Sunday, August 24, 2008

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


Hwang Jeong Hee

Digital Architecture for Synthetic spaces

Project One - Exploration


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.


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


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

Thursday, August 21, 2008

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.


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.


Each person will buy two or more battery powered elect
ronic 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.


Project Two - The Shape of SoundDavid Hall 2006

Hyuna 2006
Jungun 2006


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.


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


Project Three - Audio controlled Surfaces

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


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.


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


Motion Graphic Studio

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

Motion Synthesis David Hall 2005


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.


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
Digital Graffiti David Hall 2005
Digital Graffiti David Hall 2005


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.


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.

Stage Two ( 3 weeks ) – Preproduction

Stage Three ( 3 weeks ) – Final work and realization.
Edit and presentation


Final Presentation - Abstract Motion 2005 Hongik


Tuesday, August 19, 2008

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.


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

Garnet Hertz


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, b
efore 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 b
ack to

Organic Computer For Apple Macintosh 1996 David Hall


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.


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.