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Drifting

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Simon De Mai

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Drifting #227

About Drifting

Animated

ยซ๐˜Œ๐˜ท๐˜ฆ๐˜ณ๐˜บ๐˜ต๐˜ฉ๐˜ช๐˜ฏ๐˜จ'๐˜ด ๐˜ณ๐˜ถ๐˜ฏ๐˜ฏ๐˜ช๐˜ฏ๐˜จ ๐˜ด๐˜ฎ๐˜ฐ๐˜ฐ๐˜ต๐˜ฉ๐˜ญ๐˜บ, ๐˜ข๐˜ฏ๐˜ฅ ๐˜บ๐˜ฐ๐˜ถ?ยปยน

In these formal studies, geometric figures are cut, broken, divided, subdivided, colorized and finally ยซset to driftยปยฒ in an endless scrolling motion. The elements in each composition vary over time without ever reaching a final form.

Visual artifacts remind of analog electronics. Feedback loops undermine the accuracy of digital technology. As time passes, it is increasingly difficult to recognize the original composition: frame after frame, cycle after cycle, the image is dissolved into a landscape of liquid forms and oversaturated colors.

After having pursued harmony and balance, it is liberating to surrender and witness the carefully crafted compositions blend into a chaotic interplay of lights and shapes.

Drifting, la ยซdรฉriveยปยณ, is an ongoing dialogue with the machine, started as an exploration of an aesthetic system and turned into a journey of selfโ€“discovery.

(1) ๐˜š๐˜ถ๐˜ฑ๐˜ฆ๐˜ณ ๐˜ค๐˜ฐ๐˜ฎ๐˜ฑ๐˜ถ๐˜ต๐˜ฆ๐˜ณ ๐˜๐˜ˆ๐˜“9000 ๐˜ช๐˜ฏ ๐˜ค๐˜ฐ๐˜ฏ๐˜ท๐˜ฆ๐˜ณ๐˜ด๐˜ข๐˜ต๐˜ช๐˜ฐ๐˜ฏ ๐˜ธ๐˜ช๐˜ต๐˜ฉ ๐˜‹๐˜ข๐˜ท๐˜ฆ ๐˜‰๐˜ฐ๐˜ธ๐˜ฎ๐˜ข๐˜ฏ (ยซ2001: ๐˜ˆ ๐˜š๐˜ฑ๐˜ข๐˜ค๐˜ฆ ๐˜–๐˜ฅ๐˜บ๐˜ด๐˜ด๐˜ฆ๐˜บยป, ๐˜š. ๐˜’๐˜ถ๐˜ฃ๐˜ณ๐˜ช๐˜ค๐˜ฌ, 1968). (2) ยซ๐˜‹๐˜ณ๐˜ช๐˜ง๐˜ต๐˜ช๐˜ฏ๐˜จยป ๐˜ช๐˜ด ๐˜ข๐˜ญ๐˜ด๐˜ฐ ๐˜ข ๐˜ต๐˜ฆ๐˜ค๐˜ฉ๐˜ฏ๐˜ช๐˜ฒ๐˜ถ๐˜ฆ ๐˜ถ๐˜ด๐˜ฆ๐˜ฅ ๐˜ช๐˜ฏ ๐˜ฆ๐˜ข๐˜ณ๐˜ญ๐˜บ ๐˜ท๐˜ช๐˜ฅ๐˜ฆ๐˜ฐ ๐˜ข๐˜ณ๐˜ต: โ€œ๐˜ฃ๐˜บ ๐˜ข๐˜ญ๐˜ต๐˜ฆ๐˜ณ๐˜ช๐˜ฏ๐˜จ ๐˜ต๐˜ฉ๐˜ฆ ๐˜ต๐˜ช๐˜ฎ๐˜ช๐˜ฏ๐˜จ ๐˜ฑ๐˜ถ๐˜ญ๐˜ด๐˜ฆ ๐˜ฐ๐˜ง ๐˜ต๐˜ฉ๐˜ฆ ๐˜ด๐˜ช๐˜จ๐˜ฏ๐˜ข๐˜ญ, [โ€ฆ] ๐˜ข๐˜ฏ ๐˜ช๐˜ฎ๐˜ข๐˜จ๐˜ฆ ๐˜ค๐˜ฐ๐˜ฏ๐˜ต๐˜ช๐˜ฏ๐˜ถ๐˜ฐ๐˜ถ๐˜ด๐˜ญ๐˜บ ๐˜ฅ๐˜ณ๐˜ช๐˜ง๐˜ต๐˜ฆ๐˜ฅ ๐˜ฉ๐˜ฐ๐˜ณ๐˜ช๐˜ป๐˜ฐ๐˜ฏ๐˜ต๐˜ข๐˜ญ๐˜ญ๐˜บโ€ (ยซ๐˜•๐˜ฐ๐˜ต๐˜ฆ๐˜ด ๐˜ต๐˜ฐ๐˜ธ๐˜ข๐˜ณ๐˜ฅ ๐˜ข ๐˜ฉ๐˜ช๐˜ด๐˜ต๐˜ฐ๐˜ณ๐˜บ ๐˜ฐ๐˜ง ๐˜ช๐˜ฎ๐˜ข๐˜จ๐˜ฆ-๐˜ฑ๐˜ณ๐˜ฐ๐˜ค๐˜ฆ๐˜ด๐˜ด๐˜ฆ๐˜ฅ ๐˜ท๐˜ช๐˜ฅ๐˜ฆ๐˜ฐยป, ๐˜“. ๐˜๐˜ถ๐˜ณ๐˜ญ๐˜ฐ๐˜ฏ๐˜จ, 1970). (3) ๐˜๐˜ณ๐˜ฆ๐˜ฏ๐˜ค๐˜ฉ ๐˜ธ๐˜ฐ๐˜ณ๐˜ฅ ๐˜ง๐˜ฐ๐˜ณ ยซ๐˜ฅ๐˜ณ๐˜ช๐˜ง๐˜ตยป (๐˜ด๐˜ฆ๐˜ฆ ๐˜ข๐˜ญ๐˜ด๐˜ฐ ยซ๐˜›๐˜ฉ๐˜ฆ๐˜ฐ๐˜ณ๐˜ช๐˜ฆ ๐˜ฅ๐˜ฆ ๐˜ญ๐˜ข ๐˜ฅ๐˜ฆ๐˜ณ๐˜ช๐˜ท๐˜ฆยป, ๐˜Ž. ๐˜‹๐˜ฆ๐˜ฃ๐˜ฐ๐˜ณ๐˜ฅ, 1956).

Simon De Mai profile picture
Simon De Mai

Simon De Mai is an interdisciplinary artist and designer. In his artistic research, a rigorous design methodology is combined with an hands-on experimental approach, leading to unexpected processes and visual results where intuition, human error and technology imperfections play a fundamental role. Interested in the formal qualities of the final work as much as in exploring the creative possibilities of the technology behind it, his practice often results in developing custom tools or purposefully misusing existing ones.

Algorithmic edition of 360

Apr 12, 2022, 4:00 PM UTC

20% of the proceedings above 0.24 ETH will go towards non-profit and charitable organizations

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