Computer Graphics and Remediation
Digitaterial Gestures – Action Driven Stererolithography
by James B Charlton and Olaf Diegel
Attempting to reconcile a digital sensiblity with suclptural materiality steeped in the modenist legacy of “truth to materials” we can conceive of a form that is generated outward from its central core. At the center of which, the artist’s body is acknowledged as the performative instrument for production in a manner akin to action art of the 1960s and 70s in which “sculpture is recontextualised within an action” (McEvilley. 99).
This paper explores the theoretical and technical implications of the MORST funded interdisciplinary collaboration between artist James Charlton and engineers Olaf Deigle and Sarat Singamneni to produce a close to real time 3D printer. Integrating motion capture software with real time 3D printing the colaboration is realising a system through which the perfromative gestures of the artist are taransalated into concerete form.
The prototype system capable of produceing 1m2 forms is significant in that it effectively allows the artist to work hands-on with the mateirial digital, providing a sense of materiality central to other sculptural processes and eliminating the latency of conventianal 3D modeling that estranges the artist’s action and material output.
Effectively this allows the artist/perfromer to “draw” a digital/material sculpture. The resulting non-representational forms should be seen as manifestations of the artist’s actions over time. Organic in their appearance, they hold the expressive intent of gesture mediated by technology that renders an embodiment of the artist, freed by technology from the constraints of physical materials.
Central to this project is not simply the the development of a system capable of integrating of several contributory technologies – (4 axis CNC technology, FDM deposition, and CAD software) but development of a system to capable of curved layer deposition. Conventional rapid prototyping technologies print in flat layers necessitating that two materials be printed to resolve overhanging features. The curved layer deposition process also demands a fast setting thermoplastic print medium that sets almost as soon as it exits the heated deposition head.
The paper, co-presented by Charlton and Diegel will adress both the conceptual framwork and technical resolution of the process as well as discussing approaches to collaborative methodolgy taken.
Stereo Animated Pictorial Space: Towards new aesthetics in contemporary painting
by Ina Conradi Chavez
How can artist influence new technological initiatives and push the expressive capabilities of animation and 3D Stereoscopy towards a new pictorial space? How can we create fully immersive painting where large scale moving paint marks and textures would appear to exist in real space? What is the significance of a Stereoscopic 3D (S3D) cinema in contemporary art painting and design practice today? Should painting expand the aesthetic experience by opening to new methods, other disciplines and to a different audience?
In recently completed research within School of Art Design and Media into innovative digital image methodologies, opened is an original field of explorations into inventive applications of 3D Stereoscopy as an art digital media expression. This paper would illustrate first outcomes of the art practice based research formed as collaboration among faculty from the Nanyang Technological University School of Art, Design and Media, Institute for Media Innovation, NTU and the School of Electrical and Electronic Engineering, along with collaborators from local industry.
While establish relationship between technology, materiality and aesthetics these works are inspired by the idea of pushing the limits of perceptibility, by the fascination of the surreal and abstract art, and by the aesthetics of high-definition, intensely multi-colored imagery. Presentation would to illustrate importance of an artist driven digital imaging fueling stereography at every level of image capture, generation and manipulation and display, and would emphasize the need for a fundamental pedagogy and toolset.
The paper would introduce artistic explorations of new perceptual, cognitive and interactive digital art ranging from: experimental 3D stereo animated painting to digitally fabricated art works and installations that converge seemingly unrelated fields of art aesthetic, cinema and science. With hope that it would inspire new ideas and possible future collaborative initiatives in synthetic image technology innovations within academic research environment and wider.
A painterly approach to 3D computer graphics
by Anthony Head and Jeremy Gardiner
For the last 10 years Anthony Head and Jeremy Gardiner have been exploring possibilities for the use of real-time 3d computer graphics as a medium for landscape painting (www.lightyearsprojects.org). This quest has run in parallel to the technological developments and standards of 3D graphics that are used in computer games. By pushing the boundaries of available technologies the artists have striven to create virtual landscape paintings that combine multiple perspectives into a unique experience.
This paper is an analysis of the processes we have employed and the hurdles we have faced in using computer graphics in a creative and intuitive manner. Adopting a painterly approach to our work the paper analyses Purbeck Light Years (2003), and Jurassic Light Years (2009) and Light Years: Coast (2010).
Since 2001 3D graphics has become more sophisticated and computer processing has increased, both these developments have been matched by our technical ambition. Using existing graphics engines customized with programming the artists have created a mixture of old and new techniques that combine painting, drawing, computer animation, immersive virtual reality, satellite data and ambient sound. In the proposed paper we discuss 3D graphics techniques that have been used such as fog, textures, bump mapping, transparency, shaders and cameras. We also analyse the creative and aesthetic decisions made in order to create experiences that engage the intellect, excite the emotions and capture the imagination.
In conclusion we have learnt many lessons about the scale and atmosphere of each location and the effect that has had on the resulting work. The modernist starting point of the paintings (that were used to create the virtual) can sometimes get usurped by the possibilities made available by computer graphics. However, CG also brings with it unique opportunities for experiencing landscape.