Diffraction is the slight bending of light as it passes around the edge of an object. The amount of bending depends on the relative size of the wavelength of light to the size of the opening. If the opening is much larger than the light's wavelength, the bending will be almost unnoticeable. However, if the two are closer in size or equal, the amount of bending is considerable, and easily seen with the naked eye.
In the atmosphere, diffracted light is actually bent around atmospheric particles -- most commonly, the atmospheric particles are tiny water droplets found in clouds. Diffracted light can produce fringes of light, dark or colored bands. An optical effect that results from the diffraction of light is the silver lining sometimes found around the edges of clouds or coronas surrounding the sun or moon. The illustration above shows how light (from either the sun or the moon) is bent around small droplets in the cloud.
Optical effects resulting from diffraction are produced through the interference of light waves. To visualize this, imagine light waves as water waves. If water waves were incident upon a float residing on the water surface, the float would bounce up and down in response to the incident waves, producing waves of its own. As these waves spread outward in all directions from the float, they interact with other water waves. If the crests of two waves combine, an amplified wave is produced (constructive interference). However, if a crest of one wave and a trough of another wave combine, they cancel each other out to produce no vertical displacement (destructive interference).
This concept also applies to light waves. When sunlight (or moonlight) encounters a cloud droplet, light waves are altered and interact with one another in a similar manner as the water waves described above. If there is constructive interference, (the crests of two light waves combining), the light will appear brighter. If there is destructive interference, (the trough of one light wave meeting the crest of another), the light will either appear darker or disappear entirely.
Saturday 31 January 2009
Friday 30 January 2009
Light Pt 1: Understanding Light
Light Notes
As this project is primarily concerning light it was important to look at the history behind light and its association. One of the first and oldest associations with light is found in Christianity, with God creating light in Genesis. However, it is not only Christianity that holds light so highly, many other religions also worship light, for example the Hindu festival of Divali.
Continuing on from religion, light is also held highly in the history if the Enlightenment in Greece. With new thinkers, revaluating they way in which the world worked followers of Socrates and Plato speculated that light rays leave our eyes, are reflected from objects and then returned allowing us to see.
Furthermore, legends from Ancient Rome contain many mentions of light. The story of Archimedes explains that he built an optical device to defend his hometown in Sicily against the Roman navy. A huge concave mirror was designed to reflect and focus sunlight on enemy ships and cause them to catch fire. During one battle the device supposedly burned several ships, and the others fled. It is unlikely however that they materials would have been available to cause such a device (Mythbusters).
As well as ancient history, science also explores the world of light. In the 18th Century Isaac Newton discovered the particle model. He explained that light is a stream of corpuscles or particles carrying energy. Christian Huygens, a contemporary of Newton, proposed a wave model explaining that waves require a medium and light was thought to propagate by vibrations of an invisible substance called ether.
During the 19th Century, Thomas Young, Augustin Fresnel, and others established the validity of the wave model of light beyond any doubt, causing the particle model to be forgotten about. Furthermore, during the 20th Century Albert Einstein used the particle model to explain the photoelectric effect. According to his theory massless atoms absorb bundles of light energy, these particles are now none as photons. Through these scientific experiments increasing amounts of knowledge has been discovered surrounding light and it is now understood that light has a dual nature, part particle, part wave.
Light Waves
This section takes a brief look into light waves and a few notable facts that were useful to consider for this project. Light waves can transport energy from one place to another through a medium, but the medium itself cannot be transported. A disturbance is passed along from point to point as the wave propagates. In terms of light waves, the disturbance is a changing electric and magnetic (electromagnetic) field. Once the wave has passed the environment returns to its undisturbed state. Furthermore, light waves can travel millions of miles through empty space, whereas sound waves require some medium for propagation.
It is customary to characterize materials by their index of refraction, which is the ratio of the speed of light in vacuum to the speed in the material of interest. The index of refraction is closely related to the way in which the atoms in various materials affect the electric field. The index of refraction in many materials is greater for blue light (shorter waves) than for red light (longer wavelength). This means that blue light travels slower than red light, and this is the reason white light is broken up into a spectrum of colours when passing through a glass prism. The dependence of wave speed on wavelength (or frequency) is called dispersion, so prisms made of a material with a high dispersion produce well-separated spectra of colours.
The wave theory of light is adequate to explain purely optical phenomena such as reflection, refraction, interference and polarization. As a result it is only necessary for me to consider light waves and not photons.
science museum pictures:
As this project is primarily concerning light it was important to look at the history behind light and its association. One of the first and oldest associations with light is found in Christianity, with God creating light in Genesis. However, it is not only Christianity that holds light so highly, many other religions also worship light, for example the Hindu festival of Divali.
Continuing on from religion, light is also held highly in the history if the Enlightenment in Greece. With new thinkers, revaluating they way in which the world worked followers of Socrates and Plato speculated that light rays leave our eyes, are reflected from objects and then returned allowing us to see.
Furthermore, legends from Ancient Rome contain many mentions of light. The story of Archimedes explains that he built an optical device to defend his hometown in Sicily against the Roman navy. A huge concave mirror was designed to reflect and focus sunlight on enemy ships and cause them to catch fire. During one battle the device supposedly burned several ships, and the others fled. It is unlikely however that they materials would have been available to cause such a device (Mythbusters).
As well as ancient history, science also explores the world of light. In the 18th Century Isaac Newton discovered the particle model. He explained that light is a stream of corpuscles or particles carrying energy. Christian Huygens, a contemporary of Newton, proposed a wave model explaining that waves require a medium and light was thought to propagate by vibrations of an invisible substance called ether.
During the 19th Century, Thomas Young, Augustin Fresnel, and others established the validity of the wave model of light beyond any doubt, causing the particle model to be forgotten about. Furthermore, during the 20th Century Albert Einstein used the particle model to explain the photoelectric effect. According to his theory massless atoms absorb bundles of light energy, these particles are now none as photons. Through these scientific experiments increasing amounts of knowledge has been discovered surrounding light and it is now understood that light has a dual nature, part particle, part wave.
Light Waves
This section takes a brief look into light waves and a few notable facts that were useful to consider for this project. Light waves can transport energy from one place to another through a medium, but the medium itself cannot be transported. A disturbance is passed along from point to point as the wave propagates. In terms of light waves, the disturbance is a changing electric and magnetic (electromagnetic) field. Once the wave has passed the environment returns to its undisturbed state. Furthermore, light waves can travel millions of miles through empty space, whereas sound waves require some medium for propagation.
It is customary to characterize materials by their index of refraction, which is the ratio of the speed of light in vacuum to the speed in the material of interest. The index of refraction is closely related to the way in which the atoms in various materials affect the electric field. The index of refraction in many materials is greater for blue light (shorter waves) than for red light (longer wavelength). This means that blue light travels slower than red light, and this is the reason white light is broken up into a spectrum of colours when passing through a glass prism. The dependence of wave speed on wavelength (or frequency) is called dispersion, so prisms made of a material with a high dispersion produce well-separated spectra of colours.
The wave theory of light is adequate to explain purely optical phenomena such as reflection, refraction, interference and polarization. As a result it is only necessary for me to consider light waves and not photons.
science museum pictures:
Thursday 29 January 2009
Schedule
This is my proposed schedule, that if I can follow I am confident that I can stay on top of the project, and produce something that is rounded and professional. As we have such a significant amount of time before the hand in, there is the potential that the work rate will begin to slow, which is something that I have to make sure does not happen. I hope that continual updates on this blog will help to maintain a steady pace.
Budget
At this stage it is difficult to be completely aware of all of the costs that will arise during the testing and production of the project. This is because I cannot make final decisions regarding the brightness of the projector, the power of the laser’s etc, which will effect the cost. However, through research I have been able to produce an approximated list of costs, which can be found below.
Projector Hire: £50 each per day
Laser, manufacture: £20
Frames to hold projectors: self-built £20 each
Smoke/ haze machine hire: £45/£55 per day
At this stage I plan to use three projectors, and around each projector there will be a series of at least four laser detectors. This will mean that the overall cost will be approximately £575. As mentioned this figure may be subject to change once final decisions are made.
Projector Hire: £50 each per day
Laser, manufacture: £20
Frames to hold projectors: self-built £20 each
Smoke/ haze machine hire: £45/£55 per day
At this stage I plan to use three projectors, and around each projector there will be a series of at least four laser detectors. This will mean that the overall cost will be approximately £575. As mentioned this figure may be subject to change once final decisions are made.
Technologies
Light projection:
In order to produce three separate columns I plan to use at least three projectors (one per beam). However, as it has not yet been confirmed that a square beam can be achieved using a single projector it may be necessary to introduce further projectors. In order for the light to appear to move it may be necessary to mount the projectors on tilt-able frames or introduce lens' in front of the projectors. This will be dependent on further testing and the capabilities of the light video.
Lasers Sensors:
As I have outlined in earlier entries I want to introduce an interactive aspect to the project, which will be dependent on laser-like sensors. A laser is a narrow and powerful beam of light. If the beam is broken this is acknowledge by the receiver, which can then be set to produce a given output. It is this form of sensor that is commonly seen in films such as Mission Impossible, where lasers are used as high-tec security systems. Although, this system is often preferred in such hollywood circumstance, due to the visual aspect (bright red beams), in reality they can work effectively. During research for Research and Pre-production I found a cheap and effective method of producing lasers that could act as sensors. Unfortunately there is a problem with a laser system, although they are invisible to the naked eye, the smoke that will be used during the installation will highlight them allowing them to be seen, which will ruin the effect of the piece. As a result I will try to find a similar system. I am currently researching into the possibility using light receiving diodes, again this is something that will become clearer following further testing.
In order for the project to work efficiently I will need to use software that can control light, laser motion detection and be able to connect the two. I have experimented with different programs and have decided to use Processing to control the installation, and to produce the light. Unfortunately I have limited knowledge of Processing and consequently will have to devote a significant amount of time to learning how to use it properly. Processing is an open source program that is often used to control electronic arts and there is a great deal of online support. There are also countless updates and add-ons, many of which are specific for light.
I will hire a smoke machine, which will be used in order to help the light columns be as bright as possible.
In order to produce three separate columns I plan to use at least three projectors (one per beam). However, as it has not yet been confirmed that a square beam can be achieved using a single projector it may be necessary to introduce further projectors. In order for the light to appear to move it may be necessary to mount the projectors on tilt-able frames or introduce lens' in front of the projectors. This will be dependent on further testing and the capabilities of the light video.
Lasers Sensors:
As I have outlined in earlier entries I want to introduce an interactive aspect to the project, which will be dependent on laser-like sensors. A laser is a narrow and powerful beam of light. If the beam is broken this is acknowledge by the receiver, which can then be set to produce a given output. It is this form of sensor that is commonly seen in films such as Mission Impossible, where lasers are used as high-tec security systems. Although, this system is often preferred in such hollywood circumstance, due to the visual aspect (bright red beams), in reality they can work effectively. During research for Research and Pre-production I found a cheap and effective method of producing lasers that could act as sensors. Unfortunately there is a problem with a laser system, although they are invisible to the naked eye, the smoke that will be used during the installation will highlight them allowing them to be seen, which will ruin the effect of the piece. As a result I will try to find a similar system. I am currently researching into the possibility using light receiving diodes, again this is something that will become clearer following further testing.
In order for the project to work efficiently I will need to use software that can control light, laser motion detection and be able to connect the two. I have experimented with different programs and have decided to use Processing to control the installation, and to produce the light. Unfortunately I have limited knowledge of Processing and consequently will have to devote a significant amount of time to learning how to use it properly. Processing is an open source program that is often used to control electronic arts and there is a great deal of online support. There are also countless updates and add-ons, many of which are specific for light.
I will hire a smoke machine, which will be used in order to help the light columns be as bright as possible.
Audience
This piece will obviously lend itself to a closed dark space, ideally within a gallery environment. Due to the nature of the piece, i.e. the level of interaction it would not simple open for people to enter freely. If there were too many people within the space it would prevent the interaction from working to the desired effect, for example if too many people are trying to touch the columns at one, it will not be able to move as intended. I like the idea of one person ‘seeing the light’ for themselves, and I have found in previous works that sensory exploration is often a very personal experience. However, I did like how Anthony McCall’s work was presented at the Serpentine Gallery, although I don’t think this would be possible considering the increased level of interaction. This is something that will be considered again once the sensitivity of the motion detection can be properly calculated.
This work aims to be visually striking and to captivate the audience. As light is very rarely seen in this way, as huge columns, it should be inviting enough to encourage users to play and communicate with the light.
This work aims to be visually striking and to captivate the audience. As light is very rarely seen in this way, as huge columns, it should be inviting enough to encourage users to play and communicate with the light.
Wednesday 28 January 2009
Olafur Eliasson: The Weather Project
As with some of the other projects that I have considered, it is not the necessarily the subject matter of Eliasson's 'Weather Project', but instead the presentation and ambience of the work that is relevant to my work.
This project is linked to Eliasson’s fascination with the way museums mediate the reception of art. In a museum, visitors are offered an array of information before they even see a work of art from the marketing poster and press reviews to the interpretation text panel on the walls of the gallery. Eliasson recognises that this information influences the experience and understanding of the work. In this project he decided to direct these less overt aspects of making an exhibition, so that the experience of the work would be left as unscathed as possible for the viewer. This is something that I have always been a believer in, especially concerning sensory work that I have been involved. I think that it better to explore the senses without any prerequisites or ideas, consequently allowing for a more enriched exploration. This is an interesting theory that will be explored further when considering interaction.
Eliasson decided to expose the structure and apparatus behind The Weather Project, stating that, ‘The benefit in disclosing the means with which I am working is that it enables the viewer to understand the experience itself as a construction and so, to a higher extent, allow them to question and evaluate the impact this experience has on them.’ This is something however that I do not want to be apparent in my work, instead favoring a more concealed option. I have decided to try and avoid exposing the mechanics behind the project as I don't want to distract from the exploration and focus on the columns of light, which I feel would happen if the wiring and equipment were on show.
This project is linked to Eliasson’s fascination with the way museums mediate the reception of art. In a museum, visitors are offered an array of information before they even see a work of art from the marketing poster and press reviews to the interpretation text panel on the walls of the gallery. Eliasson recognises that this information influences the experience and understanding of the work. In this project he decided to direct these less overt aspects of making an exhibition, so that the experience of the work would be left as unscathed as possible for the viewer. This is something that I have always been a believer in, especially concerning sensory work that I have been involved. I think that it better to explore the senses without any prerequisites or ideas, consequently allowing for a more enriched exploration. This is an interesting theory that will be explored further when considering interaction.
Eliasson decided to expose the structure and apparatus behind The Weather Project, stating that, ‘The benefit in disclosing the means with which I am working is that it enables the viewer to understand the experience itself as a construction and so, to a higher extent, allow them to question and evaluate the impact this experience has on them.’ This is something however that I do not want to be apparent in my work, instead favoring a more concealed option. I have decided to try and avoid exposing the mechanics behind the project as I don't want to distract from the exploration and focus on the columns of light, which I feel would happen if the wiring and equipment were on show.
Tuesday 27 January 2009
Anthony McCall
Anthony McCall is usually better well known for his avant-garde film work in the 1970’s. However, due to his fascination with the mechanics behind film projection his work branched into experimenting with light and in particular projected light. McCall has realised from his filmmaking career that the light from projectors can often appear solid when smoke or dust is passed through the beam. From this allure McCall produced ‘Line Describing a Cone’ and more recently ‘You and I’ both of which featured at his exhibition at The Serpentine Gallery.
The slow tracing of the circle on the screen gradually creates a gleaming white cone of light that stretches back from the screen to the projector. As the cone slowly completes itself in front of you, a room that previously contained only darkness ends up with a huge geometric shape hovering astonishingly in its centre.
What was particularly interesting in this piece was how the light entered the room, and at even though you could see the projector creating the light, it remained difficult to resist checking to see if it were solid, the light was actually in the same space, shifting and ‘living’. You know, of course, that they are not solid, but some internal perceptual instinct in the brain insists otherwise.
There was certainly a level of interactivity within the piece, as members of the audience enjoyed ducking in and out of the beams, stepping transgressively across the panes of light, and generally exploring the illumination. It was this level of interactivity that enthralled me, as other similar works seemed to lack willingness to adopt a relationship with the audience. McCall’s work invited you to ‘play’ with it, something that was thoroughly enjoyable. I do however, believe that this could be taken even further, and the introduction of sensors and allowing the audience to influence what actually happens regarding the light would produce a more enchanting piece.
The slow tracing of the circle on the screen gradually creates a gleaming white cone of light that stretches back from the screen to the projector. As the cone slowly completes itself in front of you, a room that previously contained only darkness ends up with a huge geometric shape hovering astonishingly in its centre.
What was particularly interesting in this piece was how the light entered the room, and at even though you could see the projector creating the light, it remained difficult to resist checking to see if it were solid, the light was actually in the same space, shifting and ‘living’. You know, of course, that they are not solid, but some internal perceptual instinct in the brain insists otherwise.
There was certainly a level of interactivity within the piece, as members of the audience enjoyed ducking in and out of the beams, stepping transgressively across the panes of light, and generally exploring the illumination. It was this level of interactivity that enthralled me, as other similar works seemed to lack willingness to adopt a relationship with the audience. McCall’s work invited you to ‘play’ with it, something that was thoroughly enjoyable. I do however, believe that this could be taken even further, and the introduction of sensors and allowing the audience to influence what actually happens regarding the light would produce a more enchanting piece.
James Turrell
Turrell’s work involves explorations in light and space that speak to viewers without words, impacting the eye, body, and mind with the force of a spiritual awakening. “I want to create an atmosphere that can be consciously plumbed with seeing,” says the artist, “like the wordless thought that comes from looking in a fire.” Informed by his studies in perceptual psychology and optical illusions, Turrell’s work allows us to see ourselves “seeing.”
Whether harnessing the light at sunset or transforming the glow of a television set into a fluctuating portal, Turrell’s art places viewers in a realm of pure experience.
Turrell’s work is extremely apparent to the issues raised in my project. One example that is particularly useful is ‘Alta (white)’.
Alta is actually quite a simple projection, but is extremely effective. The light seems to form a solid and tangible object with great success, even more so than previous examples. Alta works so well because it is placed in a corner of a room, which allows for straight lines and rigid angles, opposed to the floaty and more translucent work of McCall. This also means that you can’t see through to the other side, which provides further solidity.
This is something that I want to be apparent in my work; the light must appear to be able to be touched. However, I want to add a level of interaction to the piece, allowing the user to be able to communicate with the piece, as if it a moving piece of material. This may produce a problem, as it will be hard to give moving light combined with smoke a solid form.
Whether harnessing the light at sunset or transforming the glow of a television set into a fluctuating portal, Turrell’s art places viewers in a realm of pure experience.
Turrell’s work is extremely apparent to the issues raised in my project. One example that is particularly useful is ‘Alta (white)’.
Alta is actually quite a simple projection, but is extremely effective. The light seems to form a solid and tangible object with great success, even more so than previous examples. Alta works so well because it is placed in a corner of a room, which allows for straight lines and rigid angles, opposed to the floaty and more translucent work of McCall. This also means that you can’t see through to the other side, which provides further solidity.
This is something that I want to be apparent in my work; the light must appear to be able to be touched. However, I want to add a level of interaction to the piece, allowing the user to be able to communicate with the piece, as if it a moving piece of material. This may produce a problem, as it will be hard to give moving light combined with smoke a solid form.
Context
Similarly to the previous post, concerning the rationale of ‘Seeing is Believing’ it would not be correct to try and summarize the context of the project in one condensed section. This is something that will develop greatly as a result of further research into light, how it works and the meanings associated with it. There has after all been a long fascination with light, with applied meanings stretching back to pre-biblical periods. The various different opinions and context surrounding will be examined during the process of the work. A thorough look into how light is perceived contextually will add complexity and a more informed foundation to evolve from.
As well as considering a variety of historical contexts it is also important to evaluate similar projects, or projects where light has been a core driving force behind the work. Throughout the research and pre-production process of the project, I examined a few similar projects, including work by James Turrell and Anthony McCall (something that will be documented in later entries). I will however be keen to research into further examples during production process, as they will undoubtedly enrich my work.
As well as considering a variety of historical contexts it is also important to evaluate similar projects, or projects where light has been a core driving force behind the work. Throughout the research and pre-production process of the project, I examined a few similar projects, including work by James Turrell and Anthony McCall (something that will be documented in later entries). I will however be keen to research into further examples during production process, as they will undoubtedly enrich my work.
Monday 26 January 2009
Rationale: Why?
Although it is still relatively early on in the project I think that explaining an initial rationale as to why I want to work with light and in particular why I want to exhibit it in the proposed method, will provide a useful insight to onlookers of the work.
Light is irrefutably important, without it we would not be able to see and all human senses would operate in an extremely different way. Light is reflected off everything that we look at, and consequently allows us to see the surrounding objects. The cornea in an eye receives some of the light that is reflected and bends it slightly. This light then passes through the pupil, and the lens, which bends the light further to form an inverted picture on the retina. The retina, which is made up of light-sensitive cells, then sends messages to the brain. The brain converts these signals into an image, so in reality everything we see is a picture that is created by the brain as a result of mixed signals from reflected light.
Although the images that we see appear to be seamless, each blending imperceptibly into the next, they are actually being updated almost continuously by the vision apparatus of the eyes and brain. The seamless quality in the images that is seen is possible because human vision updates images, including the details of motion and color, on a time scale so rapidly that a "break in the action" is almost never perceived. The range of color, the perception of seamless motion, the contrast and the quality, along with the minute details, that most people can perceive make "real-life" images clearer and more detailed than any seen on a television or movie screen. Szaflarski, an expert in sight quotes, “The efficiency and completeness of your eyes and brain is unparalleled in comparison with any piece of apparatus or instrumentation ever invented.” Humans have unknowingly learnt how to perceive things in a certain way, and through highlighting this it is possible to realise that you really are a co-creator of what you’re seeing.
This provides an extremely basic understanding of how we receive light, something that will be given much greater consideration through the remainder of research and development surrounding the project. It is this process of how we receive light that acts as the main stimulus for the project. It is a process that as will be highlighted later within this blog that normally remains unnoticed and is instead a sub-conscious practice that is rarely given consideration.
Since I first began to combine technology with different outputs I have become fascinated with how human senses can be explored and enriched through the use of technologies. Previous works have included the discovery of sight (lack of it) and hearing. However, I have yet to consider how we see, and indeed the effects that light has on our worlds. It has been this idea of sensory exploration combined with a desire to find new methods for interaction with installations that has led me to ‘Seeing is Believing’.
In particular I have become especially interested in methods of interaction that negate the tradition methods of user input, such as a mouse, buttons or a keyboard. This interest has developed into a pursuit for hidden and unidentifiable interactive triggers. Previous projects have highlighted that interaction is greatly enriched when a user does not associate the communicative process with an immediate machine, allowing the technology itself to become part of the art.
It is often desirable for technology to seamlessly fit around our everyday lives, with many people using technology to control certain aspects of life, without associating it with a technological process. For example, when a light is turned on or when watching the television, the technological processes behind the procedure are unnoticed, and the function is simply consumed without any further consideration. This is something that I want to be apparent in this project. I want the technology to be forgotten, allowing for the user to focus on the light and will hopefully add mystery as to how the light is detecting touch.
The above help to highlight why I have decided on ‘Seeing as Believing’ as the premise for my final project. I feel that the use of light will allow me to explore the ideas of interactivity and sensory works even further, something that will hopefully add complexity to my work as whole. The desired effect that I currently envision, depicted in the previous post, will require a great amount of research, testing, development in terms of interaction, projection, light, and how we receive it. I am also aware that I will have to broaden my understanding of new media software that will allow me to control the light and the interaction of the piece. This is both a daunting and exciting prospect, as I will require quite a complex system to produce the desired effect.
Light is irrefutably important, without it we would not be able to see and all human senses would operate in an extremely different way. Light is reflected off everything that we look at, and consequently allows us to see the surrounding objects. The cornea in an eye receives some of the light that is reflected and bends it slightly. This light then passes through the pupil, and the lens, which bends the light further to form an inverted picture on the retina. The retina, which is made up of light-sensitive cells, then sends messages to the brain. The brain converts these signals into an image, so in reality everything we see is a picture that is created by the brain as a result of mixed signals from reflected light.
Although the images that we see appear to be seamless, each blending imperceptibly into the next, they are actually being updated almost continuously by the vision apparatus of the eyes and brain. The seamless quality in the images that is seen is possible because human vision updates images, including the details of motion and color, on a time scale so rapidly that a "break in the action" is almost never perceived. The range of color, the perception of seamless motion, the contrast and the quality, along with the minute details, that most people can perceive make "real-life" images clearer and more detailed than any seen on a television or movie screen. Szaflarski, an expert in sight quotes, “The efficiency and completeness of your eyes and brain is unparalleled in comparison with any piece of apparatus or instrumentation ever invented.” Humans have unknowingly learnt how to perceive things in a certain way, and through highlighting this it is possible to realise that you really are a co-creator of what you’re seeing.
This provides an extremely basic understanding of how we receive light, something that will be given much greater consideration through the remainder of research and development surrounding the project. It is this process of how we receive light that acts as the main stimulus for the project. It is a process that as will be highlighted later within this blog that normally remains unnoticed and is instead a sub-conscious practice that is rarely given consideration.
Since I first began to combine technology with different outputs I have become fascinated with how human senses can be explored and enriched through the use of technologies. Previous works have included the discovery of sight (lack of it) and hearing. However, I have yet to consider how we see, and indeed the effects that light has on our worlds. It has been this idea of sensory exploration combined with a desire to find new methods for interaction with installations that has led me to ‘Seeing is Believing’.
In particular I have become especially interested in methods of interaction that negate the tradition methods of user input, such as a mouse, buttons or a keyboard. This interest has developed into a pursuit for hidden and unidentifiable interactive triggers. Previous projects have highlighted that interaction is greatly enriched when a user does not associate the communicative process with an immediate machine, allowing the technology itself to become part of the art.
It is often desirable for technology to seamlessly fit around our everyday lives, with many people using technology to control certain aspects of life, without associating it with a technological process. For example, when a light is turned on or when watching the television, the technological processes behind the procedure are unnoticed, and the function is simply consumed without any further consideration. This is something that I want to be apparent in this project. I want the technology to be forgotten, allowing for the user to focus on the light and will hopefully add mystery as to how the light is detecting touch.
The above help to highlight why I have decided on ‘Seeing as Believing’ as the premise for my final project. I feel that the use of light will allow me to explore the ideas of interactivity and sensory works even further, something that will hopefully add complexity to my work as whole. The desired effect that I currently envision, depicted in the previous post, will require a great amount of research, testing, development in terms of interaction, projection, light, and how we receive it. I am also aware that I will have to broaden my understanding of new media software that will allow me to control the light and the interaction of the piece. This is both a daunting and exciting prospect, as I will require quite a complex system to produce the desired effect.
Project Outline
‘Seeing is Believing’ is an interactive light installation that will allow the user to ‘touch’ and communicate with light. Within a dark space three large white rectangular columns will stretch the height of the room, appearing solid and tangible. As the audience move around near the columns they will be able to interact with them, causing them to bend and move out of column form.
Sunday 25 January 2009
Welcome to the blog for 'Seeing is Believing'
Hello, and welcome to the blog for 'Seeing is Believing'. This blog aims to highlight the context, rationale, testing, and all other documentation that will support my final year project for Contemporary Media Practice. I hope that the information presented here is interesting and explains why I believe that this project is so interesting. Thank you for your interest, and I hope that you enjoy the subsequent entries.
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