Coding Research

屏幕快照 2016-01-14 下午6.39.17屏幕快照 2016-01-14 下午6.37.39

LED_LDR

 

Once I have completed the physical model, I started to focus on the technique part, that is LED connection and Arduino control. The operating principle is when the user put the Goblet up, the LED lights will be turned on by using the light sensor which is controlled by Arduino, the lights will map a wireframe goblet which is quite different from the original wood model and therefore achieve the user’s expectation.

In fact, I didn’t  know much about the Arduino and just try to find more possibilities for our coding. After searching through the related website, I found the similar  code to control the light sensor as a switch. I download this reference and asked our classmate Yoogle, who is good at coding and he gave me some advice.

co2

co1

After these guidance, I completed the code of the modeling and then transferred these data into the Arduino. In this part, light sensor works as a switch to receive the task instruction from the Arduino and then control the LED lights. This solution brings users the visual effect and satisfies their unpredictable expectation.

 

Prototype Stage II-B

3D Print Modelp231

p232

233

In addition, I used another material called the black ABS to produce a 3D Goblet for testing by using 3D print machine. This solution is a fast and efficient way to make a model, but the limitation is that the machine cannot print big size for display.

p41

p43

Card Paper Model

Finally, I went back to the original method to make a prototype, which uses the card paper. Firstly, I completed the plan of the 3D model by using Adobe Illustrator, making sure all the details are correct. Then printed the image and separated them from the paper by using the angle protractor and knife, connecting every part by using glue. Due to the translucent feature of the card paper, I do not need to drill holes on it for LED lights. It is easier to use to produce the prototype throughout testing various material and doing so much research. As a result, sometimes the original or basic material brings us surprise.

Prototype Stage I

In the prototype, I started to consider the form of the model, like the choice of materials. At the start, I had no idea about the materials and I tried to find some solutions by trying different kinds of materials. Then three wireframe cubes were made by using different kinds of metal wires in order to choose the materials, along with LED lights for the original prototype, but I failed two times due to the fact that the metal is way too soft.

屏幕快照 2015-12-08 上午6.36.35                        p7                                                                                                  The original data from James Blinn

 

goblet measurement-01

The Process of Sketch Draft

Also, I got the original data of the Goblet from James Blinn. After doing research on the website, I figured out the data stands for every single position in CAD software, in other words, the original proportion of the Goblet. Then I produced some sketch draft of the appearance of the Goblet, these promises the accuracy of the Goblet when we made it later.

V&A

Basing on the original proportion and the draft, I started designing the Electronic version of Goblet by using Rhino. As a result, these work were prepared for the modeling of the physical one.

The relationship among audience, artifact and narrative space

when the object is put in the narrative space of museum, what kind of relationship or interaction will be expected for viewers?

未标题-2-01

 

“The significance of an object really isn’t determined by its physicality, but by the different meanings  invested by its audience.”      — Cecilie Gravesen

In Cecillie Gravesen’s and Usman Haque‘s lectures, they all pointed out that audience plays an important role in creating an artifact or object. In participatory design, participants (putative, potential or future) are invited to cooperate with designers, researchers and developers during an innovation process. Potentially, they participate during several stages of an innovation process: they participate during the initial exploration and problem definition both to help define the problem and to focus ideas for solution, and during development, they help evaluate proposed solutions.

I read through this reference about “participatory design” and was inspired by Cecillie Gravesen and Usman Haque, I obtained some key points related to the the participation, which is viewer’s role had changed a lot in the past few decades, they want to be a part of the artwork instead of just a viewer.

Usman Haque        “MARLING” & “ANOTHER LIFE”

Inspired from Usman Haque’s artworks, I decided that some visual effects as reflections are necessary for users’ when they do an action on the artifacts, embracing their emotion and satisfying their unpredictable expectation. As a result, tangible feature and interacting feedback are essential for the redesigned artifact.

V&A Visit & Artifact

1239014748

Our tour of V&A Blythe House, for visiting and researching.

At first, the Archive’s staff showed us a lot of artifacts of computer art in the Archive of Art and Design of the V&A Museum, and also they told us some stories of the artifacts, just like when and how they collected them into the Museum.

999930030

1864756096

554742819After the general instruction, all of us started going through these artifacts, asking some questions, discussing with our tutors. I was really interested in several pieces of them, especially the “Manipulating Data” one,while my parter Nidhi was interested in the some space technological ones, just like the “Space View” and the “Goblet” which were designed by James Blinn.

1323895891

1161075530

Finally, Nidhi and me chose the “Goblet” not only because it is an computer artwork which is famous for Jet Propulsion Laboratory , but also we think it is so interesting and we wanted to know much more about it.

打印

About the “Goblet”:

It was designed by James Blinn in 1977, illustrating the lack of realism inherent in a line-drawing of a goblet. The shape of the goblet is apparent, but there is confusion as to what constitutes the front and the back of the object.

It is general  believed that when people first glance saw some objects, they just stay on the surface level instead of having a consciousness of its reality, such as the structure, its story  or culture background.

 

 

 

 

 

Reflective Piece of V&A Project

1239014748

In the past two months, I focused on the the Golbet which is a computer art graphic designed by James Blinn in 1977 and did a lot of research relevantly, for the purpose of producing an interactive version for the museum. In this process, I suffered from many different kinds of issues which are related to the theory, material, as well as the technical things. So far,some of them have been solved by the academic resources, such as the inspiration of the lectures, design theories and the Max classes, while some of them are remained to be explored and therefore solved.

Firstly, we did a lot of research which is relevant to James Blinn and the story of his Goblet. In his book “James Blinn’s corner”, he pointed that hidden line elimination is once one of the greatest classic problems of computer graphics. Also, he said that he personally sees more magic in a moving hidden line image. These are the points he had used in the graphic of Goblet, illustrating the lack of realism inherent in a line drawing, which means that people also realize the surface of the object instead of understanding and finding some information beyond. By reading these reference, we obtained some inspiration and started our project, aiming to build a 3D wireframe model which can show the beyond information of the object as well as interact with audience.

打印

Also, my research is continually focusing on the relationship among our object, the narrative space of the museum and the audience. This means that when the object is put in the narrative space of museum, what kind of relationship or interaction will be expected for viewers?  In Cecillie Gravesen’s and Usman Haque‘s lectures, they all pointed out that audience plays an important role in creating an artifact or object, then I read some reference about “participatory design”, obtaining some key points which are related to the the participation, that viewer’s role had changed a lot in the past few decades, they want to be a part of the artwork instead of just a viewer. Another point worth mentioning is that the artifacts in the museum cannot be touched normally, and also the original one of Goblet is just a graphic, leading to an isolated atmosphere. As a result, we decided to make a physical wireframe model which can interact with these viewers.

未标题-2-01The relationship among Designers, Viewers, Artifact and Narrative Space

Next stage, we started to consider the form of our object, like the choice of materials and what kinds of technical things can be used to interact with audience.At the start, Nidhi and me had no idea about the materials and we tried to find some solutions. Then we made three wireframe cubes by using different kinds of metal wires, along with LED lights for the original prototype, but we failed two times due to the fact that the metal is way too soft. After taking the class of “Affordance” and reading some chapters of “Emotional Design” which was written by Donald Norman, I was given some inspiration which is related to user’s expectation and continuance of the object.

1727114537

549594548

Then we started focusing on the wood not only because it is suitable for the atmosphere in the museum, which symbolizes a sense of tradition, but also it is easy to make from the manufacture perspective. The solution is that we used 9mm wood board to make the Goblet with drilled holes to make place for the LED lights, the operating principle is when the user put it up, the LED lights will be turned on by using the distance sensor which is controlled by MAX, mapping a wireframe goblet which is quite different from the original wood model and therefore achieving the user’s expectation. As a consequence, this solution would give users emotional experience by putting it up, but this solution lacks the change of colors in lights. (the inspiration comes from the Euston exhibition, a narrative space which can change colour for users to find consciousness).

545400091

On the other hand, Nicolas gave us another suggestion, which is using some other materials like the acrylic, and using the projector project the form of the goblet on it at the same time. With different kinds of gestures of users, the goblet will change the colors. As a result, this solution solved the issues of the layout of the lines, however causing another issue, that is, how to catch the position when users put it up.

Finally, now we are still focusing on the research of the possibility for these two solutions, which are related to the technical as well as the materials. we went to the LCC’s and CSM’ 3D workshops to ask the staff about the possibility of our modeling. Although we have not decided which solution is perfect, we will make all of them if the time allows. In addition, we had emailed James Blinn in order to get the size of the goblet and we will start make it after producing 3D model by using MAYA software.