OBJECT 1
3D Holographic Floating Message/Image Display Fan
The files are pulled onto an 8GB SD Card, with the included software of the device. Any video or image appears possible. Seems very straightforward and easy to use!
https://www.youtube.com/watch?v=OkMj1bt96Cc
OBJECT
Wall-hung video animation
object of evolution (time) decay - destruction - creation
An overall feeling of 'being animated' - 'seeming alive'
Like the 'eyes /brain' (video) and 'lungs/torso/body' in the sculpture.
the materials changing, unfolding, eroding, developing in a process over time.
animated 3D - nature models w textures
* connect with Juro or Valentin for help when the time comes
+ GAN MORPHING ANIMATIONS
OBJECT 3
of growth
of erosion
" Erosion is the geological process in which earthen materials are worn away and transported by natural forces such as wind or water. ( A similar process, weathering, breaks down or dissolves rock, but does not involve movement.) If the wind is dusty, or water or glacial ice is muddy, erosion is taking place."
- National Geographic.org
The process of friction; of two natural entities coming together and one visibly eroding the other.
Simulating a natural process in an object. Hereby, in analogy to humans and our use of material / resources. The friction but also the 'naturalness' of such friction
titles: a poem which flows through the subjects and holds them together
This object can literally be 'just' a bag filled with Mycelium and the Mushrooms growing from it.
It could additionally be a 3D printed housing or shell..or a metal 'cage' which would more clearly build a friction, a contrast of the growth happening despite the restriction.
I do also like the idea of having messy, open, out of control growth though, just the mushroom with not much added.
* could get in contact with TOP and see if I can make my own Mycelium in a bag - like what I saw on the window cill ..?
> Could imagine going for a trip to Berlin and coming back with some bags - would have to time it correctly for exhibition. More effort but also more 'self-made'
OBJECT 4
Stein als 'Nutz', als 'Trage - Objekt' ; als absurder Gegenstand.
Material:
Nutzung von hochwertigem Metal Griffen oder Stangen;
rocks are such a useful and much used material. They are all around us. In all shapes and sizes.
The rocks should not be the 'found sort' or rocks with moss ( living surface environments). They should be the sort taken from the ground - like a raw resource.
Both 'highly advanced'
and 'primitive neanderthal'
like a Time Machine mashed up the past and the future.
like a set/setting between worlds.
Each object in and of itself is dealing with resource use but together they also create a (hidden narrative) scene
The giant shell in shape is very similar to the oyster mushroom.
The shell can serve as a collecting vessel and suggests a further utilisation of the mushroom. In this way the objects can suggest at a linked- narrative that itself deals with resource use in a ever reoccurring cycle.
* sitting down just with pen and paper and seeing how the ideas fuse together naturally is very useful. opens ups new connections.
Mushroom options:
Pleurote Grise
Philiote Adipeuse
Austern
Bio Kräuterseitling
Portable Humidifier
10 Liter metal-canister
Article on cultivated Lions Mane
Elaine Cameron-Weir, remote view inside of a. New discovery of small metallic placed inside mummified lodged interpretation as a function of body conduit (dish of) psyche' dissolved, 2017. Lead, sand, heating mantles, transformers, pewter, stainless steel, nickel silver, and labdanum resin. 74 x 15 x 6 inches (188 x 38.1 x 15.2 cm) (each part).
+ Isabelle Andriessen - Sparta TV
Use of heat or traction to erode and wear down a material.
I think my own signature will come when putting my hands on the materials and prior I will make a gerat deal of sketches to then select from and select the materials, to then see how it develops when I get my hands on them. ( This is already more open than 'Body Habitat' because their the requirements of the organism made it more stiff.)
Tidal spil - trash dump object
Daiga Grantina
The sculptures don't need research to form the initial idea.
They come first from intuition (in my case based on an outlining concept).
They require research primarily then on the material use an execution. And sometimes the most interesting or new/original things come out when you don't know how to work with a material and you need to find a solution and by some way find your own.
The shapes I find in the GANs might draw parallels to shapes how I create them in tangible sculpture.
For me this sense of animation, of change, beyond my doing - something becoming 'more than I could imagine' - growing and extending beyond me is very interesting. I want the materials to evolve. I want the space to feel animated. Like something is happening or just happened or is about to happen.
Innovating - Optimising
Which shapes, processes and materials have established themselves as highly useful for human processing?
Which are less 'domesticated'?
'Surreal in between materials' like rock-making but with synthetics
'synthetic nature rocks containing heavy metals and (micro) plastics'.
These type of materials carry in them the subtext of 'what have we done with these materials' and yet they carry as well a sort of naturalness about them and an own beauty = a fascination for destruction
A contrast of materials that are actually growing, actually melting, evolving, changing and others that are static and possible elements that are 'frozen' but carry the energy of the processes that made them.
Are the high-gloss-finished-buidling-materials left as they are or are they too touched/worked on in such a way that it seems they too are being asked to move out of their static state?
Also * no true nature present; it's all cold/frozen materials representative of raw materials (nothing is alive anymore - expect the mycelium,/ fungi which is nevertheless rather perceived as 'post life form'
Cold and controlled and industrial and mystically charged, spontaneously put together object parts.
Materials in contrasting states
Lava Stalagmites in a Mount St. Helens cave
Mirroring objects or 'Bilder' of something - what is the real and what is the simulacrum?
CHAINS FOR MY ROCKS
https://soundcloud.com/kunsthalle/dora-budor-excerpt-from-the-work-the-sound-sweep-2019
An excerpt from the work "The Sound-Sweep," 2019, by Dora Budor, that was recorded on June 14, 2019. The work was made with composer Celia Hollander, as part of Budor's solo exhibition "I am Gong" at Kunsthalle Basel.
For her first institutional solo exhibition in Europe, Dora Budor (*1984) investigates the architectural history of Kunsthalle Basel and its surroundings in order to use sound, dust, and environmental data from dissonant temporalities to create an evolving “score” for her exhibition. Inspired in equal measure by science fiction, cinematic staging, and the overwhelming hybridization of nature with the human-made, the Croatian-born artist turns the exhibition into a reactive machine.
"The Sound-Sweep" is a specially created soundscape that travels through all the cavities of the building that were left after 2004 modernization of the spaces.
It trembles and resonates from the walls and floors, circulating in the exhibition’s third room. The composition is, again, modulated by life and activity at the nearby construction
site of a concert hall "Musiksaal", auditory sibling counterpart to the museum. A darkly affecting, ever-mutating sound results, whose impetus was J. G. Ballard’s
1960 short story “The Sound-Sweep,” which like- wise lends Budor’s piece its title. Ballard’s narrative describes a world where technological developments have rendered audible music obsolete, but sounds have been deposited in solid surfaces, causing emotional flashbacks among inhabitants when these sonic sediments trickle out. History, both Ballard and Budor insist, is never entirely past, but instead lodged in the very fabric of our surroundings and seeping into the present.
MIRRORING OF LIGHT(Bodies)
What do I care about? WHAT IS MY INTEREST?
It's not about how animals see - or 'perception' as a word.
It's about the friction between human and nature.
Our relationship with nature and the technological. The 'battle between these two Umwelten'; ( how we are finite and create an immortal intelligence, how we but ourselves above the entities of nature to take what has been estimated as most productive and discard that which does not serve.) It's about what we believe and how this move us forward and informs our future.
It's about intelligence and perception.
It's about taking. (to create)
Thin-dripping candle creates a more impactful contrast between the 'forever burning' highly optimised neon light and the quickly depleting candle wax, that makes it's own process of creating light highly visible and highly messy - not as contained and clean as the neon light. But the analogy perhaps hinting that the disposal/ 'abbau' of such highly processed material will also be highly messy.
1m Tropfkerze
Could it go so far that I create my own XXL dripping candles with a specific mixture of animal substances?
Metal but not highly polished..
The main thing I should take from the feeback I think is to not have to explain everything. Not everything has to be sound and backed up like at AMFI. To make instead room for a creative space where something is about a genuine expression . And it is this expression that a viewer can relate to.
It's about creating a space for something to emerge; I don't believe that you need to be confused or come from a moment of chaos to create.
Which Fungi to choose?
fascinated by natural formations of something growing by dripping down.
"Until the early part of the 19th century, candles were made by covering wicks with beeswax, tallow or spermaceti, but as the chemical industry got going, stearic acid became more and more available. This acid is formed when animal fats are broken down by the action of an alkali, such as sodium hydroxide. The stuff that forms in this reaction, sodium stearate, is soap. When sodium stearate is treated with an acid we get stearic acid." - https://www.mcgill.ca/oss/article/you-asked/what-difference-between-regular-candles-and-dripless-candles
CANDLES MADE OF ANIMAL SUBSTANCE
Bird as candle -https://awingandaway.wordpress.com/2016/02/29/a-wick-ed-idea-real-birds-as-candles/
60cm Kerze - https://www.religiose-artikel.com/prod.php?k=10er-set-kirchenkerzen-mit-loch-60-cm&IDCat=188&SIDCat=311&IDArticle=16317&Tri=Clic&Limit=35&show=1
80cm Kerze - https://www.tlb-kerzen.de/altarkaminkerzen/844/altar/kaminkerze-80/500-mm-elfenbein?gclid=EAIaIQobChMIh_71hcWs9QIVi813Ch1sCwz9EAQYBiABEgKun_D_BwE
20cm Tropfkerze - https://www.etsy.com/de/listing/798736799/
Kerzenvilla - Kerzengestalten - https://kerzenvilla.de/https:/kerzenvilla/kerzen-gestalten/
https://kerzenvilla.de/sample-page/
Polyurethane-elastomer - Plasti Dip Rubber Coating Liquid Rubber
I observe that I have this big hesitation and fear to stray from things I haven't seen before. ( or I don't have a reference image for.) Because I don't have this huge desire to make something entirely new or authentic - I have the big desire to communicate a SPECIFIC FEELING and to be skilled to communicate - provoke exactly the intended feeling, which I guess stands in absolute contrast to art. Because art should be open, but I want to control exactly how the work is understood and perceived..
so I don't like to venture and do something entirely new, because I can't know how it will feel to the viewer. But maybe exactly here the 'Knackpunkt' lies.
A TIME MACHINE COMBUSTION-MASH-UP BETWEEN NEANDERTHALS AND FUTURE
HAY LED Neonröhre Blau Ø 2,5 x L 150 cm
65 EUR
Billigere Version ohne Fassung
24 EUR
HAY LED Neonröhre Blau Ø 2,5 x L 150 cm
50 EUR
Blau(dunkel) LED röhre mit versilberten Enden
39 EUR
Blau(hell) LED röhre mit versilberten Enden
39 EUR
Where are we? Amidst objects that carry a 'toxic brokenness of a future world'
or are things clean and polished and put together?
Or are they both?
MUSHROOM NETWORKS
suspend metal rope from ceiling and work on with free forming silicone tube. In a stalactite & stalagmite approach.
Maybe I can create a fundament with this material, a basic shape and then beginn with the longest candles I can find and start melting those on top of it
https://www.etsy.com/de/listing/1018184550/extrem-hohe-taper-kerzen-100cm-90cm-78cm?variation1=2074978155&variation0=2074978153
https://www.etsy.com/de/listing/1032118659/blue-glow-in-the-dark-taper-kerzen?click_key=dc25c86b46e5845d9cb0154e03fd29effd987226%3A1032118659&click_sum=d90ddf70&ref=related-6&variation0=2051852330
As a Gesamtwerk: it’s more about creating a sort of ‘time capsule’ showing the state fo the art in technology and creating a setting in which future and past fuse together. The sculptures especially are the instance in which past and future fuse together
The idea that I could extract sculptural elements from the AI outputs now comes up; like create an object based on a GANS shape or image ...
IMMERSIVE PROJECTION SPACE
'EXPANDEDED CINEMA' strategies whereby the autocracy of the director and his subjugation optical apparatus can be shifted towards the notion of a cinema located in the personally discoverable periphery. ... a new poetics of narrative is being afforded by the new imaging/representation technologies" - Future Cinema p. 19
"Immersive environments are an important denominator of new-media research and practice. The objectives in many forms of art, is an experience of physical and imaginative relocation that induces a totality of engagement in the aesthetic and dramatic construct of the work. Even via the smallest screens, there is an immersive condition resulting from our virtual dislocation into inhabited information spaces such as the Internet and cyber-games. The conventional cinematic mode of immersion derives from the darkened enclosure of the Movie Theater...to conjure representational equivalence with the real. The exhibited works demonstrate various experiments with new optical and environmental configurations, as well as drawing on techniques of stereoscopy, virtual reality and interactivity in order to achieve new levels of physical and imaginative assimialtion of the viewer in the image space.. sought after as a means of achieving semantic extensions of the narrative space." - Future Cinema, p.24
Audio - visual - spatial experience
spatialised-sound can create a much more bodily and immersive experience than screen based image !
spatial film installation
> Philipp
> Alexandra
Cinerama - curved cinemascreen with 3 projections
p.94 - Future Cinema
"the subjective response to the world was not pressed into a constructed, falsely objective style of narration but was instead formally presented in the same diffuse and fragmentary way in which it was experienced." p.117
" break the linearity of the traditional narration."; a non-linear narrative matrix; multi perspective narration
"Free floating chains of signs are interwoven to form a universe without a centre." - this could be a statement that fits to the dataset visualisation part.
Stereoscopic vision
Deciding on screen size/degrees
I would like the construction to have a long front (so rather elongated frontal screen section and have it go to the back and extend the human 180° ( this is important to extend from the human POV - otherwise I actually don't really need todo curved)
The whole room is dedicated to the screen - in a way the whole room serves as extended screen space.
180°
270°
180° only starts to work for me when it is very long and somewhat extended in the front - almost like a normal large screen bot the rounded. If the space is smaller and it turns into standing in front of a half circle it's not nice. If the front area is so long that it almost fills full field of vision and then extends into the periphery it starts to take some effect.
I like the possibility of using an entire space for the screening.
This is for me also the contemporary screening approach that I've seen for most strong video works lately.
240°?
360° with upwards curvature
source: https://www.windonscreen.com
source: https://www.windonscreen.com
source: https://www.windonscreen.com
Especially looking at this presentation I really enjoy the massiveness of it, it's minimal, it's brutalist, it's a statement, it's reserved but loud, not trying to hard but impressive.
Briefly considered if this split down the middle might suit my concept as well because it gives a sense of left & right eye.. but for an animal like the Falken, it leaves us very unflexible and what we human's also perceive is 'one continuous space' ( so it is legitim to assume animals do as well) and the binocular overlap in the middle of both eyes is actually the spot where we and animals can see the best. So actually this set-up would be counter productive.
It did, nevertheless lead to the interesting and very important thoughts on that it's not only about the animal perception and possible immersion but is also about DATA and AI and the neural networks. Above all it is a speculative dataset.
This leads to the decision that I want Mohave a straight horizontal line (nothing that goes overhead-ish)
We definitely want to do 180° min - and I would go a bit more immersive but not fully - so 240° feels good.
Mehr bespielen heißt auch immer mehr Arbeit..
I want it to be a massive screening experience but I don't want to fully go for the surround-immersion because this is also trying to hard. I need to strike a balance between making a statement with the presentation that suits the content without being obnoxious.
Splitscreen
Multichannel room
230°
With the camera-lenses that give a very wide angle but not fisheye look we can span 114° field of vision. By combing this field of vision x2 cameras, we can span 228°, which gives us our technical maximum. Unless we would want to go into even more elaborate camera set-up with minimum of 3 cameras next to each other (+ sometimes additional stereoscopic mount needed) , which would impair greatly the movement capacity with the camera. Because the movement is one of the main subjective characteristics and is the main tool to represent the animal's behaviour, traits, actions - which give a great information about the animal's perception - it is essential to find a camera set up that allows for not only the POV/Sehfeld of the animal but also other characteristics. Moreover, not only would an even more elaborate camera set up make production on several levels more difficult (also cost and rental availability of equipment) but also post-production would become a much more technically heavy task. All these reasons combine to be in favour of a camera set up that gives 228° of vision.
https://www.alibaba.com/product-detail/180-degree-Flight-Simulator-Screen-Curved_60392987669.html
https://www.alibaba.com/product-detail/180-220-degree-Flight-Simulator-Screen_1975704999.html
340°
https://www.smaxscreen.com/360-degree-curved-projection-screen-id6308876.html
https://www.fischerelsani.net/film/millenniumania/
Bernardo Oyarzún, Eco Sistema, 2005
source: https://www.e-flux.com
Museum Windstärke 10 in Cuxhaven
360° overhead
It's also strongly a question of how large is the space and where do people position inside of the space and how does the screen relate to their own POV.
https://envelope.sg/capitaspring-show-gallery
A 180-degree video installation on a curved screen at the NGV's Monet's Garden exhibition.
source: https://serlachius.fi/de/Ausstellung/schatzlaender/
Objekt von Außen
Astana Expo 2017
When using a full space even 180° can feel very immersive.
Literature:
Fluid Screens, Expanded Cinema - Janina Marchessault and Susan Lord
Future Cinema: the cinematic imagery after film - Jeffrey Shaw - Zentrum für Kunst und Medientechnologie Karlsruhe
60.2006 : FKT : offizielles Organ der Fernseh- und Kinotechnischen Gesellschaft ; die Fachzeitschrift für Fernsehen, Film und elektronische Medien. - Berlin : Schiele & Schön. - ISSN 0015-0142 / (2006) ' Die Leinwand als Ereignisfenster: "Expanded Cinema" in der digitalisierten Kinowelt p.279
In immersive screening, a space feels more like a space if we don't limit it, don't make a limited immersive space.
The new flexibility of a space unfixed and time unbound. Fluids travel easily, they 'spill', 'run out', 'splash', and so on. The central characteristics of this new fluidity is time, since without 'the moment' to mark it out, it would be amorphous. p.5 'Fluid Screens'
The expansion of the screen analog to the expansion of consciousness. Going beyond the frame.
'We could say that art isn't truly contemporary until it relates to the world of cybernetics, game theory, the DNA molecule, Heisenberg's Uncertainty Principle, ... pre-experiencing alternative futures. p. 8 'Fluid Screens'
LUC COURCHESNE: You are here (2010)
source: https://mwilmink.wordpress.com/2013/09/27/case-studies-360-and-immersive-cinema-systems-you-are-here/
'spatial theatricalization' methods of Luc Courchesne
Telephone Pavilion (cylindrical screen) - Expo 67
"Courchesne’s approach is distinguished by his interest in panoramic and spherical photography. “I have kept the visual arts approach even though the frame has become a window of some form,” he says. “Because of the fragmentation of the screens, the great artistic challenge is to convert this frame into a door and make the viewer pass it on with us.”
https://davidclaerbout.com/Wildfire-meditation-on-fire-2019-2020
Thoughts on scaling
- the bigger the more massive and in your face it becomes, which works good for carp + deer for immersion
- at the same time the way it work in the room should be considered - from mock-up-ing in space it felt like with 3,5:1 it was more spacious where as 3:1 felt more like a massive, propped up screen
- if we keep more black space on all footage it looks more intentional
- with more black space the movement of chameleon is more extreme but at the same time I don't need the space as the movements are not that big and by keeping the distances smaller the point of origin feels more compact and thus more convincing of being a chameleon
- although 3500px dimension give more dynamic movement to the eyes it doesn't make the impression of seeing through chameleon's eyes more convincing on flat screen
- I also think that if a viewer doesn't''t need to move their head so extremely from left to right when seeing as Chameleon it feels more like the vision is from one point of origin
- at the same time we would come closer to the curved representation of space if we are wider , because if the screen is less wide everything will be more in front rather than to the sides
- if the screen is shorter the curvature needs to be more extreme to get to 180° and I want a smooth transition to 180° curvature
- Bei 2900px Dimension Breite 3:1 würde keiner drin stehen, man würde ein paar meter entfernt darauf schauen
- bei 3500px lädt es mehr ein sich mehr rein zustellen
Screen size
Bench-design for exhibition seating idea
+ fakerock for hiding beamer set-up