The Making Of ORIENS

 

 

INSPIRATION|灵感起源
 

The initial inspiration were actually start from several posts from NASA on Instagram:
创作起初冲动实际是Instagram上美国航空航天局NASA一套官方图:

This is Cassini, an unmanned spacecraft sent to the planet Saturn, to enter the orbit of the Saturn, and those were picture it took of the Saturn‘s sunlit atmosphere. Also this year we as human being could possibly receive the first real image of the black of our galaxy, The another excited new is this year august 21st, the biggest viewable moon eclipse in 38 years will be able to see in united state land. For me as a visual artist, all this historical moment and perceivable stimulus image trigger my impulse to think about the shapes of this type of sunlit gradient , how this shape could represent the relationship between the individual and the universe context we live in. and how to depict a relationship between the audible perception in time zone and the visual deception in spacial zone. it trigger me to work on my next AudioVisual Installation with the infections of these thinking.

这套图是Cassini探测器在土星和它其他卫星周围拍下的记录,同时在今年的四月欧洲和美国天文局正在开始根据天文望远镜捕捉的银河系数据进行分析开始尝试拼凑出人类认知历史上第一张真实黑洞的照片,不久将会公布于世。同时今年8月21日我们将可以在美国大陆看到38年以来最大壮观的一次日全食。对于我一个视觉艺术家来说,这一系列的历史性时间和感知刺激再次激发了我关于人与宇宙,我们个体与个体所能认知的环境,时间里听觉感知和空间里视觉逻辑等这一系列关系的思考。在这些模糊的灵感信息感染下,我继续了下个关于AudioVisual声音影像装置形式探索和创作。

 

TECHNIQUE|技术探索
 

I didn't choose to use any type of CPU base language tool this time, and want to try some really trendy but really efficiency GPU base Language OpenGL, specially  the shading language of OpenGL(GLSL), big thanks to The Book of Shader by Gonzalez Vivo and Jen Lowe. its really good initial starter book for learning and understand the logic of shader language, and during process of my daily practice of shader, i keep each patch's final visual could render a mood and direction about the visual inspiration i just mentioned above. as you can tell of the screenshot i got here, all these daily creations are the visual base for this new AudioVisual work.

这一次的创作我整体撅起了基于CPU语言种类,尝试了一下相对于视觉艺术家效率更高的GPU架构的语言OpenGL的Shading语言(GLSL), 这里特别提名感谢纽约的Patricio Gonzalez Vivo和Jen Lowe写的一本未完成的网页书叫《The book of shader 》这本书很清晰地入门介绍了shader语言的特征和方法,在整个日常创作中,我一直尝试坚持写出来的内容都是之前介绍的灵感起源的方向。所以整个过程积累了一些图形内容的创作节点的脚本。这些脚本几乎就是Oriens的视觉基础:

Daily Practices of the GLSL Patches in Touchdesigner

For the final platform to integrate this piece into final AV composition, i decided to switch to Touchdesigner this time. For me as a non-traditional software engineer background artist, A node-connect base work flexible interface with a steady solid C++ structure and cross Mac&PC platform is the ideal work environment fir my workflow. which in this case the one and the only TD is my powerful choice. I have to mentioned this special node called Animation , its a keyframe editor in TD, it allow me to publish any type of variables from GLSL patch into timeline. and key-framing is usually the important element for creating audio visual composition, and with this combination of GLSL editor node, i can constantly control all the elements' parameter from my GLSL patch in timeline editing. 

这次承载作品架构平台我最终选择的是TouchDesigner,主要原因是作为非专业程序开发背景出来的艺术家,能通过模块连连看方式,快速实现代码逻辑进行原型系统创作,同时兼顾相对高的稳定性和灵活度,基于C++基础而且还跨PC和MAC平台的TouchDesigner基本是我的首选。这里头格外介绍一些这次作品中核心用到的一个TD的功能节点叫Animation.那这个节点可基于任意的时间轴来发布变量,基本上就是一个实时的AE关键帧编辑器,那对于AudioVisual声音影像装置创作来说是非常重要的一个编辑器。另外要说的就是现在各大软件平台都在逐渐支持的shader编辑器和脚本窗口。TD不算非常好用的但是和Animation配合起来还是一个比较不常见但对于作品创作来说非常有用编辑逻辑:

Animation Node in Touchdesigner interface

 

DESIGN|场域设计
 

About the Final Design of the installation at TodayArt Museum in Beijing, we have a AV projection space that cover all two dimensional walls and floor ,and it enclose it into a interesting mapping space with the big scale of 90feet(30meters) * 45feet(15meters)* 42feet(14meters). you can find out the space on the video below. So in order to create an relative immersive experience for ORIENS flat content, i decide to create another black/inverted colored version of the main content into the floor projection, and due to the view perspective angle from audience to the main wall and floor content, its actually create a passive interaction relationship with the audience on the ground , while they watching it and they are also siting inside of it.
Thanks to the SOP and TOP node from Touchdesigner, i can quickly daft the design with 3d models and uv texture mapping on basic shape, and test them to see it in scale and then do the real model projection test in one software, which is awesome again. this flexible straight forward work process by TD really save me a lot of time.

关于这次装置的空间布局设计,起源于纯单平面的视觉内容,但最终根据今日美术馆的庞大的AV大厅环境,我尝试将立面主屏的内容复制一个阴阳版的地面内容, 因为观赏角度的不一致, 我个人认为还是挺有必要尝试重复相对称的内容,通过布局于地面将观众置身于立面的作品内容中,这样激活一个与观众被动的互动关系。

Design Sketch

Installation Design Preview in Touchdesigner

Mapping Projection Test on 1:100 Models

Real Final Projection In TodayArt Museum in Beijing

 

SOUND|声音与音效
 

On the Sound and Music side, i design the full composition with duration of 6min 38 seconds, and the prelude chapter of the composition is around 2 mins its quite and gentle in order to calm the audience off, the sound effect of prelude section was made by New York Base Musician and Game maker Eddy Wengu Hu, and the main chapter is using the LA base Musician Mars Noir's work :FORCE RECKONED WITH. the rollercoaster emotion curve for lisener from this song composition attract me a lot, and is perfect with the echo we have in this enclosure space in the museum.

ORIENS的整体时间长度大约为6分38秒,跟我上一个作品MACROCSOM的章节排序一样,是前奏章占开头33%主要是安静的低音音效环境加相对肃静的状态让观众进入预备观赏状态,然后使用主章节的66%去完成整个视觉变化呈现,前奏章节的音效是由纽约音乐游戏制作人胡文谷制作的,而主章节的声音我选择的是洛杉矶音乐人Mars Noir的FORCE RECKONED WITH这一首曲子。这首曲子最吸引我的部分是它的节奏和音效风格非常末世DOOM的感觉,同时有大量的回音和回响充斥其中,相对可以利用今日美术馆AV大厅的封闭但不吸音的空间进行更多的回响混合。

The SoundCloud links of those two musicians
两位音乐人SoundCloud链接:
Mars Noir:https://soundcloud.com/marsnoir
胡文谷:https://soundcloud.com/dgspitzer

 

FINAL|最终呈现

 

The contents of the final device through the real scale of the AV hall presented when the first time I see the person is still very excited, after all, a huge round object to the dynamic form of my design with the sound of the time in the space, The whole device expressed on the relationship between man and the universe can finally be in such a perfect fit among the body, of course, I hope that the conditions of the audience in the few people standing or lying on the ground center of such a best view Angle to feel this work:

最终装置的内容通过AV大厅真实尺度呈现出来的时候,第一次看到时候我个人还是很激动的,毕竟一个硕大的圆形物体以我设计的动态形式配合声音出现的空间之中的时候,整个装置表达出来的关于人与宇宙的形态关系终于可以在这样的一个完美体量当中呈现,当然我跟希望有条件的观众在人少的时候站在或躺着地面的中心这样一个最佳观赏角度去感受这个作品:

Photo by Show Sponsor XiaoMi

Here is the version 1.26 photo doc on site:

Here is the version 1.26 view in the 4th Floor on site:

EXHIBITION INFORMATION|展览信息
 

If you are in Beijing, you are so welcome to jump in and check the show at TodayArtMuseum.
Here is the detail of the show:

Name: zip 未来的狂想 | 小米∙今日未来馆
Time 展览时间:07/16- 09/16 | 2017
Space 展览场地:今日美术馆1号馆

Address:今日美术馆/Today Art Museum
北京市朝阳区百子湾路32号,100022
No.32 Baiziwan Road, Chaoyang District, Beijing, China,100022
www.todayartmuseum.com

 

 

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