The ‘FOLD’ machine

Mon, 22 Aug 2011 16:40:32 -0400

Origami demonstrates ‘myriad’ three dimensional ‘formation’ (using the logics of folding) from an ‘inchoate’ single plane in geometry. Origami, to us as thinkers of ‘form’, signifies in a very generic sense the kinetic tension between ‘inchoate shape’ and ‘myriad form’.

Of the several stages in the process of design, one observes most strongly this tension at the initial stages of clarifying the intentions and goals. When the cause of the impending effect must be sought.

Arguably, this is the most significant stage in the design process, for all decisions here are the explicit causes of the tangible effects of the final artifact. In Origami, as in Architectural design, most stages after the initial statement of intentions can theoretically be automated. However, it has always been a rather interesting intellectual conundrum; to think of a possibility to automate intentions and causes.

Let us propose as an intellectual construct, a machine, that when set in motion begins from a single two dimensional plane (of a certain prescribed proportion or size) and proceeds to folding itself and ‘form’ all the ‘infinite’ morphological possibilities that are implicit in a two‐dimensional plane. Parallel to this process, we propose another recognition algorithm (pattern and structural) that will continuously check the momentary formations and will apply a meaning based on recognition. Needless to say, what this process would finally entail is a gargantuan taxonomy of known morphologies.

This obviously is not that interesting for us designers of physical morphologies, for even if we could automate a choice ‘algorithm’ in this list, based on certain other peculiar/contextual inputs, why would it be superior to just choosing something from everything in the first place?

What, however, is truly significant about the taxonomy above, is the entire ‘other’ end of the taxonomy, the unfinished infinite list of morphological possibilities that have yet to be discovered. This is where it gets interesting, for the machine shows us all that is not known. ‘Automation’ in this sense at the root of the design process represents a potential to ‘invention’. It is in such a sense perhaps, when the myriad is truly the infinite and the inchoate, truly the unknown.

-Ray

The Creative Imperative.

Wed, 29 Dec 2010 09:38:43 -0500

dplay:

As creative agents our imperative is implicated in the invention of our future. The future thus invented in the continuous weaving between the vectors of our cultural deliberations and the vectors of the natural progression of reality from one state to the next.

dplay: HIVE test ONE

Wed, 29 Dec 2010 09:08:17 -0500

dplay:

HIVE test ONE

dplay: beginning @ 9-265 :)

Wed, 29 Dec 2010 05:41:36 -0500

dplay:

beginning @ 9-265 :)

dplay: Trushit’s Electrickshaw V.02 :)

Wed, 29 Dec 2010 05:40:46 -0500

dplay:

Trushit’s Electrickshaw V.02 :)

"I cannot walk through the suburbs in the solitude of the night without thinking that the night..."

Wed, 29 Dec 2010 05:38:55 -0500

“I cannot walk through the suburbs in the solitude of the night without thinking that the night pleases us because it suppresses idle details, just as our memory does.”

- Jorge Luis Borges

"Klaatu Barada Nikto !"

Wed, 29 Dec 2010 02:52:46 -0500

“Klaatu Barada Nikto !”

- Klaatu

DEUS EX MACHINA

The ‘FOLD’ machine

The Creative Imperative.

dplay: HIVE test ONE

dplay: beginning @ 9-265 :)

dplay: Trushit’s Electrickshaw V.02 :)

"I cannot walk through the suburbs in the solitude of the night without thinking that the night..."

"Klaatu Barada Nikto !"