Thursday, August 16, 2012

Media Environment Unit Two - Emergent Media (One)

Contemporary project based digital media design and methodology
David Hall "GenProjection"2011

Course Description
Each year new paradigms and concepts arise in the ever changing progress of media and its associated disciplines. From what was a print based process it has developed into a multi faceted industry or industries. In order to stay even slightly contemporary we have to adapt and experiment quickly each year. As such in this studio we will explore creative ways of experimenting with new technology and software. The three distinct areas of study will be, “Graphics and Motion”, “Physical Media”, “Real time and Interaction”.


Project 001- Design for transmission

As you know the graphics design of remote signaling communication technology has a history going back millennium. The present day mobile phone is becoming essentially a remote visual messenger. The traditional Korean military signaling kite ( above ) was used extensively as a telecommunication device. During this short project we will analyze the symbols of the traditional kite and then design a modern set for the 21st century.

Our objective is to initialize and understanding of symbolic graphics AND a creative non linear approach to design solutions.

Stage One - Part A - “Concept generation and Research”
Research and analyze the symbols of the traditional kite. Then imagine how these concepts could be appropriated for modern media devices such as an ipad or mobile phone. So in effect we are making stills and animation for use on modern devices with traditional historical viewpoints. This is often the way to create something new. Crash the history into the modern.

Stage One - Part B - “Being Digital”
Experiment with concept, and determine a present day symbolic structure for present day communication.

Stage One - Part C - “Output and Delivery”
I expect each person to generate their own structured symbol system, them print out on a series of kites.

NOTE : As with ALL studio briefs you can interpret yourself and approach the concept differently. For example you may wish to base your graphic project on light trails from night flying kites, its your decision.


Project 002- Large Scale landscape graphics and Motion

David Hall "Multi_Jongno 023"2007


The concepts of space, time, and social relationship in urban environment are put in flux, while there are growing interests among communities of artists viewing city as social playground, public space, fluid canvas, and invisible layers of network. However the urban environment is not the only available location for media. Rural, seascapes etc etc can all be utilized to express and research the possibilities of Installed locative media.Our objective is to conceptually explore the possibilities of site specific locative media and design.To enable a connection between the environment and location.

Stage One - Part A - “Concept generation and Research”

Conceptualise and play with methods of integrating type and fabricated graphics into landscapes that you have already researched.

Stage One - Part B - “Being Digital”

Fabricate, install, photograph and DV your work. Final presentation will be through a blog record of your project.


Thesis Student notes- People doing thesis, especially final semester will be required to adapt the above projects for their thesis. In effect write their own project briefs based on this classes projects. This has been very successful in the past.

Presentation notes- All students are required to have a blog at (not naver). Also any movie footage shot should be uploaded to This footage should then be embedded into your blogspot. You will be expected to upload work for assessment every week.

The final output of this class will be a performance in a pre defined space at the end of semester. Failure to present will mean fail. You will need to have some experience with video cameras and editing software to be able to do this class.

Research blog -

Space and Digital Fabrication (One)

Strategies and concepts for new synthetic forms and digital output
David Hall "X_System15"2009

Course Description
This course will be in three sections every semester. 
Generation, Process and output. Each semester will lead to progressively more complex and refined approaches to fabrication and construction. The objective is to teach students the theory, production techniques and process of digital form and fabrication in a variety of media and disciplines. 

Part one of every semester will deal with “Theory and development”. This will include digital topology and surfacing techniques using meshing tools of various types.

Part Two Digital process and construction techniques.

Part Three will focus on the physical process of digital output in three specific forms.

One - research Strategies for visual form development
David Hall "Meme Cells"2011

Developing your own personal visual style has always been a goal of masters degree art students. One of the traditional undergraduate techniques of achieving this is to study other artists, designers and contemporary/historical movements. For postgraduate students however we must employ a more diverse and sophisticated strategy.  So in effect you need to choose and define an area within which you can research and explore. And by research and explore I mean, drawing, reading and photographing the subject, NOT just downloading images. Areas and subjects that could be useful ( I am NOT saying you need to use any of these, you should choose your own ) could be “science and biology structure”, “natural forms and systems”, generative and algorithmic dynamics”, “fluid mechanics”, etc.

By research I mean, if you find or take photographs of a given subject you need to be able to analyse the images to define what you are interested in.

Stage One - Part A - “Define”
Please choose an area or group subject title that you will read and research.

This initial stage should be uploaded to your blog. Just uploading a downloaded image is unacceptable. I expect to see written analysis.

Stage One - Part B - “Explore”
Here you will develop your theme by photographing, drawing and written analysis.

Stage One - Part C - “Consolidated”
With the preliminary work done it's time to specify your research are practically, by this I mean “how can this subject be conceptualized in order to use it for further development with respect to three dimensional output.


Two - Digital form finding and low resolution Printing
David Hall "Body Test"2010

Digital output in the form of 3D printing has been the driving force behind many of the recent design explorations of the past decade. The dream of direct computer controlled construction is finally here. At last we are free of the development to manual construction paradigm. The implications of this revolution for artists and designers could not be more profound. Its a revolution on the scale of the development of the internet or computing itself.

This is the profound liberation we all talked about for a few decades, now its here its time to get with the program so to speak.

As with all revolutions (think photography then film) understanding the basic principles can help with your future understanding of the process. As such we will start with low resolution laser cutting. This is in effect the fundamentals of digital fabrication. using laser cutting practice can be incredibly useful for all artists and designers no matter what the project they are working on.

Section Two - Part A - “Meshes and Form Finding”
Here we will explore basic form development inside your chosen 3D application, this does not need to be specific, it could be Maya, 3DS, or Cinema 4D its upto you.

We will use the tried and tested distortion select method.

Section Two - Part B - “Slicing Mechanics”
Once we have the selected model now we will begin the process of getting it ready for print. As this is a laser cut we will use either a straight slice method or an intersection method. This will depend on your model.

Section Two - Part C - “Printing, Cutting and Assembly”
This is the final stage of this section. Once we have printed we will assemble.


Three - Organic Structure and Hi resolution Rapid Prototyping
David Hall "Body Home"2009

Computational space and the new frontier. The reason why aesthetically design has and will change so much is that from now on much of design exploration will not be shackled by 20th century construction and manufacturing techniques and process. A great deal of contemporary architecture and design schools have a digital lab specifically to explore the now aesthetic and visual horizons that rapid prototyping is opening up. As soon RP machines will probably be embedded in each home or office, it is easy to envisage a consumer environment where you would download and print your mobile phone for example. This would mean an end to the retail environment as we now know it. But the real question is “as designers what will this new future look like with all its complexity and flexibility. This is what we will explore here.

Section Three - Part A - “Meshes and Form Finding V1.2”
This is the longest part of the semester ( I estimate about 7 weeks ). Here as the resolution and build width of the printer is very fine you can explore the potential of the machine through complexity on achievable by computer and printer. 

Section Three - Part B - “Printing Mechanics”
I will go through the process of making forms and models “print ready”. This means looking at construction topology and closed meshes.
There are a number of ways of technically achieving this, I will detail step by step the methodology and programs we need to utilize.

Exhibition and Photographic documentation.
If all goes well I would like to org anise a small show showing the process from low resolution to hi res prints. We will also need to do professional photography documenting the whole process and results.


Morphic Strategies  Green Growth lab
Dave Hall / Roger Pitiot
_____  Morphic

There are quantum changes taking place in the fields of manufacturing, Construction, Design, Architecture and the use of integrated computing as a driving force of these paradigm shifts. The seeds of these changes can be seen in embryonic form today in the form of the generative and procedural approach to design and architecture as well as new forms of realization such as rapid prototyping and digital fabrication.
The visual form, nature and aesthetic of these new approaches are experiments in trying to define the new aesthetics for these new territories.

Areas of Research
Generative and Procedural computing
Aesthetic development for new frontiers
Digital Fabrication and construction
Natural systems and integration

Projects and Measurable Objectives
Conference Presentation and attendance

Tuesday, February 28, 2012

Media Art Unit One - Spring 2012

Dave Hall Generative Audio Interaction 2006

Sound driven visual Motion and Media
(Physical media)
Preface and Introduction

Cymatics is the study of visible sound and vibration, typically on the surface of a plate, diaphragm or membrane.

Direct ocular viewing of vibrations involves exciting inorganic matter such as particulate matter, pastes (both magnetic and non magnetic) and liquids under the influence of sound, although recent research has extended the range of media to include organic matter and the range of viewing has been extended to include the light microscope.
The generic term for this field of science is the study of 'modal phenomena,’ named 'Cymatics' by Hans Jenny, a Swiss medical doctor and a pioneer in this field. The word 'Cymatics' derives from the Greek 'kuma' meaning 'billow' or 'wave,' to describe the periodic effects that sound and vibration has on matter.
The apparatus employed can be simple, such as a Chladni Plate (a flat brass plate excited by a violin bow) or advanced such as the CymaScope, a laboratory instrument that makes visible the inherent geometries within sound and music.
From wiki

This class and projects will be about the exploration of audio driven patterns and graphics with an intention to create an instalation.

Project One
Circuit Bending and Electronics
Duration 3 weeks

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 – Disassemble and initial tests
Week Three – Adding components for control and interaction.

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

Project Two
Signal Processing and Sound
Duration 3 weeks


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


Project Three
Real-time and interaction or Pre rendered
Duration 6 weeks

For the final part of our project you have two choices.

Option One- Pre Rendered Animation
Using trapcode sound keys you can use your audio signal to generate motion graphics in After Effects. The visual style should be abstract I suggest. 

Option Two- Real Time interaction
Using your sound and circuit knowledge you will hook up your device to
a computer and use the signal to modify / change an image.

Software could be Quartz composer ( for mac ) or VVVV or which ever program you choose.

Final Presentation

Physical Media 2009 from Opi@te Acc on Vimeo.

Duration 1 week

Media Environment One Spring 2012

Media Environment One
Depth and Time 

David Hall Experiments in motion 2007

Space and Motion Graphics (Still)Duration 4 weeks


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 exposures, 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
Form and Time (Animation)
Duration 4 weeks

 David Hall Multiples 2009

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.

In this unit class we will explore the concepts behind modern “Emergent “architectural and digital media 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


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.


Rapid Prototyping for Media
Duration 7 weeks

David Hall "Sequence 34" 2007

Flow and fluid mechanics are a primary ingredient in all motion graphics and film. In fact the principles of fluid mechanics are present in almost all physical liquid or particle systems. In this project I want you to play with the concept of flow from a digital and analogue perspective. The end result of the project will be a 3 minute animation / movie, with a sound track ( can be beat driven it’s your choice ).

To find visual patterns and rhythm's in the digital and analogue world that can be refined and experimented with to produce an object that can be printed using the 3D printer in IDAS

For each person the process will be different. These personal methodologies will be discussed in class.

David Hall 3D print Process 2007
NOTE : As this is the primary part of the class you are perfectly free to specify and proceed with your own research project. The only provision is that you write a detailed brief first

Final Presentation


Opiumble @ Space Can Dec 14 to Dec 30 2011


Chapter One : Lo Fi Landscape

Through a process of mathematical reduction the landscape became more and refined and simplified. All the other objects in the exhibition are developed simply using a computer, then layers of complexity are added until the computational model and the physical three dimentional print look organic and natural. In other words their construction and development history is hidden within their complexity.

This project is the reverse of that process in every way. The objects are real physical forms ( topological landscape date and human anatomy ), then this data is refined back to minimal polygonal data.

As I have spent a great deal of my time in the UK as a production designer, the work owns a lot to the process of production design in that it is more of an atmospheric physical set piece rather than computer simulation. As the landscape was reduced within the computer it was then digitally fabricated to give an exact replication in the physical world. Everything in the installation is a polygon. The light emitting from the projectors (the virtual cameras in reverse) is also triangulated by virtue of projecting through a smoke layer. This makes every light ray of the animations polygonal against the physical object. In effect you have the experience of being in the triangular landscape as you are intersected by projections beams.
Space Can Exhibition pdf >> Download <<