HK Digital Architecture 2008

David Hall 2008
David Hall 2008
David Hall 2008

Physical Media Yonsei 2008

LightShot - LightJocky Dec 2008 from opium white on Vimeo.

Light shot show december 2008 featuring the work of..

Kim Mi Sa misha0222@naver.com
http://blog.naver.com/misha0222
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YunMi huyunmi@hanmail.net
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Eomji Lee thumb224@hotmail.com
http://blog.naver.com/thumb224
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Hyeryung Sohn ecli21@gmail.com
http://ecli21.blogspot.com
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Soyeon Chong iinets@hotmail.com
http://www.mj-dandyculture.blogspot.com
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Byunghoon Lee metdream@hanmail.net
http://blog.naver.com/metdream
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Kim Darong
http://vjdarong.blogspot.com/
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Cho Sung Hyun
http://chosunghyun.blogspot.com/





LightShot Test from opium white on Vimeo.

The Physical Media class brief can be found here.....
http://opiumblue.blogspot.com/2008/08/physical-media.html

The Physical Media class work can be found here.....
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Kang Jung Hwa
http://smire77.blogspot.com/
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Cho Sung Hyun
http://chosunghyun.blogspot.com/
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Kim Na Eun
http://circuitbendinggirl.blogspot.com/
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Kim Jinmi
http://videoworkinprogress.blogspot.com/
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Kim Darong
http://vjdarong.blogspot.com/

circuit bending from sunghyun on Vimeo.
Darongs word - process - output font

KM Korea Fetish 2008

Food Fetish from opium white on Vimeo.

MT_Graphics Yonsei Autumn 2008

David Hall 2008 motion capture
David Hall 2008 motion capture

Misa Elevator from opiumblue on Vimeo.
Kim Mi Sa misha0222@naver.com
Misa's Blog - http://blog.naver.com/misha0222


Heo Yunmi huyunmi@hanmail.net
Music by Yang Yongjun


Two movies from this semeters motion graphics class. Both taken from this class brief, http://opiumblue.blogspot.com/2008/08/motion-graphic-studio.html

Digital Organic Structures

Project One
Digital Structure David Hall 2006
Digital Structure David Hall 2006
Digital Structure David Hall 2006
Digital Structure David Hall 2006

PREFACE - Multiples

Posit 1
"The multiple manufactures originals in series.
This means that the objects are not reproductions of an original but are themselves originals. They are not simply multiplied but manifold within themselves."

According to this key statement, formulated by Daniel Spoerri and Karl Gerstner at the foundation of their Edition MAT (Multiplication d'Art Transformable) in 1959, the multiple is to be regarded as an art form in its own right.

Posit 2
Nano and Geno revolutions edge closer. Cities could account for 85% of the global population by 2030. Development of computer controlled genetic hydroponic growth structures, nano bot swarm information and diagnostic relays, become widespread.

Posit 3
Emerging now is an embryonic construction technique
Where buildings / spaces are "Grown" not constructed.
Where computers control growth structures and DNA profiles
of crystal and organic compounds to produce architecture.

Where everything is wireless and now seemingly impossible
environments are fed and watered like plants or animals but are infact
Silicon controlled structures. Buildings like human spinal bones, controlled organic growth resembling high tech trees.

Posit 4
Site Specific Locative Media.
A unique quality of the synthetic space of the game engine is the ability to replicate a single formal entity many times and have no effect on cpu performance. This project explores those replecative qualities.

Mobile phones and other communication devices are already starting to use the game engine as a UI and entertainment system.

David Hall

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Hwang Jeong Hee

Digital Architecture for Synthetic spaces

Project One - Exploration

Brief

In this unit class we will explore the concepts behind modern “Emergent “architectural procedures. We will use the concept of the genetic multiple to explore form and digital space.

Procedure

Each person will develop a formal strategy digitally, to investigate structure.

Week One – Introduction
Week Two – Primary outline
Week Three – Initial experiments One.
Week Four – Initial experiments Two
Week Five – Screen cap and play blast presentation.
Week Seven – Final presentation of stage one

Note. Autodesk Maya will be a primary tool in this project. Although you do not need to be an expert in this software you should have a general knowledge of 3D applications. I will demonstrate during class Maya procedure

Project Two – Integration

Procedure

Each person will define a location inside Seoul city. You will generate a site plan and collect data of the specific location. Then you will develop a structure and environment that takes site specific elements and integrate with your multiple work.

Week One – Introduction
Week Two – Primary outline
Week Three – Initial experiments One.
Week Four – Initial experiments Two
Week Five – Screen cap and play blast presentation.
Week Seven – Final presentation of stage one

Note. Autodesk Maya will be a primary tool in this project. Although you do not need to be an expert in this software you should have a general knowledge of 3D applications. I will demonstrate during class Maya procedure

Physical Media

Project One - Circuit Bending

From wiki –
Circuit bending is the creative, short-circuiting of electronic devices such as low voltage, battery-powered guitar effects, children's toys and small digital synthesizers to create new musical or visual instruments and sound generators. Emphasizing spontaneity and randomness, the techniques of circuit bending have been commonly associated with noise music, though many more conventional contemporary musicians and musical groups have been known to experiment with "bent" instruments. Circuit bending usually involves dismantling the machine and adding components such as switches and potentiometers that alter the circuit.

PREFACE

Circuit bending is realy the simple creative path towards electronics and interaction.Its emphasis is les on the technical and more on the creative approach to searching and experimenting with technology.

Procedure

Each person will buy two or more battery powered electronic audio devices. (Must be battery powered). One will be a speak and spell machine the other will be up to you.

Week One – Introduction
Week Two – Disassembly and initial tests
Week Three – Adding components for control and interaction.
Week Four – Circuit development
Week Five – Final presentation

Note. As well as buying electronic audio devices you will also need soldering irons and various other components.

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Project Two - The Shape of SoundDavid Hall 2006

Hyuna 2006

Jungun 2006
http://dasautomat.com/?page_id=130

PREFACE

Sound signals have been represented graphically for as long as graphics has existed. However with a computer added to the working pipeline its possible to envisage many new and unexplored visualizations of audio data.

The basis of motion graphics is often the relationship between sound and image. However as media breaks out of the confines of the screen new methods and approaches to audio data output are emerging.


Procedure

We will take our sound source from the first project. Processes it digitally then output it three dimensionally via the laser cutting fabrication process.

Week One - Introduction
Week Two – Strategies for visualizing audio
Week Three – Digital laser output
Week Four – Assembly
Week Five – Final Presentation

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Project Three - Audio controlled Surfaces

Carsten Nicoli
Carsten Nicoli
Audio Surface David Hall 2006
Audio Surface David Hall 2006

PREFACE

Physically displaying sound in a three dimensional environment is a relatively new discipline. It really belongs to the concepts and methodologies of the hyper surface and interactive architecture. However here we will be controlling audio that in turn controls a 3D surface. Here we will experiment with Ferro fluid, lycopodium powder and other particulates or liquids to realize the project.

Procedure

Each person will build and audio rig that will be used to control a fluid or surface. We will use the circuits from the first project to control our device.

Week One – Introduction
Week Two – Strategies for control
Week Three – Experiment One
Week Four – Construction and Assembly
Week Five – Final Presentation

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Motion Graphic Studio

Project One - MOTION GRAPHICS Time Capture ImagingMotion Synthesis David Hall 2005

Motion Synthesis David Hall 2005

PREFACE

The beginning of motion graphics runs parallel with the history of cinema.
And the birth of both was multiple exposure photography and the “ zoetrope “. Motion capture ( MOCAP ) is a widely used process for calculating movement. But it can also be used to explore motion and animation ( motion graphics ) through a non time based delivery medium such as still images.

In this project we will explore motion and animation through the multiple exposure, or multiple imaging techniques. In any given environment or situation still motion graphics can reveal a hidden world of possibilities and beauty not visible to the naked eye.

METHOD

Step One
CONCEPT AND EXPLORATION-( 1 week duration )
Develop your concept with a view to its stylistic and visual qualities as well as how this work will be disseminated.

Step Two
DIGITAL-( 1 week duration )
Experiment with concept, location and movement through a series of images.

Step Three
FINAL PRESENTATION -( 1 week duration )
I expect at least 10 experimental images from each person as the final output of this project. I also expect to see a creative unusual approach the idea of still images and motion.

Project Two - Graphism and Digital Graffiti Korea Graffing David Hall 2005Banksy
Banksy
Digital Graffiti David Hall 2005
Digital Graffiti David Hall 2005


PREFACE

There are various forms of graffiti. One of the simplest forms is that of individual markings such as slogans, slurs, or political statements. Examples of this type of graffiti commonly are found in bathrooms or on exterior surfaces, and this graffiti is usually handwritten. Another simple form is that of the tag which is a fancy, scribble-like writing of one's name or nick-name. That is, tag signifies one's name or nick-name.

For example, wild style changes with each artist's interpretation of the alphabet, but it also relies on the use of primary colors, fading, foreground and background, and the like to create these letters. Thus, it is important and valuable to characterize some forms of graffiti as art because this challenges people, who are conditioned to accept art works as art only if they are created in a traditional manner and appear in institutional setting, to appreciate art works that originate and develop outside of these constraints. In doing so, people come to realize graffiti is not an art form that is done just for the sake of rebellious destruction. Quite the opposite, it is an innovative and truly original art form that is meant to bring an aesthetic pleasure to the audience like any other recognized art form.
In some sense you could say that Tags and graffiti are the antithesis of corporate graphics, and their traps of marketing and logistics. So graffing is a raw and base form of urban graphics and identity.

METHOD

Step One
CONCEPT-( 2 weeks duration )
Develop your concept with a view to its stylistic and visual qualities as well as how this work will be disseminated.

Step Two
DIGITAL-( 2 weeks duration )
Digitize and develop your tags/ concepts through 3D, Photoshop and illustrator.

Project Three - Motion and Music
CF Blue world For Ford Motor Company David Hall 1998
Subway Fairy David Hall 2006

Final brief

Using the visual form and nature from the first two projects you will develop a motion graphic sequence. Key elements of this sequence must be creativity and experimentation.
( Not a display of skills )

I expect the running time to be between 1minute and 3 minutes.

Stage One ( 2 weeks ) – Concept development and story boarding.
Presentation

Stage Two ( 3 weeks ) – Preproduction
Presentation

Stage Three ( 3 weeks ) – Final work and realization.
Edit and presentation
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Final Presentation - Abstract Motion 2005 Hongik

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Design and the Fetish

Skin Two Magazine

Fetish(n.): a. Originally, any of the objects used by the Negroes of the Guinea coast and the neighbouring regions as amulets or means of enchantment, or regarded by them with superstitious dread. b. An inanimate object worshipped by primitive peoples on account of its supposed inherent magical powers, or as being animated by a spirit. c. fig. Something irrationally reverenced. d. Psychology. An object, a non-sexual part of the body, or a particular action, which abnormally serves as the stimulus to, or the end in itself of, sexual desire.

Preface

The word fetish or fetishism when attributed to African objects is used to describe a wide range of items, contexts and uses. In brief, fetish refers to an object that contains another form of substance(s), widely referred to as medicines or charms. These objects are made for the purpose of spirit guidance and are used to act upon the world whether it is in a natural or supernatural context. They can be used in a positive way, for example, to protect or to effect prosperity or fertility; or they can be used in a negative way, for example, to punish or provoke illness.

Likewise with the argument that fetish can be seen as a problematic term, this again will be of a general and brief nature compared to its full and complex analysis.

In a modern Western society the word fetish or fetishism has most probably the same connotations and symbolic meaning for most of its members. The meaning being a fetish is something or someone that an individual has an inner need or desire for in either an emotional, physical or sexual way. It encompasses to us a lot of behaviour that is considered to be outside the norm of society. So in this light it is received in quite a negative way and seems to signify something that people within the norm cannot quite understand.

Although the list of objects that fetishists can use for sexual gratification is inexhaustible, among the more common inanimate objects are panties, bras, slips, stockings or panty hose, negligees, shoes, boots and gloves. Common media objects include leather, rubber, silk, or fur. In some cases drawings or photographs of the fetish object may arouse fetishists, but more commonly the fetishist prefers or requires an object that has already been worn. The worn object does not serve as a symbolic reminder of the former owner, however, because it is the object that the fetishist relates to, not the person attached to it. Sometimes it is a body part, such as hair, feet, legs or buttocks that become fetish objects. These are examples of animate fetish objects.

The sexual acts of fetishists are characteristically depersonalized and objectified, even when they involve a partner. The focus of attention is exclusively on the fetish, whereas non-fetishists may at various times make a particular body part or an object part of their general sexual arousal and expression with another person, but not be fixated on it.

Lecture Schedule
Each week we will have a one and a half hour lecture followed buy a discussion.

Week One
Definition and introduction to the concept of fetishism

Week Two
The evolution and concepts behind fetishism and fashion

Week Three
Body modification

Week Four
The future of the fetish and the fetish of technology

Week Five ( See note below )
Proposals for research and discussion of the “Korean specific fetish”

Week Six
Presentation of research of fetishism in Korea

Week Seven
Publication discussion and review

Note – As part of this course you will be expected to research and document a study of a specific part of Korean fetishism ( from love hotels to mobile phone mods)

Computers and Meat

Garnet Hertz www.conceptlab.com

Garnet Hertz www.conceptlab.com

Galvanism
http://en.wikipedia.org/wiki/Galvanism

The effect was named by Alessandro Volta after his contemporary, the scientist Luigi Galvani, who investigated the effect of electricity on dissected animals in the 1780s and 1790s. Galvani himself referred to the phenomenon as animal electricity, believing that he had discovered a distinct form of electricity. Volta, on the other hand, claimed that the reputed animal electricity was due to an interaction between the metals used to mount and dissect the frog's leg, and in 1800, before the Royal Society in London, announced the Voltaic Cell or pile, essentially the battery.

The modern study of galvanic effects in biology is called electrophysiology, the term galvanism being used only in historical contexts. The term is also used to describe the bringing to life of organisms using electricity, as shown in Mary Shelley's work
Frankenstein (which was influenced by galvanism) and people still speak of being 'galvanized into action'. Many Victorian scientists believed that if the right amount of electricity was charged into the brain, the corpse would come back to
life.

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Organic Computer For Apple Macintosh 1996 David Hall

Brief

In this project we are going to take a very wide look at the concept of galvanism and the relationship between computers, Digital media and meat. This could be a computer literally controlling meat or it could be about basic human instincts and pleasure and how computers and media relate to this area. The output of this class and research could be

A – A physical working prototype
B – A film depicting a scenario of the concept
C – An installation environment

Example 1 – Muscle tissue that responds directly to audio signals “ The disco”
Example 2 - Electro stimulation love hotel
Example 3 – Physical computing, telepresence and teledildonics.

Procedure

Stage One ( One week ) – Introduction
Stage Two ( 3 weeks ) – Concept generation and research

Presentation Week five

Stage Three ( 3 weeks ) – Concept Development

Presentation Week Eight

Stage Four ( 4 weeks ) – Construction and realization

Stage Five ( Final output and presentation )

Note – As this is an unusal project I expect the research to be clear and thorough.
At each presentation I expect to see photographs, drawings and CG work.
Please do not present images from the web as research.

Remote_002

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COM Truck

Objective
To experiment with three "low-fi" Korean advertising trucks. Its realy an experiment in the missapropriation of exhisting technology. I think this ois one of the few ways at present that media can be transported and set in various locations at high speed.

Equipment and logistics
First we need to find a company to rent the equipment from and then experiment with the softeware thast they use, I would hope that we can modify the technology to make the whole project interactive and realtime.

It may or may not be possible to put low resolution video through the truck LED system in realtime. Or it may be possible to interact with the imahe or animation in realtine, as each location may trigger a different set of graphics to be displaed. Realtime locative media is what we are realy after.

Output
The Instalations will be filmed by atleast 3 camera simultaneously.
The footage of wich will be edited into a three minute movie.
This movie will be the final output describing the technical working process and physical working

APT Interaction

Objective
To create a real-time interactive relationship between the organic sonic life of an urban structure and the surface skin of the structure. To transform the relatively inanimate structure into a visually living thing.

Equipment and logistics
As in the diagram we need 5 transmission mobile phones to be covertly placed within the structure. Each mobile will transmit the audio from its specific location and be set to "auto answer". There will be 5 receiving mobiles each wired into a mini mixing desk. A notebook will translate the audio signal real time piping the signal into specified reactive software, preliminary this will be flash, but could be any soft we decide.

I expect the first test to be done in the next 2 weeks using the standard projector and a single mobile set, We should be able to achieve this during class time.

After the test we can proceed to work out how to organize and plan the final installation

Location
As per the location research

Costs
As I will be funding the project I expect ALL costs to be detailed at each stage, At present the main cost will be the mobile phones and their connection and the truck rental.

EI Interactive Structures

Objective
To create an interactive morphogenetic structure which is responsive to its environment in realtime.

Equipment and logistics
My initial concept is generate digital organic graffiti forms that will be morpho genetically guided towards a set of three output foprms. The construction of wich will probably utilize the bamboo lantern technology available in Korea

Output
The Instalations will be filmed by atleast 3 camera simultaneously.
The footage of wich will be edited into a three minute movie.
This movie will be the final output describing the technical working process and physical working
Installation prototype.

June 28-2008 Projection Mapping test.

Here is the first test of a maya camera matched to the Mitsu 480U projector.

The Virtual camera was matched by using a glass lens distorte inside maya, then raytrace rendering.

Creativity, Software and Hardware

This is class proposal looking at the techniques of modern media and the way I personally work with software and hardware. It is not just a technical class but also the methedology I have developed to work with media.

Its is NOT intended to make everyone who takes it to become an expert in any particular piece of hardware or software. But to give them a window for exploration.

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Semester One

Week one -
Introduction
Drawing and sketching, building block for visual communication

Week two –
Detail and web
360 degrees Quick time VR, photography and interaction methodology

Week three –
Compositing and creative solutions
360 degrees Quick time VR, photography and interaction

Week four –
Introduction to Digital stop frame animation with a still camera

Week five –
Digital stop frame animation with a still camera - details

Week six –
Retiming animation and video and Time slicing

Week seven –
Introduction to 3D ( Maya )

Week eight –
Quick time VR and 3D integration

Week nine –
Basic 3D ( Maya ) and movie / stills photography integration

Week ten –
Detailed camera movies in 3D for motion graphics

Week eleven –
Rendering and lighting intro

Week twelve –
Rendering and lighting detail

Week thirteen –
Rendering and animation output pipeline

Week fourteen –
Study request

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Creativity, Software and Hardware Procedure

David Hall - 2008

Creativity, Software and Hardware Procedure

David Hall - 2008

Semester Two

Week one -
Circuit Bending and electronics

Week two –
Detail Circuit Bending and electronics details for physical computing.

Week three –
Audio and midi Software intro ( Cubase, Ableton, Native instruments and plugins etc )

Week four –
Audio circuits and software integration

Week five –
3D intro 2

Week five –
Midi and 3D Animation

Week six –
Audio and 3D Animation control

Week seven –
Introduction to Generative and procedural techniques

Week eight –
Generative and procedural techniques, details

Week nine –
Surfacing and object orientated assembly

Week ten –
Adobe Flash and 3D integration

Week eleven –
Game Engines and Real time graphics

Week twelve –
Game Engines and Real time graphics pipeline.

Week thirteen –
Study request

Week fourteen –
Study request

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Note
This class is a one year primer. If taken the student is expected to do both semesters in order to get a full understanding of the scope of modern media.

Hardware requirements

Relatively high spec PC with at least a mid range graphics card and a
Mid to high range Audio card.

Digital Stills camera.

DV camera

Audio recording device.

Soldering iron and accessories

Miscellaneous low voltage circuits ( details to be given in class ).

Software Requirements - Primary

RealViz Sticher
RealViz Re-Timer
Adobe After Effects
Adobe Premier
Adobe Photoshop
Adobe Flash

Sony Sound forge
Steinberg Cubase SX
Ableton live
Native instruments complete

Autodesk Maya

Software Requirements - Secondary
To be discussed in class


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