Dvein. animation

Dvein for Tocame
Uploaded by sabotage - Discover more animation and arts videos.

watch in fullscreen for the full effect...

Barcelona based, Dvein created these wonderful titles for the recent TOCA ME design conference.

Maxim . animation

"When you're working for 48 hours with no sleep, you feel everything around you quite differently."

 

Modul . Click to play

I would like to animate the drawings even for five seconds each. If anyone knows how to do this, please let me know asap!!!

An interview with Maxim on the Behance Network.

Maxim's website.

selective realities

I found these acrylic and oil paintings by the Gordon Terry [Buamai]. Practically alien to anything found in nature, aside from microorganisms, they remind of what lives under rocks or deep under the sea... like these virtual smears caught in snapshots. The almost clinical approach of presenting the object is like that of an insect collector, pinning the smears in place for our observation.

oneiric activity of a surface

Milanese design and production shop abstract:groove created this amazing temporary outdoor video installation on the side of  of the Hotel St. George, in Viale Tunisia, Milan.
Described by the creators as “an audiovisual experiment of perceptive transformation in architecture, through abstract narration, which will show the building as a screen and protagonist simultaneously. Imagine the façade of a building could have a brain and a conscience; consequently it could sleep and dream. Imagine that these surreal forms of life have a characteristic to let loose, during the REM sleep period, a visible transposition of their dreams.”

BUILDING URBAN MOTION - oneiric activity of a surface from abstract groove on Vimeo.

Unballooning the smear

During last crit, one point was to not represent the virtual smear as a balloon/slug shape. Clichéd and hackneyed I am looking to thinking of the smear as an additive or subtractive response within the apartment. If the apartment is a sponge how would the occupant's smear react to touch/smell/sound ... ? London based Not To Scale is one amazing way of expressing what we cannot see, superimposing it over an existing space.

Selective Animation

To create this hypnotic vid for Dominik Eulberg’s “SANSULA (oder der letzte Grund)”, director Dirk Rauscher basically just has lights, night time, and forest. But the visions he’s realized with them, simply by projecting animations onto the trees, are so much more than the sum of their parts…

In the dark, what one can't see becomes visible...

SANSULA Dominik Eulberg musicvideo from dirk rauscher on Vimeo.

Invisible Magnetic Fields no longer Invisible

Invisible Magnetic Fields at NASA's Space Sciences Laboratories, UC Berkeley
Press Play
Fantastic movie done by Semiconductor

///

Semiconductor's Magnetic Movie: by Douglas Kahn

''In 1744 a simple experiment was conducted in Sweden to reproduce the underlying cause of the Aurora Borealis in a laboratory, what we would now think of as a room. A small hole in a shade "the size of a large pea" let through a ray of sunlight that then was refracted through a prism. The small patch of light broken into a spectrum of colours then traveled through a medium of turbulent air directly above a warmed glass of aquavit. The resulting image landed on a screen a few short feet away and looked like what was seen dancing in the sky on many long Swedish nights, nature's sublime entertainment in the real pre-history of cinema.

The experiment concluded that the aurora was caused by a refraction of light through volatile vapors. Straining a rainbow through drunken air may have not proved to be most scientifically accurate recreation of the Aurora Borealis, but it was the "very most beautiful thing that can be arranged in a dark room…flashing beams shoot suddenly up and then transform into colored veils, endlessly changing position between themselves, the one against the other." The shift in magnitude from the scale of the earth to a miniature in the laboratory was no doubt greased by the remaining aquavit left undedicated to the pursuit of science.

In Magnetic Movie, Semiconductor have taken the magnificent scientific visualisations of the sun and solar winds conducted at the Space Sciences Laboratory and Semiconducted them. Ruth Jarman and Joe Gerhardt of Semiconductor were artists-in-residence at SSL. Combining their in-house lab culture experience with formidable artistic instincts in sound, animation and programming, they have created a magnetic magnum opus in nuce, a tour de force of a massive invisible force brought down to human scale, and a "very most beautiful thing."

Just as the finicky sun in Sweden was let through a small hole in the shade in 1744, scientists at the SSL at University of California in Berkeley theoretically model, conduct experiments, and develop instruments to study the magnetic fields of the sun. They study them deep inside the sun's core, their effect on the looping of the corona flaring above its surface (the photosphere, that lights our days), and the solar winds of charged particles that interact with the earth's own magnetic field, creating the auroral displays at the poles. Magnetic Movie is the aquavit, something not precisely scientific but grants us an uncanny experience of geophysical and cosmological forces.

With Magnetic Movie, Semiconductor have tapped into a new and ancient aesthetic of turbulence. We can hear it in the sounds of natural radio-naturally-occurring electromagnetic signals from the earth's ionosphere and magnetosphere-that course through Magnetic Movie, at times animating the animation, a quick nervous response condensed into static. The sound itself is the product of the combined turbulences of the earth's molten core, weather systems and electrical storms, ephemeral ionization in the upper atmosphere, and the solar winds. What we hear is underscored with complex and supple orders, in fact, too complex and supple to be ordered. We already have experience of them in the tangible turbulence of water and the crazy convection of fluids combining, tongues of fire and the thermal afterthought of smoke, the ribbons of clouds stiffly blown twisted up a hill. The flux championed by Hericlitus that has awed audiences since antiquity.''

Maps + Wii = Tokyo Jogging

Tokyo Jogging
Ryo Katsuma, who happens to be a software engineer, made a mashup of Wii technology and Google Maps that allows you to take a virtual run through the streets of Tokyo.
press play

Bukowski on the Project

there is always that space there
just before they get to us
that space
that fine relaxer
the breather
while say
flopping on a bed
thinking of nothing
or say
pouring a glass of water from the
spigot
while entranced by
nothing

that gentle pure space
it's worth
centuries of existence
say
just to scratch your neck
while looking out the window at
a bare branch

that space
there
before they get to us
ensures
that
when they get to us
when they do
they won't get it at all
ever.

BMW Z4 Augmented Reality and artist Robin Rhode

with thanks to LivingPhorm
try it out here.

MArch Report 08|09

MArch Report 08|09

    When organizing a tea party, or in this case a report, it is best to consult the experts. During her adventures in Wonderland, Alice exclaimed, “If I had a world of my own, everything would be nonsense. Nothing would be what it is because everything would be what it isn't. And contrary-wise; what it is it wouldn't be, and what it wouldn't be, it would. You see?”  [Alice, 1951] The dichotomy of alternates, what is and what isn’t, is fascinating. By creating a dialogue between virtual and actual, Mirror Mirror examines how space is perceived in a contemporary light. It accomplishes this by grasping traditional methods of viewing space and upgrading said methods with the aid of contemporary technology. Old-school meets New-skool with the utilization of Augmented Reality and Head Tracking.

    Back in the Fall of ’08 the project began with three prescribed settings [cliff/forest/swamp]. Mythologies, by Roland Barthes, was on the nightstand at the time and the concept of semiotics was applied to the site analyses. The original three landscapes were never conceived with a narrative backbone. Instead semiotics intervened by allowing the idea of each landscape to dictate its aesthetic; meaning, by deriving a hierarchical set for each [cliff, forest and swamp], signs and symbols pertaining to each site were gathered from around the world. After slicing, distorting, pasting and scaling, three imaginary landscapes were born. In order to further analyze each as a prospective site, I referenced the composing images back onto their geographic origins. Instead of a site being one stationary location, a site is now redefined as a collective, fixed through the lens of a camera and uploaded into cyberspace.

    The imaginary forest, cliff and swamp were ribbons of landscape taken before, during and after an agent of change. For the purpose of this report it is enough to state that this agent is no longer part of the project. Instead the project continued with the images themselves as a starting point for an investigation into the perception of space. Exploring the spatial quality of these landscapes became important; one way of doing so was to introduce new methods of visualization with the aid of technology such as Augmented Reality and Wii Remote [Wiimote] Head Tracking. These applications have been selected because of their ability to add unforseen factors to the project. By using Head Tracking and Augmented Reality the system between actual and virtual becomes immediate. To properly understand Augmented Reality a comparison with Virtual Reality is necessary. The user in Virtual Reality undergoes a complete immersion into a virtual environment; whereas Augmented Reality is the superimposition of information or virtual objects over the real world. Augmented Reality operates by recognizing prescribed symbols in a real-time video feed. Over these symbols a virtual object is then projected. Now imagine an object in a room with its own symbol. The Augmented Reality reads the space behind the object and superimposes it over the object. No longer visible within the virtual world, the object is now camouflaged or transformed. It would seem plausible that if what was on the screen was fed back via a projector into the real room the object would be camouflaged in reality. Since Augmented Reality works with a live video feed, an object in motion would be hidden as long as the camera could capture the space behind it.

    Parallel to the use of Augmented Reality is the Wiimote Head Tracking  hack. The Wiimote is the primary controller in a Nintendo game. What sets this hand-held device apart from its predecessors is its accelerometer and optical sensor technology that allows advanced motion sensing capability to manipulate and interact with a screen. Traditionally the player holds the controller and points it at the direction of the screen. Above the screen sits a sensor bar that emits infra-red light. The Wiimote picks up only infra-red light, thus communicating the player with the game. The controller has generated many a hack, one of these being the Head Tracking device. Developed by Johnny Lee while at MIT, the Wii Remote is reversed in orientation and instead searches for the user’s position in space. The user now wears the infra-red emitter, which the controller locates in space. As the user moves in space the Wiimote relays location to the screen and the display moves in sync with the user. The hack uses the Fishbowl software to operate. Fishbowl’s extroverted system allows the display to become three dimensional; by moving around the room, images in Fishbowl can move slide past each other, space is perceived in all three axis.

    Working with Augmented Reality and Head Tracking has rooted the project in its dependency upon the image. Rather than accept the fact as a negative, the image is analyzed in representation as a positive through collection and hierarchy; Augmented Reality and Head Tracking allow a composite reading of space via multiple images. These technologies situate the project between actual and virtual reality. Without digressing into the particulars of why Mirror Mirror is not virtual or actual, it sits between the two. The project seeks to dialogue between the two perceived spaces creating a layer that blends the two together.

    From the three landscapes emerged the need for a physical testing ground. Apartment 35b was selected as a next site. By the canal in Little Venice, sits apartment 35b on the very top floor. Like any ordinary apartment 35b has within visible space an entire network of hidden spaces. Under floors and between walls are spaces that do not exist in everyday consciousness. These inaccessible depths hold the building’s organs and seem mysterious only when it comes time to repair damages. By measuring light with composite images a perception of depth and obstruction is formed. These sections when combined with Head Tracking gave an intro-scopic perception of space. Head Tracking places the collective sections within an environment where a viewer can look inside walls and under floors.

    After the midterm review the entire Shaun Murray studio left for Plymouth to participate in a data visualization workshop. Architecture students met with other students from both the Oslo School of Architecture and Design, and Plymouth Digital Arts and Tech. Each group could make use of either an immersive theatre or a LED screen. Our group selected the immersive theatre. The task was to take data [i.e. room temperature, wind flow and student movement] from a campus building and translate it into an easy to read visualization; one that would dialogue between the building’s spatial composition and the data collected. After a few hours of brainstorming the data was then reduced to a hierarchy established by actual space. The data visualization began to take shape literally from this hierarchy. The goal was to make the visualization interactive, so that any user looking at the website’s live data feed could comprehend it. With the extraordinary talents of our Plymouth DAT programmer the group devised a series of russian dolls. First the building encompassed the three atriums which in turn held the lecture rooms. Each doll or globe would have a skin that reflected the appropriate data. So with changes in temperature it would pulse or change color.
    
    This workshop marked a turning point within the Masters studio. No longer was the project bound to be an interactive projected space. From the workshop came a synthesis of information, technology and spatial connection. What first began as a visualization of a building’s data led to an unexpected abstraction of physical space. New virtual relationships of space came from actual room layouts. Mirror Mirror could develop meaning through the collection and combination of data within the actual and the virtual. If these hidden spaces were conduits to spaces beyond any immediate space a similar relationship could be developed. By using data such as sound, resonance, temperature or movement as input, space is perceived as constantly vibrating and fluctuating. Evidently, physical space was reorganized to amplify spatial connections and/or data readings.  Apartment 35b’s hidden spaces could be amplified in this same manner. While investigating these hidden spaces its tenant gave the following testimonial:

“For some reason, I can always hear when my neighbor downstairs, a middle-aged fellow, invites his guest to his bachelor pad. The first time I heard Barry White while brushing my teeth, my curiosity was peaked and after poking about I realized that only when standing by the sink was I able to hear sounds emanating from below. I began to imagine how I could relate this back to the hidden spaces within my apartment, like pinching together visible spaces with hidden ones. Now I start to wonder wherever I am in the apartment what is happening to those spaces I cannot see but can hear. I press my ear to walls and floors, trying to connect groans and creaks with rooms beneath and beside me. The water pump in the attic roars to life whenever a faucet is opened. If I go to the bathroom at 4:00am I measure the time I wash my face so as not to have the beast upstairs wake the entire house. I know my apartment well enough but when I hear my neighbors moving about the acoustics change. I can hear conversations coming through where there should be closets and stairs, not rooms. Have they discovered new rooms or are they living in the walls?”

Like Gormenghast in your living room floor, Alice through the kitchen sink or “Schrödinger’s Cat as retold by Rem Koolhaas: a potentially unreal maze of interconnected architectural spaces enshrouding you on all sides like a halo. Saint Crawlspace.” 


BIBLIOGRAPHY

Alice in Wonderland,. 1951. [film] directed by Clyde Geronimi. USA: Walt Disney Pictures.

Baird, George,. 1969. “‘La Dimension Amoreuse’ in Architecture” from Charles Jencks and             George Baird, Meaning in Architecture. In K.Michael Hays, ed. Architecture Theory             since 1968. 3rd Edition. Massachusetts, U.S.A.: MIT Press in assoc. with Columbia Books         of Architecture. pp 69.

Barthes, Roland., 1972. Mythologies. Edition du Seuil 1957. Great Britain: Vintage 200 Classics.

Lee, Johnny Chung,. 2008. Johnny Chung Lee: Projects. Carnegie Mellon University. . Redmond, Washington.

Kelley, Kevin,.1994. Out of Control: The New Biology of Machines. U.S.A.:Fourth Estate.

Macey, David,. 2000. The Penguin Dictionary of Critical Theory. Great Britain: Penguin Books in         assoc. with Clays Ltd.

Manaugh, Geoff,. 2008. Sounding Rooms. . California, USA: BLDGBLG Website.

Sotomayor, Camila E,. The Tea Party.

The Pinching of Spaces

For some reason, I can always hear when my downstairs neighbor, a middle-aged modelizer, has a lady over at his bachelor pad. The first time I heard Barry White while brushing my teeth, my curiosity was peaked and after poking about I realized that only standing by the sink could I hear best the downstairs floor. This got me thinking about the next step for the hidden spaces/workshop combo. What first began as a visualization of a building’s data led to an unexpected abstraction of physical space. Meaning, we created new relationships between rooms that weren’t there physically [see previous post]; we evidently reorganized physical space to amplify spatial connections and/or data readings.

I began to imagine how I could relate this back to the hidden spaces within my apartment, like pinching together visible spaces with hidden ones. Now I start to wonder wherever I am in the apartment what is happening to those spaces I cannot see but can hear. I press my ear to walls and floors, trying to connect groans and creaks with rooms underneath and beside. The water pump in the attic roars to life when I open a valve. So I go to the bathroom at 4am and have to time my washing up so as not to wake the beast upstairs. I know my apartment well enough but when I hear my neighbors moving about the acoustics change. I can hear conversations coming through where there should be closets and stairs not rooms. Have they discovered new rooms or are they living in the walls? Like Gormenghast in your living room floor, Alice through the kitchen sink or “Schrödinger's Cat as retold by Rem Koolhaas: a potentially unreal maze of interconnected architectural spaces enshrouding you on all sides like a halo. Saint Crawlspace.”

 

Gordon Matta Clark (American) 1943 – 1978 [he cut whole sections of floors, ceilings or roofs to expose the hidden spaces in between]

AntiVJ & Crea Composite: Nuit Blanche Bruxelles from AntiVJ on Vimeo.

During the crit a suggestion was to instill a program. Allow the program to drive the project and then use the AR and wiimote media to be the tool for exploration/explaining. If I begin from a simple point the project thus far would be for an exploration of space beyond the hidden.

-This was sent to me by Aqueel. During the review Nic asked if it was so bad to have a projected final project. I am keeping the option open after seeing this.

Royskopp . Remind Me

Bartlett + Plymouth + AHO = Workshop 02.09

The entire Murray group left for Plymouth a week ago to participate in a data visualization workshop. Architecture students mixed with othe architecture students from the Oslo School of Architecture and Design and Plymouth Digital Arts and Tech students. With two tools at our disposal, immersive theatre and an LED screen, I chose the immersive theatre. Our task was to translate data taken from a campus building into an easy to read visual, that would reflect back on the building's spatial relationships. An initial meeting delivered the task to a. work together to propose an initial idea and b. for each of our individual interests to be active in the project. After a few ideas were tossed around we decided to attack all the data by placing it into a spatial heirarchy.

 

The data visualization began to take shape literally from this heirarchy. We wanted to make it interactive, so any user looking at the website's live data feed could understand the visualization, via an attached widget. With the extraordinary talents of our Plymouth DAT programmer! we devised a series of "russian dolls" first the building encompassed the three atriums which in turn held the lecture rooms. Each "doll" or globe would have a skin that reflected the appropriate data. So with changes in temperature it would pulse or change color. 

Below are pictures of our first try combining the data and visual and then to the right is the final product. The skins of each globe were also papered with jpgs taken from each space.

This is my masters project show on the immersive dome.