All 3 plates produced during Antoine’s workshop :
Create language (interaction, conversation, exchange, transfer, …) : Its most fundamental aspect : making possible communication between two entities – screen (individual(s) as creators, enactors – a portal to access any space) and block (matter in becoming, the potential emergence of a meaning)
Resist language (monologue, self-centered/referential, hermetic, …) : Language that finds sense in itself only – econonomical, political, cultural etc. without relation to any other. An input that provides meaning to an phenomenon albeit self-referential.
Reveal language (marker, glyph, spatial figure, trace, … ) : Without any sort of input – the transformation and transportation of matter ‘as it is’; an articulation of spaces devoided of meaning. They are only marquers of a human activity that fail to be understood, absurd ciphers of endless transformations.
LANDSCAPE OF THE I
In the unit we are given no context and no site but only the task to link things, objects and concepts. In the absence of a place to work with I am simply making my own site, comprised of ‘self portraits’. Each of our lives consists of many sites, mine exists at the AA, my flat in London, in Holland, my commute over Waterloo bridge, on a holiday, in a way the site is a very disparate and disconnected landscape and yet it is connected through the continuum of my life. Our lives also continuously come into contact with other people, with other self-portraital landscapes. My designed landscape is a multiplicity of sites taken from different people, essentially a collective landscape. The model that you see here is my current investigation of how to make these places spatially meet, interconnect and how they are displaced. The apparatus of my project is landscape (the site) and the machine is the delivery of the it.
Throughout the year I’ve been making different machines that deconstruct space through vision and investigate the relation between viewer and viewed.
Further explaining the last two machines I start with the Mirror telescope. The reference for this machine is the story of the Canals of Mars, in the early nineteenth century a popular theory was that there was life on Mars. Scientists were looking through their telescopes and seeing lines on the surface of mars so geometrical and distinct that no environmental phenomenon could have caused them, Schiaparelli drew them and further popularized the theory. What the scientists were actually seeing was the shadow of the veins in their eyes overlaid onto the image in the telescope. I think this is a great story about how we constantly project our own interpretation onto the things we see, and based on our identity and experiences this is different for everyone, it forms essentially a self portrait, much like my machines does.
The Mirror telescope is the device through which I captured the pieces of my landscape. It is a product of self portraiture and interpretation or imagination.
The process behind the construction is as follows.
‘What is this a drawing of and at what scale?’
Each person’s subjective view sees a different part of reality, together they form the whole picture. Collecting these subjective views into collective sight forms my contemporary architectural site
The landscape orrery is based consists of several landscapes, the rice paddy fields from the interpretation of the canals of Mars, the landscape of mars itself and central park from both sides as a landscape showing the theme of man-made vs nature and incorporating the interpretation of tree canopies and city diagrams.
I argue that landscape is comprised of a disconnected array of sites taken from our lives. Landscape doesn’t just exist in one set of coordinates anymore but in many places at a time connected through vision and memory. In my project I attempt to spatialize this concept through the Landscape orrery.
For further development of the project I aim to expand the landscape orrery and investigate in what other ways it can perform, working with another dimension of movement, possibly incorporating some of my former machines effects, using mirrors, and or screens.
Sorry for the late post, was watching the debate for the french election until now…
Here are the workshop images. More tomorrow !
Writing the presentation, most of the images are printed, thanks to Nicholas and his plotter!
Here are the images I have for the storyboard so far – a few more to come to flesh out the supermarket, toilet cubicle, apartment and urban palimpsest. The idea is to compose these images in a 8-10 minute/semi-animated storyboard – like the ‘Mirrored Eyes’ storyboard from the 2nd jury, incorporating the bits of animation that I have done.
I’m working on the presentation text/narration now. After the workshop with Antoine, I think there might be a couple of new scenes needed, to further elaborate more positive changes in group behaviour provoked by this scenario, as well as better illustrating the spatial ‘averaging’, but I think given time I will aim for developing these after the tables (although I will describe my ambitions for them and their purpose of course).
Hopefully tables can act as a review to make any final changes to the screenplay/scene sequence/image tone and atmosphere so that in the 2 weeks of holidays after Peru I can really get into shooting as much of the film as possible. The idea would be to use third term mostly for post production/rendering and getting the film as slick as possible!
New scene – (to replace the preserved house). Cemeteries of the future are dedicated monuments in the landscape where people’s augmented profiles are kept. When entering one of these mausoleums one’s own overwriting mechanisms are temporarily disabled, preserving those who have passed in little samples of their worlds forever.
At the moment I really believe in my presentation and my thesis, but I lack the collection of imagery. So, I decided to produce some last minute Stuplages (Stupid Collages). I think that stuplages are a successful component to have successful previews. GO! GO! GO!
The last few days have been very helpful in clarifying what I want to Create, Resist and Reveal!
The reality of Dan’s world is ultimately what I am arguing for, the room, the city and the screen. All these elements are starting work with each other much more efficiently in comparison to the previous videos i have worked on. The inevitability of living a standard life in standard homes amongst standard buildings in standard cities is much more evident than it ever has before. The project does not aim to solve this but to simply provide an alternative with the very elements of Dan’s standardised room.
If the 19th century enfilade provided a framework for the viewing and display of culture in the context of a museum or for the display of wealth and power in the context of the palace, what does the 21st century do?
I will begin to ask myself this question more as i feel that it would be crucial to find a good definitely of the contemporary enfilade, whether it is physical or purely digital.
Here are some thoughts regarding each aspect of the project:
The video still requires a lot of work in the coming months. I need to find a way to make these experiences much more effective than they have been. This will be tested by creating a variety of new spaces to journey through and out of. So far, i’ve spent very little time in R2 and the next step would be to create a denser and much more immersive experience of “Delta”. This will hopefully be achieved by moving around the spaces in R2 rather than the strict rule of only moving forward that i’ve applied so far. I think this will definitely make the viewer feel more trapped in this never-ending enfilade.
So far the narrative acts like a documentary/ ad for Delta. I think the narrative can definitely expand on the condition of reclusiveness by moving beyond just the culture of gaming that i’ve focused on so far. The Hikikomori in japan are a good examples of this, where young teenagers and adults voluntarily isolate themselves in their rooms, watching movies, anime, playing games and probably never leaving the house.
The Hikikomori are always gamers, majority of them have found life in the real world to be too difficult and have simply withdrawn into their individual rooms, mulling in self pity. For many of them, the screen and the world of cyberspace have created refuge, allowing many of them to never leave the room.
The hikikomori is an interesting condition that is becoming much less of a niche today as we find many of these instances globally.
The next model i’ll be doing will be much more specific than the latest one that i produced. It was however through this model that i have learnt what would be much more effecting in the next one.
I’ve started to test how series of layers can be built up through the framework of the model. With the 45 degree mirror, the ability to manipulate and re-construct will be expanded on much more where a less rigid framework will replace the grid or matrix that i have been relying so far.
I will begin designing the model soon.
A reference i came across to think about is Liam Gillick’s piece, Hamilton.
It is a mirrored room with a screen in the middle projecting a variety of scenes for 27 minutes. One scene that caught my eye is a rendered video of a room with screen in it playing another video. Im still trying to find the video online but it doesnt seem to be around.
Im in the process of updating the pages and spreads of the whitebook with new images of spaces from the latest video. I also aim to do a few drawings of the spaces in R1 and R2 to be added into the book.
Few images I have been working on regarding the narrative of my project.
Overall my plan for previews is try a different way of presenting by simply reversing the way I used to present up to now. Overall :
1. The story
I will start by introducing the story : matter being transfered from one place to another, this seemingly anodin act will start to catch people attention until they start to question it.
The stone found in the desert will trigger the story.
2. The explanation
After that, I will introduce the various element behind this : how a language (political, economical, cultural) define the logic of an act, covering its potential absurdity. My project stands then as the creation of a language that breaks through these logics by simply being about space awaiting to be appropriated.
Images I have been working on so far (I am also trying to make a quick video to work with my presentation) :
Some of the comments from the preview tables –
*****Media and place-making – how can the use of different media be used more explicitly to form a critique (about media)?
****The role of the book in the project – currently not different enough from the film and the model
***Presence of the model in the presentation – needs to be more central, and preferably include some live performance
**Notion of time in the project
*Vocabulary of cuts
Motel rooftop (Donald Judd) and lobby
Images from the model in the book –
Exhibition at MoMA –
Working on new imagery for some of the scenes that I haven’t yet visually described:
THE BUILDING SITE
The urban artisans of the future are finely tuned to the fabric of the city. They order and construct the city through precise gesture. Moving like dancers across the city’s construction sites, these architects and engineers pilot the infrastructure of the city.
THE TOILET STALL
A dramatically thin woman sits hunched in a toilet stall, head bowed. Red light… Deep blue shadows… Her skeleton shifts beneath delicate skin. The red walls bulge disgustingly like swollen flesh.
‘I remember that the worlds that protect and express us, can also imprison. I see bubbles of pain; worlds of self-obsession, cast from our own desires and insecurities.’
THE CONTACT LENS FACTORY
A huge expanse of clinically white equipment. Machines move in unison. Lines of contact lenses are polished and packaged. Packets of new electronic lenses move along a conveyor belt.
More scenes and elaborations on existing images to come.
Trying to work on the narrative and how to convey the story.
Quite unsure on certain aspects still, but I did few shots from my plaster model – was trying to imagine someone discovering the inside of a glyph.
here is the manifesto that was hand-in to the jury :
bad news, Rotor, a belgian office that i referenced already a few weeks ago in 2 videos already made a website similar to mine. It is here : https://rotordc.com, (and its great). It looks like they are proposing their expertise to developper whenever they have to dismantle a building (for free) and see what they can take and sell in their online store. It’s very close to what OFFW is engaged into for now. I still think that continuing to work on the website is relevant but it needs to engage further or to follow a different narrative in the way that waste are valued.
Today i thought about blockchain and bitcoin as (perhaps) an interesting take on the project. I made the connection during the discussion with the jury. I read an article a couple of days ago about bitcoin and the fact that – if i remember, it’s a currency ( a potential value) linked to a blockchain, which, if i understand it right, is the path (or the sum of action/state) that a specific object has gone through.
it needs to be research further but it implies the notion of value linked with the precedents, the history of an object. Interesting when questioning the value of waste…
Has to be discussed.
I was thinking that it could also be interesting to choose an actual site (or a building, or maybe a typology of building) in order to be able to link the scale of the object and the one of the territory, which was also one of the civic brought to table by the jury.
+ the offshore platform geology
Here are some images of the lectures at imperial
I will upload the rest of the stuff for previews shortly once they are nicely photographed it in the photostudio
Once upon a time we used to be entitled to our own stories but never our own facts – In truth we have always been entitled to both – facts are just as constructed as fictions We construct worlds to tell stories. Architecture acts as the medium for staging events as well as a spatial mnemonic atlas. This is manifest in the latin word aedicule, referring to a small building particularly a temple or shrine framing an event.
I am currently working on a storyboard for the upcoming previews. I am planning on having a series of animation clips to which I will present in parallel my argument.
In the game, we have the banal city of BIMland, and at some point we will see the arrival of the viruses. I imagine them being carried within this funky megastructure, which would open up and release them over the city.
Following tutorial last Tuesday, the plan for tables is to create a beautiful chunk model of the scheme to show a more spatial 3d quality of the project.
I am planning to laser cut the beams tomorrow to get an idea of how big the chunk needs to be and then decide the materiality of the rest of the model.
Sorry for the late post… now i am mainly re-shuffling the pages in the book. I need it to be done by tomorrow beginning of the afternoon so that i can print and then arrange website.
Here are a few new / updates images
Grosvenor Square as pit n.2, Lincoln Inn fields as pit n.3.
Balloon sizes/weight lifted
another OFF-shore image
The latest version of the screenplay to direct the scenes I need to produce from here. *Scenes 10-12 (Law Courts, Apartment & Protest) all are being considerably rewritten still, so don’t pay too much attention to those.
The banal narratives of oil. The domestic reality of petrochemical dependency will be minced into the war narrative as the new iteration of the film.
The long section is an idea for a series of such images that we will be ‘scrolling’ over in the film alongside other footage. Here we have the evian freighter delivering globally.
I have seen Eduardo Paolozzi exhibition during this (very relaxing) week-end. Interesting one, it has a wide range of artwork he produced and quite relevant for me (rather ‘glyphy’) – sometimes closer to symbolism, sometimes to graphic art, but always extremely rich compositions.
New continuous shot of model –
In order to use the Blackmagic camera for its quality I mounted it on an extension from the tripod so it rotates away from the model (before the frame was too closed in).
I’ve been working on the transition from Donald Judd’s piece in Marfa to NYC’s New Museum with a long ‘sky-to-skyline’ wrap in which the lens is inserted. Still the lens is visible on camera.. I think to completely cover it will require to remake the Judd’s pieces so they are bigger. Alternatively, I can not do the change of focus to the NYC buildings – which reveals the lens more explicitly.
Also not sure about the speed of rotation – the footage seemed a bit too slow so made it faster in edit (especially in the first part until the mountain). Maybe it’s still a bit slow?
Transitions currently missing in film –
**Barragan towers scale change (in the image below they are in their ‘big’ state – in an aerial)
**House VI as a model on a plinth
**Jeff Wall’s tableau – from building scale to apartment scale (I think the GoPro attempts have officially failed)
some images of the model –
After talking to the professor, the discussion added a layer of reality to the project, from it I will combine science with fiction.
-The professor and his explanations are realities.
-The Black hole is a reality (even though it’s stranger then fiction)
– The book is a reality
-Lisette and Sami, my characters and their lives are fiction.
-Pop ups are fiction
I then juxtapose the fictitious narrative of my characters VS the reality of the book and of the Black hole.
The story will revolve around a Cosmic Crime, and around the black hole and the book itself. I will use science to solve the crime. The book cannot be linear, because it’s a universe where you float within it, you’re travelling trough it in space-time, you see the present and the past, the future. The black hole is the part connecting the pages of the book, and the book itself is a black hole that falls back into a library, where the library is the Universe.
But if the book is the black hole what is it’s event horizon?(it’s tipping point, it’s point of no return).The event horizon appears in the story where all the facts of the crime have collapsed, a dead end an unsolvable case, that gets sucked into a singularity point into one direction, into a black hole. After having crossed that event horizon, we loose all the information and hope. The story goes on by contradicting itself where actually not everything has been sucked in, the crime was trying to be solved but they missed out on something, a clue, an emission of radiation, With the help of a brilliant professor he helps them solve the real Crime, that enlightened them to look at so many other clues and factors. (Similarly to when Stephan Hawking’s first theory that said if something goes inside a black hole it can’t come back out but he later on contradicted himself, proving the opposite of his theory or surpassed it by incorporating a little bit of quantum theory, with general relativity, proving that Black hole start behaving like objects they start radiating . Information cannot completely die, it gets emitted…) . The story therefore cannot die, with the emission of radiation. Even the black hole brings prosperity.
List of the scientific terminology of the Black hole that will feature in the story:
I’ve been trying a few different lenses with the Black Magic camera and eventually went for a 24mm one which is able to show the lower and upper level. Still trying to stabilise the rotation better and find a way of stitching the different footage together – currently the transitions are still rough.
My set up with a newly carved table! as with the track running above the residential building, I’ve been trying to film with a GoPro but it comes out really shaky so I might have to think of a smarter track.
Images i am currently working on. First 5 are about the (OFF)air narrative and the last two are the (OFF)pit narrative. I will have a dew more tomorrow. Currently working on re-arranging the book. I think a good rhythm is around a double-page every 20 sec which makes a 60 pages presentation for 10min. Will probably go up to 70-75 but no more. Models of fake reality will stay, i am currently getting rid of the first series of 15 drawing i did at the very beginning of the year. Also the images can be presented at a much quicker rhythm…
OFFW has a new psychedelic flagship website ! : https://offw.persona.co
And the first one is entirely dedicated to OFFW@AA (which you can access through the first one). OFFW@AA will be presented as a pilot project of OFFW, focusing on a small scale organism such as the AA. [> http://cargocollective.com/offw]
Honestly, i am thinking about developing the website very precisely during the next month and speak with the person responsible for the AA website in order to integrate OFFW into the aa domain (offw.aaschool.ac.uk ?) and solve the issue of people being able to login & post their waste offer.
Just finished assembling my table. I am picking up tomorrow morning a linen table cloth with a grid printed on it. Will bring everything to the tutorial. Also I found a place to print the cards, hopefully i’ll be able to submit all of the cards by tomorrow morning!
I am currently working on a ‘trailer’ for the next film, situated in the first room of my storyboard, before entering the screen surface. Meanwhile I have been playing around with a fluid simulation program.
Carpets have now been added to the rooms and i’m awaiting a few things in the post to add in.
The model is still in progress and i’ll be working on it more through the night. Will bring it in tomorrow to discuss.
Sorry for the late post.
Currently working on the images for the project. There is a big one that i will show tomorrow as it dosent seem to want to upload itself…
More to come tomorrow
+ updates on the website @ www.cargocollective.com/offw
Going back to the initial reference, Canals of Mars, one of the landscapes scenarios is
A = The mars landing (Mars currently)
B = Mars in the future (Mars settlements etc) answering what are the canals we saw on Mars
For the model I am taking from this: the rover, rocky dune-y landscape, domes space-like structures.
This is Mars’ landscape as photographed currently from the Rover
And these are artist impressions of the first steps of Mars colonization, project Mars One (Volunteers for a one way-ticket leaving in 2036 wanted btw). Also shown a more futuristic vision of terraforming, completely changing the landscape and atmosphere, Mars.
As you can tell, the new model is still in the process but all pieces are cut and im in the process of painting them now.
I aim to get it to function by tonight. Will update on more photos later when i get the chance.
In the meantime, I came across this interesting read about Second Life although it is a from a few years back.
Its interesting how some of these MMORPGs evolve when they become neglected and deserted by people and their avatars. The writer describes his experiences back in 2006 when the game was at its peak to be almost difficult to navigate around due to the amount of people in the game.
Today however, finding another avatar in Second Life’s world could be difficult as it begins to become “abandoned”
Things however don’t decay the way they do in real life – buildings remain shiny and new while streets are clean and “maintained”.
Anyways back to the Model.
Okay, more seriously working on many spread, editing etc.
I have notably figured out precise itinerary as well as my last proposal (quite Sol Lewitt…). Working on energy too, I started some calculation, distance etc. for “cradle-to-cipher” but will show the whole thing tomorrow.
The Landscape is finished, I’m gonna start adding the columns now. I was thinking for the numbers to use a generic monolithic column ( Superstudio style ) with numbers equivalent to the cards.
For J, Q, and K I thought of a classic Corinthian (J), Ionic (Q) and Doric (K) column sequence.
I also thought about the Jokers: Since they need to be binders of different cards/worlds I thought they could be places where these realities could coexist. For now I thought of 1. The archive 2. The stage set 3. The theme park 4. The cabinet/museum (?).
I’m also finishing the work on Bridges and City sets, which should be all ready by tomorrow.
I’m looking at different folding techniques for the book synchronised with the performance:
I’m preparing for my chat with Professor Jerome Guantellet on Wednesday, he was the theoretical physics consultant for the film The Theory of Everything. I’m adding new moments to the narrative, such as ”Lisette goes to visit the professor ..” “Any matter could become a black hole if you would crush it beyond it’s Schwarzschild radius (scene of crushing the diamond) ..”
Here is a great moment/transition in the film:
“The star gets smaller smaller … the star in fact gets denser as atoms even sub-atomic particles get literally crushed into smaller and smaller space. And at it’s end point what are we left with? A space-time singularity. Space and time come to a stop……. I wonder what would happen if you applied Penrose’s theory about black holes to the entire universe?”
One last thing, Portable Black hole carpet!
Brief: Project Summary
The world as we know it both conceptually and literally is reduced to an aesthetic surface, recorded in the form of footage (factual and fictional) and flattened as image on screen. These are the apparatuses.
The common denominator of the world is a single material defining our age, driving our collective global narrative – always prevalent beneath every surface, powering all physical and digital progress; but never in direct sight. Everything dependents on this elusive force, its extraction, its consumption, and its reshaping of all human experience on every scale.
Horrifyingly beautiful, here our story begins. The age of progress, of gleaming surfaces, of an interconnected humanity utterly dependant on a material seldom seen but always there. It’s story has been interweaving an entire planet’s collective narrative for the past 200 years. Our media build facts and fictions around its consequences never straying beyond the surface of what is reported. The illusion of objectivity. It is everywhere and it is running out.
Narration & Storyboard Script“I had a dream, which was not all a dream. The bright sun was extinguish’d, and the stars Did wander darkling in the eternal space, Rayless, and pathless, and the icy earth Swung blind and blackening in the moonless air; Morn came and went—and came, and brought no day, And men forgot their passions in the dread Of this their desolation;”
Introduction – The Surface of the World – Perspective:
Darkness. A slither of light appears. The doors slowly creak open. As we move closer the light grows from a line to the dim interior of a room. An ominous object hovers over a marble plinth – a glowing puddle suspended in mid-air. Upon our approach the flat surface reveals itself to be a portal looking unto the rolling surface of the globe.
Into the puddle we descend beyond the glassy plane of the screen we land on the globe, thrusting forward, gliding over sandy dunes until the ascent over one of them reveals a vast landscape – pillars of thick black smoke stretching as far as the horizon, holding up an even darker surface; a veil over the sky.
As we shift our view the landscape slides away and we move from one surface to another. A short interval offers a glimpse of other screens, news footage and media events surrounding the thing itself are briefly seen and heard. Their interference fades as we enter the surface of objects.
Nano – Circuit board Surface – Plan:
What might seem as a night shot of a city in plan slowly turns into a glowing circuit board. Highways of circuitry wrap around towering transistors and resistors of all shapes and sizes. ‘Daybreak’ reveals our circuit board. A surreal element invades as we continue to move over it; black beads – tar-like droplets – appear between our gridded runways and cavernous circuitry. The substance gradually multiplies, forming rivers of dark ooze flooding the board. However, long before this culminates into a black deluge that smothers the whole object (prophesising the city end scene), we find ourselves slipping out of the shiny surface of a phone screen.
Body – Skin Surface – Perspective:
Behind the screen a mirror and a woman staring at herself. A closer shot of bare lips is animated by a hand moving a dark red lipstick over them. The trace behind the motion is highlighted by the dark ooze – subtly but evidently. Eyeliner, and lashing eyes sprinkle dark droplets into the air. She has worn her face. Bottled water perspiring with the black substance aids her swallow several pills. Harmless vitamins but their cabinet is also oozing with the fluid. Freshly painted nails start perspiring their own dark droplets as the perfume bottle sprinkles more onto her skin.
Food –Table Surface – Plan:
In the kitchen the family gathers to consume off the table. Packaging of all sorts is gradually leaking its dark ooze on the table top. As food is prepared hobs are turned on and dark liquid in pans sizzles. The camera in plan view to the table top shoots each dish being laid before its eater. Smiling mouths bight into meat and vegetables indifferent to the ever increasing tar-like fluid trickling down their faces and staining their clothes and filling their plates. A hand lifts a spoon-full of fluid out of a small plate ready to feed the family’s infant. The scene ends with luscious raspberries in a bowl next to their packaging labelled New Zeeland produce – the shining bubbly red fruits are slowly drowned in the black fluid. The bowl overflows and the table is slowly covered as we zoom out in plan view, out of the screen to pan onto another.
Products –The Shelf Surface – Elevation:
Our mother walks down an isle shopping as we follow her in elevation view of the shelving. As she moves forwards the shelves she leaves behind turn into cascading waterfalls of dark ooze. At the tills we have an elevation shot of the plastic bags piled and used for delivering purchases home.
Music/Culture? – Audio turns into concert – Zoom Out:
Monuments to national identity and human history are only preserved from the fumes induced by the substance by deploying methods requiring conditioning that can only exist because of the substance. The fresco of the Last supper perspires black droplets as a heftier amount of fluid gushes out of the holy grail. The Sistine chapel (ceiling plan zoom) cracks as the sky rains down with fluid. Fluid drips down the marble surfaces of columns; marble and gold become stained with the fluid.
Guitar/cello/violin strings vibrate as an orchestra plays. Gradually an orchestra is revealed with the fluid splashed off the instruments’ strings onto the stage, flowing into the isles. From the entertainment/cultural stage we move to that of politics.
Politics –The premise for wars – footage:
Symbols of government as well as officials themselves wallowing in oil as war horns sound and forces mobilised. The war machine leaking more and more fluid as it moves to deliver the political will unto other areas of the world. Kuwait, Iraq, Iran and the Middle East become the cesspool of military operations and resource extraction.
Vehicles and Infrastructure:
The oil secured. A static shot of the horizon at sea is slowly blocked by the movement of an oil tanker that comes into view and covers the entire screen (like the Boeing 747 in Koyaanisqatsi). An isometric-like view of the sea reveals more and more tankers as we zoom out to a landscape full of ships.
The oil well – zoom out to landscape:
An oil well in Kuwait is pouring oil out like a fountain. The camera moves swiftly over pipelines. A screen off the current screen is showing the earth gradually covered over by a black network of lines (the pipe routes) like veins pumping the fluid to fuel humanity.
Landscapes – plan view
Food production – agricultural fields with machinery leaking the fluid all over the produce. Animals downing in it. Arctic ice caps are stained with dark blotches from beneath as oil begins leaking over the ice. The desert sand turns black. Greenery is covered by waves of darkness.
Aesthetics –All kinds of surfaces – ornate interiors, asphalt roads etc are slowly washed over with black waves– elevation/ plan
Landscape shots are mixed with surface shots. We are panning over surfaces, plastic, synthetic furs, faux gold, real gold, ornaments, marbles, precious art pieces – as they are gradually stained or washed over by waves of black fluid. The cuts are transitioning into movements on and off screen surfaces, as we start perceiving the screens more as a faceted diamond rather than a flat surface over a plinth.
As the earth is close to turning into a complete black orb in space.“The world was void, The populous and the powerful was a lump, Seasonless, herbless, treeless, manless, lifeless— A lump of death—a chaos of hard clay.”
Drowning City – end scene.
We stare at a static view of a cityscape as sounds of it’s bustling life are gradually extinguished by the rushing force of an unseen flood. Then we slowly see the dark substance rising in waves between the streets, buildings are perspiring it and gradually the entire city is drowned (just like the circuit board) in the very material that makes it’s existence possible.
Storyboarding each of the scenes above to be uploaded later as well!
Working with a software called RealFlow to try and simulate fluid dynamics over models and in spaces. The opening to the Girl With the Dragon Tattoo used the same software for different reasons (create a nightmare of black ooze – I literally want the ooze to refer to the oil industry and make it more critical in the context of the project)
Continuing to work on the supermarket and the underpass. Modelling environments now and looking at different ways to render the ‘x-ray’ worker’s view in the underpass.
A short video showing the difference between augmented/unaugmented view.
Test renders in the underpass.
I’ve been spending the last few days working on the script and planning ahead on building the model in the coming week. So far, I’ve managed to find a good solution to the introduction with a good balance between R1 and R2. Im still working on this but will update it once i finish it later on tonight.
This is Dan
Dan’s room is a studio flat in a housing development built some years ago, in the newer part of town. He moved in just as it opened, along with 50 other neighbours. Like Dan, they were drawn by its close proximity to the servers of a nearby data facility and the freshly laid fibre optic cables in the area. The rent is high but an average internet speed of 491.78 MB/s was good enough reason to make a compromise over a bigger, cheaper place in the Old Town.
As a software programmer, he works from home and receives a decent salary for the freelance work he does for tech companies all over the world. With little reason to leave his room, he orders everything from food to clothes and socialises with his friends online. For fun, he watches his large collection of movies and TV shows or plays countless hours of games, joining millions of others on open-world mass multiplayer games. “I am a gamer not because I don’t have a life but because I choose to have many” Dan states proudly on his Facebook page.
He would play countless hours of games, sometimes even late into the night, even into the morning until a new day would start again.
Dan made sure that in the confines of his small studio flat, he would build the ultimate setup: a powerful gaming rig with a 12 core CPU, Dual nVidia 1080 GTX graphics card, 4 Ultrasharp 6k monitors, an Xbox console and a HTC Vive Headset with sensitive haptic gloves. With these, Dan has the ability to escape into an infinite collection of virtual worlds, landscapes and places.
In this world, Dan is free. The options are simply endless where the ability to jump from world to world provides for often breath-taking and life-changing experiences to take place. Here he can be anyone and he can do anything, having everything the way he wants it to be.
There, he escapes the generic buildings and spaces that been so rapidly and ruthlessly built over the last few years: “Everything looks the same. Buildings tend to repeat themselves and I’m just tired of them,” he complains.
While the interiors we inhabit have evolved to separate and disconnect us from one another, the space of the game and its qualities have enabled the many like Dan to connect once more in an interior that we can inhabit and consume with endless possibilities. It is no surprise that millions of people immerse themselves here as it presents a much more desirable world than the one we currently occupy.
Dan’s neighbours are similar to him, they are amongst the many who spend their lives in this reclusive manner, compartmentalised into a series of generic rooms in cities all over the world. Like Dan, many have found themselves spending much more time inside while being completely isolated from one another.
Like Dan, many have found themselves immersed in the world of Delta, a vast and infinite world unlike any other, different from ours yet strangely familiar. Here fantasies become reality and anything is simply possible.
As a growing network of worlds and rooms, Delta is always changing and reconfiguring itself, allowing for a new experience to take place each time. Composed of vast structure of interiors, Delta’s world is the result of an infinite amount of possibilities.
In the real world, life has become much less accessible – walls and doors line where can go and where can’t go, leaving many with little choice but to live and use their designated rooms and spaces. For the many that have found themselves here…
to be continued.
I have been setting a 3d model in order to insert it in the different image i want to produce. It consist in a massive hole (a few km2) and which dept is 310m which is supposed to be able to contain london’s construction and demolition waste for about 3 to 4 years. I am thinking that this hole should in fact be outside london in the sea as a sort of offshore landfill which would be use as the new london airport… it still needs to be precise.
It is somehow the #1 answer to my initial questions. It raises the question of the use of landfills (waste) as geopolitic instruments, using their physicality (weight, mass, size, volume) regardless of their use in order to be a political and territorial apparatus rather than just being a stupid hole that is filled up (although it actually is).
That is for #1, which hopefully i would have more to show tomorrow.
I deviated a bit from the initial purpose of putting these hole inside the urban fabric…
The #2 answer, the creation of OFFW has also been update, i am curating the website and have discussed with some people about the price of buying printed pink helium balloon. I dont think i will be able to get my hand on a BIG one (3m diameter) before the jury but i might be able to have small ones.
#2 is going even further than #1 because it is questioning the idea itself of destruction in the city of Europe where the urban renewal is the most important and where the construction rate is one of the most important in the world. By introducing both the notion of value and doubts in this process, i want to first talk about the possibility for rubble to become object of trade and so to talk about why and how a rubble become a rubble, and then by the idea of sending entire part of building in the air thanks to helium balloon it introduces the possibility for destruction not to happen but rather to become a displacement.
You can still go check to http://cargocollective.com/offw to see where it goes.
(sorry, very few images)
I have also update part of the book
The plaster model is finally done !
Few photos :
Working in parallel on TS … the Carrara proposal is here (one image is glitchy but it is indesign – export is fine) :
More is on the way…
All about mediating between surfaces, scales and objects. I’m putting together the narration/script that goes with the intro as I story board more.
The current idea is that our faceted world is introduced after the “death” or transition from the surface of a drawing (at the moment farnsworth house can change not sure to what) and the entry into the surface of one single screen.
The faceted diamond of screens will never appear only as we transition from surface to surface we start seeing the appearance of more screens subtly and gradually. The big diamond of all screens will then appear as the faceted cosmos/globe of screens at the very end where all surfaces construct a ‘world’ of the event/things we were looking at but with a hollow interior since there is nothing beyond the surfaces themselves.
Also introducing a ‘character’ I’m calling her Pandora for now (after all I have a few boxes from my diamonds from Mulholland Drive to Houdini) her role is to be further explored for now she is reduced to a beautiful body that the camera man uses to flatten against the oil covered birds wings in the foreground and compose the sculpture of victory on the other end. (a sort of reverse Godard situation I was trying there from her eyes to camera to the objects being filmed aligned)
Working on the mountains+bridges set now, this is the overall layout, with a few cards completed. Colors/Textures are still in progress, so for now it’s BW. Each card will have its number represented by an equal amount of bridges from 1 to 10, then J, Q, and K will have three massive bridges instead.
-with that vertical garden in the back. The model was still drying when I took the pic so sorry for the white glue.
Here is some of the image i have done – i am making, over the weekend. The first three are meant to represent the excess, or the kind of presence of the accumulation of rubble, in urban context mainly. I thought it was relevant/funny not to use a singular visual identity but to use and disrupt different images, from the B&W NY arty photography, to the hyper-real real-estate image, to the tumblr-like bed window view.
I am also setting the things further in order for OFFW to become real. For those who havent seen it, OFFW is the Other Future Foundation for Waste (OFF_Waste) that operates at a more economic/political level, which I want to be a relevant and more realistic parallel project to constantly feed the different scenarios i am working on. OFFW is also a website (from today) : http://cargocollective.com/offw [there is nothing in it yet]
It also has an email address : email@example.com
OFFW will also be supporting the ballon scenario (see last image) where, if you dont buy waste for yourself, you can send it to an unknown person via balloon.
So now, i am making images for my scenarios, figuring out how to do a first version of the website, updating the book, and trying to figure out, in an accurate way how much balloon i would need to send different waste somewhere…
More to come tomorrow..
Progress has been a bit slower than I intended over this weekend… but I’ll accelerate the production for this week!
I’ve been working on the calculations for TS to prove that real-time rendering may be possible by 2030/2040. The spreads below start to explain/calculate that idea – there are a couple more to go after this to show how contact lens AR may be possible in the near future.
Here’s an outline of what I believe needs to be done for the TS submission (further developing the supermarket scene, the underpass, and the urban palimpsest are included, as well as doing some quick concept art for 3 of the other scenes):
01 City of Ghettos
02 Filtered Eyes
03 Urban Palimpsest
*Design Page Master (page numbers etc)
*Update Contents Page
*Add Page numbers to Contents
*Print & Trim
I’ve finally managed to control the speed of the footage attached to the screens with the media wall test video. Now, the transition from the room into the screen is much smoother.
I will now continue to work on this technique with a series of rooms that i will pan through bouncing in and out from one reality to the other.
So far, I’ve been modelling this new framework of rooms. I’ve attached a screenshot below to show how we transition from one room to the other. at the moment its a chunk of cables seperating Dan’s Room from his neighbour. Following this, server rooms and services can be emphasises much more?
Following this, i’ve been re-writing the script, allowing for more of a relationship with Reality 1 and Reality 2, allowing for me to constantly jump in and out through the screens within these apartments.
Finally, i’ve been thinking about the model and unfortunately could not get any slots today to cut some pieces. I have attached some drawings of the model though. To quickly explain, the model now works on 4 sides allowing for views to be composed out of more rooms and directions. I’ve made three main zones that i aim to fill up with trees, sand and perhaps even a city. The middle is somewhat of an atrium and will be filled with neon lights that will illuminate the model through-out. This obviously still needs quite a lot of work but i think its good for now as a structure.
Today the framework of the machine finally became physical. The bones are made, the organs (the gears etc.) are in the making and the skin (the theater stage pieces) is being designed. It has become a bit of a monster..
The theater stage I’m exploring making out of paper, a couple of references for (semi) 3D paper work:
These are still on going but here are the collage I was working on for transportation of blocks and loam.
– trucks carry the former (I need to add the glyph on them like I did on the boat, plus put marble blocks on the empty ones)
– barges carry the later – wasn’t sure if I should replace all the container by piles of soil. The two seems to connect better this. I probably need to remove the logo on the barge container like I did for all the trucks. The white squarish glyph is the “plan” that indicate where it comes from, my Iceland proposal in this case.
I am working on more things but still in process… will show more later.
Just finished assembling the jungle set. I updated the J-Q-K sequence to make it look more dense than the rest. I’m still not sure about the Ace, now it connects both to K and 2m but it doesn’t seem dense enough. What do you think?
First test of rendering footage on simulated screens. Now to start being more narratively strategic about it as well as the placement of the screens and even their surroundings (room?) etc. … Couldn’t resist a bit of overly-dramatic music in the meantime.