Final Year Studio - Research - Julius Popp - Bit.Fall

Video courtesy of chezzorilla at YouTube

The specific peice above was created by German artist Julius Popp and uses water droplets as a medium to then project information onto. Comprising of 128 nozzles, this curtain of conintuous water droplets uses maganetic valves controlled by a computer to display both text and graphics randomly selected from the archive of the Internet.

Although simple in execution this peice of artwork poses a very good question to our perception of objects and information. For centuries information in books wasn't perminent, the books could be damaged or just decay, paper without certain measures could not last forever. Popp with the temporal espect of the water droplets here shows us that. Words displayed by the peice are only viewable for a second, unlike our new digital mediums such as the Internet where information can occupy cyberspace, if untouched, forever, even when your computer or everybody elses has gone to scrapyard. This then poses a question of selection, just think in thousands of years time, future civilisations will not have to dig holes to see how we live but simply logon to an historical archive of past webpages.

All our triumphs and tradegies as a species can and will be criticised so that lessons will be learnt and mistakes avoided. For exmple as a western world the shear access to horrific images of the second world war as made us have the longest period in histroy where there hasn't been a war of some kind in europe.

Final Year Studio - Initial Development - 20 Images

20 images from web, originally uploaded by Jimbo (Alan James Wellock).

Above are initial images that I collected to stimulate ideas for my project. In the top left the first images are artists that intrigued me and were at the Urban Screens Manchester exhibition. These are just two peices of work that target how the audience perceives the area they populate and use. The next two images first show the over stimulation our senses are having to contend with and then the second a technique of combating vast amounts of initially confusing information.

This ties very closely in with Bruce Mau's notion of 'Associative Bandwidth (subliminal signals)' and the more senses stimulated the greater the bandwidth and effect a peice of work has on an audience.

The second row and bit of the third row down simply show pictorially our senses and question you how much we use each one. I then got thinking of how different sense stimulation data travels to us, and relised that it is only sight and sounds that move in waves. The other senses such as smell, taste and touch have to physically touch the stimulant to feel its effects.

The last image of the third row represents an interpretation of this real world occurance, where physical analog signals can change into virtual digital visualisations. This then got me thinking of how in realtion to viewing media the role is reversed, digital information is trasformed into physical stimulation information.

With this in mind I went back to looking at 'Associative Bandwidth' in relation to environments and their communication systems. The bottom right two images show the simple difference in a effect that time of day has on Times Square, New York. In the day media aesthetically has to combat with cars, people and buildings, while at night, it, light is king!

The last two images attack the notion of new-media in architectural envronments, both interoir and exterior needs to break the constrains of flat screens and embrace the shapes in their surroundings. In affect bringing the audience into the screens whar William J. Mitchell calls 'hybrid reality.'

Final Year Studio - Research - Jim Campbell - White Circle

Video courtesy of lianabrazil at YouTube

'White Circle' was a development version of 'Primal Graphics' created in 2001. This video shows best the roughness and awkwardness the peice is trying to portray. Created in todays world that pursuits perfection this low resolution analog looking installation encompasses the audience and shows the architecture of the environment off too. It distributes light and works with its surroundings.

Also at the moment some of Jim Campbell's work is in an exhibition at the Cornerhouse in Manchester called, 'Outside the Box.' It will be really useful to go view this exhibition as nine artists present artwork that challenges our perception of the public realm and aesthetics.

Click here for Cornerhouse project

Final Year Studio - Research - Jim Campbell - Primal Graphics

Image courtesy of www.jimcampbell.tv, originally uploaded by Jimbo (Alan James Wellock).

Renowned new-media artist; Jim Campbell in 2002 created this peice of artwork, entitled 'Primal Graphics.' This, his first public sculpture was shown in New York City. Consisting of a 13 ft x 10 ft screen and 192 light bulbs, a digital movie was shot and shown, compressed just enough so that the shape of man walking was still legible. To help wth legibility Campbell used a technique that was also used at SPOTS. The aspect of putting a frosted screen over the top of the bulbs to blur the gaps, thus eradicating unwanted black areas between the bulbs.

The installtion's effect is that of evoking memory loss and directly targets the audiences understanding of how information is broadcasted and transmitted to us. In a sense it is scaling up a screen, hundred fold, and because of this Campbell shows us the beauty of the individual pixels that make up a variety of screens we see every day and take for granted. It changes our preconception of how movies can be portrayed and also due to its almost analog appearence and chunkyness becomes part of the environment it inhabits.

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Dissertation - Initial Development - Initial Middle Structure

Calling upon my experiences as a graphic designer working in the design and visualisation of both print and digital mediums, I got interested and still am in the way we choose different mediums to occupy different styles of interaction. Looking into this I came across one of what Bruce Mau calls the ‘Twelve Strategies’ in design. It is called ‘Associative Bandwidth (subliminal signal)’ and relates to how our sense channels order various amplifiers of information associatively for cognitive information mediums:

'Describe print-based media in the terminology of new media and what becomes apparent is the extent to which “bandwidth” is carried by the non-text-based qualities of an object. The tactility, colour, material, smell, history, image and portability of an object produce what we call associative bandwidth or subliminal signal. All of these qualities inflect the meaning of an object. They make it speak of intelligence, consideration, contemporaneity, criticality, accessibility, or generosity. Although we may not focus in a cognitive sense on these qualities, the channel remains open. The real effect and power of the work emerge in the tension between our cognitive and associative engagement. Perhaps the most challenging constraint facing online design application, and the reason so much of it seems anaemic or impoverished, is simply the extremely narrow bandwidth effectively stripped of all that subliminal signal.'
(Mau 2001 : Life Style 324)

This initially interested me as I was interested in the use of aesthetics when communicating information. This got me thinking about investigating the effect this ‘Associative Bandwidth’ has on the basic core interaction that everyone engages, learning. More importantly the effects this had on the development of interactive systems such as the Internet and how students absorb information. With this in mind I am then going to look at the learning technique, VAK (Visual, Auditory and Kinaesthetic) Learning and the effect it is having on the ‘Associative Bandwidth’ of interactive systems in relation to more physical and traditional mediums.

For the main research and analysis of my subject I will look into various websites, books and essays relating to the areas of interactive system implementation within educational institutions. I will also research material in regards of VAK Learning and the areas to which these interactive systems are allowing these Multiple Intelligence techniques to prosper. I will also if possible try to attain and interview a IT Co-ordinator and Teacher from a secondary school to ascertain the real world application of using interactive systems and VAK Learning, in relation to the amount of information this lets them teach in relation to sense stimulation and data absorption of the student. In a sense when it is appropriate to use physical teaching methods and when it is appropriate to use digital teaching methods.


To start the middle I will describe a history of interactive systems within learning, based mostly on the development of the Internet. Also I will give a brief description and introduction of VAK Learning within teaching and its advantages over traditional means of information interaction.

The next chapter in relation to ‘Associative Bandwidth’ will look at interactive systems such as the Internet versus traditional face-to-face and textbook teaching. This will strongly use the theory of William J. Mitchell and his ‘Economy of Presence’ idea, the notion of Synchronous and Asynchronous information transaction. It will also include technology experience theory from Caroline Pelletier and network interaction theory from Sian Bayne. The final bit of this chapter will comment on the theory of ‘place’ in both the physical and ‘virtual learning environment’ (VLE) put forward by Ray Land and its ‘Associative Bandwidth’ in relation to the transfer of information in the classroom.

The chapter after will look at the use of the now compulsory teaching style of VAK Learning, and how this area can and will shape the way interactive learning systems look and operate. It will hopefully connect some of Howard Gardner’s various learning styles to the digital medium of interactive systems and ideas gained by the chapter before. It will also comment on the changing face and procedural theory of displaying information within learning from Bruce Douglas Ingraham. Finally this chapter will look at the ‘classroom communication technologies’ (CCS) and ‘personal response systems’ (PRS) that are being developed such as ‘Quizcom’ which are making the VAK Learning style, digitally more possible to teach.

The final chapter of the middle will then document the primary research that I will hopefully be able to acquire, and compare my ‘real world’ findings to the theories of thinkers in the field. Fully incorporating the notion ‘Associative Bandwidth’ of sense stimulation in relation to the techniques used by interactive systems and learning styles to transfer knowledge from teacher to student. This will then all be used to next compile a conclusion.

Final Year Studio - Research - SPOTS - Inner City Waltz

Image courtesy of www.spots-berlin.de, originally uploaded by Jimbo (Alan James Wellock).

This piece of artwork by Holger Mader, Alexander Stublic and Heike Wiermann investigates the notion of urban impulse and is triggered by traffic and passers by movements. Interestingly it reacts and blends into its surroundings animating the curved media facade.

This piece I feel is very interesting as it targets the idea that urban media displays don't have to be vulger, chunky, glorified LED screens; they can be beautifully sculptured and incorporated fully into architecture. This is also done by animations that are 3D in perspective, again tackling the 'flatness' of current urban screens.

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Final Year Studio - Research - SPOTS - Signs Fiction

Image courtesy of www.spots-berlin.de, originally uploaded by Jimbo (Alan James Wellock).

Consisiting of seven animations, video artists Torge Moller and Momme Hinrichs displayed a combination of regular, historical and furturistic signs. The symbols that were originally drawn by hand, filmed, then inverted and shown on the facade can only be viewed correctly by seeing them in the reflection of buildings and wet streets.

I like this installation for it's pure simplicity at targeting what graphics our cities encompass. Signs are everywhere and unless we need them we do not take much notice of them, but as soon as they are blown up and mirrored our perceptions change. They in a sense become an artform as technically they are not warning or informing the viewer of anything. Instead they ask the audience to look around, interact with their surroundings and understand their environment within which the graphics are located. Due to the relections of surrounding materials the viewer becomes emersed in the screen aesthetic itself.

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Final Year Studio - Research - SPOTS - 33 Questions per Minute

Image courtesy of www.spots-berlin.de, originally uploaded by Jimbo (Alan James Wellock).

An installation by Rafael Lozano-Hemmer that allowed passers by to type in any question they had into a terminal in front of the media facade. The facade then showed 33 questions per minute that were stored in it's computer's database. If no questions had been typed in it created one from various sentence fragments. This created human curiosity as often mechanical meaningless strings of words were displayed.

Here the technique of how we think is targeted as the facade mimics the connections that we think through to create ideas. Also there could be the possibilty that by thinking itself it might just come up with an idea that is totally original and does make some sense. This installation I think more than any of the others directly tries to bring the audience and architecture closer together, emercing them under the umbrella of thought. It offers a listening ear for the publics thoughts and curisity, a sort of public counseller.

From a technical point of view though, you can see that the low resolution of the screen forces the text to be huge so that it is legible.

Click her for link

Final Year Studio - Research - SPOTS - Decision Making

Image courtesy of www.spots-berlin.de, originally uploaded by Jimbo (Alan James Wellock).

'Decision Making' by Ruth Schnell transformed the media facade into a huge PC screen complete with animated mouse cursor. Imitating how a user moves the cursor around when looking for buttons on a normal screen, the giant cursor explores the facade, gets lost and starts again. The cursor then decides to click and this is shown by a bright flash of all of the lamps.

This artwork is very simple but challanges our complex interaction with computers and when we kinaesthetically albeit digitally look for information. Just like computer operating systems mimic real desktops, this mimics an operating system. This creates a sense of realness and usualness with the audience, making them understand and accept the cursors actions.

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Final Year Studio - Research - SPOTS - Gait Studies in LowResolution

Image courtesy of www.spots-berlin.de, originally uploaded by Jimbo (Alan James Wellock).

Here Jim Campbell developed a series of figurative short films for the media facade. These changed everyday and depicted various people in different situations. Here though Campbell directly targeted the low resolution of urban style screens by offering a tinted perspex screen that viewers passing by could view the media facade from. When viewed through this screen the facade pixels merged and created a slightly blurred but gapless image. Campbell himself is well known for working with high resolution images and their contrasts when converted to low resolution.

I think this is a very good attempt at tackling the low resolution displays usually associated with urban screens. Although with SPOTS the low resolution of the media facade gives it an architectural appeal, for displaying information it would render it not so good. This is because text would have to be massive to counteract the low resolution. It is an interesting area and begs the question at what resolution can architecture and information be balanced.

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Final Year Studio - Research - SPOTS - Sensor

Image courtesy of www.spots-berlin.de, originally uploaded by Jimbo (Alan James Wellock).

Created by Carsten Nicolai 'Sensor' was and installation that reflected the movement, density and frequency of its urban enivronment. Based on sensors located around the media facade Nicolai's visualization constantly regenerated and redesigned itself. Such parameters as traffic, time of day, brightness and noise level all decided what was shown on the facade. These attirbutes as well as infared signals then determined the various light gradients and modulations shown to turn the facade into a 'mirror image' of the city.

This specific installation I thinks directly targets how we move around our cities at various times of day. Very much like new archtecture, with its glass walls, reflects its predecessors, Sensor interperates its surroundings. It tries to make sense of them and in turn changes our perception of what exactly our environment is there for. Due to SPOTS media facades shape it gives the impression of touch and makes you feel like you can internally explore it, widening its 'Informaion Bandwidth.' Also using Edmund Burke's notion of 'Gradual Variation' this urban building is turned it something that is natural and beautiful in its being.

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Final Year Studio - Research - SPOTS

Video courtesy of www.spots-berlin.de

The SPOTS installation was a light and media facade at the Pottsdammer Platz located in Berlin. Commissioned by Cafe Palermo Pubblicita this matrix of 1800 convential fluorescent lights and yards of polyprop coloured film was designed by architect and artist office Realities:United for the client HVB Immobilien AG. Running for 18 months it was a new archtectural medium that allowed various artists to show speicifically designed interactive and film pieces of work. Each artist displayed his or her work from sunrise till midnight, and this included pieces from creatives such as British director Terry Gilliam and American media artist Jim Campbell. From midhnight to sunrise everynight 'Senor' by Carsten Nicolai was shown.

Here is a very good example of screen and building working together to create a new architectuaal medium. Although low resolution like the installtions at Urban Screens Manchester, this along with the screens shape gives a natural, mechanical,
but organic feel, a thing that is sometimes lost with todays obession with 'flat' hardware.

Above is a selection of work that feel is important to research in relation to the development of my project.

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Final Year Studio - Initial Development - Screen Texture and Customization

Image courtesy of James Wellock, originally uploaded by Jimbo (Alan James Wellock).

As stated below I propose to investigate into the influence of texture and thus the sense of touch in screen design. I want to undestand whether projecting onto a specific material can add to the 'Information Bandwidth' of the experience and emerce the audience in the architecture of an area.

In a sense it is to see if digital information can become physical, and to do this I may have to look at how initailly physical information becomes digital. It will be interesting to see how the texture or material of a projection space adds to the media's aesthetic and maybe auditory perception.

Above are just some of the textures that could be projected onto, there will be many more both in outside and inside areas. At the moment my main route of investigation will be to research artists that project onto both different textures and use customized screens, as these can also emerse and infulence the viewing experience for the audience.

Final Year Studio - Research - Urban Screens Manchester - Do Billboards Dream of Electric Screens?

Image Coutesy of James Wellock, originally uploaded by Jimbo (Alan James Wellock).

A parady of Philip K. Dick's 'Do Androids dream of electric sheep?' this installtion involves a series of stories being told using the large screen. Various artists have been asked to produce movie to show that billboards don't have to be static, they can be moving canvas'

This piece was really just a collection of various work and not interactive. It did though try to blend film, art and advertising with architecture but where it was shown I thought it stud out from its surroundings rather than used them to its advantage.

This blend with surroundings is an area I am very interested in and will start looking at different textures that could be projected onto to add to the visual element of both interior and exterior information interaction.

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Final Year Studio - Research - Urban Screens Manchester - 15 x15

Image Coutesy of James Wellock, originally uploaded by Jimbo (Alan James Wellock).

Another performative piece I saw was 15 x 15 that was shown on the BBC Big Screen. It is based on Andy Warhol's 1968 statement that 'In the future, everyone will be world-famous for 15 mintues.' Warhol at the time was talking about the notion of fame and celebrity thanks to an ever evolving media worldd. Today with reality shows left, right and centre his prediction has seemed to come true. This piece then takes this a step further by offering 15 seconds of fame by using a mobile phone or computer to send pictures and videos to a database which is then accessed randomly by the screen. As well as offering a short glimpse of fame the piece attacks the old idea that art is for the rich and wealthy, it directly targets the regular public and asks them to be part of it.

The interaction of this piece I think is ingenius and simple making it easy for anyone fo any age to interact with it. My only problem with it is that although it doesn't look as much of an experiment as the installtion below it is still just a screen bolted onto wall. It again doesn't try to subtly blend in or use the architecture around it.

Click here for website