Exhibit Layout and How Moss And Grow Lights Fit in (FYP18)

Overview
Updates for the week would be focused mostly on material testing and more technical aspects of planning.


Exhibit Layout
The grad show layout has been finalised! I would be painting the space entirely with the colour Pantone 5395 C (or similar, depending on the colours the contractors provide), with the exception of projection surfaces. I picked this slightly dark navy colour that I thought would be able to complement the purple which the grow light would give off.

I have also “choped” 3 pedestals of different sizing each, one at H (1m for all) x W x L 40 x 40cm (to place previous prototype), another 40 x 80 (for final prototype), and lastly, one with 40 x 100 (to place supporting posters and documentations if any).

More details could be found here: FYP Diagram(BW).


Grow Lights, and What to Do with Them
I have finally received my grow lights, way faster than I had expected! However, despite me buying the smaller bulbs, there were many unexpected outcomes which would mar the final aesthetics of the project.

Catalogue of grow lights which I bought (I bought 2)

Some aspects which I did not realise include:

1. Light splashes around the entire machine, and even outside of the moss planters

Surely, this can be mitigated against, through either implementing a lampshade like hood on the bulb itself, or raising the sides of the moss planters (not ideal, as aesthetically it would look bad and incur more difficulties in raising the entire moss bed), but this would simply mean more effort expended into correcting these issues, and risk disrupting the already working machinery/aesthetics

2. Grow light makes… the moss look bad

Ever since the presentation, I had re-transferred the moss back to the plastic trays as it makes it easier to grow the moss (in terms of watering, or letting it sun out). Since then, the moss has not advanced much in terms of growth, but there has been an increase in sprouting amongst the moss.

As evident above, the purple from the grow light has overpowered the initial green of the moss. With green, the symbol of freshness, youth and growth eradicated, an eerie feeling takes over the model. I am on the fence about this new enforced aesthetics – on one hand, it strongly pushes forth the idea of the creepy science laboratory theme, and also adds some colour to the otherwise dark space exhibit, but with the green and symbols of freshness lost, I feel that I would need to adjust the exhibit aesthetics slightly.

3. Rotating Grow Lights?
Initially, I wanted each grow light to also be in continuous rotating motion, and each grow light was to follow each tray in rotation. However, knowing now that the light splashes around out of the tray planter, the intended effect of seeing each grow light rotate around (as though each was the sun rotating around a planet) would not be as strong as I thought.

I could try to add on the lampshade to minimise the lighting, but I am wary of its construction. For instance, I have not tested the lighting for long hours, and am not sure of the volume of heat it would release (which might potentially, set fire to my lampshade or kill my moss).

Another consideration would be that for the grow light to rotate, their connecting wires would also have to rotate. This is troublesome for the machinery layout planning, Currently, the grow light comes together with a clip and bendable stem, which would be extremely helpful in positioning it onto the model. As such, I am considering eliminating the rotation of the grow light, despite it being a much more powerful element.

What I have in mind to continue working on

To deal with these, I plan to:
1. Make a lampshade
2. Make my moss machine LARGER (for it to ‘capture’ more of the light spillage)
3. amend the construction of the moss model, as a larger model would require better supportive frame


Farming the Moss

Close up of Moss bed

Moss growth has been good! Clearly, a few patches have died out but I attribute that to fungal infection (which luckily did not spread much to the surrounding mosses).

Left: Dead moss patch, but lively sproutlings

In fact, I noticed that the seedlings amongst the moss has had MORE responsive growth than the moss itself (even growing in the direction of the sunlight), and for a start/for statistics for my posters, I have started calculating the number of seedlings sprouted.

Data for my corresponding posters would be recorded and taken from the moss itself. Some examples of data which would be recording include the specific number and type of seedlings which sprouted in my moss bed. A sample is shown below:

Sample: Data Information Recorded for Posters
Close up: spot the 2 different species of seedlings sprouting

In this instance (referencing the previous 2 pictures), the data I tried to record was the number of single bladed (somewhat like a grass blade) sproutlings and normal 2 or 4 leaved seedlings. I would be continuing to collect similar data, and start working on my corresponding posters as soon as possible. Also, I would try as much as I can to include real data into my posters as I want them to lend some semblance of reality into my entire project, even though the theme was somewhat parodic.


Video Installation and How It Looks Like
Initially, I wanted my video portion of the installation to be more of a split screen format. However, through consultation with prof Randall, I realised that doing it in real time would not be possible with my envisioned 9 screens – which probably meant affixing 9 different working cameras onto the machine itself – due to technical limitations (computer data might mix up the video signals if too many cameras were to be attached to it).

Above would be my initial idea for the projection. However, with this unforeseen circumstance, I might alter it to simply 2 camera input signals, and simply play around with the available effects.


What’s real, and what’s not?

Through my consultation with prof Randall, I realised that I have not truly addressed this particular point within my project. For now, I am aiming at making it as real as possible, but at the same time, I want it to be slightlllyyyyy ridiculous in the sense that scientifically examining the theme of continuity is all but a fruitless attempt as the answer was simply absent in the first place (which ties back to the name of my project, of it being a continual study on the theme of continuity). Also, the “study” of the theme would be borderline parodic, of through the concrete examination of the topic, I attempt to make it “real”?

It seems as of now that this point is still slightly wonky, and I will continue polishing it, but as of now, this is what I have in mind.


Conclusion and Moving On!
After a week’s of deliberation of the final machine’s sizing, I have decided to just work on a similar model of the same size and will start rebuilding the model over the next week. At the same time, I will be starting on creating a series of posters and other exhibit decorative materials.

Meanwhile, for the projection, I would aim to affix the final projection scheme by the end of the next week, and hopefully, create a portion of it.

Moss Machine Prototyping (FYP18)

A very, very Quick Catch up!
This post will just be a very brief update on the progress of each different aspects of the installation!

Firstly, let’s talk about the layout! My proposed space would be a slightly rectangular space, with content to be projected/hung/attached/displayed on all 4 walls. My drawn layout can be accessed here: FYP Diagram(edited final).

Planned Layout of each 4 walls of Installation

Otherwise, as seen in the above rough sketch, I would be placing:
1. x 2 projections
2. x 1 moss machine
3. Phamplets, memorabilia

More details could be seen here: Presentation Summarised

FYP Group Presentation with all Professors
Today, the IM cohort had a group presentation with all the IM professors. My presentation slides can be found here: Presentation Summarised


Moss Procurement Updates!

In my last post, I did mention that I would resort to buying the moss! Luckily for me, I chanced upon large quantities of this very amazing moss species on a quick trip to Malaysia which would fit the theme! However, I only managed to smuggle back enough quantities for it for the prototype itself only, and not for the final installation machine.

Close up of moss

Referencing the above close up picture of the moss, I wish to draw attention to the individual stalks of each moss head – which gives additional texture and interest to the moss bed – perfect for what I envisioned.

As of now, I have a dilemma of whether to purchase commercially available Holland moss for the final machine or whether to return to Malaysia for the sole purpose of moss collection. Logistically speaking, I am also unsure if the border controls will allow me to ‘mass import’ their local flora back to Singapore.

But for this final prototype, I have decided to affix it with this particular species of moss.


Prototyping

I was pretty worried about the structure and how it would actually hold together, and after having gone through the laser cutting workshop, was actually able to try it out! Here’s my process making in pictures:

Final Prototype

ps. moss burger is not actually the name of the machine, it’s just some pun injected (from the fast food chain Mos burger) into this otherwise nameless machine!

I envision this to be my final prototype (if possible)! From now thereafter, I would be working on the final machine. It would take some time though, perhaps 2-4 weeks to complete it as I wish to perfect it.

As of now, the speed of the turning it wayy too fast for my liking. I’d be experimenting with gears of different sizes and try to slow the speed down. In addition, I plan to make rotating grow lights (to keep the moss alive) to follow the movement of the rotation. However, it might take some time – my grow lights are currently still being mailed over to me, and is estimated to only reach me 1-2 weeks from now.

For the final machine, I would also make it slightly larger than this prototype. Not too large, as originally thought (initially I wanted it to stand at 1.6m height/5.24 feet) as I am not confident of my construction skills.


Projection Matters

I have not started on this yet, but I plan to project real life camera detection of the moss machine itself.


Supporting Materials (eg. pamplets, posters)

I wanted my final installation look to be a unique mishmash between the science laboratory, and a dark installation space. Above shown are mood-board references of how the final installation might look like – albeit with a slightly different colour scheme of purple, black, white and potentially dark blue.

Research Poster FYP (sample, unfinished)

For instance, this was one of the posters I intend to display within the installation space itself. It would have real data which I collect from my investigations (eg. how many seedlings have sprouted from my moss), but placed in an authentic yet ludicrous way.


Conclusion
Over the next few weeks, I would be prioritising the creation of the machine and projections, as I am quite worried about how it would look like in the actual set up, and would require them to be ready as soon as possible so that I can more accurately plan the actual exhibit space.

I would also continue collecting data from my grown moss to be put into the poster ?

On Continuity, Time, and Everything Else (FYP18)

Some Reflections on my project
It’s 2018; cue a quick recap on 2017’s highlights: I played about with different materials, tested out several light effects on bubbles, and did a couple of projection tryouts. However, ideation wise, I was admittedly was pretty much stuck, despite my set topic on grief/loss. It was tough to translate the ideas into an actual artwork, and I hit a roadblock before slowly, but surely, losing interest in the topic.

Come December 2017, where I took time off fyp, and expanded my perspectives through chatting with people of different backgrounds. I realised one very prominent theme, of continuity. Be it a person stuck in memories of the past, or someone stuck in ennui, time will continue passing and you will be forced to move on. Personally, it also tied in with my belief that only through hard work from yourself is the only way to get yourself out of this stuck situation. That as a person, one will continually have to push yourself, to continue moving.

In other words,

Screen capture from the movie [The Girl who Leapt Through Time]
Interestingly, I thought that even though we as humans are continuously moving, we do not internalise the present situation of the ‘being’, of the time that it currently passing by us. For the lack of a better word, I’d call this the ‘continuity of presence’ – somewhat similar to the continuity of time, I wish to emphasise on and focus more on ‘presence’. In which, one of the focal mediums by which this presence can be translated would be through time, and these will be the focused topics in my fyp project.

More on the continuity project

Mindmap of said topic

In part, it becomes a development from my previous topic of accepting loss – it’s moving on, and acknowledging the larger presence of the flow of time, or rather, the continuity of time in the larger sphere of things.

In particular, I wished to express this topic, and visualise into an seen experience.

I highlighted several factors of which were the most important for the given topic, and which I will clearly insert into my project.

Continuity of presence operates clearly on 3 different aspects:

  1. Imagined
  2. Independent
  3. Changing

Why imagined?
The flow of time remains a philosophical debate , where as creatures of the world, we come up with our own imagined concept of time to internalise the continuity we experience. It is arguably just an illusion, as our way of understanding this abstraction with our limited perception. According the article, the flow of time is such an conceptual entity that it is understood through the transition between the past, present, and future, whom we mark as individualised points.

Therefore, I’d like to push for the argument that this continuity of presence is an imagined concept.

Why independent?
It is independent of external events, and it can only go forth one way in a fixed trajectory. It goes forward in its own speed, at a rate of 1 second per second.

Why changing?
Say hi to the clique saying: change is the only constant in life.

With continuity, there is progression. Therefore, no matter how minimal, there will definitely be changes that are evident. Movement, or changes, can be shown through continual, evident changes or through highlighting the differences between the previous and present state of matter.

I end this section by the dictionary definition of continuous –

“Marked by uninterrupted extension in space, time or sequence”

These subthemes are what I aim to introduce into my project.


Artist References

Regarding the artist references, I looked at various artists who utilised light as a medium.

Why light? I felt that light (strobe, projection, led bulbs, led strips, neon lights) could be an interesting medium to build upon. Partially, this was because light has a fleeting ‘lightness’, which I thought was similar to the lightness as perceived by the inadequacy of words, speech or objects to quantify the continuity of time.

Olafur Eliasson’s Timeless Garden

According to Eliasson, he saw his works as vessels for experiencing reality, “creating new perceptions of the world” (https://www.modernamuseet.se/stockholm/en/exhibitions/olafur-eliasson/). At the same time, he proposes a dual-self awareness – of what we see, and also of ourselves in the midst of seeing.

It is a matter of becoming aware of what we see, but also of being aware of ourselves in the act of seeing. Or, as the artist puts it, “seeing yourself seeing”, of acknowledging our presence and our participation.

I find it particularly interesting that Eliasson’s approach was not through showing the continuous flow of water, but rather by utilising intelligently the strobe lights, he was able to show that there was changes, albeit frame by frame. By proving the opposite/outcome of change, he shows continuity within the flow of the bigger space.

Teamlab’s Black Wave

Though the teamlab’s concept behind this artwork was not focused on the continuity of time, but rather on generating a force of nature based on hard science and coding, I really liked how this artwork brought about a sense of calm and really allowed visitors to connect with nature, and possibly, reengage unknowingly with the passage of time, and presence of the man made waves.

Joao Costas’ and the wind was like the regret for what is no more

As an outcome of my previous artwork research, I decided to delve slightly deeper into how can one translate ideas into physical installations. One of which was Costas’ wind installations, where he altered the space, drawing attention to wind, and changing it into a sense (sound) which we could experience more knowingly.

Leo villareal’s Cylinder

On Villareal’s biography page, it reveals his inner thoughts and concepts behind his installations. Particularly, I liked how his works explored the physical and dimension of time, both in terms of spatial and temporal resolution. In fact, one might argue that his works and art collective team Nonotak operated on similar principles – the common usage of simple forms and lights to create a more complex structure.

Tokujin Yoshioka’s Lexus

Using optical fibres, Yoshioka created this mirage which I really liked based on my personal preference. As I had done a previous installation using strings, I found this particularly captivating and considered once whether to continue enriching my past string installation into something as large and monumental as Yoshioka’s work.

Ryoji Ikeda’s Test Pattern [100m Version]

Flow: as seen through black and white linear imagery, Ikeda renders data into images.


Perhaps, what I should consider is what aspect of time, space, or continuity which I want to alter into the visual scene?

Screens and Updates | #FYP

Project Update
The structure and overall outcome of the project is gradually getting finalised over this week, as I settle and roughly confirm how the set-up will be like: a reflective bubble surface, together with a 2D screen projection. Of course, this is only much simpler and truncated version of what my project – but I would have to first test the settings to see if it works.

The In-store Bubble Machine
I finally caved in and bought a bubble machine to investigate the structure of it! Which ended up being how I envisioned it to be. However, with the machine now, I was able to personalise the size of my bubbles, although, by using the machine’s old structure, the blowing speed of the machine was fixed and I was forced to make bubbles at a quick and fixed pace.

The machine was a powerful one which could produce numerous bubbles at high speed, as seen in the video below. The iridescent bubbles were the outcome of a better bubble solution, which came together with the machine as an add-on.

I proceeded to next dismantle the machine to see how the gears work. As I thought, it worked as how I suspected it to be: a fan and gears mechanism to rotate the bubble wand – together, there was continual rotation and movement to produce the bubbles. The bubble wand was continually rotated, being dipped in and out of the bubble solution. The fan at the back of the machine then blew the bubbles out manually.

Therefore as previously mentioned, I switched up and created my own bubble wand as I wanted a larger bubble surface area so as to do my projections on.

Bubble machine with self made wand

…which worked! I initially made a larger one but unfortunately I did not have a larger soap dish bowl and had to cut back in size.

 

Machines and Reflections in a Single Set-up

Setup

Initially, with my setup, I did want to try the above setup – the machine would generate bubbles, which would be projected upon and gain a reflected light surface, which bounces off the bubbles and would be reflected using mirrors into a projector screen/room wall/surface.

However, I admit that though it’s really doable, my setup was less than ideal.

Entire Setup: machine, wand, soap solution

Just to clarify, the boards in front of the bubble machine are placed intentionally to block the fan of the machine so that the bubble would remain ‘more static’ and allow for better reflective surface.

Only after doing video documentation did I realise that the reflective image.. was moving too much against what I had envisioned, and I thought that I had leeway to play with the bubble’s movement and use it as a compelling material for my project. In addition, I envisioned my reflection to be able to see more of the source image… no that did not happen.

Setup (revised)

Nevertheless, after discussion with prof Randall, perhaps I would move onwards to using the reflective image as source material and use digital manipulation to further the concept.


Sounds
I am currently working on the sounds on the side, and will combine it with the visual footage for the final outcome. It is still a work in progress! If possible, I would like the sounds to match the visual footage (eg. one beat = visual footage changes accordingly).

 

 

The Bubble Wheel-wand | #FYP

(Backdated post for 27 Oct ’17)

Waterwheel and Bubbles
As I wrote earlier, I wanted to include the reflections off the bubbles into my installation. Since I wanted the reflections to come many at a time, I decided upon a circular repetitive mechanism, much like the spokes of the water wheel.

Waterwheel
Set-up

Supposedly, there will be a mechanised clockwork arm to repeatedly turn the bubble wand, and reflections would be created and reflected onto the surrounding space.

Bubble wand with multiple-sized bubble wands

I tried making wands of different sizes uses pipe cleaners, to play around with the reflected outcome. However, I clearly did not think it through properly; the largest wand couldn’t sit properly into the soapy trough.

Reflections
Clearly, most if not all of my ‘prototypes’ or experiments did not work out well at all. As such, I went to purchase a proper bubble machine from the stock racks. We’ll see how it goes in future post updates.

MORE AND MORE BUBBLES | #FYP

Sooo… I was considering how to move on. I constantly toyed with the idea of making projected bubbles, very much like this – but soon hit a revelation: while yes its perfect, that the outcome really embodies what I truly want, I would like to investigate another more appealing aspect of the bubble medium: reflections.

From the start of my experimentation stage till now, I have been fascinated with bubble’s reflections; the multi-coloured hues swirling in circles, glistening and changing colours at whim: it was utterly beautiful. The week before, Prof Randall actually showed that the reflective surface could actually be used as a projection surface, though, in a different way as seen in the video itself.

Prof Randall highlighted that viewing the reflection on the bubble itself might be hard, and that I could utilise another projector to enlarge the initial projected surface (such that the final look can be seen on say, a projector screen). To this, I felt pretty unsure about as I did not want my final installation to look 2D (aka like watching a television show), and that the interaction did feel slightly disconnected from the outcome.

I knew what I wanted, I wanted the reflected image to be tangible. Something you could actually see it in 3D rather than a flat surface. Perhaps, one could see it via the physical object which creates the final outcome, or the may the outcome be more ‘real’ (for the lack of a better word).

What I do want though, is for the bubble surface to no longer be a sphere, but a ‘wall’ of bubble. This would allow for a greater area of projection and logistically speaking, makes it way easier to control than a spherical bubble which bursts more easily.

Thus, I went to do a quick search of the different kinds of bubble ways, and stumbled upon a few interesting ones:

Ontario Science Centre, Bubbles making up a Face

This photo of Ontario Science Centre is courtesy of TripAdvisor

Kentucky Science Centre

This photo of Kentucky Science Center is courtesy of TripAdvisor

The medium of bubbles is an interesting one, it has both a scientific basis, and can even be used as a part of a performance, as seen by bubble artist Fan Yang.


Envisioned Installation

I did mention that I wanted a wall of bubbles, but for now, I am going to start by making little round wands, tied by strings to the ceiling and lowered down at chest-level . The rationale behind this height was for visitors to be able to actually blow and play about with the bubbles. In the future, I would like to change the opening shape of the bubble wand but for now I will stick with this to experiment first.

Bubble wand

As you can see, there’s a tray of soapy water. It is intended so for the user to be able to lower the entire assortment of wands into the soapy water by the use of a manual hand lever/pulley system. I want to be able to automate this system with time to come, but would need to consider how so, and the duration/trigger to lower the entire wand set.

I would like a projector to beam light onto the wands, and highlighting the bubbly reflection surface. Hopefully, there would also be reflections of the bubbles onto the surroundings, which would also vary based on the vibration of the bubbles.

As for the sounds, I wish for the sounds to be edited real-time – hopefully, the bubbles’ vibration speed/actions can be translated into sounds for the installation itself.

This would suffice for now, as I attempt to create my prototype on it (to be continued in the next post).

(Failed) Fog Juice and more | #FYP

(Backdated post to 20 Oct ’17)

Overview: Creating new Set-ups
This was a week of toggling with equipment, with the intention of coming up with the final installation setup. I decided to just go back and focus on projection on bubbles. To do this, fog is required, to make the bubble opaque enough for projection to shine on it.

Thus, I tried to make my own fog as buying a fog machine would be much more costly. It was a failure.


Experiment I (out of 2):
Part 1

This experiment’s step by step tutorial was taken from here.

Experiment set-up

In brief, the experiment required,
1. Creation of fog juice (mixture of distilled water + glycerin)
2. Other materials: aluminium tray, heat source (candle), bottle ‘cover’
3. Place fog juice onto aluminium tray, and bottle cover over
4. Heat it up, fog should be evaporate from aluminium tray

As seen from the video, the resultant fog was near negligible – and in fact, this was the best videos I managed to get. Despite upping the glycerin amount in the fog juice, there were still no fog produced.

The experiment was a certified failure – how now? I would like to scrape the idea of utilising projection onto bubbles directly, and cut out the need for fog bubbles.

 

Experiment I
Part 2

Rough sketch of experimental set-up
Entire set-up (without heat source supposedly under the aluminium tray)

My original intention was just to combine bubble blowing by the user, and create a singular platform for one single bubble to stay on. This bubble ought to be a fog bubble, with fog blown into it.

After creating the fog bubble, projection light would beam images on it and create the effect I required.

Needless to say, this was a situation where the ideal was way better than the physical. The water from the tray kept dripping down the straw onto the fog juice tray, bubble-blowing was an arduous and unhygienic process, and the entire structure as a whole just was not appealing and stable.

Thus, I did entirely scrape this idea as it just was not working, and did not see how it could further develop.

 

Experiment III (final)

Set-up

I thought of creating a tinier installation, and contain just one bubble for now as it might be easier to work with. Thus, I decided upon a boxed installation – partly because I started becoming interested in peephole art installations – and also because it was much easier to control the environment within a small, contained space.

The intention was for the user to blow and create one bubble at a time, which float inside the box. An external camera will capture the facial expression of the person blowing the bubble, and project that static image onto the bubble. The bubble was meant to gently float down towards the ground, as I would be placing liquid into the box to greatly reduce the speed the bubble floats down. The user will proceed to look at the bubble through the peephole on the right of the box, as I envisioned that it would greatly magnify the bubble’s size in the eye of the user, and have it easier to contain within a smaller box. The person thus becomes the bubble, and he fitnesses his own death through the bubble.

At the same time, as the bubble floats down and vibrates/moves, a recorder will record the movement and sync it to a sound, which would vibrate according to the bubble’s movement.

Thus, I tried making a box structure to first test out the size.

Set-up: Constructed paper box, blowing tube, plastic sheet at bottom

As the programming for the facial recognition, and sounds were not finished yet, I just decided to cast a simple video projection pattern onto the box, and test out the effects on the bubbles.

Also, though I intended the bubbles to be like these (see below),

Small bubbles singular form
Singular large bubble

due to the set-up structure, I could at most manage a large bubble or two, like this (see above).

 

However, I realised that the quantity of light given out by the projector wayyyy overpowered the bubble, and reflected itself at the back of the box. Also, the bubble was exceedingly fragile, and with the small size of the box (and hence short height), there was not enough space for the bubble to poetically flow down as I had wanted it to. The reflection on the bubble, needless to say, was an extremely poorer version out of the many reflections I obtained from my previous experiments.

I received several feedback, that perhaps the peephole was way too small and insignificant to push through the intricacies of the bubble projection, and I could perhaps use a different camera to capture the reflection and re-project it on a larger screen. This way, it would make it easier to look at the projection, and allow a larger group of people to look at it.

Another feedback I got was of hygiene – having visitors to blow through the same tube was unclean, and I did consider providing disposable plastic ‘mouth-guards’ or disposable plastic blowing tubes. However, it was way easier to just alter the bubble blowing structure and make do without this problem.

This idea, though it sounded good theoretically and I was genuinely interested in furthering it, had to be largely tweaked for it to work.


After these experiments, Prof and I found out that the bubble could be used instead as a reflective surface. As seen in the below images, the reflection off the bubbles created a surreal, living image.

Thus, in my future outcomes, I will be utilising this reflection of the bubble as, 1. it’s much easier to manipulate, and that 2. I love the effect.

The Bubble as the Living Organism + DMX Experiment | #FYP

After doing my research, I decided to start small – making just a single bubble. However, I want the singular bubble to pulsate, as though it’s a living organism. When it later bursts, I wish for the feeling of loss to be more pronounced – by initially thinking of it as a living being, one would feel pity, a sense of loss, and sadness (hopefully), as per what they would feel should a real living being dies.

Honestly speaking, when I start thinking of the idea of a singular bubble, the image of the atomic bomb on Hiroshima during WWII comes immediately into mind (hope this isn’t offensive/it isn’t meant to be offensive):

Hiroshima Peace Museum

Partly due to the fact that it has indeed caused many deaths and destruction, but this symbolic model was very arresting – the bright red contrasting with the vast city landscape.

I did consider putting placing a huge singular bubble into a small room, where people would have to squeeze past it to get to the other side – it seems fun, but there were considerations that they might accidentally touch and make the bubble bursting, making it not-so-practical after a while. At the same time, the bubble will pulsate like a pumping heart, giving it life-like qualities.

Thus, remembering Prof Randall’s words to ‘crawl first before I run’, I decided to start small and create a small bubble before I envision it in the whole space. That being said, small seems okay to start with – in my previous research the artwork The Long Now by Varena Friedrich, she too starts small – yet the product was very effective.

Before I thought of this idea, I did a few experiments with DMX lighting. I did want to try using projection on the bubbles, but decided to postpone it as I haven’t had the fog ready to intensify the projecting (but am loaning the projector again today to test it out this weekend).


DMX Chauvet Lighting and Bubbles

I first wanted to beam the light sideways, but the leftover light shone onto the background wall which was very distracting. In addition, there was too much surrounding light from the chauvet lights – thus it was hard to pick out the lighting of the bubbles itself. So, I pointed the chauvet light upwards instead (and risked the cables getting wet but shower caps are always a lifesafer)

I also did experiment with the flickering lights, as seen below. From my tests, a slow strobe could dramatise the effect of the bubbles, but it really was not what I envisioned for the experiment.

Caution! Strobe lighting in the below video!

(Please mute the above video while watching it; sounds of the video does not correspond with the visuals – I’ll explain why later in the post)

Here, there are two different ways of strobing: fast, and slow. I played with different light colours (purple, white, blue) to test out the effects, and particularly liked the purple colour out of all 3 colours.

One thing to note that while it was resplendently pretty, lighting was a considerable issue – the surroundings had to be STARK black else the surrounding light will wash out the lights of the bubble. Another issue was that the medium simply is hard to capture with the camera – the shimmer of the bubbles, how airy it was, and the glint and floaty-ness that it had. This is truly an experience that one has to feel first hand.

In this experiment, a pure red lighting was chosen as I envisioned that the strong lighting would translate into visually powerful bubbles exuding a single colour.

Side view: Chauvet light directly beneath bubble
Top view: Chauvet light directly beneath bubble

To add on to my previous point, only by directly placing the bubbles at the top of the light itself could really bring out the reflective quality of the bubbles. However, this would mean that the bubble has to be either suspended over the light, or that it would have to sit on a flat surface right above the light – whereby the spherical shape of the bubble would no longer be possible.

I did love the reflections of the bubble, particularly here:

Reflection on singular bubble

However, it was very hard to be able to angle one’s sight successfully to view this reflection, and that the structure of the chauvet lights dictate it that each individual RGB colour is seen, rather than the blend of R, G or B to achieve a new colour. This is especially so in the case of the bubbles were the light has to be very close to the bubble and has no affording distance to blend together. I suppose that this limitation could be overcome by directly wrapping the coloured cellophone paper over the light, hence it will not be an important consideration as of now.

I tried using many small bubbles, and one singular bubble to play with the lights. I concluded that while the small bubbles really gave off an airy feel, I would rather use larger singular bubbles as I could more properly play with the bubble medium. It would also be easier to control, and individualise my project rather than the conventional bubble explosion scene.


Sounds of.. Making Bubbles?

I recorded the sound of bubbling and edited it via Audacity. I will show a few samples.

(Please un-mute the video while watching it)

The edited sounds are included in the video, and there are 3 tracks in total.

Track 1: 00:00 – 00:19
Track 2: 00:20 – 01:05
Track 3: 01:06 – 14:20


Next Steps!

To do: make fog machine

Attempt projection surface tryout with singular large bubble

Make a singular bubble machine

Inspiration:

 

More Bubble Research | #FYP

Artist references which may give ideas and feedbacks to kickstart my ideation process.


Dream Bubble Machine (Lorenz Potthast and Fabricius Seifert)

Inside a dark room, bubbles filled with fog slowly drift ground-wards. Projected on it are flickering image which are a symbol for dreams which as quickly built as they are destroyed.

How Artwork was created:
1. Bubbles are created:
smoke is blown through a tube moistened with soapy water
2. Camera tracking:
soap bubbles illuminated with infrared light, filmed with an IR camera
Program vvvv recognised position, size and movement of bubbles
3. Projection:
Images projected at calculated positions

The creators were investigating light as a design element, and saw the artwork to symbolise the relationship between dreams and wishes.

Personal Opinion:
The absolute brilliance of their artwork was of how the fragility of the bubbles was highlighted, and transformed with the addition of the projected light. Their artwork becomes a key learning reference for the technicalities of projection – the bubble medium itself is way too thin to be a suitable projection surface; there needs to be a ‘film’ of slightly opaqueness for the light to fall on. Particularly, when the bubble burst, the artwork was arrestingly beautiful – the bubble’s destruction was purposefully amplified and it faded away.

Their artwork also reminds me of the multiple possibilities of using equipment, such as IR light within a dark room to assist with position mapping.

 

The Long Now (Verena Friedrich)

The Long Now by Varena Friedrich

The mechanical arm squeezes a bubble out, and the predetermined settings in the container attempts to keep the bubble alive for as long as possible. Friedrich mentions that the artwork was her scientific and technological take on the vanitas symbols (momento mori?), where the project looks like a scientific project where the bubbles exist between the states of death and existentialism.

How Artwork was created:

I could not exactly find much information on this, but I assume that Friedrich used a pump manually lubricated with soapy water (the lack of a container for soapy water is obvious). A robotic arm manually squeezes the bubble out. However, Friedrich mentioned that the physical quality of the bubbles had to be altered to increase durability. As for the controlled environment, I suspect it’s to do with temperature, humidity (where colder environment and increased humidity dries the bubble out slower, hence it lasts longer) and wind conditions, to set the bubble at the exact spot where conditions are the most optimal before it slowly floats off route.

Personal Opinion:
I thought this was simply brilliant, and it opened my eyes to the possibility of using only one bubble for the whole experiment vs repeatedly many. At the same time, this project remains very simple and elements are stripped down to the bare minimum – instead of continuously adding in different technologies, perhaps I could focus on the skeleton first? I think this would be very useful to me right now when I have not much ideas on how to create my own project.

 

Bubbles (Wolfgang Muench, Kiyoshi Furukawa)

Interacting with virtual bubbles using your shadows. Your shadow, reflected on the screen, can move/hit the bubbles, and a corresponding sound will be played. This project attempts to imbue the body – an object usually left out of artworks – into the project as a means of interaction. The combined surface of shadows, projected bubbles and the screen itself closes the distance and spatial relationship between the three discreet objects.

How Artwork was created:
1. Bubbles on screen were created using a simulation algorithm, each bubble was paired with a script object which defined its behaviour according to gravitation, acceleration and air circulation
2. Bubbles’ drifting movements were synced to a midi-synthesizer for sound
3. Shadow’s position was captured if it hit above a certain threshold, and if present, triggers a routine whereby the bubbles bounce back
2. User tracking interface was implemented

Personal Opinion:
Indeed, this could be another method of using bubbles and in fact I did think briefly about this idea. However, I felt that the outcome was way too technology-based/impersonal for my liking. It was nice however, to know that such options are available.

 

Black Hole Horizon (Thom Kubli)

Huge black horns bellow out compressed air, which collides with soapy water to create big sound bubbles. The concept was to transform sound into three dimensional space with its presence. As the shape of the bubbles are constantly changing, it is also a reflection of how space is repeatedly getting redefined. Visitors are encouraged to place their bodies relative to the bubbles’ position.

How Artwork was created:
1. Need for horn to blow compressed air
2. Fluid circulation required
3. Horns were 3-D designed
Horns’ pitch were also affected by material, due considerations had to be given

Personal Opinion:
I like this artwork, the idea of transforming sound into the physical bubble was evident in the outcome. Since I am considering to input sound into my artwork, are there other ways to go about doing it? Ie. sound affecting the physical bubble

 

Bubblemania | #FYP

A quick and (very) summarised update on what I’ve been up for the week – bubble experimentation!

Bubble Characteristics
Types of Bubbles
Singular, clump, foam

Bubble Movements
Burst, fuse, repel

Creating Bubbles
Based on my experiments, the outcome of the bubble type will depend on the shape of the wand and can be altered as such.

For a large singular bubble, use a wand with a big single opening. For little bubbles to appear at one go, use a wand with many small openings.


Bubble Experiment #1
Altering Materials

Material List for bubble exp 1

It should be noted that certain materials such as the glitter was hard to mix into the soapy mixture. For future references, only water soluble substances should be used.

Bubble Experiment #2
Inputting Sound

Outcomes:

  1. Singularly large bubble – rainbow reflection was more ‘solid’, and changes in sound beats more obvious in bubble
  2. Clustered bubble – similar outcome to singularly large bubble, but movement/swaying of bubble more negligible
  3. Foam bubble – most obvious outcome in terms of movement (as foam is smaller and lighter to move), water droplets dance around resplendently

My friends recommended that I try bass music instead for more effective ‘bubble dancing’. Perhaps I should try that.