1A: Effective Complexity--Kyuha Shim's Generative Typography

In the past two years (mostly), I've become very interested in typography, how it moves and how it scales. However, it wasn't until last year that I really encountered Kyu's work as his student in his Computational Design class. Kyu's work in generative typography has greatly effected and also falls in line with broad movements towards parametric design in the visual design world. I love this work because it gives the very language and content of our world character and movement, engages the viewer in completely new ways. In terms of Galanter's article, I would say that this kind of generative typography, that is, typography that changes based on external input(s), still definitely leans towards order (crystal lattice). No matter what, typography is still driven by language/linguistics, and whatever alphabet its shape is taking. That line is extremely concrete. However, I love that it finally is offering a source of variation within the previously static world of type.

Peep it here:

1B: The problem of uniqueness

"Whether in the context of market value or cultural value, traditional works of art have been treasured as unique and thus rare objects. "

"Digital generative art introduces a completely new problem: rather than offering an endless supply of copies, it provides an endless supply of original and unique artifacts. "

Generative art is by nature repetitive in some way, and I don't believe the same problem of uniqueness that might arise in non-generative art can apply, at least without differentiation. When it comes to generative art, I believe that the more important point/source of uniqueness is the generator (code, etc), not the generated content.