Almost Nothing

The machines are done so far.  They could each still use some adjustments and development however, there is not enough time.  The machine for seeing the model through projection of the image onto a series of different mirrors fragmenting the image could have a better image quality but there is not enough light to project a better image.  Also, the machine for seeing nothing I feel interprets nothing very well it allows light and images in on one side but does not let the light and images make it to the viewers eyes directly but reflects and fragments the image into an absence of form.  I also utilized an exploded perspective to further depict what is exactly happening on the inside of this machine capturing the inner workings and the distortion.

Stepping It Up A Notch, or 15

After being very successful with the black-light and the projection of the model, I decided to try to reconstruct the same concepts of that large machine into a smaller hand held, mobile machine.  Although darkness is required to project the image, I found out that the model does not have to be in darkness but the interiors of the machine including the lens and mirrors, have to be in the dark.  Therefore, I was able to utilize the camera lens once again to capture the light and image of the model.  I then attempted to bend the light within the machine to project the image elsewhere.  Unfortunately, there is not enough light to make it past one mirror.  I then decided to utilize a series of mirrors and prisms at different angles projecting the image of the model onto the same screen.  this enables one to see many different views of the model on the scree at one time.

Furthermore, in order to look at my model through a machine and see nothing, I decided to first define nothing as the absence of color and the absence of form.  To see an absence of color is to see white and to see an absence of form is to see the undefined.  To do this I utilize mirrors that together form a triangle that slowly decreases in size from one end to the other.  I then inserted three more mirrors coming to a point within the other three triangle mirrors.  This new series of three mirrors distorts the original distortion while blocking some of the image of the model from ones view while allowing the light through.  This however left some of the image of the model visible, so I inserted another three triangle mirrors at the smaller end to block the rest of the image from the viewer while still allowing the light through to reflect and become nothing.

Blacklight Reflection and Projection

In an attempt to project my model I built a oval box that is dark on the interior.  I then placed my model inside and mounted a black light on the top and put a dark cloth over it.  While in a dark environment, the blacklight reflects light off of the white landscape of the model.  This light is then collected through a camera lens and projected outward towards a mirror which intern directs the light in any direction one desires.  As long as the directed light hits a white surface, the model is visible.  I am having difficulty focusing the image but it is there yet it is blurry.  However, if I used a fogged piece of plexi, I can focus the image and see details on the model.  I am hoping I can get the larger image to focus on a wall though by utilizing different mirror position and angles.

The New Machine

The two new machines currently in design are to see the model in a new way emphasizing something about the model and cubism.  The other is to see nothing at all.  After taking a trip to the local photo store I came across and old movie editor and an old camera and lens.  While exploring the film editor I learned just how it worked.  It uses a low voltage bulb at the base which shines light onto a small lens which projects the light onto and through the film strip which than hits a series of mirrors at different angles finally projecting the light onto the plexiglas allowing one to see the film at a bigger scale.  With this in mind I came up with the idea of possibly allowing one to view my model through that screen or possibly at a large scale in the same manner.  However, the model is solid and I cannot project light through it.  In tern I though of either taking actual film and projecting it through a similar projector emphasizing certain aspects of the model.  Also I came up with another idea of using a black light on the white model in a completely dark environment.  Possibly this light will allow enough light to be reflected off of the  model to be projected using a series of mirrors.  I am thinking if i can get enough light to reflect off of the model, I will be able to project it onto a wall or screen.  I am going to further develop the idea this weekend though and see if it is possible.

Phase 1 Complete, Phase 2 Begins

As I finished my analysis of the paint, I realized just how many different ways there are to look at cubist paintings seeing as the other person analyzing the same painting had some similarities in his models but also some large differences.  For example, his violin was going in the opposite direction of mine.  Although neither is theoreticaly correct, I do believe his makes more sense seeing as the head of the violin most often considered the smallest part of the violin was actually the largest.  I feel that this size difference suggests the painter was trying to emphasize the perspective as he does in many other areas of the painting.  Overall i do feel that I have a good understanding for this cubist painting and now that cubist paintings have more meaning to me, I have more interest in them as well.

Moving on to the next phase of our exploration in cubism, we are to take aspects of a selected Le Corbusier building and essentially create a landscape/architecture out of the painting and those major pieces.  Other than those parameters, we are completely free to do anything we want.  While using aspects of the Millowners Association Building, and regulating lines as well as the pure geometric shapes from the painting, I begun my landscape exploration.  I pulled pieces up dropped pieces down and angled and solidified them all.  This leaves a uniform surface but the different surface levels and angles create unique spaces that draw one through the landscape creating an experience rather than just a pathway.

Cubism Continued

As I continue working in model and exploring the cubist painting, it continually gets difficult to define space as well as the objects.  Working with my one diorama model however is enjoyable as I create a 3D puzzle out of the painting.  It gets frustrating at times and does bring some head aches.  I hope that once this model is complete i will be able to better understand the space and objects allowing me to further explore my other models and eventually layer the space and apply a layer to each piece of the painting.  It is my first real exploration in cubism and has enabled me to see more in cubist paintings than I previously did.  I am planning on posting pictures of my models once i come across a digital camera though which will be soon hopefully.

Exploration in Cubism

With the use of Juan Gris' Violin and Glass, I have begun to analyze cubism by deciphering the cubist painting.  At first look at the painting it is hard to decipher the different pieces of the painting.  However, Juan Gris's use of color made a good starting point at defining the depth of the space assuming lighter and brighter colors are in the foreground and the darker colors are further back in space.  I began to fold and manipulate the painting in attempt to physically bring the brighter colors forward and push the darker colors back creating a third dimension of the painting.  As I continued folding the objects and the space it became easier to decipher the space and objects within the painting.  I than decided to analyse just the objects in the painting by folding in the same manner as before.  This enabled me to come to a purposed placement of the objects in the space, the violin for example, may be laying on the table on the sheet music.  Since one can make out the on side of the violin, and the front face of it, I came to the conclusion it may be laying at an angle where in actuality you would be able to see both of these faces that are depicted.  The same can be said for the glass which may be standing on the table on top of a roll of sheet music.  However, i am still exploring the painting in hopes of becoming more certain in my decisions on the objects placement as well as the space that the objects are in.