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[[File:Wald.jpg|thumb|Ilm at Dawn]] | [[File:Wald.jpg|thumb|Ilm at Dawn]] | ||
PROJECT: | PROJECT DESCRIPTION: | ||
My work in In Sync began with an interest in developing skills in Pure Data in order to program audiovisual environments. When I arrived in Weimar, I was immediately attracted to the elusive early morning fog that inundated the Thüringian landscape. For obvious reasons, fog has long been a subject of fascination for many visual artists; it tends to obfuscate objects and erase horizons; it invokes a sense of mystery and reminds one of the power of nature. One particular aspect of the fog that attracted me was its uniformity-both in terms of density and movement. Subsequently, I began thinking about the properties of fog --in its most simple form, water particles that cling to dust/debris--and the climate conditions necessary to its formation. After several attempts to represent the effect of fog on a filmed landscape, I became interested in how its spatial and temporal existence could be recreated in an installation environment. My research culminated in a proposal for an interactive installation that provides both a real-time and mediated experience of fog. As my project evolved, I aimed to find a linchpin between the creative and technical aspects of production. Through a largely experimental approach to programming in pure data, I further shaped my concept. The following examples serve to provide insight into my research and creative processes. | My work in In Sync began with an interest in developing skills in Pure Data in order to program audiovisual environments. When I arrived in Weimar, I was immediately attracted to the elusive early morning fog that inundated the Thüringian landscape. For obvious reasons, fog has long been a subject of fascination for many visual artists; it tends to obfuscate objects and erase horizons; it invokes a sense of mystery and reminds one of the power of nature. One particular aspect of the fog that attracted me was its uniformity-both in terms of density and movement. Subsequently, I began thinking about the properties of fog --in its most simple form, water particles that cling to dust/debris--and the climate conditions necessary to its formation. After several attempts to represent the effect of fog on a filmed landscape, I became interested in how its spatial and temporal existence could be recreated in an installation environment. My research culminated in a proposal for an interactive installation that provides both a real-time and mediated experience of fog. As my project evolved, I aimed to find a linchpin between the creative and technical aspects of production. Through a largely experimental approach to programming in pure data, I further shaped my concept. The following examples serve to provide insight into my research and creative processes. | ||