LUX abstract
Practice-based Research: Evaluating the Relationship between Computer Generated 3D Animation Software and Material Craft Processes.
Practice-based research is located in the space between CG 3D Animation and craft materiality, and aims to locate points of connectivity between CG Modelling and Material Craft Processes.
The research project has identified a number of points of connectivity, one of which is the notion of ‘Entropy’, as drawn from the work of Henri Bergson, and used as an intentional process and basis for conceptual work. This will be the focus for discussion in this paper, and is supported by practice-based moving-image work, and illustrations taken from current research experimentation.
The screening of examples taken from the visual arts moving-image practice, are intended to open the discussion, beginning with the illustration of the “organic mechanism”, framed as a conceptual idea and as a process responded to in practice. These works are entitled, “One”, “Interconnection”, “Time” and the “Spin” films.
The filming process is set up so that the artefacts are designed to fail. Organic materials are deployed to construct organic paper models. These reveal processes of the organic mechanism, superimposed moving-images of the ‘real’, transferred in a projection mapping process, are projected on constructed sculptural Kinetic Projection screens. These works are acted upon and responded to, indeterminate and uncertain environmental conditions, give rise to the potential for making ‘entropy’ visible.
This work is set against research experiments that interrogate the notion of entropy in CG 3D Animation software and the computational machine. This work engages with the ‘Breaking’, of the computer. This is illustrated in practice experiment entitled, ‘The Glitch’.
The final work is a new short film entitled, ‘The Watch’. This is a developmental work, included here to serve as a drawing together of aspects of the organic mechanism and the notion of a CG 3D Glitch, to initiate lively debate.
This paper is not intended to draw definite conclusions but to open discussion of the intentional engagement with entropy in moving-image practice and processes.
Practice-based research is located in the space between CG 3D Animation and craft materiality, and aims to locate points of connectivity between CG Modelling and Material Craft Processes.
The research project has identified a number of points of connectivity, one of which is the notion of ‘Entropy’, as drawn from the work of Henri Bergson, and used as an intentional process and basis for conceptual work. This will be the focus for discussion in this paper, and is supported by practice-based moving-image work, and illustrations taken from current research experimentation.
The screening of examples taken from the visual arts moving-image practice, are intended to open the discussion, beginning with the illustration of the “organic mechanism”, framed as a conceptual idea and as a process responded to in practice. These works are entitled, “One”, “Interconnection”, “Time” and the “Spin” films.
The filming process is set up so that the artefacts are designed to fail. Organic materials are deployed to construct organic paper models. These reveal processes of the organic mechanism, superimposed moving-images of the ‘real’, transferred in a projection mapping process, are projected on constructed sculptural Kinetic Projection screens. These works are acted upon and responded to, indeterminate and uncertain environmental conditions, give rise to the potential for making ‘entropy’ visible.
This work is set against research experiments that interrogate the notion of entropy in CG 3D Animation software and the computational machine. This work engages with the ‘Breaking’, of the computer. This is illustrated in practice experiment entitled, ‘The Glitch’.
The final work is a new short film entitled, ‘The Watch’. This is a developmental work, included here to serve as a drawing together of aspects of the organic mechanism and the notion of a CG 3D Glitch, to initiate lively debate.
This paper is not intended to draw definite conclusions but to open discussion of the intentional engagement with entropy in moving-image practice and processes.
