To Be In Touch With Our Trace
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I am intrigued with the way image exists in different forms. When images went through various codecs, their transitional states offered new shapes to the digital information. Experiments included taking video screenshots to build 3d models, 3d objects scanned by a flatbed scanner, and scanned images projected onto a hanging cloth, giving the flattened image dimension. Images underwent processes to transfer themselves into other states of being. In between these thresholds of virtuality and physicality, the translation became more and more inaccurate. The heavily processed data eventually blurred the original image, as the glitches gradually accumulated. The diminished visibility allowed traces of tactility belonging to these digital mediums to appear.
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[p]
I found the way 3d models enable images to embody a physicality intriguing. To process low-quality images, the software sculpts a new physicality to the captured subject. Mistakes invent new materiality to the familiar, thus compressing still images of a time-based installation into a dead set. The fleeting projection stilled, later to be rendered into image sequences that animate the set again. Keyframing brought movement back to the object virtually. Thus, I took these animation sequences to post-production program, adding shadow, ambience, reverberation, etc. These effects were intended to endow more real-life likeliness to the image. Instead, what turned out embraced a strange materiality; the Ultra-HD image mimicked our real experiences and offered something alike on a flat screen. It could be felt through our retina and ears, but a further touch is forbidden.
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I looked for possibilities to portray space in moving image. Though using metaphorical sound effects and fast cuts to fuse real footage with animation, you would be able to see the space by thinking through them. Transitions between cuts implied something lied in between the two frames. All of these drop clues of a space; a space that only exists through the act of assembling. The way the moving image offers a spatial experience would be the most interesting thing between you and me. We are to see what possibilities lie beyond the frame. Choreographed arrangement of darkness and brightness would make your eyes touch on the virtual images. Ultimately, things are asking themselves to be seen in another way.
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[p]
zooming_in+to_a_thing_allow_us_to+be_intimate_with_it-as+if_touching_it_when_our_eyes_scan_through_it
[/p]
I am intrigued with the way image exists in different forms. When images went through various codecs, their transitional states offered new shapes to the digital information. Experiments included taking video screenshots to build 3d models, 3d objects scanned by a flatbed scanner, and scanned images projected onto a hanging cloth, giving the flattened image dimension. Images underwent processes to transfer themselves into other states of being. In between these thresholds of virtuality and physicality, the translation became more and more inaccurate. The heavily processed data eventually blurred the original image, as the glitches gradually accumulated. The diminished visibility allowed traces of tactility belonging to these digital mediums to appear.
[/p]
[p]
I found the way 3d models enable images to embody a physicality intriguing. To process low-quality images, the software sculpts a new physicality to the captured subject. Mistakes invent new materiality to the familiar, thus compressing still images of a time-based installation into a dead set. The fleeting projection stilled, later to be rendered into image sequences that animate the set again. Keyframing brought movement back to the object virtually. Thus, I took these animation sequences to post-production program, adding shadow, ambience, reverberation, etc. These effects were intended to endow more real-life likeliness to the image. Instead, what turned out embraced a strange materiality; the Ultra-HD image mimicked our real experiences and offered something alike on a flat screen. It could be felt through our retina and ears, but a further touch is forbidden.
[/p]
[p]
I looked for possibilities to portray space in moving image. Though using metaphorical sound effects and fast cuts to fuse real footage with animation, you would be able to see the space by thinking through them. Transitions between cuts implied something lied in between the two frames. All of these drop clues of a space; a space that only exists through the act of assembling. The way the moving image offers a spatial experience would be the most interesting thing between you and me. We are to see what possibilities lie beyond the frame. Choreographed arrangement of darkness and brightness would make your eyes touch on the virtual images. Ultimately, things are asking themselves to be seen in another way.
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zooming_in+to_a_thing_allow_us_to+be_intimate_with_it-as+if_touching_it_when_our_eyes_scan_through_it
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