berlin. The piece measures 45 × 60 × 3 cm in MDF with car paint, produced by a deterministic-randomness generative process routed to a CNC mill. PL VI continues the PL series of the studio's early CNC-milled work. 45 × 60 × 3 cm; MDF, car paint; URL: https://studioanf.com/project/pl-vl-generative-data-sculpture ## Black Box Year: 2013 Category: sculpture Location: 22.48m², Paris, France Client: 22.48m² Paris (Layers exhibition) Scale: 30 × 30 × 3 cm Technology: CNC-milled multiplex plywood with wood dye Black Box is a CNC-milled sculpture by Studio A N F, delivered in 2013 and shown at "Layers" at 22.48m² in Paris, France. The piece is multiplex plywood with wood dye at 30 × 30 × 3 cm. It is part of the studio's early CNC-milled sculpture work. 30 × 30 × 3 cm; Multiplex plywood, wood dye; Installation View at Layers at 22,48m2 Paris Detail [Photo: Rosario Caltabiano] Detail of untreated sculpture URL: https://studioanf.com/project/black-box-cnc-data-sculpture ## Brute Force Approach × Schwarm VII [Software] Year: 2013 Category: generative-systems Location: Berlin, Germany Technology: Custom generative software (auto-publishing to Tumblr) Brute Force Approach × Schwarm VII is a generative software study by Studio A N F, delivered in 2013 from the studio in Berlin. The software is a preparatory study for Brute Force Method that generated images and auto-published them to Tumblr. It bridges the Schwarm and Brute Force Method series in the studio's 2012–2014 work. Software study as preparation for Brute Force Method, which was generating and auto-publishing images to Tumblr. URL: https://studioanf.com/project/bfa-x-schwarm-vi-generative-3d-artwork ## Spectral Density Estimation Year: 2013 Category: datavis Location: SECCA, Winston-Salem, USA Client: SECCA and Winston-Salem Symphony Orchestra Scale: 2 sculptures, 50 × 25 × 12 cm each Technology: CNC-carved cedar wood (spectral analysis of live orchestra recordings) Spectral Density Estimation is a pair of data sculptures by Studio A N F, delivered in 2013 for SECCA (Southeastern Center for Contemporary Art) and the Winston-Salem Symphony Orchestra in Winston-Salem, USA. The pieces are cedar wood at 50 × 25 × 12 cm each, carved from a cedar tree that had fallen outside the museum, with the geometry derived from spectral analysis of two live orchestra recordings from the 2012–2013 season. It is a site-specific commission by SECCA. Spectral Density Estimation I; 50 × 25 × 12 cm; Cedar wood; Spectral Density Estimation is a pair of sculptures commissioned by the SECCA and the Winston-Salem Symphony orchestra. Two sound recordings of the first organized tuning were taken at the last 2 orchestra performances of the 2012 / 2013 season. Each recording was analyzed and transformed into a spatial arrangement of the audio frequencies over time. The resulting geometry was then carved into a block of wood from a cedar tree, that had fallen outside the museum. Installation View at SECCA; [Photography: Cliff Dossel] 2 sculptures, 50 × 25 × 12 cm each; Cedar wood; [Photography: Cliff Dossel] Detail; [Photography: A N F] URL: https://studioanf.com/project/spectral-density-estimation-data-sculpture ## Self-portrait 2013 Year: 2013 Category: sculpture Location: Berlin, Germany Technology: 3D scan presented as UV texture map Self-portrait 2013 is a 3D-scan artwork by Studio A N F, delivered in 2013 from the studio in Berlin. The piece is presented as a UV texture map of a 3D scan of the artist's head. It is representative of the studio's early 3D-scan work. A UV texture map of a 3d scan as self-portrait URL: https://studioanf.com/project/self-portrait-2013-3d-scan-portrait ## Brute Force Method Year: 2013 Category: datavis Location: Berlin, Germany Technology: Custom procedural 3D generation software Brute Force Method is a generative 3D artwork by Studio A N F, delivered in 2013 from the studio in Berlin. The work is titled after the computer-science idea of trying many possible solutions until a desired outcome is reached, applied here to procedural image generation. Brute Force Method is the central piece of the Brute Force group (2013–2014) that also includes Brute Force Approach and Brute Force Method V. There are no efficient algorithms for many computer science problems. The simplest approach is to try all possible (or many) solutions until the desired outcome is reached. This is called Brute Force Method. URL: https://studioanf.com/project/brute-force-method-data-driven-art ## Brute Force Approach [Studies] Year: 2013 Category: sculpture Location: Berlin, Germany Technology: 3D still-life studies (preparation for Brute Force Method) Brute Force Approach is a series of 3D still-life studies by Studio A N F, delivered in 2013 from the studio in Berlin. The studies were made as preparation for the Brute Force Method series later that year. They are the earliest work in the Brute Force group of pieces (2013–2014). Installation view Still life studies for the BFA series. Studie III Studie IV Studie V URL: https://studioanf.com/project/brute-force-approach-still-life ## Consume Consume Year: 2013 Category: video-art Location: Berlin, Germany Technology: Custom real-time video-editing software (random-loop projection) Consume Consume is a generative video artwork by Studio A N F, delivered in 2013 from the studio in Berlin. The piece is a "luxury brand commercial" as random loop, with the video projection edited by custom software in real time. It is representative of the studio's early real-time video-editing experiments. Consume Consume [Luxury Brand Commercial] - Random Loop; Video projection edited by custom software in realtime Installation view URL: https://studioanf.com/project/consume-consume-video-art ## Skynet Year: 2012 Category: video-art Location: Berlin, Germany Client: FIELD.io (Energy Flow project) Technology: Non-linear 3D animation with music by David Kamp Skynet is a non-linear 3D animation by Studio A N F, delivered in 2012 as part of the FIELD.io "Energy Flow" project curated by FIELD, with sound and music by David Kamp. The animation stages a global networked consciousness perceiving the world simultaneously from satellite view to microscopic scale, communicating with itself in real time. It is a collaboration between Studio A N F and FIELD.io. Skynet is a non linear animation about a global networked consciousness. It plays with the idea how a single entity could the perceive the world - from a satellite to a microscopic view. Full sensory awareness encompassing the entire world is rolled into one artificial organism communicating with itself in realtime. The Energy Flow project was curated by FIELD [field.io/project/energy-flow] Sound and music by David Kamp Early software sketches Early software sketches Early software sketches URL: https://studioanf.com/project/skynet-art-collaboration-with-field-io ## Schwarm IV [Sculptures] Year: 2012 Category: sculpture Location: LEAP, Berlin, Germany Scale: Dimensions variable Technology: PU foam, toothpicks, car paint (Schwarm system translated to sculpture) Schwarm IV is a generative sculpture series by Studio A N F, delivered in 2012 and installed at the LEAP gallery in Berlin, Germany. The pieces are made of PU foam, toothpicks and car paint at variable dimensions, translating the studio's Schwarm particle system into three-dimensional form. Schwarm IV is the sculptural entry in the Schwarm series that began in 2012. Installation view at LEAP Berlin PU foam, toothpicks, car paint; Dimensions variable Detail URL: https://studioanf.com/project/schwarm-lv-generative-system ## Thomas Azier - Angelene Year: 2012 Category: video-art Location: Berlin, Germany Client: Thomas Azier Technology: 3D animation for music video (directed by Sander Houtkruijer) Thomas Azier – Angelene is a 3D-animated music video collaboration delivered by Studio A N F in 2012, directed by Sander Houtkruijer. Studio A N F contributed the 3D elements; cinematography is by Lauro Cress and the video was produced by Daniel Franke and chopchop.cc. It is representative of the studio's music-video collaboration work in the early 2010s. Directed by Sander Houtkruijer. 3d elements by A N F. Cinematography by Lauro Cress Produced by Daniel Franke Produced by chopchop.cc 1AD - Imri Kahn Assistant camera - Carlos Andres Lopez Grip - Max Preiss Gaffer - Norwin Hatschbach Electrician - Christopher Reiners Set design - Ben Roth, Steffi Bühlmaier Styling - Laura Renard Make-up artist - Theo Schnürer Make-up assistant - Kerrie Ann Murphy Production Assistant - Claas Ebeling 3D artist - Andreas Nicolas Fischer Compositing - Burkhard Kalytta Color Grading - Johannes Hubrich Featuring: Xenia and Thomas Azier With: Robin Hunt, Daniel Franke, Kai Kreuzmueller, Kirsten Burger, Martin Deckert, Kiril Bikov Dancers: Nicola Mascia, Helga Wretman, Shiran Eliaserov, Pauliina Aladin, Asaf Aharonson, Amit Elan Thanks to: Bastian Christ, Storz & Escherich, Voin de Voin, Lucinda Dayhew facebook.com/wearechopchop The track 'Angelene' is written and produced by Thomas Azier thomasazier.com URL: https://studioanf.com/project/angelene-music-video ## Kognitive Topografie I - Ile des Embiez Year: 2012 Category: video-art Location: Ile des Embiez, France (studio: Berlin, Germany) Technology: Site-specific video (macro-photograph textures with Von Sallwitz sound design) Kognitive Topografie I – Ile des Embiez is a site-specific video artwork by Studio A N F, delivered in 2012 from the studio in Berlin. The piece reconstructs the memory of the Ile des Embiez, southern France, as an artificial landscape composed of macro photographs of found textures, with sound by Von Sallwitz Sound Architecture. It is early site-specific video work by the studio. KT I - Ile des Embiez is a site-specific video created on the island in the south of france of the same name. KT I is an attempt of recreating the memory of the island through an artificial landscape composed of macro photos of found textures. Sound is by Von Sallwitz Sound Architecture. URL: https://studioanf.com/project/kognitive-topografie-l-video-art ## Schwarm III Year: 2012 Category: generative-systems Location: Rua Red, Dublin, Ireland Client: Rua Red (Experimenting with Clouds) Scale: 4 × Lambda-print, 90 × 60 cm each Technology: Schwarm generative software Schwarm III is a generative print series by Studio A N F, delivered in 2012 and shown at Rua Red, Dublin, Ireland as part of the "Experimenting with Clouds" exhibition. The series consists of four Lambda-prints at 90 × 60 cm each (weiss/rot, blau, violett, schwarz/weiss), generated with the Schwarm software. Schwarm III continues the Schwarm series that began in 2012. Schwarm; Installation View at Experimenting with Clouds at Rua Red Dublin Schwarm III (weiss, rot); 90 × 60 cm; Lambda-print Schwarm III (blau); 90 × 60 cm; Lambda-print Schwarm III (violett); 90 × 60 cm; Lambda-print Schwarm III (schwarz, weiss); 90 × 60 cm; Lambda-print URL: https://studioanf.com/project/schwarm-lll-software-installation ## Schwarm II [Software] Year: 2012 Category: generative-systems Location: Berlin, Germany Scale: Dimensions variable Technology: Custom generative software (particle swarm agents) Schwarm II is a generative software by Studio A N F, released in 2012 from the studio in Berlin. The software uses a swarm of drawing agents with rule-based behavior and partial autonomy to compose abstract images from the palette of a reference photograph. Schwarm II produces an infinite sequence of unique images when run and is a direct successor to Schwarm (2012). Generative Software Process; 2012; Dimensions variable; The software uses a swarm of particles to gradually create an abstract composition based on the color and composition of a series of photographs. The drawing agents behave according to a set of rules, but have a degree of autonomy. When the software is being run it produces an infinite sequence of unique images over time. URL: https://studioanf.com/project/schwarm-ll-software ## Karst Year: 2012 Category: generative-systems Location: SECCA, Winston-Salem, USA Client: SECCA (Southeastern Center for Contemporary Art) Scale: 3 × C-print, 180 × 108 cm each Technology: Custom procedural landscape software Karst is a generative landscape print series by Studio A N F, delivered in 2012 and shown at SECCA in Winston-Salem, USA. The series consists of three C-prints at 180 × 108 cm each ("A Shift in the Relative Level of Sea and Land", "The Future Order", "Dust"), rendered from procedural landscapes. Karst is the first entry in the Karst series, continued in 2017 with Karst II. Installation View Reflections at SECCA Installation View Reflections at SECCA A Shift in the Relative Level of Sea and Land; 180 × 108 cm; C-print The Future Order; 180 × 108 cm; C-print Dust; 180 × 108 cm; C-print URL: https://studioanf.com/project/karst-generative-landscapes ## Engineered Viral Strain Year: 2012 Category: generative-systems Location: Berlin, Germany Scale: 3 × Lambda-print, 75 × 50 cm each Technology: 3D-rendered print Engineered Viral Strain is a 3D print series by Studio A N F, delivered in 2012 from the studio in Berlin. The series consists of three Lambda-prints at 75 × 50 cm each (I, II, III). It is early 3D rendered work by the studio. Engineered Viral Strain I; 75 × 50 cm; Lambda-print Engineered Viral Strain I; Detail Engineered Viral Strain II; 75 × 50 cm; Lambda-print Engineered Viral Strain III; 75 × 50 cm; Lambda-print URL: https://studioanf.com/project/engineered-viral-strain-3d-artwork ## Schwarm [Software] Year: 2012 Category: generative-systems Location: Berlin, Germany Scale: Dimensions variable Technology: Custom generative software (particle swarm agents) Schwarm is a generative software by Studio A N F, first released in 2012 from the studio in Berlin. The software uses a swarm of drawing agents that follow a defined rule set with partial autonomy, gradually composing abstract images derived from the color palette of a reference photograph. Schwarm produces an infinite sequence of unique images when run and became the code base for the studio's later V0ID, Karst, and Void Vaporwave works. Generative Software Process; 2012; Dimensions variable; Excerpt of 1:25 The software uses a swarm of particles to gradually create an abstract composition based on the color and composition of a series of photographs. The drawing agents behave according to a set of rules, but have a degree of autonomy. When the software is being run it produces an infinite sequence of unique images over time. Installation View at Rua Red Dublin URL: https://studioanf.com/project/schwarm-software ## Schwarm I Year: 2012 Category: generative-systems Location: Rua Red, Dublin, Ireland Client: Rua Red (Experimenting with Clouds) Scale: 4 × Lambda-print, 90 × 60 cm each Technology: Schwarm generative software Schwarm I is a generative print series by Studio A N F, delivered in 2012 and shown at Rua Red, Dublin, Ireland as part of the "Experimenting with Clouds" exhibition. The series consists of four Lambda-prints at 90 × 60 cm each (orange, blue, violet, red), generated with the studio's Schwarm software. Schwarm I is the first entry in the Schwarm series that runs through the studio's work into 2019 (Hyperschwarm, Megaschwarm). Schwarm; Installation View at Experimenting with Clouds at Rua Red Dublin Schwarm; Installation View at Experimenting with Clouds at Rua Red Dublin Schwarm (orange); 90 × 60 cm; Lambda-print Schwarm (orange); Detail Schwarm (blau); 90 × 60 cm; Lambda-print Schwarm (blau); Detail Schwarm (violett); 90 × 60 cm; Lambda-print Schwarm (violett); Detail Schwarm (rot); 90 × 60 cm; Lambda-print Schwarm (rot); Detail URL: https://studioanf.com/project/schwarm-generative-artwork ## Old Black Year: 2011 Category: video-art Location: Berlin, Germany Client: Egyptrixx (David Psutka) Scale: Music video, 4:04 Technology: 3D rendering with 2D graphic elements Old Black is a music video by Studio A N F for Egyptrixx feat. Ohbijou, delivered in 2011 from the studio in Berlin. The video runs 4:04 at 720p and mixes 3D renderings with 2D graphic elements. It is the first collaboration between Egyptrixx (David Psutka) and Studio A N F, followed by Ax//s (2014). Egyptrixx feat. Ohbijou - Old Black Directed & produced by A N F 720p; 4 minutes 04 seconds; Old Black is Egyprixx' remake of the song of the same title by the drone doom band Earth. David Psutka had already commissioned me with the video Start from the Beginning for Egyptrixx last year and I am glad he asked me again for this one. Even though Old Black and Start from the Beginning are completely different songs, I tried to stick to a similar concept and develop a bleak artifical world, which is influenced by the soundcsape. The graphic elements are a mixture of 3d-renderings and flat 2d textures aligned in space. The video makes heavy use of particles and simulations and was made with the open source 3d software Blender, with After Effects used for particle and compositing work. URL: https://studioanf.com/project/old-black-video-art ## Iteration I Year: 2011 Category: sculpture Location: Berlin, Germany Scale: Triptych, 90 × 120 cm Technology: CNC-milled OSB with car paint Iteration I is a CNC-milled generative relief by Studio A N F, delivered in 2011 from the studio in Berlin. The piece is a triptych at 90 × 120 cm in OSB with car paint. It is early generative-relief work by the studio, adjacent to the PL series. Triptych 90 × 120 cm; OSB, car paint URL: https://studioanf.com/project/iteration-l-cnc-milled-relief ## One more chance Year: 2011 Category: sculpture Location: Berlin, Germany Scale: 2 panels, 90 × 40 cm each Technology: OSB with car paint (deterministic-randomness generative process) One more chance is a generative wall relief by Studio A N F, delivered in 2011 from the studio in Berlin. The piece is a diptych of two panels at 90 × 40 cm each in OSB with car paint, produced by a deterministic-randomness generative process. It is part of the studio's early wall-relief work alongside the PL series. 2 panels 90 × 40 cm each; OSB, car paint, deterministic randomness URL: https://studioanf.com/project/one-more-chance-data-sculpture ## Noise (white) Year: 2011 Category: generative-systems Location: Berlin, Germany Scale: 4 × Lightjet on aluminium Dibond, 150 × 235 cm each Technology: Custom procedural landscape software (exhibition text by Dennis Jelonnek) Noise (white) is a generative landscape print series by Studio A N F, delivered in 2011 from the studio in Berlin, with an exhibition text by Dennis Jelonnek. The series consists of four Lightjet photo prints on aluminium Dibond at 150 × 235 cm each (Noise I–IV). It is part of the studio's early procedural-landscape work alongside Karst and Untitled (G). Noise I; Lightjet photo print on Aluminum Dibond; 150 × 235 cm; Text for the exhibition by Dennis Jelonnek Noise I; Lightjet photo print on Aluminum Dibond; 150 × 235 cm Noise II; Lightjet photo print on Aluminum Dibond; 150 × 235 cm Noise III; Lightjet photo print on Aluminum Dibond; 150 × 235 cm Noise IV; Lightjet photo print on Aluminum Dibond; 150 × 235 cm URL: https://studioanf.com/project/noise-white-generative-landscape ## Untitled (G III) Year: 2011 Category: generative-systems Location: Berlin, Germany Scale: Lightjet on aluminium Dibond, 160 × 280 cm Technology: Custom procedural landscape software Untitled (G III) is a generative landscape print by Studio A N F, delivered in 2011 from the studio in Berlin. The piece is a Lightjet photo print on aluminium Dibond at 160 × 280 cm, rendered from a procedural landscape. Untitled (G III) is part of the Untitled (G) series and adjacent to the studio's Noise and Karst landscape work. Untitled (G III); Lightjet photo print on Aluminum Dibond; 160 × 280 cm; URL: https://studioanf.com/project/untitled-g-lll-procedural-landscape ## Untitled (G) [Series] Year: 2011 Category: generative-systems Location: Berlin, Germany Scale: Lightjet on aluminium Dibond, 100–160 × 180–280 cm Technology: Custom procedural landscape software Untitled (G) is a generative landscape print series by Studio A N F, delivered in 2011 from the studio in Berlin. The series consists of large-format Lightjet photo prints on aluminium Dibond (G II at 160 × 280 cm, G IV and G VIII at 100 × 180 cm). Untitled (G) is part of the studio's early procedural-landscape work alongside Untitled (G III) and Noise. Untitled (G II); Lightjet photo print on Aluminum Dibond; 160 × 280 cm; text about Noise Untitled (G IV); Lightjet photo print on Aluminum Dibond; 100 × 180 cm Untitled (G VIII); Lightjet photo print on Aluminum Dibond; 100 × 180 cm URL: https://studioanf.com/project/untitled-g-generative-landscape ## PL V Year: 2011 Category: sculpture Location: Berlin, Germany Scale: 45 × 45 × 8 cm Technology: CNC-milled MDF with car paint (deterministic-randomness generative process) PL V is a CNC-milled generative relief by Studio A N F, delivered in 2011 from the studio in Berlin. The piece measures 45 × 45 × 8 cm in MDF with car paint, produced by a deterministic-randomness generative process routed to a CNC mill. PL V continues the PL series of the studio's early CNC-milled work. 45 × 45 × 8 cm; MDF, car paint, deterministic randomness URL: https://studioanf.com/project/pl-v-cnc-fabricated-sculpture ## PL IV Year: 2011 Category: sculpture Location: Berlin, Germany Scale: 95 × 135 cm Technology: CNC-milled MDF with car paint (deterministic-randomness generative process) PL IV is a CNC-milled generative relief by Studio A N F, delivered in 2011 from the studio in Berlin. The piece measures 95 × 135 cm in MDF with car paint, produced by a deterministic-randomness generative process routed to a CNC mill. PL IV continues the PL series of the studio's early CNC-milled work. 95 × 135 cm; MDF, car paint, deterministic randomness URL: https://studioanf.com/project/pl-iv-cnc-milled-sculpture ## Rauschen Year: 2011 Category: video-art Location: 22.48m², Paris, France Client: 22.48m² Paris Scale: Digital video installation, 8:22 Technology: 3D animation with sound by José G. Soler Rauschen is a 3D video installation by Studio A N F, delivered in 2011 and shown at 22.48m² in Paris, France. The piece is a digital video at 1080p running 8:22, staging a landscape in constant flux of wind, mountains and mist, with sound by José G. Soler. It is representative of the studio's early 3D video-installation work. A landscape in constant flux. Wind, mountains, mist. Patterns emerge. Floating, flying. Hissing, rustling, sweeping. Sound - José G. Soler 2011; digital video, 1080p; 8 minutes 22 seconds; Installation view at 22.48m2 Paris URL: https://studioanf.com/project/rauschen-video-installation ## Reflection II Year: 2010 Category: interactive-systems Location: Amsterdam, Netherlands Client: 5 Days Off Festival (Frozen exhibition) Technology: MDF sculpture with car paint, video projector, custom projection software Reflection II is a media installation by Studio A N F and Benjamin Maus, delivered in 2010 for the "Frozen" exhibition at the 5 Days Off Festival in Amsterdam. The piece combines an MDF sculpture with car paint, a video projector, and custom software. It is the moving-image sequel to Reflection (2008). Reflection II; Benjamin Maus & Andreas Nicolas Fischer; MDF, car paint, video projector, custom software; the sculpture was commissioned by the 5 Days Off Festival in Amsterdam for the »Frozen« exhibition. URL: https://studioanf.com/project/reflection-ll-media-installation ## Installation View Year: 2010 Category: video-art Location: Berlin, Germany Scale: 3 × C-print, 45 × 30 cm each Technology: 3D rendering with found objects and textures Installation View is a 3D print series by Studio A N F, delivered in 2010 from the studio in Berlin. The series consists of three digital images at 45 × 30 cm each, printed as C-prints, staging found 3D objects and textures in fictional installation views. It is early 3D-render work by the studio. Installation view 01 / 03, Digital Image, C-print, 45 × 30cm Installation view 02 / 03, Digital Image, found 3d objects and textures, C-print, 45 × 30cm Installation view 03 / 03, Digital Image, found 3d objects and textures, C-print, 45 × 30cm URL: https://studioanf.com/project/installation-view-visualization ## Temporäre Kunsthalle Berlin Year: 2009 Category: video-art Location: Berlin, Germany Scale: C-print, 45 × 30 cm Technology: 3D rendering Temporäre Kunsthalle Berlin is a 3D print by Studio A N F, delivered in 2009 from the studio in Berlin. The piece is a single digital image printed as a C-print at 45 × 30 cm. It is early 3D-render work by the studio. Digital Image, C-print, 45 × 30cm URL: https://studioanf.com/project/temporaere-kunsthalle-berlin ## KM II Year: 2009 Category: generative-systems Location: GIM, Bremen, Germany Scale: C-print on aluminium Dibond, 75 × 50 cm Technology: Custom generative drawing software KM II is a generative print series by Studio A N F, delivered in 2009 and shown at GIM Bremen, Germany. The series consists of procedural drawings at 75 × 50 cm each, printed as C-prints on aluminium Dibond. KM II continues the KM series that began earlier in 2009. Exhibition view at GIM Bremen KM-17656 – Procedural drawing; 75 × 50 cm; C-print on aluminum dibond KM-10427 – Procedural drawing; 75 × 50 cm; C-print on aluminum dibond KM-10427 – Procedural drawing; 75 × 50 cm; C-print on aluminum dibond URL: https://studioanf.com/project/km-ii-generative-drawings ## KM I Year: 2009 Category: generative-systems Location: Berlin, Germany Scale: 4 × C-print, 40 × 30 cm each Technology: Custom generative drawing software KM I is a generative print series by Studio A N F, delivered in 2009 from the studio in Berlin. The series consists of four procedural drawings at 40 × 30 cm each, generated by a custom drawing machine and printed as C-prints. KM I is the first entry in the KM series, continued in 2009 with KM II. KM 223455 and KM 215018 KM 215018 – Procedural drawing; 40 × 30 cm; C-print KM 223455 – Procedural drawing; 40 × 30 cm; C-print KM 225510 and KM 235130 KM 225510 – Procedural drawing; 40 × 30 cm; C-print KM 235130 – Procedural drawing; 40 × 30 cm; C-print URL: https://studioanf.com/project/km-l-generative-art-machine ## Palatine Year: 2009 Category: video-art Location: Berlin, Germany Technology: 3D animation with Freesound.org soundtrack Palatine is an experimental 3D video artwork by Studio A N F, delivered in 2009 from the studio in Berlin. The soundtrack uses samples from Freesound.org. It is early 3D video work by the studio, following Drone (2009). Sounds taken from Freesound.org: 1, 2, 3, 4. URL: https://studioanf.com/project/palatine-video-art ## Drone Year: 2009 Category: video-art Location: Berlin, Germany Scale: Short film, 00:52 Technology: 3D animation Drone is a 3D-animated short film by Studio A N F, delivered in 2009 from the studio in Berlin. The video runs 00:52 at 720p, with samples taken from freesound.org (Zed, Jovica, NicStage, Andrew Duke, Hanstimm). Drone is the first entry in the Drone series, continued in 2017 with Drone III. Animated short; 00:52; 720p; Watch in HD on Vimeo Samples taken from freesound.org Zed, Jovica, NicStage, Andrew Duke, Hanstimm URL: https://studioanf.com/project/drone-experimental-video ## Indizes Year: 2008 Category: sculpture Location: Berlin, Germany Scale: 46 × 140 × 120 cm Technology: Poplar plywood with paint; data visualisation of S&P 500, Dow Jones and NASDAQ (Google Finance) Indizes is a data sculpture by Studio A N F, delivered in 2008 from the studio in Berlin. The piece is poplar plywood with paint at 46 × 140 × 120 cm, visualising the S&P 500, Dow Jones Industrial, and NASDAQ indices from January to November 2008 as five rows of polygons with three peaks each. The data source is Google Finance. Poplar plywood, paint; 46 × 140 × 120 cm Indizes is a data sculpture visualizing the stock market indices S & P 500, Dow Jones Industrial and NASDAQ from January to November 2008. The values are shown on the three peaks of the five rows of polygons. The data source is Google Finance. URL: https://studioanf.com/project/indizes-financial-data-sculpture ## Fundament Year: 2008 Category: datavis Location: Berlin, Germany Scale: 40 × 60 × 20 cm Technology: Beech wood and poplar plywood; data visualisation of world GDP vs. derivatives volume (2007) Fundament is a data sculpture by Studio A N F, delivered in 2008 from the studio in Berlin. The piece maps world gross domestic product 2007 against world derivatives volume 2007 as two stacked layers of beech wood and poplar plywood at 40 × 60 × 20 cm. It is early data-sculpture work by the studio. Mapping of the world gross domestic product 2007 Mapping of the world derivatives volume 2007 Data, Beech wood, poplar plywood; 40 × 60 × 20 cm; Comparison of the two layers URL: https://studioanf.com/project/fundament-finance-data-sculpture ## Lichtzeichnungen II Year: 2008 Category: generative-systems Location: Berlin, Germany Scale: 12 × inkjet print, 20 × 30 cm each Technology: Custom generative drawing software Lichtzeichnungen II is a generative print series by Studio A N F, delivered in 2008 from the studio in Berlin. The series consists of twelve generative drawings at 20 × 30 cm each, printed as inkjet prints. Lichtzeichnungen II continues the Lichtzeichnungen series that began earlier in 2008. Series of 12 generative drawings; 20 × 30 cm; Inkjet print; URL: https://studioanf.com/project/lichtzeichnungen-ii ## Lichtzeichnungen Year: 2008 Category: generative-systems Location: Berlin, Germany Scale: 3 × Lambda-print on aluminium Dibond, 80 × 120 cm each Technology: Custom generative drawing software Lichtzeichnungen is a generative print series by Studio A N F, delivered in 2008 from the studio in Berlin. The series consists of three generative drawings at 80 × 120 cm each, printed as Lambda-prints on aluminium Dibond. Lichtzeichnungen is the first entry in the studio's Lichtzeichnungen series, followed by Lichtzeichnungen II later in 2008. Series of 3 generative drawings; 80 × 120 cm; Lambda print on alu dibond; Detail LZ 123649; Detail LZ 123649; Detail LZ 123649; URL: https://studioanf.com/project/lichtzeichnungen ## Untitled Procedural Drawing Year: 2008 Category: generative-systems Location: Berlin, Germany Scale: 3 procedural drawings Technology: Custom generative drawing software Untitled Procedural Drawing is a generative print series by Studio A N F, delivered in 2008 from the studio in Berlin. The series consists of three untitled procedural drawings. It is early Berlin-period work by the studio. Series of 3 untitled procedural drawings 1 / 3 2 / 3 3 / 3 URL: https://studioanf.com/project/untitled-procedural-drawing ## Reflection Year: 2008 Category: datavis Location: Amsterdam, Netherlands Client: 5 Days Off Festival (Frozen exhibition) Scale: 900 × 720 × 120 mm Technology: CNC-milled MDF (data sculpture from Frans de Waard's "Reflection") Reflection is a sound-data sculpture by Studio A N F and Benjamin Maus, delivered in 2008 for the "Frozen" exhibition at the 5 Days Off Festival in Amsterdam. The piece is CNC-milled MDF at 900 × 720 × 120 mm, derived from the musical piece of the same title by Frans de Waard. It is early collaborative data-sculpture work by the studio. Reflection is a sound data sculpture, derived from the musical piece by Frans de Waard of the same title. Commissioned by the 5 Days Off Festival in Amsterdam for the »Frozen« exhibition.This project came into being as a collaboration with Benjamin Maus. Material: CNC-milled MDF, Dimensions: 900mm x 720mm x 120mm. The other artists participating in the show are Shajay Booshan, Leander Herzog, Daniel Widrig and Marius Watz. URL: https://studioanf.com/project/reflection-sound-data-sculpture ## Slivers Year: 2008 Category: generative-systems Location: Berlin, Germany Scale: 3 × inkjet print, 70 × 100 cm each Technology: Custom generative drawing software Slivers is a generative print series by Studio A N F, delivered in 2008 from the studio in Berlin. The series consists of three procedural drawings at 70 × 100 cm each, printed as inkjet prints. It is early Berlin-period print work by the studio. Series of 3 procedural drawings; 70 × 100 cm; Inkjet print; 1 / 3 2 / 3 3 / 3 URL: https://studioanf.com/project/slivers-generative-drawing-software ## 3 Days in the Life Year: 2008 Category: datavis Location: Berlin, Germany Scale: 80 × 140 × 35 cm Technology: Poplar plywood; data visualisation of 3 days of mobile-phone data 3 Days in the Life is a data sculpture by Studio A N F, delivered in 2008 from the studio in Berlin. The piece is poplar plywood at 80 × 140 × 35 cm, visualising three days of the artist's own telecommunications data (movement and mobile-phone communication). It is a companion piece to A Week in the Life (2008). Poplar plywood; 80 × 140 × 35 cm; 3 Days in the Life is a visualisation of telecommunications data. The data sculpture represents my movement and communication made with my cell phone during 3 days. For more information on the process, refer to A Week in the Life. URL: https://studioanf.com/project/3-days-in-the-life ## A Week in the Life Year: 2008 Category: datavis Location: DAM Gallery, Berlin, Germany Client: DAM Gallery Berlin (Generator.X); Toshare Festival Torino (curated by Bruce Sterling) Scale: 120 × 80 × 20 cm Technology: Cardboard with custom data-visualisation software A Week in the Life is a data sculpture by Studio A N F, delivered in 2008 and shown at the DAM Gallery Berlin ("Generator.X – Beyond the Screen") and the Toshare Festival Torino (curated by Bruce Sterling). The piece is cardboard with custom software at 120 × 80 × 20 cm, visualising a week of the artist's telecommunications data. It is the origin piece of the studio's telecommunications-data-sculpture work, continued in 3 Days in the Life. Cardboard, custom software; 120 × 80 × 20cm; A Week in the Life was shown in the DAM Gallery Berlin from 08/02/05 - 08/03/08 as a part of Generator.X - Beyond the Screen Exhibition and at the Toshare Festival in Torino at the Manufacturing exhibition, which was curated by Bruce Sterling. URL: https://studioanf.com/project/a-week-in-the-life-data-sculpture ## All Days are Numbered Year: 2007 Category: generative-systems Location: Berlin, Germany Scale: Inkjet on aluminium Dibond, 80 × 120 cm Technology: Custom generative drawing software All Days are Numbered is a generative print by Studio A N F, delivered in 2007 from the studio in Berlin. The piece is a procedural drawing at 80 × 120 cm, printed as an inkjet print mounted on aluminium Dibond. It is early Berlin-period print work by the studio. Procedural drawing; 80 x 120cm inkjet print mounted on Alu Dibond; Detail URL: https://studioanf.com/project/all-days-are-numbered ## Wachstum Year: 2007 Category: generative-systems Location: Berlin, Germany Technology: Custom generative growth-algorithm software Wachstum is a generative image series by Studio A N F, delivered in 2007 from the studio in Berlin. The application follows a defined growth algorithm and produces one unique image per run. It is the earliest work in the studio's catalog and the origin piece of its algorithmic-growth practice. Wachstum is a series of images created with a generative system. The application follows algorithms, which define the parameters of the growth process. Each time the application is being run, it creates one unique image over time. URL: https://studioanf.com/project/wachstum-generative-system ## Der Wandel in Zahlen Year: 2007 Category: datavis Location: Berlin, Germany Technology: Microcontroller with temperature sensor, additional public thermometer display (climate-difference visualisation) Der Wandel in Zahlen is a public-space installation by Studio A N F, delivered in 2007 from the studio in Berlin. The piece extends an existing thermometer in the city with an additional display that shows the temperature difference between the current month and the same month fifty years earlier (February 2007 vs. February 1957), using a microcontroller and temperature sensor. It is early public-space work by the studio, on the theme of anthropogenic global warming. Der Wandel in Zahlen is an extension of an existing thermometer in the city space with an additional display, which calculates and shows the difference to saved statistical weather data of the past. With this project I want to raise the public awareness of anthropogenic global warming. In this case, the display calculated the difference of the month february 2007 from the same month 50 years ago. A Temperature sensor is connected to a microcontroller. The current temperature values are compared with stored statisctical data of the past and the difference is calculated. This value is then shown on an Led-display attached to the thermometer. current temperature − reference temperature = displayed value URL: https://studioanf.com/project/change-in-numbers