Format/Art direction

Triptych Video interactive installation

In a generative triptych video installation, concrete becomes a living system. Through stream diffusion in TouchDesigner, slabs pulse like arteries, surfaces breathe, structures replicate and decay. Flow replaces stasis. The material ceases to be static architecture and becomes metabolism—concrete as data, concrete as rhythm, concrete as circulation. 

As a generative triptych, concrete flows between these ideological states. It erodes, glitches, crystallizes, and dissolves across panels, refusing a fixed meaning. Stream diffusion in TouchDesigner turns concrete into data—grain, mass, texture, and rhythm—revealing it as the true core of the concept: a shared material that absorbs ideology, time, and memory, and continuously recomputes them in motion.

music by: Sasha Lattuca

Inspiration and Source: https://www.merriam-webster.com/dictionary/concrete

Concrete [Noun]

1: a mass formed by concretion or coalescence of separate particles of matter in one body

2: a hard strong building material made by mixing a cementing material and a mineral aggregate (such as sand and gravel) with sufficient water to cause the cement to set and bind the entire mass

3: a waxy essence of flowers prepared by extraction and evaporation and used in perfumery.

Concrete [Verb] 

(concreted;concreting)

1: a: to form into a solid mass : solidify

    b: combine, blend

2: to make actual or real:cause to take on the qualities of reality

3: to cover with, form of, or set in concrete

Concrete [Adjective]

Synonyms of concrete

1: naming a real thing or class of things

2: formed by coalition of particles into one solid mass

3a: characterized by or belonging to immediate experience of actual things or events       b: specific, particular (a concrete proposal)

 c: real, tangible (concrete evidence)

4: relating to or made of concrete (a concrete wall)

Concept of Brutalisam [Brutal+isam]

Brutalist architecture emerged in the mid-20th century as a radical, honest, and socially charged architectural language. Characterized by raw concrete, monumental forms, and visible structural logic, Brutalism aligned naturally with socialist ideals that emphasized collectivism, equality, and the rejection of bourgeois ornament. 

In both Yugoslavia and the Soviet Union, Brutalism became more than a style—it functioned as a spatial expression of political ideology and social ambition. 

Concrete is not just the material of Brutalism; it is the concept itself. In Yugoslavia, the Soviet Union, and the United States, concrete functioned as a universal substance through which ideology became visible, heavy, and permanent. It is matter turned into belief—poured, shaped, and frozen in time.    

In socialist Yugoslavia and the Soviet Union, concrete pumped through vast housing networks and monumental forms, sustaining the body of the collective. In the United States, it nourished campuses, civic centers, and infrastructural arteries, sustaining authority through permanence and order. Different ideologies, same circulation.

Concrete as the Blood of Civilizations

As blood carries oxygen, concrete carries structure. It feeds cities with roads, housing, monuments, and institutions, enabling collective life at scale.

To frame concrete as the blood of civilizations is to see architecture not as form, but as life-support. Ideologies rise and fall, but concrete continues to flow, carrying power from one system to the next. In motion, it reveals a shared dependency: civilizations survive not only through ideas, but through the substances that allow those ideas to take physical form.

Concrete flows through modern civilization like blood through a body. It circulates power, memory, and ideology, binding systems together while silently shaping everyday life. In the 20th century—across socialism and capitalism alike—concrete became the primary medium through which societies expanded, defended, and remembered themselves.

"As blood carries oxygen, concrete carries structure."

About Touchdesigner, Streamdiffusion TD and DayDream Live Streamdiffusion  ...

Process and experience...

My motion graphic background originates from classic adobe creative tools for design and animation, so that experience helped a alot in process of learning Touchdesigner. Some of classic principals of design, photoand color manipulation and  video editing is also great when steping in to TD world. I am overhelmed by liveness  of TD and also by compositing and connecting posibilities. Still to learn...                                                                   

//First contact with vers. 0.2.6 Dotsimulate SDTD  on mobile RTX 3080 (2-9 fps)

//Graphic card used RTX 5090 mobile version 24GB

local SDTD 512x512 *18-24fps, local SDTD 768x432 *12-18fps

daydream live 1024x1024 *10-24fps (depends on internet connection or resolution size to SD?

network and prompts used in workshop project

For this workshop project I decided to use only TD resources as input signal to SD in order to learn something more in Touchdesigner.

All presented graphics are video output 2048x248 recordings as testing of SDXL model in SDTD vers. 0.3.0 are generared by 2 Noise TOPs  connection experiment , Level TOP parameters tweaking experiment, and connectivity experiment with Component TOP, and experimenting with multiple weight prompt values.

Local vs Online Streamdiffusion: ...to be added...

Update on //Concrete// generative video triptych

interactive [video nstallation VS video choreo-drama]

?Concrete is //Blood// of civilizations?

 Complete TD network

A. Upper part - nertwork with one (1) SDTD tox.

B. Lower part - nertwork with three (3) SDTD toxes.

NDI in....

will add more text here....