On the Topic of: featured
Ready to Fall (Deeper) in Love?
Although it is largely a way for me to test out the new fangled technology, it was inspired by my frustration with existing apps/websites that attempts to present the 36 questions to fall in love.
And yes, the name is a pun on reacting to the 36 questions and React Native. Witty eh?
Through the intentional displacement of significant amounts of library books from an educational institution (UCLA Arts Library), the piece exposes the under-used books available to students by recontextualizing them in an art gallery. The piece challenges viewers to reassess the historic value of books and libraries by checking out a bookcase-worth of books for a week. By wrapping the books in gold paper and placing a barrier around the bookshelf, they are stripped from their inherent function as a repository for information, highlighting the shift of books from a referential purpose to a reverential one.
The present series pays tribute to Jan Van Eyck’s The Amolfini Marriage. The Almolfini Marriage is largely acclaimed for Van Eyck’s ability to create realistic portrayal of reality, especially evident in the mirror reflection. Today, through software, we can easily create a more realistic portrayal through mathematical simulation of lights as well as physics and easily do what was once technically challenging.
Is there still value in the mimetic art when the technical challenge has been abstracted and detached? Granted, there is value in the developers and associated algorithm that makes this possible, but does that come to the surface, and should the value be attributed then to the artist?
This past weekend I was invited to participate in a Hackathon sponsored by BeMyApp and Tizen, an open source mobile platform supported by the Linux Foundation, Samsung and Intel. Working with Alex Lu, our hack won the grand prize.
BrickYourPhone3D is essentially a reverse Breakout where instead of destroying blocks, the player creates blocks by adding primary colors. We really wanted to focus on what the platform and the medium is about; in this case: available input sensors, Tizen WebApps, mobility.
Each player views one side of a 3D cube playing field. One of the most prominent feature of today’s smartphones is the touchscreen. So to play BrickYourPhone3D, the player would touch anywhere on the screen and move their fingers up and down to move their paddle.
The next prominent feature we wanted to focus on is the availability of gyroscopes in most modern smartphones. By tilting the phone up and down, the player can see different angles of the cube and thus be more immersed in the game play. Moreover, by tilting the phone up and down, the player sees different perspective of the cube that changes game play.
If the player is viewing from top down, its easier to see where the ball is going to land, but hard to see the back of the cube and it compresses the y-axis. If the player is viewing from the front, z-axis is compressed and it is hard to tell where the ball lands. If the player is viewing from the bottom, all is visible, the controls become confusing.
We did not have a lot of time to spend on making the app look pretty, but we did come up with a short branding. Most of Tizen apps have rounded icon and we wanted to make the game stand out, and so we encompassed a circle (representing Tizen’s circle iconography and BrickYourPhone3d’s ball) inside a colored cube (representing BrickYourPhone3d’s focus on color additions).
Additionally, the name was also chosen to be nerdy and ironic (brick in terms of breakout’s brick, and brick in terms of breaking one’s phone) as tribute to its hackathon origin. And plus who would not want to brick their phone?
In the future we want to focus on mobility. Though we did not have time to implement the code fully into the app during the hackathon, we outlined our next steps.
Bluetooth and social experience. We want to implement a multiplayer version by assigning each player to the four sides of the cube via bluetooth to create a more social experience.
Mobile and personal. We want to implement a weather API such that the game can change when its played at different times of the day to keep it fresh. For example, colors changing based on current location’s sun location, changing the parameters of the game’s motion via weather status (slippery when it’s raining). Such additions would make playing different every time and even more immersive.
We were first given a phone with the 2.1 software and it was unbearable, OpenGL threw out errors, and the phone felt like a phone from 2+ years ago (despite running on Samsung S3). We were then given 2.2 which worked a LOT better, but still had lags. In a few months, 3.0 is supposed to come out. If a jump of .1, did so much, I am excited for 3.0.
Place Cover Here is a book containing book cover and typography study. Done under Henri Lucas, Place Cover Here was a quarter long project where we made 100s of book cover for Lightman’s Einstein’s Dream. The process began with a constrained rule set to force creativity (see: Twitter’s 140 characters limit) and typography study, but ended with complete creative freedom (within the constraint of a book cover).
The book is divided into eight phases, color coded from light gray to black–hinting at the addition of techniques used in the cover studies inside each phase.
Place Cover Here enclosed my book cover studies. By placing a clear sheet of plastic in front of its book cover, I allowed the reader of the book to use one of my cover study as the book’s cover.
In the beginning we were only allowed to mess with rules and typography.
I love grids. Probably influenced by my origin as a web designer. #subtraction
Eventually we were allowed to use images.
Place Cover Here is roughly the size of Einstein’s Dream. Thus by replacing the front cover of Place Cover Here, the reader can imagine how the book cover would look on Einstein’s dream.
TL;DR: Inspired by Jeffrey Shaw’s Legible City, Illegible City explores our inability to communicate. It is an interactive piece where a viewer would write a letter that the custom software would convert into a 3D city for the viewer to explore. The viewer than has the option to share this letter with another for them to explore.
Illegible City is a homage to Jeffrey Shaw’s Legible City where a viewer can interact with a piece: traversing through a city made of words via bicycle in order to personally define the city they are traversing “accumulating its history” (Media Art Net).
There are always words in our minds that we dare not say. From a little teenage boy wanting to tell his first crush his longing for her to be on his dodgeball team, to a dying grand father, wanting to tell his long lost son how much he loves him. Everyone have a story they want, but can not share. This piece explores our action of trying to convey to someone our heart, in ways that subverts its meaning. In doing the exercise, the viewer embodies his/her urge to say what he/she can not. It brings to the surface the emotion that is in all of us.
The exploration of the city explores the receiver end of human interaction. Many times, when we attempt to understand someone’s message, its meaning is lost in its construction. The city is a construction based on the message from the sender. Try as the receiving viewer might, however, the receiving viewer will not be able to truly decipher the meaning of the message. Was this a letter of love, or a letter of hate?
Although the viewer writes the letter, it is immediately converted into a 3D model representing it. This conversion is both a destructive and creative process as it destroys the original content and meaning in the letter, but creates a new representation with new data—that is the keystrokes. This new data is both is and not the letter. On one hand, it represents the thoughts that went into the letter, but at the same time it no longer contains the intended message. The letter “e” is both in love and hate. Thus the letter is of no consequence since no one can decipher it. Moreover, this process can be repeated ad infinitum since medium is digital and the program can be run forever.
Photos from UCLA Undergraduate Show 2013 UV/UG
Made in Processing.
The goal of the present video was to animate a painting–sometimes referred to as: kinetic painting. As the title would suggest, the original painting is done by Sam Francis. The visual is played with a cut version of Time by Hans Zimmer from the movie Inception.