I am an interaction designer and visual artist working with technologies in both digital and physical domain. My work focusses on how technology and digital infrastructures can expand and improve our lives in the tangible realm.
|Bram Linderman||Design & Development|
|Rubia Morena||Design & Development|
|Mobile Design Agency||Design & Development|
|The New Masters||Design & Development|
|Joe Jo||Design & Development|
|Jordy de Reus||Design & Development|
Machine Room is a reenactment of the computer code that Dutch film artist Bart Vegter used in 2008 to generate his film De Tijd. A wall-sized projection shows a live visualization of 45 computer processes that are set in motion by Vegter's code: ventilator speed, motherboard temperature, calculations per second, disc rotations per second, electrical current fluctuations, and many more. The goal is to reveal the normally invisible processes that are needed to generate a film through code and to provide insight into the relationship between film, code and computer.
The spatial interaction model allows the user to navigate the visualizations and learn more about the meaning and activity of computer processes, and how they relate to software functions. By walking towards the projection, the user is able to select visualizations, which allows him to examine a specific computer process in greater detail.
For this project, commisioned by Eye Film Institute Netherlands, I collaborated with Bram Bogaerts.
Machine Room is nominated for the Hendrik Valk price 2015 and received an honorable mention at Youngblood award 2015.
More and more, social interactions take place within in the digital realm, while we, as humans, live in an analog and physical world. In his research project, I examined how people express themselves on the Internet, and how this online personality can be brought back into the physical world in a tangible form. By using fashion as a medium to express personal digital information, I translated posts, likes and comments from various social media platforms into knitted patterns.
The scarfs are built up from a single thread, following the concept of a timeline. The negative or positive emotions connected to each post, and the number of likes it received, determine the size and position of the post on the scarf. This, in combination with the total number of posts, determines the length of the scarf, resulting in only 20 centimeters for mine, against a staggering 30 meters for Casey Neistat's scarf.
On a subjective timescale not every six-second video is equally long. For me a video with a lot of cuts has a longer duration than a single-shot clip.
For this application I created a database of scenes with help of self-written software that detects cuts in the, nearly 1000, vine-clips used for this project. On a big touchscreen every scene is shown by its tumbnail and scaled by its length. By interacting with the application the connected scenes can be explored and viewed.
Fathom is created as an experiment to see what happens if the typographic boundaries from a text editor are taken away.
This editor allows the user to type in time, in orders that differ from left-to-right, and it let's you hear your typing speed.
Fathom documents can be exported with x, y and z coordinates of every letter included.
Cas de Rooij, Niels Zweekhorst and I created Fathom in one day with Processing and Max MSP.
Scientific research has given us insight in the effects of nature. While technological developments enable us to mimic and influence these, scientists are giving us increasingly accurate patterns which should give us the most perfect circumstances to live in. But what if all natural patterns are replaced with artificial ones? For this project I created an artificial environment for a plant wherein it gets all nutrition it needs, but only if the stock changes are positive. So not only is the plant completely secluded from sunlight and rain but it is also dependent of the most powerful man-made system—the economy.
The web is a fast developing platform. Since the launch of the first website in 1991 many new css selectors have become available for style layouts, colors and typography on the web.
From a central point the user of this installation can browse the web in five different periods in time wherein a new version of css was released. Each screen shows the chosen website in the style that was technically possible according to the css properties available in that moment.