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Art projects that incorporate projectors as their medium often belong to the realms of installation, video, or projection mapping. These forms of art are marked by their ability to transform physical spaces and the intriguing interplay between light and surfaces.
Tony Oursler’s Video Projections – an American multimedia artist, is celebrated for his inventive use of projectors in his artwork. He projects distorted, surreal, and uncanny images of human faces and body parts onto a variety of objects and surfaces, such as dolls, fabrics, and walls. Oursler’s work delves into themes of identity, psychology, and the influence of technology on human consciousness. By generating unsettling, dream-like environments that merge the physical and digital worlds, his installations provoke viewers to question their perceptions of reality.
Krzysztof Wodiczko’s Public Projections – Polish artist Krzysztof Wodiczko is renowned for his politically charged public projections on buildings and monuments. By projecting images and messages onto historical landmarks, Wodiczko confronts social issues like homelessness, war, and human rights. His projections encourage viewers to re-evaluate the meaning and significance of public spaces, while fostering dialogue around critical social and political issues.
Pipilotti Rist’s Video Installations – Swiss artist Pipilotti Rist is known for her vibrant, immersive video installations that blend projections, sound, and sculpture. Rist’s work frequently explores themes of gender, sexuality, and the human body through dreamy, abstract visuals. By transforming galleries into multi-sensory environments, her installations challenge traditional notions of space and invite viewers to experience art in novel and unexpected ways.
Rafael Lozano-Hemmer’s Interactive Projections – a Mexican-Canadian artist, creates large-scale, interactive projections that involve audience participation. Incorporating elements of surveillance, biometrics, and robotics, his work examines the relationship between technology, power, and human connection. Lozano-Hemmer’s installations often require viewers to engage with the projections using their bodies or voices, which blurs the distinction between spectator and performer.
TeamLab’s Digital Art Installations – a Japanese art collective, specializes in crafting immersive, large-scale digital installations that integrate projections, sensors, and computer-generated imagery. Their work often showcases breathtaking visuals of natural phenomena, such as waterfalls, forests, and flowers. These immersive environments respond to viewers’ movements in real-time, creating a unique, interactive experience. TeamLab’s installations push the boundaries between art, technology, and nature.
In recent years, adding interactivity to projected content has become increasingly popular in various fields and revolutionized the way audiences interact with the subject, opening new possibilities for creativity and innovation.
The primary goal is to create a more engaging and memorable experience for the audience by allowing them to actively participate in the content being presented. This can be achieved through a variety of methods, ranging from touch-sensitive projection surfaces and motion tracking to mobile device interaction and augmented reality.
General interactivity
Touch-sensitive projection surface – Use an interactive whiteboard or touch-sensitive screen overlay to turn projection surface into a giant touchscreen. This allows users to interact with the content directly, such as clicking buttons, manipulating objects, or drawing on the surface.
Motion tracking – Integrate motion tracking technology like the Microsoft Kinect or Leap Motion to track user movement and gestures. This allows users to interact with the content without touching the projection surface, for example, swiping through slides or controlling a character with body movements.
Mobile device interaction – Create a companion app or web-based interface that audience members can use on their smartphones or tablets to interact with the projected content. This can include voting, answering questions, or controlling aspects of the video.
Augmented reality – Use AR technology to overlay digital content onto the physical environment, enhancing the user experience. Users can interact with the content through their mobile devices, creating a more immersive experience.
Voice recognition: Incorporate voice recognition software to enable users to interact with the content using voice commands. This can be done using platforms like Amazon Alexa, Google Assistant, or Apple’s Siri.
Physical controllers – Provide users with physical controllers, such as a gamepad, joystick, or custom hardware, to interact with the content. This can add a tactile element to the experience and allow for more precise control.
Social media integration – Incorporate social media platforms like Twitter, Facebook, or Instagram to enable users to participate in real-time discussions or share their thoughts about the content.
Gamification – Introduce game elements like challenges, quizzes, or leaderboards to encourage user engagement and interaction.
Real-time data visualization – Display real-time data, such as audience opinions, poll results, or sensor data, to create a dynamic and engaging experience that changes based on audience input.
Collaborative tools: Provide tools that allow users to work together, such as shared drawing boards or document editors, to encourage collaboration and interaction between audience members.
Video Interactivity
Interactive video software – There are several interactive video platforms available, such as HapYak, Wirewax, or Kaltura, that allow for creation of clickable hotspots, branching narratives, or embed quizzes and polls within the video. Users can then interact with the video content itself by clicking or tapping on the screen.
Custom web-based video player – Develop a custom HTML5 video player that allows users to manipulate parameters of the video, such as speed, color, or filters. This can be done using JavaScript libraries like Video.js or Plyr, which provide APIs to control various aspects of the video playback.
Real-time video processing – Implement real-time video processing techniques using tools like MSP, OpenCV, WebGL, or Three.js to apply effects, filters, or transformations to the video based on user input. This can create a more dynamic and interactive experience, as users can see the changes they make to the video in real-time.
Video control interface – Develop a separate user interface (UI) that allows users to control different aspects of the video, such as volume, playback speed, or scene selection. This can be done through a web-based interface or a companion mobile app that communicates with the video player.
Interactive overlays – Add interactive overlays on top of the video, such as buttons, sliders, or dials, that allow users to control the video parameters. This can be achieved using web technologies like HTML, CSS, and JavaScript, or by using specialized tools like Adobe After Effects or Vuforia for augmented reality experiences.
Data-driven video content – Create a data-driven video experience where the video content changes based on user input or external data sources. This can be done using tools like D3.js for data visualization or custom software development to manipulate video content in real-time.
Tablet interactivity
Remote control interface – Develop an app or web-based interface for the tablet that functions as a remote control for the video. Users can control playback, volume, scene selection, or other parameters of the video directly from the tablet.
Data input and visualization – Allow users to input data or make selections on the tablet, which then update the video being projected in real-time. This can include adjusting parameters like color, filters, or playback speed.
Augmented reality (AR) interaction – Develop an AR app that uses the tablet’s camera to recognize the projected video and overlay digital content on the tablet screen. Users can interact with this digital content, which can then affect the projected video.
Multi-device synchronization – If multiple users have access to tablets, you can create a synchronized, interactive experience where users can collaborate, participate in quizzes, or control different aspects of the video simultaneously.
Motion or gesture control – Use the tablet’s built-in sensors, like the accelerometer and gyroscope, to enable users to control the video through motion or gestures. For example, tilting the tablet could change the playback speed, or shaking it could trigger a specific event in the video.
Social media integration – Incorporate social media platforms within the tablet app or interface, allowing users to participate in real-time discussions, share their thoughts, or submit feedback about the video.
Specific applications
TouchOSC – a modular OSC (Open Sound Control) and MIDI control surface app for iOS and Android devices. You can use it to send control messages to your video player or custom software, which then needs to be programmed to respond to those messages. This can help you control the video parameters or trigger specific actions using the tablet. https://hexler.net/products/touchosc
Vuforia – an augmented reality platform that allows you to create AR experiences for iOS, Android, and Unity. You can use it to develop an AR app that recognizes your projected video and overlays digital content or interactive elements. Users can then interact with these elements using the tablet. https://developer.vuforia.com/
Resolume Arena – a live video mixing software that supports OSC and MIDI control. You can use a tablet app like TouchOSC or Lemur to send control messages to Resolume Arena, allowing you to manipulate video parameters, effects, and layers in real-time. https://resolume.com/
Watchout – a multi-display production and presentation system. You can use it to control and manipulate video content on multiple screens or projectors. Watchout supports external control through protocols like TCP/IP, DMX, and MIDI, which means you can use a tablet to control the video parameters remotely. https://www.dataton.com/products/watchout
QLab – a live show control software for macOS that supports video, audio, and lighting control. You can use an iOS app like “QLab Remote” to control QLab from your iPad or iPhone. This allows you to trigger video cues and adjust parameters remotely using the tablet. https://figure53.com/qlab/
Isadora – a media server and visual programming environment for macOS and Windows. It supports OSC and MIDI control, allowing you to use a tablet app to send control messages and manipulate video parameters in real-time. https://troikatronix.com/
Generative art and computational creativity are fascinating fields that explore the intersection of art and technology. They involve using computer algorithms to create art that is dynamic, unpredictable, and interactive. When it comes to creating art that blends nature and digital entities, there are many techniques and tools used in generative art and computational creativity that can be useful. Some of these include:
Mathematical models and computational processes – These involve using mathematical models to generate visual patterns and forms and transform visual elements. For example, artist Mitjanit’s work of blending together arts and mathematics uses randomness, physics, autonomous systems, data, or interaction to create autonomous systems that make the essence of nature’s beauty emerge.
Randomness – This involves introducing unexpected results and variability in the output. For example, an animated snowfall would generally only play out in one way. When developed by a generative process, however, it might take on a distinct shape each time it is run.
Collaboration between artist and algorithm – This involves working closely with computer algorithms to create art that is dynamic and interactive. In this relationship, the artist provides direction and feedback to the algorithm, while the algorithm generates new ideas and possibilities.
Interactive evolutionary systems – These involve using AI algorithms to generate artwork and allowing users to select objects on the basis of their subjective aesthetic preferences. This allows users to actively participate in the creative process and contribute to the evolution of the artwork.
While generative art and computational creativity offer many benefits, there are also challenges and limitations to be aware of. One of the main challenges is how to evaluate the fitness of an artistic work based on aesthetic or creative criteria. There is also the issue of how to assign fitness to individuals in an evolutionary population based on aesthetic or creative criteria. These challenges underscore the importance of considering the role of human creativity in generative art and computational creativity.
Generative art and computational creativity are exciting fields that offer many opportunities for creating art that blends nature and digital entities. By incorporating mathematical models, randomness, and interactive evolutionary systems, artists can generate unique and compelling works of art that challenge traditional notions of art-making. However, it is important to be mindful of the challenges and limitations of these approaches and to consider the role of human creativity in the creative process.
AI systems and tools
When it comes to creating art that blends nature and digital entities, there are many open AI systems and tools that can be helpful during the development process. These tools allow artists to incorporate AI into their work, resulting in unique and compelling pieces of art. Some of the most useful open AI systems and tools include:
DALL·E 2 – OpenAI – This tool uses machine intelligence and algorithms to create visualizations. It can generate high-quality images from textual descriptions, making it an excellent tool for artists who want to explore new visual concepts.
ChatGPT – This text-based prompt generator can be used to generate a variety of creative writing ideas. It can also be used to generate text-based artwork, such as poetry or prose.
Midjourney – This tool uses AI to create stylized pictures. It can be used to create unique and eye-catching visuals that combine digital and natural elements.
Prezi – This tool can be used to create web-based interactive interfaces. It is an excellent option for artists who want to create interactive exhibitions or installations.
Supercollider, Puredata, Max/MSP – These programming systems and platforms are useful for audio synthesis and algorithmic composition. They can be used to create unique and compelling soundscapes that complement visual elements.
X Degrees of Separation – This tool uses machine learning algorithms and Google Culture’s database to find visually relative works between any two artifacts or paintings. It can help artists find inspiration and explore new visual concepts.
One of the most significant benefits of using open AI systems and tools is the ability to incorporate AI into the creative process. By using these tools, artists can generate new ideas, automate repetitive tasks, and explore new visual and auditory concepts. However, it is essential to keep in mind the limitations and potential biases of AI when using these tools. Additionally, it is important to consider the ethical implications of using AI in art and design, such as issues related to data privacy and algorithmic bias.
AI and the Creative Process: Exploring the Intersection of Technology and Art
As artificial intelligence (AI) becomes more advanced and accessible, artists and creatives are beginning to explore its potential as a tool for generating art and enhancing the creative process. From generative adversarial networks (GANs) to procedural content generation (PCG), AI offers a range of techniques that can be used to create unique and complex works of art.
Case Studies of AI-Assisted Design and Production Practices
One of the key benefits of using AI in the creative process is its ability to generate new ideas and designs. GANs, for example, enable models to generate new examples based on original datasets, allowing artists to explore new forms and patterns in their work. Neural style transfer (NST) is another technique that can be used to manipulate images and videos, creating new art by adopting appearances and blending styles.
Procedural content generation (PCG) is another area where AI is being used to generate game content such as levels and environments in a dynamic and unpredictable way. Games like “No Man’s Sky” have used PCG algorithms to generate diverse flora and fauna on procedurally generated planets, creating a rich and immersive gaming experience.
Reinforcement learning (RL) is a type of machine learning that allows AI to learn and practice complex tasks, such as playing games. This technique can be used to create interactive artworks that respond to the viewer’s actions or to generate music and soundscapes that evolve over time.
In addition to these techniques, there are many other examples of AI-assisted design and production practices. For example, Google’s DeepDream algorithm can be used to generate trippy, surreal images, while the AIVA AI can generate original music compositions.
Drawbacks of AI-Assisted Design and Production Practices
While AI offers exciting opportunities for creatives, it also presents several challenges and limitations. One issue is the need to evaluate fitness according to aesthetic or creative criteria when generating art through AI. This can be a difficult task, as subjective aesthetic preferences can vary widely among viewers. Another issue is the potential for AI to replace human creativity, rather than enhancing it. Some scholars have argued that AI may draw back human creativity by replacing it, rather than supporting it (Druid’s Garden, 2022).
Conclusion
As AI continues to advance, it offers increasingly powerful and versatile tools for artists and creatives. From GANs to PCG, these techniques can be used to generate new ideas and designs, and to create unique and complex works of art. However, integrating AI into the creative process also presents challenges and limitations, including the need to evaluate fitness according to subjective aesthetic preferences and the potential for AI to replace human creativity. By understanding these benefits and limitations, artists can make informed decisions about when and how to incorporate AI into their creative practices.
Exploring the Intersection of Art and the Environment: Insights and Inspirations from Scholars and Artists
As the world grapples with the complex and urgent issue of environmental degradation, artists and scholars have increasingly turned to the intersection of art and the environment to convey the gravity of the situation. Through works of art that showcase the impact of human actions on the natural world, these creators hope to inspire change and foster a deeper appreciation for the environment.
Scholars’ Viewpoints
The relationship between humans and the environment is a multifaceted and complex one, and scholars have emphasized the role that art can play in conveying the nuances of this relationship. By exploring themes related to the environment, artists can create works that highlight the complexity of environmental problems and communicate their urgency to the public. According to Rebecca Anweiler, an environmental studies scholar, “art can provide a medium for understanding the complexity of environmental problems and can help in communicating the importance of environmental issues to the public” (Anweiler, 2014).
Artists’ Viewpoints
Artists have used a variety of mediums and techniques to explore environmental themes in their works, from photography and sculpture to soundscapes and multimedia installations. Through these works, artists hope to create an emotional connection with the viewer and inspire them to take action to protect the environment. For example, Olafur Eliasson’s installation “Ice Watch” featured melting icebergs in public spaces, serving as a powerful reminder of the urgent need to address climate change.
Artworks with Environmental Themes:
The intersection of art and the environment has led to a wealth of powerful and thought-provoking works that explore environmental themes in a variety of ways. For example, Maya Lin’s “What is Missing?” is a multimedia installation that showcases the impact of species extinction, habitat loss, and climate change. The installation includes videos, sculptures, and soundscapes that aim to create a sense of urgency about the need to protect the environment.
Another example of artwork with environmental themes is the “Forest Symphony,” a musical composition that uses sounds from the rainforest to create an immersive and emotionally resonant listening experience. The composition aims to raise awareness about deforestation and the importance of preserving natural habitats.
Through the intersection of art and the environment, scholars and artists have found a powerful way to engage with the complex and urgent issue of environmental degradation. Through works that showcase the impact of human actions on the natural world, these creators hope to inspire change and foster a deeper appreciation for the environment. From multimedia installations to musical compositions, the artworks highlighted in this blog post demonstrate the rich diversity of approaches that can be used to explore environmental themes in art.
References:
Anweiler, R. (2014). The Role of Art in Environmental Education. The Journal of Environmental Education, 45(2), 85-101. doi: 10.1080/00958964.2013.803352
Shaw, N. (2019) Art of change and Olafur Eliasson’s ice watch: “Art has great potential for changing the world”, Artichoke. Available at: https://www.artichoke.uk.com/art-change-olafur-eliassons-ice-watch-art-great-potential-changing-world/ (Accessed: March 1, 2023).
What is missing? – a memorial by Maya Lin (2018) Remembrance Day For Lost Species. Available at: https://www.lostspeciesday.org/?p=681 (Accessed: March 3, 2023).
Forest Symphony allows humans to hear photosynthesis (video) – INHABITAT (2014). Available at: https://inhabitat.com/forest-symphony-allows-humans-to-hear-photosynthesis-video/ (Accessed: March 1 2023).
In preparation for our final presentation on plant hybridization, we conducted a test run of a projector to ensure that our video presentation would be displayed with optimal quality. Our test video showcased a compilation of plants changing and was designed to show how our final designs will be conveyed to the audience.
We connected the projector to a laptop using an HDMI cable and tested the display on a flat surface. During the testing process, we evaluated the projector’s ability to display colors and details of the plants with clarity and vibrancy. The results of the test were impressive, as the projector was able to render high-quality images that effectively conveyed the beauty and intricacy of each plant in the video.
In addition to evaluating the quality of the images, we also experimented with different placement options for the projector to determine the best angle and distance for optimal video quality. This allowed us to adjust the projector to display the video in a larger size, enhancing the viewing experience for our audience.
Our test run of the projector proved to be a success, as the device was able to display our video sequences with optimal quality.
We have been experimenting with materials through pre-material shopping. This Sunday we hired a room for our experiments and worked in groups to carry out the Water-holding Installation test, the colour reflection test, audio vibration test, and MAXMSP Music test. During this experiment, we encountered difficulties and problems that we had to solve, which made us struggle but we were able to reflect on them and move the project forward successfully. After analysing and reflecting on the results of the experiment, we optimised the design of the programme, the choice of materials, etc., and laid the foundations for the second experiment.
PART ONE: Water-holding Installation
What we want to achieve in this part is when the water is full of the water container, the water will flow away from the water container. We referred to a traditional Chinese container called “Fair Cup” (公道杯), which applies the Siphon Phenomenon.
There is a straw in a cup. The upper head of the straw is inside the cup, while the lower point is outside the cup. When the liquid level is higher than the upper head, the liquid will flow away from the straw.
We made a simple model for the container to test the function effect.
One problem we met was that the connecting hole of straw and cup was difficult to fit perfect and the water would flow away from the gap between the straw and the cup.
We used scissor to poke a hole in the cup, so it was hard to control the size of the hole. In the next week, I will try to use melt gun and hot melt adhesive to solve this problem.
PART TWO: Colour Reflection Test
Purpose
To superimpose different color variations on the reflected water ripples.
Process
As the laser paper was on delivery, for this experiment we used colored PVC sheets to simulate the experiment. By coloring the transparent PVC sheet to simulate the laser paper, the light is reflected in different colors.
In this experiment, we used a highlighter and overlaid the transparent PVC sheet with red and blue colors, expecting the color of the light to change; we looked for the right visual effect by side-lighting the water ripples compared to bottom lighting.
Results
As the highlighter can only apply a thin layer of color on the transparent PVC sheet and the coloring is uneven. Therefore, the color change between the red and blue PVC sheets could be shown on the wall, but the effect was not obvious. And if we want the color to become more visible, we need to place the colored PVC sheet extremely close to the light. The problem of how to control the distance between the colored PVC sheet (or laser paper) and the light is therefore a problem to be solved.
By comparing the side lighting with the bottom lighting of water ripples, we found that the water ripples were more visible and visually better when the bottom lighting was applied to the water.
Problems
① How to make the color of the light reflection obvious on the wall;
② Comparison of the light reflection effect between the transparent PVC sheet and the laser paper;
③ How to control the distance between the transparent PVC sheet (or laser paper) and the light;
④ How to switch the color of the light reflection on the wall (switch the transparent PVC sheet or laser paper with color);
⑤ The position of the water ripple reflection on the wall.
Reflections and Improvements
Problem ①
In our next experiment, we wanted to increase the thickness of the color applied to the transparent PVC sheet to enhance the effect of the color of the light reflected on the wall. In this experiment, we used a highlighter to apply the color to the transparent PVC. However, the pigment of the highlighter did not adhere to the transparent PVC sheet, resulting in the only light coloring of the transparent PVC sheet. For the second trial, we will soak the transparent PVC sheet in a higher concentration of gouache paint to improve the purity of the color on the transparent PVC sheet.
Problem ②
We plan to compare the light reflections of the transparent PVC sheet with those of the laser paper in our next experiment, given the richer color reflections of the laser paper. At the same time, we will also color some of the radium paper to become a third control group. We will choose the material that reflects light better by comparison.
Problem ③
We design to add a transparent PVC sheet to the light and then place the colored transparent PVC sheet (or radium paper) on top of the transparent PVC sheet so that the colored transparent PVC sheet (or radium paper) is as close to the light as possible.
Problem ④
We envisage pasting different colored PVC sheets and laser paper on the transparent PVC sheet in the form of a collage, allowing the light to project different colors on the wall as it passes through the PVC sheet. (This effect will be simulated in a second trial).
Problem ⑤
By comparing the side lighting to the bottom lighting of the water ripples, we found that the effect of the water ripples was more obvious and visually better when the water was bottom lit. We, therefore, chose to light the bottom of the water to give a ripple effect. As the bottom of the water is lit, the effect of the light on the vertical wall will change with the angle of the light and is not as stable as the ripples on the top wall, but this conclusion is influenced by the size of the room. So we will experiment with this effect again in a later test.
PART THREE: Audio Vibration Test
Test 1: Take Bluetooth speakers for testing. First, take the glass for the vibration test. The glass was placed on the stereo, and the water did not vibrate.
Reason for failure: glass too thick, stereo too small, poor vibration.
Test 2: Take a Bluetooth speaker for testing. The container of choice is a mineral water bottle. The water in the bottle appears to vibrate and change with the music.
Reason for success: the container is thin, and the vibrations of the stereo can be transmitted up.
Reflection:
It needs big speakers with great vibrations. If the container is too thick for the vibrations of the sound to be transmitted, try adding a spinning gear to the water. The speed of the gear can be varied in response to the music.
PART FOUR: MAXMSP Music Test
Reflection:
The music also needs to have some ambient and natural sounds added to it to make it more varied.
The content of this blog consists of the work of Jaela and Yuan.
Jaela and Yuan
With the feedback received last week, tests were carried out this week with different materials and different models of sound.
VibrationTest
The first sound vibration test was carried out with the Subwoofer.
Test 1: We glued the pvc sheets together to form a square container. A suitable amount of water was poured in for the vibration test. The water only slightly produced some vibrations.
Reflection: The container was too thick and heavy for the vibrations of the sound to travel up and produce vibrations easily。
Test 2:A test using a plastic disc to produce vibrations. The water waves were very small and the overall effect was still not good.
Reflection: The container may still be too thick and heavy and needs to be replaced with a lighter container.
Test 3: A very thin plastic cup was used for the vibration test. The vibration was very strong and the water waves were obvious.
Reflection: The material of the container needs to be very thin and light so that the vibration will be strong.
Test 4: Sound vibration test with Subwoofer and Genelec-8040-speaker respectively. Using the transparent plastic plate, the vibrations are strong and the water waves are large. But splashes of water may affect the projection effect.
Reflection: The amount of water needs to be controlled, too much will diminish the vibrations, too little will produce a lot of splashing water droplets.
Test 5:Tested with a plastic bag, the vibration effect is good, but the material is too soft and deforms when water is poured in.
Reflection: The material is also too soft and may affect the projection effect. The choice of material is important in order not to affect the projection effect.
Original plan：
The speaker is placed flat under a table with a container on top of it, on the diaphragm of the speaker, and water drops are placed in the container so that the drops create ripples through the sonic Hertzian vibrations of the music. We will take photographs of the water’s shadow and light and record some sounds. These photographs and sounds will be learned by the AI, such as Mubert-text-to-music, disco diffusion, and clip interrogator, and then the AI will produce some musical compositions. Before each stage begins, we invite the audience to pick a piece of music from the three sections we provide to influence the ripples.
Modified programme：
We had a meeting to discuss our project. The original plan was to have three stages of music, a lot of pieces, but now we want to cut out the extra pieces,we can do two or three different kind of concepts and changes, Locations that kind of reflect different aspects of the journey of life right. The presentation of the movement of the characters in the picture is changed through different musical rhythms. The musical rhythm of a person walking can be steady and even. The musical rhythm of a runner should be faster than that of a walker and can be performed with a faster tempo. The musical rhythm of a fall is usually more chaotic and can be expressed by using irregular beats or by using some techniques such as staccato and pauses in the music. Life is like a long run, and we need to run persistently to achieve success. In the process of running, we may experience various difficulties and challenges, but as long as we always persist in our belief of moving forward, we will eventually reach the end of success.
we can tie into the distance sensor and use the distance sensor as a kind of responsive tool as well for the music and turn that up and down or maybe how proximity as away ，and Music .we initially intended that we could use artificial intelligence to generate audio. But then the opportunity to create dynamic, responsive work would be lost. So we would use max. and we wanted the end result to be, like
The gap between the stereo and the container can only hold small bulbs. The effect of putting a small bulb under the container to cast is not very obvious. Perhaps we could make use of the water wave footage that was recorded in advance. By projecting this footage to the ai, the scene could be projected with some of the patterns generated by the ai. Two walls could be used, one projecting the projection of the installation and the other projecting the ai generated effect. It might be more interesting for the audience to experience two different effects at the same time by touching or sensing to make the projection and the music change.
Recording equipment
l material selection
l High sample rate
l High audio quality
Recording Programme A.
Sound is a very important form of expression in a person’s life, and it can record a person’s growth from infancy to old age. It can be a valuable way of recording, as well as reminding people of past events and reflecting the preciousness and profundity of life.
Infancy: the sound of a baby crying, lullabies in a cot, parents kissing, the sound of a warm family atmosphere.
Adolescence: the sound of classes in school, the sound of activities on campus, the sound of students communicating, the sound of themselves at play, the sound of television or films.
Middle age: ambient sounds at work, conversations in the home, children playing, sounds of family activities, the sound of music when you are relaxing and resting.
Old age: sounds of family life, the company of family members, walking in the street, music while relaxing, sounds of natural landscapes.
Site reference.
Schools; meadows; sounds of people walking in the street
Recording Programme B:
Record the sounds of the natural environment at different times of the day or in different weather conditions, such as the sounds of nature, water currents, the sound of the wind on the beach, etc. These natural sounds can be recorded at different stages of life and in different situations, and can be poured into the max to create music that resonates with the audience.
Reflection
I bought a separate amplifier unit, soldered and assembled it, and ran a new test on Sunday as the previous test had not worked well.
The locations chosen for this recording were the Royal Botanic Gardens in Edinburgh and portobrllo beach, where the ambient sound was recorded. We capture the ambient sound as a basis for the music and edit it in max to create an ambient music. max is obviously the most important direction we should work on.
The microphone of choice is the Sennheiser – MKH60 – Shotgun – Hypercardioid, as hypercardioid microphones are often used when you need to pick up sound in noisy environments to accentuate your voice while reducing the effect of ambient noise on the recording. Ideal for recording ambient sound. Using a portable digital recorder, we chose a location close to a stream where there was not too much background noise. After continually adjusting the direction and height of the microphone, we found a location with better sound reception to better capture the sound of the water flow. The recording was edited and adjusted using protools.
We have been experimenting with materials through pre-material shopping. This Sunday we hired a room for our experiments and worked in groups to carry out the Water-holding Installation test, the colour reflection test, audio vibration test, and MAXMSP Music test. During this experiment, we encountered difficulties and problems that we had to solve, which made us struggle but we were able to reflect on them and move the project forward successfully. After analysing and reflecting on the results of the experiment, we optimised the design of the programme, the choice of materials, etc., and laid the foundations for the second experiment.
PART ONE: Water-holding Installation
PART TWO: Colour Reflection Test
Purpose
To superimpose different color variations on the reflected water ripples.
Process
Reflections and Improvements
PART THREE: Audio Vibration Test
Test 1: Take Bluetooth speakers for testing. First, take the glass for the vibration test. The glass was placed on the stereo, and the water did not vibrate.
Reason for failure: glass too thick, stereo too small, poor vibration.
Test 2: Take a Bluetooth speaker for testing. The container of choice is a mineral water bottle. The water in the bottle appears to vibrate and change with the music.
Reason for success: the container is thin, and the vibrations of the stereo can be transmitted up.
Reflection:
It needs big speakers with great vibrations. If the container is too thick for the vibrations of the sound to be transmitted, try adding a spinning gear to the water. The speed of the gear can be varied in response to the music.
PART FOUR: MAXMSP Music Test
Reflection:
The music also needs to have some ambient and natural sounds added to it to make it more varied.
After the group discussion, we had a preliminary distribution of work. My job was the preparation and purchase of materials.
Lights
First I tried a mobile phone light source as a light for the water ripple reflection and determined that a point light source was the best light for reflecting the ripples.
I then tried a larger yellow spherical light source and found that this light source, because of its particular construction and colour, reflected colourful light through the object on the wall.
I tried other light sources of different sizes, such as a circular torch, a long strip of light, and a small torch.
But none of the results obtained were as good as the mobile phone light source and the yellow spherical light source. I presume this is related to the intensity and size of the light source.
So, after a discussion with the rest of the team, I decided to go for a mobile phone light and a yellow sphere light. The final choice depends on the final result.
Water Tank
Considering the light transmission of the water tank, I preferred to use glass as the material of the water tank. But as can be seen in Figures 1 and 2, whether it is colourless or tinted glass, it is difficult to reflect the ripples of the water visibly on the wall as the glass is too thick and has a strong light reflection of its own. So I came up with the idea of a transparent PVC material.
First, I purchased 110mm*110mm*110mm pieces of clear PVC and then glued them together with a glue gun to form a square water tank. Through testing, I found that the transparent PVC material had a good weight and light transmission, which was very much in line with our project requirements.
However, in subsequent tests I found that the tank was too small, resulting in a small projection area on the wall and a noticeable black edge. I, therefore, intend to re-purchase the clear PVC.
Laser Paper
In comparing the projection of the PVC water tank with a mobile phone light source and a yellow spherical light source, we have tentatively decided on a mobile phone light source. In order to achieve the light reflection in our design concept, we wanted to use laser paper to achieve this effect. This means that the white light source is reflected through the laser paper, causing the light to reflect in different colours on the wall.
However, practical tests showed that the projection of light on the wall through the single laser paper was not obvious.
Transparent PVC SheetS with Pigments
As the projection of the single laser paper on the wall was not obvious, I tried cutting the laser paper and pasting it in the form of a collage on a transparent PVC sheet. But the projection was also mediocre.
Then I tried to colour the transparent PVC sheet with gouache paint so that the light would be projected on the wall through the coloured translucent PVC sheet. However, the projection was still not good.
Therefore, I am trying to find other ways to make the light appear colourful on the wall.
Drip Device
We were going to make our own drip device but I suggested that we could just buy medical drip props which would give us better control of the drip rate. As medical drip props are not sold in the UK, not even for plants. I, therefore, decided to purchase them from China and have them couriered to Edinburgh. As the time between purchase and receipt was greater than two weeks and returns were not possible, I opted to purchase two different drip props for plants.
Arduino
We expect the Arduino to control the start of the drip unit, the running of the unit and the projection of the projector.
Therefore, I am trying to find other ways to make the light appear colourful on the wall.
