thinking through visualisation:
In 1966 Michael Nöll and his associates at Bell Laboratories produced an
animation of a hypercube using computer graphics. It was the first time
a hypercube was visualized in motion. Later in 1978 Thomas Banchoff and
Charles Strauss produced the film "The Hypercube: Projections and
Slicing". This award winning film shows a more complete approach to the
animated hypercube. A hypercube is a four-dimensional cube. Now what
does /that/ mean?
Around 1995 I became interested in challenging the simulation vogue of
realism (Virtual Realities) with Dynamic Form, Non-Euclidean spaces,
multiple dimensions - Alembic a "Virtual Unreality", a 3D interactive
experience of Dynamic Form was the result.
This was very much an experiment in playing with the simulation of a
perceived cartesian reality, trying to represent and evoke an
alternative experience of a reactive four dimensional reality. Viewers
wore 3D 'Chromadepth' glasses so that they experienced the appearance of
fluxing three dimensional forms that responded to presence and movement,
the forms responsiveness changing according to a simulated temperature.
Very old style documentation can be found here:
http://www.mimetics.com/vur/alembic.html
r buiani wrote:
> but wouldn't "distorted simulation" another type of simulation?
> I think that that a way of "distorting" or "playing with it" would be
> to actually reveal its "tricks". we are so immersed into simulation
> that revealing what's behind it and uncovering its "secrets" would
> actually be more transformative than we think.
> part of the fascination with simulation is that we don't perceive it.
> it's there and we take for granted the objects it displays. nothing
> wrong with it, but some awareness on how it works would actually help
> understanding and interpreting a lot of phenomena we normally find
> obscure. or at least acknowledge that they exist and are affecting the
> way we see things. I was thinking about Dolores Steinman abstract, for
> instance. if we knew the mechanisms behind the models she and her
> husband work with, would we be able to understand "blood vessels
> flow" better? would we be more willing to accept or discuss the rules
> that make these models apparent to a certain category of observers?
>
> rb
>
> On Jan 21, 2010, at 9:25 AM, aslemeur@free.fr wrote:
>
>> How to distort simulation ?
>> how to play with it instead of simply 'using' it ?
>>
>> any anamorphosen in simulation ?
>> any non-euclidean spaces ?
>>
>> Anne-Sarah Le Meur
>> http://aslemeur.free.fr
>> http://aslemeur.free.fr/projets/outre_r_eng.htm
>>
>> Selon Pier Luigi Capucci <plcapucci@gmail.com>:
>>
>>> Beautiful examples, indeed!
>>>
>>> We could add, remaining in theme, the renaissance perspective, which
>>> set up
>>> the "order" of the representation (behind the painted surface) and the
>>> "order" of the space where the viewer is (the space before the
>>> surface, that
>>> in general we call the "real" space). Indeed, in order to see a
>>> scene at its
>>> best we have to view it from a precise viewpoint or a limited area, and
>>> moving away from this position we loose information.
>>>
>>> Today we are immersed in simulations through many media which use
>>> perspective: from photography to cinema, to video, to computer
>>> animations,
>>> virtual reality, until the 3D videogames and the metaverses.
>>> Perspective,
>>> which is a mathematical, cultural, historical... issue, became a
>>> "natural"
>>> part of our way of representing, and especially of viewing, the world.
>>>
>>> Pier Luigi
>>>
>>> Il giorno 21/gen/2010, alle ore 05.30, r buiani ha scritto:
>>>
>>>> ...continued
>>>>
>>>> I can't help but noticing how simulation reflects sociocultural and
>>> technological tendencies that we can observe in almost all human
>>> transactions
>>> today. this, I find, happens in a very subtle, imperceptible way.
>>>>
>>>> here are some examples to get us thinking about simulation in everyday
>>> life:
>>>>
>>>> 1) the process of choosing a piece of technology: we are drawn to a
>>>> Mac or
>>> a Ipod or a Iphone, not a computer, a portable music device, or a
>>> cellular
>>> phone. aspects concerning the design, the aesthetics, or the
>>> coolness that
>>> these tools symbolize usually take the front seat.
>>>>
>>>> 2) thinking about sound, I am drawn to the idea behind the MP3 format:
>>> substantially, it is a simulation of the original sound, compressed,
>>> re-packaged and brought to us according to psychoacustic principles
>>> that
>>> eliminate "useless" noise, or frequency that our ear can't normally
>>> perceive.
>>> (see the work of Jonathan Sterne on Media Culture and Society -
>>> 2006- on MP3
>>> for a more comprehensive discussion. I can send the specific article
>>> to those
>>> who are interested)
>>>>
>>>> 3) the fantastic worlds we see in blockbusters movies such as the very
>>> recent Avatar exhibits an imagery that is simultaneously
>>> photorealistic (that
>>> is, it shows some "serial" resemblance to objects and landscapes
>>> that we can
>>> find in the real world) and hyperreal (all objects exhibit literally
>>> some
>>> "extra" elements that make them more real than real and yet
>>> imagined). In
>>> particular, I have to thanks Pier Luigi for directing my attention
>>> to the
>>> Pandorapedia (http://networkedblogs.com/p23720729)I was surprised to
>>> see how
>>> the whole ecosystem articulated in the movie has been imagined and
>>> constructed according to ethological/anthropological/botanical
>>> principles,
>>> carefully classified and taxonomized in a "Linnaean" style, and in its
>>> smallest details. In this regard, I would be interested in knowing some
>>> commentaries: is this a way to legitimize this hyperreal world?
>>>>
>>>>
>>>>
>>>> rb
>>>>
>>>>
>>>>
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>>> --
>>> Pier Luigi Capucci
>>> e-mail: plc@noemalab.org
>>> web: http://www.noemalab.org/plc/plc.html
>>> skype: plcapucci
>>>
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>>
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>
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--
Richard Brown
art&design: mimetics.com
i-lighting: mimelight.com
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