The reference works I found prior to this project were quite complicated and difficult to understand, as many of them used techniques that would require more than a semester to learn.
Taking advantage of the nature of self-directed projects, I set one of the main goals of this project as discovering and implementing the effects I personally find captivating. While project 1 (improved documentation – please take a look!) was successful in that I was able to learn the basic usage of “jit.gen,” it did have a somewhat limited range of visuals that were definitely different, but similar to my reference work. Therefore, for the final project, I felt the need and desire to experiment with various techniques I have not used prior to this project and to make take a more personal approach.
Several of the reference works I found appealing were created by Paul Fennell, so I decided to reach out to him. He was kind enough to send me patches that would benefit my project more than the old ones I found on his YouTube channel, and he even introduced me to some of his recent works created using Fragment:Flow, an audio-visual performance and video processing environment he developed! It was very exciting to hear back from an artist who creates works I find beautiful.
Since the focus of my piece is almost entirely on the visual elements, unlike his audio-visual works, I studied the ways in which I could make visual manipulations using some of his techniques. Paul noted that “small, sub decimal changes in value/ranges are best,” and indeed, the performance decreased as soon as I put two-digit negative values. However, I wanted to use specific values for dramatic contrasts in order to amplify the strangeness that the piece has. Since my main goal was to create obscure visual manipulations, I chose to go with values I wanted, regardless of the decrease in performance. The speeds and durations were edited using Adobe Premiere Pro CC so that the lag does not remain an issue. I also added a high values for the “flow” for abrupt waves of distortions and transitions.
However, I did not edit any of the visual elements such as colors, contrasts, and brightness, using the video editing application. For the effects that highlight the visual forms, I experimented with various objects such as jit.sobel, jit.robcross, and jit.brcosa. It was exciting to see that”brcosa” was also used by Paul in his patch :
In short, the jit.sobel object offers two gradient edge detection implementations, Sobel and Prewitt. These edge detectors use 3×3 convolution kernels to compute a 2-dimensional spatial gradient of an incoming matrix, brightening features with “high spatial frequency” — a large amount of change from cell to cell — and darkening features with less change.
However, I personally preferred using jit.robcross object which implements the Robert’s Cross method of edge detection, as it allowed me to easily eliminate details I found distracting and unnecessary, such as the outlines of my irises. This edge detector has similar components as Sobel and Prewitt, but uses a 2×2 convolution kernel, which means the matrix is not perfectly aligned with the target pixel, unlike kernels with two odd dimensions, such as those of Sobel and Prewitt. More information on kernel parameters can be found here.
As I usually do for works that focus and rely heavily on subtle movement changes, I eliminated colors. In this case, jit.rgb2luma was used to convert the 4-plane char ARGB matrix into a 1-plane char monochrome matrix. I played around with ARGB scaling attributes composed of a-scale, r-scale, g-scale, and b-scale, to find what seemed fitting visually. My preferred setting was a negative b-scale value and a g-scale value much greater than a and r, which stayed below the value of 1. The textures of the background were subtle yet maintained, while highlighting the outlines of my body, inevitably directing the focus to the small movements that would have been overlooked otherwise.
I have been told that many of my works are not so “friendly” without no one definite answer or interpretation. As a result, I have naturally become interested in the autonomy of my art. For this particular project, I wanted to create a work that could not only function in, but also benefit from my absence. It aims to represent the common nonverbal communication of an eye contact, while shaping the lengthy reciprocal gaze into an experience that is slightly uncomfortable and odd through unusual speeds, unexpected visual manipulations, and most importantly, the removal of eyes.
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Chronophotographic study of man pole vaulting, Étienne Jules Marey, 1890