Notation of Snake Dance

寄件者 MArch_Term 03

Snake Dancer and Snake

寄件者 MArch_Term 03

寄件者 MArch_Term 03

寄件者 MArch_Term 03

Snake Dancer

寄件者 MArch_Term 03

寄件者 MArch_Term 03

寄件者 MArch_Term 03

Snake Dancer Descending a Staircase.2

Underneath

SURFACE : A film from underneath from tu on Vimeo.

Snake Dancer Descending a Staircase

寄件者 MArch_Term 03

寄件者 MArch_Term 03

The idea of a snake dancer is the notation of the geometry to the body and the ground. A trace of the light from the body of the snake dancer is recorded. The dust particles is then reproducing the trajectory of the motion. The actual shadow, the recorded reflection, the replayed dust cloud is mixing together. The lines on the second images are the trace of the trace, the trajectory of the dust particles.

MArch Design Project-Thesis Report 2009

Snake Dance

寄件者 MArch_Term 03

寄件者 MArch_Term 03

寄件者 MArch_Term 03

Phil keep mentioned about the snake dance to my project, I really not sure what is it about. After several day figuring out how to use a body figure in 3d, and make it to simulate the gesture of a snake dance. Just test it out what the outcome might be. This is what was written in Phil's email.

"THE ARM OF THE DANCER AS A CURVED VECTOR SURFACE TO BOUNCE/ REFLECT LIGHT ONTO THE IDEA OF THE SNAKE/ COBRA AS A METHOD OF RELATING AN ANTHROPOLOGICAL SYSTEM TO THE IDEA OF BLURR TRACE BEDDED IN EARTH BASED CULTURE" (Phil, 2009)

The Chinese Fishing Net

寄件者 MArch_Term 03

寄件者 MArch_Term 03

寄件者 MArch_Term 03

The Chinese fishing nets (Cheena vala) of Fort Kochi (Fort Cochin) in the City of Kochi (Cochin), in the Indian State of Kerala, are fixed land installations for an unusual form of fishing — shore operated lift nets.[1] Huge mechanical contrivances hold out horizontal nets of 20 m or more across. Each structure is at least 10 m high and comprises a cantilever with an outstretched net suspended over the sea and large stones suspended from ropes as counterweights at the other end. Each installation is operated by a team of up to six fishermen.
The system is sufficiently balanced that the weight of a man walking along the main beam is sufficient to cause the net to descend into the sea. The net is left for a short time, possibly just a few minutes, before it is raised by pulling on ropes. The catch is usually modest: a few fish and crustaceans — these may be sold to passers by within minutes.
The system of counterweights is most ingenious. Rocks, each 30 cm or so in diameter are suspended from ropes of different lengths. As the net is raised, some of the rocks one-by-one come to rest on a platform thereby keeping everything in balance.
Each installation has a limited operating depth. Consequently, an individual net cannot be continually operated in tidal waters. Different installations will be operated depending on the state of the tide.

(from wikipedia)

The Fishing Landscape

寄件者 MArch_Term 03

The fishing landscape is a program that I might developed as my final project. My project starts form falling leaves, golf course, dust, light, point, vector, trajectory, trace, battlefield, conflict..from these bunch of stuff, it's all discussion about the same territory of work. The landscape of movement, where the points are moving around in a space. In this landscape, several events are arose due to the influence of the movement. The dust is raised, the light is bouncing, the trace of movement, the impact on the ground as footprint. These are a series of events related to a point shifting in a space.

In this case, my purpose of this project is the augmentation and visualization of this movement landscape. After several discussions and cross firing the idea of body movement from Phil, I had come up with the idea of a fishing landscape. Fishing is an event dealing with movement and tactics, it is the two characters that are dragging the landscape, a conflicting relationship between the fish and the fisherman. Imagine the fish swimming in the sea, the movement of the body is flapping the stream of the water. The fisher use light to attract the fish, in the same time the fish is avoiding the flow of the water from the propeller. The light is bouncing on the glossy surface of a fish while its moving, the reflection of light is scattering around while it cast on a flock. The light also bounced back to the fisherman's eye as he sees the fish swimming. While the fish got caught in a net, they struggled and eager to break the net. In this time, the net is a landscape of conflict where two forces is pushing and pulling. The geometry change of the net related to the vector of the boat and the vector field of the flock, and it is continuously shifting.

My design here is the recording of the geometry changes of the net, and the reproduction of the movement of boat and fish. They are developed as a set of instruments that are gathering the light and projected into the sea. And collecting the light reflection from the fish body to a space that is real-time playing back the movement of the landscape. The bunker becomes the fishing net, a shifting landscape in between the two conflicting forces.

Vector+Light+Reflection+Dust

寄件者 MArch_Term 03

寄件者 MArch_Term 03

寄件者 MArch_Term 03

A battle

This is a testing of the idea of two conflicting force that are interacting, throwing light towards the target by the two different surfaces on an object . Concave surface can focus the light towards the target, and the convex surface can spread the light. These two surface are described as offense and defense of the arriving light vectors.

Tracing Object 02

Testing the trace of movement with dust particles attached on the back of the object, it reveals the velocity of the rotation.

Tracing Objects

This is a short test about the tracing of the object movement, using a spot light running around the object to project the shadow on the wall and the reflected lights from the curved surface, its a method of reproducing the trace of the movement.

Vector Field in Real Flow

Sophie Ristelhueber

Sophie Ristelhueber's large-scale artworks and installations, the photographed landscape appears in fragments: damaged, rent, pockmarked. These traces of history and conflict, which the artist calls "details of the world," are like scars on a body, and they convey a similar tale of wounds scarcely healed. Ristelhueber has photographed these metaphorical landscapes in war-torn places like Beirut, Kuwait, Bosnia, and Iraq since 1982, recording the violence inflicted on the surface of the earth by the machinery of war. Rather than focusing on the geopolitical meaning of a particular conflict, Ristelhueber is engaged with the ambiguities of what she calls the "terrain of the real and of collective emotions." In her magisterial triptych Iraq, rows of burnt, decapitated palm trees stand in a blasted-out landscape; they are like, the artist says, "the remains of a defeated army." Although the image clearly resonates with the current war in Iraq and ongoing conflicts in the Middle East, Ristelhueber's approach implies that the current situation is part of an unceasing historical cycle of destruction and construction. In her photographs, the surface of the land becomes a kind of palimpsest on which the disfiguring marks of decades of conflict continue to be recorded.
http://www.icp.org/site/c.dnJGKJNsFqG/b.2041613/k.EFB/Sophie_Ristelhueber.htm

Rain drops as vector interpolation

寄件者 MArch_Term 03

Reflection of a Shifting Surface

寄件者 MArch_Term 03

Reflecting Vectors of a Surface

寄件者 MArch_Term 03

寄件者 MArch_Term 03

寄件者 MArch_Term 03

This is the vector drawings finished in 3d software, the vector line generated from point array to simulate the light reflection vector field on a curved surface. This is a surface constructed begin from an arch curve, and also introducing the idea of shifting points in a system, the point of an arch that is shifted and constructed as a new curve, the trace is then developed as a loft surface between these two curve. It is a very straight forward process to construct this surface, but the outcome of the reflecting vectors is what I am considered, the reflection of surface as footprint of the arriving light vectors. This correspond to the previous idea of a bullet hole, a destructed surface of arrived vectors, the landscape of trace that memorize the past arriving forces. It is then become a reflecting wall inside the bunker waiting new arriving vector, such as light, wind and gravity, the rain drops dropping from the air into the bunker and hit on the bullet hole, the water drop on the bullet hole become a new constructed surface which is then interpolate the light vectors and changed the pattern, it is continues changing due to the difference of arriving vectors in time. A light reflection map of arriving vectors.

A Sketch of Barbed Wire

寄件者 MArch_Term 03

The drag saw barbed wire is the idea of the two vectors arriving in the same place push and pull the surfaces in-between, the membrane is the material that fluctuates along the wind, the weaving surfaces is responding to the wind vectors. The elastic bow in between the membrane is compressing and expanding, the structure that encountering the vectors. The bow can storage the force and flip back towards it. The movement of the structure is making mark on the beach as the trace of the shifting point, it introduces the idea of drag-saw wire that is continues shifting due to the different war condition, the trace of the two conflicting forces.