Norwich University of the Arts MA Moving Image and Sound
Andrew Logie (1201803) MA Moving Image and Sound
Contents Page
Contents Page 2 Table of illustrations 3 Introduction 4 Section 1: Artistic Infuences 4 1.1: Ryoichi Kurokawi 4 1.2: Daito Manabe 5 1.3: Aether - Thomas Sanchez and Gilberto Castro 6 1.4: Other infuences 7 Section 2: Theoretical Infuences 8 Section 3: Collaboration, experimentation and project development 10 Conclusion 12 Bibliography 14 2 Andrew Logie (1201803) MA Moving Image and Sound
Table of illustrations
Figure. 1 Sirens, Ryoichi Kurokawi, 2012. 5 Figure. 2 Eclipse/Blue by Noisaj Thing, Daito Manabe, 2012. 6 Figure. 3 Aether, Thomas Sanchez and Gilberto Castro, 2014. 6 Figure. 4 The Treachery of Sanctuary, Chris Milk, 2014. 7 Figure. 5 Sub-atomic decay patterns, Kysa Johnson, 2014. 9 Figure. 6 Sketchbook Extract, Andrew Logie, 2014. 11 Figure. 7 Worldwide views www.andrewlogie.co.uk, Andrew Logie, 2014. 12 3 Andrew Logie (1201803) MA Moving Image and Sound
Introduction
The aim of this project was to draw on the range of skills developed over the course of the MA and create an interactive audio-visual installation. This installation was to be based on an ongoing theme in my recent work, the exploration of particle physics from a hybrid science/art perspective. I had several key aims for the project; to create a synergy between image and sound, to create an interactive experience via a pleasurable medium and to continue my previous research and exploration of particle science in relation to art. This lead to the production of the fnal piece of work, Bound.
This critical analysis will discuss the research, methodology, collaboration, project development and outcomes in relation to the initial learning agreement. I will also discuss my ideas, artistic infuences and justify decisions taken as the work evolved into a fnal outcome. From this analysis I will draw conclusions on the success of the fnal project in relation to my initial aims and explore future development of the work.
Section 1: Artistic Infuences
The initial aim of the project was to create an immersive and interactive installation that combines audio and visuals, with the aim of exploring the synergy between sound and image. I researched a range of past and current practitioners working with interactive and audio/visual mediums, pleasurable visual styles and/or combining science and art. In this section I will discuss some of the key artists and work that infuenced the development of the project.
1.1: Ryoichi Kurokawi
Ryoichi Kurokawis work focuses on a variety of multimedia forms with a focus on sound, image and digitally generated structures. Kurokawi states that his work is an interactive experience. Something where audio and visual are in complete unison. (Kurokawi 2013). His work is a synesthetic experience that combines diferent mediums to create striking installations. A key piece of work that infuenced the initial project idea was Sirens (2012) (Figure.1). Sirens combines a range of animal images including elks, birds and horses. These images are combined with a soundtrack to create ghost images (The Creators Project 2014). If the audience moves, the images vanish, they recombine if the audience remain still, to create a meditative piece of work that combines interactive elements.
4 Andrew Logie (1201803) MA Moving Image and Sound Figure. 1 Sirens, Ryoichi Kurokawi, 2012.
An aspect of the work that infuenced my initial idea was the concept of fragmentation of an image based on the interaction of the audience. This interactivity engages the audience and enables them to become part of the work. Kurokawis work isproviding an interactive experience. Something where audio and visual are in complete unison. (The Creators Project 2014).
1.2: Daito Manabe
Daito Manabes work crosses the boundaries of technology and art. He uses a range of unconventional canvases. His experiments attempt to meld the human body with technology, looking at how it can be used in conjunction with ourselves. (Holmes 2010). Eclipse/Blue by Noisaj Thing (2012) (Figure. 2) utilises movement tracking and projection mapping. In this particular video, Manabe worked with choreographers to create projection mapped visuals that track the dancers. It made use of a range of technologies, including 3D depth sensing technology, to track movement, which in turn created live visuals, which mapped onto the dancers.
5 Andrew Logie (1201803) MA Moving Image and Sound Figure. 2 Eclipse/Blue by Noisaj Thing, Daito Manabe, 2012.
1.3: Aether - Thomas Sanchez and Gilberto Castro
In Aether (2014) (Figure. 3) Sanchez and Castro collaborated to explore the link between art and interactivity. The piece uses deep-space imagery from NASA to explore the intersticesbetweentheparticlesofmatter (Adorno 2014). Figure. 3 Aether, Thomas Sanchez and Gilberto Castro, 2014.
6 Andrew Logie (1201803) MA Moving Image and Sound
we want the audience to feel deeply inserted in the piece, where they can transform and afect [the] particles with their own hands. We believe that interactivity is a tool that opens new doors and enables new ways of communication between art and technology. (Alonso 2014)
This work explores a similar topic but also combines a range of technologies to create an engaging artwork that asks to be interacted with, It is all about making the audience part of the artistic process (Adorno 2014). The work utilises 4 projectors and multitouch technology, alongside visuals that are generated live using software like C++ and Cinder.
1.4: Other infuences
Over the course of the research I explored work by a range of artists, including Quayola and Moment Factory. In a variety of ways these artists have helped infuence and shape the project over the course of its development. I visited the Digital Revolutions exhibition, Barbican, London (July 2014). A range of installations were shown, including Chris Milks The Treachery of Sanctuary (2014) (Figure. 4). This work utilised Kinect depth-sensor technology to map the audience into an animated silhouette. This technology became core to my installation and at this stage of the project, it was reassuring to see other artists utilising the same technology. Figure. 4 The Treachery of Sanctuary, Chris Milk, 2014.
7 Andrew Logie (1201803) MA Moving Image and Sound
Section 2: Theoretical Infuences
"Particle physics and the arts are inextricably linked: both are ways to explore our existence what it is to be human and our place in the universe." (CERN, 2014)
Another focus was to explore particle physics. I aimed to explore the science in more depth and integrate it into the work. I drew initial inspiration from a range of resources on the subject, in particular The Quantum Universe by Brian Cox. This book explains Quantum physics in relation to visual ideas and attempts to demystify the science. My initial sketchbooks drew on the ideas set out within this book.
I am fascinated by the elemental nature of the universe. Underlying the complexity of the universe is simplicity. Everything in the universe is created from an assembly of atoms, and that the wide variety of atoms are constructed using only three particles: electrons, protons and neutrons. We have discovered that the protons and neutrons are themselves made up of smaller entities called quarks. Underpinning all of this is quantum theory. (Forshaw, 2012: 8). Around us is an invisible macroscopic world I wanted to explore with this project.
This is perhaps the crowning achievement of modern science; the reduction of the tremendous complexity in the world, human beings included, to a description of the behaviour of just a handful of tiny sub-atomic particles and the four forces that act between them (Forshaw, 2012: 8)
The four forces that interact upon them are; the strong and weak forces that hold the nucleus of an atom together, electromagnetism that bind atoms to one another, and gravity. The aim of the project was to attempt to visualise and convey a visual metaphor that explored these building blocks, which would appeal to a broad audience.
After reading theories by: Rutherford, Heisenberg, Pauli, Planck and Einstein I quickly became bogged down and confused by the complexity of the science. At this early stage of the project I reached out to experts in the feld to seek some answers to my questions and try to develop a possible collaboration with an expert. By doing this I could seek further guidance on the theory and how this could be conveyed through my work. I sent out emails to specifc organisations and universities and was lucky enough to receive a response from Fermilabs (US Department of Energy) media department. They put me in touch with a particle physicist, Dr. Don Lincoln. This became a collaboration and had a positive impact on the project direction.
I discovered other artists working alongside scientists in a similar form of collaboration, for example Kysa Johnson. Johnsons work explores the patterns created by the decay of sub-atomic particles. These patterns are combined into detailed illustrations (Figure. 5). This is an innovative approach of integrating science and art to create beautiful artwork. 8 Andrew Logie (1201803) MA Moving Image and Sound Figure. 5 Sub-atomic decay patterns, Kysa Johnson, 2014.
CERN (European Organisation for Nuclear Research) study the fundamental structure of the universe. They use the worlds largest and most complex scientifc instrument (the Large Hadron Collider) to study the basic constituents of matter the fundamental particles that form the universe. Arts@CERN is an outreach program thatbelieve[s] that particle physics and the arts are inextricably linkedthe two felds are natural creative partners for innovation in the 21st century. (Koek 2014). The program enables collaboration between artists and scientists and may be a potential avenue to pursue with my work in the future.
9 Andrew Logie (1201803) MA Moving Image and Sound
Section 3: Collaboration, experimentation and project development
I was extremely lucky to collaborate with Dr. Lincoln. He ofered to mentor the project. The aimwas to integrate real scientifc theory and data either as a basis for the project or inspiration.
Dr. Don Lincoln is a senior physicist at Fermilab, Americas fagship particle physics laboratory. He splits his research time between experiments at Fermilab and the CERN laboratory in Switzerland. (Lincoln, 2014)
Dr. Lincoln answered many of my questions and supported my work throughout the process of design and creation from a scientifc perspective. This collaboration was benefcial and helped give the work direction. It enabled the visual and sonic ideas I developed to be linked to real scientifc concepts. The process took place via email conversations. This collaboration was dealt with professionally and we developed a good working relationship. From an ethical perspective I agreed to ensure no private communications were published publicly without his consent.
As Dr. Lincoln is based primarily in Chicago so some aspects of the communication were challenging. Dr. Lincoln put me in touch with his colleague based in London, Dr. Jonathan Hayes, Queen Marys University. In the later stages of the project I arranged a meeting with Dr. Hayes and discussed a range of concepts and theories to help clarify my ideas. This added further focus to the work and also sparked the idea for the sound design; this was to relate diferent particles to diferent frequencies. The collaboration benefted the project in many ways and helped direct both the visual look and soundtrack.
A visual concept (Figure. 6) for the project was developed. After experimenting with diferent technologies I concluded that utilising a cheap consumer depth-sensor (Xbox Kinect) attached to a Mac would allow live granular control of visuals and sound that a traditional camera would not. Unlike a traditional camera that senses visible light, the Kinect camera sends out a beam of infrared dots that are refected back to a sensor. A processor inside the camera collates this data to create a map of the space in 3D. It automatically detects human bodies and tracks limb movements. These can be then be mapped to control a range of parameters within software.
10 Andrew Logie (1201803) MA Moving Image and Sound Figure. 6 Sketchbook Extract, Andrew Logie, 2014.
After experimenting with a range of software, I selected Delicode Z-vector for the visuals and Ableton Live 9 for the sound. Z-vector allows creation of particles in a 3D space and can be programmed to track a body shape, which can be explored using a virtual 3D camera. A variety of animation controls to be linked to sound input, allowing a deep link between the two; this can be manipulated to create a unique visual look.
The soundtrack ofBound is integral to the work. It acts as both a trigger for the animation and helps to elaborate on the concept sonically. The soundtrack is generated from the datagenerated by thedecay ofparticles collected by the ATLASparticle detector. The originalprocess was undertaken by a group called LHCsound, who received funding from the Science & Technology Facilities Council. This research and data was released under a Creative Commons licencethat enables the remix and transformation of the work on any basis, even commercial (Creative Commons, 2014). Rather than acting as one audio soundtrack with a start, middle and end, it has been designed to loop continuously. I wanted the sound and image to fow through various periods of intensity, but also not be repetitive. I envisagea broad audience experiencing and interacting with the work foranywhere up to 1 min. The sound works well, and fts with the concept of the work. It adds another layer, which helps convey the message of the piece.
11 Andrew Logie (1201803) MA Moving Image and Sound
Conclusion
At the beginning of this unit, an initial agreement was outlined stating the way I would demonstrate and evidence each learning outcome. Over the course of the unit I explored a broad range of practitioners, which helped contextualise the work within the current practices of my area of study. I feel the fnal project fts well alongside the work of other practitioners. I had to think practically about other aspects of the project e.g. reliability and ease of setup and make compromises in the complexity of the design. It was interesting to see both the length of time and how people interacted with the installations at the Digital Revolutions exhibition. Many factors were considered when constructing the work.
The project demonstrated a range of experimentation and understanding of diferent materials and processes from which I have selected the appropriate tools. This was a process of evaluating and selecting the correct technology and software to enable the work to be generated. I demonstrated the application of the research fndings via an online refective journal. This journal enabled the documentation of the journey alongside critically evaluating ongoing work. The journal articulated the content and ambitions of the work to a range of specialist and non-specialist audiences. The online journal has had over 9000 views worldwide to date (Figure. 7). I also delivered a short presentation to my peer group, which received positive feedback. The online journal has become a platform to promote my work and has established a professional online presence in conjunction with social media. Figure. 7 Worldwide views www.andrewlogie.co.uk, Andrew Logie, 2014.
The work was planned around a key timeline therefore it was essential to be organised to balance my artistic practice with work commitments. I had the opportunity to show Bound at the Fusion screen in Norwich a week prior to my fnal deadline so it was key to be on top of the work to meet this extra deadline. This pre-exhibition was organised on an individual basis and adhered to all health and safety regulations. After trialling the installation, soak testing and ensuring the technology worked efectively in the space, it was opened to the public. This worked well and was an opportunity to get feedback. 12 Andrew Logie (1201803) MA Moving Image and Sound
Alongside the fnal MA installation of Bound, I hope the piece may have additional life and potential for further development. I aim to apply for an Arts@CERN residency and have had some interest in applying the work within a live music venue or working alongside a choreographer for a performance. I have developed a professional presence online alongside developing a professional network. I feel the overall project has ended on a very positive note and it has achieved my initial aims for both the project and overall MA.
Word Count: 2492
13 Andrew Logie (1201803) MA Moving Image and Sound
Bibliography
Adorno, F: Aether by Thomas Sanchez & GilbertoCastro. [Online] Available at: <http:// parasolar.wordpress.com/2014/01/24/aether-by-thomas-sanchez-gilberto-castro/> [Accessed 14 February 2014]
Alonso, B: Touch The Cosmos With Aether's Interactive Galactic Makeover. [Online] Available at: <http:// thecreatorsproject.vice.com/blog/touch-the-cosmos-with-aethers-interactive-gallactic-makeover> [Accessed 14 February 2014]
Apple, Inc: Introduction to Quartz Composer User Guide Available at: <https://developer.apple.com/ library/ios/documentation/GraphicsImaging/Conceptual/QuartzComposerUserGuide/qc_intro/ qc_intro.html> [Accessed 12 March 2014]
Apple.com: Performing at the highest level, Thirty Years of Mac - 2013. [Online] Available at: <http:// www.apple.com/uk/30-years/2013/> [Accessed 10 February 2014]
artsy.net: Kysa Johnson Available at: <https://artsy.net/artist/kysa-johnson> [Accessed 19 March 2014]
Baumgardner, J: "Iregular" Creates Light Installations That Are Anything But Ordinary Available at: <http:// thecreatorsproject.vice.com/blog/a-light-installation-less-ordinary-this-is-iregular-shake-things-up> [Accessed 24 February 2014]
BBC, 2009: Showcase your creativity in HD Available at: <http://news.bbc.co.uk/local/norfolk/hi/ tv_and_radio/newsid_7977000/7977309.stm> [Accessed 8 July 2014]
Carroll, S, 2012. The Particle at the end of the universe: How the hunt for the Higgs Boson Leads Us to the Edge of a New World. London, Dutton.
Castro, G: Aether, Interactive audio-visual Installation, Test 01. [Online] Available at: <https://vimeo.com/ 83469677> [Accessed 13 February 2014]
CERN: About CERN Available at: <http://home.web.cern.ch/about> [Accessed 20 March 2014]
CERN, 2014. Arts@CERN [online] Available at: <http://arts.web.cern.ch> [Accessed 29 March 2014]
Cimatics Agency: Quayola [Online] Available at: <http://www.cimatics.com/agency/quayola/> [Accessed 18 February 2014]
14 Andrew Logie (1201803) MA Moving Image and Sound Creative Commons, 2014: Attribution 3.0 Unported Licence Available at: <http://creativecommons.org/ licenses/by/3.0/> [Accessed 25 July 2014]
Cycling74, 2014: Soundfower Available at: <http://cycling74.com/soundfower-landing-page/> [Accessed 7 May 2014]
Daito Manabe, 2014. Biography. [online] Available at: <http://www.daito.ws/en/biography/> [Accessed 10 February 2014]
Elmsly: Quayola [Online] Available at: <http://www.elmsly.com/Matter-Quayola> [Accessed 18 February 2014]
Facebook, Inc: Origami Available at: <http://facebook.github.io/origami/> [Accessed 13 March 2014]
Fermi Research Alliance, LLC: Fermilab Available at: <https://www.fnal.gov> [Accessed 28 March 2014]
Feinstein, L: Turning The Science Behind String Theory Into Immersive Murals Available at: <http:// thecreatorsproject.vice.com/blog/forget-the-matrix-visualize-the-real-life-equations-that-bind-us> [Accessed 18 March 2014]
Forshaw, J & Cox, B. 2012. The Quantum Universe: Everything that can happen does happen. London, Penguin Books.
Fraction: Dromos [Online] Available at: <http://fractionmusic.com> [Accessed 22 February 2014]
Glass, P & Lanting, F: Origins Available at: <http://arts.web.cern.ch/works/origins> [Accessed 21 March 2014]
Goto Inc, 2014: Hybrid Planetarium System Available at: <http://www.goto.co.jp/english/product/ index.html> [Accessed 22 April 2014]
Henze, E: The Sensualization of the Inaccessible Available at: <http://arts.web.cern.ch/works/ sensualization-inaccessible> [Accessed 21 March 2014]
Holmes, Kevin. A Very Twitchy Human Body Drum Kit. [online] Available at: <http:// thecreatorsproject.vice.com/blog/a-very-twitchy-human-body-drum-kit> [Accessed 11 February 2014]
Intrator, S: Moment Factory Creates A Landscape Of Pixels For Nine Inch Nails Tour. [Online] Available at: <http://thecreatorsproject.vice.com/blog/momeny-factory-creates-a-landscape-of-pixels-for-nine-inch- nails-tour> [Accessed 12 February 2014] 15 Andrew Logie (1201803) MA Moving Image and Sound
Iregular: Interactive Installations Available at: <http://www.thisisiregular.com> [Accessed 25 February 2014]
Iregular: Iregular on Vimeo Available at: <https://vimeo.com/iregular> [Accessed 25 February 2014]
Johnson, K: kysajohnson.com Available at: <http://www.kysajohnson.com> [Accessed 19 March 2014]
Kaganskiy, J: Quayola's Matter Rethinks Rodin's The Thinker [Online] Available at: <http:// thecreatorsproject.vice.com/blog/quayolas-imatteri-rethinks-rodins-ithe-thinkeri> [Accessed 19 February 2014]
Koek, A: About Arts @ CERN Available at: <http://arts.web.cern.ch/home> [Accessed 20 March 2014]
LHCsound, 2010: Sonifcation of the ATLAS detector data Available at: <http://lhcsound.wordpress.com> [Accessed 24 July 2014]
Lincoln, D: Dr. Don Lincoln Available at: <http://drdonlincoln.fnal.gov/index.htm> [Accessed 30 March 2014]
Lincoln, D. 2009. The Quantum Frontier: The Large Hadron Collider. Baltimore: The John Hopkins University Press.
Lincoln, D. 2005. Understanding the Universe from quarks to cosmos. London: World Scientifc Publlishing Co. Pte. Ltd.
Maotik: Maotik [Online] Available at: <http://www.maotik.com> [Accessed 22 February 2014]
Moment Factory: Ode a la view on the Sagrada Familia. [Online] Available at: <http:// www.momentfactory.com/en/project/street/Ode__la_vie_on_the_Sagrada_familia> [Accessed 12 February 2014]
Mutek: About [Online] Available at: <http://www.mutek.org/en/about> [Accessed 21 February 2014]
Nosaj Thing: Eclipse/Blue. Eclipse/Blue. [online] Available at: <http://thecreatorsproject.vice.com/daito- manabe/nosaj-thing-eclipseblue-by-daito-manabe> [Accessed 10 February 2014]
Palop, B: Meet ObE, A Living Installation With A Behaviour Problem [Online] Available at: <http:// thecreatorsproject.vice.com/blog/meet-obe-a-living-installation-with-a-behavior-problem> [Accessed 21 February 2014] 16 Andrew Logie (1201803) MA Moving Image and Sound
Quayola: Matter [Online] Available at: <http://www.quayola.com/matter/> [Accessed 17 February 2014]
Robinson, G & Buchwald, S (2012). Learning Quartz Composer. Westford, Massachusetts: Pearson Education.
Ryoichi Kurokawa, 2014. Ryoichi Kurokawa. [online] Available at: <www.ryoichikurokawa.com> [Accessed 06 February 2014].
Sharaf, Sami. Particles. [online] Available at: <http://thecreatorsproject.vice.com/blog/iparticlesi-is-a- meticulously-orchestrated-roller-coaster-of-glowing-balls> [Accessed 11 February 2014]
St-Arnault, L: SOCIT DES ARTS TECHNOLOGIQUES: Satosphere Available at: <http://sat.qc.ca/en/ satosphere> [Accessed 23 February 2014]
St. Jean, J. (2013). Kinect Hacks: Tips & Tools for Motion and Pattern Detection. Cambridge, OReilly Media.
Synapse, 2014: Kinect and Ableton Live Available at: <http://synapsekinect.tumblr.com/post/ 6307739137/ableton-live> [Accessed 7 May 2014]
Synapse, 2014: Synapse for Kinect Available at: <http://synapsekinect.tumblr.com> [Accessed 16 April 2014]
The Creators Project, 2014. Synesthetic Sensory Stimulation With Ryoichi Kurokawa. [online] Available at: <www.thecreatorsproject.vice.com/blog/video-sensory-overload-with> [Accessed 09 February 2014].
The Creators Project, 2014: Visualizing The Hidden Cosmos | The Making Of "Dark Universe Available at: <http://thecreatorsproject.vice.com/blog/visualizing-the-hidden-cosmos-the-making-of-dark-universe> [Accessed 21 April 2014]
The Forum, 2014: Whats on in Fusion Available at: <http://www.theforumnorwich.co.uk/events/whats- on-in-fusion> [Accessed 14 July 2014]
Weeks, C, 2014: KINGBASTARD: A Sudden Instance of Malfunctioning or Irregularity in an Electronic System Available at: <http://kingbastardmusic.com> [Accessed 24 April 2014]
Z Vector, 2014: Delicode Z Vector Available at: <http://z-vector.com> [Accessed 9 April 2014]