4th DIMENSION (2nd Edition)
Clarita Saslim, Jake Tan
Nanyang Technological University
April 2019, Singapore
CONCEPT
In the first iteration of The Fourth Dimension, we explored using the mirror as a vehicle to merge the past and present in the same plane, with two different physical spaces to represent them – the forest to represent the past, and the architecture across it to represent the present. The forest that was the natural landscape of the past had been culled to make room for buildings for humans in the present. What have we as humans forsaken for the advancement of our technologies, for the enhancement of the qualities of our lives?
Reflecting the architecture on the mirror nestled against a lush background of plants puts these two different spaces in the same plane, highlighting to the audience the juxtaposition of natural and man-made, which symbolises the imposition of humans on nature. The action of us placing the mirror there is in itself a metaphor to how we are consciously doing this.
The action itself is not inherently bad, as we do so for the betterment of the human kind, but what are the limits to it? How much are we going to exploit nature without giving more thought to it?
The second edition of The Fourth Dimension hopes to illustrate this relationship between human activity and our current environment, and through this installation we invite the audience to reflect on our relationship with the space we live in and interact in and with, the magnitude of the impact of our actions on our environment.
Still referencing the mirror as a medium to alter space and time through different perspectives, we used the projection as a digital counterpart to enable us to break through the physical and financial restrictions of using actual mirrors.
REFERENCES, INFLUENCES
We were interested in the potential of generative art, and we saw how we could use it to illustrate our concept of a changing present due to humans. By adjusting parameters, we are able to autonomously alter the 3D modelled shapes that superpose the ADM building and trees.
In choosing to make only large movements (vehicles) detectable for change, we were thinking with some reference to the visual sensuous matrix. To what extent do we want to integrate the audience’s physical and mental processes? By having a live stream to mimic the mirror, we are at the same time projecting our audience’s individual presence into the same space. We hope this communicates their involvement in the space. However, when they are alone, they do not create a noticeable change. Only when larger movements are made, a huge change is seen. This symbolises the amount of effort needed to actually create change in the world. At the same time, this is to regulate the amount of distortion of the geometries.
In Tuan, Yi-Fu’s Topophilia: A study of environmental perceptions, attitudes, and values, he wrote that “people everywhere tend to structure space – geographical and cosmological – with themselves at the center and with concentric zones (more or less well defined) of decreasing value beyond,” and with this in mind, we thought about how the audience would see or interact with the projection “mirror”.
In spatial organisation, humans tend to see themselves as the center, and everything else as the periphery. This is brought forward also in our installation, as the audience would be able to see themselves in the “mirror”. However, playing with distance and scale, they would appear smaller, and they are urged to look beyond themselves, at the screen, what is projected, and its background, the forest.
For the artistic direction, we worked with restricted generative geometries, including live manipulation by real world elements. This brings an organic, unscripted quality to our work and aesthetically represents the more computerised future.
Overall, we kept it simple and tried to keep a clean look for the screen, so that it would contrast against the lush green background.
PHYSICAL
The work is site specific and multiple recce trips were needed to identify the exact branches upon each tree that were on the same Y(height) plane and Z(depth) plane. Nylon strings attached with weights would go through the specified branches to make sure the screen is leveled and uniform.
A power plan was required for this and because of the help of Jonas from Hall 8, we were able to pull electricity without the risks of pulling a wired connection through an active road.
The screen, a makeshift rear view projector screen from the material of chiffon, was chosen because of its density, ability to catch light and flexibility to maneuver in the wind. Our screen has 2 x 2.8 meter PVC poles running across it on the top and the bottom, attached on the ends with velcro. This was the optimal method to ensure the cloth stays in its correct position with proper support and weights.
The projector we used is a Xiaomi Wemax One Pro ultra-short throw laser projector, which was the most ideal and most suitable for our needs and space. Wanting to hide the projector, we decided to do rear projection, and with limited space under the sheltered walkway, the ultra-short throw projector was best since it does not need to be so far away from the screen for us to have a larger-sized projection. This way we were able to minimise disturbance to the public space.
These culminate in a 4.5 meters tall by 2.8 meters wide projection screen hung across The School of Art Design and Media against of one of NTU’s thickest remaining forests.
DIGITAL
The digital space being altered consists of palm trees iconic to the surroundings of ADM and the split up structure of the main ADM building at the back and the gallery building in the front. The geometry, representing the possible future of architecture, of which, rendered real time, would distort upon a certain threshold of motion.
Rendered in real time through TouchDesigner with a Logictech Webcam allowed for us to create a digital mirror. The footage from the webcam is then analysed for motion and passed into modules that handle the distortion of the geometry.
The geometry were meshes created from photo references on Fusion360. The geometries consisted of the frontal Gallery Wing of ADM, the Main Wing of ADM, several palm trees and a big oak trees. Because of the system we are running on, we decided to reduce the amount of vertices to optimise the system.
The distortions are created based on the parameters set on the noise that were receiving data from motion detection that passed through a math range modifier and a lag module to smooth out the curve, of which were adjusted on site weeks before hand to create a bigger sense of motion, a quicker pick up and longer drop off to make things snappy when they appear and lasts longer in case bigger vehicles pass by the webcam and cover the projection screen.
REFLECTION
There is something about being involved in a project that could open your eyes about certain things, or blind you about certain things. We came up with an idea, and wanted to convey it, and along the way, we discover things about our work and ourselves.
This project was really interesting in a sense that we went through the journey in steps. From analogue to digital, we learnt how to unwind and start from the basics. Designing an interaction, a space, we need to look at the world through different goggles. We cannot just design things based on a single point of view. We need to be involved as artists, as designers. Understand the basics of human interaction, human behaviour, and design around that, because only then would a work be relevant, be meaningful.
Through the readings, the exercises and the critique, we are glad that our fascination towards the mirror had developed into a better understanding of its symbolism, the basis of interaction, human perception and the ideas of time and space. This project is far from perfect, but there is only more room to improve on.
Tools Used: WeMax One Pro Projector
TouchDesigner099
Chiffon Cloth
Polyvinyl chloride Pipes
Heavy Duty Nylon Strings
LogicTech C930E Webcam
Special Thanks: Louis-Phillipe Demer
Brandon Tay
Sheryl Sim
Ben Shedd
Elliot Woods
Tiffany Anne
Nasya Goh
The idea that the light bulb itself is a subject within its spatial context and how the source of light and the light itself can immerse space.
If I could replace the Light with something, I would replace it with a projector and/or a camera.
The relationship between a camera and a projector is interesting because both carries digital sensors that capture and display data processed as images. I would like to fill an entire room with a camera streaming the video to its adjacent projector in another room. The rooms should both be filled with cameras/projectors to immerse users in the space and let them understand the juxtaposition of each item.
Include an upcycle booth next to cashiers and allow users to deposit their unused clothing to receive a free lunch box in return.
By utilizing a common and noteworthy space in the retailer, ZARA is able to guide and market the campaign to a wider audience. ZARA can also consider holding a public urban campaign with similar branding and spatial design in mind. This upholds their original branding and also the campaign’s branding.
4th DIMENSION (1st Edition)
Clarita Saslim, Jake Tan
Nanyang Technological University
March 2019, Singapore
The 4th dimension is an analogue site specific sculpture tackling the themes of / our university’s space before, now and after / time-space compression through our altercations of a familiar space and perception of time / human interference with nature
The fourth dimension is usually associated with time but we found it interesting how the first three dimensions are usually used in a spatial context, through a singular point, line or plane.
The mirror, a medium to another reality, is how we are modifying a space and dimensions. The mirror exists on our three dimensional reality, perceived as a two dimensional plane reflecting what is infront of it infinitely based on different angles users perceive it from.
Nanyang Technological University, founded in 1955, is built on 200-hectare of land and is the largest university in Singapore with 26 in-campus residence halls and 8 different schools. From it’s inception in the 50s, the heart of Nanyang University(1955-1980) is the Yunnan Garden, a chinese themed heritage park that has been preserved to reflect the identity of the Nanyang people who arrived in Singapore as early settlers and traders.
With such expansion plans, the rural forested areas of Jurong West started to flurish to become the biggest campus in Singapore. This also meant that the once lush forests of Jurong West are now slowly culled to make way for high rise residencies for the 34,000 students and sustainable architectonics.
Part of our exploration into the 4th dimension is how we are situated literally in the remainings of a once dense forest, yet we are oblivious. Everywhere you turn within the campus, you’d be greeted with pockets of forestation that will perhaps turn into the next research center.
We want to probe and question what it is that we are culling away for the sake of the future. A mirror, a medium that presents and alters space and time through its own perspective.
PROCESS
We decided to create a mirror instead of procuring it, first of all due to affordability, and second, doing so gave our sculpture a human touch. By getting ourselves involved in the creation of the mirror, it is not only a representation of humans building on nature, but at the same time the process personifies our reflection process. Furthermore, installing the mirror on the site, we are altering the present natural landscape in real time.
While scouting for our location, we came across a dumpster where we found a decently-sized panel of glass by good fortune.
After peeling off the frosted glass sticker, we cleaned and sprayed multiple coats of mirror spray paint on the panel. When it has sufficiently dried off, we used acetone and afterwards, a mixture of vinegar and baking powder to melt and clean away the extensive adhesive marks from the sticker sheets.
Lastly we transported our glass panel to our site, propped it up accordingly and secured it. We nestled it against the foliage as close as possible, almost as if the mirror was now part of that particular section of the forest.
Through the process of art making as a form of labour, we were able to understand the technical and conceptual aspect of our work even further. From the research of material testing to understanding how the art can be outstanding yet not a disturbance to nature and urban life, we were able to discover another side of our project through these analogous methodologies.
2nd Edition/Installment
In the next part of our exploration, we will be employing digital media and technology to help us amplify the scale of the installation and expand on the idea of future human interference in our natural environment.
Weighing in feasibility and budget, we will be experimenting on using other materials and methods to generate the 2nd edition of the 4th Dimension. To create a spectacle in order to capture residents’ attention, we are aiming to scale up size-wise as much as possible. Therefore, instead of obtaining an actual mirror, which isn’t affordable and has low transportability, we are looking to explore screens and projection. We are also looking to explore different ways to add on to and/or manipulate the image to further communicate our message.
Wong Kar-Wai’s hit movie In The Mood Of Love has always been a film that hits home about oppressed love and universally praised for its bold storytelling, cinematography and lighting design. I will be taking a dive into the aspect of Spaces and how Wong was able to manipulate the busy streets of Hong Kong to produce the marvel known as In The Mood for Love.
Perceptual Space
Without looking too much into the cultural aspect, Hong Kong has always been known for it’s tight spaces and with the film being set in the 1960s where Hong Kong was in political destress, Wong’s bold cinematography choices of using more than usual Close Up shots in already tight fitting spaces not only emphasis storytelling but also the unease and small nuances that a space can bring to the characters.
Frame within frame is a common technique used by many film makers but Wong’s over usage of this technique is intentionally done for multitude of reasons. Hong Kong of the 1960s would deem platonic man woman relationship dubious and doubtful and this contributes to the surveillance around their landlords and spouses but also makes it so the audience, us, feels like we are surveilling them as well, like observers. The frame within frames makes us feel we are but observers, observing from a far. A film maker created a space for their audience to safely observe, for us to naturally pay attention as is required from the time jumps and abrupt cuts. I have not seen any other film that frames us audiences in such a space before. The frame within frame also gives context to our location and the characters’ relative positions within the given space.
Because of the intricate use of frame within frame, the Bantum shots are usually focused within a certain area instead of congregating upon a line. This technique also creates natural framing which is inline with how our eyes move around within a space. Hierarchically speaking, it is an effective method to command where the users would navigate a space.
The panning shots that establishes many new scenes also give a perspective of physical space our characters are in and tune us into an expectation of the scale. Used meticulously for storytelling and establishing shots, but also gives us a good gauge of the spatial design and curated art direction it is supposed to show.
Perceptually, most shots follow the horizon line of our characters, almost always making the effort to let us delve deeper into the mental and physical space of our characters and their motivations.
Architecture
Directed and shot in 2000 but being a periodic piece set in 1962, a sensitive time of transition for Hong Kong because of western influence, independence issues and the political pressures from China and Vietnam, means an interesting mix of the golden age of traditional oriental Chinese architectures, famous for the street side stalls and tiny apartment buildings juxtaposed with the evolving streets of western influence with classy 60s cars.
The slow build up of the unique style of Chinese, more specifically, Hong Kong, architecture and neon light architecture is properly portrayed in the movies with multiple scenes emulating and sense of evolving spaces.
More over, the time skip at the end of the film to 4 years after the current affairs, which gave Hong Kong it’s independence, also showed architectures becoming more matured in Hong Kong. Even though it was not shown prominently, the tenants moving out of Hong Kong to join their children in the states was a clear sign of evolving architecture and culture which I will talk more about later.
Cultural
The relationship between culture and space is very important in this movie. In Hong Kong during that period, it was considered extremely sinful to cheat on your spouse as per traditional Chinese culture, so as the two main characters grew fonder of each other, when any of them decide to almost cross the line, there would usually be frame within frames, usually with window grills, to capture the moment.
This shows that the main characters are being watched, something I will talk about within Immersion as well. This type of framing is influenced by culture of that era and translated gracefully into the film.
Beyond the obvious architectural influence of Hong Kong pre-independence, there were many cultural nods that could symbolise different architectural and spatial influences that pushed the narrative forward. During the mahjong scenes, which was a cultural staple as a past time for Chinese, would foreshadow and symbolise male dominance, inability to escape and the impending doom of the female lead’s relationship through framing and perception of space being smaller than it should. This narrow space is also part of the culture of Hong Kong but is empathised within this scene with the long lens used.
Immersion
The immersion is in the space. In particular, I want to talk about the boxed up alley way scenes which is prominent throughout the entire film.
The alley way shots were particularly immersive because of not only it’s repetitiveness but the ability of Wong to choregraph around a tightly knit, structurally prominent urban architecture of the city. Details of the wall and the posters left behind, the cracks and stains, the soundscape design all contribute to the inevitable immersive landscape within these oriental streets.
The smaller details like the buildings naturally framing the streets and alleys through light from window grills of homes around them create an immersive spatial environment not only for the scene within the film but also brings the audiences in.
The ambient shots are coupled with usually wider framed long shots that emulate like the couple is constantly being watched. This feeling and framing makes the story of forbidden love even more prominent as we as viewers watch the movie, but also seem like an outsider, constantly watching them as well. Instead of breaking the fourth wall, we enter it.
The Room, Tommy Wiseau, 2003
On the opposite end of the spectrum, I would like to talk to you about the “critically acclaimed” film by self funded Director, Writer, Producer and Actor Tommy Wiseau, The Room.
Perceptual Space
Because of the nature of Wiseau, the movie’s behind the scenes were almost non-existent. As a result, The Disaster Artist by Writer, Director and Actor James Franco who plays Wiseau and Wiseau’s character, Johnny, accurately gives a visual perspective on the crazy on set stories of a first time director and actor.
Perceptually speaking, the iconic scene on top of the roof top where Johnny tells Mark, his best friend, about his frustrations with his then fiance. In Disaster Artist, it is shown that Wiseau wanted an entire green screen over the sky for no particular reason other than because he can. This created one of the awkward 2003 CGIs seen. The shifting perspectives of the chroma keyed landscape did not fit or gel with the narrative and the perspective.
Many other scenes like this were ridiculed within the movie, not just narratively speaking.
This entire scene was shot in 18 seconds and had 6 separate shots. In film making, cinematographers would usually have an establishing shot to let audiences know and understand the space that the character and the camera is in. Even in the most dire of action sequences, there is a setup of what and where our character is in. Each shot lasted only about 3 seconds and that was not enough to establish
Why our character is there
What our character is doing
In what time frame of the movie is our character doing there
Because of the sheer speed of cuts, the audiences are left perceptually disoriented. This became one of the hall mark meme scenes because of it.
Architecture
Having being shot in 2003, Wiseau probably planned for it to be set around that time period with many buildings and architecture of San Francisco. Most of the film takes place in his townhome and the interior design is reminiscent of old school film sets who try too hard to make a home look neat and tidy.
City Scapes like this are still present in american landscape making the urban architecture still relevant, even though it was shot 16 years ago. Due to production issues and budget($6mil estimated), this was shot just outside the studio set that they rented to shoot most of the movie in. Interestingly because of the inexperience of the director of cinematography, the urban shots that lacked continuity gave a different sense of spatial architecture that was perhaps not quite seen in cinema during that era.
Cultural
The Room is a culture in itself. But the relationships drawn between the spatial aspect of the film and cultural aspect is important to note too. From the above GIF, we can see the american past time of Foot Ball but during this scene, is played in Johnny’s townhome. This is irregular and offsetting to most because of the rough nature of Football, one would not expect to play this, even passing, indoors. Most are unsure of scenes such as this if it depicts a part of american culture but in a spatially offsetting environment.
Immersion
The spatial aspect of the film broke all forms of immersion most of the time. Weird locations for weird activities. There’s nothing much to talk about it. Maybe the lack of immersion from the environment.
Art
Jim Campbell, Tilted Plane, 2011
Having seen this at Whitney Museum in New York for the Programmed: Rules, Codes, and Choreographies in Art show, it was totally mind boggling. To me, Campbell’s work was able to stand amongst giants like Nam June Paik. Tilted Plane exists as what I’d like to call a kinetic sculptural movie. It is non-interactive, but tells a sort of narrative from the movements of the lightbulbs.
Perceptual Space
The shifting lightbulbs on solely the Y-Axis(up and down) indicates a shifting, tilted plane, as Campbell puts it well. Titled Plane immerses users by altering user’s Y-Axis with the ups and downs. Lightbulbs that are set on the same brightness, layed out in a repetitive order like our Experience 2 Project, creates sort of a trans. Being seemingly uncountable from it’s sheer numbers, it makes users think they are in some sort of a infinite plane that is ever shifting.
When I stepped into the space the first time, I was greeted with people sitting at the sides admiring the steadily paced motions of each lightbulb, almost like a wave. People then started to take pictures but I noticed no one picture looked the same even though it was the same amount of lightbulbs in a dark room. Every photo, just like every moment within Titled Plane, would be different. The space was ever changing, or rather, perceptually it is.
Architecture
Showcased in Whitney Museum, one of the most renowned museums in the world, show cased on the fifth storey, possibly constructed with fake walls on 3 sides, a sharktooth scrim cloth(I assume), a modular ceiling that allowed ease of movement or repair for the lightbulbs that were being hung from the top of this structure.
It’s architecture seems rather simple, but requires much thought after learning IM.
Cultural
In my opinion, there was not much cultural impact.
Interaction
There was no interaction on a digital level. On the other hand, walking in and being part of the spatial piece could be what makes it immersive over other digital means.
I noticed users interacting with the piece by touching or even moving the lightbulb. As its goal was never to make it interactive, bur rather, tell a story. Human participation or interaction may harm the piece through accidents. Regardless, if the work could involve, I feel it could be more personal or interactive.
