Kenny J Smith

I have been thinking about different ways of projecting onto physical objects, my concept at the moment involves projecting onto physical puppets infront of rear projected environments. The technical method of making this system work could use infra red computer vision or electronic sensors in the puppets or a combination of both.

This video by Johnny Lee shows a method of using light sensors to map a projection onto a 3d surface.

http://www.youtube.com/watch?v=XgrGjJUBF_I

The only problem with Johnny’s system is that it can’t be used with moving objects.

The conclusion of my essay was to create an experimental cinematic experience using physical elements. Originally I planned on focussing on methods in which imagery is captured, however the experience would still be constrained by a rectangular screen. Doug directed me to the artist Tony Oursler who experiments with projecting onto different surfaces.

http://www.tonyoursler.com/

This image shows how Tony films real eyes and projects them onto surfaces in a physical space. This idea of reconnecting objects with a physical space will be the focus of my next research.

For my project I am starting with the topic extended consciousness with Interaction Design as the production method. The three concepts are also related in the way that they compare the emotions associated with physical and digital mediums.

The first concept is to probe the empathy people hold for computer generated visual communication compared with that of traditional physical mediums. Aspects of this concept are associated with the uncanny valley theory, the realism in artificial human faces get to a point where they they look creepy. Why is there not a similar problem with oil painting?

The second concept is an examination of happy accidents, a unexpected result in physical arts that is beneficial. Does the logical computation of imagery reduce the chance of unplanned results? An example of a happy accident is in Holga film cameras, they are not perfectly light tight and produce unique pictures when the film is exposed. Film camera do not give an undo option and a fair amount of mastery is required to get it right the first time.

The third concept is a study of the value given to digital art considering there is no original copy and infinite copies can be made. If a physical created illustration is viewed digitally, does it hold higher value than one created with software? Does the value given to digital and analogue art come from universal considerations such as composition, technique and energy?