“ An immersive adventure of nature enabled by magical paintings.”
created with MonaKim
“Dreamers” is an interactive art installation that dissolves the line between the virtual and dream worlds. Our aim for this project is to allow users to experience unlimited expressions of a virtual fantasy. We combine generative mapping and physical objects to create possibilities for expression and transformation to a virtual world. When users place one or multiple objects of small paintings on the table, digital animations will generate on the frosted acrylic surface as the camera detects them. Each animation will show immersive space that reflects virtual paintings. The paintings are designed based on natural elements found in this city such as grass growing between rocks or inside the cracks of stone. Thus, the elements can dream in the new virtual space. Users and painting objects become the adventurer, dreamers, and floaters in exploring the imaginative place.
For the final, Mona and I were discussing making an interactive piece which deals with a generative mapping of a virtual world. It will allow for unlimited expression of imagination – virtual fantasies. In this world of fantasy, we would want users to experience a mix of both the real world and our own immersive one that we are creating. When users see the table, we want them to see an illusion that a floating island on the surface of the table or an empty box made out of wires so that viewers can feel the 3D depth of field even though it is a plain surface of table or to change the feel of solid box into different material or texture.
How we are going to install this project is we will place a table and several handy boxes and a projector. When a box is placed on a certain spot of the table, it will interact with table and gradually show a portion of the map.
For the technical part, we are thinking to use Max with Kinect’s Camera and capacitive sensors. For the visual effect on the table, we are going to use C4D, Unity and Syphon.
AUNT DAN & LEMON
Justification of Putting the Audience Through a Difficult Evening
Written by Wallace Shawn
We live our lives in a way that allows us to judge people or ideas depending on our standards. We create these standards by thinking critically about what we see around us. This, for example, gives us the ability to develop judgements about historical figures such as Hitler when we watch movies about Nazism. In his notes, “Justification of Putting the Audience Through a Difficult Evening,” Wallace Shawn claims that when watching films about the 19th or early 20th century, people can adopt a feeling of over-confidence because they feel that they are superior to these people in the past. For example, people don’t think critically about Hitler because they have already developed an image of him as pure evil, and so they can’t sympathize with his followers of the day. Wallace thinks that theatre allows people to think vigilantly about ideas and people so as to recognize the complexity of today’s problems and to change our attitude and behavior accordingly.
A Very Long Line, 2016
Four-channel digital video, color, sound
In a square room, four video feeds are projected onto different walls. Each of the four videos are shown at a different speed and give the impression that the room is rotating. It looks as though the viewer is looking through the window of a moving car. The landscape can be seen through the fence and the rapidly changing lights make the viewer feel unstable and dizzy.
Raul de Nieves
Beginning & the end neither & the otherwise betwixt & between the end is the beginning & the end, 2016
Paper, wood, glue, acetate, tape, and beads
The work Beginning & the End Neither & the End (2016) is on a wall of stained glass panels on the sixth floor. The artist Raul de Nieves created sculptures and glass panels with various elaborate materials. Sunlight that is reflected off the stained-glass and beaded sculptures takes the viewer on a journey to a fantastic world. This work makes the viewer feel like they are in a medieval cathedral.
Executive Function, 2017
Oil and encaustic on linen-mounted panel
When I first saw this painting, it reminded me of a bunch of collected images from the newspaper. This is because of the New York Times logo at the top, and the bottom images organized like a comics section of a newspaper. But as you look closer, these images are not just copied from news paper photos. Each scene are presented to use of collapsing the different time era and separated with different images. Separately, these images seem to tell their own story; but when they combined, they present a much deeper story. Unlike the pictures you would find in a normal newspaper, these images have an artistic look to them.
Einstein’s Dreams Written by Alan Lightman
In Einstein’s Dreams, the narrater describes the world around him. This story reads like someone’s diary, but at certain points it seems like a philosophical text. One of the most impactful lines of the book is: “The streets are sleeping(25 June 1905)”, “That memory has become his life(27 June 1905)”, and “the firmness of the past is just illusion(27 June 1905)”.
The narrator narrates in a way that highlights the linear nature of time, which allows the reader to feel the passage of time.
In the reading, the narrator asks a question regarding time. This question made me reconsider my daily life and the time I spend with people. The writer also makes the reader question our notion of time. As a result of the question raised in the book, I was forced to imagine what would happen if we could change our past.
The narrator asks, “What is the past? Could it be, the firmness of the past is just illusion?” The questions not only explain the writer’s perspective on time but they also make people think about their own perspectives regarding time.
Week 4-7 Mid Term
Mona Kim, Jina Jung, Bryan Hsu, Jixuan sun.
When I first started to learn art, I learned how to draw 2D objects that looked like 3D objects. Also, as I was teaching students fine art, I tried to explain how one can draw well without rulers. It takes a lot of time but when you understand the logic of drawing 3D space in 2D, we can draw as real as what you see in life. Here are some tips how one can effectively draw 3D images.
Think simple structure. As you can see in this picture, I simplified the fundamental structure. Notice how starting from the left, the lines are all gathering to the the right side of one dot.
Next, you can add more details. When you are filling in this image with color, depending on your style, you need to think about lighting, contrast, mood etc. In this picture, I tried to devote the focus on the ceiling which can easily show the vanishing point so these lines make this picture look like 3D.
Itp Floor, water color and gouache on paper, 23 x31cm, 2017
We can also apply two vanishing points on the face drawing shown. when you draw someone’s face, think about the structure of their head before drawing their eyes and nose so that your drawing could appear more lifelike.
As you can see in this drawing, the oval shape of the two heads are applied on 2 vanishing points depending on the perspective(from top to bottom, from bottom to top). Starting with the top image we can see that the eye is looking down, and the vanishing points are above the face on the other side of the face. While the image below is opposite.
If you understand this logic, you can add shading on your figures.
Andrew, pencil on paper, 23 x31cm, 2017
I first encountered Robert Irwin’s work in 2016 at Dia Beacon, located at 3 Beekman Street in Beacon, New York. His installation, Excursus: Homage to the Square, is comprised of a series of rooms with semi-transparent walls with thin vertical lights on the middle of each wall. As people walk through these rooms, they might feel as though they are in a maze. When I was there, I could see other people’s silhouettes through the walls as I walked through the rooms. At times, this installation made me feel like I had an extrasensory perception.
After experiencing his installation, I was able to understand the idea presented in the book, <Seeing is Forgetting the Name of the Thing One Sees>, by Lawrence Weschler. What impressed me the most was that Irwin was thinking about using energy in his work, meaning his work focuses on energy forms with light and sound. What he emphasizes with this work is not a mental theme but instead the physical sensation produced by the placement of objects. When I first entered his installation at Dia Beacon, I was immediately aware of the physical material, and as I explore the inside, my perception of its construction was constantly changing. Robert Irwin doesn’t want to show the viewer his experience but rather allow them to experience his work in their own way.
For the first class, I watched <F For Fake> a film by Orson Welles.
In the movie, there is a painter named Elmyr de Hory, who is a real historical figure. He forged paintings in a way that made them appear real, not fake. The movie also features Clifford Irving, an author writing a biography, on Hory’s life.
The director’s intention is to present a documentary, that tells both real and fake stories. However, it is not immediately obvious which stories are true and which stories are false. This is an interesting technique used by the director. I found some devices that the director uses to make the movie seem completely real. For example, there is a scene in which that narrator is talking in front of several stacks of video tapes. The tapes in the background serve to make the viewers believe in the expertise of the narrator.
Perhaps, the director’s purposes in making a movie such as this, is to illustrate how fact and fiction can be distorted. Ultimately, truth is subjective, depending entirely on a person’s perspective. Compare to other films, this film seemed heavily edited into short segment rather than one fluid story. This type of storytelling mirrors the technique used when telling a lie. The liar trims off parts of the story and inserts other falsities to craft a new fake story.
This movie challenges the viewer’s notions about what the difference between fact and fiction. Even a forger’s painting is a real work, just as this ficticious documentary is a real movie.