Interface for non-discriminatory music exploration
World music as a term for non-Western music was established in the 1980s. As a marketing term it stands for exoticism and Eurocentric thinking. Further, the leading digital platforms today use algorithms known for biases and filter bubbles to determine what should be consumed. Discovering new music becomes a passive experience where minorities stay under the radar.
For Not World Music, I scraped user ratings to determine outstanding albums from every country. This diverse collection can be explored freely on a Three.js based globe. The minimalist interface was connected to a streaming API for convenient but decelerated listening, allowing users to expand their musical horizon.
Molding code into formative DNA
Shape Index is a series of foldable posters. They showcase the variety of specimens spawned by one defining set of rules. Written in Processing, they can produce an endless amount of similar, yet distinctive shapes.
Each program found its origin in a different analog experiment. With the organic qualities of shadow play, calligraphy and printmaking as a starting point, I found myself shaping the rules of the system, as I had initially shaped the forms themselves.
Experiencing time in a digital age
To Be Continued is a theatrical installation about the perception of time in a digital age. Even though technology accelerates the world and seemingly makes it more efficient, it appears we still spend just as much time waiting. The performance thematizes the impact of such technology, while employing a chatbot as the main actor.
In the days leading up to the show, the bot collects data on our relationship with time. To allow it to express its findings during the encounter on location, I worked together with visual artist Noralie. We developed immersive animations inspired by the world of interfaces, apps and preloaders.
To Be Continued is a project by Studio Moniker, Nineties and Noralie. ↳ Video Documentation
Visual identity for student exhibition
The vernissage is an informal exhibition that was initiated to give all students a space to show what they are working on. As part of the student council I helped organize the event and developed a design system, which I used to create promotional content in all formats.
Central to the identity is the Pilowlava 3D font. With various procedural materials applied to it, it can function as text for signage and as key visual. The funky V's in front of strong colours highlight the Vernissage's independent character and hint at the DJ sets taking place at later hours.
Distilling my past into a .pkl file
Using over 1400 images from my childhood as input, a generative adversarial network was trained. The output is displayed on a helmet, which lends the wearer a face that retains some uncanny resemblance to younger versions of myself. Accelerometer data is used to map movements from the real environment to the latent space of the neural network.
This results in dynamic morphing between portraits that range in style from realistic to generative cubism. The juxtaposition of the fictional past and the futuristic present gives a glimpse of impending changes to digital avatars, the reversibility of aging in virtual realms and the role of the human body in society.
Turning dutch masterpieces into collective image creation playgrounds
Creating images with AI is currently an isolated experience. Ecce.ai lets the ideas come together. Paintings like the Garden of Earthly Delights become a playground on which users can type everything imaginable and have it appear on the canvas. Bit by bit it is transformed, with contributions reacting or adding to each other, while the outcome after thousands of alterations is completely unpredictable.
The name is derived from Ecce Homo (“Behold the Human”), the name of a Christ painting that went viral after a good faith attempt at restoration. In a similar spirit Ecce.ai questions the authority of the old masters, allowing people to paint over the work and collectively create a contemporary masterpiece.
A prototype of the platform is the result of R&D and UI work I did during my internship at Studio Moniker.