Constructing the blurred space object The progress of experiment is now move forward into a new system, the running golf ball in the woods, it’s an experiment on architecture language as algorithms that dealing with location, trajectory, landscape shift, extracting the event locating in the golf course to discover the geometric relationship between moving object and the trembling landscape, and the possibility of reconstructing the trajectory of the movement of an object as 2nd order geometry that is outside itself. Next step is the projection of the 2nd order geometry onto the 1st order geometry to networking the two geometry dimension, and filling the gap of 1st and 2nd order, as construction of the blurred space object.
The tactics will take part in 5 phases:
A. Locating the object’s position A set of system that dealing with locating the moving object to define the position from one point to the other, the different timing of the location, and the vectors of the object. The Tee: by locating springs underneath to sensor the weight of the golf ball, and the vibration of the ball hitting by a club, which trigger the gear bar to move up and down that indicates the location of the ball. Tee Calibrating Member: the member that calibrates the height of the tee by adjusting the different locking position due to the golf ball location. The Crane: powered by the amount of the rain stored in the rain tube that fixed with pulley and cable. When the tube filled with certain amount of rain, it pulled up the ball from the storage and flick up to the vessel located on the air. The Loader: the ball loader that fixed with spring in-between the main structure could measure the quantity of the ball and drop one ball at the time. the adjustment on both side could calibrate the width of the vessel that could sort the ball.
B. Measuring the landscape shifts The system for measuring the shifting geometry from the landscape that oscillate by the object, and the vectors of particles from the creased and trembling landscape, the trace left behind by the object. The Sand Trap: the device that dealing with the collision of the golf ball hitting the sand and changes the landscape. Collecting the sand particle by the pocket powered with wind that document the amount of the sand and trigger the pin to make the sound.
C. Documenting vectors of object and particles A system for collecting the vectors from the moving object and the landscape particles, the feedback information from the locating system that comes into this vector field storage. The Sound Cocoon: the cocoon is a device for documenting the collision of the ball hitting on the sand, the time and the vectors of the object and the sand particles that makes the sound through the sand trap device, and the place storages all the sound that happens in the golf field as a archeological time capsule.
D. Reconstructing trajectory While we gather the location and the vectors of the object and particles from the creased landscape we can reconstruct the trajectory by integrating all the information. The Projector: attaching the lens to gather the sunlight on the sand trap system to project the sequential images of the ball descending from the air to the ground onto the ball surface and the landscape, the ball that carries the past vectors of itself and integrate through time as a trajectory, and the trajectory of the particles as the notation of the collision event.
E. Layered the blurred space object The blurred space object is the networking object between 1st order and 2nd order geometry, the gap filling object that exist in blurred space, it contains not only the present geometry but also the past traces that left behind and the trajectory as the future movement. The object that made of the images of the trajectory through time and the sound of the fold and crease of landscape shifting.
The golf ball: locate a microphone inside a golf ball that could pick up all the sounds that collected from the sound cocoon, the information of the shifting landscape vectors and the vectors itself. The reflexive coating of the ball imprint the landscape from the ground which collages with the projected trajectory on surface, the idea of revealing the blurred space object.
Imagining when the golf ball running through the woods, hitting the falling leaves, the alien golf ball that interrupt the original parameters, how the system calibrate and migrate itself that could merged two running system in a space. The system of golf playing is also a series of event that related to landscape conditions, the one that could observe the golf ball running and moving around the course, the enquiry about how a system running upon another system or how the one effect of influence the other. This leads to think about how the falling leaves system can calibrate and integrate into the golf course when a new event comes into it, this idea can move forward toward the relationship between object and space, how the space condition are when everything is shifting and moving, and different events are interweaved all time.
in the woods = a forest and as a code of golf player Tiger Woods
Adapting the leaves motion capture system in to the site, a park near the Bartlett, with the great condition of flashing sunlight, it's interesting to see the model merged under the leaves landscape, the cutting edge with burned marks and colours match the site with dry leaves on the ground, looks like the device grown from the underneath of a tree root, sticking out the small legs that observing and sensoring the falling leaves, and itself walking around the landscape enjoying the delicately touching of the leaves. It submerged and appeared, it hidden behind the root and curiously pops out the ground, it walks and dances in this lovely autumn morning.
The system of my previous work now introduced with another system, the system of golf playing as a series of event that also related to landscape conditions, a system that could observe the golf ball running and moving around the course, the enquiry about how a system running upon another system or how the one effect of influence the other. This leading me to think about how my falling leaves system can calibrate and integrate into the golf course when a new event comes into it, this idea can move forward toward the relationship between object and space, how the space condition are when everything is shifting and moving, and different events are interweaved all time.
Mark Rothko, Untitled,1945-1946, National Gallery of Art, Gift of The Mark Rothko Foundation, Inc., 1986.43.175
Biomorphic forms dance before a background of horizontal bands that resemble the layers of a submarine universe. Luminous and transparent, Rothko's watercolors of this period mark a turning point in his career.
For me I think it's where getting boring, although the deep layered of the painting is appreciable, but just a way too simplifying the paintings itself, what makes diffrences when everything is black or two layered black?
"My work aspires to a condition of density, great simplicity, directness, openness of language and interaction."~Cildo Meireles A key instigator of Conceptual Art, Brazilian artist Cildo Meireles has made some of the most politically telling, aesthetically seductive and philosophically intriguing works of the last four decades. With a characteristic economy of means, he distils complex ideas into single objects or environments. Meireles was born in 1948 in Rio de Janeiro, where he still lives and works. His father worked for the Indian Protection Service and, as a boy, the artist accompanied his family on their constant moves throughout the vast Brazilian territory. We often catch glimpses of these childhood experiences through his art. His work inherited the legacy of Neo-concretism, a Brazilian movement of the late 1950s that rejected the extreme rationalism of geometric abstraction in favour of more sensorial, participatory works, which engage the body as well as the mind. The utopian optimism of the Neo-concrete artists foundered after the coup of 1964, which ushered in an oppressive military regime. Meireles’s generation, emerging in the late 1960s and 1970s, were known for more politically engaged works, the extremity of their actions mirroring the extreme political situation. Meireles himself, however, links these two strands of Brazilian art.‘In some way you become political when you don’t have a chance to be poetic. I think human beings would much prefer to be poetic’, he explains. As Guy Brett, co-curator of this exhibition, has said, ‘A work by Meireles often starts in a commonplace, usually domestic object, or a childhood memory, which becomes transmuted into a perceptual, philosophical, even a cosmological speculation, without, however, losing its grit, its roots in social reality – a reality often harsh but marked by human resilience and inventiveness.
Extract from Cybernetics and Second-OrderCybernetics by Francis Heylighen
Cybernetics is the science that studies the abstract principles of organization in complexsystems. It is concerned not so much with what systems consist of, but how they function.Cybernetics focuses on how systems use information, models, and control actions to steertowards and maintain their goals, while counteracting various disturbances. Being inherentlytransdisciplinary, cybernetic reasoning can be applied to understand, model and designsystems of any kind: physical, technological, biological, ecological, psychological, social, orany combination of those. Second-order cybernetics in particular studies the role of the(human) observer in the construction of models of systems and other observers.
Shifting Vectors of Landscape Condition as Cybernetics System My main idea is concerning about the shifting vectors of the landscape, the conditions in the space that altered the object's position and movement as a series of events oscillating the landscape. My system is based on the shifting and non-static coordinates between object and space, the blurring territory of trace left behind in between the time, this complex system is a tactic for rejoicing the paradigm of architectural language. A tactic could adapted to a programme for architectural space and a way of exploring and experimenting idea, an algorithm as part of cybernetic system.
A scripting system based on the falling event of leaves from the tree to the ground, a whole sequence of related field events within the object and the space, the idea is to documenting the movement from air to ground as a time system, the wings waving in the wind and capturing the leaves into the vessel, the place where leaves dryout due to the humidity and temperature then drop into the wieght scale that operate by the spring, while the whole journey was a time-based event that manipulate this time measurment system.
British artist Roger Hiorns makes exceptional use of unlikely materials: detergent, disinfectant, perfume, fire and copper sulphate crystals. Transforming steel poles, car engines and cardboard architectural models into crystalline forms, Hiorns effects surprising, physical and aesthetic transformations on found objects.
In SEIZURE, Hiorns' most ambitious work to date, the artist precipitates an unexpected sculptural form within the fabric of a housing estate near London Bridge. Architecture and modernist sculpture continue to be important touchstones for Hiorns' work, and both have strongly informed the development of this major new commission. For his first work within an urban site Hiorns' makes a radical shift of scale and context, and has developed an extraordinary chemical intervention in the heart of the city.
The scripting system comes from the idea of seasonal colour changes of leaves, the colour is the reflection of the light wavelengh, the climate altered the chemical reaction and effect the colour. Colour is a part of transitional script of the weather condition, it illustrate the shifting, and the blending colour of all kinds. A very rough idea of extracting the parameters of the weather into a colour printing devices that mixes the CMYK due to the changing condition, a scripting by printing.
The idea of micro landscape scanner flipped through when accidental presented upside down, the meaning chages and becomes a whole new programme and triggered another possibility, which leads to a new system of leaves catching with trajectory tracing and condition observer of the sequetial falling leaves event, such as the gravity and the wind, the journey of the leaves from air to ground. Phil suggets two system could be also add into the idea, one with crushing lanscape like a shoe, and one in the sky, a synthetic programme of shifting landscape on different scale through weather conditions or environmental parameters, the bluring territory between human and nature.
The Procedure of model making by 2d cutout drawings, the contour section pieces are the unfolded expandings of the object, the in-between slices are the bluring spaces which refer to Derrida's idea of trace, the mark on both in the future and in the past, the individual cutout has the hidden relationship of whole peice, which is also the idea from Differential and Intergral function, that each of the "solution" is the section of the graph. Expand this idea toward my enquiry of trace, the time of "now" is the section of "present", the still image we saw. Looking toward the blur space as time territory of "present" which the hidden dimention are the lofting space that last in-between of now and next now.
A leaf landscape observatory that can record the fluctuating vector of the leaf, the vector that altered by the temperature, humidity changes of the weather, a time-based event that caused the shifting of micro landscape. The LEGS matrix are the devices for sensoring the small horizontal drift and the NEDDLES are for vertical movement.
I'm concerning the complexity of the world in shifting, inspired by the falling leaves, leaves from different trees, falling due to the gravity, flies around by the force of wind, it drops on the surface, the pavement or the on the river that travels to another territory, people walk through and stepping on it that squeeze the volume, a complex motion system exist in the blur between varies events, which project the imprint or trajectory left behind. How do I capture the trajectory in the motion space, what is the object inside this unstatic boundary that can be defined? I'm looking for a tactic to undressing and re-dressing the relationship of the complex system by the falling leaves, the movement, the shadows, the light, and what is underneath the system.
These drawings show plans, side views and bird’s-eye views (axonometrics) of the spaces shown in eleven of Vermeer’s paintings of interiors. Ten of these seem to depict the very same room - although the tile patterns vary. (For the eleventh picture, ‘The Love Letter’, it is impossible to say whether it might be the same room, because there are no architectural features or pieces of furniture shared with other pictures. What is more, the fireplace and doorway are unique to this painting.) Each picture’s viewpoint is labelled V. Only those parts of the tiled floors that are visible in the paintings are shown in the plans. In some instances the positions of objects or parts of objects which are not wholly visible but can be located with confidence, as for example the legs of chairs or the feet of tables, are shown in dotted lines.
Listening Post is an art installation that culls text fragments in real time from thousands of unrestricted Internet chat rooms, bulletin boards and other public forums. The texts are read (or sung) by a voice synthesizer, and simultaneously displayed across a suspended grid of more than two hundred small electronic screens.Listening Post cycles through a series of six movements, each a different arrangement of visual, aural, and musical elements, each with it's own data processing logic. Dissociating the communication from its conventional on-screen presence, Listening Post is a visual and sonic response to the content, magnitude, and immediacy of virtual communication.
Jerry Norman Uelsmann was born in Detroit, Michigan, US, on June 11, 1934, the second son of an independent grocer. He attended public schools and was never a particularly diligent student. During his high school years he became interested in photography as a serious vocation. Uelsmann enrolled at the Rochester Institute of Technology in 1953, received his B.F.A. in 1957 and his M.S. and M.F.A. from Indiana University in 1960. He taught at the University of Florida from 1960 until recently, and held the position of Graduate Research Professor at UF since 1974. Uelsmann received a Guggenheim Fellowship in 1967 and a National Endowment for the Arts Fellowship in 1972. He is a founding member of the American Society for Photographic Education, a Fellow of the Royal Photographic Society of Great Britain, and has served as a trustee of the Friends of Photography.
Uelsmann's work has been exhibited in more than 100 solo shows in the United States and abroad over the past thirty years. His photographs are in the permanent collections of numerous museums worldwide including the Metropolitan Museum and the Museum of Modern Art in New York, the Chicago Art Institute, The International Museum of Photography at the George Eastman House, the Victoria and Albert Museum in London, the Biblioteque National in Paris, the National Museum of American Art in Washington, the Museum of Fine Arts in Boston, the National Galleries of Scotland, the Center for Creative Photography, Tucson, Arizona, the National Museum of Modern Art in Kyoto, Japan, the Moderna Museet in Stockholm, the National Gallery of Canada, and the National Gallery of Australia.
Fractal art is created by calculating fractal objects and representing the calculation results as still images, animations, music, or other media. Fractal art is usually created indirectly with the assistance of fractal generating software, iterating through three phases: setting parameters of appropriate fractal software, executing the possibly lengthy calculation and evaluating the product.
Joshua Klein will hack anything that moves -- his list includes "social systems, computer networks, institutions, consumer hardware and animal behavior." His latest project, though charmingly low-tech, has amazing implications for the human-animal interface.
The goal of this project is to create a device that will autonomously train crows. So far we've trained captive crows to deposit dropped coins they find on the ground in exchange for peanuts. The next step is to see how quickly we can get wild crows to learn the system, and then how quickly they can learn it from each other. Once we've got system down for teaching coin collection we'll move to seeing how flexibly they can learn *other* tasks, like collecting garbage, sorting through discarded electronics, or maybe even search and rescue. The crows continue to amaze us with their abilities, so who knows? In the meantime, the idea of mutually beneficial synanthropy is gaining ground. That's the concept that we can have mutually beneficial relationships with animals adapted to human ecologies. We're doing some consulting with companies that have animal-related problems to find animal-related solutions - instead of just bombing, shooting, or poisoning them.
The exploration and definition of architectural design in the digital electronic age.
This is not a project of the current, of the “now”, but rather one that challenges urban and architectural thought of “when ?” We feel that the future of architecture is important to consider before we actually get there…
Kaleidoscope is an optic for documenting the information and then reinterpreted into images that varies through time and movement. The plotting machine is situated in the kaleidoscopic space for illustrating the spatial information and the distorted time scale with the imprints of events by drawings, a reinterpreting devices of the observation procedure.
作業總是在結束的時後才知道整件事情的重點，處境圖面就是一種透過繪圖或表現法本身來重新構思設計，也是一種發現設計機會的方法工具， 我覺得再做設計的過程我們就不斷的再進行Drawings or drawings，譬如說Sketch到正草圖到正圖，當同一張圖被一畫再畫之中我們就不斷的再調整與重新詮釋，過程會出現新的可能與調適，這個作業只是把這過程放大並催化變成一種所謂的處境圖面觀察。如同在一些看似不相關的訊息試圖將其混融成一體，即使是式覺上也好還是觀念上也好這過程就是在整理資訊連結，因為只有在發現無法發現的事情才會是創造，畫出想像中的事情只是複製經驗而不是創造，當然也不全然是這麼單純，很多思索是在直覺觀察與經驗挖掘中交互作用而成的，因此老師也提到，當這過程被不斷的進行再進行，久而久之會變成是自己的"觀察感度"與"直覺經驗"，所以這不是一個可以完結的作業，而時思考不斷的再翻轉與翻轉的不停過程，我們所記錄的紙是瞬間的模式，這模示會繼續運轉下去，這是我對於此工作營的小小理解。
A.Page Structure (圖紙結構) 1.Tape down a large format paper to your desk 先將一張空白的圖紙貼在工作桌面 2.Use adjacent situations to project a "Structure" on the paper 利用鄰近的局勢處境或位置來投影"結構"在這張白紙上，例如:從桌面的延伸線、天花板投影線、等任何可以呈現環境訊息的構成。
B.Object Deconstructing (物件解構) 1.Find and locate a semi-complex component. 找一個次等複雜層級的構件，例如: 門把、窗戶 2.Construct two sections and elevations of the component. 繪製此構件的剖面與立面圖
C.Post Occupancy Graphics (既有之記號符號) 1.Generate a set of graphic information system 建構一個具有圖像式資訊系統組合，例如: 牆上塗鴉、記號、痕跡，等非建築物本身預設的構成圖像，這些記號可能具有描述事件或者敘述的可能。
D.Page Structure (圖紙結構) 1.Locate a page that has "Native print" markings. 定位一張圖紙具有初始的符號記號，例如:報紙的序號、帳本的數字等，非圖紙資訊本身所留下的列印記號 2.Use the original format to establish a geometry of the markings. 利用原本整張圖紙來描繪這些記號的幾何關係或者觀念 3.This will serve as a "Structural idea" for the SURFACE of the page. 這些會當做是圖面表層的結構想法，意思就是這圖不再只是平面本身而具有平面以外的資訊呈現在平面上。
Day 2: 2 Drawings 兩張圖面藉由整合上列四種圖面 1.Context drawings: combine page structure and occupancy graphics and native print into one as a site/context. 涵構圖面:藉由結合環境資訊所構成的圖紙結構與實體符號印記系統和列印記號來融合成所謂的基地函構圖，混合的方式必須開始試圖讓非關聯的資訊變成具連結意義的圖像。 2.Hybrid Drawings : Begin with the object drawing and introduce the information behind or before the section or elevation. 混合圖面:將之前畫物件的立面剖面當作基礎，試圖想像在剖面與立面之前或之後可能的資訊，多視點的透視、多尺度的圖面混合成一張具有連接意義的圖像。(有點像是把所有資訊呈現與交融成一張複雜構成圖面)
Day 3: Observatory of Situational Drawing (處境圖面的觀察台) Start to explore through the context drawings that you create by cutting section or whatever method, to realize the ability or potential of the structure, and emerged the object into the context as observatory for exploring situational drawings. 開始回頭將創立的涵構圖面試圖理解圖面所傳達的資訊(因為涵透圖此時都非常的複雜)，就是如何重新看待平面資訊成為空間資訊，重新定義與探索其中可能的空間結構可透過剖面來理解(有趣的是如何將平面資訊畫成剖面?當所有東西都是平的)，再將所繪製的混合圖面(物件)放入涵構圖面之中，重新調適與重組成一張可以理解處境圖面的觀察器具。 Day 3.2: Final Tweak and Narratives (最後整理與空間敘事) 最後重新看待圖面與過程，思考如何將這不斷轉換與改變視角與觀點的圖面成為一可具有敘事與可探索的圖面。
An "inside-out" arcitect, which puts particular store in "Framing light and views" 一位"由內而外"看待建築的年輕加拿大籍建築師(事務所在英國)，他認為建築的創新在於從基地條件內而外的reslove空間議題，這不是什麼偉大的觀點或者嶄新的詮釋，到是可以看看他的這個作品，Farmhouse in Ireland，保留原本農舍對於田園的topology，而不把它稱作"住家"，利用既有建築物內部環境捕捉的農田畫面來考量開口，所謂的Internal experience才是他所關心的事情。
Theo Jansen (born March 17, 1948, in The Hague, Netherlands) is a Dutch artist and kinetic sculptor. He builds large works which resemble skeletons of animals and are able to walk using the wind on the beaches of the Netherlands. His animated works are a fusion of art and engineering; in a car company television commercial Jansen says: "The walls between art and engineering exist only in our minds."
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