Our guest lecture will explore liminality in art and architecture and how we can construct hybrid spaces through, with and for media.
The key here will be embodiment “phenomena are those that by their very nature occur in real time and real space *“. We’ll remix and rework media from the screen and translate it into the world, onto objects and into spaces. This type of translation will be our primary form of remix in this module. We’ll review them to learn about the techniques and methods that leading artists use to construct media spaces and liminal experiences ( familiarity, techniques.) Then to being to think about translating digital content from the screen to the real world, our warm up exercise will invite you to translate a digital sound into a material form ( concepts, application). Each person will uncover and present two case studies of exciting media installations. To get to grips with the breath and depth of media installations, we’re going to explore them together. Techniques: explore projection mapping, 3d audio, interactivity and other methods for creating immersive and liminal spaces with media andĪpplication: prepare media installations based on these ideas and concept. In this module, our learning objectives will be the following:įamiliarity: become familiar with media installations and the strategies used by artists in this realm to compose media spaces with sound, projection, light and media Ĭoncepts: explore liminality, materiality and embodiment learn about the material and embodied relationships between digitial and physical explore how intent can be given three dimensional form and understand the interactions between material, media and experience When we start to bring media into the world, we need to think about how participation (direct or indirect) and engaged interaction with that media environment leads to experience, and helps communicate intent. How we encounter, understand, create and share meaning through our encounters and actions with physical stuff.
Embodiment is all about our experience of the world. “Embodiment is the property of our engagement with the world that allows us to make it meaningful” ( Dourish). Embodiment: This is how we find meaning in the material.However, a compositor might break up those elements into layers for parallax depth, add effects animation, use projection or add 3D elements, lighting, haze and fog.
A matte painting is still technically a 2D image of an environment. In digital matte paintings really might consist of multiple layers or even 3D models!Ĭurrently a matte painter is still an artist creating 2D elements. It's a very generic term, and in digital, it really only means you have more than one layer/track in a project. So compositing is simply combining multiple elements together into a single image. Non digital compositing literally was layering up different bits of film in a stack, creating a composite and running that through an optical printer. In post, you would have a mostly-painted element with transparent areas where filmed elements would be rear-projected, combining the image in-camera. This makes the matte painting a special effect. Now, on-set, you would shoot deep DoF and would get am image combining the live set and painted element in-camera. The painting would either be done in front of camera position (on location) or in front of rear projection (post production). Of course, a pre-digital matte painting would be painted oils on glass. In the digital age, there's a fair amount of overlap here.
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