Masters Project Artist/Research Statement

Tracey Tutt

MA Moving Image and Sound

Artist Statement:

I constantly research and experiment to push boundaries and find limits, I want to excite and stimulate the viewer, using my creativity to tell another story over the original, blending technology seamlessly with beauty by weaving different media together to bring new experiences.

Augmented Reality has been widely used for expensive marketing campaigns or in niche museums, or exhibitions, such as the Science Museum’s Virtual James May App or the recent ‘Digital Revolution’ at the Barbican, keeping it somewhat exclusive.

To give everyone a chance to see its potential and the wide variety of uses and applications I am augmenting all of the printed work that will accompany my installation so that the public can take my art away and interact with it.

This installation will draw together and implement all of my research and experimentation over the last two years and I am using a huge array of media and techniques from traditional plaster sculpting, projection mapping, spatial stereo sound, hand drawn animation using real feathers, coding, physical interactivity and Augmented Reality in a truly immersive transmedia experience to ‘virtually’ bring to life a Great Bustard in Norfolk after 180 years since it’s last sighting.

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Aurasma Information icon for my show #aurasma

AR_iconFor my show I will have active Aurasma triggers within the space, so I needed to come up with a beautiful graphic to inform the viewer that here is not only a graphic, or photo, but an experience.

Using my line drawings and full colour Great Bustard illustrations and placing them so they appear to come out of the mobile devices screen in colour, gives the visual clue as to what you can hope to see.

 

Augmented Reality Binoculars

An innovative way of getting people to pick up a device to play with the interactivity that Augmented Reality can offer is one of the key things that I wanted to desperately try and include in my installation.

Inspiration came in the form of the digital loupe that I have previously talked about, and after a lot of searching Hasbro has a 3D ipod binocular device, that is perfect for my needs.

Ordered direct from the USA, it arrived today!

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It has several fittings for different iterations of iPhone, or ipod touch, and so has a camera hole already in the right place for the version I have.

But, as it’s supposed to be for 3D viewing there is a partition directly down the centre of the whole object, this is the only stumbling block.

Hopefully a hacksaw will sort that out!

I have tested it with a trigger image and all works well, you even have thumbholes with which to double tap to make the Augmented content full screen.

A quick camo paint job, and bob’s your uncle.

I will need to ask estates about securing the device, but it can be charged in situ so I am really pleased.

Weeting visit for sound

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A visit to Weeting Heath was one of the last places I wanted to record sound from. As one of the remaining parts of the Brecks Heath this would have been the home of the Great Bustard .

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The chaps at the visitor centre although quizzical about what I was doing were quite happy to recommend the East Hide as no-one would visit there to see the infamous Stone Curlews as the grass is too long, so I had the hide to myself and could set up myu two sound recorders at either end, to really give a spatial sound result.

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I was using 2 H4 Zoom recorders at approximately 12 feet apart.

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Looking out over the Brecks Heath habitat..

Unfortunately it is next to a fast road, RAF Lakenheath and a steam rally but there are moments of pure tranquillity and I hope the reproduction will do it justice.

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A short walk away was a lovely forest trail with the hope of being further away from the road and rally, so I trekked up there and managed to record a couple of shorter sessions, using the same 12 feet apart set up, as I will be overlaying the different habitats from Weeting, Salisbury Plain and Santon Downham in the final mix.

wpid-dsc_0024.jpgI have already selected the best raw audio footage and am hoping to get in the sound studio next week for the final selection.

Putting the Bustard in it's place #greatbustard

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The Bustard sculpture is now practically finished… I could probably sand and sand and re plaster indefinitely, but I’ve decided to see how it looks in the space.

Taking it up the stairs is helped by it being light and still in two pieces.

I know the area I’ve been given and have a few options as to which orientation it could be.

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On the right, it’s a good size in the space.

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I borrowed a leftover label from the (now shut) BA show to place on the base to represent the label reproduction from the Norwich Museum…

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I want visitors to lean into the sculpture to try and read the label, thereby triggering the animated projection which will cross the wall…

Looking at the space, I’m wondering if it’s possible to animate over one wall and around the corner to fill the walls a little more…plus now I see the sculpture in the space I realise it’s not going to take long to cover the one wall I originally thought of, purely because I’m working life-size…

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This is what you could see on approach as they are building a wall on the left and another to the right, which the plinth represents…

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So would people just peek in, or would they come into the space. They would need to come through the space to reach the other installation, which makes a bit of a path through ‘my’ area, but I need it triggered.

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on the left

 

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wpid-dsc_0029.jpgThis side could make people look around the edge wall and then just move on, I can obviously mark up the mat with ‘step on me’ or similar, but it would be nice if it was a bit more unexpected and natural.

I need to know whether I’m getting a false flat wall put in on either existing wall, or if I have to deal with the sockets and radiator and door with glass window in.

The space left behind from the right hand side new walls makes a lovely corner space, with handy plug sockets for my Augmented reality plinth, but totally bisected because of foot traffic through it…

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On the other hand, plenty of the spaces I saw on the BA show you had to walk through, so maybe I shouldn’t worry.

I could maybe ask for the entrance to the 2nd installation to be at the other end, but that would leave a scarily big space!

The one thing I definitely do not notice when it is place inside the space, are any lump, bumps or plaster imperfections, that I have been a little obsessed with working with it close up in the 3D workshop.

It’s decided, no more sanding, move onto the next bit…

 

 

 

Great Bustard sculpture, looking good

Update on the ongoing sculpture, just the sanding to go and it’s making a real difference.

 

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Before and after of the sides.

Sanding takes the lumps out beautifully.

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Looking at the model on his legs and I am still thinking about whether to snip the long ‘h’ support bar down, or to dig into the sculpture underneath so that the support bar doesn’t show at all..

When viewed from my height it’s fine, but if you look underneath or are just a bit shorter you can see the metal prongs…

It’s balanced very well, is still light enough and looks great, I can’t wait to put it in situ and test some projection onto it.

MAX MSP essential to know and useful tutorials #MAXMSP

Starting to use MAX msp and feeling very out of my depth. For the past 5 days I have been struggling to get through the tutorials and having major problems with getting any sort of video to play back, even using the tutorial patchers didn’t work. I just kept getting the error message imovie countdown.mov: error opening file whatever I tried. I downloaded MAX onto another machine, just in case it was the machine. no. Then I scoured the internet for different tutorials, thinking maybe it had a bug in the tutorial… no… Finally this morning, typing in ‘imovie dozer.mov: error opening file’ MAX msp’  into google and I get a result

movie playback in 64 bit version of Max is limited for the time being.
the 32 bit version does not have these limitations, and is recommended for users interested in quicktime functionality.
http://cycling74.com/forums/topic/vizzie-playr-imovie-error-opening-file-jit-qt-movie-doesnt-understand/

64bt is not compatible with the video playback.. how frustrating why doesn’t it say that on the download page…

by the way before you download if you want to do video DON’T DOWNLOAD THE 64 BIT!

Uninstall, reinstall (on one machine anyway) and presto bingo, working as it should be…

Cycling74 Max/MSP/Jitter Tutorials: Play a Movie

 

The very basics

http://alhodgsonn.wordpress.com/2012/01/03/maxmsp/

Smooth operator #greatbustard #plaster #sculpture

Getting back In the workshop after a week meant that my sculpture has had long enough to really harden and gives me a chance to examine what my next step to finishing it might be.

Looking over the model, the modroc has done a fair job, but, there are still fibres and ridges present.

I have some options,

1, just to modroc again, this could of course leave me with exactly the same finish as I currently have, fibres and ridges due to the nature of the application…

2, modroc another layer and whilst still damp apply a thin skim of fine casting plaster, this could be quite messy and complex and the speed with which modroc goes off may not give me enough time to make a batch of fine plaster and apply it to good finish, plus if there are any fibres and it’s wet, they may well come up through the skim and give me problems when trying to sand as they will pull out to the modroc leaving a small hole in the model….

3, just use the fine casting plaster to do a skim over what I have, this may be the best option as long as it is able to adhere to the hardened modroc layer underneath.

I think the best result will be had from going with option 3, and fully wetting the area to which I will then skim on.

Jim shows me a test piece that he has experimented with, in order to look at the adhesion of fine plaster directly onto a polystyrene former, without using scrim underneath (which was my alternative method). It has worked quite well, but he shows me what happens when the polystyrene flexes and parts of the plaster pop off and cracks. So moving my sculpture is going to be the trickiest part, this is where any stress on the plaster will pull at the tension and cause cracks or fissures to appear.

So I dive in and get the right wing fully wet with warm water and quickly mix up some fine plaster, just to a fairly thin consistency and start to apply…

As I put it on I am shocked by how quickly it starts to dry, it really doesn’t give me as much time as I’d like, I’m guessing it must be the thinness of the plaster which is making it harden off before it normally would. But I grab a bowl of water to try and smooth as much as I can before it starts to harm the finish. I have a couple of places where it pulls up the skim I’ve just put on, let’s hope it holds on enough to get through the show.

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Although this technique is getting the finish closer to what I had envisaged I’m glad that I didn’t start with scrim and plaster, I think I would have put on too much plaster and the scrim would still have left the fibre problem, which I had on the base…

I turn the sculpture onto its side so I can more easily cover the whole right wing and almost decide to leave that to dry before doing anymore, but, this would take a ridiculous amount of wasted time in between sessions, so I turn the Bustard onto it’s stomach and start to cover the other side.

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I get the left side and tail done before lunch and leave the back and head until the afternoon.

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Because of the medium I am working so quickly I get the back, head and neck done in just two hours. The head shows a big improvement in quality of surface, from lumpy to smooth and I’m now looking forward to sanding this all over.

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This should be the final surface, bar painting, and I will experiment with paint on some spare plaster pieces to see if a satin, gloss or natural sanded plaster will be the best hold for projecting onto.

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Trying to make best use of the time left in the workshop I still need to sort out the gap that appears when the body is placed onto the base, so using up some of the modroc I increase the height on the ‘shorts’ of the bird.

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When the model is dry I need to remark the metal bars on the body so it sits nicely, and check whether it can still manage the weight of the sculpture with all of the added plaster!

I am surprised by how little plaster I have had to add to smooth over the whole surface, each time I mixed up a new batch I always had to throw some away, even though I was only making up a small amount… Of course I ran out on the head, but think I just got away with that…

Next session will be sanding and hopefully testing projection thereafter.

Flying Bustard lines

 

The sculpture is coming along, but I need to get back to my animation, and to make it work I try and estimate how many frames I will need to make it work.

I take the illustrated bustard drawings I made before.

illustrated bustardThis consists of 6 frames, which almost works, but I decide to add in 2 more frames and then test that key frame for timing.
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2 more frames added and I have a little play with colour… with a view in mind that this will be my submitted image that the College can use for it’s publicity posters…

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Then I go back to the black outlines and put them through flash to see how the total timing is working for the flight cycle.

This looks good, about the right pause and pace, the Bustard does not fly with fast beating wings, it tries to conserve as much energy as possible, so this feels right, languid, but powerful.

I will need to add more frames in between these 8 for the drawn animation, which I may well do in a linear fashion first, but it will literally be a frame directly in the middle of these.

 

All together now

Another short session in the plaster room gives me just enough time to beef up the Bustards legs… They’ve been looking a bit skinny at the top, so I have decided that by using some shaped polystyrene I can fatten them to give a better shape with a hint of muscle, as you generally see at the top of a birds leg…

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This now resembles what I have come to call the ‘shorts’ as on the live bird these are white, just like the underside of the Bustard itself.

With the two parts sat on the bench in front of me, I couldn’t resist putting them together to see how the legs worked and whether the plaster underside had affected how the sculpture fitted in one piece.

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It’s really tricky to put together on the floor as I can’t see the marking for the holes, but it sits quite steadily and there’s no weight imbalance (at the moment) the legs and the body work well as a single piece.

It does look impressive, but the plaster underbelly is preventing the metal struts from sitting ‘into’ the sculpture as it did when it was just polystyrene, so there is a gap between the legs and the body which will have to fixed.

I need to remark the strut holes whilst the model is on a raised dais to ensure a good fit for the two sections.