Tuesday, April 26, 2011
Tuesday, April 12, 2011
stories for my project
hey everyone,
i just thought i'd post some instructions here on the blog about my project to help guide you through this process. i am going to be sending each one of you a story/memory for my project via email. what i need you to do is fill in the blank area with whatever you wish to piece the stories together. the emails will consist of a beginning and an end, time frames of the events taking place, and points in time which "i'm not sure about".
try to make your story as interesting and captivating as possible because it is crucial for keeping everyone's interest in the entire piece. you can make it as far fetched and ridiculous as you want, just make sure that it ties together with the final story. try to avoid writing mundane activities and locations. be as descriptive as possible. you can even include some of your own memories into the story. this is crucial because i will be incorporating an image that will illustrate the event taking place.
examples of things you can incorporate:
-time travel
-hallucinations
-recreational activities
-characters
-alternate dimensions
-foreign countries
-adventures
seriously the possibilities are limitless
for now, what i need each person to do is post their email. i will be sending you a piece of the story at some point this week.
also, please DO NOT talk about the story you were given or what you included in the story with anyone else in class.
thanks for your help, and i look forward to reading what you all decide to write about.
-Kevin Magarity
Monday, April 11, 2011
Studio Slam TOMORROW
Hi Digital Hand,
Make sure you have all of your progress ready to present to your peers for tomorrow's studio slam-- occurring in 103VAB at 11:15
Make sure you have all of your progress ready to present to your peers for tomorrow's studio slam-- occurring in 103VAB at 11:15
Tuesday, April 5, 2011
Reading Assignment for Thursday, Arpril 7
This will be handed out as a hardcopy today in class. It will accompany excerpts from "Attention's Loop: a sculptors reverie on the coexistence of substance and spirit", by Elizabeth King, sculptor and professor at Virginia Commonwealth University.
Phenomenology-
Loosely described is a discipline of philosophy that focuses on the structure of consciousness. In phenomenology, the structure of an objects experience is its intention and that intention is built from the internal core out. This material and building methods are used for their (projected) sensory affect onto both the maker and the object’s audience.
Sensate-
Able to perceive by the senses.
Question for consideration:
? How can a part that is designed on the computer and milled out from the computer contribute to a sensate experience when the “building” is based more on the sensation of “tracking” (the hand and eye path that one’s body does when mapping out space on the computer screen) vs. tactility?
In this assignment, sensation can come in a few ways, in the making of the object as well as how the object “performs” in space to the viewer.
In this assignment, sensation in making can come in the (known) and (unknown) integration or analog and digital, and using each approach to enhance the properties of one another.
1. In your idea, please describe how you are approaching the digital aspect of your Sensate: PLAN project and how the digital attributes are being used to heighten the total experience of your idea:
2. In the selected excerpts from Elizabeth’s King’s Attentions Loop, an articulation of materiality is a constant cord. Liz talks about the materiality of trying to make an object do two things at the same time. This sets up a string of excerpts that revolve around time and memory. As a maker, we deal with simultaneity often. How to prop a part up while another section is being secured is a very practical description of this. Being engaged with constructing while the material leads you to another place based on conscious and unconscious associations with that material/idea is another description of simultaneity when making. Creating an “all encompassing” experiential work (as in the case of Pipolotti Rist), is a “walk in” version of experiencing simultaneity. As Liz describes her effort to do two things at one time when constructing a hand, she relates the contest between
Image- What it looks like
And
Machine- What it does.
Think about your idea. Break it down as an image and a machine to the viewer: First, describe what the image of your work is like to the viewer. Then describe what it does to the viewer (note- “what it does” is not kinetic dependent, as an object “can do” something experientially)
3. Location.
In the excerpt, Cascade, Elizabeth describes in her mind, the problem of location as our fascination with finding a spot when one thing turns into another. A moment of change. When making an object, the gravity it shares with a viewer makes it both a collaborator of space as well as an alien to its surroundings. We make objects to provoke thought, salve personal narratives, construct meaning, and construct feeling. We make objects to turn the invisible into something visible for sharing and connecting.
Using Elizabeth’s perspective on location, where do you think the point of transformation is in your idea? You are making a mimesis of something. Why? What do you want it to say or make people feel that isn’t apparent in the “real” location point?
The Virtues and Misfortunes of Interruption
? Point for consideration-
listen to your process. Know when to interrupt and follow your instincts and when to politely listen. This is a skill, based on repetition, revisitation, sharing, and directing. Making art is in the end, about building a relationship. The more invested you are in seeing where that relationship can go in your work, the higher the likely hood that the experiential result will be not what you plan, nor what became happenstance, but a third “known and unknown” manifestation, one based on merging the ghost and the machine of your mind, your material, and most importantly, your heart.
Phenomenology-
Loosely described is a discipline of philosophy that focuses on the structure of consciousness. In phenomenology, the structure of an objects experience is its intention and that intention is built from the internal core out. This material and building methods are used for their (projected) sensory affect onto both the maker and the object’s audience.
Sensate-
Able to perceive by the senses.
Question for consideration:
? How can a part that is designed on the computer and milled out from the computer contribute to a sensate experience when the “building” is based more on the sensation of “tracking” (the hand and eye path that one’s body does when mapping out space on the computer screen) vs. tactility?
In this assignment, sensation can come in a few ways, in the making of the object as well as how the object “performs” in space to the viewer.
In this assignment, sensation in making can come in the (known) and (unknown) integration or analog and digital, and using each approach to enhance the properties of one another.
1. In your idea, please describe how you are approaching the digital aspect of your Sensate: PLAN project and how the digital attributes are being used to heighten the total experience of your idea:
2. In the selected excerpts from Elizabeth’s King’s Attentions Loop, an articulation of materiality is a constant cord. Liz talks about the materiality of trying to make an object do two things at the same time. This sets up a string of excerpts that revolve around time and memory. As a maker, we deal with simultaneity often. How to prop a part up while another section is being secured is a very practical description of this. Being engaged with constructing while the material leads you to another place based on conscious and unconscious associations with that material/idea is another description of simultaneity when making. Creating an “all encompassing” experiential work (as in the case of Pipolotti Rist), is a “walk in” version of experiencing simultaneity. As Liz describes her effort to do two things at one time when constructing a hand, she relates the contest between
Image- What it looks like
And
Machine- What it does.
Think about your idea. Break it down as an image and a machine to the viewer: First, describe what the image of your work is like to the viewer. Then describe what it does to the viewer (note- “what it does” is not kinetic dependent, as an object “can do” something experientially)
3. Location.
In the excerpt, Cascade, Elizabeth describes in her mind, the problem of location as our fascination with finding a spot when one thing turns into another. A moment of change. When making an object, the gravity it shares with a viewer makes it both a collaborator of space as well as an alien to its surroundings. We make objects to provoke thought, salve personal narratives, construct meaning, and construct feeling. We make objects to turn the invisible into something visible for sharing and connecting.
Using Elizabeth’s perspective on location, where do you think the point of transformation is in your idea? You are making a mimesis of something. Why? What do you want it to say or make people feel that isn’t apparent in the “real” location point?
The Virtues and Misfortunes of Interruption
? Point for consideration-
listen to your process. Know when to interrupt and follow your instincts and when to politely listen. This is a skill, based on repetition, revisitation, sharing, and directing. Making art is in the end, about building a relationship. The more invested you are in seeing where that relationship can go in your work, the higher the likely hood that the experiential result will be not what you plan, nor what became happenstance, but a third “known and unknown” manifestation, one based on merging the ghost and the machine of your mind, your material, and most importantly, your heart.
Monday, April 4, 2011
Mazda Furai
I have the illustrator file brought into Rhino but I'm having trouble at this stage. Hopefully I can figure this out.
splash
I have my form as a surface, but I've had a lot of trouble turning it in to a reasonable polygonal object for unfolding in Pepakura. I might just end up doing it by hand for the broad part, which is ok.
Bubbles!
Hello All,
I'm sending along a photo of my attempt to drape a rino image... also made by me!
Not sure if I'll end up using the vacuum press as I'm not so crazy about the object without sharp edges... Guess we'll see what happens!
There are other designs I'm also interested...
I'm sending along a photo of my attempt to drape a rino image... also made by me!
Not sure if I'll end up using the vacuum press as I'm not so crazy about the object without sharp edges... Guess we'll see what happens!
There are other designs I'm also interested...
Monday, March 28, 2011
Magic Tile!
Sorry for the poor quality, not sure what that's coming out that way...
I also couldn't figure out how to view the tile without the cage of aqua. Found where to "play" the simulation, but it's just not as cool in the cage.
Roughing Practice
I feel like I've made a mistake. But the image looks like a stack of lumber painted red.
Saturday, March 26, 2011
Tuesday, March 15, 2011
Thursday, March 3, 2011
Spring Break Homework
Homework Spring Break:
1:Progress towards critique-
• Work on all other tangible parts that are not the RP print
• RP file- in Geomagic/Rhino/Dimension
• Rapid prototypes files ready for RP by LATEST Monday night March 14
(we will then batch similar scale files for efficient printing
2: Google Search: Haim Steinbach
3: Compete Reading Response Questions taken from Joshua Decter’s interview of Haim Steinbach from the Journal of Contemporary Art:
1. In the reading, Steinbach contextualizes how desire packages interpretation. Describe how desire "works" in the piece you will be presenting for MODEL
2. Cite two sections from the reading that interest you and elaborate why.
CRITIQUE: all students will critique on Tuesday, March 22.
Please re-read the assignment prompt for my expectations regarding finished work, time spent, and presentation
1:Progress towards critique-
• Work on all other tangible parts that are not the RP print
• RP file- in Geomagic/Rhino/Dimension
• Rapid prototypes files ready for RP by LATEST Monday night March 14
(we will then batch similar scale files for efficient printing
2: Google Search: Haim Steinbach
3: Compete Reading Response Questions taken from Joshua Decter’s interview of Haim Steinbach from the Journal of Contemporary Art:
1. In the reading, Steinbach contextualizes how desire packages interpretation. Describe how desire "works" in the piece you will be presenting for MODEL
2. Cite two sections from the reading that interest you and elaborate why.
CRITIQUE: all students will critique on Tuesday, March 22.
Please re-read the assignment prompt for my expectations regarding finished work, time spent, and presentation
Wednesday, March 2, 2011
new design technique
One of my students sent me this link.. He was inspired by the current project our class is working on and would like to implement this process and technique into his final project!
Monday, February 28, 2011
Sunday, February 27, 2011
OH MY OH MY!
So! I feel there is no way to make my action figure "water tight." I cannot select the holes that WILL NOT fill. What's worse: my action figure has been stolen from the 4th floor of Patterson! I'm probably going to have to buy a new one and scan it in again since I'm having so much trouble with this dude.
Thus far:
ELEPHANTITUS ACTION FIGURE!
Thus far:
ELEPHANTITUS ACTION FIGURE!
Tuesday, February 22, 2011
Homework for Thursday, Feb 24
Homework for Thursday, Feb 24:
• Scan objects and begin to wrap
• Project ideas presented to class
• Reading response questions completed:
In Parts Imply Wholes and Wholes are Social,
Molly Nesbit touches on how when utopias get displaced fracturing and displacement occur. Parts (people, ideologies, materials) that don’t seem to fit, or align with a current order, displace, and travel. A nomadic sensibility gives up/rise to the space between parts and places. What happens in this space- creates context and establishes a literal, social, or metaphoric connection. Within this ‘now space’, people outside a ‘”utopia” can be banded together.
This happens socially, philosophically, as well as formally in an art object (performance, event, ect).
1. In your MODEL project, you are being asked specifically to address how small parts come together, either by a (forced or inherent) fusion, though lack (some parts are present to represent a whole, yet the whole is not visible), or though connectedness.
1A:How are you approaching this next assignment?
1B: Every project can change, but at this time, how are you planning to get your viewer engaged in the piece both formally and conceptually ?
2. Please describe a section of Molly Nesbit’s Parts Imply Wholes and Wholes are Social or Liam Gillick’s Contemporary Art Does Not Account for that Which is Taking Place that resonated with you and why.
• Scan objects and begin to wrap
• Project ideas presented to class
• Reading response questions completed:
In Parts Imply Wholes and Wholes are Social,
Molly Nesbit touches on how when utopias get displaced fracturing and displacement occur. Parts (people, ideologies, materials) that don’t seem to fit, or align with a current order, displace, and travel. A nomadic sensibility gives up/rise to the space between parts and places. What happens in this space- creates context and establishes a literal, social, or metaphoric connection. Within this ‘now space’, people outside a ‘”utopia” can be banded together.
This happens socially, philosophically, as well as formally in an art object (performance, event, ect).
1. In your MODEL project, you are being asked specifically to address how small parts come together, either by a (forced or inherent) fusion, though lack (some parts are present to represent a whole, yet the whole is not visible), or though connectedness.
1A:How are you approaching this next assignment?
1B: Every project can change, but at this time, how are you planning to get your viewer engaged in the piece both formally and conceptually ?
2. Please describe a section of Molly Nesbit’s Parts Imply Wholes and Wholes are Social or Liam Gillick’s Contemporary Art Does Not Account for that Which is Taking Place that resonated with you and why.
notes on Geomagic
ART 397A
Digital Hand
T/TH 11:15-2:15
COLLURA
CRIT PROJECT 2:
MODEL
(ShapeShifter/Borderline/CONTROL)
(3D Modeling, Scanning, and Printing)
Bullets to take notes on:
How to prepare a model for scanning:
➢ Matt surfaces (VS. Glossy)
➢ Pins- matt surface
➢ Upright, secure
How to properly secure the Minolta scanner to the tripod
How to scan from Minolta
➢ Point Cloud Clean Up (if neede)
➢ Select options that are available (rectangle/paint brush)
POST SCANS ( although more scans are possible to take while in Geomagic> HARD-WARE>MINOLTA)
➢ Manual Registration:
o N point registration
o Register
o Modify
➢ Select Group file (and subsequent file)
➢ Global registration
o Execute overlap reduction
o Green is good!
➢ Polygon Point Cloud (even though your registered, they are still a group of individual point clouds) :
o Combine points
o Merge
o Wrap
o Note: WRAPPING TURN THE POINT CLOUDS INTO POLYGON SURFACES (if you wish to see them as point clouds go under display and check point cloud)
➢ Mesh Doctor vs singular alterations
o Analyze holes/spikes/etc
o Shoot for zero
➢ *Geomagic will save a file as a .asc file IF you wish to import to RHINO- Save as .obj file
➢ *Import into Rhino
➢ *Check Dimensions (liner dimensions) Scale Up, down
➢ *Boolean and Construction operations in Rhino
➢ *Mesh All (remember, the more polygons your mesh has, the more memery and time it will take to process). I advise to reduce your mesh (MeshEditTools) and SAVE OFTEN
➢ *Analyze shape- to reduce packing material amount in RP process, cut object into parts, if necessary (by using cutting planes in Geomagic or Rhino)
➢ *Check Edges- “naked Edges” Explode, select, erase, join
➢ Import conjoined Mesh back into Geomagic (save as .3ds)
➢ Decimate polygons to bring down file size
➢ Customize Mesh Doctor for “watertight” .STL
➢ To print from Stratysus (ABS Plastic) or ZCorp (powder print)
• Exporting and Naming your File:
• Export as STL and be sure to name your files using this format: date_userID_filename
That would be: 2011-01-12_jrh225_example1.stl for example.
• The Printing software does accept other file formats, but STL has proven to be the most reliable. If you get an error exporting, you know there are things to be fixed in your model. If your modeling software does not support STL export, consult Jamie Heilman or the DigiFab Assistants for a workaround.
•
• Check File: Verify that your file will be printable before submitting! Open your STL in ZPrint (this software is installed on all Windows computers in SALA). ZPrint is the soft-ware we use to 3D print. Importing to ZPrint yourself will save time by making problems apparent to you immediately. See the "3D Printing Intro" video tutorial. In ZPrint you can also get an estimate of how much powder and binder will be needed, allowing you to calculate the approximate printing cost.
• For THE ZCORP: The cost is $1.33 per cubic inch of powder and $0.18 per mL of binder.
• FOR THE STRATYSUS: the cost is $5.20 per cubic inch
• Submit Your File: You may submit files as STL or ZPrint.
Upload your file to the SALA server. In the “DigiFab_Lab” share you will find a folder for “ZCorp_3D_Printer”. (or Stratyus)
Drop your file in “Submit Files Here”.
• The path to get to the SALA server is: caa-sala-odmsrv.sala.psu.edu/Digifab_Lab/ZCorp 3D Printer/Submit Files Here
•
• Send Email to digifab@psu.edu: To let us know that you have submitted a file to be printed. We will check your file for printability and provide you with a cost estimate to approve before printing. To accelerate this process, include an approved maximum cost. Prints will be done on a first come first serve basis. digifab@psu.edu
•
• 24 Hour Minimum Time: You must allow a minimum of 24 hours for completion. If there are several files queued for printing, you may need to wait much longer. Plan ahead—especially during mid-semester crits and finals!
➢ IF printing via Stratyus:
o Bring file into 3D printer (Dimension 4.0) software, determine resolution, packing material type (basic/minimal/break away), quantity, and pack orientation
➢ Special Notes:
FILE CONVERSIONS:
Minolta scans save into Geomagic as ==>asc files
Geomagic ==>Rhino==>.obj file
Rhino==>Geomagic ==>.3ds file
Geomagic (or Rhino) to Stratyus or Zcorp==>.stl file
➢ When in Sculpture’s Tech room: logging into Geomagic, please type the network num-ber: 146.186.186.25
➢ Sculpture Tech has 2 (TWO) seats of Geomagic that can be used at one time. SALA has three seats. PLAN ACCORDINGLY. In the beginning, when you are learning, work with another.
➢ You all have swipe access to the room in SALA’s basement that right now houses the scanner (SOON IT WILL BE HEADING UPSTAIRS TO THE LAB), however the scanner will be locked up. If you need additional scanning time, Jamie has assistants working:
Sun 1pm-5pm, 6pm-10pm
Mon 6pm-9pm
Tues 6pm-10pm
Wed 6pm-10pm
Thurs 6pm-10pm
Fri 6pm-10pm
Sat 1pm-5pm, 6pm-8pm
NOTE: Those are the hours they try to be in the Lab and available to help people as
needed. I would say the schedule is proving about 60% reliable. If students know ahead of time that they need assistance the best thing to do
is email: digifab@psu.edu
A message sent to that address goes to all of the DigiAssistants in SALA and
SoVA, and Jamie. Whoever is available first will respond.
Digital Hand
T/TH 11:15-2:15
COLLURA
CRIT PROJECT 2:
MODEL
(ShapeShifter/Borderline/CONTROL)
(3D Modeling, Scanning, and Printing)
Bullets to take notes on:
How to prepare a model for scanning:
➢ Matt surfaces (VS. Glossy)
➢ Pins- matt surface
➢ Upright, secure
How to properly secure the Minolta scanner to the tripod
How to scan from Minolta
➢ Point Cloud Clean Up (if neede)
➢ Select options that are available (rectangle/paint brush)
POST SCANS ( although more scans are possible to take while in Geomagic> HARD-WARE>MINOLTA)
➢ Manual Registration:
o N point registration
o Register
o Modify
➢ Select Group file (and subsequent file)
➢ Global registration
o Execute overlap reduction
o Green is good!
➢ Polygon Point Cloud (even though your registered, they are still a group of individual point clouds) :
o Combine points
o Merge
o Wrap
o Note: WRAPPING TURN THE POINT CLOUDS INTO POLYGON SURFACES (if you wish to see them as point clouds go under display and check point cloud)
➢ Mesh Doctor vs singular alterations
o Analyze holes/spikes/etc
o Shoot for zero
➢ *Geomagic will save a file as a .asc file IF you wish to import to RHINO- Save as .obj file
➢ *Import into Rhino
➢ *Check Dimensions (liner dimensions) Scale Up, down
➢ *Boolean and Construction operations in Rhino
➢ *Mesh All (remember, the more polygons your mesh has, the more memery and time it will take to process). I advise to reduce your mesh (MeshEditTools) and SAVE OFTEN
➢ *Analyze shape- to reduce packing material amount in RP process, cut object into parts, if necessary (by using cutting planes in Geomagic or Rhino)
➢ *Check Edges- “naked Edges” Explode, select, erase, join
➢ Import conjoined Mesh back into Geomagic (save as .3ds)
➢ Decimate polygons to bring down file size
➢ Customize Mesh Doctor for “watertight” .STL
➢ To print from Stratysus (ABS Plastic) or ZCorp (powder print)
• Exporting and Naming your File:
• Export as STL and be sure to name your files using this format: date_userID_filename
That would be: 2011-01-12_jrh225_example1.stl for example.
• The Printing software does accept other file formats, but STL has proven to be the most reliable. If you get an error exporting, you know there are things to be fixed in your model. If your modeling software does not support STL export, consult Jamie Heilman or the DigiFab Assistants for a workaround.
•
• Check File: Verify that your file will be printable before submitting! Open your STL in ZPrint (this software is installed on all Windows computers in SALA). ZPrint is the soft-ware we use to 3D print. Importing to ZPrint yourself will save time by making problems apparent to you immediately. See the "3D Printing Intro" video tutorial. In ZPrint you can also get an estimate of how much powder and binder will be needed, allowing you to calculate the approximate printing cost.
• For THE ZCORP: The cost is $1.33 per cubic inch of powder and $0.18 per mL of binder.
• FOR THE STRATYSUS: the cost is $5.20 per cubic inch
• Submit Your File: You may submit files as STL or ZPrint.
Upload your file to the SALA server. In the “DigiFab_Lab” share you will find a folder for “ZCorp_3D_Printer”. (or Stratyus)
Drop your file in “Submit Files Here”.
• The path to get to the SALA server is: caa-sala-odmsrv.sala.psu.edu/Digifab_Lab/ZCorp 3D Printer/Submit Files Here
•
• Send Email to digifab@psu.edu: To let us know that you have submitted a file to be printed. We will check your file for printability and provide you with a cost estimate to approve before printing. To accelerate this process, include an approved maximum cost. Prints will be done on a first come first serve basis. digifab@psu.edu
•
• 24 Hour Minimum Time: You must allow a minimum of 24 hours for completion. If there are several files queued for printing, you may need to wait much longer. Plan ahead—especially during mid-semester crits and finals!
➢ IF printing via Stratyus:
o Bring file into 3D printer (Dimension 4.0) software, determine resolution, packing material type (basic/minimal/break away), quantity, and pack orientation
➢ Special Notes:
FILE CONVERSIONS:
Minolta scans save into Geomagic as ==>asc files
Geomagic ==>Rhino==>.obj file
Rhino==>Geomagic ==>.3ds file
Geomagic (or Rhino) to Stratyus or Zcorp==>.stl file
➢ When in Sculpture’s Tech room: logging into Geomagic, please type the network num-ber: 146.186.186.25
➢ Sculpture Tech has 2 (TWO) seats of Geomagic that can be used at one time. SALA has three seats. PLAN ACCORDINGLY. In the beginning, when you are learning, work with another.
➢ You all have swipe access to the room in SALA’s basement that right now houses the scanner (SOON IT WILL BE HEADING UPSTAIRS TO THE LAB), however the scanner will be locked up. If you need additional scanning time, Jamie has assistants working:
Sun 1pm-5pm, 6pm-10pm
Mon 6pm-9pm
Tues 6pm-10pm
Wed 6pm-10pm
Thurs 6pm-10pm
Fri 6pm-10pm
Sat 1pm-5pm, 6pm-8pm
NOTE: Those are the hours they try to be in the Lab and available to help people as
needed. I would say the schedule is proving about 60% reliable. If students know ahead of time that they need assistance the best thing to do
is email: digifab@psu.edu
A message sent to that address goes to all of the DigiAssistants in SALA and
SoVA, and Jamie. Whoever is available first will respond.
Thursday, February 17, 2011
Thursday, February 10, 2011
Tuesday, February 8, 2011
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