Work thus far...
After further research into the geometry and composition of the human body (thanks to the Illustrations of Gray's Anatomy - not the TV show, either), I've decided to use these guidelines as a means to organize this installation.
i've split my corps esquisse into three (possibly four, time permitting) concepts surrounding the body of the automata: the eye, the torso, and the ear/mouth. the fourth piece would be an appendage that could further interact with the other installations, or that could draw.
ear/mouth - sound input/output
The ear/mouth is a piece that can be used to cause a reaction to the sound input and output from other projects. The princess doll compares sound levels, and outputs movement and specific sounds. A piece could therefore be built to intake sound and trigger reactions within the projector. The motor in the toy could allow the creation of a "talking" mouth. In the spirit of the corps esquisse, I've allowed the geometry of the ear to become the mouth, combining these pieces into one housing unit.
eye - projection unit
The projection unit will be constructed of lens retrieved from a projector, and the mechanisms of the teletubby (either the toy itself, or a recreation of the original - depending on what is used in the torso for mechanisms). By using the same circuitry of the teletubby to rotate through a series of images, a variety of imagery can be projected. To do this, the lenses from the original projector will need to be combined with the mechanisms of the toy into new housing - providing an opportunity to work with sight lines and transparencies into the piece. A light sensor in the torso provides an opportunity to actuate movement within.
torso - scrim theatre
The projection unit will project onto the torso, which will be built of a skeleton/frame, covered with scrim. The advantages of using scrim include the ability to work with projection from one side, but also backlighting to reveal the inside of the torso. Scrim can also be constructed of flexible fabrics, and therefore the mechanisms inside could push against the fabric - when the mechanism is not backlit, it would therefore create a moving canvas for the projection. This notion fits with the corps esquisse; the torso, presented as "typical" could be visually opened to reveal the inner workings that are mechanical, but also theatrical. For example, the heart could visually beat, gears could move imagery back and forth - the torso therefore becomes a mechanism for movement. While the whole composition may initially be presented as conventional, the inner workings become a means for creating a moving image.
The heart, as the center of the being both physically, but also rooted in culture spiritually as the core of our souls, will be housing that instigates most of the movement within the torso - a small motor turning gears will be located here, and should create a variety of movement.
The lungs of the torso, constructed of flexible latex or plastic, have two opportunities - firstly, air could be harnessed from another project to create slight fluctuations (ie - a split tube from Carl or Przemek's instruments could add breath) OR, powered air from the torso could in turn feed one of the aforementioned projects. Finally, the breathing lungs could trigger microswitches that in turn could create movement within the torso.
At the base of the torso is the reproduction center - a component that is included in the scientific basis for determining life. While this may not reproduce another installation, it can be stimulated, and it is possible that this area could act as a drawing machine, or simply as an actuator for starting movement. In this sense, the torso spawns it's own progeny, in the form of reaction or thoughts.
The backlight is easily built - either by switching sound output from one of the circuits to light energy, or by using the sound signal to trigger a relay that will turn the light on or off.
Questions
- While I am not thrilled with the way the previous two images have scanned, they do begin to show how I will be compiling the inner workings of the torso - which is pretty complex. I'm wondering if I should stick to fewer components - is there too much happening right now?
- I'm a little confused as to what is required for Tuesday's review - is it the developed concept of where we are going with this, built work, everything and anything...I am sure that things will develop further as I begin to construct pieces, and it will be a work in progress always. Can you elaborate further on what 30% completion means? Secondly, the outline describes the portfolio; are layouts now a part of Tuesday's deadline?
posted by chelsea @ 9:35 AM
3 Comments:
ok firstly, lets put you at ease for Tuesday.
Tuesday is indeed a work in progress. 30% means you have a clear approach to what you are going to do and you have actually started doing it. Thats why it will work much in the same way as the pneumatic crits you guys had when you first got together: a human assisted presentation. I would suggest that you have at least 1 working part to demonstrate what you are doing and drawings that clearly show what your intentions are. So for example if you are planning on making a hearing piece in the head: do so. But also draw out the implications of what you are doing so that we can contribute to the whole of the project.
Portfolio pages. You shouldn't have to go into a separate "production" mode to graphically alter and layout the portfolio pages. They should really be only showing the work you are doing and your process. Anything else is just window dressing that does not really contribute to the discourse. YOu should also be developing a strong sensibility to how you develop ideas through drawing and collage. So to answer your question, yes the portfolio pages are part of the presentation, but they have always been.
The first drawings (collage and several few after) seem to convey your ideas in a much more convincing way when they are carefully drawn and developed. The drawings that you have showing the rest work, but they don't actually get into the substance of the work. How about making a mock-up? or developing the idea so than rather than just showing us the electronic schematic, we can actually talk about how things will be made and what its presence will actually be.
onto the work.
Your ideas are genuine, dense and very very strong. While you have a mature and serious depth to the research, your ability to take risk, enjoy risk and play is driving a very strong piece of work.
I think the idea is very strong, yet it is not at a synthetic point where we can begin discussing how it will be made and what its presence will be. That's really the issue now. What will it look like? What kind of space does it take up? Is it big? small? is it made of machined parts? Found parts? Is it monstrous? Surreal (I hope) modern? You seem to have everything lining it up, expept the synthesis seems to be missing. You describe its lungs and torso as moving and connected to motors etc. YOu could start make models/mock ups or drawings of what these will do and what they look like.
I really like how you are taking the corps esquisse seriously. The first collage could be an interesting clue as to how the "puppet" or "automata" may be made. You could conceivedly make the entire thing a 3-d collage of grey's anatomy's body parts. (I can even show you how to cut our pieces in the laser cutter to EXACTLY match the collage.) In retrospect I should have insisted that you stay and watch the brothers quay: maybe I will bring the dvd and vie you an advanced viewing so that yOU know what I am talking about.
So in other words: keep going, its on the right track.
thanks kai - i don't feel i'm totally qualified to 'crit' but i love what you're working with, and would be glad to discuss.
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