Recent work has involved the use of motion capture equipment, but this is not easily accessible and is prohibitively expensive to hire. It would be in keeping with my project to explore the potential of more available equipment such as Kinect devices (School of Art AV store), or LeapMotion (being tested by the Coder in Residence) as tools for drawing. Through Art Lab I would hope to gain an understanding of how I can begin to incorporate these tools into my research by developing a methodology for capturing data that ultimately I would translate into material outcomes.
The project I would like to explore builds upon a previous body of work exploring how 2D Photoshop patterns can be transformed into digitally fabricated 3D forms. Beginning with digital pattern repeats these designs are manipulated to reveal new shapes and patterns. These new shapes and patterns are then manipulated through simple iterations of scale and twist rotation. It is from these 2D linear outlines that multiple components are created. Once laser cut these components are assembled into three dimensional reliefs.
I would like to use Art Lab to explore the possibility of working these linear patterns to create digital interactive wallpapers/projections. I envisage these projects would work with some form of coding and generative design to enable the patterns to evolve and change in response to stimulus be that movement or sound. I’m also interested in the possibility of how the digital wallpaper may be projected onto a relief surface.
The Flow of Life
My research concerns the representation of the built environment in architectural photography. My practice aims to produce an alternative to conventional architectural photography, showing presence and movement within and around buildings.
Conventional architectural photography is almost exclusively concerned with the form of buildings, preserved at their completion, in isolation from their context. By capturing presence and movement accumulated over a period of time clues to the function of constructed spaces can be revealed. It is intended that the resultant images will be of value for research within the architectural design process.
To inform and support my practice, my research investigates the following issues:
- Depictions of temporality in still photography.
- How can ‘still’ photography cross the indistinct boundary between still and moving images, including the perception of movement in still images.
- The evidential value of images constructed over time and the viewer’s perception of their validity.
- The notion that record photography (e.g. within the fields of architecture, museums and archaeology) is a simple record, produced without interpretation or creativity from the photographer.
- I plan to originate photographs during the Art Lab week, work on their post-production, producing completed images captured during the week.
- I am interested in networking with other researchers who address similar debates in photography, as well as artists whose practice aims to inform the design process of the built environment.
As a selected project with the Talent Incubation Network with Designing our Futures, I have recently been carrying out research at the Whitworth Art Gallery using items in the textiles archive as inspiration for developing participatory activities. The aim of the project has been to observe experiences of flow during participation focusing on peripheral audiences.
A series of point papers, which would have originally been converted into punch cards to control jacquard looms for weaving, became the focus of my research. From them I developed a participatory activity that invited the public to punch a pattern onto paper strips. These strips were then built up, row by row, to reveal the fuller image over the course of a weekend.
I often use digital technologies in the production of my work and I am intrigued by the similarity between the laser and the loom, with pattern built up row by row when etching as it is when weaving. I wish to explore if weaving patterns and the ‘code’ held within them could be used to control the laser either directly or through the production of vector graphics for etching.
Through Art Lab I would hope to meet coders whom I could work with to begin to explore the possibilities in this area.
Much of my current practice is heavily influenced by the site in which it is constructed – the completed works altering an environment’s navigation by a viewer whilst calling attention to specific architectural features that have shaped the work’s development.
To extend this, I propose to utilise technologies in order to produce works that are dynamic and re- sponsive to a viewer’s movements around a space. By tracking these movements in various ways the works can come to adapt to a viewer’s presence just as they adapt to the space – a reciprocal rela- tionship being formed between audience, environment and installation.
The strict geometry and luminosity of my light-based works reference virtual objects and allowing us- ers to directly interface with these in real-time and real-space would further this tension between the virtual and the actual.
My current PhD research examines a changing relationship to site amidst the advancement of new technologies and the increasing overlap between digital and physical space. The value placed upon the digital object and the changing perception of materiality that this encourages is also central and I feel that this project would allow creative reflection upon many of these themes.
I’d like to use artlab to develop ideas for a visiting fellowship I will be taking in Australia next year at ANU Art School and Humanities Research Centre. During the fellowship I will be exploring craft makers’ experiences of reverie aided by digital tools, or as they occur within digital environments. Reverie is a term used by psychoanalysts to talk about a state of rapt engagement in which images and ideas that often remain hidden from the everyday mind become accessible. When and how do such experiences of occur in relation to the digital? Are there optimum conditions? What blocks such experiences? Do experience of ‘digital reverie’ vary across generations of makers and do makers require a certain degree of familiarity with digital tools for reverie to occur? How are such experiences shared within groups? Is there a ‘dark’ side to digital experiences of reverie, in terms of e.g. content or between participants of group reverie?
To undertake the research I will need to find ways to tap into people’s experiences of digital reverie and it is this I would like to explore during artlab. I am interested in recent work by the anthropological filmmaker Andrew Irving where he mikes up strangers in the streets of New York and films them while they walk and speak their ‘interior’ dialogues.
How might I achieve a similar insight into makers’ interior speech and tactile and visual dreams?
Soundtrack for a new art school
I propose the gathering, producing and curating of a range of sounds that will ‘soundtrack’ the new art school building. Examining sick-building syndrome, studio soundtracks, private tutorials, quotes from artists and so forth, the mix will be available as download or subtle broadcast within the new architecture. I propose bringing a set of sound files, including Fluxus artist Robin Page speaking about late 1960’s English art school education and some soundworks created by students at Leeds Metropolitan University with the artist Chris Watson. These will be combined with new recordings made within the building and surrounds