camera testing
Published April 01, 2006 by milgarian.
- iSight : Low light performance is not great.
- USB webcam: usb input works but not visiable on the screen w/ Quartz
- DV cam: best quality w/ zoom also have manual setting
- 1394 cam: need more testing, cannot keep it for a long time.
- Infrared wired camera(CVC-627B): works best, need the Analog to Digital Converter
- Infrared wireless camera: Let me try!!! :)
prototype of installation
Published March 14, 2006 by milgarian.
I've set up the frist prototype of Omniuum @ CVRA
- need to change size or number of screens?
- lighting and camera position issues?
- interaction between in/ & out
let's get deleted...
Published February 10, 2006 by milgarian.
okie, I got my new filter, may not so perfect yet but little close what I wanted to do..
I'll update my image processing filter soon.
plz give me a feedback.. :)
A Real Thing
Published January 30, 2006 by milgarian.
It's been quite some time since I haven't posted but gave me hard time to make things work!
This's a real-time rendering image (not a prototype anymore :)
so far, it works w/ DVcam or 1394 camera.
Installation preview
Published November 18, 2005 by milgarian.
Modeling/Rendering in Maya.................
Interesting Time-Space Projects
Published November 07, 2005 by milgarian.
The KHRONOS PROJECTOR
by Alvaro Cassinelli, Takahito Ito & Masatoshi Ishikawa
Stylized Video Cubes
by Allison W. Klein, Peter-Pike J. Sloan, Adam Finkelstein, Michael F. Cohen
Miroir aux silhouettes (mirrorSpace)
by H E H E . org
Liquid Time Series
by Camille Utterback
Sceen
by David Rokeby
Slit-Scan
by Golan Levin
Another Time, Another Space
by Toshio Iwai
The Last Clock
by Jussi Ängeslevä & Ross Cooper
by Alvaro Cassinelli, Takahito Ito & Masatoshi Ishikawa
Stylized Video Cubes
by Allison W. Klein, Peter-Pike J. Sloan, Adam Finkelstein, Michael F. Cohen
Miroir aux silhouettes (mirrorSpace)
by H E H E . org
Liquid Time Series
by Camille Utterback
Sceen
by David Rokeby
Slit-Scan
by Golan Levin
Another Time, Another Space
by Toshio Iwai
The Last Clock
by Jussi Ängeslevä & Ross Cooper
Omniuum Research Proposal Funded
Published October 29, 2005 by milgarian.
Hyeyun Park is recognized by the UIC Graduate College as a recipient of the Provost's Awards for Graduate Research Fall 2005 competition. The award is intended to recognize outstanding researchers among UIC graduate students and to assist in their progress toward completion of their advanced degree.
The Graduate College will contribute to funding Ms. Park’s MFA thesis proposal, Omniuum. She is among 12 other UIC graduate students being honored this session.
http://www.uic.edu/depts/grad/awards/provawards051.shtml
list of reading
Published October 21, 2005 by milgarian.
Telepresence Art by Edaurdo Kac
..."The totality of the existing architecture of the media founds itself on this latter definition: they are what always prevents response, making all processes of exchange impossible (except in the various forms of response simulation, themselves integrated in the transmission process, thus leaving the unilateral nature of the communication intact). This is the real abstraction of the media. And the system of social control and power is rooted in it (12)." Whether involving an exchange between two interlocutors or not, telepresence seems to create this space of reciprocity absent from mass media. The space created by telepresence is reciprocal because the decisions (motion, vision, operation, etc.) made by the "user" or "participant" affect and are affected by the remote environment....
Transforming Mirrors by David Rokeby
...It is clear that these relationships, and the images of self that they reflect, are merely representations, simplified symbols that are used to refer to the more complex operations of what we call 'real' life. Navigable structures are a way of representing subjectivity. Limited media are ways of representing creativity. Mirrors, and in a more abstract way, automata, are ways of representing ourselves. All of these representations are also personal expressions of the artists who made them possible. The artist's act of expression is moved to a higher level of abstraction although the artwork's final manifestation retains a compelling apparent actuality. Rather than lessening the authority of the creator, these works represent a shift in the nature of that authority....
My Finger''s getting tired by Don Ritter
...Creating interactive works which use commercially available input devices is undoubtedly convenient. Perhaps it is time, however, to have the entire body participate in the interactive experience...
... Based on the definition "Accepting input from a human," it appears that most items in our world, including door knobs, tooth brushes and shoe laces are interactive. Within this paper, however, I will use a definition of interactive as being a reciprocal relationship between a user and a medium: a person provides input and a medium responds. The topic of this section of the paper, however, is not the definition of interactive media, but rather, its function within an art medium...
..."The totality of the existing architecture of the media founds itself on this latter definition: they are what always prevents response, making all processes of exchange impossible (except in the various forms of response simulation, themselves integrated in the transmission process, thus leaving the unilateral nature of the communication intact). This is the real abstraction of the media. And the system of social control and power is rooted in it (12)." Whether involving an exchange between two interlocutors or not, telepresence seems to create this space of reciprocity absent from mass media. The space created by telepresence is reciprocal because the decisions (motion, vision, operation, etc.) made by the "user" or "participant" affect and are affected by the remote environment....
Transforming Mirrors by David Rokeby
...It is clear that these relationships, and the images of self that they reflect, are merely representations, simplified symbols that are used to refer to the more complex operations of what we call 'real' life. Navigable structures are a way of representing subjectivity. Limited media are ways of representing creativity. Mirrors, and in a more abstract way, automata, are ways of representing ourselves. All of these representations are also personal expressions of the artists who made them possible. The artist's act of expression is moved to a higher level of abstraction although the artwork's final manifestation retains a compelling apparent actuality. Rather than lessening the authority of the creator, these works represent a shift in the nature of that authority....
My Finger''s getting tired by Don Ritter
...Creating interactive works which use commercially available input devices is undoubtedly convenient. Perhaps it is time, however, to have the entire body participate in the interactive experience...
... Based on the definition "Accepting input from a human," it appears that most items in our world, including door knobs, tooth brushes and shoe laces are interactive. Within this paper, however, I will use a definition of interactive as being a reciprocal relationship between a user and a medium: a person provides input and a medium responds. The topic of this section of the paper, however, is not the definition of interactive media, but rather, its function within an art medium...
Omniuum proposal
Published September 30, 2005 by milgarian.
.....Omniuum is an interactive installation for visualizing spatiotemporal narratives.
It includes an artificial space - or "living unit" – where a viewer gets in and sees relative images of his/her own front and back projected on the wall. These images represent the past and the future of the viewer, with the intention of destroying the boundaries of time. The viewer perceives the erasure of self-image by watching the disappearing montages of him/her self while wandering through the space. The activity of deconstruction via the erasing the images offers the completion of the wish to progress. It signifies the effect of bringing "time" into "space" by reminding the viewer of a moment that has gone and by imagining a moment that will come up at the present in the space of the living unit.....
- part of the introduction and concept
Omni + Continuum
Published August 17, 2005 by milgarian.
Project time line
An initial timeline for the project is as follows:
08.2005 - 09.2005
overall project resaerching and designing software
10.2005 - 12.2005
development of an alpha version of Omniuum
and especially the graphical visualization procedures.
01.2006 -
purchase materials for installation unit
assemble and test hardware and projections of the visualizations
02.2006 -
final run though and installation
An initial timeline for the project is as follows:
08.2005 - 09.2005
overall project resaerching and designing software
10.2005 - 12.2005
development of an alpha version of Omniuum
and especially the graphical visualization procedures.
01.2006 -
purchase materials for installation unit
assemble and test hardware and projections of the visualizations
02.2006 -
final run though and installation
essay references
Published August 06, 2005 by milgarian.
time, space by Laurel Harris
...Time and space are also elements that fundamentally determine and affect multiple forms of media. Conversely, media transform the human experience and perception of time and space....
Deconstruction by Mitchell Stephens
....To deconstruct a "text" (a term defined broadly enough to include the Declaration of Independence and a Van Gogh painting) means to pick it apart, in search of ways in which it fails to make the points it seems to be trying to make. Why would someone want to "read" (defined equally broadly) like that? In order to experience the impossibility of anyone writing or saying (or painting) something that is perfectly clear, the impossibility of constructing a theory or method of inquiry that will answer all questions or the impossibility of fully comprehending weighty matters, like death. Deconstruction, in other words, guards against the belief -- a belief that has led to much violence -- that the world is simple and can be known with certainty. It confronts us with the limits of what it is possible for human thought to accomplish....
Erasure in Art by Richard Galpin
....erasure is perhaps a technique and a writing that is only ‘readable’ in these ways within the context of a deconstructive text. The actual marking of the erasing lines brings the associations of deconstruction closer to the art work that I am examining, but is it possible to say that the writing of words under erasure in art constitutes deconstruction? It certainly makes it easier to make a deconstructive reading of these works. But is deconstruction actually at work within the work? Does this depend on proving the intentions of the artists, and even then, is there enough happening with a single erasure? The writing of words ‘under erasure’ in deconstructive texts is a small part of the deconstructive strategy (that can be seen as representative of the whole), but an erasure standing alone, without being part of a broader deconstructive approach must surely be limited...
...Time and space are also elements that fundamentally determine and affect multiple forms of media. Conversely, media transform the human experience and perception of time and space....
Deconstruction by Mitchell Stephens
....To deconstruct a "text" (a term defined broadly enough to include the Declaration of Independence and a Van Gogh painting) means to pick it apart, in search of ways in which it fails to make the points it seems to be trying to make. Why would someone want to "read" (defined equally broadly) like that? In order to experience the impossibility of anyone writing or saying (or painting) something that is perfectly clear, the impossibility of constructing a theory or method of inquiry that will answer all questions or the impossibility of fully comprehending weighty matters, like death. Deconstruction, in other words, guards against the belief -- a belief that has led to much violence -- that the world is simple and can be known with certainty. It confronts us with the limits of what it is possible for human thought to accomplish....
Erasure in Art by Richard Galpin
....erasure is perhaps a technique and a writing that is only ‘readable’ in these ways within the context of a deconstructive text. The actual marking of the erasing lines brings the associations of deconstruction closer to the art work that I am examining, but is it possible to say that the writing of words under erasure in art constitutes deconstruction? It certainly makes it easier to make a deconstructive reading of these works. But is deconstruction actually at work within the work? Does this depend on proving the intentions of the artists, and even then, is there enough happening with a single erasure? The writing of words ‘under erasure’ in deconstructive texts is a small part of the deconstructive strategy (that can be seen as representative of the whole), but an erasure standing alone, without being part of a broader deconstructive approach must surely be limited...