THE PLATFORM
|
#15: May 2001
This
issue prepared by Tim Duffield
The ISC Conference in Pittsburgh will soon be upon us. The
organization for the
Computers and
Sculpture Forum
at the
conference is now complete.
An opportunity!! Bring Digital Files with you to be created with
the latest technogy
It will be held at the Pittsburgh Omni Hotel (used to be called
the Westin). The Computers and Sculpture Forum will take place in the afternoon
of Thursday, Friday and Saturday, June 7, 8 and 9. The following describes the
arrangements that we have made and the program of our events:
Program
coordinator: Timothy Duffield
At the 1992 ISC Conference in Philadelphia, the Computers and
Sculpture Forum was established to plan for computer-related sessions,
demonstrations and exhibitions at sculpture conferences. Its members are
sculptors who use the computer in some way in their work. It has grown to
include over 150 members throughout the world. The Forum has taken an active
part in arts and technology events other than those sponsored by the ISC. It
has collaborated with its sister associations in France, Ars Mathematica, and
in the United Kingdom, FAST-UK (Fine Art Sculptors and Technology). Its members
help to stage Intersculpt, a global sculpture event, every two years.
Open from Noon, every day.
The Digital Studio is a fully functioning computer sculpture
studio of digital tools. It provides the opportunity to watch first hand the
creation of sculpture by digital means. Throughout the conference, The Digital
Atelier, William Kreysler & Associates and representatives of the foremost
companies involved in the technological revolution that is influencing the art
of sculpture will be displaying and demonstrating their machines and systems.
Companies such as Stratasys, Sensable Technologies, Senetech, Innovmetric, 3D
Scanners and Delcam have lent their support to bring together the Digital
Studio for the conference.
You will be able to see the creation of virtual forms and haptic
"forcefeedback” modeling, “real time” data capture via 3d scanning, the editing
of captured forms, the digital enlargement of maquettes, and various rapid
prototyping and computer controlled milling systems.
Within this hugely capable, practical environment, the Computers
and Sculpture Forum will conduct its program of events.
A panel moderated by Kate Hunt
Kate Hunt, Sculptor and Independent Scholar
Ain’t Nothin’ Like the Real Thing, Baby
Which real is the real thing now that
virtual reality is a reality? How does this impact our understanding of the
third dimension and how we make and interpret sculpture? How does this affect
our approach to teaching sculpture?
Adrienne Klein, Project Manager, Art & Science
Collaborations, Inc
Virtual Preparation for the Real World
The Internet and the World Wide Web is
used for communication, networking, research, and promotion. Art students
require familiarity with these tools but the art curriculum may inadvertently
miss opportunities to include their use. Strategies for their inclusion are
suggested.
Joseph Seipel, Chair, Department of Sculpture, Virginia Commonwealth
University, Richmond, Virginia
How Do We Keep Them Down on the Farm Once They’ve Seen Them City Lights?
Computers, wireless web, video
streaming, virtual reality, rapid prototyping, digital sound and image
manipulation, video projection, and…. Is the digital replacing the tactile? Is
the virtual replacing the actual? Generation X and Generation Y meet the Baby
Boomers, meet Art History, and meet the future.
Mary Visser, Associate Professor, Southwestern University,
Georgetown, Texas
Virtual Reality in the Studio Classroom: The Advantages and Disadvantages of Integrating Software
in the Studio Classroom
Why use computer modeling in the studio
classroom versus its use as a stand-alone service course? This paper will
discuss the advantages and disadvantages of integrating software in the studio
classroom.
Coordinator: Michael Rees
Elona van Gent
Computer technologies have been part of Elona Van Gent's work
since 1989. Her practice spans a broad range of approaches and incorporates
numerous areas of interest including medical and musical instruments, Dr.
Seuss, cognitive science, cabinets of wonder, toys, monsters, and play. Her
presentation will show how the computer can be an effective tool for both
making things and thinking about things and how its capabilities compliment
traditional studio processes.
A new and unique tool
for creating intuitive sculpture
I am one of the first Sculptors in Europe to use the Freeform
system to make sculpture. When I started in September '99 I had no computer
experience at all, Freeform is easy to learn and to use because of its sense of
touch, from fully free 3D "sketching" to demanding final production
designs. Learning a complex, interpretive CAD language is prohibitive to most
traditional sculptors and modelers, Freeform in comparison is a very intuitive
tool to use and has consequently huge potential for future three-dimensional
artistic expression.
Through the de-objectification of
the figure, Duffy sees the computer not as a repository for unique subject
matter but rather he characterizes it as a means by which to compose
aesthetical structures that are idiomatic to the figure and the computer. It is
this synthesis and the potential as a 3D medium that he will be sharing with
the sculpture community.
The Obsessive Mouse - Desktop
Reformations
Recent projects will be presented
which explore the desktop mouse as cultural icon and object for critical reformations
and activities, including sculptural objects, installations and online
activities. These include: the
“Vagina Mouse”; “The Unabomber’s Mouse”: the “Artist's Mouse” (an automatic
drawing and painting device attached to a working mouse) used for a variety of
activities, and “Weaving: the Mouse Mandala”, created from many hundreds of
dead computer mice. These works
create an overview of activities that conceptually investigate interactivity,
familiar desktop technologies, work, play, human/machine relations, and the
synthesis of traditional artist's materials with contemporary digital
technologies.
Sensing and Control: Simple Microcontroller Techniques for
Sculpture
Increasingly, sculptors who make
kinetic work are taking advantage of the power of microcontrollers to sequence
events in their artworks, make the pieces respond to the environment, and even
create complex behaviors that may develop over time as the pieces “learn”. A
brief overview of the capabilities of these devices is illustrated with
examples of artworks.
Michael Rees
Social Sculpture and the Sculptural
User Interface
Rees will discuss the Sculptural User InterfaceŽ. This is
software developed with artist Christopher Burnett. It is a method of molding
form, language, and media using objects, installation, and virtual reality
technology. The software works by typing letters. They generate diagrammatic
figures based on simple grammar rules. Any typed construction is appropriate: a
list, a poem, a postmodernist essay, and so on. The simple, yet twisted, forms
mimic the profound ambiguity of virtual identity and digital bodies. The
figures are at once spatial substance and abstract data.
2.00-3.00 and 3.15-4.45
Coordinator: Paul Higham
Today’s program is a two-part exposition that will explore
diverse technologies from around the world and consider its impact on the
art and practice of sculpture. We have assembled in the Digital Studio a range
of devices that has enabled a new generation of sculptors to operate and engage
in the digital domain. Within that domain, new modes of generation and
construction have extended the possibilities for sculpture.
2.00-2.45
The Generation of Form: In the digital
domain, the sculptor may use the computer to originate 3d form by using 3d
modeling software such as Rhino, FormZ or 3D Studio, or by using
the haptic forcefeedback modeling system Sensable Freeform. These
programs and systems create data that can be realized as three-dimensional
concrete sculptural form. Alternatively, an object can be “sampled”. The
sculptor may take a found object, a life model, or a maquette and “sample” it
-- capture it with a 3D scanner at a distance or locally with a digitizing
input stylus.
Christopher Dean will demonstrate the Freeform system and its virtual
plastic modeling capabilities. Scott van Note from the ASU “PRISM” lab
will demonstrate the digitization process.
The Editing of form: The methods of
generation we will review each result in a single computer file. Before this
file – the data that defines what, at this point, is a virtual form -- is
introduced to the rapid prototyping “build” process or is digitally enlarged,
it may require preparation and conversion to an appropriate format or it may
need repair. In addition, the sculptor may decide to change a sampled form, or
edit a maquette. The original file may have multiple outcomes.
The
Realization of Form: The Digital Studio affords a
unique opportunity to compare and contrast the various “hard copy” output
alternatives including CNC milling, Rapid Prototyping, stereo lithography, 3d
printing and other processes. Conference attendees may engage in a hands-on
evaluation and assessment of the tools and systems.
2.45-3.00
Bill Kreysler
For over 13 years, Bill Kreysler of Kreysler and Associates in California
has pioneered the use of computer numerically controlled (CNC) tools to offer
artists enlarging and reduction services. Slides will illustrate how
artists such as Claes Oldenburg and Coosje van Bruggen, Robert Graham, Jeff
Koons, Glenna Goodacre and many more have taken advantage of this new tool to
improve and accelerate traditional enlarging. Like any other tool this
technology has it's proper time and place. Bill will discuss the pros and
cons as well as cost factors and how to control them.
3.15-4.05
The Digital Atelier presents a collaborative lecture and
workshop. Sculptors and engineers from Johnson Atelier, Innovmetric, 3D
Scanners, Scantech and Delcam will present a variety of processes that have
been developed for Laser Scanning, 3D modeling and editing, and CNC Milling for
use in the creation of sculpture.
From The Johnson Atelier, Digital Atelier: James Barton,
President; Jon Lash, Director; John Rannou, 3D Design Engineer: Christoph
Spath, Head of the Stone Division.
From Innovmetric: Marc Soucy and Esther Bouliane.
From Delcam, Team Compufyne: Henry Quintin.
4.05-4.45
Towards a New Sculptural Paradigm.
A panel moderated by Paul Higham
Panelists: Keith Brown, Robert
Smith, Michael Rees, Elona van Gent and Christopher Dean.
We have seen the technology, what does it mean to us as
sculptors?
The panel will explore and
speculate upon the implications of the technologies that have been
demonstrated. The ways in which we can originate, evolve and execute work are
changing. Data can now be seen, heard and felt. Are we, in fact, in the opening
moments of a popular revolution in sculpture?
The discussion
will be open to questions from the floor.
After the close of the afternoon’s
events, participants are invited to remain for
Hands-on Demonstrations of
the capabilities of the Digital
Atelier.
1.30-3.15
The development of powerful and
affordable desktop computer systems and increasingly user-friendly 3D software
in the 1990s gave rise to a refreshed interest in “virtual reality” within the
fine art community. What had previously resided within the domain of the
multimillion-dollar world of the mainframe and workstation has now come within
reach of the everyday user.
The development and implementation
of broadband communication systems, the massive growth and adoption of the
World Wide Web and the invention of VRML, QuickTime VR and similar
applications, has facilitated a functionality that was but a dream for those
who held ambitions for this technology just a few years ago.
Accompanying this, there has been
a regeneration of interest in Holography, Lenticular Imaging and Integral
Imaging, which is set to bring both simulated and real 3D directly into the
domestic environment. With the looming advent of 3D TV or similar domestic
communication systems using computer technology, the implications for fine art
sculpture, and indeed any 3D dependent discipline, are immense. This
presentation will show how sculptors
are embracing these new possibilities.
Integral imaging differs from other 3D methods in that the images
produced exhibit continuous parallax, enhancing the sense of solidity in the
image. An integral image is similar to a hologram but captured in natural
light. The 3D Imaging Technologies Group at DeMontfort University, England, has
pioneered the acquisition of full color integral images with a single large
aperture transmission camera. The group’s understanding of the structure of an
integral image has also enabled synthetic images to be generated by computer.
Any object or scene stored in a standard 3D vector format can be rendered, and
encoded for full integral replay.
Brown joined The 3D Imaging Technologies Group in July 2000. He will
show static and dynamic cybersculpture that he has developed to take advantage
of this unique system.
There will be ample opportunity for the audience to take part in
discussion of this exciting technology.
Derrick Woodham
DAAP Virtual Sculpture Park
An introduction to DAAP and an invitation to a demonstration in
the Forum Gallery during the afternoon break, 2.30-2.45.
Large screen projections of interactive panoramic and Web based
environments and virtual sculptures. Through manipulation by the viewer of
these works, new images may be created and exported, thus the viewer/interactor
becomes a part of the aesthetic decision making process, creating scenes
through interaction. The subject matter is based on nature and our relationship
to it and in it. The themes vary from personal experience to the universal
archetypes.
Daniel Jean Primeau
A planetary
environmental sculpture too vast to be seen by the human eye alone. The
Internet is essential to provide the full perspective in the same way an
airplane is necessary to show the Nazca lines in Peru. The first piece of this
project is planned for Jerusalem in the upcoming months. Fascinated by trees
fusing with mineral objects, Primeau sees this phenomenon as a symbol of
tolerance and the possible coexistence of cultures. In order to locate, group,
link, protect and establish the value of outstanding specimens worldwide as a
contribution to peace, he plans to create a network of gardens titled
"Planetary Culture of Coexistence Trees".
Coordinator: Timothy Duffield
Computer Sculpture
Without Computers: A-Life Analogs in Modular Composing
The
two traditional modes of modular sculpture are periodic, repetitively
patterned, as in Brancusi’s Endless Column, and intuitively composed as in Tony
Smith’s Gracehopper. The presenter describes and illustrates a third aperiodic
mode where he incorporates mathematical instructions, or algorithms, based on
principles used in artificial life research in order to fabricate organic
structures from geometric cells.
"Beauty is
realized slowly over time through many numbers", Polykleitos 5th century b.c.
This presentation outlines a brief history of both a popular and
esoteric look at the self-steering autonomous form. Higham will also show examples
of his Autotecture series, which was webcast recently as part of the Walker
Arts Center/Landmark series. The work shows generative algorithmic constructs
of forms derived from a vortex bacillus, mined data and real world 3D
“Spacesampling”. These computationally dynamic interactive forms/systems may
propagate and evolve in real time.
From the Virtual to the Physical
Smith will present slides of the digital design, production and
installation of "3SpikesOut", the sculpture installation currently on
exhibition at Mellon Park. Also featured will be: "carcasMvertibrate"
exhibited last summer at Chesterwood Sculpture Park; "JogaeDentata"
currently traveling through Europe with the Digital Salon exhibition; and
"Urchanticede Project" exhibited at Grounds for Sculpture during
Summer, 1998.
To Reality and Back.
Having worked in a virtual environment for almost a decade, Keith
became involved with Rapid Prototyping during 1996. He has since that time
continued to explore the unique possibilities that this medium affords and
believes this has led to a new order of sculptural object, a paradigm shift,
and the emergence of a new digital aesthetic.
Next door to the Three Rivers Room (The Digital Studio), William
Penn Level
Open throughout the conference.
Demonstrations of The Tactile Sound System and the DAAP
Virtual Sculpture Park. Times will be posted at the Gallery entrance. Be sure
to spend one of your lunch breaks in the Gallery
LeDonne is a sculptor, painter and inventor. His work is
influenced by "feeling sound".
His workshop/demonstration will allow participants to "feel" the
frequency of sound through his patented "Tactile Sound System" using
CD's, DVD's, music and videos.
Participants will discover how tactile feedback can influence left
brain/right brain enhancement and how that stimulates creativity in
three-dimensional sculpture, architectural forms and two-dimensional
forms.
Derrick Woodham
DAAP Virtual Sculpture Park
DAAP is an Internet accessible multi-user virtual reality
environment. It allows real time animated walk-throughs, strolls through the
park. Participants see each other as "avatars" and communicate
through the keyboard, and can link dynamically to other Internet locations. Two
viewing stations allow pairs of visitors to tour the sculpture installations
together, conversing with each other as well as with other remote visitors to
the on-line virtual site.
The Chronos/Mnemosyne Project will be installed on a
computer and available for participants to interact with the panoramic
environments. Through manipulation of avatars a multitude of virtual sculptural
spaces can be created and may be printed out as two-dimensional compositions.
Michael Rodemer
Microcontrolled Sculptures
Sculpture created with the machinery and methods demonstrated in
the Computers and Sculpture Forum Resource Center, provided by:
Arizona
State University
Integral Imaging
Keith Brown with the 3D Imaging Technologies Group, DeMontfort
University, England
Work by various artists
The Computers and Sculpture Forum for the conference has been
organized with the assistance of Hilary Langhorst, Paul Higham, Kate Hunt
and Keith Brown.
Special thanks to the following companies for their support: The
Johnson Atelier, Stratasys, Sensable Technologies, Senetech, Innovmetric, 3D
Scanners and Delcam. In addition, The Art Institute of Pittsburgh
gave invaluable help with assembling equipment for the Digital Studio.
THE DIGITAL ATELIER
Jon Lash, the Director of the Digital Atelier, writes the
following text. It is an elaboration on the description given in the program:
The Digital Atelier is a division of the Johnson Atelier in
Mercerville, New Jersey. Along with the personnel from J.A. the group will be
working collaboratively as a teaching and learning collective represented by
engineers from InnoveMetric, 3D
Scanners, Delcam and Scantech.
The artists and engineers in a daily Question and Answer format
will demonstrate information pertaining to 3D Modeling, CAD, Scanning, and
Reverse Engineering. During this time a variety of software will be shown off
to the inquisitive. 3D Scanners will have their portable High Definition
Scanner (Model W) on sight to use. There will also be a Scantech 200 mm table
model laser scanner for use with small models. Workstations will be set up to
allow visitors to the conference to view and edit their scans and CAD files. If
sculptors would like to bring STL formatted files these also can be used and
worked with the various software. IGES formatted files can be reworked in the
3D modeling software.
Tiff, bmp and jpeg formats can be imported into the Delcam Artcam
Pro software to render 2D to 3D relief. Artists interested in learning this
software can bring their 2D creation on a floppy or zip.
Members of the collective will present a short lecture on Friday
examining the means to scan and digitally enlarge via CNC Milling techniques
sculpture to a variety of materials including stone, urethane, plastics and
wood.
CALL FOR FILES
Please take note of Jon Lash’s offer to process your files. Bring
him your stuff, challenge him!
In addition to the Atelier equipment we will be demonstrating a
variety of systems, including Stratasys rapid protyping machines. We will demonstrate
their prowess by making sculpture from YOUR files! We will do this on a first
come/first served basis. Please send your files as e-mail attachments to Paul
Higham at paulhigham@spacesampler.com. They should be in DXF, STL or IGES format. Other formats may
be sent for conversion. The size of the file will be reflected in the time
taken to process, and, therefore, the number of sculptures we can make. SO, keep the file
size to below 5MB with polygon reduction, etc. Paul must receive them by May 25th
at the latest. If you are unable to send the files in advance, get them to Paul
or to Scott van Note in the Digital Studio by 5pm on Wednesday evening. If
possible, burn the file onto a CD; a zip disk is OK
Communication: This is the first solely electronic
issue of the Platform. Those of you who sent me their e-mail addresses will
receive this directly. Others can access it at the following sites: the ISC
website at www.Sculpture.org, at the FAST-UK site http://www.finearts.mmu.ac.uk/fast-uk/
Mark your
CALENDAR:
May 25 submission of files for rapid
prototyping to Paul Higham
June 5: those of you who are helping out, please get to the
conference early
June 6: get yourself to Pittsburgh!!
If you are not already a member of the
International Sculpture Center,
PLEASE JOIN
THE PLATFORM
is now solely
an electronic newsletter, if you want to be kept informed, send me
your e-mail address.
CONTACTS:
Tim Duffield,
1551 Johnny's Way, West Chester, Pa 19382 (610) 430-8557
Rob
Fisher (814) 355-1458 Glenunion@aol.com
Bruce
Beasley (510) 836-1414 Beasley@well.com
Robert
Smith (212) 737-9870 sculpt3d@sculpture.net
Hilary
Langhorst hilarylanghorst@home.com
Paul Higham paulhigham@spacesampler.com
Keith Brown,
FAST-UK
keith.brown@mcr1.poptel.org.uk http://www.finearts.mmu.ac.uk/fast-uk/
Christian
Lavigne, Ars Mathematica
lavigne@toile-metisse.org http://www.toile-metisse.org/intersculpt/