Category Archives: projection mapping

Media Design | Building Projection Mapping

One of the courses I’m taking in my first year at ASU is a course called Media Design Applications. This course is centered around the use of various media design techniques in specific relation to their application in a theatrical setting. One of the techniques that we discussed in class is architectural projection mapping. This form has quickly become popular for forcing perspective, and opportunity for complex illusion. The underling principal of projection mapping is to highlight and take advantage of physical from in order to create the illusion that the entire surface is, itself, a screen. There are a variety of techniques to achieve this illusion, some based entirely in software and others based in the process of generating the artwork itself. This is an essential and powerful tool for the media designer as it opens up a wide range of possibilities for the creation of theatrical illusion. Before I start to talk about the process, here’s the project description:

Project Description:

Component 2 – Geometry, Surface and Illusion 

Unfortunately – or possibly fortunately – media designers in the theatre get a nice, rectangular, white screen to shoot at from a perpendicular, on-center angle. In this section, we will explore methods for dealing with odd angles, weird shapes, and non-ideal surfaces, as well as exploring special effects that are possible through the right marriage of projection, surface and angle. For this project, you may choose a building, sculpture or other built object in the ASU environment, then map its geometry using the techniques shown in class and create content utilizing that geometry to best effect. Final presentations of this project will be in the evening on campus.

I started by this process by first scouting a location. After wandering around campus several times I one of the buildings that I kept coming back to was a energy solutions building by a company called NRG. One of the larger draws of this building happens to be the location. Positioned directly across from one of the campus dormitories it seemed like an ideal location that would have a built-in audience. While there’s no guarantee that there will be many students left on campus at this point, it never hurts to plan for the best.

The face of the building that points towards the dormitories is comprised of abstract raised polygons arranged in narrow panels. These panels come in two varieties creating a geometric and modern look for the building. One of the productions I’m working on next year has several design elements that are grounded in abstract geometric worlds, and this seemed like a prime opportunity to continue exploring what kind of animation works well in this idiom.

In the Asset or In the System

The debate that is often central to this kind of work is centered around an approach that values building a system (or program) for creating the aesthetic, or to instead create the work as fixed media artifacts. In other words, do you build a something that is at it’s core flexible and extendable (though problematic, finicky, and unabashedly high maintenance) or do you build something rigid and fixed (though highly reliable, hardware independent, and reproducible)? Different artists prefer different methods, and there are many who argue that one is obviously better than the other. The truth of the matter, however, is that in most cases the right approach is really a function of multiple parameters: who’s the client, what’s the venue, what’s the production schedule, what resources are available, is the project interactive, and so on. The theoretical debate here is truly interesting, and in some sense calls into question what the skill set is most appropriate for the artist who intends on pursuing this practice. The print analogy might be, do you focus on designing within the limitations of the tools that you have or do you commit to building a better printing press so that you can realize the design exists only as an abstract thought? 

Recent Arizona State MFA graduate Boyd Branch shared these thoughts about this very topic:

I don’t know if there is much of a debate between system building and design for production. Quite simply- every production demands aesthetics. The aesthetic is always the most important. The system is only useful in as much as it generates the appropriate aesthetic experience. It doesn’t matter how reliable, interesting, or functional a system is if it isn’t supplying an aesthetic relevant to production. A “flexible and extendable ” system is only useful if the aesthetic of flexibility and extendibility is ostensibly the the most relevant aesthetic. Interactivity is an aesthetic choice for performance and only relevant when ontology or autonomy are the dramatic themes. For theatre in particular, the system inevitably becomes a character, and unless that character is well defined dramatically, it has no business inserting itself into production.

The debate if any is internal for the designer and presented as a range of options for the producer/director. That debate is a negotiation between time and resources. A designer may be able to envision a system that can achieve an effect- but without sufficient experience with that system and the ability to provide a significant degree of reliability, such a system should not be proposed without articulating how the dramatic themes will inevitably shift to questions about technology.

Sometimes an aesthetic is demanded that requires experimentation on the part of the designer. A designer has to be knowledgable enough about their skill set to know how to explain the cost involved in achieving that aesthetic. And if that cost is reliability than it is incumbent on the designer to iterate that cost and explain how the production will hinge on the unpredictability of that system.

An unreliable system , however, is frankly rarely good for any production unless unreliability is the theme. If a production requires a particular aesthetic experience that seems to be only achievable with the creation of a new tool, then it must be recognized that that tool and the presence of that tool embody the major dramatic themes of production.

Avant garde theatre is one of the best environments for exploring the aesthetics of system building – but it is also the theatre that has the smallest budgets…

For this particular assignment we were charged with the approach of building everything in the asset itself. That is, building a fixed piece of video artwork that could then be deformed and adjusted with playback software (MadMapper).

AfterEffects as playground

Given the nature of this assignment it made sense that Adobe After Effects would be the tool of choice. AE is an essential tool for any media designer, especially as there are times when pre-rendered media is simply the best place to start. I spent a lot of time thinking about the direction that I wanted to move in terms of overall aesthetic for this particular assignment, and I found that again I was thinking about abstract geometric worlds, and the use of lighting in 3D environments in order to explore some of those ideas. As I’ve been thinking about the production I’m working on the in the fall it’s seemed increasingly important to take advantage of open ended assignments in order to explore the ideas and directions that feel right for that show. I’m really beginning to see that the cornerstone of successful independent learning comes from deliberate planning – what can I explore now that will help me on the next project? To that end, what kind of work do I want to be making in two years, and how can I set myself to be successful? Planning and scheduling may be one of the most under-stressed skills of any professional, and I certainly think that applies to artists. 

In thinking about abstract animation with After Effects I knew that I wanted to explore four different visual worlds: flat abstract art, lines and movement, 3D lighting and the illusion of perspective, and glitch art. Each of these has it’s own appeal, and each also has a place in the work that I’m thinking about for the fall. 

Worlds Apart

Flat and abstract

In thinking about making flat abstract art I started, as I typically do, by doing lots of visual research. One of the more interesting effects that I stumbled on was achieved by using AE’s radio waves plug-in in conjunction with a keyframed mask. YouTube user MotionDesignCommun has a great tutorial about how to achieve these particular visual effect. Overall the media takes on a smoke-like morphing kind of look that’s both captivating and graceful. A quick warning about this effect. This is definitely a render hog. The 30 seconds of this effect used for this project took nearly 7 hours to render. As a disclaimer I did render the video at a projector native 1920 x 1200. All of that aside, this effect was a great way to explore using morphing masks in a way that felt far more organic that I would have originally thought about.

Lines and Flat Movement

I also wanted to play with the traditional big-building projection mapping effect of drawn-in lines and moving shapes. In hindsight I think the effect of the lines drawing in took too long, and ultimately lost some of the visual impact that I was looking for. I also explored playing with transforming shapes here, and that actually was far more interesting and happened too quickly. My approach for this effect was largely centered around the use of masks in AE. Masks, layers, and encapsulated effects were really what drove this particular exploration. Ultimately I think spending more time to write an expression to generate the kind of look that I’m after would be a better use of my time. If I were to go back I think I could successfully craft the write formula to make the process of creating this animation easier, but it really took the effort of creating the first round of animation to help me find that place. One of the hard, but important lessons, that I’ve learned from programming is that sometimes you simply have to do something the hard way / long way a couple of times so that you really understand the process and procedural steps. Once you have a solid idea of what you’re trying to make, it becomes much easier to write the expression as an easier way to achieve the effect you’re after. 

3D Lighting and the illusion of Perspective

Another projection designer’s magic trick that I wanted to play with was the idea of creating perspective with digital lighting of a 3D environment. By replicating the geometry that you’re projecting onto, you the designer can create interesting illusions that seem impossible. In my case I started in After Effects by positing planes in 3D space at steep angles, and then masking them so that they appeared to mimic the geometry of the actual building. To make this easier for myself, I worked in a single column at a time. I then pre-composed individual columns so that they could easily be duplicated. The duplicated columns only needed small changes rather than requiring me to build each of the 86 triangles from scratch. 

Glitch Art a la After Effects

In another course I took this semester a group of students focused on using glitch art as a base for some of their artistic exploration. While they specifically focused on the alteration of i-frames and p-frames, I wanted to look at the kind of effect that can be purposefully created in AE, and then later modified. YouTube user VinhSon Nguyen has a great tutorial on creating a simple glitch effect in AE. More interesting than the act of making his glitch effect, is his approach. Rather than just adding in adjustment layers and making direct changes. Nguyen instead focuses on how to connect the attributes of a your effect to null objects, essentially making an effect that can be universally applied to any kind of artwork that you want to drop into your comp. This approach to working in AE was interesting as it seemed to start from the assumption that the effect one is making is something that should be easily applied to other works.

Put it all Together

With each section as its own comp the last step in the process was to create a final comp that transitioned between the different worlds, applied some global lighting looks and effects, and added a mask to prevent unwanted projector spill. This was also a great place to do some fine tuning, and to see how the different comps transitioned into one another. 

The Final Rendering 


Resources

AE: Create a Glitch Effect

AE: Morphing by MotionDesignCommun

Creative Cow – Creating a 3D Cube

MadMapper AfterEffects Tutorial for Building Projection

Emerge | Commons

This year I was fortunate to have the opportunity to contribute to the performance schedule of ASU’s conference about art, science, and the future. This is the second year that Emerge has happened at ASU, with the final night being  a culminating festival of performance and art. In the Fall of 2012 I worked with a group of artists to put together a proposal for creating a performance in Neeb Plaza on ASU’s campus. This courtyard that sits nestled between Neeb hall, the Art building, and Design houses a new student generated installation called X-Space each year. Looking to solicite the creation of new works, the Herberger institute put out a call for artists interested in organizing a performance that occurs in X-Space. Called X-Act, applicants were asked to consider hw they would use the space and engage the campus. Early in January my team found out that we our proposal, Commons, was selected. One of the stipulations of the grant was that we would have a showing during the final showcase of Emerge. With this news in mind, our team started the process of creating the installation we had proposed.

One of the elements that our team was committed to realizing was finding a way to integrate projection into the performance on this very geometrically interesting space. I started by measuring the physical dimensions of the space in order to determine the distance required for the projectors that I had available for this project. Using a bit of math one can calculate the throw distance of a projector. Alternatively it’s also easy to use Projector Central’s Projection Calculator in order to lock down approximate distances that you might need. With the numbers in front of me I was able to start making a plan about potential projector placement, as well as my options for the performance given the constraint of the size of image that I could create. With the limitations of distance roughly mapped out I headed to the space after dark to do some initial tests. The hard truth about the amount of ambient light in the plaza, and the limits of the InFocus projectors meant that I needed to shy away from projecting large in favor of being brighter. The compromise of brightness and size was to map the front surfaces of X-Space. To accomplish this, I needed to connect two projectors with a Matrox TripleHead. This piece of equipment allows for multi-monitor work where the computer sees the two projectors as though they were a single canvas. 

It took about 4 hours to pull of the necessary equipment, install, and 
focus the projectors. 
Once I had the projectors up and in place I was finally able to start mapping the surfaces. I had decided early on that I was going to use a piece of software called Modul8 to control my media playback. Modul8 is a VJ software software package that’s robust and easy to use. Unlike other pieces of software, Modul8 is more like an instrument than an autonomous agent that can run independently. While there are a bunch of functions that you can automate inside of the software, it’s largely built around the idea of live-mixing the media that you’re using. In terms of automation, Modul8 allows the operator to use audio input to control a number of playback triggers. For this project the team used a track by DJ Earworm for audio, largely motivated by the desires of the group recruited for the dance performance. One of the additional benefits of Modul8 is it’s ability to send Syphon out media. This means that this piece of playback software can be easily integrated with the mapping tool MadMapper. Here it was as important to know what media system (projectors, hardware, and software) I was using, as the conceptual idea around the performance itself. 
Media Diagram


After getting the hardware installed I started mappping the surfaces of X-Space, creating individual quads and masks for each plane. All in all it took me about three hours to create the maps and masks for the architecture. At this point I was finally able to start experimenting with what kind of media I wanted to use, and how I wanted to arrange it in the space. All in all I budgeted about 16 hours to get this project up and running. Implementing the plan I had created ended up taking about 16.5 hours. This meant that I had one night where I worked on this installation until 3:15 AM, and another night where I was working until just before midnight.  We also had a rather unfortunate miscommunication with the Emerge planning staff about this installation, and the importance of having a security guard available to monitor the site over night. Installation started on Thursday evening, and each of the team members took a shift over night to monitor the outdoor equipment. Luckily we ended up with security for the second night, and didn’t have to pull any more all-nighters. 


Finally, while this project looked beautiful on the empty space, there was a miscommunication about audience placement and how stanchions were going to be used at the actual event. While the team had discussed the importance of roping off the performance space, that request was lost on the actual event planners. Consequently the audience largely obstructed the projections as they used the actual stage space as seating. Additionally, the space was filled with stage lighting and projectors rented for another performance which only served to wash-out Commons media, and distract audience members. While this was certainly not a failure, it did leave a lot to be desired given the time, planning, and sleepless nights that implementation required. It’s just another lessoned learned, even if learned the hard way.



Tools Used
Programming and Playback- Modul8
Mapping – MadMapper
Multi-Monitor Control – Matrox TripleHead2Go Digital
Video Editing – Adobe After Effects
Image Editing – Adobe Photoshop 
Documentation – iPhone 4S, Canon 7D
Editing Documentation – Adobe PremiereAdobe After Effects





Commons
X-Act Proposal

Ethan Jackson | MSD New Production Innovation | College of Design
Chelsea Pace | MFA Performance | School of Theatre and Film
Kris Pourzal | MFA Dance / School of Dance
Matthew Ragan | MFA Interdisciplinary Digital Media and Performance | School of Theatre and Film & Arts, Media + Engineering

Activating a campus of this size is a challenge. With so many majors across so many schools, it would be impossible to activate the entirety of the campus with only arts students, or any small group of students for that matter. We propose Commons.

We are excited to propose a 100 person ensemble comprised mostly of non-performers. This ensemble would be assembled by the team over the next several months by contacting graduate students and undergraduates from various departments and schools across ASU, both inside and outside of the Herberger Institute. The inattention is that the sample of students would be a proportional and accurate representation of the population of the Tempe Campus student body.


This project is ambitions and we are not ignorant of the challenges presented by gathering an ensemble of this size. The difficulty is doubled with you consider that we intend to bring mostly non-performers into the ensemble. The groundwork fro the process of contacting graduates students to enlist undergraduates from across campus is already being laid through contacts in Preparing Future Faculty and the Graduate and Professional Student Associate. 

The piece inherently activates the campus by reaching out across so many disciplines and getting people together, working together, and making art. The choreography will be created by the team and also crowd sourced from the assembled ensemble and the music (potentially) will b a remix of music surged by the group.

Not to be confused with a flash-mob, Commons will be a collaboration with all 100 performers. Created as an ensemble, the performs will truly have ownership over the piece and more than just regurgitating choreography, the piece will be brought to life by the population of Arizona State University.


The piece will use the X-Space, the cement plaza to the south, and the wall of the building west of the X-Space. When the audience enters the cement courtyard immediately south of the space, the floor will be lit with interactive projections triggered by the movement of the crowd. After the audience has gathered, the ensembles will emerge from the X-Space installation and begin a choreographed sequence. Theatrical lights, projections, and sound will be utilized to create an immersive environment for both the audience and the performers.

As the choreography builds and more performers are added, a live video feed will begin and will be projected several stories high onto the textured wall of the building to the west of the courtyard. THe projection will be live video of the performance and of the the audience.


The piece is approximately 30 minutes in duration and would allow for various groups of students who are professional distanced from performing to express themselves in a performative and expressive way. The piece ends with the performers exiting through the crowd and out onto campus where they will continue to perform choreography for 10 minutes in a space that is significant to their experience at ASU.

Rather than making something with HIDA students that only HIDA students see and perform in, Commons will truly activate the campus to come together, make something, and take it out into their communities across campus. 

Sparrow Song | Drawing with Light

One of the effects that I’ve used in two productions now is where lines appear to draw-in over time in a video. This effect is fairly easy to generate in After Effects, and I wanted to take a quick moment to detail how it actually works. 

This process can start many ways. For Sparrow song it started by connecting a laptop directly to the projectors being used, and using photoshop to map light directly onto the set. You can see in the photo to the right that each surface that’s intended to be a building has some kind of drawn on look. In photoshop each of these buildings exists as an independent layer. This makes it easy to isolate effects or changes to individual buildings in the animation process.

Here’s a quick tutorial about how I animated the layers to create the desired effect:


Now that I’ve done this several times it finally feels like a fairly straightforward process – even if it can be a rather time consuming one.

Here’s an example of what the rendered video looks like to the playback system.

Here’s an album of documentation photos from the closing show.


Tools Used
Digital Drawing Input – Wacom intuos4
Mapping and Artwork – Adobe Photoshop
Animation and Color – Adobe After Effects
Photos – Cannon EOS 7D
Photo Processing – Adobe LightRoom 4

Mapping and Melting

This semester I have two courses with conceptual frameworks that overlap. I’m taking a Media Installations course, and a course called New Systems Sculpture. Media Installations is an exploration of a number of different mediated environments, specially art installations in nature. This course deals with the issues of building playback systems that may be interactive, or may be self-contained. New Systems is taught through the art department, and is focused on sculpture and how video plays as an element in the creation of sculptured environments

This week in the Media Installations course each person was charged with mapping some environment or object with video. While the wikipedia entry on the subject is woefully lacking, the concept is becoming increasingly mainstream. The idea is to use a projector and to paint surfaces with light in a very precise way. In the case of this course, the challenge was to cover several objects with simultaneous video. 

I spent some time thinking about what I wanted to map, and what I wanted to project, and was especially interested in using a zoetrope kind of effect in the process. I kept thinking back to late nights playing with Yooouuutuuube, and I wanted to create something that was loosely based on the kind of idea. To get started I found a video that I thought might be especially visually interesting for this process. My friend and colleague Mike Caulfield has a tremendously inspiring band called The Russian Apartments. The music he writes is both haunting and inspiring, an electronica ballad and call to action. It’s beautiful, and whenever I listen to a track it stays with me throughout the day. Their videos are equally interesting, and Gods, a video from 2011, kept coming back to me. 


To start I took the video and created a composition in AfterEffects with 16 versions of the video playing simultaneously. I then offset each video by 10 frames from the previous. The Effect is a kind of video lag that elongates time for the observer, creating strange transitions in both space and color. I then took this source video and mapped it to individual surfaces, creating a mapped set of objects all playing the same video with the delay. You can see the effect in the video below:




Meanwhile in my sculpture course we were asked to create a video of process art: continuous, no cuts, no edits. I spent a lot of time thinking about what to record, and could not escape some primal urge to record the destruction of some object. In that vein I thought it would be interesting do use a slow drip of acetone on styrofoam. Further, I wanted to light this with a projector. I decided to approach this by using the mapping project that I had already created, and instead to frame the observation of this action from a closer vantage point. Interestingly, Gods has several scenes where textures crumble and melt in a similar way to the acetone effect on the styrofoam. It wasn’t until after I was done shooting that I saw this similarity. You can see the process video below:




Tools Used:

Mapping – MadMapper
Media Generation – Adobe After Effects
Projector – InFocus IN2116 DLP Projector

Almost Open

Almost Open¡Bocón! is almost open… it’s now so close that you can taste it in the coffee we drink all night while we’re working, so close that you can smell it in the hazer fluid that’s filling the air. In many ways the transition from the initial days of tech and the final dress seem like an impossible transformation. 

It’s difficult to see the forest for the trees sometimes, and this experience has been no exception. It seems like there have been countless nights when I’ve wondered if we’d actually be able to put together the media for this show. My role in this production has been as the assistant to the very talented and driven Dan Fine – a second year MFA student in the Interdisciplinary Digital Media and Performance program at ASU. It’s strange to think that we actually started this process back in August when he first asked if I’d be interested in working with him on this project. Our initial meetings, that now seem so long ago, were centered around codifying the ideas and aesthetic that we were hoping to create in designing the media for this show. 

Almost Open

In thinking back to those initial meetings they provided an invaluable scaffolding for the work that would come as we started to install projectors and create content for the show. Those first meetings helped to unify both our vision and conviction for the show and the ultimate look of what we were looking to create. Central to our conversations was the idea that the visual expression of the show was somewhere between a storybook and abstract art. Dan wanted artwork that supported the story visually, helped to create the world of the play, but didn’t distract the audience from the actors in the space. The difficult balance of mediating a production like this is to avoid the impulse to fill the space with so much content that it overpowers the actors on stage. It’s been an interesting balancing act to support the action of the space without becoming a distraction to the audience.

Almost Open

This process of media design has also left me with more questions than answers about how one might meaningfully examine this work. After several long nights in the theatre and working at home I’m left wondering when my most productive and meaningful work happened: was it productive to be in the theatre until nearly 3:00AM? Was I actually designing quality work after midnight as I fought with After Effects night after night? Did our system of versioning our work facilitate better organization or impede our efforts to implement changes from run to run of the show?

Almost Open
The part of me that obsessively tracked the mileage of a Prius as Lauen Breunig and I drove across the country is left wondering how, and what, I might track in the next show that I design or assist in designing. What would help me be a better practitioner, a better artist, a better scholar? What’s the appropriate balance of quantitative and qualitative data to be pulled from my process that might tell a compelling or interesting story? Better yet, what method of data collection is going to be unobtrusive enough to warrant implementing – this process is about as resource intensive as it can be already, what kind of investigative instrument is going to yield useful data without providing biased results?
Almost Open
Looking at the opening of the first ASU show where I’ve made a significant contribution I can’t help but wonder what the next semesters and years hold, what my work will look like, and what I’ll do after I leave the desert. 

Bocon Tech

¡Bocón!

After four days of going to bed between 3:00 and 4:00 AM it finally feels like we’re making progress. This challenge is something between the most amazing opportunity and the most terrifying challenge. Here I am, not even a semester into Graduate School and I’m working on a project with three panoramic screens and floor projection: nine projectors, five computers, two media play back systems, two operating systems, two frazzled graduate student media designers, and one children’s show.

Below is a moment from the show as the main character runs through a forest in an attempt to escape an oppressive military force. As the lights change, the floor is painted with a vine-like mandala as the three panoramic screens are slowly fade up revealing a forest of vines, and masks.

Bocon Tech

The time and the place of the play read as an abstracted South America – something that straddles an aesthetic that’s a strange marriage of expressionism and realism. It’s one thing to think about that in terms of production meetings, and another to see it finally materialize. In this way it’s interesting to finally see a fuller representation of the production.

Bocon Tech

Strange to me has been the experience of getting tossed headlong into this whole process. The learning curve on this process has felt like more like a straight line than a curve. As this show has developed it’s felt as though there are new techniques, software, and concepts to learn at every turn. For every new method I’ve started to digest, there are another 10 to add to the list to learn later. More than ever the idea of life-long learning is something that I keep coming back to… it’s just a matter of continuing to learn and apply techniques and process. I came to grad school to learn lots of tools and techniques, and already I’m quickly finding that I’ve actually come to grad school to learn how much more there is to learn.

Tools Used:

Media Control for Panoramic Displays – Watchout
Media Control for Floor Projection – Isadora
Media Generation – After Effects, Photoshop

Solo Performance Project

This semester I’m in a course titled “Performance Technology.” The course serves as a broad survey of technology used in conjunction with performance as well as a primer on the theoretical constructions that frame the discussion about the use of technology in conjunction with live performance. According the syllabus, “This course will examine the issues surrounding the integration of live performance and digital media. Students will study the work of contemporary practitioners and theorists and experiment with creating their own works of digital performance.” 

The texts that accompany this course are “The Language of New Media” by Lev Manovich, and “Liveness: Performance in a Mediatized Culture (2nd Edition)” by Philip Auslander. 

This past week I completed our most recent project, titled “Solo Performance Project.” The assignment guidelines are below:

  • Should be between five and seven minutes in length, unless the piece is nondurational (e.g. the performance is a “space,” an installation, or is triggered by an event) in which case it should be appropriate to experience during a five to seven minute window.
  • Should be an original, devised/created work of your own.  The subject matter (if it has any) can be ANYTHING.
  • Must utilize digital and/or telecommunication technology of some kind as a tangible part of the performance text. Must demonstrate critical or sophisticated use of technology as a medium, with clear thought about its relationship to the subject.
  • No live performers other than yourself, unless you use an audience as participants.
  • Must include some live performance, though this performance need not be corporal.
  • Can either be a completed work or serve as a sample of a hypothetical, larger work.  It might be a sort of performative “treatment,” sample, or work in progress (e.g. “This is five minutes out of an hour-long performance that would…”)  If choose this option, please turn in a written paragraph describing your projected vision of the completed work.  

Here is a video of the work in it’s current form.
Comments and Thoughts:
In conceptualizing this assignment part of the real difficulty was in trying to determine both the subject for commentary and the best media for addressing that issue. If the message is the media, and the media is the message than making a purposeful choice is as much a part of the challenge as the creation and execution of the project. In hindsight, I think I failed this assignment’s call to create a totally original work. I used Auslander’s text. While my intention was that it was framed by the introduction and conclusion of this unknown character living in the “dark,” I wonder if my use of his text was too heavy handed. In all honesty, part of the challenge here was selecting material that felt appropriately matched to the course content that we had discussed up to this point. While I have my own ideas about the nature of liveness and mediated performance, I liked Auslander’s point. The audience determines the liveness of a mediated environment depending on their willingness to define it as “live.”


In some respects I’m compromised here – I really should have composed my own text, but I was afraid that I wouldn’t articulate my thoughts clearly enough to have the intellectual impact that I was looking for. I also elected to learn a new tool / technique for this project, projection mapping, and didn’t adequately anticipate the time that would be needed to learn new methods, composition methods, hardware, and software. 

Tools Used:

Mapping – MadMapper
Audio Recording – Zoom H4n
Projection – Sanyo XGA Projector
Media Generation – Adobe After Effects
Sound Editing – Adobe Audition