After researching Ceal Floyer I was inspired by her technique. I was interested in the way in which she created illusions for simple objects. I attempted to create a constructed scene from everyday objects. I tried to create a table with a lamp on, I made this from a Polaroid picture, cotton buds and other random objects.
Using water and different materials I created different patterns and shapes on the overhead projector.
After using the smartphone projector I realised it wasn't powerful enough. The only projector I could find was an Over head projector. This was difficult to use as whatever I wanted to project had to be slightly transparent otherwise it would work well. I experimented using water and different materials on the overhead projector. I then photographed the projection with a subject standing in front.. How to make a smartphone projector.I followed a Youtube tutorial to create my own smartphone projector. I used a shoe box, a magnifying glass, sellotape, scissors and a paper clip. Firstly I drew around the magnifying glass on the side of the box. After I had drawn the shape I then cut out a circle inside the shape. I sellotaped the magnifying glass onto the outside of the box, I made sure the magnifying glass covered the hole I had cut. I then shaped a paperclip to make a phone stand so that my phone could stay upright inside the box. I placed my phone onto the stand and then put the lid on top. I sellotaped the lid down just to secure the box. The projector worked quite well, but only when the room I projected into was very dark.
After building the Smartphone projector I decided to experiment with photos and videos that I had on my phone. Although the smartphone projector isn't extremely powerful it's still interesting and unique. Here are some of the results! Whilst researching projection I decided to research the use of projected light & Shadow. Noble & Webster have created many different sculptures from objects that when lit create unique shadows. 'They might just look like piles of everyday junk and bits of twisted metal but two artists have skillfully arranged them to create incredibly realistic shadows. British-born artists Tim Noble and Sue Webster have projected light against the carefully constructed 3D rubbish heaps transforming them into something entirely different. In one work, entitled White Trash (With Gulls), they used six months of household waste and a pair of dead seagulls as rubbish.' Then, after a further six months, they created the two shadowy images - self-portraits of themselves drinking wine and smoking. The pair like to deal with crude themes and over the years have gained reputations as rebels of the London art scene. The pair's work can be divided into the 'Light Works' and 'Shadow Works'. Ms Webster said: 'We kept them both going side by side. There are two sides to the work; the shiny side and the dark side. That kind of reflects the two personalities within us.' She said the pair were influenced by punk rock particularly adding that the genre offered 'a direct and instant means of producing products or things.' She added: 'When we make a piece of work we're constantly looking for something that will take our breath away because if it does that to us we've pushed it as far as it will go.' Charles Saatchi once bought two works and their pieces have been showcased at the British Museum, the National Portrait Gallery, and the Royal Academy in London, as well as around the world. An Informal Catalogue of New-Media Performances Using Overhead Projectors (OHPs)Compiled by Golan Levin, May 2005. Keywords: overhead projector, OHP, transparencies, performance, interactive art, electronic art, new media art. Early History In "An International Picture Language: The History and Aesthetics of West Coast Light Shows", Robin Oppenheimer writes: "According to Haight-Ashbury historian Charles Perry, light shows were “discovered” in 1952 by a San Francisco State College art professor named Seymour Locks who wanted to revive the European Futurist theater experiments of the twenties and thirties that used projected images on scrims with live dancers and performers. Locks experimented with Viewgraph overhead projectors, the kind used by teachers in many large classrooms. In his experiments Locks found that paints could be stirred, swirled and otherwise manipulated in a glass dish with slightly raised edges to keep the liquid from spilling." In "Wow and Flutter: A Short History of the San Francisco Tape Music Center", David Bernstein writes: "Experiments with light and sound were part of the growing interest during the late 1950s and 1960s in collaborative work breaking down disciplinary barriers. During the 1960s, light shows, an outgrowth of the “polysensorial” environments associated with the “Acid Tests,” became a major component of the psychedelic rock scene and were regularly featured at many dance and concert venues such as the Fillmore, the Matrix, and the Avalon Ballroom. Elias Romero, a painter and poet who was also one of Locks' students, learned the technique and began to present light shows at parties and other venues. Romero also collaborated with Bill Ham, another light show specialist. The two artists worked with floating colored emulsions, rotating color discs, and slide projections, all having the effect of an of a new form of kinetic art." MikoMikona (Birgit Schneider & Andreas Eberlein) Fourier-Tanzformation I+II (2003) MikoMikona is a German duet exploring new forms of opto-electronic performance media. Their audiovisual performance Fourier-Tanzformation I+II is conducted on overhead projectors with transparencies, whose stripes and dot patterns are interpreted as sounds by a camera system. The transparencies are positioned by hand as well as with the assistance of small motors. The artists write: "With the piece Fourier-Tanzformation I+II Mikomikona present a physical-semiotic experiment. In this investigation, we make use of two overhead projectors as sound devices. To accomplish this we layer several transparencies with raster patterns; flickering interferences are produced through shifting of the layers. Parallel to the projection, we capture these interferences with small video cameras and transform the video signal into acoustic events. We implement our image-sound-converter, a small self-developed hardware device which eliminates the video’s sync signal. The spectators see the two projections of black & white moire patterns while simultaneously hearing the sound these patterns perform. What you see is what you hear. Fine moire lines produce high tones, wider lines result in lower tone pitches. With small motors we create visual and acoustic rhythmic structures. Mikomikona is dispensing with any digitalisation. This ensemble of analogue techniques represents an opto-electronic synthesizer with two crossed outputs: image and sound." Tmema (Golan Levin & Zachary Lieberman) The Manual Input Sessions (2004) In The Manual Input Sessions, a camera system observes the silhouettes cast by the performers' hands (and other objects) within the light of the overhead projector. These silhouettes are used as the controls and generative mechanisms for a variety of responsive graphics and synthetic sound processes. The computer graphics are superimposed onto the overhead projections by a computer-video projector so as to coincide with the original shadows. The artists write: "The Manual Input Sessions is a series of audiovisual vignettes which probe the expressive possibilities of hand gestures and finger movements. Our concert is performed on a combination of custom interactive software, analog overhead projectors and digital computer video projectors. The analog and digital projectors are aligned such that their projections overlap, resulting in an unusual quality of hybridized, dynamic light. During the performance, a computer vision system analyses the sihouettes of the performers’ hands and other objects as they move across the glass tops of the overhead projectors. The hand gestures are then analysed by our custom software. In response, our software generates synthetic graphics and sounds that are tightly coupled to the forms and movements of the performers’ actions. The synthetic responses are co-projected with the organic, analog shadows, resulting in an almost magical form of augmented-reality shadow play." Rob Lycett & DA[N]
Composition for OHP (2005) The artist writes: "At Dean Clough's 'Sir Richard Young Gallery', on Saturday 29th January 2005, DA[N] presented 'Composition for OHP' by Rob Lycett. 'Composition for OHP' is an optical illusion machine. An autonomous robotic system, with ultrasonic sensors, controls the arrangement of acetates on an overhead projector. The multi-layered composition attempts to rationalise a three dimensional space, within the confines of a flat surface." I was particularly interested in this exhibition as I liked how the artist had managed to cover the entire room with light and projection. The projection has a strong impact on the viewer and is also interesting to look at. 'Through a self-invented process, I suspend, encase, and permanently preserve animal blood, salvaged from slaughterhouses, in plexiglass and UV resin. This technique is designed to retain the blood’s natural colors and textures and to expose its finite details.
When lit, the works become more translucent, cast shadows, and project a glow onto the wall behind them. This effect reveals multiple layers of organic material floating in clear resin and makes the works appear as if they are illuminated from the inside. For the blood-lit environments, I use overhead projectors to shine and enlarge patterns from translucent blood panels into spaces. The color photographs document models covered in blood light. The blood light abstracts their bodies and appears as new layers of skin, epidermal diseases, tattoos, and natural birthmarks. The materials and luminosity in this new body of work relate to themes of corporeality, mortality, spirituality, and science—regenerating the blood as sublime.' http://gowanusballroom.com/2011/11/20/jordan-eagles-the-longest-night/ In this three day workshop you can develop simple musical instruments and sound generators that are electrically amplified and that run partly autonomous and to work on the visual aspects of the instruments as they are at the same time projected by the overhead projector. In this three day workshop you can develop simple musical instruments and sound generators that are electrically amplified and that run partly autonomous and to work on the visual aspects of the instruments as they are at the same time projected by the overhead projector. we provide you with material to build a wooden frame that fits onto the projector. On that frame you attach strings, rubber bands and springs to the frame. Anything that resonates will be amplified by the pick-ups. You are invited to explore the sounds and visuals that are possible with this setup and in between we offer short sessions on how to build solar powered autonomous kinetic objects. You can use these kinetic objects and place them on the projector so that the objects touch the strings/rubber bands when they move autonomously.
http://isea2011.sabanciuniv.edu/workshop/audio-visual-experiments-overhead-projector I found this interesting as it's a workshop, during this workshop you create instruments and then when the instruments are being played they create art using an overhead projector. This created interesting images that related to the sound and music. Imagine if you could taste colours. Or see flavours. What if the sounds you heard stimulated your taste buds, so the mere mention of a chef’s name filled your mouth with the citrussy tang of oranges? Or something worse. Welcome to the wonderfully befuddled world of synaesthesia, a neurological condition affecting four percent of the world’s population, in which a cross-wiring of the senses can give words, letters or numbers distinct flavours, colours, sounds or even personalities. Often a synaesthete’s sense of taste is affected, which might make sausages taste like the colour pink, while the sound of the word ‘sausage’ might taste like an egg. And since no two synaesthetic pathways are ever quite the same, it makes for all kinds of unusual possibilities.
“Each diner sat at a dedicated overhead projector and as the various dishes were set on top, it threw a projection on the wall in front of them,” says Tonkin. “In this way the room was filled with a composite patchwork of moving images that changed as the menu changed and as the diners licked, ate and played with their food to create an immersive film/food experience.” Chefs and a composer were drafted in to match perceived flavours with colours and sounds. The menu itself offered a monochromatic dinner in five colourful courses, from white through to black, each accompanied by a sweeping soundscape that changed with each course. “We invited chefs to work on our creative brief - which contained our own interpretations of the taste of colour – these same interpretations were given to the composer,” adds Tonkin. “We talked about white as being muffled, yellow as evocative of the harsh sun/desert environment, red as sensual but also as rust-like, blue as completely expansive and infinite and black as death. The menu reflected our ideas in taste, texture and colour and each course comprised food and drink.” https://www.finedininglovers.com/stories/synaesthesia-food-event/ |