found this on an old hard drive. a mix that ben and I did of an old kplv track.  2006.

Moko dezu (ben wrecks it)

Return It To Me

Consolidate Misfortune

Yell

Music written for a short documentary film for the Mediated Matter's Mushtari piece.

From their Vimeo page:

How can we design relationships between the most primitive and the most sophisticated life forms? Can we design wearables embedded with synthetic microorganisms that can enhance and augment biological functionality? Can we design wearables that generate consumable energy while being exposed to the sun?
We explored these questions through the creation of Mushtari, a 3D printed wearable with 58 meters of internal fluid channels. The wearable is designed to function as a wearable microbial factory that uses synthetic microorganisms to convert sunlight into useful products for the wearer. It does so by engineering a symbiotic relationship between two bacteria: photosynthetic cyanobacteria and E. coli. The cyanobacteria convert sunlight to sucrose and E. coli convert sucrose to useful products, such as pigments, drugs, food, fuel and scents. This form of microorganismic symbiosis is known as co-culture. The wearer would be able to induce the engineered E. coli to begin producing a particular substance – for example a scent, a color pigment, or fuel.
The wearable was designed using generative growth algorithms. These computational form generation processes mimic biological growth by generating recursive forms over many iterations of the algorithm. Initial geometry and parameters defined by the algorithm inform the overall geometry, the local mesh geometry as well as variations in material property by altering the relative strength of relaxation, attraction and repulsion between mesh vertices. For Mushtari, the initial geometry and parameters created a single long channel that grew over numerous iterations into a wearable with 58 meters of inner channels varying in diameter from 1 mm to 2.5 cm. Transparency was graded regionally within the design to create areas of transparency, where cyanobacteria could receive light and photosynthesize.
Mushtari was 3D printed using the Connex3, a multimaterial 3D printer developed by Stratasys. Printing internal channels required an additional innovation. Typically, the Connex3 dispenses a gel-like support material into internal channels that cannot be cleared. To overcome this barrier, the Mediated Matter group collaborated with Stratasys to develop an experimental liquid-based support that could be dispensed into the channels during printing and easily cleared afterwards.
The project was led by Prof. Neri Oxman and the Mediated Matter Group in collaboration with Stratasys. Additional collaborators included Prof. Pamela Silver and Stephanie Hays of Harvard Medical School and Dr. James Weaver of the Harvard Wyss Institute for Biologically Inspired Engineering. Mediated Matter researchers include: Will Patrick, Christoph Bader, Dominik Kolb, Steven Keating and Sunanda Sharma.
Mushtari was designed as part of the Wanderers collection, an astrobiological exploration dedicated to the medieval astronomers who explored the worlds beyond by visiting the worlds within.


Mushtari

Written for the MIT Media Lab's Mediated Matter Group. The video can be seen at https://vimeo.com/136764796

Written and Produced by Jeremy Flower.
Many thanks to Carla Kihlstedt - Violin.

From their Vimeo page:

Glass 3D Printing (G3DP)
Additive Manufacturing of Optically Transparent Glass developed by the Mediated Matter Group at the MIT Media Lab in collaboration with the Glass Lab at MIT.
Ancient yet modern, enclosing yet invisible, glass was first created in Mesopotamia and Ancient Egypt 4,500 years ago. Precise recipes for its production - the chemistry and techniques - often remain closely guarded secrets. Glass can be molded, formed, blown, plated or sintered; its formal qualities are closely tied to techniques used for its formation.
From the discovery of core-forming process for bead-making in ancient Egypt, through the invention of the metal blow pipe during Roman times, to the modern industrial Pilkington process for making large-scale flat glass; each new breakthrough in glass technology occurred as a result of prolonged experimentation and ingenuity, and has given rise to a new universe of possibilities for uses of the material. This show unveils a first of its kind optically transparent glass printing process called G3DP.
G3DP is an additive manufacturing platform designed to print optically transparent glass. The tunability enabled by geometrical and optical variation driven by form, transparency and color variation can drive; limit or control optical light transmission, reflection and refraction; and therefore carries significant implications for all things glass. The platform is based on a dual heated chamber concept. The upper chamber acts as a Kiln Cartridge while the lower chamber serves to anneal the structures. The Kiln Cartridge operates at approximately 1900°F and can contain sufficient material to build a single architectural component. The molten material gets funneled through an alumina-zircon-silica nozzle. The project synthesizes modern technologies with age-old established glass tools and technologies producing novel glass structures with numerous potential applications.
The G3DP project was created in collaboration between the Mediated Matter group at the MIT Media Lab, the Mechanical Engineering Department and the MIT Glass Lab. Researchers include John Klein, Michael Stern, Markus Kayser, Chikara Inamura, Giorgia Franchin, Shreya Dave, James Weaver, Peter Houk and Prof. Neri Oxman.

Glass

Down On Me

See the film at https://vimeo.com/211778198

GLASS II
2017
Glass 3D printing 
Milan, Italy

The Platform

Optically transparent and structurally sound, glass has played a significant role in the evolution of product and architectural design across scales and disciplines, and throughout the ages . Glass processing methods—such as blowing, pressing, and forming—have aimed at achieving increased glass performance and functionality. Nonetheless, techniques and technologies enabling controlled tunability of its optical and mechanical properties at high spatial manufacturing resolution have remained an end without a means.
We present G3DP2: a high fidelity, large-scale, additive manufacturing technology for 3D printing optically transparent glass structures at architectural dimensions. This enabling technology builds upon previous efforts led by The Mediated Matter Group—through G3DP2—to 3D print optically transparent glass for product scale applications. G3DP2 transcends its predecessor by restructuring the machine’s architecture and process control operations as informed by material properties and behaviors of silicate glass to 3D print building components with tunable and predictable mechanical and optical properties.

This new manufacturing platform includes a digitally integrated thermal control system—to accompany the various stages of glass forming—as well as a novel 4-axis motion control system permitting flow control, spatial accuracy and precision, and faster production rates with continuous deposition of up to 30kg of molten glass.

The Installation

To demonstrate GLASS II’s capabilities, The Mediated Matter Group presents an installation for Milan Design Week debuting at the Milan Triennale on April 4th, 2017.

The installation is comprised of a series of 3m-tall glass columns fully manufactured with the GLASS 2 platform. Each column’s unique and constantly changing surface is the result of continuous branching into multiple lobes to support its load. For each, a unique network of radial arrays made of arcs; to each, a unique caustic footprint corresponding with its mechanical properties. Given their geometric complexity and dynamic optical properties, the columns act as architecturally scaled lenses that can concentrate or disperse light from within and/or outside the glass surface.

The computational framework used to generate each column’s form is directly influenced by the constraints of the manufacturing platform and structural system, demonstrating the ability to 3D print a wide range of shapes determined by desired mechanical and optical properties. By example, the higher the load, the greater the surface area of a column in plan view, the greater the number of lobes desired, the tighter the turning radius required for their 3D printing, and hence contributing to the geometric expression of the caustics. Each column is fitted with a dynamic internal lighting system—una stellina—programed to travel up and down the column generating a large caustic footprint with kaleidoscope-like patterns. The caustics are the sums of light rays reflected and/or refracted dynamically by the curved surface of the printed column over the surrounding walls of the Trienniale. Over space, each successive column introduces a more complex caustic envelope with accompanied—and subtle—shifts in sound frequencies. Over time, each column’s light position and intensity varies, resulting in changes to the surface area, sharpness, and intensity of the caustic patterns. Combined, the overall experience challenges the perceived boundaries between time and space.

Two dark-mirrored surfaces are mounted on the facing end walls defining the space, reflecting the row of columns and creating the illusion of an infinite array of ‘light totems’ fading into darkness…a starry night of ‘cosmic caustics.’

Mediated Matter

Glass II

Taken from a live set at the Brickbottom Artists Building in Somerville, MA in May of 2012. Three Songs here, all three untitled.

From 2012 With Love

track by keepalive and smartypants - aka Rainbow Bright.  Killin.

The Rollah

How I Know It's Hopeless

A piece of music written for a documentary film about an installation at MIT's Media Lab.

From their Vimeo Page: (http://vimeo.com/67177328)

The Silk Pavilion explores the relationship between digital and biological fabrication on product and architectural scales.

The primary structure was created of 26 polygonal panels made of silk threads laid down by a CNC (Computer-Numerically Controlled) machine. Inspired by the silkworm’s ability to generate a 3D cocoon out of a single multi-property silk thread (1km in length), the overall geometry of the pavilion was created using an algorithm that assigns a single continuous thread across patches providing various degrees of density.

Overall density variation was informed by the silkworm itself deployed as a biological “printer” in the creation of a secondary structure. A swarm of 6,500 silkworms was positioned at the bottom rim of the scaffold spinning flat non-woven silk patches as they locally reinforced the gaps across CNC-deposited silk fibers. Following their pupation stage the silkworms were removed. Resulting moths can produce 1.5 million eggs with the potential of constructing up to 250 additional pavilions.

Affected by spatial and environmental conditions including geometrical density as well as variation in natural light and heat, the silkworms were found to migrate to darker and denser areas. Desired light effects informed variations in material organization across the surface area of the structure. A season-specific sun path diagram mapping solar trajectories in space dictated the location, size and density of apertures within the structure in order to lock-in rays of natural light entering the pavilion from South and East elevations. The central oculus is located against the East elevation and may be used as a sun-clock.

Parallel basic research explored the use of silkworms as entities that can “compute” material organization based on external performance criteria. Specifically, we explored the formation of non-woven fiber structures generated by the silkworms as a computational schema for determining shape and material optimization of fiber-based surface structures.

Research and Design by the Mediated Matter Research Group at the MIT Media Lab in collaboration with Prof. Fiorenzo Omenetto (TUFTS University) and Dr. James Weaver (WYSS Institute, Harvard University). Mediated Matter researchers include Markus Kayser, Jared Laucks, Carlos David Gonzalez Uribe, Jorge Duro-Royo and Neri Oxman (Director).


Silk Pavilion

The electronic ramblings of jeremy flower, a composer and multi-instrumentalist from Cambridge, MA



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