Last night when we were meeting (see Yungbin’s post) there was discussion of how to model the viewing bodies with light. Patricia envisioned baffles that will help contain the light between sections of viewing along the wall. I think this would be a helpful way to possible hide light sources above, to the side, and below the viewer. This creates opportunities to light different parts of one side’s viewer versus different parts of the other side’s viewer. (See posted illustrations)
However, there was also talk of creating a more simple, clean, and (potentially) powerful lighting mechanics setup where snoots on spotlights would do the work of these baffles, creating extremely specific and narrow beams of light. We noticed how it was more powerful when light would graze a face only instead of washing a whole body, because we perceive only a glimpse instead of an entire revealed view. This may be relevant to the Cage piece, which might be equated to a series of discreet chords instead of a continuous symphony. The power is in the separation, the isolation of parts, and the minimalism.
Following on from our group meeting yesterday, Chris and I went and experimented with the effects that could be achieved with lighting on the material, and aimed to document out experiences.
We discovered that what we believe to be the most interesting effect of the material is the sudden change between transparency and reflection and the interaction between people and this medium. The really exciting and surprising part of our experiments occured when our faces would line up and it would suddenly flick from my face to chris’s .
We tested sticking the adhesive directly onto the glass and discovered that it created alot of bubbles. It would be very difficult to get rid of the bubble. So our suggestion would be to either go with them ( they kind of look like water) or not adhere the film to the glass. The bubble create covex and concave reflections and you get multiple little versions of yourself, which is cool – if thats what we are going for.
We believe that the effect of the mirrored wall is enough to encourage close interaction, but we will definitely have t consider how to place the lighting mechanics so that it is not clumsy. Also there were discussions yesterday about placing the curtains for the gallery , between the pillars outside the gallery to control light and hide the toilets and exit from the reflection.
We hope you enjoy the videos and much as we do ! We had alot of fun playing with the effects!
Participants : Yungbin, Patricia, Renne, Jacinda, Bing, Noele, Huanhai, Chris, Kat, Josh, Rose, Tucker
Gilla experimentation – material characteristic of reflection+see-through depending on light location.
Extending the experience in&out of the gallery
Material library in Queens reserved on 10/25
It’s interesting to see how previous interior design groups have approached a student led installation in the Donghia Gallery.
After today’s discussion, I feel the virtuality and reality on the glass wall is really interesting. We can use different methods to achieve this concept, in addition of the gili material, I feel like there are a lot of opportunities. So I made a rough photoshop to explain about the different layers, and the reality/ virtuality for viewers.
Let’s play together!
Present: Jeanne Choi Yungbin Kim, Renee Burdick Bing Han Rose Bothomley Chris Lunney Kat Brice Huanhai Cheng Patricia Vallejo-Arroyo Kara Palmore Tucker Miller Josh (Noele is in Vancouver for a Light thing)
Can we touch up the ceiling in the Gallery?
Can we remove the wooden projection boxes? (Howard)
How many color-kinetic led strips can we get and by when?
Can we turn all the lights off in the hallway?
What is the budget?
Concept Proposal: PERCEPTION
The occupant perceives a reflective dark quality to the panes of glass that separate the curious activity within. They enter unassuming and cautiously. The occupant is directed linearly through the space facing the panes of glass. There is a gradient of opacity that undulates as the occupant moves from one end to the other. silhouettes are perceived questionably as the occupant is unsure whether the figure is a reflection or shadow. The occupant is illuminated as the music becomes audible and the reflection fades away as the music pauses. The variable effects of light on the different opacities of reflectivity changes your perception of yourself and the figures moving outside as the occupant can traverse the path over and over again without noticing a beginning or end.
The Joshua light show was a psychedelic manually produced light show that was produced on a flat screen behind the performers. It was originally made by Joshua white in the late 1960’s and the early 1970’s. The multilayer projection, uses a variety of manual techniques, such as dripping dies into water and rotating colored glass tubes to create the spectacular effects. Today’s show takes 10 projectionists to operate it – they all act from behind the screen and are concealed from the audience. The screen is lifted momentarily towards the end of the show to reveal the machines and the projectionists.
Terry Riley is a renowned American composer who is generally associated as been a pioneer of the minimalist movement. The music he chose to play for the Joshua light show was anything but minimalist. He had tailored his selection of songs to be appropriate for the projections. The music which he performed with his son was multilayer, combination of both syntheses, classical guitar, piano and vocals. I had not expected to here him sing, and in some ways I wish he didn’t. His music was incredible but challenging at time. He played a song called ‘trash aliens’ and that’s what it sounded like.
The show utilized innovative techniques at the time. It creates effects that would be near impossible to recreate digitally. It has a level of depth to it that is not possible with flat digital screens. The depth of the visuals creates a hypnotic effect if your eye holds focus to a spot midway through both the projections.
I found the visuals varied, although still all maintain to a similar brightly saturated, liquid, psychedelic style. The speed, color, rhythm, depth and projection techniques changed throughout the set and were matched perfectly to the feeling and rhythm of the music Terry Riley was playing. Some songs became quite psychotic and challenging aurally and in keeping with this experience the visual would also build up to a rapid point of explosion.
The entire experience could be likened to an acid trip. I felt like I was taken on a journey that was outside of myself and when I came back down and was spat out into the New York streetscape, the city seemed dull by comparison.