gyueunp@andrew.cmu.edu – 18-090

Project 2 : Disappearing Act

Sat, 08 Dec 2018 19:14:37 +0000

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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]]>

Project 1 : Particles

Wed, 07 Nov 2018 09:23:22 +0000

For project 1, I have decided to create a system of particles that are able to be moved and manipulated. In a way, it works as an extension of assignment 4, where a system that does processing in the frequency domain using [pfft~] was created to allow the visual elements to react to auditory ones.

In short, the project functions as a world of particles that are constantly in motion. In creating their movements, various elements such as time, position, mass, and velocity, were taken into consideration.

Initially, the particles had been designed to be attracted to, and completely dependent the position of the mouse. However, always having been fascinated by the degree of control I have and lack in the process of creation, I decided to construct a project that not only reacts to my decisions, but also contains an element that is incontrollable – one with a sense of agency.

While the Y values (vertical movements), are controlled by the mouse position, the X values (horizontal movements) are designed to react to any audio file added in a patch similar to the one used for assignment 4.

Here are some of the still shots that were created.


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]]>

Assignment 4 : October Evening Stroll

Wed, 17 Oct 2018 11:44:15 +0000

The recent temperature drop has finally allowed us to feel the chill of October!

To be reminded of, and to capture the sentiment of taking a nice stroll in an autumn evening, I decided to take a walk around my neighbourhood and record the sounds I encounter, both natural and manmade.

I took both active and passive roles in the processes of listening and capturing sounds, before having total control of manipulating them by deciding which parts to edit, keep, and discard. The absence of the original visual information not only allows the viewer focus on the auditory elements, but also prevents the site-specific details of my neighbourhood from becoming distractions. The process of focusing on auditory elements is assisted through the visuals that are formed through collected familiar sounds.

The sounds, which had been creations at the time of my evening stroll, have now become creators :


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]]>

Assignment 3 : Listen

Tue, 02 Oct 2018 20:02:20 +0000

In his documentary Bowling for Columbine (2002), Michael Moore asks Marilyn Manson, “If you were to talk directly to the kids at Columbine and the people in that community, what would you say to them if they were here right now?” The musician, having been falsely accused of influencing the perpetrators of the Columbine High School Massacre in 1999, responds, “I wouldn’t say a single word to them; I would listen to what they have to say. And that’s what no one did.”

–

Here is an excerpt from the documentary :

Using a fragment from one of my favorite interviews of Marilyn Manson as the original audio signal (3:40 – 3:46), I explored the ideas of “hearing” and “listening,” considering the latter as making a conscious effort to understand what is being heard.

A variety of impulse responses were used to convolve the original signal, yet the statement became barely comprehensible each time, preventing me from the act of “listening.”

The idea that we may be “hearing,” but perhaps not “listening,” or consciously digesting what we are given with, is one to cogitate on.

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IR recordings + the original signal convolved through them :

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#1) from a produce near a sink

ir_1 sfrecord_1

#2) from a hallway

ir_2 sfrecord_2

#3) from a practice room

ir_3 sfrecord_3

#4) from a produce in a kitchen

ir_4 sfrecord_4

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Assignment 2 : Perambulation

Wed, 19 Sep 2018 05:52:09 +0000

Learning various ways of time shifting has led me to think about the traces of actions that we decide to keep or discard, and whether the remnant are of any importance to the current, or final moment of a certain action. The idea of “stopping” time to study or compare different stages of a single motion reminded me of the works of Eadweard Muybridge, an English photographer known for his pioneering work in motion-picture projection. Using technology to capture what the human eye cannot, he proved that a horse lifts all four hooves off the ground at one point in the action of running. In his experiment, a galloping horse was used to trigger the shutters of a bank of cameras.

Horse in Motion, Eadweard Muybridge, ca. 1886
Photography collection, Harry Ransom Center.

My work, although different from those of Muybridge, also captures and compares the sequences of moving from one place to another. To add a stylistic element that not only emphasizes but also contrasts the rather bland action of walking, I converted the 4 plane matrix of ARGB data to AHSL data while displaying only the S plane. The elimination of color was my attempt to bring further attention to the action itself. Additionally, I allowed the time shifting to occur at a speed that is fast and slow enough to compare the different stages of the motion. This was an assignment that led me to further reflect on the value of the moments that are either kept or discarded.

Visually, my work resembles that of Étienne-Jules Marey than that of Muybridge, as the former consists of multiple exposures overlaying the instants, while the latter has frames separating them.

Chronophotographic study of man pole vaulting, Étienne Jules Marey, 1890
Albumen print, 6.9 x 10.6 cm, Courtesy George Eastman House

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Assignment 1 : Kariyushi Beach

Wed, 05 Sep 2018 02:51:31 +0000

Always fascinated by the beauty of nature and the idea of being able to make unnatural alterations, I enjoyed this process of simultaneous creation and destruction. A video from my visit to Kariyush Beach in Okinawa was utilised to create this piece.

The original video after color adjustments:

https://courses.ideate.cmu.edu/18-090/f2018/wp-content/uploads/2018/09/og.mp4

In order to modify the visual elements of the original video, I generated a crystalize cell pattern using Adobe Premiere Pro CC, increasing the cell size by 10 every second. Although the pattern creates geometric forms that evidently add a sense of obscurity to the experience, the audio was not heavily altered, as I enjoy maintaining parts of what any natural form offers. The speed was decreased by 10% each generation, and as a result, the initially refreshing sounds of waves become heavier and uneasier to bear one step after another:

This is the final product:

https://courses.ideate.cmu.edu/18-090/f2018/wp-content/uploads/2018/09/combined.mp4

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