Mockup setting process document

  1. Setting Takes too long time -> need to change to wire
  2. Window cabinet between the office offers the poor environment for projector -> technician(Mike) advised, real space at the Lethaby will have better light. 
  3. the wire between the panels slightly disrupting the beauty.

 

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Degree show Plans

1. SYMBOL – Causality – Moving Image

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2. INDEX – rules & laws – Frame

Conceived for Fabergé’s Easter storefront display, the 360-degree mapped 3D installation is based on the company’s pendent designs – which are 1/100th of the size of the 1.5m model – and incorporates an interactive touchscreen element to showcase the detail of the jewellery.

3. ICON – resemblance – Bubble

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Oil Spill – OEFNER

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Bubble Colour

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Modelling

 

4. Physics

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The physic of the bubble collapsing 
Thin-film interference – Wikipedia
3D Alcubierre warp bubble collapse – YouTube
Shocking Bubbles – YouTube
Mach 3 Bubble Shockwaves – YouTube
대한민국 1등 과학브랜드, 동아사이언스
Surface Evolver Examples

5. Plateau’s laws

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Movement

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Material motion – Motion – Material Design

Bruce Nauman | 4Columns

Tutorial Video on 3D

Tip 114 – How to create soap bubbles in Cinema 4D Release 18 – YouTube
How to make a cool bubble in Cinema 4D | Tutorial – YouTube
CGI 3D Tutorials : How to Create Soap Bubbles in Cinema 4D – YouTube
Shock-Induced Bubble Implosion (Six Bubbles) – YouTube
Dytran – Bubble Collapse Simulation – YouTube

Experimental Video Art and frame / Theories

Screen-based sculpture and experimental artworks in the late 1960~1970s in which the cinematic process and the screen itself emerge as an object of investigation.

Viewing regimes are literally and figuratively put on display in these environments.

emotion -> sound -> sound -> visual

structure is not making but shifting.

Text is form of the sound
Image is form of the thing

– information / James Gleick

Schutz “cognitive style”

  1. a specific tension of consciousness
  2. epoché: suspension of doubt;
  3. working: projected & characterised by movement
  4. a specific form of experiencing ones’ self
  5. a specific form of sociality
  6. a specific form of time–perspection

Space & time are merely extremes of the contraction and dilation of a signal durée, or duration.

  1. frame ( matter movement) mobile cut
  2. shot (editing with montage shots )

Frames

  • What does screen frame create / means?
  • What we experience within the frame?

Fractals

  1. perception-image
  2. action-image
  3. affection-image
  4. impulse-image
  5. reflection-image
  6. relation-image

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Frame’s muscle

Perception is a tool for selection.
Light go spread into all direction

Film essential 

  • consciousness of movement
  • visual rhythms

 

is light is the primary medium?
–>  projector is a medium?

  1. Intensity of light
  2. movement within a given space
  3. internal balance of time

 

Michael snow “shaping the main ingredient.”
Peter Kubelka “quick projection of light impulses.”

Whithin the hemispherical screen, the spectator himself is the frame of reference. The rectangular screenprovides an objective frame of reference both for “representational” and for “abstract” picture.

Shaw, J. and Weibel, P. (2003). Future Cinema: The cinematic imaginary after film. Cambridge, Mass.: MIT Press.

“Reality seen on the screen is the idea in the mind of the film-maker. Organ of lumination ends adn where it has its beginning.”

-Berkely-

To sing images, like a luminous fish does in the dark depths of the ocean, not with a reflected but with one’s own light.

Shaw, J. and Weibel, P. (2003). Future Cinema: The cinematic imaginary after film. Cambridge, Mass.: MIT Press.

Origin

Death of books “gallery-based, projected-image art.”

Video art -> film, cinema based or art based until 1960
1. Experimental artist’s film
2. gallery-based projected-image

1970 in the USA, ‘structural film overlapped with experimental filmmaker; Michael Snow, Hollis Frampton. Artist-filmmaker; Richard Serra, Robert Morris, Yvonne Rainer.

Structural film

P. Adams Sitney

Four feature

  1. flicker
  2. fixed-frame filming, unmoving or largely unmoving camera
  3. loop printing ( immediate repetition of shots )
  4. Re-photography from the screen

ex) Andy Warhol(1962-68)

Sitney’s definition combined a technique-based, formulation of a new aesthetic with the potential for a critique-based, avantgardist political programme for the film.

The UK -> Structural-materialist

#Peter Gidal ‘theory and definition of structural/materialist film’, studio ?International 190:978(Nov/Dec 1975). pp189-96

THEORY AND DEFINITION OF STRUCTURAL MATERIALIST FILM

Peter Gidal.(ed.) Structural Film Anthology (London: BFI publishing, 1976)

  1. rejection of narrative
  2. illusion
  3. representation

New theory ‘screen/space’

  • modernism
  • Festival

Michael Snow: engage with play between the physical and an illusionist space of projection

Importance of surrealism

Gallery and space

The nuanced view of the museum as a space in flux. Constantly inflected by the other space to which it is related by the works on show within it, and by new viewing technologies and the unfamiliar habits of viewing which they bring.

The light Reflection = touching

directed touching.

Provisionality of vision. our presumed transparency of vision, in fact, the product of complex historical conditions and cultural formation

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Projected image

  1. The movement itself mimic the object.

It likes Deleuze mentioned in “becoming” sound mimicked bird singing and becoming the bird. Screen mimicking human’s physical movement and becoming human.

2. Mona Hatoum’s testimony

This work mimic the shape of the bodily organ shown in the circular form of the projected image. Suggests a chain of associations. How much moving image can break down the vision, through this journey, mimicking the big picture of the motion movement.

3. wink mimicking

4. technological diversity and concentrated material specificity. Attention to space & apparatus

5. Bill Viola

Vision of reality in which the form his art takes creates a ground for capturing the forces of nature.

How, through the optics of a moving-image recording technology, could he create a “vision of reality” absent of form.

I see that media techonologies not at odds with out inner selves, but in fact a reflection of it.

Bill Viola, “Presence & Absence: Vision and the Invisible in the Media age.” 2007

Accidents Invitation.

Urtext

6. Bruce Nauman

Nayman’s concrete actions begged questions about the structure that functions beneath language, in advance of conscious thought. He sought to connect this philosophic inquiry to the physical world of direct experience.

“Creates situations and objects that demand extended concentration from the viewer.

 

 

 

 

Laptop Frame and Screen

Compare with cinema screen environment, the laptop doesn’t require and insist a dark and limited space. It is not aiming the space as “projected-image art” in the gallery.

You already had said what you would said

The thing is existed itself. On the other hand, when we perceive it, the thing itself is pictorial.

Perception is a means whereby libing images receive movements, and perception is always linked to action, for which reason all perception is sensori-motor, and instrument for translating an external movement via the senses into an ensuing motor action.

Henri Bergson

However, user and subject view are not separable, frame transforms the character’s view… A correlation between persepective –image and a camera–consicouness “subject” that transforms it.

Henri Bergson

Out of the three-dimensional relationship, and forward to four-dimensional relationship finally space can be a solid body.

 

 

What I should do consider as a designer

Flow

  • Visual relationship
  • Aware the technological
  • improvise new combination
  • coordinates material
  • spectator’s predilection

Experiment –> Perceive –> Analyse –> Organise –> Symbolise –> Synthesize

 

Analyse (Kant)

  1. Comparing
  2. examine
  3. relating
  4. distinguishing
  5. abstracting
  6. deducing
  7. demonstrating

a) The given
b) The formal (space, colour, composition, value)
c) psychological (visual, perception) optical illusion.

Designer’s art

  • graphic design is essentially about the visual relationship, providing meaning to a means of unrelated needs, ideas, words, and pictures.
  • Ideals ought to aim at the transformation of reality – William James
  • Beautiful & useful
  • Repetition  – emotional force generated by repetition
  • without the basic rules or disciplines, however, there is no motivation

New Media

The-language-of-new-media

Language of Tomorrow: Lev Manovich at TEDxReset 2010 – YouTube

71p New representational style of semi-abstraction which, along with photography, became the “international style” of modern visual culture, required the viewer to reconstruct the represented objects from the bare minimum — a contour, few patches of colour, shadows cast by the objects not represented directly.

International style and organical culture have a different direction. To describe organic culture, Manovich uses a notion of an idea from metaphor as a remix. First, based on Post Modernism’s style and remix with traditional sensibility as a second. Finally, global remix creates new layers of perspective.

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The Man with the Movie Camera(1929) – YouTube
Man with a Movie Camera. (1929). Directed by D. Vertov. Kharkov, Ukraine: VUFKU.

Computer became a space or a tool to bring the user into the data, connect and interact each other. Space became a tool is not a new phenomenon. But compare with previous way, which the idea and actual object coexisted in same space, in new space, idea or concept became a space, and the interface or numeric language space remixed with traditional concept provide a new tool. Lev Manovich once again brings the camera perspective, explain as cinema perception.

p88 I will begin with probably the most important case of cinema’s influence on cultural interfaces — the mobile camera.

As computer culture is gradually spatializing all representations and experiences, they become subjected to the camera’s particular grammar of data access. Zoom, tilt, pan and track: we now use these operations to interact with data spaces, models, objects and bodies.

New vision Movement [Neues Sehen – Wikipedia]

Editing a and montage make fabrication and fantasy. If documentary limited editing and instantaneity, time montage – put different reality into linear perspective – and editing the image within the frame – shot – not only for make to smooth fake space, also present active distance by the mark of the editing.

p IX “Editing, or montage, is the key twentieth technology for creating fake realities. Theoreticians of cinema have distinguished between many kinds of montage but, for the purposes of sketching the archeology of the technologies of simulation leading to digital compositing,

Each layer can maintain each identity, rather remixed into one space. However, once image contact with the audience, image’s identity disassembled and that instantaneous construct cinema perspective. Compare with the paper frame, which was a group of physical spaces, now moved on to the electronic frame, insisted equal position and frame equality.

p 228 Even more relevant is the tradition of “paper architecture” — the designs which were not intended to be built and whose authors therefore felt unencumbered by the limitations of materials, gravity and budgets. Another highly relevant tradition is film architecture. As discussed in the “Theory of Cultural Interfaces” section, the standard interface to computer space is the virtual camera modeled after a film camera, rather than a simulation of unaided human sight. After all, film architecture is The architecture designed for navigation and exploration by a film camera.

However, audiences’ sight is mediated by the other type of the layer. Each frame formed by smaller frames’ particles, which is similar to the square frame. Each frame starts from sub-frame and became the big frame. Eventually forming one big frame.

p89 Of course, the camera is now controlled by the user and in fact is identified with his/her own sight. Yet, it is crucial that in VR one is seeing the virtual world through a rectangular frame, and that this frame always presents only a part of a larger whole. This frame creates a distinct subjective experience which is much more close to cinematic perception than to unmediated sight.

p51 The objects themselves can be combined into even larger objects — again, without losing their independence. For example, a multimedia “movie” authored in popular Macromedia Director software may consist from hundreds of still images, QuickTime movies, and sounds which are all stored separately and are loaded at run time. Because all elements are stored independently, they can be modified at any time without having to change Director movie itself.

Then, how these fractals formulated? The man with the Movie Camera shows three different spaces into a connection. First space, describe cameraman himself.  Second, the present audience who is watching finished cinema. Finally, documenting one day’s of Moscow, Kiev, and Riga’s narrative and is arranged according to a progression of one day: waking up — work — leisure activities. If this third level is a text, the other two can be thought of as its meta-texts.

p210 Therefore, in contrast to standard film editing which consists in selection and ordering of previously shot material according to a pre-existent script, here the process of relating shots to each other, ordering and reordering them in order to discover the hidden order of the world constitutes the film’s method. Man with a Movie Camera traverses its database in a particular order to construct an argument. Records drawn from a database and arranged in a particular order become a picture of modern life — but simultaneously an argument about this life, an interpretation of what these images, which we encounter every day, every second, actually mean.

Vertov’s cinema is claiming that camera’s eye – editing or new technology can use to decoding the cipher of the world vision. Through Vertov, objective photograhy descriptive image shifted to dynamic and subjective narration. Is this what now designers should aim for?

 

As past cinema theorist studied 10 years of the cinema language, the designer should pursuit new-media or new design language.

Artists’s Cinema

Artists’ Cinema: Projected Images
Malcolm Le Grice – Threshold (1972) – YouTube

In Fall 1974, Muhammad Ali knocked out George Foreman in 8 rounds in The Rumble in the Jungle, Roman Polanski’s Chinatown was playing in theatres, and a brand new Walker film/video department opened their first gallery exhibition. This year’s Artists’ Cinema series, Artists’ Cinema 2011: Projected Images is named in honour of the seminal 1974 exhibition, an exhibition which is still influential as one of the first attempts to blend the “Black Box” of the cinema space with the “White Cube” of the gallery.

1973 was an exciting year for film and video at the Walker. In one fell swoop, the Walker Film/Video department was created—led by its first full-time coordinator, John G. Hanhardt—and the Edmond R. Ruben Film and Video Study Collection was established. In the early 1970’s a new moving image art form was becoming increasingly affordable for young artists. That format was, of course, video, an almost entirely D.I.Y. medium where anyone who could afford a portapak (about $1000) could shoot their own artists’ video. At the same time there was a resurgence of 8mm and 16mm experimental and art film, as Hollis Frampton put it, “In the late 50’s, as I was 19 or 20 years old, I imagined, as did a lot of young people at that time, I imagined myself to be a poet, it was a good thing to be. A few years later it was a good thing to imagine oneself to be a painter, and now I think everyone wants to be a filmmaker.” Since the Ruben Collection started at this essential “filmmaker” moment, the Walker was able to get in on the ground floor, collecting video work by Joan Jonas, Dennis Oppenheim, Peter Campus, Andy Mann, Ina Schneider, Nam June Paik, Joan Downey and William Wegman and film work from Hollis Frampton, Kenneth Anger, Marcel Broodthaers, Stan Brakhage, George Landow, Paul Sharits, Derek Jarman, Bruce Conner, and Yvonne Rainer.

Leading off with the work of this cavalcade of film/video stars, chief curator Dean Swanson and Walker director Martin Friedman organized the first Projected Images exhibition at the Walker. In this groundbreaking exhibition, filmmakers who had traditionally worked in a cinema screening space took a step into the white cube, adapting their work and their style to a more painterly experience. This exhibit not only reformed and reimagined the separation between art and cinema, but it set the groundwork for the artist filmmakers who are active today. From the catalogue of the original exhibition:

The term, “projected images,” describes a group of environmental works that depend upon specific light sources for their existence. The perception of these transitory images in darkened spaces is affected by the character and scale of such spaces. Many artists who work with projections have come to this hybrid form through dissatisfaction with traditional painting and sculpture techniques. While filmmaking and video production attract an increasing number of artists, most of these converts observe the technical conventions of the new media; their films are intended for viewing under standard projection conditions and their videotapes are made to be seen on television monitors. By contrast, the artists represented in this exhibition conceive of film and video images essentially in environmental terms—as dominant elements of interior spaces—and they are as much concerned with the changing spatial and psychological relationships between observer and image as with the character of the image itself.

A Michael Snow piece commissioned for the ’74 exhibition called Two Sides of Every Story, installed on two sides of a metal screen hung in the centre of the gallery. Two films are projected in continuous loops from opposite ends of the room. Both films show a woman making a series of movements as she walks between two cameramen positioned opposite each other. The films projected on opposite sides of the screen re-present the two differing perspectives of the cameramen. The metal screen represents an explorable space (the double-sided screen world) in an explorable space (the gallery), and throws the viewer/participant into dialogue between two opposite points of view constructing the same idea.

Like the exhibition itself, Snow’s piece absorbed Eisenstein’s concept of dialectical montage, combining two conflicting points of view into a more complicated synthesis. The collision of opposite viewpoints, in Two Sides of Every Story, is what creates the space between the cameras.

The different viewpoints that 1974’s Projected Images collides are slightly more complicated. In 2003, avant garde filmmaker Anthony McCall described the differing viewpoints as “The dichotomy between avant-garde film- (and video-) makers, and artists ‘working in film/video,’ still seems to be with us. The two worlds sometimes seem like Crick and Watson’s double helix, spiraling closely around one another without ever quite meeting.” But when Projected Images exhibition brought those two worlds into proximity, the collision was positively nuclear. The gallery’s white cube and the artists therein smashed into the filmmakers from the theater’s black box, and the resulting synthesis gave way to the next generation of film and video art and the ubiquitous nature of moving images in galleries today.

This year’s Artists’ Cinema: Projected Images is a restaging of that collision, but on different home turf. Here artists and filmmakers are stepping into the black box to do their dirty work. Installation artists, conceptual artists, visual artists and filmmakers will meet in the theater in a series highlighting the interconnections and dialogues inherent in their work. Artist’s Cinema will be another step toward the dialectical combination of art and cinema.

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Diagram of Peter Campus’ Shadow Projection Rockne Krebs

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Rockne Krebs’ The Lock

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Rockne Krebs’ Anonymous Paul Sharits

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Paul Sharits’ Specimen Michael Snow

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*Two Sides to Every Story*, Michael Snow, 16 mm double projection.

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Ted Victoria’s Light Bulb Projections Robert Whitman

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Robert Whitman’s Room 1

Untitled

Talking about how my childhood was or my experience was, now I feel that is just additional information about me. Many texts need a context to understand, but people don’t want to understand someone with context. It seems people think “Present” shows everything about that person. Maybe that is what they believe. At least, that was how I felt. Well, sometimes there is someone who can understand me without any explanation. When I across that person I feel free from any language. One hand, I doubt that will never happen, on the other my mind, I believe there could be someone I can be there without any language. And that is the one I should stay keep.

I have a reason why I obsess about the communication, why I crazy about the image. But I’ll skip that part. Because I don’t think someone cares about the reasons that much as much I did and I do to you.

There was and is one thing I keep saying about. “Neutral Design” or “Neutral Image”. I know it is not trendy in this era. Many people believe that we need to fight for our concept, for our ideology, for our belief. Without fighting for your possession, you are letting the other to take it. This is the one I never understand. First of all, I ideology is my soul, you can have yours but you will never change mine, even if you are dominating the whole world. It is not like possession or property that you can buy or change. You can influence it, but it is not because of you. I am the one who made a change.

When I was just started my MA course, and when I spoke out that I want to be neutral, people asked me that if I spoke out something that will never be neutral. I agree. I am a stubborn person. I will try to keep mine because it is “me”. But when I was saying I want to be “neutral”, I meant that I am prepared to accept there is another ideology. That is my “Neutral”. Neutral is not means whatever it is, you keep it gray, but it means you bear in your mind there is another way to see. As much you believe something, there should be someone equally believes the other thing.

Someone told me I am Utopianist. I don’t think so. I am not Utopianist, but I am actualist. I still don’t understand why some people don’t understand differences that two things. I believe we all different. If someone believes that we all can be united by something, I want to call s/he Utopianist.

Of course, I can’t deny that I met someone or sometimes I never can understand. If you know me, you will know when I say “thinking” means literally think fully. I still don’t get it. I want to get a clear answer. As much I desire of communication, I have a hunger about the clearness. It is contradictional speech, I know. Because I believe the diversity of the meaning of communication, then I am telling you I desire of definitiveness. One hand, I promoting “Neutral”, then the other hand, I am claiming the importance of determination. I think it is coming together. As I said above, to be neutral, you should be clear what position you are sitting. Individually, we should be clear about what is individual is, who I am. Only then, it is possible who are they, and who you are.

I am trying. Of course, I am not SAINT. I have a lot of drawbacks as you have. Quantity is not the matter, but the quality is positioning us. I don’t believe any of human-decided standard. I don’t believe any of standard. It is not standard but it is culture. Depend on time, it is changing.

Fuck. I have a lot of things wanted to say. I forgot. I forgot how to put here. Maybe it is time to say nothing.

I know it is a boring theme to talk. I am a boring person. Or my interest is boring. If it is boring it is not because of this topic, nothing wrong with this topic. It could I am talking in a very boring way.

What I wanted to say, that songs talked instead of me.

Fucking messy

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