For my kinetic text piece, I animated a short narrative about how I put a word to my gay and trans identity, focusing on my young crush on Freddie Mercury.
For this piece my main focus was simply the text. Because in previous years I have only used visual forms to represent concepts, the use of text as graphics was new and foreign to me, especially since all my life it has been drilled into me that the only use of text and letters was for extremely rigid writing.
Because of the exact nature of the project, I found that using primarily text was liberating. I focused on aesthetics, how the letters looked and felt with different fonts, and also keeping everything cohesive.
Because of the subject matter, I wanted to allude to two time periods: my youth in 2011 and the glam rock era of the late 70s. Because I wanted to focus solely on the text, I kept my visuals at a minimum. In fact I only used two effects: fractal and noise HLS on the wild layers, used glowing trim paths, and only changed the colors on the soil layer every 30 seconds to a minuet. In fact I relied on visual repetition for the trim paths and just remixed the same key frames manually. My only other visual component was live footage from a Queen concert, which I put put a mirror effect on so it would only “open” when Freddie Mercury was on screen.
The text itself is a mix of 3D and 2D animated text.
While I would have loved to render all my text layers in 3D, in truth I was scared that the file would take too long to render and that my computer would overheat, leading me to 3D animate any text sparingly. However I know with the right equipment, 3D rendering all the text would have been possible, and would have led to a more compelling reading and viewing experience. However within the film, I male use of animated text intros and decoder effects to keep viewers interested in the screen. I animated different parts of text to change color, as if it were rainbow for the very obvious reason: this film is about being gay. In fact, as a gay man, I make use of a censored LGBTQ+ slur targeted at gay men, and make change to all colors of the rainbow. In this way I am simultaneously reclaiming and asserting my identity with a slur which is in relation to this story of putting words to my identity. I also stuck with a prose style for this film, namely because I wanted the work to feel personable, as if I am talking to you at a coffee shop about this, and thus take away a layer of accessibility. I also found that as prose, the narrative flowed more easily than not. I also tried to use a loose narrative structure,the film has a clear beginning and end, even though both do not amount to much and they shouldn’t, to me my attraction to other men and only men is part of my everyday life and at this point, normal, why should’t I portray it as normal in my work?
This film also deals with the beginnings of something that I currently cannot explain any better with language: the fact that men who love men (gay, bi, pan men) experience love and attraction differently from straight women. I have no idea how else to go into detail about it but one of the reasons I know why its different is this: I have not met a straight woman who was attracted to Freddie Mercury ever in my life. Are there women who are attracted to queer men? Yes, and they sometimes get into relationships if the man is also attacked to women as well. However, for some reason, no straight women has ever expressed her attraction to Freddie Mercury while many queer men have. Through my personal experience, and hopefully through more art, I hope to explain how the phenomenon of love between men and lust between men works.
In all this project challenged me to think very differently from my usual. I am used to thinking in form, color, and shape in a the context of pictures, never in fonts, words, or text in general. I truly tried to tone down my use of imagery to three main components and use repetition as an effective visual device and keep the mood of my piece effective and consistent throughout the film. Awakening is probably one of the firsts of unknown firsts of many more works of art to come that explicitly deal with identity, gender nonconformity, attraction, and love that come with being a gay man, especially a gay trans man in 2018.
These two gifs are variations of an animation which shifted the color of the background layer behind graphic tiles. If I were to make this again, I would start with a suitable base file. Instead of opening a tile pattern on top of a base layer, I started with the jpeg image I had made as a wallpaper of leaves. Then, I used the magic wand to select the negative space around the leaves and delete it to show the purple layer beneath. This resulted in a pattern with small imperfections in the mask – they can be seen in the final gif. However, what I like most about these two gifs is their style of clunky, neon internet art. So I’m happy that these look like the myspace background of a clueless 13 year old. These two gifs show how I developed my animation of the lighter pink square.
For my final conference project, I designed a web cam that picks up motion detection. When the user moves, the black and white pattern on the screen will move too. This makes the design evolve further because the user keeps on changing it with their movement. Every minute, the pattern changes into a new one with different sized shapes with different levels of transparencies. This keeps the user more engaged because there are more surprises in how the pattern will change.
I was inspired by the artists Bridget Riley and Ryoji Ikeda because they both primarily work in black and white to create complex patterns and designs. I really admired their styles and I wanted to create a project that resembled their artwork. I think that I was able to accomplish that because I created ten different black and white patterns that are similar to their style.
Creating this project took a lot of planning and time because I had to create ten different patterns. I also got to play with it a lot and test it out. I found it really fun to play around with because it always surprised me. It doesn’t always have the same outcome because the user’s motions will be different every time. This shows that my conference project is abstract and will always be evolving into something new as each person uses it. I decided to have each shape move at different speeds. This added to the abstract element of the project because the pattern doesn’t move in uniform. This means that the user can’t anticipate when the pattern will shift or how it will shift.
The code of my project involved a lot. First, I imported video into processing, so I could use motion detection through the webcam. Then, I created different variables for each shape within each different pattern. I had 90 variables in total. After that, I made a list of all ten patterns. Within each pattern, I had a section that specified the speed of each shape and how fast it moved, based on the motion detection. For example, I could say that a certain ellipse would move every three seconds, while a different ellipse would move every second. Following this code, was the list of shapes within the pattern. Under void draw(), I wrote the motion count and specified the order and duration of each pattern.
After looking back at Martijn de Waal’s ideology, it is clear that my project falls into the category of a “playground/magic circle.” This interaction that I’ve created offers a site of play, is a voluntary activity, isn’t rational, and forms community. This means that it is more open ended to how people will use the interaction. The user can move in front of the webcam by themselves or with other people. This displays the potential to create a magic circle. If multiple users are in front of the camera at the same time, they can create a different pattern together. This could increase interaction between people because they may choose to work together. For example, they could try to move the shapes to one side of the screen or to hold still to see the pattern freeze. Since the project is very open ended, there are so many things people could try to do with it.
Overall, I had a lot of fun making this project because I really like the idea that it can evolve into something so different and abstract every time. I also really enjoyed deigning black and white patterns because I love the way that they look.
My map defines the invisible process of the way in which natural light adds to the beauty and theatricality of specific buildings in New York City. I feel as though the sunlight that streams in through the windows of these architectural monuments adds to the beauty and warmth of the building itself, and ultimately leads to a type of performance put on by the interior of the structure. This “performance” makes the audience (or people within the structure) pay attention to the way in which the light hits various parts of the room, allowing better understanding or “absorption” of the architecture.
The viewer’s participation and individual reaction to the work deems the work itself as a theatrical performance meant to inspire reflection. There are specific factors that are applied to art and architecture (such as time and space in relation to weather, lighting, and season) that are regarded as essential to the display (or the performance) of the piece. The experience of the individual is what ultimately defines the work; an experience that is aroused by the way in which the room or building is displayed.
A lot of inspiration for this conference project comes from Tadao Ando’s Church of Light. This structure is one of the prime examples of the concept of theatricality in architecture and the difference between a structure’s era of “performance” versus the time in which environmental factors are not in favor of the building. The interior of the church is simple with very little ornament, and the major focus point of the structure (a large cross cut out of the wall that provides a source of light to the inside of the building) relates the interior directly to the exterior. In addition, essentially all of the visual documentation of this structure is taken at the point of the epiphany, and never when the interior is “void”; an act of censorship similar to the way in which artists can control the environment in which their work is displayed, unlike the real, functioning structure of the Church of Light in a current and continuous context.
In this project, I went to various locations in my neighborhood on the upper west side and took note of which direction the windows were facing. I went to the Apple Store (SE), my own apartment (SE and S), Lincoln Center Opera House (E), Church of St. Paul the Apostle (SW and NW), and Grand Central Terminal (W and SW). After going back to these places 2-3 times throughout the semester, I realized that there were certain directions (most prominently, Southwest) in which the sunlight was more consistently shown through the widow. This is where the surface of my map plays an important part; the yellow of the southwest corner represents the most sunlight while the opposite side of the “compass” (the Northeast corner) is gray and dark. Then, I took the pictures of the sunlight streaming through the windows and plotted them on the map’s surface in relation to the connection system: the compass.
Our initial discussions about what renders something “invisible” to society greatly influenced my thoughts the process behind figuring out this conference project. I feel as though the natural light coming in through a window is something that is so common that it is frequently overlooked, yet it still possesses a beauty that in the rare moments it is recognized, there are always feelings of warmth and pleasure associated with this experience. In this map I hope to bring this invisible process to light.
Throughout the semester, this project went through a series of revisions; all of which contributed to the final product. In the beginning, I focused solely on collecting data and studying the light that came into these buildings, contemplating direction, time of day, and height of the structures. After this stage of the process was complete, I discussed the ways in which I would plot these points, and what the surface of the map would be. Through trial and error, I established that the surface of the map would attempt to copy the “color” of light; as in, the way in which sunsets (one of the more vivid displays of light) have countless variations of color schemes. I took multiple pictures of sunsets and made many copies of the color gradients that were displayed in the photo.
One of the main complications that presented itself throughout this project was the fact that many of the buildings I studied in New York City are surrounded by other, taller structures. This meant that there were often times when sunlight should have been streaming in through windows in the building, but this warmth was being blocked by the rest of the towering city. Even on the sunny days I went to these buildings, they would often seem a lot darker in comparison to the sun’s actual force that day. (Side Note: While most of the buildings were mostly dark, if one went a few blocks away to the great lawn in Central Park, hoards of people were swarming for a spot in the sun).
A pleasant surprise while working on this project were the reactions (unprompted) of other people in the spaces I was studying. There were times (although infrequent) that people would stop for a second and bask in the warmth of the sunlight indoors, or purposefully stand in the patch of natural light on the ground. Without even realizing it, the few people that displayed this behavior confirmed my idea that this was something beautiful; something that could be mapped and discussed.
The concepts from the class that influenced this project the most were the discussions we had on what could be deemed “invisible” in this society. In addition, the discussion during the Psychogeography project about “site-specific” sculptures was incredibly relevant to my project in the sense that in the buildings I studied, environmental factors were directly related to the various data I collected.