Shall i print the one with more stuff or less stuff???
Category Archives: Uncategorized
Word Count: 1460
Nature count: 23
Retreat to The Great Indoors
1 Culture of Interiority
Today we spend more time indoors than at any time in the past, this move to the interior is largely due to technological shifts. But is also due to our lack of tolerance for shifts in outdoor environment that are pushing us further into controlled, manipulable spaces. We are constantly in ambiguously un-natural, staged environments, even when we are out doors and nature as a singular, untampered space ceases to exist without some level of imposed artifice.
Nature has long moved into a realm where it is no longer completely natural and we are cultivating our own nature as a replacement to the loss of the old.
One can say the nature of our contemporary world has become almost entirely physically and culturally interior. And so while explorer Alexander Humboldt may have redefined nature in the late 18th century perhaps it is now time again to redefine it in the 21st.
2 The Ark
From it’s beginning with Noah and the flood the ark has been continually re-contextualised as a trope in art, architecture and fiction. As a sacred vessel saving populations from imminent catastrophe. The project takes place in a version of the future where smog has consumed our earth and we are no longer able to breathe. Here the threat is of course physical, toxic air, but the ark also begins to address the cultural threat of increasing interiority that has bred more and more isolation as our anthropocentric world view becomes progressively individually driven and virtually obsessed.
The proposal becomes a collective surge to create a continuous completely interior environment in a version of the future where this creeping interiority, the product of societal control, comfort and choice, has meant the interior becomes the only landscape we can culturally inhabit.
3 Building The Ark
A huge walled enclosure is built over and around the city. The enclosure is built to protect and rescue humanity and becomes a physical manifestation of our long-cultivated interior way of life. It is a colossal piece of infrastructure forming a walled city, creating a world within a world. The enclosure’s inherent isolation by definition breeds an alternative future whereby an understanding toward the outside does not and cannot exist. Rising upward towards the sky, the base of the structure intersects and intrudes upon the urban sprawl below as it forms an island above the city.
The ark is a monolith to house our populations, it moves humanity away from the scorched earth and ultimately builds the very idea of a new nature.
4 The Interior
The ark contains all the amenities that humanity needs not just to survive but to live. The city is compressed to form a continuous interior and over time becomes not only an apparatus to sustain living but begins to sire a New Nature.
A new nature, that when being confined to the interior, poses certain limitations on the experience and perception of space. The ark therefore strives to create a space that can transcend the inherent boundaries of it’s physical interiority. To achieve this the ark relies on shaping atmospheres, defining what weather is within the interior and identifying the formal parameters that can transform internal space into something other.
Weather is hugely important in forming both constance and variance in nature, weather dictates the atmosphere of an environment adding another layer of depth. Steam, humidity and pressure are made productive in the ark to gradually cloud spaces in fog, the influx of vapour at times solidifying or dispersing light.
The ark rejects conventional enclosure by renegotiating the idea of the limit to create space beyond confinement. Layered, perforated boundaries form glimpses of spaces that go further than the fore, middle or background and vertical and horizontal members shrink into the constructed distance composing vastness and expanse (reforming the horizon). The great scale differences between rooms from small to large from |domestic to industrial| amplify the points of threshold to where we are no longer able to discern what is in or out. Light becomes instrumental in creating illusions to surpass limits.
Whether it be a directional wash of sun-like rays or a light at the end of the tunnel, illumination is well utilised to allude to |depth or space| beyond what is present.
In using these qualities to surpass interiority, the interior becomes the new exterior, inverting our conventions of inside and outside. Current notions synonymous with the exterior such as distance, expanse and openness are readdressed in the ark as interior conditions. The varied spaces form an internal landscape through the cultivation of their significant differences, the parts coming together to form a new world.
The ark hence becomes the testing ground for interior living. The opportunity is, with this completely un-breachable domain, to create a universal space where topographies, representations and effects, even weather are harnessed, prescribed and systemised. Forced intimacy and utter co-existence are a side effect of the architectural limits of the ark, there is no ‘away’ no ‘over there’ everything stands homogenised in the interior landscape. Architecture lies in this gap between inside and outside, synergising the already blurred modern interior-exterior condition.
5 The new nature
Over time, the ark in it’s isolation becomes more adept at accommodating shifts in environment as it cultivates and embraces the effects of a new naturalism.
The delineation of what is inside and what is outside, what is natural and what is man made has been replaced by degrees of intensities, hybridity and artifice. We can no longer define something as solely man-made or as solely natural, distinctions between them are ambiguous. We could argue that the natural progression of things is for nature to be superseeded by our new natural which is architecture. Architecture therefore can be considered as the finality and future of nature, the end point in the evolution of our ecological community thus far.
Geographer Alexander Humboldt introduced nature as a world ecology, a living web with the earth as a living organism. |All bound together in a great chain of causes and effects|. Humboldt redefined nature and identified natural phenomena not as particular to singular locations but as global constants. Much like how almost all cultures have an Ark story, the ark is not unique to this climactic condition nor this cultural question but really the ark as a trope, as an interior is a very fundamental aspect of our human nature.
The interior here in it’s architectural continuity breeds likewise a diverse but inter reliant network of rooms where the parts come together in balance to form the whole.
The ark’s internal ecologies can be boundlessly varied within the parameters set out by the interior. An endless oceanic plane amplifies space to infinity. Humidity and clouds collect and disappear shifting built form in and out of focus transforming space with just weather.
With architecture as the provider of the new nature, construction is the process by which it is cultivated as it forms, dies and reforms. Rooms are fragmented, intercepted, added to and left to ruin. Fragments and built form weave in and out of view like architectural foliage (Hill, p121) cast with shadows from a canopy (roof) above.
The rooms move past the normal boundaries of inside space by nesting interiority to create features of exteriority using models we are familiar with; windows and doors to incept those moments of shift from shortness to vastness from small to large. This frames relationships in space that can transcend interior or exterior becoming both and neither at the same time.
We move from one domain to another creating the delusion of exterior space, never quite understanding whether we are in or out.
Boundaries between rooms stretch endlessly into the distance extending place, creating a labyrinthine interior space.
Jungle workshop city salvage line.
The ark excludes context, creating an architectural island. It strives to exploit atmosphere, to celebrate light and weather which within the interior are no longer governed by meteorological effects but by the architecture itself. The Ark attempts to render the sublime in this completely interior world, moving into the territory of the infinite, the unmeasurable, beyond imitation of the lost “natural” world into the beginning of a true exploration into a new nature.
This new nature seeks to form an as yet unimagined space, both confined and the confiner architecture is the main occupant, in many (dystopic) project endeavours like this architecture fades into the background becoming an apparatus left bare to be filled with people, a stage set to their behaviours. Here the interest is in the architectural world itself and the crafting of these landscapes. The focus is on the physical reflection of our interiority as a society, compressed into a singular space.
Quick post on the current stage of my map – I have been completing it with most of my ciphers and centred it around one (in Iceland) regarding last tutorial. I still have to update with related legend and so on :
Also, update on directory folder which is done now :
In parallel to that, I am working on my presentation – will update later.
Been working on an A1 drawing of the urban palimpsest (Leviathan’s mind). The idea is that the final scene will be an animated scroll up this wall – loosely referencing the act of ‘scrolling’ through today’s digital city. Will print/frame for tutorials.
Finale version of the material market spread :
+ the ‘tabula bonanza rasa’ (TBR) in Juliaca. I assembled image that Nathan took from Puno and then worked on the image in order to erase some of its building, as a way of showing the TBR in progress.
Some progress on my Ciphermapping. The aims of it is to have a first IRL-map (In Real Life) in order to introduce my other meta-map previously shown.
The current IRL-map is a bit messy, although it will be less when animated for my video. But otherwise I was considering having two drawings. One that shows only the network of relationships and the other on tracing paper that show the ciphers.
That how it is right know :
In parallel, I am doing this “directory”, that plainly reference all ciphers found and suspected. It is meant to be a complement to the map :
I am not sure yet about my map, still pondering many aspect of it. Let me know your thoughts if you have any. Or example of maps that could work for expressing various object at several locations.
Potential Questions and Answers:
Q: No clear Proposal?
A: A manifesto in favour of the screen as a site/landscape – part of the argument in the project is advocating media as an aesthetic of pleasure, spectacle and distorted time not a source for facts but for narratively packaged truth, enjoyed as stories.
Q: Conceptual space/design Telescape?
A: Granting the screen a body and discussing the issue of surface and flattening of the mode of representing place and events-happening – architecture having been the built container of worlds and what of it when the apparatus is the screen.
A: An increasing distance between our inside and our outside, a disparity that changes our perception of events – from Greek root of tele- meaning from a distance, we are beyond merely tele-vision but we tele-everything including event construction and spatial understanding of the world.
-An annoyance with the attitude towards fake news, media lying, conspiracies, post-truth etc. whereby I wanted to discuss the architectural/spatial role of surface in turning any curated media (from traditional ornaments in the past to digital texture today) into a cult of tele-spectacle where fact doesn’t matter over story-telling.
Q: Role as an architect?
A: The curator and designer of spectacle – my take on the Diamond Age as a brief is to look at footage as the material substance of our age – the site is the screen and their common spatial denominator: surface. Curator, editor – story-teller – time compressor/exploder.
A: The explosion of it –exploitation of every singular moment to be stretched and expanded in the media – everything becomes spectacle – therefore is everything also beautiful or subject to aesthetic scrutiny like never before?
The image collapsing scale was what the Eames most successfully demonstrate in the powers of 10 – More currently it is TIME we are extrapolating to the powers of 10.
What is our role other than condensing in reverse through omission and curation our work at juries at the final table or at exhibition – every year at the AA tutors repeatedly in my experience I hear saying how horrendous we are at displaying our own work – because we go for maximum spectacle and no other means of representing the work itself in its depth but on its surface – visuals above content is the casualty of our discourse perhaps and the Telescape doesn’t necessary look at this negatively but celebrates it as the creed of our times and of the future.
Q: Why the Baroque ornament?
A: The fold inside/outside disparity – the theatricality conceptually works; the ornament as a frame to screens screaming for attention – Vatican of Screens – a celebration of the screen – the screen is put dead centre of the frame we venerate it.
Also early on in the year part of my writing and research delved into notions of the neo-baroque and looking into the construction of facts in Latourean terms as well as his argument of us never having been modern – and I particularly like the opening to the book itself where its very much like my scroll-edit transition where he introduces the crux of his argument by describing the headlines in a news article he’d been reading and how they sit amongst each other on the cover page not only in visual disparity but also content.
Below the two spaces we go through as part of the ‘nested-spaces’ sequence, ‘This Killed That’ Cathedral and The Newsroom, rendered out as 10 second clips each. More to come along with the film edits we discussed last time as well.
I’ve been rethinking the end of my presentation detaching it from the black hole and orientation the focus to the final model. It needs to be more integrated into the discussion and presentation.It is a world generator where different scenarios happen simultaneously and creates juxtapositions where all objects can be seen from every angle.
I photographed the model and tried opening it in different ways :
Adding more texture detail, the delegates, and Leviathan’s head to the UN scenes. Rendering out the animated sequences over today and tomorrow. Still got some work to do on Leviathan’s head and the audio still needs clean-up obviously.
The motel diner shows the double context of the project between the desert and the studio. It is an image that attempts to bridge the different forms of site: the screen (rendered part), the model and the book (photograph). I’d like to make the double context show more in two scales in the image (for example the over-sized camera on the left). Also, could maybe have some depth on the right, showing the desert / the studio… this part is rendered and it includes some artefacts from the project
A nice bit about the work of Lois Renner who makes beautiful mixed media images:
“The fantasy of meticulously planning and shaping worlds in which to live, an approach borrowed from architecture and design, falls apart and, like a mutant, turns against the studio from which it came into being. It came from within, as Cronenberg would say. All photography can do is follow this process stoically”.
This is a view of a moment of the second map (In progress), where desert meets infrastructures and gardens. I’m not sure if this is going to be part of the actual map or within a series of other drawings showing the two maps from within.
2 new piles (brick pile in rural landscape and copper pipes pile) + the tate brick corrected. I have redone most of the book in order to match the new A2 version. I still need to work on a spread for the general presentation of material markets, the spread where the bricks are more carefully stacked in 2 rows and people can ‘visit’ the bricks (like a memorial), and re-work on the Juliaca images.
Notes on Jury:
I have spent the last few days gathering some thoughts about the jury.
The conversation following my presentation revolved around a variety of things that i have been very helpful in helping me define what the commentary and argument of my project is.
I don’t necessarily believe that the project’s argument is about the virtual or the real. I feel the way i have been presenting R2 has been quite problematic. I have very much only described it as an escape or a place that we can depart from everyday life. I am more interested in the ways in which these realities influence one another through our inhabitation and consumption of these interiors.
At the moment, the camera simply moves in and out of the spaces, not really showing anything more but the fact that we enter and exit the screen. I think this is a perfect opportunity for me to explore the relationship between entering and exiting. To be more specific, i would like to see how elements of these virtual worlds start to exit the screen and enter the realities of Dan’s world – What is shown on the screen should translate into the room and its environment somehow. This will be begin to activate the spaces and allow for something more dynamic that what is currently happening
I will amend my script and what i say to be more specific to these outcomes which will inevitably allow for a more subtle reading of my project that it is not about this or that but the single condition that i am arguing for, where in which the rooms extends and becomes completely unbound.
The escapist culture of gaming that is evident in my video is not necessarily a new phenomenon either and i have been very much aware of this. Dan to me has always been the context for the whole project – a framework that sets up the whole project as we move in and out of both realities.
Finally, i want to put more emphasis in my introduction on another example. Earlier this year i was speaking about a some players on Counter Strike and their ability to find the perfect slippages within the maps on the game. They become these almost unstoppable and invincible players on the map.
I am very much interested in this notion of spatial memory within the format of these games. Its almost like growing up in a neighborhood, eventually you’ll know the ins and outs, completely familiarized with it and its backstreets.
I feel this will help add another layer to the project.
Here are the videos presented for the Final Jury.
Hi everyone !
Here is what I presented for the jury :
1/ Latest version of the film :
2/ Cipermap :
3/ My presentation script :
Here’s the film as it was presented last friday – planning to cleanup/re-render some of the under-developed scenes for tables.
Password to watch is: leviathan
- I’ve been working on producing 3 huge a0 size prints over the past few days. Thinking of printing it in A1. as A0 is a lil too massive.
- I will be producing 7 A1 for the Jury. ( 3 Images, The Universe Map, figure8, SomniaXYZG Map, Monster anatomical Drawings. )
- Been working over the weekend on Script. The script for 27 years of Lazarian Delights is FINALIZED . No more changes !
- The Narrator-Log Voice is recorded.
- From now on wards up to Friday, i need to stitch together the Log Voice and re-edit all the animation footage to fit into script timeline..
- I need to PRACTICE how to present before the film comes in. there’s a part in the script introduction i need to work on..
Working on the switch from the screen to the room, and back to the screen. It’s based around the Named View concept – House VI was designed only for a few privileged views and is inexistent otherwise. The film pauses on the image of the house and then we go to the room. For this to work I added a few quick ‘house as image’ spreads, which will first be flipped in the room, and then 2-3 others will be flipped on the screen, connecting to the rotating model which is the living proof that this is nothing but an image……. The images of the house are here there and everywhere BECAUSE THE DIAMOND MOTEL IS A DISPERSED GEOGRAPHY
I have been working in producing, editing etc. for preparing the presentation.
Amongst the things I worked one :
– Editing Cipherspace map that will be used for the last part of the video. This version is not the final one but close to. Will keep this grey/while texturing for now, it recalls better my models.
– A new sequence for my video as well. Not perfect but will rework on it, as well as two others video shown before that need shadows on them.
– working on the presentation, can hardly show it right now but I found the best reference ever. I did quite advanced researches to see if it is real of fake. And it is real. My project is happening next year in real life.
This title says it all : “UAE plans to drag an ICEBERG from Antarctica to provide drinking water for millions”
Players: Burroughs, Piranesi, (future) Drawing scholar.
ACT I: Exploding TimeAre We Shooting? – Cameras from Jackie next to Three Kings (quote from Jackie) CNN news report appears alongside a report from Live from Baghdad – Bush the younger next to him (either with us or the terrorists), Obama on drones, trump, Clinton, Hillary, Blare etc … appear gradually as tiles – some are SNL satire clips.
News coverage explodes events, making each recorded flake an avalanche – The First Gulf War lasted 800 hours – it generated over 20 000 hours of footage. What, when and where no longer adhere to a conventional perception of place.
As information in the form of imagery is constructed with exponentially increasing velocity, variety and volume, place becomes elusive – time is exploded. Is war happening? Is climate denial legitimate? Do facts or fictions even matter when both are as constructed as each other?
It boils down to belief – detached from fact and addicted to narrative delivery.The incubator Story! – Testimony – War, Film, Debunking – evian babies WMDs! Trump Lies! Truthiness Colbert – Info Wars – Talk shows From footage into the news room
Truth has always been highly overrated – representation and reproduction inherently taint –The Story prevails – footage becomes nourishment for the eye; innumerable fragments of the world woven into digestible stories – The screen is their narrative yarn, weaving the polymyths into a monomyth and served up as news.
ACT II: Events as Spectacle / Phantasmagoria
What chewing gum is for the mouth, are buildings for the body, and footage for the eye – always received in a state of distraction. The ceaseless stream of visual data becomes an aesthetic overlay (insert data how much we produce a day/year) – at least 3 years of a any 20 year-old’s life will have been spent staring at a screen – for leisure time alonethe goal, the tennis ball, the Arab spring, anchor man Book: War is beautiful! – Pieta versions of grief War is Everywhere (edit to mix and make it less about War) The stadium Billboards
The aesthetic of media is a dichotomy – a phantasmagoria versus the tedium of the hyper-normalised – the Spectacular is Beautiful the Boring is Ugly. The masses at spectator sports, concerts or revolutions are always staring at and through the screen – reality craving cinematic steroids.
Attention-management is no longer the advertiser’s realm (evian bottle and babies) but everyone’s – humanity has become the curator of it’s own appearance it’s past, present and future – All is surface – the very reading of life: a scroll of headline feeds. How fast and for how long can you look.Time – time metrics, analysis – SPEED- HEADLINE WORLD – Stream – SCROOOOOLL
The screen grants a mydas touch (phone and thumb) turning world into an image of sheer and utter spectacle.
Nesting of Spaces – flattening of the AediculaOut of the scroll over the desert
A war took place somewhereThe news room
Once upon a time something happened; brought to you liveThe Church
‘This will kill that” said Frollo to Quasimodo as he realises how the printing press would kill the cathedral (echoes as we move through the church – bells of Notre Dame in the background)Netflix Living Room
Screens watched within screens – spaces become nested – The screen has done away with volume – the world is pure surface. All else is boring.SPEED-THROUGH SPACES:
Inside and Outside collapse into the glassy plane, an undulating fold between exterior and interior. – we never touch, taste, smell the events on either side – we only see surface – and always from a distance.
ACT III: The Telescape – World of Surface
Ocular tele-hedonism at it’s utmost – We tele-battle, tele-learn, tele-travel, tele-fuck – the Telescape is becoming the only site – If architecture has been a representational interface, the Telescape becomes the absolute inter-space – be it a screen, virtual image or all-out augmentation, surface is the new creed; all else is a prop for displaying a polyhedral world without a z-axis.
Never has the world been seen in slower-motion, in more scrutinising detail, in higher definition – more space, more time more and more and more and more … It is oversaturated, eye-watering, honey-dripping beauty. Why would you ever want to leave?
The world is not your oyster – the Telescape is the oyster of your world.TELESCAPE FACTory of the World
Should have a mock up of the film by tomorrow (minus a couple of scenes that I’m still working on). By Friday hopefully there will be a draft version of pretty much everything…
In the meantime:
The memorial scene:
The UNSC ocean (refugee overlay):
Some frames from the clip towards the end of the film as we (think) we pull out of the superstructure into the city reflected on it’s exterior …
Here are some stills from the intro scene I am currently rendering out:
20th century fox search lights, the roaring Lion of Metro Goldwyn Myer …the BBC, ERT, InfoWars, SKY, ITV, CNN etc. appear on screens all over – these are universally (or at least on national levels) collectively read as INTRO footage – the intro to any STORY – the news supposedly serving up the FACT and the production companies constructing a FICTIONS – recognisable themes from these intros echoe in the seemingly infinite telescape.
We keep moving forwards deeper into the space while the camera subtly starts rising. Are we ever going to get out of the space? Is that a hole up right?
Oh it might be a way out? A dark opening in space …
For today, I prepared the argument for Manolis tutorial. It was pretty useful as it forces me to write down elements that were floating of forgotten – looking at all my project at once.
Interestingly enough, I realised my presentation follows the exact opposite sequence of my argument. The former first bring facts (sand market, caryatid etc.) and introduce progressively the notion of language, as well as cipher spaces. The latter does it the other way around :
In the meantime, I am working on my narrative and presentation. Right now, trying to compose a ‘folder’ that will be presented as my investigation of these cipher. The folder will contain different type of documents including :
– photographs (some will be my collages..)
– analysis (formal, material -> see. images below)
I am currently working on these, unfinished at this point but on the way :
I have been testing out the different colours, paper thicknesses, and layers of the drawings… Will show the Poped version tomorrow !
Uploading few new images. Most of them are still in the making, the london map where i will feature the long brick stack, waiting to be shipped. As discussed the other day, the long brick stack (#whichinfactisawallbuticantcallitawall) sit on a long site behind the crossness Pumping station (as perhaps a temporary barrier between residential area and the stinky industrial site).
The wood pile is taking me a lot of time to do, and now that i am looking at it after a few hours of work, i realise it needs a lot more work. However i think it’s important that the pile of materials are carefully arranged, somehow curated, as they are to be re-use, as in fact they are money in itself.
I didn’t have time yet to work on the Juliaca map, probably need to be my work for tomorrow as it needs some good work on it still.
Planning compile a new version of the book for tomorrow during the night, with the new images, texts,… > tumurruw
I don’t know how I ended up going down this rabbit hole (or may I say black hole!), but I was looking for “generic” music to add in the game.
I remembered that there was this song that you would always hear it playing in China, literally EVERYWHERE, in the underground, the shopping malls, hotel lounges and any other type of public space. After looking for a bit, I found it! It’s Kenny G!
I also found MUZAK, “a brand of background music played in retail stores and other venues.”
Im going to tone down the colours on this one more because i dont particularly like how it turned out.. the concept however, is there and i would like to print this drawing out for the presentation to emphasise on the condition of Dan’s world. I think there isn’t enough variety yet.. but im confident it’ll take shape as i work more on it.
These are drawings and moments i would like to add into my white book. I feel it’ll give the project an added architectural aspect, emphasising on the way in which we live inside today.
Manolis and I came to the conlusion that the major question that i am asking is “what does being inside mean today?”
I think it really sums up the project quite nicely and i am finding a way to tie it into my conclusion.
Dan will always live in room.
But through this, he can escape if only for a few moments into a world where he is no longer contained.
As Dan’s life carries on his world, he will always have the ability to find refuge in a world he has so carefully selected and customised.
Here, our rooms and its walls no longer contain us from one another. In fact, these virtual worlds have become extensions to our rooms as we journey in and out of them.
Here, you will find yourself in a world built for you and you only, catered for your very needs in every possible way.
This is what the interior is today.
Test of Sofia’s green-screen scene with the cranes.
Render time by adding footage, even if only in the screens that are in view, has skyrocketed as expected… I’m trying to solve the issue. in the meantime here’s a still of a clip with the screens active and the footage selected to make associations as we pan over it.Below is the model for the intro to the film with the camera panning over the seemingly infinite telescape – the footage I thought here could be of news channel opening titles, and of movie production company opening logos as we pan over and enter the media room for the war/post-truth Polyhedral Reality sequence.
Decided not to put myself in the animation…. Here’s a test of it. =/
An idea of the subtitle look..
Here’s a screengrab of all the footages shot on my expedition. I need to place those fragments into a routed journey taken on the 27 years. Looking back at my journal now to relive some of my memories. =)
Teaser to new opening of film —-> wipe of context from city to desert —-> once again thank you Maxime for a great reference
Welcome to the jungle, needs a lot more work but it’s a start!
Currently modelling the jungle scene, need to add A LOT more human and architectural junk.
The last few days have been interesting. Here is a summary of how this has been done.
First I started by scanning myself in with a Kinect sensor. With this, i was able to morph my profile with a stock head i found similar to mine.
I then rigged the face according to the blendshapes used in the motion capture software.
Then I started painting the textures of the skin – blemishes, tone, eyebrows etc..
My avatar was then rendered and combined with the recorded sound.
The introduction of my presentation will be presented through my avatar.
Here is a video of the motion capture in action! The text still needs refinement but i think im getting close to making this just right.
Here’s a work in progress of the large underpass scene. The people still need to be rotoscoped properly – some of them are pretty weird and ghostly at the moment. But should give an indication anyway…
Also, over the weekend I managed to record/shoot 90% of the stuff involving actors. Got to sort/edit/compose the sound and greenscreen stuff over the next few days. Will show some of the raw footage/recordings tomorrow.
For reference here is the updated construction site aerial from last week too.
I tried this weekend to push the production and create more and more spaces. Unfortunately I have not finished them all, but I have modeled a large part of it in rhino.This is the total view of the Bimland campus.
Also I finished the infrastructure set.
Recently, I simply tried few video composites regarding my glyphs in the desert. Also started to work on some work regarding the exploration of the glyph but will update later about it.
Still not perfect yet, but it is on the way …
(PS : I did not change the original sound – yes it is Emma screaming on the first one)
Here are the last images/drawing i produce over the weekend. Sorry for the random order, from top to bottom : ‘Join the March’ poster for Brickxit demonstration, Supertanker loaded with huge pile of bricks, Supertanker section, Tati in front of a brick pile, NY (starting), Maps of flow, flows, ‘small’ stock of brick, protected by the police (1),(2). Eventually the city of Juliaca (the file is huge, i took a screenshot, sorry for the bad quality) before and after being emptied (WIP, you can see the first spot of the buildings being wiped away)
A refined transition render for a specific part of the film. Clips to be inserted to replace static. I have drawn up an almsot compelte narrative sequence for what is to be shown and what renders I’ll need for each part of the film. We can discuss the sequence in detail tomorrow.
Been working on a library for the world. animation to come…
Here’s a scene of me underwater trying to catch ”Tricephaly Platycephalus Fuscus” from page 224 in the TS book. =)
Timelapse of last nights games! Quality is pretty bad, but the cards are still readable so I think its ok
Have been conducting some render tests on the Vatican-of-Screens model – Testing fluid dynamics and (unsuccessfully for now) tried to map a film onto the fluid. In the second clip the screens are placed between the ornaments and given footage as we pan out and over the surfaces.
…. Working on 2 new scene since the jury. A drone takeoff, and the levitation zone in Planet M01-M02. The plan over this weekend is to look into all the Drone and Handheld footage, rearrange all the fragments into a timeline and narrative. come up with a script in ”words” of the commentary of the journey for the final film. =)
“The impersonal nothing represented by the hotel manager here occupies the position of the unknown one in whose name the church congregation gathers. And whereas the congregation invokes the name and dedicates itself to the service in order to fulfill the relation, the people dispersed in the lobby accept their host’s incognito without question“.
Siegfried Kracauer, The Hotel Lobby
Working on the models for the scenes I’ve metioned yesterday.
Some points on yesterday:
- - I particularly liked the idea that the FACTory is granting the Screen a body : The Telescape is the screen given a body by surface.
- - The galleries (the Wallace Colelction and Saatchi exhibit I plan to frame within my telescape surfaces as an introdicution to the film)
- - MORE footage MORE clips appearing for shorter times – exploit the viewers positon as the one making asscoiation but keeping it short enough – 5 secs max each clip – to pevrent each micro narrative from taking over (thanks Nathan!)
- - Finally, the “Screen Vatican” to be way MORE COW BELL – explode it out of a room, bigger crowds and surface as an increasingly dominant medium in the urban context.
Here’s the animated version of the shot in the construction site with the conservationists’ landscape view.
And a description of the complete scene below. From here, the plan is to finalise the script/character text today – which I will post later/bring to tutorials tomorrow for final revisions. I am organising a recording session/shoot with actors for this saturday.
A construction site from above, empty but for a trail of people walking through. Where the people walk, the ground is covered in grass and dirt – as if they are not in a construction site at all, but rather somewhere deep in an untouched wilderness. The natural ground cover fades away into the bare concrete and dirt of a the construction site several meters away from the walkers.
Our group has been studying the landscape for decades and we see this place as it was in the pre-human times. We’re among the few who really value the past – it’s not something that Leviathan thinks about much. So we come to sites like this as they are empty of other people and their views and we have a chance to embed how we see onto the streets.
A group of walkers hike along a trail, it appears to be covered in natural rock and grass. A dense fog has settled over the landscape. In the distance, the silhouettes of cranes and unfinished towers looms.
From above, a lush green landscape winds its way between unfinished buildings – panels of glass reflecting the colours of the wilderness.
The Past Earth Group wants Leviathan to take our origins more seriously. We’re part of her after all and when we group together, our view becomes more obvious, more permanent – a space of clarity amongst Leviathan’s schizophrenia.