Documentation photos:
Showing posts with label Shanna Ferris. Show all posts
Showing posts with label Shanna Ferris. Show all posts
Monday, December 15, 2014
Process 2.7 Post-Crit
This post is more of a broader scope of critique, whereas the previous post-crit post focused on the St. Cecilia reference.
Some of the most noted aspects of our piece at critique involved the experience of the viewer interacting with the piece, which was essentially a main focus of our piece (the experience). People really found our mechanized heartbeat to be really surprising and spot on for the feel, rate, and sound of it. They found the beat really added to the comforting and nurturing aspect of it.
Another noted response was that it was quite comfortable physically to lay within our installation with the body pillow. Most laid with the body pillow and rested their head on the breasts/around that area, and some laid directly on top of the body pillow, but all in all the overall response was that people were engaged with the piece and were drawn to laying within it.
As for technically, we are completely at a loss why our light aspect was working the day before and was not working the day of critique. There is a video of the fully functional light/sensor in an earlier post. As seen in that video, the light dims and brightens in the same rhythmic pattern of the stepper motor heartbeat in our piece. This conceptually reinforces the soothing, comforting effect of the heartbeat, but translates it into an added visual element.
Then when the person activates the sensor, our comforting piece brightens momentarily to acknowledge the connection between comforter (no pun intended) and comforted and then resumes the soothing fade in and out. With the light put inside the bedding of the pillow and our rose colored filter, the dimming was certainly more subtle than it being out, but when it lit up when the sensor was activated, that's when I noticed it ended up working when people were interacting with it.
That aforementioned connection is something interesting to think about conceptually, as it's a singular type of moment in time where both the comforted and comforter are (for lack of better word) comfortable enough with each other, emotionally, to where they can share this quiet intimate moment; all the while they can lay there and block out or let go of all the stressors and extraneous thoughts within that sphere of the connection. Then, after that connection is broken, the two release the previous physical bond and continue about their way. Sort of reminds me of thinking about the dynamics of an embrace as well.
Moreover, to take that intimacy and transfer it to an inanimate object, the body pillow, creates this novel dynamic. Because it isn't just a body pillow with a "heartbeat," it also has breasts underneath the case, which look or feeling-wise is parallel to that of breasts under a shirt. The body pillow is adult length and the width is similar enough to some female frames that it easily and uncannily becomes this abstracted torso (which Katerie also mentioned in crit). And as we have thought about before, body pillows are used for comforting adults. It's meant to evoke another person, and is easily cuddled with and probably does provide comfort to people outside of the scope of the art world.
It seemed natural to play upon this comforting aspect, but to artistically develop it with the different added elements, to create a piece that makes people think about what it means to feel unexpectedly comforted (with the heartbeat and feel of laying on the breasts), how it feels to be comforted, but also on display (within the art setting people are always watching how you interact with pieces, and also plays into the final setting of our piece), and how is it to be comforted by, in essence, a pseudo-female form, which you know isn't real, but gives off the impressions of characteristics of the real.
Originally we wanted a cream/off white colored body pillow case to discern it from the sheets and to be reminiscent of skin color, but after critique, some new ideas were to have everything white, or to even hide the pillow under the sheets so that the viewers feel it as this weird sort of "bump in the bed." With the latter suggestion, it would act even more as evoking another human form, like when someone else is in a bed with you.
Some of the most noted aspects of our piece at critique involved the experience of the viewer interacting with the piece, which was essentially a main focus of our piece (the experience). People really found our mechanized heartbeat to be really surprising and spot on for the feel, rate, and sound of it. They found the beat really added to the comforting and nurturing aspect of it.
Another noted response was that it was quite comfortable physically to lay within our installation with the body pillow. Most laid with the body pillow and rested their head on the breasts/around that area, and some laid directly on top of the body pillow, but all in all the overall response was that people were engaged with the piece and were drawn to laying within it.
As for technically, we are completely at a loss why our light aspect was working the day before and was not working the day of critique. There is a video of the fully functional light/sensor in an earlier post. As seen in that video, the light dims and brightens in the same rhythmic pattern of the stepper motor heartbeat in our piece. This conceptually reinforces the soothing, comforting effect of the heartbeat, but translates it into an added visual element.
Then when the person activates the sensor, our comforting piece brightens momentarily to acknowledge the connection between comforter (no pun intended) and comforted and then resumes the soothing fade in and out. With the light put inside the bedding of the pillow and our rose colored filter, the dimming was certainly more subtle than it being out, but when it lit up when the sensor was activated, that's when I noticed it ended up working when people were interacting with it.
That aforementioned connection is something interesting to think about conceptually, as it's a singular type of moment in time where both the comforted and comforter are (for lack of better word) comfortable enough with each other, emotionally, to where they can share this quiet intimate moment; all the while they can lay there and block out or let go of all the stressors and extraneous thoughts within that sphere of the connection. Then, after that connection is broken, the two release the previous physical bond and continue about their way. Sort of reminds me of thinking about the dynamics of an embrace as well.
Moreover, to take that intimacy and transfer it to an inanimate object, the body pillow, creates this novel dynamic. Because it isn't just a body pillow with a "heartbeat," it also has breasts underneath the case, which look or feeling-wise is parallel to that of breasts under a shirt. The body pillow is adult length and the width is similar enough to some female frames that it easily and uncannily becomes this abstracted torso (which Katerie also mentioned in crit). And as we have thought about before, body pillows are used for comforting adults. It's meant to evoke another person, and is easily cuddled with and probably does provide comfort to people outside of the scope of the art world.
It seemed natural to play upon this comforting aspect, but to artistically develop it with the different added elements, to create a piece that makes people think about what it means to feel unexpectedly comforted (with the heartbeat and feel of laying on the breasts), how it feels to be comforted, but also on display (within the art setting people are always watching how you interact with pieces, and also plays into the final setting of our piece), and how is it to be comforted by, in essence, a pseudo-female form, which you know isn't real, but gives off the impressions of characteristics of the real.
Originally we wanted a cream/off white colored body pillow case to discern it from the sheets and to be reminiscent of skin color, but after critique, some new ideas were to have everything white, or to even hide the pillow under the sheets so that the viewers feel it as this weird sort of "bump in the bed." With the latter suggestion, it would act even more as evoking another human form, like when someone else is in a bed with you.
Sunday, December 14, 2014
Process 2.6 Post-Crit
Apparently the story goes mainly as such that she wanted to remain a virgin, but was getting married, so she asked God for her to be able to remain pure. Fast forward to yes she's still a virgin, married, and her and her husband are big proponents of Christianity, even though they're in Roman society.
Then fast forward to she's marked to get killed because she's Christian. Apparently they tried to suffocate her by steaming her in her bathroom... and then because that didn't work they decided to behead her (that escalated quickly). But, they done goofed and didn't actually completely behead her and she had to lay dying for three days. So in those days she never lost her faith and donated to the poor and did all the good things martyrs would do. All in all some said that she was the first "uncorrupted" saint.
Now, back to our project. I think this is pretty interesting. Not that we were going for a religious aspect at all, but thinking about how this story is centered around 'purity' (virgin purity, purity in your beliefs and morals, not letting anything taint said purities), and also it seems around innocence. Just the mere act of her asking to keep her virginity gives the immediate impression of innocence being a big part of herself.
And as touched upon previously in a post before the crit, some of the topics that were related to our project was innocence and the white in the installation as clean, pure, comforting, and non-threatening. You can see these descriptive words reflected even in the way that the saint is sculpted; perhaps not comforting so much, but the others certainly. Unless it was your belief that you found comfort in knowing that she was martyred as a proponent for your faith.
It was a little uncanny to me to see the visual parallel in the gesture and setup of this with our piece after looking it up. Even though the saint was obviously placing emphasis on the act of being martyred. But aesthetically speaking, especially how the second image was shot was interesting. Maybe if I were more religious I would explore this icon in a further project, as I do find it an interesting and striking image that's loaded with ideas of, to name a few: sacrifice, submission of women, dynamic of power, and fortitude.
Tuesday, December 9, 2014
Process 2.5
We had an epiphany today! After going to Lowes and trying out the platform idea, we had doubts. It wasn't seeming stable enough, especially the way people would walk onto it and have to shift their weight to lay down with our piece. And that was concerning to us, as it would conflict with our idea of a comforting, relaxing, and soothing place of our creation.
Then...the epiphany! We had a 'plan c' all along, but in all the hustle and bustle of last class, we just forgot about it until today! The cubby space in the hallway of the third floor! We had dismissed the idea previously because the grad students who had work up were never around for us to ask about it. But, another grad student gave us their phone numbers and they were actually taking down their piece this evening!
We did a mock installation with our piece and we absolutely love it in that space. The aspect ratio (for lack of better term) of it is ideal, as it's an intimate width to allow for one person at a time to occupy the space with our body pillow piece. And, the way we have it situated, it lends to people laying with the pillow and simply looks comfortable and appealing. Additionally, I love the height of it, where it's not too tall, but more elevated as a bed or futon would be, and really defines our space and makes it a clear installation, instead of imposing our denotation of a space into just a normal room.
Conceptually as we have previously noted in process posts, we are aiming to create a comforting space, with an emphasis on our body pillow object. This installation deals with the ideas of:
-comforting (as in being physically comfortable and feeling comforted)
-nurturing, soothing, relaxing
-possibly underlying suggestion of childhood - when would you cuddle or lay with someone that has breasts in that way
-also possibly underlying to do with motherhood - this body pillow could be seen as this abstracted soothing, consistent mother figure
-letting yourself relax into the space - could be seen as letting your guard down, allowing for vulnerability
-vulnerability also relates back to childhood and innocence
-innocence can also be seen in our use of white sheets and the cream color of the body pillow is a reference to skin
-thinking about what conceptually body pillows are used for and in what context they are used and what they're evocative of
-this comforting iteration is a development from our last project which was extremely uncanny and sterile/verging on clinical. We're interested in seeing the different interactions and reactions from viewers when our breasts are presented in this other direction. It's exciting to think of what differences in approach and interaction might occur with this iteration, especially after seeing the variety of the last one.
It's interesting to think about making these once uncanny breasts on display into a source of comfort, like taking an uncomfortable object and making it the source of comfort. Because before they were mounted and uncovered and in your face, which created a much more uncomfortable connotation around these objects, and now, taking that source of uncomfortable feelings and transforming it into now the main source of comfort in our new installation. And I think there's something to be said not only as the pieces individually, but how they transform from one iteration to the next as well, when taking into consideration the consistent "main attraction."
Then...the epiphany! We had a 'plan c' all along, but in all the hustle and bustle of last class, we just forgot about it until today! The cubby space in the hallway of the third floor! We had dismissed the idea previously because the grad students who had work up were never around for us to ask about it. But, another grad student gave us their phone numbers and they were actually taking down their piece this evening!
We did a mock installation with our piece and we absolutely love it in that space. The aspect ratio (for lack of better term) of it is ideal, as it's an intimate width to allow for one person at a time to occupy the space with our body pillow piece. And, the way we have it situated, it lends to people laying with the pillow and simply looks comfortable and appealing. Additionally, I love the height of it, where it's not too tall, but more elevated as a bed or futon would be, and really defines our space and makes it a clear installation, instead of imposing our denotation of a space into just a normal room.
Conceptually as we have previously noted in process posts, we are aiming to create a comforting space, with an emphasis on our body pillow object. This installation deals with the ideas of:
-comforting (as in being physically comfortable and feeling comforted)
-nurturing, soothing, relaxing
-possibly underlying suggestion of childhood - when would you cuddle or lay with someone that has breasts in that way
-also possibly underlying to do with motherhood - this body pillow could be seen as this abstracted soothing, consistent mother figure
-letting yourself relax into the space - could be seen as letting your guard down, allowing for vulnerability
-vulnerability also relates back to childhood and innocence
-innocence can also be seen in our use of white sheets and the cream color of the body pillow is a reference to skin
-thinking about what conceptually body pillows are used for and in what context they are used and what they're evocative of
-this comforting iteration is a development from our last project which was extremely uncanny and sterile/verging on clinical. We're interested in seeing the different interactions and reactions from viewers when our breasts are presented in this other direction. It's exciting to think of what differences in approach and interaction might occur with this iteration, especially after seeing the variety of the last one.
It's interesting to think about making these once uncanny breasts on display into a source of comfort, like taking an uncomfortable object and making it the source of comfort. Because before they were mounted and uncovered and in your face, which created a much more uncomfortable connotation around these objects, and now, taking that source of uncomfortable feelings and transforming it into now the main source of comfort in our new installation. And I think there's something to be said not only as the pieces individually, but how they transform from one iteration to the next as well, when taking into consideration the consistent "main attraction."
Monday, December 8, 2014
Process 2.4
Within the past week we found and tweaked a different version of our original code, which works perfectly for what we wanted to display in our body pillow iteration:
Process 2.3
Further development of idea and installation:
As we keep discussing and pushing our ideas, we've come up with some more developments to the project. We currently need to install a reddish film over the white LEDs to make the temperature of the light warmer and more comforting. We also need to release the wrinkles from the new pillow case (we bought a cream colored one to be more evocative of skin, and have some contrast between the white in the rest of the installation) so that it will have a cleanly installed appearance.
For the process of what we will be doing to put the pillow part of the installation together is:
-put the light in the pillow (diffused by bedding and filter) and have the light attached to our proximity sensor and battery-powered arduino. The light will radiate from the pillow around the area of the breasts to echo the sensation of a heartbeat in visual form. The light will brighten briefly when the sensor is tripped to acknowledge the interacting individual and then it will return to fading in and out.
-put the stepper motor with battery-powered arduino into the pillow between the breasts so that the pulsing of the motor is reverberated through them and the feeling of a soft comfortable heartbeat is present with viewer interaction.
-affix breasts on top of pillow, but inside pillow case to create a comforting but still slightly uncanny and nurturing sort of object
As we keep discussing and pushing our ideas, we've come up with some more developments to the project. We currently need to install a reddish film over the white LEDs to make the temperature of the light warmer and more comforting. We also need to release the wrinkles from the new pillow case (we bought a cream colored one to be more evocative of skin, and have some contrast between the white in the rest of the installation) so that it will have a cleanly installed appearance.
For the process of what we will be doing to put the pillow part of the installation together is:
-put the light in the pillow (diffused by bedding and filter) and have the light attached to our proximity sensor and battery-powered arduino. The light will radiate from the pillow around the area of the breasts to echo the sensation of a heartbeat in visual form. The light will brighten briefly when the sensor is tripped to acknowledge the interacting individual and then it will return to fading in and out.
-put the stepper motor with battery-powered arduino into the pillow between the breasts so that the pulsing of the motor is reverberated through them and the feeling of a soft comfortable heartbeat is present with viewer interaction.
-affix breasts on top of pillow, but inside pillow case to create a comforting but still slightly uncanny and nurturing sort of object
Saturday, December 6, 2014
Process 2.2
Concept development and making decisions about the second iteration of our project:
We have decided to put the breast inserts into a body pillow, which will lay inside the sleeping bag in our installation. Also within the sleeping bag will be a stepper motor which will emulate the feel of a subtle heartbeat and enforce our general concept of a comforting connection.
There will also be a light that dims on and off slowly within the pillow case, echoing the feeling of the heartbeat motor. When the viewer interacts with the sensor, it the lights become bright and stop pulsing for a moment, to signify the connection between the comforting piece and the individual. When the individual is out of range of the sensor/leaves the space of connection, the light resumes pulsing as usual.
The sleeping bag will be open in the space and lined with the heated blanket. On top of the blanket will be the body pillow, with enough room to the side within the open sleeping bag for the viewer to lay down in it with the pillow and interact with it. The warmth from the blanket will also support our idea of comfort and nurturing that we're trying to convey with this piece.
When brainstorming ideas for places to install our piece, we decided that outside is not an ideal place since we want to avoid the overt hobo connotation that would exist with that placement. We think a gallery/show space which is clean, sterile, and white would be ideal in order to make this iteration as aesthetically put together as the last one. We would love to use one of the drawing critique spaces in FAD, as they fit this description perfectly. This would create an aesthetic and conceptual contrast between the look and feel of the room and the experience the viewer would have when they interact with our piece.
We have decided to put the breast inserts into a body pillow, which will lay inside the sleeping bag in our installation. Also within the sleeping bag will be a stepper motor which will emulate the feel of a subtle heartbeat and enforce our general concept of a comforting connection.
There will also be a light that dims on and off slowly within the pillow case, echoing the feeling of the heartbeat motor. When the viewer interacts with the sensor, it the lights become bright and stop pulsing for a moment, to signify the connection between the comforting piece and the individual. When the individual is out of range of the sensor/leaves the space of connection, the light resumes pulsing as usual.
The sleeping bag will be open in the space and lined with the heated blanket. On top of the blanket will be the body pillow, with enough room to the side within the open sleeping bag for the viewer to lay down in it with the pillow and interact with it. The warmth from the blanket will also support our idea of comfort and nurturing that we're trying to convey with this piece.
When brainstorming ideas for places to install our piece, we decided that outside is not an ideal place since we want to avoid the overt hobo connotation that would exist with that placement. We think a gallery/show space which is clean, sterile, and white would be ideal in order to make this iteration as aesthetically put together as the last one. We would love to use one of the drawing critique spaces in FAD, as they fit this description perfectly. This would create an aesthetic and conceptual contrast between the look and feel of the room and the experience the viewer would have when they interact with our piece.
Thursday, December 4, 2014
Process 2.1 Documentation
The video we took is larger than the size limit allowed for posting on blogger, but here are some of the documentation photos of our first iteration:
Wednesday, November 19, 2014
Sunday, November 16, 2014
Process 1.13
Post-crit reflection and conceptual ideation:
One thing that was noted and I felt really worked with the piece was the uncanny ambiguity of the direction and exact interpretation of the installation. (ignoring the lube for now and referring to people's reactions after it was wiped off) It became an experience for the viewer that made them think about these objects that are symbols of desire, sexuality, arousal, taboo in a sense, and often the subject of male gaze. Which we then took out of context of an actual physical female body and put them on display to be touched. Some said that this created a dissociation and since they were breasts, but weren't really a woman's breasts, they saw no reason why not to touch them.
But, there was also an element of feeling uncomfortable to touch them, or creating a situation of deeming whether or not it would be socially acceptable to touch these breasts that are lit in an alluring way. This is where the decreasing amount of available light came into play, because as the viewer was getting closer to them, figuring out whether or not they were able to touch them, or if they wanted to touch them, their actions were less and less visible to other onlookers. This part creates an interesting interplay that I didn't previously think about: what the interacter's actions are vs. being watched by onlookers, and how those actions are affected by the visibility of those actions (less and less light to totally darkness). The total darkness achieved by when someone is actually touching the breasts also creates a usually brief, but could be however long as desired, moment, where no one can see what the interacter is doing and the only active senses for the interacter are tactile.
With this, several concepts come up that one could talk about when I think about the piece: indulgence, taboo, unrealized or realized desire, ability to act freely, freedom from judgment, in general the potential for exploitation when no one is watching, full exposure, exposure as potential for liberating choice or unwanted and forced, acceptable and unacceptable behavior coined against no one would know, acceptable behavior on a spectrum which relates to the space, context, environment, surrounding people, society, personal values/opinions; strange but lighthearted playfulness as a reaction, immaturity and jokes, potential for repulsivity, how comfortable or uncomfortable people are and how it relates to the way they interact with the piece.
Stemming from this uncomfortable/comfortable idea, this iteration has been deemed mostly uncomfortable, intriguing, but in a strange way. What would be interesting is to see how different of a piece it would be if it were construed in a comforting setting. What if we made people feel comfortable with the idea of touching these objects instead of putting them on display in an ambiguous and uncanny setting? How would the two iterations engage the viewers differently? How can you invoke a sense of security and welcoming and intertwine it with the interaction of a new iteration/installation of the piece?
One thing that was noted and I felt really worked with the piece was the uncanny ambiguity of the direction and exact interpretation of the installation. (ignoring the lube for now and referring to people's reactions after it was wiped off) It became an experience for the viewer that made them think about these objects that are symbols of desire, sexuality, arousal, taboo in a sense, and often the subject of male gaze. Which we then took out of context of an actual physical female body and put them on display to be touched. Some said that this created a dissociation and since they were breasts, but weren't really a woman's breasts, they saw no reason why not to touch them.
But, there was also an element of feeling uncomfortable to touch them, or creating a situation of deeming whether or not it would be socially acceptable to touch these breasts that are lit in an alluring way. This is where the decreasing amount of available light came into play, because as the viewer was getting closer to them, figuring out whether or not they were able to touch them, or if they wanted to touch them, their actions were less and less visible to other onlookers. This part creates an interesting interplay that I didn't previously think about: what the interacter's actions are vs. being watched by onlookers, and how those actions are affected by the visibility of those actions (less and less light to totally darkness). The total darkness achieved by when someone is actually touching the breasts also creates a usually brief, but could be however long as desired, moment, where no one can see what the interacter is doing and the only active senses for the interacter are tactile.
With this, several concepts come up that one could talk about when I think about the piece: indulgence, taboo, unrealized or realized desire, ability to act freely, freedom from judgment, in general the potential for exploitation when no one is watching, full exposure, exposure as potential for liberating choice or unwanted and forced, acceptable and unacceptable behavior coined against no one would know, acceptable behavior on a spectrum which relates to the space, context, environment, surrounding people, society, personal values/opinions; strange but lighthearted playfulness as a reaction, immaturity and jokes, potential for repulsivity, how comfortable or uncomfortable people are and how it relates to the way they interact with the piece.
Stemming from this uncomfortable/comfortable idea, this iteration has been deemed mostly uncomfortable, intriguing, but in a strange way. What would be interesting is to see how different of a piece it would be if it were construed in a comforting setting. What if we made people feel comfortable with the idea of touching these objects instead of putting them on display in an ambiguous and uncanny setting? How would the two iterations engage the viewers differently? How can you invoke a sense of security and welcoming and intertwine it with the interaction of a new iteration/installation of the piece?
Wednesday, November 12, 2014
Process 1.12
Notes from crit:
- People said they're gross
- Reminds Katerie of some sort of alarm system
- Shadow changes are interesting
- Think about what shapes are made by shadows
- manger
- crucible
- Alluring, gelatinous, symmetrical, perfect, pranky, edible
- Why do they have to be wet? bad?
- association with wet: ultrasound
- not associations that are unintentional
- ie: slap in the face? when go to touch them, but they're slimy - "punishment" for touching
- Use biofreeze instead (mostly scentless icy hot)
- Has interaction after - first cold, then hot, warming sensation
- Thinking about how it gives off the idea of a trophy to some people
- How people mount trophy kills (animals)
- Hanging on the wall
- expand? could make it more trophy like, if wanted to go that way, glimmery
- if went this direction, mount on varnished, polished wood, with gold plaque
- What if it felt warm and didn't expect it to?
- use warm light (colors)
- make temperature of breasts warmer
- not currently intimate setting or situation or presentation of these breasts
- What's hidden and what's not hidden?
- Fetish
- Salvador Dali and surrealists
- how they deal with women's bodies
- Valley export piece
- Could go an industrial direction - not personable, specimen, medical
- metal, reflection of viewer revealed on front pane of shiny metal
- Implants
- What if displayed or introduced on horizontal plane (shelf)
- Sensor becomes this sort of navel and creates a weird abstracted torso
- Installation becomes body
- Think about the idea of silicon
- NO SLIME ASPECT
- Already a taboo object, and slimey substance on breasts is like a double taboo and it's cold and uncanny, made people feel weird, uncomfortable, want to touch more without slime on them
- Surveillance - surveil/record hands, not face, what people are doing, what would you pick up on
- LED light
- makes people think of hospital, clinical, parking lot lights
- use warmer color lights - how would it be different?
- think about adding or switching for red lights
- How to turn them into comforting objects?
- goes along with the warmth of temp and color
Tuesday, November 11, 2014
Monday, November 10, 2014
proj. 33, 34, 35 and classwork on 11/10
Monday, November 3, 2014
Sunday, November 2, 2014
Process 1.10
Adapted this design/code to enable groups of LED's to turn on with lessening distance from sensor
http://makezine.com/projects/hotcold-leds/
http://makezine.com/projects/hotcold-leds/
Wednesday, October 29, 2014
Process 1.9
http://blog.whatgeek.com.pt/2014/08/24/arduino-led-ambient-mood-light-with-lightluminositylux-sensor/
http://arduino.cc/en/Tutorial/Fade
-Add sensor to this and then set up the "fadeAmout" to be what the proximity sensor reads it
- Might have to mess with the number the sensor gives.
http://arduino.cc/en/Tutorial/Fade
-Add sensor to this and then set up the "fadeAmout" to be what the proximity sensor reads it
- Might have to mess with the number the sensor gives.
Sunday, October 26, 2014
Process 1.8
Trials after mid-process crit and research
Trying out Claire's example from her mid-process crit
http://www.taezoo.com/xe/6441
and also this example
http://makezine.com/projects/hotcold-leds/
code: https://github.com/Make-Magazine/HotCold-LEDs
Trying out Claire's example from her mid-process crit
http://www.taezoo.com/xe/6441
and also this example
http://makezine.com/projects/hotcold-leds/
code: https://github.com/Make-Magazine/HotCold-LEDs
Process 1.7
Trials from before mid-process crit
Messing with the parking sensor code and LED configurations:
Messing with the parking sensor code and LED configurations:
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