Showing posts with label Artworks. Show all posts
Showing posts with label Artworks. Show all posts
Tuesday, 16 November 2010
Wednesday, 10 November 2010
Experiment Two: 10.11.10
Part two:
Experiment Two, part two was using the same materials as in experiments one and two, part one, but laid out in a different arrangement see illustrated diagram below.
Results: We played around with the LED light that we had and created a cover over the top of the light emitting end. The cover was made using a piece of chewing gum packet foil with a hole in the centre which we taped to the light using masking tape. This gave us a beam of light that was very straight/concentrated to start with but as the light distance lengthens the light beam would flare to give a larger diameter of light. We set the lens which was of 10cm focal length lens into the table clap and with a ruler measured 2 x the focal length which is 20cm and placed a stripe of masking tape to the table to represent the correct distance from which the light source should be shone. Instead of using a filter we used a razor blade edge which we taped to a lens holder and placed at the correct distance from the lens at 20 cms along with the light source which we placed in a bendy clap permanently pressing the on button on to give us a constant supply of light. The results we viewed by experimenting not through a camera or a video camera but with our own eyes, as the light reflected off the mirror the reflection ended up being reflected onto a white surface behind us in the studio. We played around with the light source positioning and the white board which we brought closer and we ended up with an image of not only the shadow of the razor blade but an out line of the heat source we used, a lighter. At last we had some sort of image it took a few more further attempts to realise we where visualising the invisible! Although it was small and had no colour due to not using a filter we had our first proper results, very exited... I still need to do further research into why the results with a razor blade were successful and not with the filter, but happy all the same.
See images below:
Part one:
Experiment two, part one was almost a near replica of experiment one but with the whole group present. We set up the equipement that i gathered as illustarted below in a photography studio in the TC buliding, but instead of using my multi bulbed torches we used and experimented with the LED torches and lasers that saally had brought in. Another change to my original set up was that we did not use a digital SLR, but instead used a sony camcorder to record the results and the set up and group interaction.
Results: I feel at this point in our experimentation with the Schliren photography technique that we still didn't quite have the right equipemnet or scientific knowlege to perfect this experiment today. We continued on changing variables within this experiment including the distance between the lense and the filter/light source, LED lights and a red laser, multi coloured spectrum filter and an orange light gel, but still had zero results, a little frustrating. More research needed.
Experiment Two, part two was using the same materials as in experiments one and two, part one, but laid out in a different arrangement see illustrated diagram below.
Results: We played around with the LED light that we had and created a cover over the top of the light emitting end. The cover was made using a piece of chewing gum packet foil with a hole in the centre which we taped to the light using masking tape. This gave us a beam of light that was very straight/concentrated to start with but as the light distance lengthens the light beam would flare to give a larger diameter of light. We set the lens which was of 10cm focal length lens into the table clap and with a ruler measured 2 x the focal length which is 20cm and placed a stripe of masking tape to the table to represent the correct distance from which the light source should be shone. Instead of using a filter we used a razor blade edge which we taped to a lens holder and placed at the correct distance from the lens at 20 cms along with the light source which we placed in a bendy clap permanently pressing the on button on to give us a constant supply of light. The results we viewed by experimenting not through a camera or a video camera but with our own eyes, as the light reflected off the mirror the reflection ended up being reflected onto a white surface behind us in the studio. We played around with the light source positioning and the white board which we brought closer and we ended up with an image of not only the shadow of the razor blade but an out line of the heat source we used, a lighter. At last we had some sort of image it took a few more further attempts to realise we where visualising the invisible! Although it was small and had no colour due to not using a filter we had our first proper results, very exited... I still need to do further research into why the results with a razor blade were successful and not with the filter, but happy all the same.
See images below:
Part one:
Experiment two, part one was almost a near replica of experiment one but with the whole group present. We set up the equipement that i gathered as illustarted below in a photography studio in the TC buliding, but instead of using my multi bulbed torches we used and experimented with the LED torches and lasers that saally had brought in. Another change to my original set up was that we did not use a digital SLR, but instead used a sony camcorder to record the results and the set up and group interaction.
Results: I feel at this point in our experimentation with the Schliren photography technique that we still didn't quite have the right equipemnet or scientific knowlege to perfect this experiment today. We continued on changing variables within this experiment including the distance between the lense and the filter/light source, LED lights and a red laser, multi coloured spectrum filter and an orange light gel, but still had zero results, a little frustrating. More research needed.
Monday, 8 November 2010
Twilight: 08.11.10
A beautiful Installation: Twilight , 2000, photo HeHe. Installation realised with the technical help of Michael Feild and initially conceived with Stephanie Hankey, Marcus Gosling and Manuel Mercadal.
The movement onto a paper propeller triggers a wave of light and sound across the otherwise dark space. The force of the propagated air dynamically determines the sound and light: a very soft blow will gently lead to one image change whilst a harder blow will carry a faster tide of images and light flow.
www.hehe.org
Tuesday, 12 October 2010
Week 3: Interactive Flowers: 12.10.10
Jing Hua by Jifei Ou - Interactive Computer Installation from jifei ou on Vimeo
In Chinese Jing Hua means flowers in the mirror, but here it’s an interactive installation with visual treats. A bowl that captures creative images of flowers, as projected from an overhead birdhouse. By moving and tilting the bowl, the image of an archetypical flower changes: its color, form, size and structure may be manipulated directly. Jing Hua was showcased in the botanical garden in Frankfurt during the light festival LUMINALE 2010. Many people interacted with it to create virtual flowers by tilting, shaking, turning, even knocking!
Tuesday, 5 October 2010
Session One: 29.09.10
Introduction to module: Interactive and Immersive Virtual Artworks
This module is designed to investigate the creative and expressive potential of interactive and immersive virtual environments for artists. The focus will be on activating the technology that allows application of the fundamental concepts of active and interactive space. Students will be expected to draw on painterly, sculptural and art historical conceptions of space in the production of such environments.
This module explores the expressive potential of virtual space in the context of a user participatory approach. Advanced concepts of navigation through interactive spaces will be applied to environments evolving from student lead investigations into architectural, sculptural, painterly, animated and virtual reality concepts in art.
Initially students will be asked to explore ways of creating virtual panoramas, objects and scenes by modelling in 3D. These environments will then be exported to a suitable Interactive 3D Content development tool for implementing and testing behavioural interactivity. Thus you will create and experience Real-time Interactive 3D content. The emphasis will be on drop and drag techniques instead of coding.
In critical terms: the student will, from their investigations, select a suitable concept that they feel could benefit from an interactive and immersive treatment; consider this in relation to any existing virtual reality projects; plan, create and present a 3D 'reality' supportive of their chosen concept.
This module is designed to investigate the creative and expressive potential of interactive and immersive virtual environments for artists. The focus will be on activating the technology that allows application of the fundamental concepts of active and interactive space. Students will be expected to draw on painterly, sculptural and art historical conceptions of space in the production of such environments.
This module explores the expressive potential of virtual space in the context of a user participatory approach. Advanced concepts of navigation through interactive spaces will be applied to environments evolving from student lead investigations into architectural, sculptural, painterly, animated and virtual reality concepts in art.
Initially students will be asked to explore ways of creating virtual panoramas, objects and scenes by modelling in 3D. These environments will then be exported to a suitable Interactive 3D Content development tool for implementing and testing behavioural interactivity. Thus you will create and experience Real-time Interactive 3D content. The emphasis will be on drop and drag techniques instead of coding.
In critical terms: the student will, from their investigations, select a suitable concept that they feel could benefit from an interactive and immersive treatment; consider this in relation to any existing virtual reality projects; plan, create and present a 3D 'reality' supportive of their chosen concept.
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