The Arte Robotica Workshop proposes a reinterpretation of Dadaist concepts, by creating art pieces with the use of an industrial robot. Tristan Tzara’s „To make a Dadaist Poem” was a true manifesto towards the renewal of art, and an invitation to the first manifestations of controlled chaos.
To make a Dadaist poem:
- Take a newspaper.
- Take a pair of scissors.
- Choose an article as long as you are planning to make your poem.
- Cut out the article.
- Then cut out each of the words that make up this article and put them in a bag.
- Shake it gently.
- Then take out the scraps one after the other in the order in which they left the bag.
- Copy conscientiously.
- The poem will be like you.
- And here are you a writer, infinitely original and endowed with a sensibility that is charming though beyond the understanding of the vulgar.
Computational design and digital fabrication are associated with precise, effective and optimized strategies, tools used towards enhancing design and fabrications processes. But what if they become art, under the aegis of randomness? The true beauty of digitalism lies in the fact that it is utopian, freed by constraints. Reality plays no role in it – only imagination. By using digital manipulation and fabrication, one can find an entirely new alphabet of expression. The Arte Robotica Workshop proposes a reinterpretation of Dadaist concepts, by creating art pieces with the use of an industrial robot.
By gathering real-time data from sound waves, a series of patterns will be generated algorithmically. Through computational tricks, the original patterns will be distorted and will generate a path for the robot arm. While in traditional painting the canvas is still and the color source moves, we propose the inverted situation – three static “color sources” will be placed in front of the robot. One will be a spray paint, the other a scrapping instrument, while the third will be a marker-type brush. The transparent canvas will be mounted on the robot, and will move according to the sound-wave patterns, thus creating a painting that is in no way predictable, yet totally controlled. Therefore, you are not able to see what is being painted, but you can only introduce the parameters and see the end result. The impromptu “painting” will be designing itself on an almost imaginary canvas, which is constantly changing the parameters of the design as it moves itself. The precision of the tool is always succumbed to the authority of the randomness of the movement patterns.
- Rhinoceros 5.0
- Grasshopper (Plug-ins: Taco ABB)
- Adobe Creative Suite (Photoshop and After Effects)
Member @ DesignMorphine
Master in Advanced Architecture at IAAC
Lidia is a multi-oriented designer and writer from Romania. She has worked in fashion design with designer Cristian Samfira, interior design, architecture, scenography, and has written for a number of publications, such as Atelierul de Proiectare or Arch2O. She has done her research thesis within the Institute of Advanced Architecture Catalonia in Barcelona (IAAC), focusing on robotic fabrication and clay extrusion. She is also has collaborated with Noumena and Reshape.