Sunday, November 6, 2011
Sunday, January 31, 2010
UPDATES: long overdue
here is the proposal that we submitted for the midterm.
Project Proposal: A Home Inside a Hexahedron.
Project Description:
We intend to create an interior space that extrudes outside of its confined limits overflowing onto it’s exterior. Essentially we would like to create a house that is bigger on the inside than it is on the outside.
Jerry Thompson and Taylor Zorzi’s ‘a home inside a hexahedron’ is an interior space, housed within a cube, an outer membrane that contracts and expands dependant on audience proximity. The cube when closed lives in a practical physical universe, one which appears to the viewer as a realizable object. When open, a fantastic world, which has been contracted and entangled within the cube, exposes itself. “A home inside a hexahedron” translates the notion of an object realized in the mind despite its physical inconceivability’s.
This is the interior space of a house, a house where the inconceivable takes place, private moments that the inhabitant is acquainted with, and as a user you are intruding on a space that is foreign to you. Like the mind, at times, others are unaware of the multiplicity of things that occupy the interior space. A user does not have privileged access to these thoughts, and as they are seeing the space unsuspecting of what awaits them, they will experience the cube with a slight apprehensiveness and curiosity, and in return the box will timidly release it’s contents onto the viewer.
We will treat the production process as two segregated undertakings.
The production of the interior will involve the creation of multiple rooms, set dressed with miniature furniture. A labyrinth of inter-connecting rooms that pile on top of one another to create a mansion of multiple spaces which spill out on top of one another when the box opens. Walls that don’t reach to the ceiling, floors that only half segregate levels of space will aid in the unconventionality of the layout of the interior.
Our Cube will hang from the gallery ceiling, permitting the viewer to direct their attention from all angles. A track built and situated above the cube will direct and control the expansion and contraction of the cube’s walls. This will work with the aid of servos or stepper motors. The boxes behavior is timid, the information which in the audience divulges is private and therefore we are basing its vulnerability on proximity. The closer you are the more susceptible it becomes to intrusion. The track structure is connected to the box my many invisible wires, we hope to have as many as possible to assist in producing the most life like expansion that curls downward.
Project Significance:
‘A home inside a hexahedron’ aims to force the audience to question what they are beholding in the physical world. The audience should discern an environment beyond the bounds of possibility, evoking wonder and curiosity. In a world wherein we are fascinated and engrossed with exterior properties, the surface structure is what we always base our impressions upon. Judging a book by its cover in the simplest sense. We hope to intrigue the viewer with light, a means to initiate the relationship between the audience and the house. At first glace the viewer will believe they are embarking upon something minimalist, simple, a pure form. Once this relationship has been made, as the cube begins to demonstrate vulnerability and it shares what it holds inside. We have decided not to date the interior; our set dressing will be an ambiguous combination of furniture from scattered decades. These pieces could either be homage to the past or an anticipation of what is to come.
We continually struggled with how our piece would play and converse with our audience. When one divulges an overwhelming amount of information, two methods of expression
are possible. The first method is to timidly release information as one grows more
comfortable with their surroundings and the second method is to release all the
information at once as though it had been waiting to be released For the first method, the box would maintain a timid behavior and open slowly, unsure of what might happen
when it is exposed. In accordance with the second method, the box would quickly and
abruptly spill over, as if it was so contracted and entangled on the inside that it could not
wait to be exposed. We have essentially decided on a combination of the two. A timid creature at first, the box will slowly reveal more and more light, and then once the insides are visible the box will spill open revealing the contents.
Unconventional narrative and story telling devices helped to created inspiration for this
piece. Mark Z. Danielewski’s novel, House of Leaves acts as a historical reference. On
some of the paperback editions, the cover of the book is slightly smaller than the pages
themselves, causing the pages to peek out of the side and the back cover. The novel is
about a house, which contains a labyrinth structure that seems physically impossible to
occupy the described exterior. The typography in the book mimics the feelings of the
characters and situations in the novel. When characters are navigating in claustrophobic
labyrinth sections of the corner’s interior, the text is densely confusing, packing into
small corners of each page. We don’t only see a reflection of the character’s action being
represented simultaneously in the text but because of the structure of the text the reader
starts to read the text at the character’s pace.
Production Plan and Feasibility
The interactive experience will be central, accessible from a variety of positions. We hope to create interaction experiences from all angles, so that the viewer doesn’t have to position himself or herself prior to action commencing. The interactivity is based on proximity, we hope to have the box only open when a viewer in an intimate position, distances no more than four feet from the box itself. If the viewer moves in and out of this active zone, the box will not continue to open for them, stressing that this is for detailed inspection only, and a relationship built on closeness must initiated.
This piece solely lives in the physical world. There are no virtual elements. We are attempting to create a mystery, possibilities that would seem more plausible in a virtual world, in the physical material universe. The Methodology that we intend to use is one, which stresses detail over tactility, which will aid in the conception of a hyperrealist universe. We hope to pack the most detail into the smallest possible area. The more one spreads the detail over a larger area, the more simple and believable the piece will become. This project is a bit of experimenting with the skills that we have already developed over our four years studying the new media practice. We will be creating detailed miniatures. Making set models is not unfamiliar to us, but creating them on such a small scale will be. We also have a few other professionals aiding us with the creation of this piece. An engineer at Ryerson who has access to a precision cutting machine, for doing small precision cutting with wood, Plexiglas and other fine materials. We also have a makeup artist who will be assisting us in the creation of the skin for the outer layer of the cube.
Public Presentation
The piece doesn’t have a lot of physical constraints within the gallery space. It doesn’t require an overly large area of it’s own. It would be best in a section with other pieces that are complimented by low light. The audience needs to have space to interact from all angles. It would be better if the area corralled people vs. the piece being open to the whole space. We also need a ceiling that can be adapted to hold our track mechanism. Our piece should be quite easily adaptable.
and here is the mock up in cardboard: This was at about the 3/4 way mark, there is a full bedroom and more small things to fill up the space, I need to photograph that.
process-01-15-10.jpg)
process-01-15-10.jpg)
process-01-15-10.jpg)
process-01-15-10.jpg)
a lot has been changed since december but this gives a better idea i guess for now.
BIGGEST CHANGE: it's no longer hanging, it is mounted (seamlessly) on the top of a plinth so that in the gallery space it is essentially invisible until approached. Second biggest change, this baby utilizes two overhead projections for it's texture, pattern detail and light source.
-taylor
Project Proposal: A Home Inside a Hexahedron.
Project Description:
We intend to create an interior space that extrudes outside of its confined limits overflowing onto it’s exterior. Essentially we would like to create a house that is bigger on the inside than it is on the outside.
Jerry Thompson and Taylor Zorzi’s ‘a home inside a hexahedron’ is an interior space, housed within a cube, an outer membrane that contracts and expands dependant on audience proximity. The cube when closed lives in a practical physical universe, one which appears to the viewer as a realizable object. When open, a fantastic world, which has been contracted and entangled within the cube, exposes itself. “A home inside a hexahedron” translates the notion of an object realized in the mind despite its physical inconceivability’s.
This is the interior space of a house, a house where the inconceivable takes place, private moments that the inhabitant is acquainted with, and as a user you are intruding on a space that is foreign to you. Like the mind, at times, others are unaware of the multiplicity of things that occupy the interior space. A user does not have privileged access to these thoughts, and as they are seeing the space unsuspecting of what awaits them, they will experience the cube with a slight apprehensiveness and curiosity, and in return the box will timidly release it’s contents onto the viewer.
We will treat the production process as two segregated undertakings.
The production of the interior will involve the creation of multiple rooms, set dressed with miniature furniture. A labyrinth of inter-connecting rooms that pile on top of one another to create a mansion of multiple spaces which spill out on top of one another when the box opens. Walls that don’t reach to the ceiling, floors that only half segregate levels of space will aid in the unconventionality of the layout of the interior.
Our Cube will hang from the gallery ceiling, permitting the viewer to direct their attention from all angles. A track built and situated above the cube will direct and control the expansion and contraction of the cube’s walls. This will work with the aid of servos or stepper motors. The boxes behavior is timid, the information which in the audience divulges is private and therefore we are basing its vulnerability on proximity. The closer you are the more susceptible it becomes to intrusion. The track structure is connected to the box my many invisible wires, we hope to have as many as possible to assist in producing the most life like expansion that curls downward.
Project Significance:
‘A home inside a hexahedron’ aims to force the audience to question what they are beholding in the physical world. The audience should discern an environment beyond the bounds of possibility, evoking wonder and curiosity. In a world wherein we are fascinated and engrossed with exterior properties, the surface structure is what we always base our impressions upon. Judging a book by its cover in the simplest sense. We hope to intrigue the viewer with light, a means to initiate the relationship between the audience and the house. At first glace the viewer will believe they are embarking upon something minimalist, simple, a pure form. Once this relationship has been made, as the cube begins to demonstrate vulnerability and it shares what it holds inside. We have decided not to date the interior; our set dressing will be an ambiguous combination of furniture from scattered decades. These pieces could either be homage to the past or an anticipation of what is to come.
We continually struggled with how our piece would play and converse with our audience. When one divulges an overwhelming amount of information, two methods of expression
are possible. The first method is to timidly release information as one grows more
comfortable with their surroundings and the second method is to release all the
information at once as though it had been waiting to be released For the first method, the box would maintain a timid behavior and open slowly, unsure of what might happen
when it is exposed. In accordance with the second method, the box would quickly and
abruptly spill over, as if it was so contracted and entangled on the inside that it could not
wait to be exposed. We have essentially decided on a combination of the two. A timid creature at first, the box will slowly reveal more and more light, and then once the insides are visible the box will spill open revealing the contents.
Unconventional narrative and story telling devices helped to created inspiration for this
piece. Mark Z. Danielewski’s novel, House of Leaves acts as a historical reference. On
some of the paperback editions, the cover of the book is slightly smaller than the pages
themselves, causing the pages to peek out of the side and the back cover. The novel is
about a house, which contains a labyrinth structure that seems physically impossible to
occupy the described exterior. The typography in the book mimics the feelings of the
characters and situations in the novel. When characters are navigating in claustrophobic
labyrinth sections of the corner’s interior, the text is densely confusing, packing into
small corners of each page. We don’t only see a reflection of the character’s action being
represented simultaneously in the text but because of the structure of the text the reader
starts to read the text at the character’s pace.
Production Plan and Feasibility
The interactive experience will be central, accessible from a variety of positions. We hope to create interaction experiences from all angles, so that the viewer doesn’t have to position himself or herself prior to action commencing. The interactivity is based on proximity, we hope to have the box only open when a viewer in an intimate position, distances no more than four feet from the box itself. If the viewer moves in and out of this active zone, the box will not continue to open for them, stressing that this is for detailed inspection only, and a relationship built on closeness must initiated.
This piece solely lives in the physical world. There are no virtual elements. We are attempting to create a mystery, possibilities that would seem more plausible in a virtual world, in the physical material universe. The Methodology that we intend to use is one, which stresses detail over tactility, which will aid in the conception of a hyperrealist universe. We hope to pack the most detail into the smallest possible area. The more one spreads the detail over a larger area, the more simple and believable the piece will become. This project is a bit of experimenting with the skills that we have already developed over our four years studying the new media practice. We will be creating detailed miniatures. Making set models is not unfamiliar to us, but creating them on such a small scale will be. We also have a few other professionals aiding us with the creation of this piece. An engineer at Ryerson who has access to a precision cutting machine, for doing small precision cutting with wood, Plexiglas and other fine materials. We also have a makeup artist who will be assisting us in the creation of the skin for the outer layer of the cube.
Public Presentation
The piece doesn’t have a lot of physical constraints within the gallery space. It doesn’t require an overly large area of it’s own. It would be best in a section with other pieces that are complimented by low light. The audience needs to have space to interact from all angles. It would be better if the area corralled people vs. the piece being open to the whole space. We also need a ceiling that can be adapted to hold our track mechanism. Our piece should be quite easily adaptable.
and here is the mock up in cardboard: This was at about the 3/4 way mark, there is a full bedroom and more small things to fill up the space, I need to photograph that.
process-01-15-10.jpg)
process-01-15-10.jpg)
process-01-15-10.jpg)
process-01-15-10.jpg)
a lot has been changed since december but this gives a better idea i guess for now.
BIGGEST CHANGE: it's no longer hanging, it is mounted (seamlessly) on the top of a plinth so that in the gallery space it is essentially invisible until approached. Second biggest change, this baby utilizes two overhead projections for it's texture, pattern detail and light source.
-taylor
Wednesday, October 14, 2009
Tuesday, October 13, 2009
Monday, October 12, 2009
5.
Shared our concept with the class on thursday.
We need to look at polly pockets, pop up books, and artificial reality...
what are we creating.
Found a link on paper art, book looks pretty awesome and inspiring.
this is also my favorite website to waste my time on.
-taylor
Wednesday, October 7, 2009
4.
Every week we will be posting our process in the creation of our final thesis project. Here's the first four entries to date. More to come so stay posted.
-jerry
Monday, September 14, 2009
Today was the first meeting with our collaboration at second cup. We discussed ideas surrounding what we wanted to do this our project. We both agreed on creating/marketing/packaging/documenting a certain product. We weren’t quite sure on what product we wanted to create. We referenced certain artists/things we liked and could take from. Jerry mentioned Di Mainstone who deals with interaction clothing. We watched a clip about a piece she co created that addresses garments that are packaged, worn and interacted with.
Wednesday, September 22, 2009
We met again today at Taylor’s house to discuss our interests and future thesis project. Most of the time was spent talking about films and materials. Taylor had seen the newest Gasper Noe at TIFF a few nights prior and explained how inspiring his work is. She lent me one of his films to check out. We both came to the conclusion that we both enjoy using materials such as wood and plexi-glass. We both enjoy the look of wood and Taylor has had previous experience working with plexi-glass. We both agreed that upon our next meeting, we’d have a solid idea to work off of.
Monday, September 28, 2009
Today, we met at Second Cup (our idea hotspot with a terrible Wi-Fi connection) to hopefully have an idea written in stone by the end of the meeting. Sure enough, upon arriving, Taylor was sure she had something intriguing. She mentioned about having a cube/cube’s that the user has to open using hand movements without actually touching the box. The boxes would slowly crack and open slowly and rest flat. On the flat surface would be cinematic cityscapes that we’d fabricate. I thought the idea was brilliant. I later mention that it’d be interesting if we’d hang the boxes/cubes from the ceiling. We also touched upon fabricating a video to go along with the piece to heighten the user’s idea of what the project was. We threw some ideas around on what kind of technology we’d need to open/close the cubes as well as the amount of detail that would go into the cityscapes. After a very successful meeting, we decided to go and do some research about similar projects done/other ideas within the same context.
Tuesday, October 6, 2009
We presented our idea in class with Steve. Discussed our idea conceptually and technically. We met briefly before hand and discussed having the cubes open up when the user is a safe distance away, and then closing when they approach. Symbolic to the cube having a mind of its own. After briefly speaking with Steve in front of the class, he told us we had to act primarily on a nakedness/shyness mind of the cube that will intrigue the user to see what is in inside. What exactly is going on inside that cube and why I would want to see it? He also pointed us in the direction of peephole art including artists such as Janet Cardiff and David Hoffos. We were very intrigued by Hoffos’s work. His infamous installations included people appearing in elaborate fabricated settings but in reality were just reflections off the glass from a TV screen. In all, we need to start in and focus on the content of what the scene is and why it has to shut down. As Steve puts it, we need to have a smart answer as to why we as the user is alienated. Why we want that alienation- that is the question.
-jerry
Monday, September 14, 2009
Today was the first meeting with our collaboration at second cup. We discussed ideas surrounding what we wanted to do this our project. We both agreed on creating/marketing/packaging/documenting a certain product. We weren’t quite sure on what product we wanted to create. We referenced certain artists/things we liked and could take from. Jerry mentioned Di Mainstone who deals with interaction clothing. We watched a clip about a piece she co created that addresses garments that are packaged, worn and interacted with.
Wednesday, September 22, 2009
We met again today at Taylor’s house to discuss our interests and future thesis project. Most of the time was spent talking about films and materials. Taylor had seen the newest Gasper Noe at TIFF a few nights prior and explained how inspiring his work is. She lent me one of his films to check out. We both came to the conclusion that we both enjoy using materials such as wood and plexi-glass. We both enjoy the look of wood and Taylor has had previous experience working with plexi-glass. We both agreed that upon our next meeting, we’d have a solid idea to work off of.
Monday, September 28, 2009
Today, we met at Second Cup (our idea hotspot with a terrible Wi-Fi connection) to hopefully have an idea written in stone by the end of the meeting. Sure enough, upon arriving, Taylor was sure she had something intriguing. She mentioned about having a cube/cube’s that the user has to open using hand movements without actually touching the box. The boxes would slowly crack and open slowly and rest flat. On the flat surface would be cinematic cityscapes that we’d fabricate. I thought the idea was brilliant. I later mention that it’d be interesting if we’d hang the boxes/cubes from the ceiling. We also touched upon fabricating a video to go along with the piece to heighten the user’s idea of what the project was. We threw some ideas around on what kind of technology we’d need to open/close the cubes as well as the amount of detail that would go into the cityscapes. After a very successful meeting, we decided to go and do some research about similar projects done/other ideas within the same context.
Tuesday, October 6, 2009
We presented our idea in class with Steve. Discussed our idea conceptually and technically. We met briefly before hand and discussed having the cubes open up when the user is a safe distance away, and then closing when they approach. Symbolic to the cube having a mind of its own. After briefly speaking with Steve in front of the class, he told us we had to act primarily on a nakedness/shyness mind of the cube that will intrigue the user to see what is in inside. What exactly is going on inside that cube and why I would want to see it? He also pointed us in the direction of peephole art including artists such as Janet Cardiff and David Hoffos. We were very intrigued by Hoffos’s work. His infamous installations included people appearing in elaborate fabricated settings but in reality were just reflections off the glass from a TV screen. In all, we need to start in and focus on the content of what the scene is and why it has to shut down. As Steve puts it, we need to have a smart answer as to why we as the user is alienated. Why we want that alienation- that is the question.
3.
ok,
so i just posted my first ROUGH draft.
and then had a meeting with Mark Argo,
how rough that draft is, is really becoming evident to me.
can i rewrite my script one week before the shoot? I have heard it has been done.
-taylor
so i just posted my first ROUGH draft.
and then had a meeting with Mark Argo,
how rough that draft is, is really becoming evident to me.
can i rewrite my script one week before the shoot? I have heard it has been done.
-taylor
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