Final Project Reflection

I enjoyed making and researching the different variations of these project. I experimented with different ways of making the form through wrapping and gluing. In terms of the technology I used, at first I thought that for my concept of creating a seemingly living organism I could use the RFIDs to trigger particular movement of the triggering of alarms or lights. However, the RFID would be impractical for what I wanted to achieve and would require other parts like an antenna for the range to be great enough. That got my thinking about how great the LDR responded to different types of lights and their brightness. Also, with the LDRI feel that I was able to conceal the technology in such a way that the form seems more organic or at least more natural and as if it were essential to the tree.
In the future I would like to recreate this piece with different kinds of tvs or media playing devices that are not just vidual but audio and could play videos that I have made myself. In addition, I enjoyed the chance to create a site-specific work and would like to create more of a installation space. Using speakers and even theater seating wrapped into the surrounding trees I feel that I could take advantage of the space as a tablaeu of nature.

Midprogess crit and images

 Night shots of the cocoon in the tree. These were taken before and after a mid progress critique of the form where I wanted to have the shape, color and other formal aspects critiqued.

Final Project Progress Pictures and Videos

This is an old futton cushion that I dyed with natural ad synthetic dyes and drew different plated forms to resemble a shell of organisms casing.

GLCD videos

project 44

Project 20

Project 19

Project 17

Critique Reflection

I think some people gave interesting ideas for our project. I agree with decreasing the scale factor of the video projection in order to increase the intimate feeling of the piece. Also, I think we could`ve used more sensors to aid the configuration of the food on the table. I like the idea of having either the video projected on the wall, close to the chairs (that would`ve been added by now) or having it on a TV.

I don`t think the animation would have been a good artistic choice first because the amount of work to do it is insane (and we had too little time to do it) and second because it is too personal. We didn`t want to limit the meaning of the artwork with the animation.

Final Project - Orlando

So for my final project I wanted to work on a piece that was playful and interactive while at the same time having some sort of darkly humorous sexual connotation. Picking up where Felix Gonzalez Torres left off, my candy dispenser is meant to comment on the gay experience and hook up culture. The phrase candidly scribbled on the modest cardboard box container i chose reads "Give my some of your hunny". Channeling Winnie the Pooh's love of sweet treats and his insatiable desire to feed this appetite, the phrase is re-worded borrowing from gay lingo with the purposefully misspelled term "hunny", slang for ones love interest. The box begs for attentive contact from the viewer. After a bit of "fooling around" with the box, it eventually releases a bit of candy from its lower regions.

The piece worked exactly as I planned with the exception of the motor I used. Originally I wanted to hack a found ice cream machine motor from a thrift store. I got the motor to run with arduino but in a very dangerous way. I unknowingly was using an AC motor, which is a little trickier to run with our micro controllers. Arduino is really designed to work with DC current, which is easier to control and manipulate. It is in fact possible to run an AC motor with arduino, but it isnt really an exact science. Multiple components are needed beyond what we have covered in class, and unfortunately for me they were not readily available at our neighborhood Radio Shack stores. 

Below I have included a picture of the finished project along with a picture of my UNSAFE circuit and a video of the Ice cream machine motor running UNSAFELY with the Arduino. 

In the spirit of the open source culture supporting the Arduino platform, I am also pasting my code below for connecting a servo motor to an ultrasonic rangefinder (the sensor I used in my project):

#include <AFMotor.h>

#include <Servo.h> 

Servo servo1;

#define sensorPin 9 

long pwmRange, inch, cm;

void setup() {

  

  // turn on servo

  servo1.attach(9);

  

  pinMode(sensorPin, INPUT); //range finder

}

void loop() {

  

  pwmRange = pulseIn(sensorPin, HIGH);

  inch = pwmRange / 147; 

  // convert inch to cm 

  cm = inch * 2.54;

  if (inch <= 60) 

   {  

  for (i=0; i<255; i++) 

    analogWrite(Servo,i);

    delay(3);

  }

    

  for (i=255; i=0; i--) {

    servo1.write(i-255);

    

    }

    

  for (i=0; i<255; i++) {

    servo1.write(i);

    delay(3);

     }

  for (i=255; i!=0; i--) {

    servo1.write(i-255);

    delay(3)

  }

}

final project continued . . .

So - as evident by the final project all of my components worked (with the exception of the number of components I had wanted - already discussed that with the wrong waveshields that adafruit provided).

The boxes that I found and modified worked out better than I thought they would, especially after the addition of a vent, the sound carried across the room quite nicely.

I stand by the choice to record words and very short phrases, as this was more of a proof of concept or a trial run, having the increased number of sound stations would be great and as one would move a constant stream of sound would be generated.

As stated in crit, I found a better sensor thanks to Evan! He turned me onto a $10 sensor that can detect movement in any direction, thereby allowing the responses to be more specific. I am also going to research writing interruptions and different type of statement (can't find my notes currently to clarify this statement type).

I stand by my decisions regarding elements to introduce into the room. Although I do recognize a need for increased clarity. This was my first time ever attempting any work of this type, sound installation or any type of installation.

I do look forward to revisiting this project and refining my choices and improving the technical elements over break and into next semester.

Documentation is available at:
https://vimeo.com/55569370

also Evan recommended the following site: http://www.goldmine-elec.com/

I might have already posted this but not sure:  http://www.thingiverse.com/

Crit Reflection

Well, I think our critique went pretty well. Considering our thought process and the amount of time we had once we figured out what exactly we wanted to do, I think we made a pretty successful project. Alisyn and I really stepped out of our comfort zone to go into the wood shop and make a 5 ft box. I think everything up to the presentation was pretty solid. The presentation was were the project was lacking the most in my opinion and according to the critique, I think everyone else agreed. Nisa, Alisyn, and I went back and forth for at least two weeks on how we want to present this thing. We debated between having the demonstration, not having the demonstration, possibly have me do the painting live, having other people do the painting during critique. We made some wrong decisions but in another iteration I think we would get it much better. I really like the suggest of have a screen that would block the participant from the view of the audience and the audience would only see a silhouette of the person and hear the sounds they are making. I also really liked the suggestion of using a real laminated floor, which would be expensive, but maybe with a grant or something that could be possible. I think I want to work more on creating an environment/experience for my art pieces. I think that was what was really lacking in this piece and what would have sent it over the edge in a good way.

project 19, 20, 21 and RFID

We tried our best but we couldn`t figure out the RFID homework and project 20 and 21. Here`s 19:

Safety Shell

By exaggerating (or reiterating) the need to communicate with others through this shell device, it becomes a parody of communication and the need to understand.  Clearly we do not walk around every day needing some sort of visual communication device to indicate to others that we are turning left, or right, or braking when we are on foot.  We typically use these signals while we are in some kind of vehicle which is an extension of our body but does not allow us to communicate with body language (which would indicate which way we are turning, or if we are going to stop somewhere).  Additionally, of course, we use those signals on vehicles to prevent damage because a collision that occurs between metal vehicles is much more severe than a collision occurring between two bodies.  Nevertheless, the art piece is activated because the Safety Shell references that method of communication used with vehicles and transplants it directly onto the body (with no vehicular mediator).  It raises questions about how we communicate with one another, and why we communicate in the ways we do, or why we don't communicate using methods other than the ones we use.  What is this need to communicate and what is the best way to interact with one another?  All these questions and more are asked but not answered in this project.      

Project Progress

Safety Shell Progress

Project 11, 14, 13, 12, 6, 5, 4 (respectively)

Crit Post

I thought crit went just as well as it could considering the circumstances with the weather. Everyones projects turned out great and I really had a lot of fun with them. It would have been way more exciting if we could have lead the class from FAC to the GradHouse instead of just aimlessly walking around the first floor of FAD. Most people mentioned the overall shape of the object and the size of it. Many people said they liked the largeness of the object and that it helped emphasize the concept. It was divided amongst people who said they think we should have added extra gadgets and safety objects to the device. I think the device would have standed better as a piece if it was a little bit more ridiculous. Like bright colors for the object and additional sensors such as the gas sensor and the carbon monoxide sensor. Maybe this project can see the light of day again next semester.

All of the code in each of its stages are visible on my GitHub:
https://github.com/tgreena/Sensors/tree/master/SensorsProject2

The Fritzing Diagrams are available for download on my GitHub:
https://github.com/tgreena/Sensors/tree/master/SensorsProject2/Fritzing


In the works


Example


Wearing it

I am going to have work with my internship emailed to you tonight.

Final Process and Post-Crit Reflection

Here is my final code for my project:


// Project 38
#define sensorPin 9
int ledPin1 = 1;
int ledPin2 = 2;
int ledPin3 = 3;
int ledPin4 = 4;
int ledPin5 = 5;
int ledPin6 = 6;
int ledPin7 = 7;
int ledPin8 = 8;
int ledPin10 = 10;
int ledPin11 = 11;
int ledPin12 = 12;
int ledPin13 = 13;
//float ledValue = 255; // The brightness of the LED
long pwmRange, inch;
void setup() {
  // Start serial communications
  Serial.begin(9600);
  pinMode(sensorPin, INPUT);
  pinMode(ledPin1, OUTPUT); // Set the ledPin to an OUTPUT
  pinMode(ledPin2, OUTPUT);
  pinMode(ledPin3, OUTPUT);
  pinMode(ledPin4, OUTPUT);
  pinMode(ledPin5, OUTPUT);
  pinMode(ledPin6, OUTPUT);
  pinMode(ledPin7, OUTPUT);
  pinMode(ledPin8, OUTPUT);
  pinMode(ledPin10, OUTPUT);
  pinMode(ledPin11, OUTPUT);
  pinMode(ledPin12, OUTPUT);
  pinMode(ledPin13, OUTPUT);


  // Flash the LED twice to show the program has started
  digitalWrite(ledPin1, HIGH);
  delay(150);
  digitalWrite(ledPin1, LOW);
  delay(150);
  digitalWrite(ledPin2, HIGH);
  delay(150);
  digitalWrite(ledPin2, LOW);
  delay(150);
  digitalWrite(ledPin3, HIGH);
  delay(150);
  digitalWrite(ledPin3, LOW);
  delay(150);
   digitalWrite(ledPin4, HIGH);
  delay(150);
  digitalWrite(ledPin4, LOW);
  delay(150);
  digitalWrite(ledPin5, HIGH);
  delay(150);
  digitalWrite(ledPin5, LOW);
  delay(150);
  digitalWrite(ledPin6, HIGH);
  delay(150);
  digitalWrite(ledPin6, LOW);
  delay(150);
  digitalWrite(ledPin7, HIGH);
  delay(150);
  digitalWrite(ledPin7, LOW);
  delay(150);
  digitalWrite(ledPin8, HIGH);
  delay(150);
  digitalWrite(ledPin8, LOW);
  delay(150);
  digitalWrite(ledPin10, HIGH);
  delay(150);
  digitalWrite(ledPin10, LOW);
  delay(150);
   digitalWrite(ledPin11, HIGH);
  delay(150);
  digitalWrite(ledPin11, LOW);
  delay(150);
  digitalWrite(ledPin12, HIGH);
  delay(150);
  digitalWrite(ledPin12, LOW);
  delay(150);
  digitalWrite(ledPin13, HIGH);
  delay(150);
  digitalWrite(ledPin13, LOW);
  delay(150);
 /* digitalWrite(ledPin11, HIGH);
  delay(150);
  digitalWrite(ledPin11, LOW);
  delay(150);
  digitalWrite(ledPin12, HIGH);
  delay(150);
  digitalWrite(ledPin12, LOW);
  delay(150);
  digitalWrite(ledPin12, HIGH);
  delay(150);
  digitalWrite(ledPin12, LOW);
  delay(150);
  */


}
void loop() {



  //analogWrite(ledPin, int(ledValue) ); // Write brightness value to LED
  pwmRange = pulseIn(sensorPin, HIGH);

  // 147uS per inch according to datasheet
  inch = pwmRange / 147;

  Serial.println(pwmRange);
  delay(175);

  // if (ledValue <= 0) {
  //   ledValue = 0;
//}  // Make sure value does not go below zero
//  ledValue = ((5*(inch))-25);
//}

if ((pwmRange <= 2019) && (pwmRange >= 288)) {
digitalWrite(ledPin1, HIGH );
}

else if ((pwmRange <= 3217) && (pwmRange >= 2020)) {
digitalWrite(ledPin2, HIGH );
}

else if ((pwmRange <= 4415) && (pwmRange >= 3218)) {
digitalWrite(ledPin3, HIGH );
}
else if ((pwmRange <= 5613) && (pwmRange >= 4416)) {
digitalWrite(ledPin4, HIGH );
}

else if ((pwmRange <= 6811) && (pwmRange >= 5614)) {
digitalWrite(ledPin5, HIGH );
}
else if ((pwmRange <= 8009) && (pwmRange >= 6812)) {
digitalWrite(ledPin6, HIGH );
}

else if ((pwmRange <= 9207) && (pwmRange >= 8010)) {
digitalWrite(ledPin7, HIGH );
}
else if ((pwmRange <= 10405) && (pwmRange >= 9208)) {
digitalWrite(ledPin8, HIGH );
}

else if ((pwmRange <= 11603) && (pwmRange >= 10406)) {
digitalWrite(ledPin10, HIGH );
}
else if ((pwmRange <= 12801) && (pwmRange >= 11604)) {
digitalWrite(ledPin11, HIGH );
}
else if ((pwmRange <= 13999) && (pwmRange >= 12802)) {
digitalWrite(ledPin12, HIGH );
}

else if ((pwmRange <= 15198) && (pwmRange >= 14000)) {
digitalWrite(ledPin13, HIGH );
}

else {
digitalWrite(ledPin1, LOW);
digitalWrite(ledPin2, LOW);
digitalWrite(ledPin3, LOW);
digitalWrite(ledPin4, LOW);
digitalWrite(ledPin5, LOW);
digitalWrite(ledPin6, LOW);
digitalWrite(ledPin7, LOW);
digitalWrite(ledPin8, LOW);
digitalWrite(ledPin10, LOW);
digitalWrite(ledPin11, LOW);
digitalWrite(ledPin12, LOW);
digitalWrite(ledPin13, LOW);
}
}

Here is process of my project working during Critique in the dark. My model for this project is Jason. While he was wearing the brain, he had a sensory deprivation experience, which I thought was interesting.

Here is the video:
ps. the light is not the best, but you can kind of see the form of Jason with the brain on his head and the lights working.

Reflection: I had a lot of fun with this piece, despite the minor setbacks. The first issue that I had was not receiving the microphone that would work with my project until the day of critique itself (go figure). But I worked through that and created another analogy for the idea of connections and being close to another person to gain understanding. Also, it was brought to my attention that I needed more LEDs and in other areas of the brain, which I agree with. In a possible addition to this piece, I could use an arduino mega so that I could have more pins to put LEDs in. One of the critiques that I found most interesting is the idea of sensory deprivation in many categories. I might like to explore this a little bit more. One thing I thought would be really interesting is when someone mentioned making a brain that restricts your sight and then creating a room where they could not be hurt and all they could do is hear and touch. Another interesting deprivation room would be to only allow seeing within the space. I agree that the lights needed to be placed in different areas of the brain and had forgotten or gotten stuck on the idea of the body being cognizant of speech rather than touch and distance. Ultimately, I would like to expand on this project, possibly in my last semester as installation or advanced experiments.

Erin | Final Project Statement

This work addresses concepts surrounding(mis)navigation, presence and absence, and transformation from one state to the next. Through the gesture of lighting a match and holding it above a lens, a sequence of panels containing drawn moth carcasses appear and dissolve behind the panes of a window ending in dust. This gesture and the context of an altar-like experience intends to evoke connotations of investigation, ritual, memorial, and passage. The moths depicted are all found and collected as a result of their attraction to light.

I’m most interested in poetic intersections:

• Why do humans and moths share an attraction to flame and light especially in darkness?
• Can the illumination 
• How does the act of lighting a match to reveal a narrative of dissolution involve us in an act of immolation as defined as (1) to kill as a sacrifice, (2) to kill (oneself) by fire, and (3) to destroy? 

• Can the moth's attraction to flame be an effective metaphor for our need to investigate mystery?

• Can this work serve to evoke scientific as well as spiritual investigation?

• Does investigation of this nature help or hinder our individual journeys?
• I'm borrowing a bit from comic conventions as well by using the window panes as panel sequences. There is a story to be told. What are the viewer's limitations both in terms of attention and the span of a burning match threatening to burn oneself?

Though the work functions well enough now there are several points that need fine tuning. 

1. Affordance: The class was primed to know how to approach the work, but others who I’ve had interact with the work are not. How can I better indicate an affordance? Two things I’m considering is using a larger lens and creating a shield around it which will help direct people and the matchlight more appropriately. The lens is more compelling than a candle though I'm a little wary of pushing the precious altar-ness too much. Can an empty jar work better? Should I indicate there is an end to reach? What might be the possible solutions? 

2. Light quality: Something both Orlando and Katerie pointed out was the light has a sense of lightening bugs rather than moth associated flame. I’m seeking to hack warm light LEDs from Xmas lights and changing the code to flicker more. It’s requiring a bit of stare time as I find the slower fade more contemplative and I'm not yet convinced flickery-ness isn't too distracting and slow for the length of the match. 

3. Presentation of the work: How to light a work that needs darkness to perform, but is still formally important? This is my greatest concern at the moment. Should the floor of the work be lit? Should I shade the gallery lighting so the window is only in shadow? Should the spotlight be replaced with a lower wattage?

4. Construction: Still haven’t fully embraced whether I should hide the light sensor wire or embrace it by extending it looped on the floor2. The level of surprise of the newly initiated is pretty satisfying, so I’m considering letting it be magic. 

4. Working Title: Navigate/Immolate  (directive, definitive)

Previous related work:

http://sculptress-studio.blogspot.com/2007/09/drawn.html

A number of years ago I made a series of fragmented drawings of insects drawn to my porch by light where they found their death. 

Progression to the next work:

I’m considering making a moth light trap trap and drawing the silhouettes of the moths that land on it. 

This will be documented properly over the break. 

Final Process pics (of the first audio recording session we did)

More Process Photos (painting the steps, critique setup)

Erin | process

Crit Reflection and Documented Images

I really enjoyed the feedback from Julia about the box being like a coffin.  I entertained the thought of it being like a jewelry box, cigar box, and treasure box - happy precious items - but it didn't cross my mind that it was also like a coffin or an urn, still items of precious value, but in a solemn, sentimental, or even morbid way.  I like the element of sinister that this idea brings to the piece.  If we were to expand on this, we could emphasize that aspect more to add more dimension to the concept.
When we had the piece up and running, I saw the interior of the box as being more galaxy-like than I expected as well.  I think the clay/dirt facade being silhouetted by the dim lights was part of this issue.  However,  I didn't mind it - the galactic appearance gave the interior of the box a Narnia kind of feel, which was pretty cool and part of what we were going for.
Despite some debate over whether the quote on the box was necessary, I still think it was important to direct the ideas of the viewer to the earth - especially since in the interior was going in more of a galactic direction.  However, I love and encourage different interpretations because, after all, that's what art affords!  But I do agree in hindsight that the quote may have functioned better on the interior of the box.
I think Kerry and I were self-conscious that we had some obvious problems with the clay inside the box, and we just didn't want anyone to point it out as if we didn't know, haha.  But thankfully, I don't even think our mistakes were as evident as we thought because of the darkness inside the box.

Here are some documented images & videos from crit day!