Kenny Kyungmi Kim dat com

AV Brush

AV Brush

Cool Hunting

ROCKETBOOM

         The AV Brush is a new drawing tool as well as a musical instrument.
         It encourages user to interact with his/her drawing and create real time visual music in the process.
        The AV Brush creates synaesthesia in art and music by using a MaxMSP/Jitter program that is focused on visual music since 1900. Visual Music theory is on synaesthesia which is the union of the senses or the interchangeability of sensory perceptions.
         The AV Brush is based on a Study on the Cyber Visual Music Library. The study was sponsored by the Korean Ministry of Information and Communication(1998-1999). At Media Art Lab, researchers, engineers, designers, and artists founded this project, which included the creation of the software applications the AV Composer and the AV Visualizer. The AV Brush is more developed version of the AV Composer. To study sound in particular, the VSRL System is helpful for reference. As a drawing tool, the AV Brush refers to the I/O Brush. The Easel of the Video Painting series refers to installation.

Web Conferencing -Crecloo Art Gallery

NYC - Irvine - Seattle


"Crossing Tallks about Interactivity"

Eunsu Kang
Todd Holoubek
Byeong Sam Jeon
Annie On Ni Wan
Kenny Kyungmi Kim

http://www.newmediart.org
http://www.newmediart.org

Feb 6(Tuesday) 8:30pm. EST 2007
Crecloo Art Gallery

           AV Brush is a new drawing tool  as well as an instrument.   



av brush installation_01.ppt

                        
Motivation

             AV Brush is an instrument beyond interactive drawing tool. Most of my previous projects are concerned with sound ineractive visualization since 1998 and this project is no exception. My old projects used mike or mouse as an input device and CRT and projected screen as an output device. A new experimental trial in this project is adopting a new input device- the brush. I aim to break a common sense that brush is just a drawing tool.
When I was young, my mother wanted me to play piano. My younger sister could play piano, but I couldn’t. Playing piano was so difficult to me at that time . I'm so envious of my sister’s talent.
Later I found that I was gifted in painting and my life is dedicated to art work. One day, I visited a piano institution. I waited my sister. An college student also waited her lesson turn. Her major was visual art. She taught me drawing whiling finishing my sister's lessons in music. I draw my own painting listening to the sonata.
I remember my painting was a landscape of the inner ocean.
Later, I majored in fine art in college and I worked as an artist. Still music is something mysterious and profound to me. I feel that music lies beyond my art landscape.
In this AV brush project I would like to overcome my artistic trauma. It’s a digitally revised version of my experience. I hope to dream again while I draw ocean landscape listening to the AV brush music, and finally my mother’s smile may fall on my brush.




       
Wassily Kandinsky <Concerning the Spiritual in Art>

                                      Orange - Viola /  Yellow -Trumpet / Bright Blue - Flute / Green - Violin / Red -Tuba

                                                                  Each background color correspond with specific instument sound.







MIDI Synthesizer -SoundFonts

multitrack music and sound software for Windows. Record any instrument, your voice, or the on-screen Virtual Piano. Supports two tracks of audio along with MIDI. Edit and mix tracks quickly and easily. Discover the musician inside you! Best of all, it's SoundFont-compatible, so your choice of instruments is virtually unlimited!



Contact : treekhan@hotmail.com

 Water Simulation Reference : 

http://del.icio.us/mang/water (Mang's bookmarks)

http://citeseer.ist.psu.edu/500648.html  (Kass, Miller -Simulation of Water)

photography by Kenny Kyungmi Kim  ( The seaside of Montauk )

Specular reflection for Installation

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Specular reflection is the perfect, mirror-like reflection of light (or sometimes other kinds of wave) from a surface, in which light from a single incoming direction is reflected into a single outgoing direction. Such behaviour is described by the law of reflection, which states that the direction of outgoing reflected light and the direction of incoming light make the same angle with respect to the surface normal; this is commonly stated as θ_i = θ_r.

This is in contrast to diffuse reflection, where incoming light is reflected in a broad range of directions. The most familiar example of the distinction between specular and diffuse reflection would be matte and glossy paints. While both exhibit a combination of specular and diffuse reflection, matte paints have a higher proportion of diffuse reflection and glossy paints have a greater proportion of specular reflection. Very highly polished surfaces, such as high quality mirrors, can exhibit almost perfect specular reflection.

Even when a surface exhibits only specular reflection with no diffuse reflection, not all of the light is necessarily reflected. Some of the light may be absorbed by the materials. Additionally, depending on the type of material behind the surface, some of the light may be transmitted through the surface. For most interfaces between materials, the fraction of the light that is reflected increases with increasing angle of incidence θ_i. If the light is propagating in a material with a higher index of refraction than the material whose surface it strikes, then total internal reflection may occur.

Category:

Liquid Cristals

Liquid crystals are substances that exhibit a phase of matter that has properties between those of a conventional liquid, and those of a solid crystal. For instance, a liquid crystal (LC) may flow like a liquid, but have the molecules in the liquid arranged and/or oriented in a crystal-like way. There are many different types of LC phases, which can be distinguished based on their different optical properties (such as birefringence). When viewed under a microscope using a polarized light source, different liquid crystal phases will appear to have a distinct texture. Each 'patch' in the texture corresponds to a domain where the LC molecules are oriented in a different direction. Within a domain, however, the molecules are well ordered. Liquid crystal materials may not always be in an LC phase (just as water is not always in the liquid phase: it may also be found in the solid or gas phase). Liquid crystals can be divided into thermotropic and lyotropic LCs. Thermotropic LCs exhibit a phase transition into the LC phase as temperature is changed, whereas lyotropic LCs exhibit phase transitions as a function of concentration of the mesogen in a solvent (typically water) as well as temperature.

From Wikipedia, the free encyclopedia

  Photographs by Philip Plisson

the sublime.ppt

In aesthetics, the sublime (from the Latin sublimis (under the lintel, high, exalted)) is the quality of transcendent greatness, whether physical, moral, intellectual, metaphysical or artistic. The term especially refers to a greatness with which nothing else can be compared and which is beyond all possibility of calculation, measurement or imitation. This greatness is often used when referring to nature and its vastness.

The first study of the value of the sublime is the treatise ascribed to Longinus: On the Sublime. For Longinus, artistic genius was the skill of metaphor. Prior to the eighteenth century sublime was a rhetoric term predominately relevant to literary criticism. Edmund Burke and Immanuel Kant both investigated the subject (compare Burke’s Essay on the Sublime and Beautiful, 1756, and Kant's Observations on the Feeling of the Beautiful and Sublime, 1764). Both men distinguished the sublime from the beautiful. Later writers tend to include the sublime in the beautiful.

Contents [hide] 1 Eighteenth Century 1.1 British Philosophy 1.2 German Philosophy 1.2.1 Immanuel Kant 1.2.2 Schopenhauer 2 Romantic Period 2.1 Victor Hugo 3 Post Romantic and Twentieth Century 4 Footnotes 5 Further reading

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[edit] Eighteenth Century

[edit] British Philosophy

The development of the concept of the sublime as an aesthetic quality in nature distinct from beauty was first brought into prominence in the eighteenth century in the writings of Anthony Ashley Cooper, third earl of Shaftesbury, and John Dennis, in expressing an appreciation of the fearful and irregular forms of external nature, and Joseph Addison's synthesis of Cooper's and Dennis' concepts of the sublime in his The Spectator (1711), and later the Pleasures of the Imagination. All three Englishmen had, within the span of several years, made the journey across the Alps and commented in their writings of the horrors and harmony of the experience, expressing a contrast of aesthetic qualities^[1].

John Dennis was the first to publish his comments in a journal letter published as Miscellanies in 1693, giving an account of crossing the Alps where, contrary to his prior feelings for the beauty of nature as a "delight that is consistent with reason", the experience of the journey was at once a pleasure to the eye as music is to the ear, but "mingled with Horrours, and sometimes almost with despair" ^[2]. Shaftesbury had made the journey two years prior to Dennis but did not publish his comments until 1709 in the Moralists. His comments on the experience also reflected pleasure and repulsion, citing a "wasted mountain" that showed itself to the world as a "noble ruin" (Part III, Sec. 1, 390-91), but his concept of the sublime in relation to beauty was one of degree rather than the sharp contradistinction that Dennis developed into a new form of literary criticism. Shaftesbury's writings reflect more of a regard for the awe of the infinity of space ("Space astonishes" referring to the Alps), where the sublime was not an aesthetic quality in opposition to beauty, but a quality of a grander and higher importance than beauty. In referring to the Earth as a "Mansion-Globe" and "Man-Container" Shaftsbury writes "How narrow then must it appear compar'd with the capacious System of its own Sun...tho animated with a sublime Celestial Spirit...." (Part III, sec. 1, 373)^[3].

Joseph Addison embarked on the Grand Tour in 1699 and commented in the Spectator (1712) that "The Alps fill the mind with an agreeable kind of horror". The significance of Addison's concept of the sublime is that the three pleasures of the imagination that he identified; greatness, uncommonness, and beauty, "arise from visible objects" (sight rather than rhetoric). It is also notable that in writing on the "Sublime in external Nature", he does not use the term "sublime", but uses terms that would be considered as absolutive superlatives, e.g. "unbounded", "unlimited", as well as "spacious", "greatness", and on occasion terms denoting excess^[4].

Addison's notion of greatness was integral to the concept of the sublime. An art object could be beautiful but it could not rise to greatness. His work Pleasures of the Imagination, as well as Mark Akenside's Pleasures of the Imagination (1744), and Edward Young's Night Thoughts (1745), are generally considered as the starting points for Edmund Burke's concept of the sublime in A Philosophical Inquiry into the Origin of Our Ideas of the Sublime and Beautiful (1756)^[5]. The significance of Burke's writings is that he was the first philosopher to argue that the sublime and the beautiful are mutually exclusive. The dichotomy is not as simple as Dennis' opposition, but antithetical to the same degree as light and darkness. Beauty may be accentuated by light, but either intense light or darkness (the absence of light) is sublime to the degree that it can obliterate the sight of an object. The imagination is moved to awe and instilled with a degree of horror by what is "dark, uncertain, and confused." While the relationship of the sublime and the beautiful is one of mutual exclusiveness, either one can produce pleasure. The sublime may inspire horror, but one receives pleasure in knowing that the perception is a fiction^[6].

Burke's concept of the sublime was an antithetical contrast to the classical notion of the aesthetic quality of beauty as the pleasurable experience described by Plato in several of his dialogues (Philebus, Ion, Hippias Major, and Symposium) and suggested ugliness as an aesthetic quality in its capacity to instill feelings of intense emotion, ultimately creating a pleasurable experience.^[7] Prior to Burke, the classical notion of the ugly, most notably related in the writings of Augustine of Hippo, had conceived it as lacking form and therefore as non-existent. Beauty was, for St. Augustine, the consequence of the benevolence and goodness of God's creation, and as a category had no opposite. The ugly, lacking any attributive value, was a formlessness in its absence of beauty^[8]. For Aristotle the function of art forms was to create pleasure, and had first pondered the problem of an object of art representing the ugly as producing "pain" (without reference to the absence of pleasure) in the Poetics. Aristotle's detailed analysis of this problem involves his study of tragic literature and its paradoxical nature to be shocking as well as having poetic value^[9].

[edit] German Philosophy

[edit] Immanuel Kant

See also Immanuel Kant's Aesthetic philosophy

Kant, in 1764, made an attempt to record his thoughts on the observing subject's mental state in Observations on the Feeling of the Beautiful and Sublime.

In his Critique of Judgment (1790)^[10] , Kant investigates the sublime, stating "We call that sublime which is absolutely great"(§ 25). He distinguishes between the "remarkable differences" of the Beautiful and the Sublime, noting that beauty "is connected with the form of the object", having "boundaries", while the sublime "is to be found in a formless object", represented by a "boundlessness" (§ 23). Kant then further divides the sublime into the mathematical and the dynamical, where in the mathematical "aesthetical comprehension" is not a consciousness of a mere greater unit, but the notion of absolute greatness not inhibited with ideas of limitations (§ 27). The dynamically sublime is "nature considered in an aesthetic judgment as might that has no dominion over us", and an object can create a fearfulness "without being afraid of it" (§ 28). He considers both the beautiful and the sublime as "indefinite" concepts, but where beauty relates to the "Understanding", sublime is a concept belonging to "Reason", and "shows a faculty of the mind surpassing every standard of Sense" (§ 25). For Kant, one's inability to grasp the enormity of a sublime event such as an earthquake demonstrates inadequacy of one's sensibility and imagination. Simultaneously, one's ability to merely identify such an event as singular and whole indicates the superiority of one's cognitive, supersensible powers. Ultimately, it is this "supersensible substrate," underlying both nature and thought, on which true sublimity is located ^[11].

[edit] Schopenhauer

In order to clarify the concept of the feeling of the sublime, Schopenhauer listed examples of its transition from the beautiful to the most sublime. This can be found in the first volume of his The World as Will and Representation, § 39.

For him, the feeling of the beautiful is pleasure in simply seeing a benign object. The feeling of the sublime, however, is pleasure in seeing an overpowering or vast malignant object, one that could destroy the observer.

• Feeling of Beauty - Light is reflected off a flower. (Pleasure from a mere perception of an object that cannot hurt observer).
• Weakest Feeling of Sublime - Light reflected off stones. (Pleasure from beholding objects that pose no threat, yet themselves are devoid of life).
• Weaker Feeling of Sublime - Endless desert with no movement. (Pleasure from seeing objects that could not sustain the life of the observer).
• Sublime - Turbulent Nature. (Pleasure from perceiving objects that threaten to hurt or destroy observer).
• Full Feeling of Sublime - Overpowering turbulent Nature. (Pleasure from beholding very violent, destructive objects).
• Fullest Feeling of Sublime - Immensity of Universe's extent or duration. (Pleasure from knowledge of observer's nothingness and oneness with Nature).

[edit] Romantic Period

[edit] Victor Hugo

Victor Hugo touched on aspects of the sublime in both nature and man in many of his poems (Poems of Victor Hugo). In his preface to Cromwell (play) he defined the sublime as a combination of the grotesque and beautiful as opposed to the classical ideal of perfection. He also dealt with how authors and artists could create the sublime through art. Both the Hunchback and Notredame Cathedral can be considered embodiements of the sublime as can many elements of Les Miserables. ^{[citation needed]}

[edit] Post Romantic and Twentieth Century

The last decades of the nineteenth century saw the rise of Kunstwissenschaft, or the "science of art", which was a movement to discern laws of aesthetic appreciation and arrive at a scientific approach to aesthetic experience.^[12]

At the beginning of the twentieth century Neo-Kantian German philosopher and theorist of aesthetics Max Dessoir founded the Zeitschift für Ästhetik und allgemeine Kunstwissenschaft, which he edited for many years, and published the work Ästhetik und allgemeine Kunstwissenschaft in which he formulated five primary aesthetic forms: the beautiful, the sublime, the tragic, the ugly, and the comic.^[13]

The experience of the sublime involves a self-forgetfulness where personal fear is replaced by a sense of well-being and security when confronted with an object exhibiting superior might, and is similar to the experience of the tragic. The "tragic consciousness" is the capacity to gain an exalted state of consciousness from the realization of the unavoidable suffering destined for all men and that there are oppositions in life that can never be resolved, most notably that of the "forgiving generosity of deity" subsumed to "inexorable fate".^[14]

The sublime, as a theme in aesthetics, went into a decline during the Modernist period, although experiencing somewhat of a revival in the work of Jean-François Lyotard^[15]. For Lyotard, the sublime's significance is in the way it points to an aporia in human reason; it expresses the edge of our conceptual powers and reveals the multiplicity and instability of the postmodern world.

[edit] Footnotes

1. ^ Nicolson, Marjorie Hope. Mountain Gloom and Mountain Glory. Ithaca, 1959
2. ^ Nicolson, Marjorie Hope. "Sublime in External Nature". Dictionary of the History of Ideas. New York, 1974.
3. ^ Cooper, Anthony Ashley, Third Earl of Shaftesbury. The Moralists: A Philosophical Rhapsody. 1709.
4. ^ Nicolson, Marjorie Hope. "Sublime in External Nature". Dictionary of the History of Ideas. New York, 1974
5. ^ Nicolson, Marjorie Hope. "Sublime in External Nature". Dictionary of the History of Ideas. New York, 1974.
6. ^ Beardsley, Monroe C. "History of Aesthetics". Encyclopedia of Philosophy. Vol. 1, p. 27, Macmillan, 1973.
7. ^ Stolnitz, Jerome. "Ugliness". Encyclopedia of Philosophy. McMillan, 1973.
8. ^ Stolnitz, Jerome. "Ugliness". Encyclopedia of Philosophy, McMillan, 1973. Also, Beardsley, Monroe C. "History of Aesthetics". Encyclopedia of Philosophy. Vol. 1, p. 22, Macmillan, 1973.
9. ^ Beardsley, Monroe C. "History of Aesthetics". Encyclopedia of Philosophy. Vol. 1, p. 20, Macmillan, 1973.
10. ^ Kant, Immanuel. Critique of Judgment. Trans. J.H. Bernard. Macmillan, 1951.
11. ^ Kant, Immanuel. Critique of Judgment. Trans. J.H. Bernard. Macmillan, 1951. Translator's introduction and notes to the Critique of Judgment)
12. ^ Stolnitz, Jerome. "Beauty". In Encyclopedia of Philosophy. Vol. 1, p. 266. Macmillan (1973).
13. ^ Emery, Stephen A.. "Dessoir, Max". In Encyclopedia of Philosophy. Vol. 2, p. 355. Macmillan (1973).
14. ^ Emery, Stephen A.. "Dessoir, Max". In Encyclopedia of Philosophy. Vol. 2, p. 356. Macmillan (1973).
15. ^ Lyotard, Jean-François. Lessons on the Analytic of the Sublime. Trans. Elizabeth Rottenberg. Stanford University Press, 1994. Lyotard expresses his own elements of the sublime but recommends Kant's Critique of Judgment, §23-§29 as a preliminary reading requirement in order to understand his analysis.

[edit] Further reading

• Addison, Joseph. The Spectator. Ed. Donald E. Bond. Oxford, 1965.
• Brett, R.L. The Third Earl of Shaftesbury. London, 1951. ASIN: B0007IYKBU
• Burke, Edmund. A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful. London, 1958. ISBN 0-935005-28-5
• Collingwood, R.G. The Idea of Nature. Oxford, 1945. ISBN 0-313-25166-5
• Cooper, Anthony Ashley, Third Earl of Shaftesbury. The Moralists: A Philosophical Rhapsody, in Characteristics, Vol. II. Ed. John M. Robertson. London, 1900.
• Dennis, John. Miscellanies in Verse and Prose, in Critical Works, Vol. II. Ed. Edward Niles Hooker. Baltimore, 1939-1943. ASIN: B0007E9YR4
• Dessoir, Max. Aesthetics and theory of art. Ästhetik und allgemeine Kunstwissenschaft. Translated by Stephen A. Emery. With a foreword by Thomas Munro. Detroit, Wayne State University Press, 1970. ISBN 0-8143-1383-3
• Hipple, Walter John, Jr. The Beautiful, the Sublime, and the Picturesque in Eighteenth-Century British Aesthetic Theory. Carbondale, IL, 1957.
• Kant, Immanuel. Critique of Judgment. Trans. J.H. Bernard. Macmillan, 1951.
• Kant, Immanuel. Observations on the Feeling of the Beautiful and Sublime. Translated by John T. Goldthwaite. University of California Press, 2003. ISBN 0-520-24078-2
• Lyotard, Jean-François. Lessons on the Analytic of the Sublime. Trans. Elizabeth Rottenberg. Stanford University Press, 1994.
• Nicolson, Marjorie Hope. Mountain Gloom and Mountain Glory. Ithaca, 1959. ISBN 0-295-97577-6
• Nicolson, Marjorie Hope. "Sublime in External Nature". Dictionary of the History of Ideas. New York, 1974.
• George Santayana. The Sense of Beauty. Being the Outlines of Aesthetic Theory. New York, Modern Library, 1955. Pp. 230-240.
• Schopenhauer, Arthur. The World as Will and Representation. Volume I. New York:Dover Press. ISBN 0-486-21761-2
• Stolnitz, Jerome. "On the Significance of Lord Shaftesbury in Modern Aesthetic Theory". Philosophical Quarterly, 43(2):97-113, 1961.

The Sublime / Das Erhabene

    미학상의 용어. 미적 범주의 하나. 보통 좁은 의미의 "미"와 대립되는 개념으로 쓰인다. 대상이 인간을 압도하는 크기 또는 힘을 갖는 경우, 소위 미적 형식은 상실되며 처음에는 그 형식과 내용의 길항으로 인해 불쾌감을 느끼지만 곧 그런 느낌이 사라지면 유한한 감성을 매개로 무한한 것을 표현하려고 한다. 그럼으로써 오히려 인간의 생명감정이 자극되고 역감이 앙양되어 대상에 대한 경외, 정서적인 경악이나 황홀경, 즉 넓은 의미로의 '미'의 감정을 낳게된다. 전형적인 것으로서는 해돋이나 바다와 같은 숭고한 자연(칸트Immanuel Kant), 비극적인 행위의 도덕적 신념(쉴러Friedrich von Schiller) 또는 초기의 인도적, 모하메드적, 유태, 기독교적 시와 신비주의 속에서의 신의 임재(헤겔Georg Wilhelm Friedrich Hegel)가 언급될 수 있다. 후기 고대의 논문<<숭고에 관하여Vom Erhabene>>(수도-롱기누스Pseudo-Longinos)  이래로 숭고의 개념은 미학의 확고한 구성성분이 되었으며, 18세기와 19세기에 들어서 체계적으로 완성되었다.
    한편으로 충격적이고 감동적인 숭고는 감미로운 미와 반명제적으로 대립되고(칸트), 다른 한편으로 미와의 차이는 양자의 더 깊은 동일성에 의해 무시된다(셸링Friedrich W.J.Schelling). 헤겔 학파는 숭고를 희극적이거나 추한것이라는 미적 범주와의 연관성 속에서 아직도 불완전한, 변증법적으로 지양하는 미 자체의 변양으로 파악한다. 이 개념의 체계화는 숭고한 것의 상이한 형식들의 차별화를 함께 포괄한다. 칸트는 크기의 '수학적 숭고'와 그것이 파괴적으로 작용할 때에 두려운 것으로 보이는 힘의 '역동적 숭고'를 구분한다. 한편 쉴러는 인간의 표상 충동과 자기 보존 충동으로부터 '이론적 숭고'와 '실천적 숭고'를 구분한다. 피셔Friedrich Theodor Vischer는 포괄적으로 '감각적 숭고(자연)' '오성적 숭고(신념, 의지)', 비극적 갈등의 '이성적 숭고(역사)'의 단계로 발전시킨다. 심리학적 미학에서 숭고한 것은 '감정이입(립스Theodor lipps, 폴켈트 Johannes Volkelt)'으로서, 즉 미적 지각의 대상에 대한 숭고한 감정 분출로서 해석한다. 따라서 숭고한 것의 경험에 대한 주체의 강조가 정당하게 보일수록 모든 사회적, 역사적 매개로부터 주체의 격리는 문제시된다.
   마르크스 레닌주의적 미학은 이 개념을 모든 선험적 조건의 포기 아래에서 물질화하여 인간의 사회적 실천과 연관해서 규정한다. 특히 인간의 업적은 더 나은 미래의 실현이라는 관점에서 숭고한 것으로 간주된다. 20세기에 들어 학문적, 기술적 혁명과 종교와 형이상학의 죽음은 숭고한 것에 대한 점차적인 무관심을 초래했다. 그와 달리 이 개념은 현재의 지구적 문제와 연관하여, 그리고 평화 운동이나 생태 운동과 연관하여 위험이나 공포 또는 자연파괴의 숭고로서, 예기치 않은 현실성을 갖게 되었다.

-세계미술 용어사전 <월간미술>

Reference : http://dataisnature.com

Drawings of harmonic motion

Bálint Bolygó makes kinetic machines that produce drawings, paintings and etchings. The machines, which are sculptural works of art in themselves, are composed in such a way to choreograph conceptual forms of movement with gradual transformation over time. The resulting The ‘Polycycle’ set of works recall the linear drawings of the Harmonograph and more recently the Spirograph – exotic hybrid species of Hypotochoids and Epitrochoids that fall into the family of Lissajous curves.

The ‘Lissajous Light Drawings’ are ‘gravity induced drawings’ where elliptical pendulums trace a steady harmonic motion. A connected needle then records the trajectory by scratching carbon from a sheet of glass. ‘S.H.M II Lissajous’ takes the idea further with the aid of an overhead projector – allowing the process to be encoded into live optical drawing.

In mathematics, a Lissajous curve is the graph of the system of parametric equations which describes complex harmonic motion investigated by Jules Antoine Lissajous. You can find an interactive javatronic Lissajous curve here.

Some of Bolygó’s recent sculptures make use of new material called Nitinol wire. ‘Nitinol’s physical function resembles biological muscle; when activated it contracts. To activate Nitinol it is heated above its transition temperature. An electric current may be passed through the wire to heat it electrically. When the material cools it can be stretched back it its original length.’

“By revealing the workings of something a certain mystery is also created,” Bolygó says. “With the use of new material like Nitinol, complex shapes can be made to change shape and form; sculptures could become interactive where the viewer will affect the shape of the object.”

Some more drawing machines and related trajectories (all previously mentioned at dataisnature ):

Hektor – Jürg Lehni and Uli Franke
Drawbot - Jonah Brucker-Cohen
Drawing Machine 3.1415926 v.2 – Fernando Orellana
Rapid Action Painters & Artbots – Leonel Moura
Meta-matics – Jean Tinguely
Harmonographs & Spirographs

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