Tuesday, January 30, 2007

Computers is a couple of times faster then a man when it comes to adding millions of numbers together. To bad we have to have someone sitting and waiting for the computer to finish. To bad that someone is me. To defend my position in the hierarchy I set my other work-computer on render some of my tests. I've messed around with shapes described from mathematicall expressions and here's an example. Here's the same thing with some animated parameters.
Source of inspiration: Jos Leys knots and dynamic gallery.
I am now pretty sattisfied with the tools and knowledge I got from "Houdini". I need some basic shading test done and then I'm ready to deal with actual work. Feels like I've got a decent flow going as I'm off to Sweden tomorrow and transportation time usually means time to think freely so I'm hoping for some new concepts to emerge then. Speeking of such, I've been thinking of creating some kind of ball of knots driven by inner turbulence. This could later be used for the "blimps" in the concept previously sketched up.

Wednesday, January 24, 2007

Short basic thoughts about music and video.

A direct conversion between sound and video is pointless. Ears deals with kHz, for an eye a signal at that frequency would be blurred out to white or at best case, noise. Paradoxical, in competition, the vision is what brings the exformation (tried to find a better word, the word itself gets a little paradoxical when nobody knows what it means). Only under visual pauses or by viewers resistance can the music play the lead role. This is just one example that put them in two separate spaces.

But the matchstick that creates both a sound and light are one and the same thing, and with the sound and the light rejoined in our brains they blend together to the feeling of that object. As our brain is one of the last mysteries- somewhere to send confused young men with flags into- we seem to have encountered a interesting border of our understanding of stuff and I say it's worth exploring.

I thought of a small experiment related to this. Make a nice little melody, output the melody as MIDI, connect it to visuals, set up the visual so it creates a motion that resembles the feeling that the sound made. Connect the visual to generate MIDI code in a fashion that captures that motion. Use the MIDI to generate a sound that resembles that motion AND that works in conjunction with the first little tune. It would be like someone in sound space sent a message to visual space. There it got interpreted and an answer were sent. Sound land understood, played it's music and although one was deaf and the other blind they could sing and dance together. And they worked for public service and lived happily ever after until a right wing government cut their funding.

Monday, January 22, 2007

Practiced myself in visualising a single beat. Check animation here. It's all generated by a 1 or 0 from a MIDI code, so if the music was going for 476 minutes it wouldn't be hard to do. I felt that I would like to get my thoughts started on how to visualize the different elements in music and this was an obvious starting point. If you have any interesting tips in any related matter I'm allways very interested in learning more. And yes I am beyond tired right now.

Wednesday, January 17, 2007

The lie about the Metapor

The metaphor is something I find using addictively. The very first element of work seems to be spawned by patternless inspiration. A line, a technology, a movie, anything I want to interpret. But after this step I constantly feel forced by my European heritage to give this an illusion of "purpose". Everything starts as chaos but ends up in a single idea which can tell us all a lesson. There are many sides to this. For one I wonder why we use art to lie for our self in this culture. Why do we suddenly identify with thoughts that we usually see as naive or just wrong when they're brought in the world of art? Are we really just so plain stupid that we can't separate the message from the messenger? Is left side of our brains, the rational, so dominant that only when we are exposed for explosions and noise the right side is invited for its opinion. And then we start see patterns, a whole. PURPOSE *judgement quire voice*.

So I start to make up a story, how the red spots I thought I thought looked cool against a green surface really are the disease which spreads unless the humanity/environment don't find protection. It's really mumbo gumbo but I've decided there is no reason to fight it, it's a tool to find new concepts which may even for the viewer feel continuous.

But in the end, fuck purpose. What's so unique with working with my own artistic ambitions is I create a subjective importance. I am an atheist and accept my objective pointlessness but still, knowing that, I say that I feel that doing this is important for me and it's worth the time. I think most creative people would agree in this. Nevertheless, when the director is interviewed, the rock artist stands offstage or the artist in front of his finished work, it's all of a sudden all about WHY he/she did, not how or what it looks like or what is next. The forum of art- the culture pages, the "DVD extra material" is so filled with this talk that when the artists themselves takes part of it the metaphor was all of a sudden the purpose of the work. Yes, the stair in a building may been an expression of "human ambition" from the architect. Yes, the red lamp may been a symbol of warning when the evil character enters. No, it doesn't matter. This dissection of art may be a "creative" approach from the viewer, the problem is that the one doing this the most is not the common viewer but the reviewers and the know hows. The people who is supposed to have the most objective opinion are so objective that they don't even see the actual work, for them the work is a language meant to be deciphered to then extract the message and then he (usually a he, isn't it) can go around on the mingle party and feel proud of how he understands art like no other. Weird thing is, I have a hunch that the one reviewing art isn't the same guys who's creating it. Not that I care much about reviewers, I'm just disappointed in how little creativity there is in the art forums I've found so far.

That said, the events: A tree releasing a abstract looking fruit, fruit falling, falling falling, some inner motion hints development. It seems to fall on a green nice looking platform but by chance bounces off, keeps falling. Through thick clouds and deeper into darkness it falls until its dark as a cave and the light that comes through are filtrated to blue cold beams. the seed falls in thick puddle of oil like substance, black and all you see is the shiny reflections. Patterns are being created by a beat that seems to come from underground. The seed has now developed to a abstract little buggy creatures that moves to the music, it constantly has to escape the jaws that's coming from below the surface. Similar bugs join him from above, some of them are less lucky and being swallowed by the evil mouths. The terror continues until a group of them kills a mouth and then other follow the example. Leaving some kind of better world for the things (maby will call them "blimps"?). The end is a bit simplified so far, need to think about it.

And the metaphor: The underestimated impact of chaos that is distorting the justice in the pursuit of the "American dream". In other words, how we say that every one's life is a creation of their efforts without taking their start position or effect of chance into account. The practice of this narrow minded view is that we remove the safety net for people in need, leaving a divided society who thinks everything is as it should be. The only chance for the losers in this system is to first realise that they don't deserve their position and second that their strength grows with their numbers. But it's all really about cool images and sounds.

Saturday, January 13, 2007

Spent the day on trying to find seeds to concepts. Here's some base thoughts:
Side of a high, narrow mountain (like a infinite version of that sharp mountain in Lord of the rings) breakes up to a mouth and a gap with extremely long teeths is opening. The mouth is slashing it's teeths together until they start to brake to pieces, finaly leaving a more normal mouth.

Last week I went to a club were the building (a church) created a really weird resonanse, the effect on the pee in the urinals was really interesting. It would be nice to put that into a different context, maby black liquid with some oily specularity? Maby even film a bucket of water with a subwoofer attached on the bottom. Talked to a friend, Camilo, if he was keen to make some beats with accompanying MIDI code to control the pattern making. Luckily he was with me at the club and seen "the toilet effect" live so the idea didn't sound to weird to him. So test coming up next week.

Also got some old ideas which I thought of reinventing but they are to abstract to talk about so far. Somehow I want to use all the techniques I've been using lately. A combination I definitly see working is fluid simulation of fogs and lifedrawing. Still need a context though. But it looks like I'm heading for something more realistic then "Correlations" this time.

And now, saturday night. Whine or wine? Maby both.

Friday, January 12, 2007

Every movement starts with a founding statement. This is not a movement.

Starting to get some results from Houdini. Discovered VOP:s today wich greatly enhance the mathematical side of the software. Also, the possibility to construct you're own nodes from VOPs is amazing for optimizing evaluation. I've fianally got my curves generation to work as flexible as I wanted. Check animation. More tech shite, they're all generated by a ordinary particle system, the mesh is then created procedurally by trails and vops. Scene file here. My point with these are to get the possibility to draw curves with a undefined volume. I guess I need to enhance the look of them to show this effect though. I'm guessing the inspiration for these came from the magic my coworker, Pawel Grochola, designed for Stardust (if you see the film, check out the green stuff). This is just a vague reflection of his results which are truly magical.

Inspiration, yeah. Visited the future in Apple store which hosted RadarFilmFestival and later I droped by the past and saw selecions from the works of hardcore animator Norman McLaren doing the same thing as me but half a century ago. Animation of abstract shapes which he painted directly on the film tighed together with music and sounds. Best was probably a "Study of horizontal lines" which also killed the rules about sequels - the "Study of vertical lines" was not in the same league although I think they were 90 degrees from being identical.

Should get some sleep now though. I'll have to design some stuff tomorrow as I'm starting to pile up a bunch of gadgets but I have no context for them.