It seems from this reading as well as last weeks and the documentary the difference between the categories of VJing, Live Cinema, and Live Audiovisual Performances are as follows: VJing is the mixing and crafting of video often times to match and auditory experience such as a DJ, this sometimes evokes itself as becoming a “visual wallpaper”, this differs from Live Cinema as Live Cinema endeavors to be a complete experience in and of itself, it is less about matching a separate party as it is creating a self-contained world often times held to a higher standard of cinematography and dramaturgy, and both of these somewhat exist within and yet differ from the Live Audiovisual Performance which more or less exists as a catch-all term for the new world of audiovisual performances as they have grown, evolved, and diversified from existing as “mere” VJing, VJing and Live Cinema may fit within the category, but also everything else that seeks to find a balance between what is audio and visual in a “live” context exists within this category.
Looking examples I found three: “Vanishing Lines” for VJing, “On the Other Side” for Live Cinema, and “Octovalent” for the Live Audiovisual Performance. For “Octovalent” it did not look like the video was clear-cut attached to the audio, though they often worked in tandem, they were strongly synced to exact notes maybe. There seemed to be multiple parts with individuals on different parts working together as a collective though at the times the meshing seemed to be a touch off. With “Vanishing Lines” there is a pretty polished performance where it seems as if the visuals have been handmade for the music, the movements and transitions seem to match the mood beat by beat at least until around 2:40 all the while the VJer controls the visuals as they stare intently at them. Finally, for “On the Other Side” there seems to be an event bigger disconnect from the sound as there an immense priority placed on the visuals and the cinematography, as smoke is used to enhance the visual experience as the sound helps to set and amplify the mood as well tell a story, the sound is not nearly as reactive to the video as it exists more as a singular experience.
Interestingly enough its hard to remember where I might have seen VJing outside this class. It’s one of those things for me that I know I must have seen before, but cannot quite place when or where. And I think that it is this exact thing that The Audiovisual Breakthrough talks about when it refers to “visual wallpaper” in the past my experiences with VJing must have largely been experiences where I did not quite know what I was looking at, it was not the focus, perhaps the music or some other aspect of it was and in that sense VJing carried the tone of “wallpaper” obvious to the knowledgable or attentive observer and meticulously chosen, crafted, and designed by the owner/performer and yet to the masses it is taken for granted.
In the past I might have see visually responsive works at concerts or clubs, the video would sometimes change and shift to match the music or perhaps the mood of the music. But I do not believe that I ever singled it out as its own thing, I focused on the music and may have wondered which genius was able to match the aesthetics of the musical piece so well, but I would never have imagined that there would be an individual, a performer, and craftsman behind the work I saw. Rather than seeing through this guise of a “wallpaper” I think I stopped short and for that and many other reasons I truly believe that this class has opened my eyes. Where I once might have seen visuals that seemed to match the music and granted the merit to the sound for finding its match, now, I might see a crafted performance, designed and intentional, as it works to add another universe to the experiences of its audience
Shanghai is a city of lights and sounds, there is beauty, but also chaos to be found within. Experience the dissonance as movement and sound collide.
The idea behind Shanghai Dissonance is to make music from some of the ambient dissonant sounds of the city to create music that in turn creates a visually reactive video. The concept stems from my own experiences in Shanghai hearing these sounds and beginning with the question if it was possible to make somewhat passable music while utilizing the skills I have learned this semester in both this class as well as my Music Structure class. Having watched videos online about how to make and compose music and learning about scales, harmonies, melodies, perfect authentic cadences, motives, etc. I wanted to combine this idea born of curiosity, passion, and new found knowledge within the context of a audio-visual performance inspired by the idea of “My Shanghai” that seems to embody my projects this semester.
In “Shanghai Dissonance” one experiences three different videos of movement and sound within Shanghai, particularly ones that correlate to my day by day; the metro arriving, the bike ride home, and the city skyline that passes by in the journey in between. The videos play, stop, buffer, loop, and start in relation to the pressing of button on the Akai MidiMix. By taking the sound of construction hits and car horns sounds, normally dissonant sounds that mark the Shanghai Experience and turning them into musical components a melody is played with accompanying drums and bass line, and in turn, the button presses change and shift the the video being displayed into several different effects and combinations.
Perspective and Context
“Shanghai Dissonance” definitely fits more into the modern side on the front of visual music and abstract film. The cityscape is modern and I think the commonality of the video is representative of the more modern idea to capture the realistic and mundane rather than works such as the works of lumia and the clavilux or the ideas of cosmic consciousness or the over-developedness of early animation that all sought to explore the extraordinary. I do not believe that my piece is one that progresses the medium in many ways and rather that it is the point, this is my experimentation into the world of Audio-Visual performances and live audiovisuals and so it serves more as a marker of what is possible in todays day and age, a marker for the progress of technology and my own development within the field. In some ways the style is somewhat similar to the stuttering effects of works such as “Granular Synthesis- FORM” as the layering and buffering of the videos lend themselves to a similar style.
The piece in a sense describes a journey, at least visually, in the sense that all the videos display motion and travel through space during different legs of the day to day experience, whether that is enough to fit into the realm of live cinema at the level it was developed is hard to say, but in the future if such a thing could be better developed I would personally want to endeavor to such an idea.
Development & Technical Implementation
The melody was created as by changing the pitch of the car horns (the sound for both the car horns and the construction hits take from freesounds.org which I will add the links to below) using Audacity I was able to create notes that follow a pentatonic format, roughly following the Chinese Pentatonic format of the Shang, Jue, and Yu scales (with one note modulations in the first two scales) for the main melody as well as an accompanying drum progression. The notes were also manipulated to make a sort of “walking bass” based the G,E,D,F keys as well as various sharp variations that serve as leading notes. The initial inspiration behind both the walking bass (which actually took forever to figure out as I am not trained in piano so figuring out the key notes and names and then order took a more than a few listens) and the notes come a youtube video on simple jazz improvisations (link below,) but car horns do not lend themselves well to matching with piano notes so some of the notes were transposed down in order to better fit i.e. not sound ear-piercingly high or inaudibly low. The walking bass as well is supposed to well, walk, and that means its supposed to somewhat live and breathe along with the notes played, matching chords and whatnot, but in my piece it turned more into a steady repetitive backdrop in which to layer the melody on top of, not modular in most senses of the word.
The setup works as (with the help of Professor Eric) I was able to figure out how to use bangs as “momentary switches” instead of toggles when activated through the midi mapping feature of Max 8, they in turn send a signal on the press of the mapped buttons playing there respective note on one of three different scales D-FGA-C, E-GAB-D, A-CDE-G. In the original iteration, as I utilized one of the coding resources provided to us by Professor Eric (which will be linked below) the midi toggles were mostly hooked up to the visual effects of the three videos, however as I wanted to control the video more through the playing of the piece rather than toggles I mapped the buttons to also control the start and stop of the avplayers, as well as connecting wandrs to the loop end, and buffer in order to create more random and erratic visual patterns, controlled random chaos i.e. dissonance if you will, and then adding wandrs to those wandrs to make it even more so) at this point this would be the performance iteration, later due to utilizing IMA laptops which I had to return I actually lost the performance patch iteration as I seemed to have uploaded the wrong folder to my google drive, thus I recreated the patch from scratch and updated it, this time adding wandrs that would also change the start location of the videos so that way there was an increase of variety that I noticed was lacking during my performance. As well as this, I changed the music playlists to be a three and then one list instead of 15 separate files as unfortunately the car horns did not really create effective or audibly pleasurable chords when played together, instead sounding rather messy, I find this updated version to be a lot better on both counts of visuals and sounds and thus have recorded a shorter performance to display the new system.
Button at the top turns off all effects and sets the videos to begin at 0 and play the full length (Full Reset Button)
Link to Jazz inspirational video: (I am not sure if this falls under the idea of free use, but I used this video mainly for inspiration and the actual components came out vastly different and nothing was directly sampled so no issue I think (?), but still credit given where credit is due)
Link to updated performance on google drive: (I think this works)
The performance went…alright. Most likely due to a lack of practice, but also potentially the choice of instrument the sound design does not really fit into the realm of amazingly aesthetically enjoyable. Even though the notes themselves have some sort of musical structure and theory to them, putting into practice is a different story. I tried to embody some of the advice I received last time working with Konrad to show some of the plain, unedited footage, but receiving the feedback that perhaps I could have show even more and that it was a lot of what seemed like the exact same makes a lot of sense.
In regards to what went well, I think the system work as instead minus some errors in the sound design and though it could use some definite improvements it was a neat experience to perform an entire performance and have it go somewhat according to plan. In terms of what could have gone better, as I’ve mentioned, practice, sound design, more variations in video choices I think there are definitely things I mistook as “aesthetically enough” that instead came off as “lacking” the sound design could use more work and though putting all the wavs into a singular playlist helped with that I think the idea of car horns in general could be scrapped in the pursuit of more “enjoyable” music. As for the unexpected, nothing went too out of hand, the piece is more about dissonance and controlled chaos so it went rather smoothly on that front.
In conclusion, I learned a bit about composition and audio editing, getting familiar with the midimix and midi-mapping in and of itself was a treat. I discovered that yes, one can indeed make music out of car horns and construction sounds, but whether or not that is a good idea remains largely to be seen and heard, perhaps from someone else or in a more nuanced context. I failed to make something that really makes a statement as some others did, and while my piece is indeed modular, and fresh each time, it could stand to use from some more practiced structure and preparation.
I have mentioned a lot that it could be improved in the area of sound design and if I could have the full range of musicality as expressed in the jazz video it would be cool to be able to have a somewhat improvised, nice sounding jazz variation of the performance, especially if the scales were note for note matching with the Chinese scales they are based on. In terms of video, having the piece tell more of a story would be better, perhaps by staggering the videos in the chronological story in which they appear, and on that front, even adding two or three or four or plus videos would help a lot in making the piece seem a lot more full and developed than it comes off as. All of these possible improvements would be great things to accomplish in the future, and perhaps in a different way and iteration “Shanghai Dissonance” will come about in a more practiced, fluid, and meaningful manner.
For the final project I am interested in a few ideas:
1- creating soundscapes, taking the sounds one hears in their daily life, the rumble of buses, the beeps of crosswalks and remixing them relative images and video to get a sense of the Shanghai as a city or perhaps daily life. The fast paced parts, slow ones, and all the ones in between. Perhaps it could be footage and audio taken over the course of the week to show some of the monotony of life with repetition ineveitbaly creating rhythm and the different aspects of sound remixing into some aspect of melody and harmony.
2- a live paint performance, was thinking splatter but that would probably be too messy. Essentially, the idea is a live, previously rehearsed (or at least stylistically) paint performance where the music follows in time. Using accelerometers, the speed of the brushstrokes would in turn relate to the speed and change of the visual as a camera would Ben pointed at the live painting and then the code remixes the final product for the audience. Essentially, the idea is I write a piece of music, I hear the music, paint according to the feel and beat of the piece, camera captures the live painting, and based on accelerometer and maybe gyroscope(?) the visual captures changes and warps in order to create a unique experience.
These are still somewhat preliminary ideas so as I think over them and their logistics more I would greatly appreciate any feedback whether from Professor Eric or my fellow classmates.
A brief overview of your project. In one or two sentences write a summary of the information you’ve provided below. (An abstract is usually written last)
When aliens arrive, the secrets of the world are revealed, and time begins to unravel.
In one or two paragraphs write a description of your project. What is it about? What is the concept behind it? What is your intention behind it? What inspired you to make this?
The projects Konrad and I envisioned were a bit different, for me the given the materials of the project, it kind of lent itself to the idea of a space ship, with different color perspectives representing the aurora borealis, the inner workings of a space ship and others. The concept behind the project was the effects the aliens would have on the earth/environment as it searched for a new fuel source until eventually the music and thus the arduino-controlled by the music to began to move in reverse. The effect created is one of intrigue and peace as things would change without knowledge of the people within the environment
Perspective and Context
In one or two paragraphs describe how your project fits into the historical context of lumia, visual music, and abstract film. Refer to the films and videos we have watched and the texts we have been reading during the course and make use of the theoretical materials available on the resources page.
Our works fits into the historical context of the lumia, visual music, and abstract film, as through synesthia it creates new effects, and creates a story that’s beyond the mere sum of its parts. When the music plays in reverse and supposedly makes the entire thing run backwards (video and motor) it fulfills a narrative as these extraterrestrial beings have visited in a way that is beyond our comprehension, that it bends the rules of space and time. Like how Thomas Wilfred and many others like John and James Whitney and Jordan Belson were enamored with the idea of light, so have people equally been enamored with the idea of the unknown and the alien. Strange moving lights, odd physical phenomena, our work creates a narrative that tells another part of this story of light and lumia. What is the music of the unknown, the strange, and the undiscovered, is a question and a story that our work aims to solve and tell through abstract film and imagery mixed with hidden clues and a sense that not everything is functioning as it should be.
Development & Technical Implementation
In one or two paragraphs describe how you developed your project and how the final setup works technically. What was your research and creation process like? Which things did you try out before arriving at your final setup? Describe the setup you used for the performance and how it works. What are the different components? How do they interact with each other? How do you interact with them? Include pictures.
I was somewhat in charge of ideation and the physical creation itself. From having the “screen” move backwards, and to have an autonomous moving part, I had a lot of ideas that thankfully Konrad was really receptive to. He did a lot of great work ordering the supplies and creating the initial mock-ups of our idea with was great. During the process of ordering and ideation, we had actually wanted to use a prism in order to better refract colored lights, however due to the strength of the lights and other factors the prism could not be used as originally intended, though I envisioned another way in which it could be used unfortunately we did not have a lot of time to figure out the logistics of an alternate performance and instead found it better to proceed with what was practiced and in good form. The set up for the performance as envisioned included the arduino stepper motor, the “spaceship”, a Plexiglas black triangle, a sheer white material that resembled mist, the light set up, and ideally one moving camera or about 3 stationary cameras for different viewing perspectives, the prism, several colored filters, a fan, and some other materials.
Strategically Broken Fan for easier spinning
light being projected from bottom of ship (landing lights)
front on view of the ship
cardboard for ship
template for cover (see prism shine) (this would spin over a light source to resemble “powering up”)
prism on cover (can fit inside and spin)
Side Ship + wing
Side Ship + wing
“mist” cloth material
6 colored filters
IMG_8185 – video of light revolving around the room (neat atmospheric effect)
IMG_8186 – more video of revolution effect (different wall)
In one or two paragraphs describe how the performance went during the midterm review. How was your experience during the performance itself. What went well? What could go better? What was unexpected?
Unfortunately due to scheduling conflicts and other midterm insanity, a lot of the ideas I had that I thought would be great additions and I had practiced were not really practical for the sake of the performance when not practiced together and therefore Konrad and I went forward with what we had ready and I think that that went very well. Konrad who had chosen the music had a good graphical score in which to use with the color filters I created. The code that Konrad was in charge of worked beautifully allowing for a decently successful performance.
In terms of improvements, we could have separated our existing effects and staggered them in order to create a more streamlined and smooth experience. In addition, as a personal wish, I wish more of the props I made and the actions I had envisioned could have been added, but the fault of that falls to no one and instead I shall endeavor to pull out all the stops come time for the final.
A picture or scan of the graphical score for your performance with a description on how to read it.
Sorry for the orientation issues, the documentation blog does not like to post things the right side up and will not rotate it well in edit. Anyway, essentially how to read this idealized graphical score is:
the light machine is dark and still
the machine turns on so its sound in the darkness
the ship lands on the machine (core)
the light turns on shining through the cover panel of the ship
cover comes off to see the light effect straight on that looks like a mechanical core
camera shifts to the “demistified” Plexiglas triangle that is reflecting a different variation of colors that looks like the aurora borealis
throughout the song and semi indicated by the music note and minute numbers, 6 color filters are being added in at different intervals to show the effects no color, solid color, and mixed colors (in the process of a rainbow)
the prism is found and is inserted into slot to spin over light and gain energy while displaying multiple colors
fan is added to the back and begins to spin as the ship gains energy
time begins to flow backwards and the video and stepper motor begin to reverse
fan begins to reverse
panel with new energy source (prism) is inserted into ship (around this time the final violet filter is used)
ship takes off leaving machine behind
machine is still lit and spinning
light turns off, pause, machine stops
In one or two paragraphs write a reflection on the research, creation, and execution of your performance. In a general sense describe issues related to the project such as: what did you learn? what did you discover? what did you fail at? what did you succeed at? what can you improve? what would you want to do next? The conclusion should warp up your final thoughts on the project in a coherent and concise statement.
As I might have mentioned in bits and pieces in other areas, I learned as per usual that life can be unhelpfully hectic in the worst of ways, whether it be finding time to work together to make the midterm, to practice new techniques, and improve upon iteration its best to knock out as many possible meetings in the beginning as possible though, though Konrad and I met plenty of enough times to get enough practice for a decent performance, I do wish that we could have practiced the bits I thought were exceptionally cool and were some pretty amazing nuances of our project. I think we succeeded well with what we had and in terms of failure, I believe it boils down to a lacking understanding of the mechanics and flow of audio-visual performance and understanding not to go in guns blazing before fizzling out and having little else to show. What can be improved and what I want to do next is get better at the coding aspect of Max and be better able to achieve the goals I have in mind.
Write a three (+/-) paragraph reflection in which you compare the work of Brakhage, Belson, and the Whitneys. How are they similar? How are they different? What conceptual basis do they share? What are their influences? Etc. Also address how the Vortex Concert series and the later light shows by other groups have influenced our current experiences at pop concerts and dance music events.
Brakhage, Belson, and the Whitneys were different in that they used different methods and technologies. While Brakhage endeavored to enlighten the world with his art in basic ways, the Whitneys’ welcomed the coming tide of new technology to demonstrate their craft, and on Belson’s end, he took the middle ground using technologies both old and new through the use of standard animation, optical printing, lasers, and liquid crystals as opposed to the Whitneys’ game changing use of a four-octave range produced by recorded pendulum movements, and Brakhage’s continued use of a film based medium.
However, all three were alike in that they were at the forefront of their craft in some ways. Though centered around the use of film, Brakhage’s use of scratching emulsion, multiple superimposition, streaks of light, and other film manipulating techniques held an intensity that had never been used before. The Whitneys’ developed their own device in the form of the optical printer, and Belson used the convergence between technologies in order to develop his own new ways of expression.
In terms of conceptual basis they all centered around synesthesia, the ideas of music, and images created by music. While Brakhages works were strongly based off the idea of music due to his unique and complex form of synesthesia, he often did not use music, nor did he feel the need to. At the same time, the Whitneys’ focused on weaving together the areas of art, science, and spirituality, using music combined with points of light that they had reduced down in order to contemplate the mysteries of cosmic thought. Similarly to Whitneys, belson also wanted to remove the idea of representation through imagery and instead making so the origin of the imagery could not be placed, Wilson combined self-created electronic sound with his art in order to create pieces that would would leave the observer wondering whether they were seeing or hearing the piece.
The Vortex Concert was centered around the idea of visual music, and had featured the works of Belson and others. By separating the music into a 3D space from the screen they allowed themselves to break boundaries as they collected elements from paintings, films, jazz concerts, and more. The effects of the Vortex Concert have echoed and become ingrained in concert and dance music events today where music and imagery even in 3d spaces are to be found everywhere and are often essential. The entire ensemble works together to transform the experience beyond itself and proving the sum of its parts are greater than its pieces.
Write a two paragraph reflection on the motivation of the artist to make such a film and the actual process the artist used to create the film. Pay special attention to the presence or absence of any synesthetic relationships between the visuals and the audio.
I chose one of the earliest in abstract films in Walter Ruttman’s Lichtspiel: Opus II, mostly in part in use of synethesia in terms of color and narrative. I shall leave the full quotes I got the information from below (click read more (also includes sources)) and just leave a summary/synopsis of the points, a TL;DR if you will.
Essentially, this piece was created in 1921 as part of Ruttman’s decision that film was heading in the “wrong direction” and that filmmakers were “misunderstanding [the] cinema’s essence” (Marshall). Thus, Ruttman who was once a painter created (and patented) his own technology/style of art that differed from painting in the sense that it had a “temporal dimension [in music]” and differed from being “…the rendition of a (real or stylized) moment in an event or fact, [as it was] rather precisely in the temporal rhythm of visual events.'” (Marshall).
To the extent of his work Ruttman focuses on “expressive visual aesthetics” (Valcke) utilizing a “mixture of angular forms and organic forms done with the oil-on-glass technique” and “kinestasis—still images animated through camera movement—and multiple planes of glass with animation, allowing two sets of curved animated forms, one white and the other black, to interact on screen, wrapping around and masking each other against a grey background.” (Betancourt)
More personal thoughts:
I chose this film exactly for the techniques and reasons stated above as the colors in the film are rather excellent in the use of whites, blues, blacks, and reds to create this narrative of light, darkness, danger, violence, and shadow through its synesthetic effects, timed well with the music (especially in comparison to Opus I in my opinion), this piece works well to utilize its “expressive visual aesthetics”, the black constantly following as a shadow or creating jagged edges that seem to evoke feelings of danger, as well as others in order to tell a short, beautiful, and abstract story over the course of about 4 minutes.
That first question holds an interesting topic, that I think ties in rather well to the final one. If I was not aware of the concerts and the concert experiences of the day and was instead living in that time, perhaps I would buy into the grandeur and the awe of it all. Perhaps like Thomas Wilfred I would be enamored with these lights to the point that maybe I would have seen value in his almost church-like performance houses. I think often times over history the light has always been seen as something more and once realizing ourselves that light is itself made of different colors, that has led to many seeking the secrets and hidden meanings to be found within.
How would it compare to other concerts of the day? I believe that these lumia experiences all fall under the realm of something that you should absolutely see once. As mentioned in my previous paragraph this also dependent on the depth of experiences back then, but I believe that these experiences would offer something extraordinary and otherworldly to the uninitiated, something that once seen, would remain unforgettable in your brain, perhaps unused, and often unappreciated, but most definitely having left a lasting imprint of the beauty of illumination. However, if I were to compare it to today’s concert experiences I have to believe that these inventions would fall a touch flat, the initial view would offer a “wow that’s cool” from a few to tens of minutes, but experiences today (assuming like popular/edm type events) are largely already synesthetic with flashing colors and smoke and water and the heavy thump of the base that elicits emotions of energy and awe, intensely immersive not unlike I believe instruments like the Clavilux, Sarabet, and Mobicolor would have been though definitely in a different sense.
I think the idea of synesthesia is very fascinating, because often times, the ones who have it do not realize they have it until someone lets them know they do. On the same hand, you do not truly realize you are not a synesthete or even have the capability of grasping the idea of synesthesia until the concept is described to you. Because if your brain is not structured to see yellow when you hear a C# the odds of you ever making that connection are possibly astronomically small until someone comes along and tells you with fervor that for them, it is so.
Once revealed to the world of synesthesia, it really becomes evident on how somewhat widespread it is, 4-5% or about 1 in 20 people on average is a synesthete, and when it comes to the great minds and arts of decades both current and past you can really see how such an ability makes a difference. Looking at modern day artists just as Lady Gaga and Pharrell Williams who themselves are synesthetes you begin to wonder how exactly their gift has affected their craft and if someone the art painted by their music is speaking to the non-synesthetes on another level, that though they may not “see” the color as others do, the color that has been injected and proliferated through the music plays on the un-awakened mind of their audience and taps into something deeper, intangible, and thrilling. Luckily through the efforts of other synesthetic painters like Snazzy Starlight you can see some of the works of said artist come to life in color, and yet on the same coin, who is to say that their variation of synesthesia is the same as Lady Gaga or Pharrell themselves? Perhaps though beautiful as they are, there are tens, hundreds, if not thousands of synesthetic interpretations of their works, all beautiful, different, and unique.
I believe that synesthesia for the non-synesthetes evokes something unknown and not realized, for those unaware of the phenomena is that je ne sais quoi, that feeling or oomph beyond description that just makes a piece ring truer. For those aware, it serves a portal to train your own cobbled and beautifully imperfect form of synesthesia, with memories, color, memories of color, and stereotypes linked to shades, merging and melding, tantalizing you with wisps of imagined coloration as a sad song may seem bluer, as anger is often linked to red, and a sad song of memories past translates to tears in your eyes though the music itself is just reverberations traveling through the air.
Look at above slides for the initial beginnings/photos of the project, I believe google slides only allows a limited amount of photos so the rest of the report/documentation will continue here. ‘
Creating The Base
So to go along with the head, I used an elephant model that was then stripped of needless parts, had its holes and errors filled in, and then simplified. The initial idea being like with the head in the creation process.
Also, added photos for the head portion of the project, these are part of the failed head, but still serve as a base from where the project has come. Warning they are pretty deep into the uncanny valley and could definitely serve as nightmare fuel.
simplifed modelw ith texture
top down view of model
Following this, the models were imported into Slicer for Fusion 360 and then broken up into sections that could be laser cut, folded, and assembled.
It is at this point, that I ran into even more trouble, I was not aware of just how much time it would take to assemble all of these pieces as a full size of cardboard in the laser cutter would only cut maybe 1-2 pages and furthermore, these forms were only for the purpose of laser cutting paper and then folding them. In order to use cardboard as I intended, I was actually supposed to separate the models into individual pieces rather than these fold-able pieces which actually couldn’t be folded as cardboard.
Luckily, some guidance by Marcela lead me to a better path. I already had the models ready, instead of simplifying them, and then separating them I could just take the original models and then straight 3d print them. With some minor modification to the models I had I could just assemble them quite easily. On top of all this Marcela gave excellent suggestions in the use of the Skanect for photogrammetry which would instead use the Xbox Kinect in order to create the personal models quick and easy. Furthermore, using either the laser cutter, embroidery machine, or vinyl cutter I could further cut a QR code out that would link to my WeChat wallet allowing my project to transcend its physical coils.
First, up was recreating the facial model using my actual face again.
Scanning my face
Slicing off the unwanted feature and bottom
Final model (from a different run)
Then was the modification of the base this was essentially returning to the original model (still no head) and then adding a hole to take out any donated money and a slot to actually donate physical money.
The end result of the models would be a combination that looks comparable to examples below.
In addition, this was the QR code that others would scan in order to donate via WeChat (feel free to try it out).
However, even with all the models ready to go and print, all was not said and done. Upon trying to print the body first I found that print constantly at different moments of production.
Now wait a minute, that one looks suspiciously finished and messed up no? Well upon closer observation of the model it turns out that there was an issue with the model that would only appear in the scan before printing, visually nothing was wrong with the model, but the printer simply did not recognize that space.
At this point of time, it suggested that I move on to trying to print the head while the issue of the body could be diagnosed later. Unfortunately, my first attempt at printing failed about half way through and every attempt afterward as well. even after consulting the slides during in class, trying to change various setting in order to get a successful print hours upon hours proved the endeavor to be fruitless. Hence the final product while structurally similar, is a bit of a far cry from where I want the product to be. As seen in a comparison below.
Looking forward, I really would like to get decent prints, to figure out what the issue with the body is and to have a product I can be proud of, a big step is probably leaving the printing to those who know a bit better while I continue to try, learn, and grow. Overall, this project was really enlightening I wanted it to be a good representation of what I learned in this class and while I aimed a bit too high the beginning, and was not able to attain the ideal result in the end, the process I feel has taught me a lot and has given me increased confidence in the processes and I hope going forward that I will be better able to refine this idea, to the idea that No Money could one day equal No Problems.
Also extraneous issue, I have serious complaints against my laptop sometimes as it enjoys to do this, especially after hours of work when models have not been saved (again, an issue on my end).