Monday, June 7, 2010


I have been looking at stop motion and tilt shift photography. I have made a video of Dunedin scenes, everyday scenes, from different locations. looking at Dunedin from places not many people have seen, also finding patterns and things that happen within a city. all the locations were up high, so i could add some tilt shift effects.

RESEARCH: Ruben Ramirez, New York

"The reason I like photography is because it allows me to capture moments that most people see everyday, but don’t notice."

Monday, May 24, 2010

RESEARCH: Keith Loutit

"Sydney photographer and filmmaker Keith Loutit attracted an internet and media sensation, following the release of his 'Bathtub' series of short films, that transformed both iconic and familiar Sydney scenes into miniature wonderlands. Known as the pioneer of the tilt-shift / time-lapse technique, Loutit was the first to recognize how time and focus combine to support the powerful illusion of miniaturization in film. In his scaled down and sped up realities, real world subjects become their miniature counterparts. Boats bob like toys in a bathtub, cars race like slot-cars, and crowds march as toy armies. Loutit's aim is create a sense of wonder in our surroundings by "challenging people's perceptions of scale, and helping the viewer to distance themselves from places they know well".

Small World's Project

Small Worlds is Loutit's most ambitious project to date, documenting the world's great cities, landscapes and monuments of the ancient world in miniature. In a time of population explosion, impacts to our environment, and concern over limited resources our world feels smaller than ever. But through Loutit's lens the world seems simple and uncomplicated, the differences between people are reduced, and obstacles seem easily overcome. By presenting a view of the world from 'the outside in' Loutit aims to tell an inspirational story of mankind working together as one. We will see cities being built, the world's great events, and daily life all in Loutit's trademark style of miniaturization."
his tilt-shift / time-lapse technique is a very nice looking video! you can see his videos on his website

Monster Trucks - Tour of Destruction

Monster Trucks - Tour of Destruction: "Monster Trucks - Tour of Destruction"

by Keith Loutit

RESEARCH: Olivo Barbieri’s model world.

An aqueduct on the periphery of Rome
The Queen Mary, Long Beach, California
New York-New York Hotel and Casino, Las Vegas

It’s often hard to convince people that Olivo Barbieri’s aerial photographs are real. They look uncannily like hyperdetailed models, absent the imperfections of reality. Streets are strangely clean, trees look plastic, and odd distortions of scale create the opposite effect of what we expect from aerial photography—a complete overview, like military surveillance. “I was a little bit tired of the idea of photography allowing you to see everything,” Barbieri says. “After 9/11 the world had become a little bit blurred because things that seemed impossible happened. My desire was to look at the city again.”

He began the Site Specific project in Rome, before moving on to Amman, Jordan; Las Vegas; Los Angeles; and Shanghai, China. He achieves the distinctive look by photographing from a helicopter using a tilt-shift lens—a method, he says, that “allows me to choose what I really like in focus: like in a written page, we don’t read [it as an] image but one line at a time.” Along with the still photographs, which are exhibited as enormous prints, Barbieri has been making short 35mm films. New York—not surprisingly—is next on his list of cities to tackle.

But so far it’s the Las Vegas photographs in which an innate sense of unreality collides most strikingly with Barbieri’s projected vision. The city’s simulated monuments are made to look artificial, in total defiance of their reality. For Barbieri it is “the city as an avatar of itself.”
(text and pictures)

Sunday, May 23, 2010


making photos of real places look like toy models;::: these are my first 2 tests.


Blast Theory The group makes collaborative, interdisciplinary work that is highly innovative in its process and execution.

TRUCOLD is a video work shot at night on the streets of London and - during a heavy fog - in Karlsruhe in Germany. The work comes out of Blast Theory's interest in physical displacement, amnesia and time travel and ties directly into other urban projects Can You See Me Now? and Uncle Roy All Around You, focusing in on the city at night and the gaps between what is real and what is fictional. The group are interested in the power of the viewer or participant to fictionalise their surroundings and to experience things which are not really there. Lengthy shots with a fixed camera unveil the passage of time on the landscape. By partially erasing the ephemeral passage of traffic and people, the video presents the urban fabric as monolithic, expansive and subject to minute shifts that might otherwise pass unmarked. While superficially absent people are in fact constantly present on the margins: a running man appears as blur, another is briefly reflected in a marble column.

The work also plays with the limits and effects of technology: while reminiscent of time lapse techniques, the footage is in fact unfolding in real time. Shot on mini DV the shutter speed has been slowed to one third of a second in order to be able film in such low light. The video is filled with digital artefacts as the camera struggles with the conditions: pixellation, streaks of anomalous colour and lens flare. Some images seem computer generated. The act of image capture itself is bordering on entropy.

The city appears empty, open, receptive to meaning and yet there is attendant threat caused by that very absence. Both the quotidian and the mythic exists alongside one another.

TRUCOLD was made for the Biennale of Sydney in 2002 and was presented at the Museum of Contemporary Art. It has since been featured in a number of exhibitions and film and video festivals in Europe, Asia and the United States. (image and text)

This video is TRUCOLD, the video made for the sydney biennale in 2002. It is like what i want to do for this project.


Monday, April 26, 2010

New Frog Found—Has "Striking" Color Change

Found on the National Geographic website.

"A newfound frog species undergoes a "striking" change from a black, yellow-spotted youngster to a peach-colored, blue-eyed adult, scientists say.

Oreophryne ezra was discovered in 2004 in a tiny, mountaintop cloud forest in southeastern Papua New Guinea. The forest has been long avoided by locals, who believe the misty jungle to be taboo, and perhaps guarded by spirits.

Though a few other frogs are known to switch colors as they mature, "I don't think the difference in color pattern is as startling as what's seen in this species," said Fred Kraus, a vertebrate zoologist at the Bishop Museum in Honolulu, Hawaii.

But why the amphibian undergoes such a drastic transition is far from black and white, added Kraus, leader of a new study on the frog in the December 2009 issue of the journal Copeia."

Thought this was interesting, because of my images changing, this is more of a REAL-LIFE change, ..... NATURE, just like Autumn, Winter, Spring, Summer.

Sunday, April 25, 2010

RESEARCH: Kohei Nawa, PixCell - ...... (Beads)

PixCell - Paper Plane

h: 8, w: 22, d: 14 cm

PixCell - Sheep

h: 80, w: 37, d: 124 cm


h:101.4 w:65.5 d:48.5 cm

PixCell - ...... (Beads)
"By covering surface of an object with transparent glass beads, the existence of the object itself is replaced by "a husk of light", and the new vision "the cell of an image" (PixCell) is shown.
Most of the motifs, like stuffed animals are found through the internet. I search some auction sites and choose from the images which appear on a monitor as pixel. However, the stuffed animals which actually have been purchased and sent have real flesh feel and smell, and have a discrepancy with images on the monitor. I then transpose them to PixCell in turn.

These objects are like low quality jpegs, looking at them makes them look like jpegs, but up close in detail they are very crisp.

Thursday, April 22, 2010

RESEARCH: Reuben Paterson, When the Sun Rises and the Shadows Flee, 2005

When the Sun Rises and the Shadows Flee 2005

this work of Reuben Patersons' reminds me of glittery pixels

Mark Khaisman uses only brown parcel tape to create images of people and scenes from movies. From a distance they look like they could be images made on a computer.

RESEARCH: Ana Terry terra_data 2008

"Terra_data (2008) continued to explore my ongoing interest and research in the notion of the archive, data and perception of information mediated at speed by a screen - specifically a vehicle screen at speed. Landscape prints were cut into strips and re-assembled into a running wall work that surrounded the viewer in the gallery space. Boundaries of the frame were broken down and visual information became intertwined with other territories offering multiple 'points of view'. This reconfiguration of the material suggested a shuttered panorama at the peripheral of our vision as we drive towards a given destination - a vanishing point on the horizon." -Ana Terry

slicing and dicing

The top image is made from layers of 5 different images.
I see the chunks of picture's to be large pixels.

Monday, April 19, 2010

finer slices of my cat, and a loepard


smaller slices


Taken from the idea of two way pictures (see below) I have been slicing images and layering images together to make new images, they seem to make up a new picture. The images together make new connections were parts of two or more images link in to each other.

here is my first image,

Wednesday, March 31, 2010


"A thaumatrope is a toy that was popular in Victorian times. A disk or card with a picture on each side is attached to two pieces of string. When the strings are twirled quickly between the fingers the two pictures appear to combine into a single image due to persistence of vision.

The invention of the thaumatrope is usually credited to either John Ayrton Paris or Peter Mark Roget. Paris used one to demonstrate persistence of vision to the Royal College of Physicians in London in 1824. He based his invention on ideas of the astronomer John Herschel and the geologist William Henry Fitton, and some sources attribute the actual invention to Fitton rather than Paris. Others claim that Charles Babbage was the inventor.

Examples of common thaumatrope pictures include a bare tree on one side of the disk, and its leaves on the other, or a bird on one side and a cage on the other. They often also included riddles or short poems, with one line on each side.

Thaumatropes were one of a number of simple, mechanical optical toys that used persistence of vision. They are recognised as important antecedents of cinematography and in particular of animation.

The coined name translates roughly as "wonder turner", from Ancient Greek: θαῦμα "wonder" and τρόπος "turn"."

"Two-way and Three-way Pictures
A form of vertical montage.
Two-way pictures date back to the seventeenth century.

Threeway Threeway Threeway

Initially they were made from spars with a triangular cross-section; later, accordion-pleated card was used. Both methods produced a background of vertical angled planes facing in opposite directions. Alternating picture ‘strips’ with different scenes or images were painted or glued onto the spars. Viewed from the front they make no sense. The two images only resolve when they are viewed from one side or the other. Whether one looks from the right or the left, only one of the two images will be visible as a complete picture. This technique enjoyed its widest popularity in the nineteenth century. The preferred motifs were predominantly religious, with combinations such as Crucifixion/Resurrection or Jesus Christ/The Holy Virgin. The same tradition also includes three-way pictures known as trisceneoramas. The three pictures are again painted as strips: a recessed ‘central picture’ with the other two pictures on the strips forward and to either side of the back strips. Seen from the front, the main motif is visible; seen from the sides the other two paintings are revealed, their themes generally connected with that of the main motif. "

Ondulation by Thomas McIntosh, Mikko Hynninen, Emmanuel Madan

"Ondulation is a composition for water, sound and light. It employs a two ton pool of water which is set into motion using sound. Beams of light are projected onto the surface of the water and reflect onto a projection screen. The pool becomes a "liquid mirror" that is slowly sculpted into perfect three-dimensional expressions of a musical composition. In turn, the light on the screen is modulated by the movement of the water into complex visual forms which maintain perfect congruity with their musical source. The resulting fusion of sensory experiences is a temporal sculpture: a construction of water, sound and light which evolves as a composition in time."

"We enter a room and are plunged into semi-darkness. The room is dominated by an immense basin of water, ripples radiating across its surface in concentric rings. Intuitively we know that the sounds around us are closely related to the ripples, a fact reinforced by the water’s reflected movements on the surrounding walls through a sophisticated play of light. As we get closer, it becomes clear that the sounds are emanating from speakers concealed under the basin, the source of the ripples on the water’s surface. The water acts as a medium in the sense that it acts as middle ground: stimulated by the sound and swept by the beams of light, it produces richly evocative reflections. A latent photographic metaphor is at play in the installation: the water seems to take on the properties of a sensitive plate, with the sound imprinted upon it and revealed by the movement and stunning reflections projected on the walls."

VOM FUNKEN ZUM PIXEL kunst = neue medien

(FROM SPARK TO PIXEL art + new media)

"These striking installations combine experiences in the perception of time and space with a reinterpretation of the role and participatory potential of the observer."

Thomas McIntosh with Emmanuel Madan and Mikko Hyninnen, Ondulation, 2002. Photo: Lepkowski Studios

"Ondulation, by Thomas McIntosh in collaboration with Mikko Hynninen and Emmanuel Madan is a truly hypnotizing composition for water, sound and light. A two-ton pool of water is set in motion by powerful loudspeakers. Waves travel across the basin, rising or falling in response to the sounds. Lights, bouncing off the moving surface, send reflected ripples over the walls of the gallery. The surface of this “liquid mirror�? is slowly shaped by the sound into a kind of 3D expressions of the music which in turn become reflections on the wall. The simultaneity is such between the sound and light waves that we are left with a sense of seeing the sound and hearing the image."

i like Thomas Mcintosh' works in the from spark to pixel show, these pieces are very beautiful.

"plays with the reflection of light transferred to a water surface area, which means he loudspeakers in motion, as was men playing from a score. be emitted from layers of light that spread out to infinity. every sound finds its expression in both light and space."
(VOM FUNKEN ZUM PIXEL kunst + neue medien :CATALOG translated in google translate)

VOM FUNKEN ZUM PIXEL kunst = neue medien

(FROM SPARK TO PIXEL art + new media)


Monday, March 29, 2010

Monday, March 8, 2010

Yoko Ono, Sky TV 1966

"Sky TV is one of the earliest examples of video sculpture and Yoko Ono's only video work. A camera placed on the outside wall or roof of the gallery, trained on the sky, transmits live images of the sky to a television monitor in the gallery, projecting the exterior world into an interior space.

Sky TV reflects Ono's conceptual approach to video, in which the idea becomes the subject of the work. Sky TV was made shortly after the Sony Portapak was introduced on the market and before the advent of videotape; a time when all images on television were generated and controlled by a few commercial television companies and cable TV was still a dream. Further, the ubiquity of surveillance camera technology in contemporary society was largely unknown in 1966, indicating how precocious Ono's vision was. Significantly, the camera is aimed not at the viewer but at the sky, implying the necessity of considering an infinite world beyond the ego and the hypnotic pull of commercial television. Into the Light."


This work by Yoko Ono is REAL TIME, capturing the Sky from outside and displaying it inside a gallery.



"High Altitude Flight Dogs
Small, female, stray dogs were gathered from the streets of Moscow and taken
to a Russian research center nearby. Dogs were chosen as the scientists felt
they would be able to endure the long periods of inactivity better than
other animals. Females were chosen because they did not have to stand and
lift a leg to urinate. These dogs were trained to stay still for long
periods of time and wear such pieces of clothing as a pressurized suit and
+ Laika (Barker) was launched into space in Sputnik 2 on November 3, 1957.
Laika, whose real name was Kudryavka (Little Curly), was a huskie-mix.
Huskies are called "laika" in Russian. Confused by the many Russian words,
the world came to know her by that name. Other nicknames given to her by the
Russian research scientists were Zhuchka (Little Bug), Kurdrajevskaya, and
Limonchik (Lemon). American newspapers of the time called her Muttnik. She
was the first living creature ever to be launched into earth orbit. She
lived anywhere from one to seven days before dying in space; no one seems to
be certain. She may have died from heat the day after launch when her
capsule bounced off the atmosphere; she may have died from cold or lack of
oxygen when her life-support batteries ran down some 7 days after launch;
she may have been gassed or fed poisoned food just before the batteries ran
down. Different sources vary. Sputnik 2 fell back to earth on April 14, 1958
and burned up during re-entry. Laika was the only animal Russian scientists
knowingly sent into space to die. There was no recovery method for true
orbital flights designed at that time. In 1998, 79-year-old Oleg Gazenko,
one of the lead scientists on the Soviet animals-in-space program, expressed
his deep regrets during a Moscow news conference: "The more time passes, the
more I'm sorry about it. We shouldn't have done it.... We did not learn
enough from this mission to justify the death of the dog."

text from


"U.S. Air Force Maj. Richard Benson (left) examines Ham the chimpanzee on January 31, 1961, after the ape attained suborbital spaceflight aboard a Mercury-Redstone rocket. The animal was found to be fatigued and dehydrated but otherwise healthy.

Nine months later another chimp, Enos, became the first chimp to orbit Earth, setting the stage for the first U.S. human orbital spaceflight in 1962."

"No, rhesus monkey Sam isn't shilling for Oscar Mayer. Wearing a hot dog-shaped "contour couch," Sam launched aboard a Mercury spacecraft in December 1959, following in the paw steps of monkeys Baker and Able, who made their historic mission 50 years ago this week.

Sam's mission was to test the craft's launch escape system. About a minute into the flight, Sam's capsule was ejected from the rocket. After soaring 51 miles (82 kilometers) above Earth, the capsule landed in the Atlantic Ocean, where Sam, unhurt, was recovered. The monkey was later returned to a training colony, and he lived until 1982."
"May 29, 2009--A squirrel monkey named Baker peers out from a 1950s NASA biocapsule as she's readied for her first space mission. Baker and a rhesus monkey named Able launched aboard a Jupiter AM-18 rocket on May 28, 1959—50 years ago this week.

The pair returned to Earth alive after a 15-minute flight, becoming the first primates to survive a trip into space. Miss Baker, as she came to be known, spent the latter part of her life at the U.S. Space and Rocket Center in Huntsville, Alabama. She died of kidney failure in 1984 at the ripe old age of 27.

Ten years earlier a rhesus monkey named Albert II had become the first living monkey in space, but he died on impact when he returned to Earth."


Before humans actually went into space, one of the prevailing theories of the perils of space flight was that humans might not be able to survive long periods of weightlessness. For several years, there had been a serious debate among scientists about the effects of prolonged weightlessness. American and Russian scientists utilized animals - mainly monkeys, chimps and dogs - in order to test each country's ability to launch a living organism into space and bring it back alive and unharmed.

,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Monkeys In Space,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,

I find this relevent because of the communication that must go with the people watching the monkeys.. having communication so the humans know whats going on. I cant find much about the communication, and how they keeped watch, watched data, but im pretty sure they did. although it is really sad!

Bruce Nauman

Mapping the Studio I (Fat Chance John Cage) (2001)
"The piece consists of seven large-scale DVD projections of footage shot at night in the artist’s studio in Galisteo, New Mexico. The piece is accompanied by multiple audio tracks. Seven wheeled chairs that can be pulled up in front of individual projections heighten the installation’s immediacy. Nauman recorded the tapes, which are five hours and 45 minutes long, in segments of about an hour over the summer of 2000, when his studio was temporarily infested with mice.

The results are mesmerizing. The infra-red photography is a murky grey-green, but its painterly surface pulses and shimmers. In stationary, low-angle shots moths skid through the air, tracing ethereal trajectories; a lizard hangs on the screen door; a black cat without a tail wanders through, peers out into the night-time landscape, and then attempts to stalk the mice. At certain thrilling moments glowing feline or rodent eyes pierce the pea-soup gloom like car headlights. Nauman himself makes brief, somewhat smeary appearances.

Of the installation’s myriad and mysterious effects one of the strangest is that it makes the viewer - who is dwarfed by the projected images - feel like a stand-in for the artist and for the other creatures that make use of the space. This underlines the fertile uncertainty of Nauman’s investigative brand of art-making; it also highlights the palpable sense of exhilaration and unease in which cat, mice, objects and artist all seem to share."

image and text from

This work has inspired me for this SYSTEMS10 project, looking at a space through another device, watching 'something'.

The viewer somehow becomes part of my project, using the devices that are in use to 'make' the work work. ...

Monday, March 1, 2010

you watching rats watching you watching rats

The idea for my SYSTEMS 10 project is to be able to watch them via a network. You will be able to watch them in REAL TIME while they will also be watching you, so you (the viewer) can talk to them and try get them to respond back. And just observe them.

To make this work I will be using skype which is a social networking tool which is online. You can talk to anyone else who uses skype. You call them, so it is just like a normal telephone/cell phone call, except it is in the internet. you can have video calls using web cameras, so you can see who you are talking to.

SEEK RESEARCH ... orange highlights are my highlights......

"Seek had a video camera that observed changing patterns of blocks in a large enclosure. The blocks were moved around by gerbils."

Image and Text from:

"As a final example, Nicholas Negroponte and the Architecture Machine Group (precursor to the MIT Media Lab, which Negroponte now directs) submitted "Seek," a computer-controlled robotic environment that, at least in theory, cybernetically reconfigured itself in response to the behavior of the gerbils that inhabited it. I interpret Seek as an early example of "intelligent architecture," a growing concern of the design community internationally.[11] By synthesizing cybernetics, aesthetics, phenomenology, and semiotics, Software emphasized the process of audience interaction with "control and communication techniques," encouraging the "public" to "personally respond" and ascribe meaning to experience. In so doing, Software questioned the intrinsic significance of objects and implied that meaning emerges from perception in what Burnham (quoting Barthes) later identified as "syntagmatic" and "systematic" contexts."
(Burnham, 1971. The Structure of Art, pp. 19-27)

text from:

"First displayed in 1970 at Software, an exhibition of artistic uses of computer technology, Seek was a Plexiglas-encased, computer-controlled environment inhabited by gerbils, whose primary activity consisted of rearranging a group of small blocks. Once the arrangement was disrupted, a computer-controlled robotic arm rebuilt the block configurations in a manner its programmers believed followed the gerbil's objectives. The designers, however, did not successfully anticipate the reactions of the animals, who often outwitted the computer and created total disarray."

text from:

Seek was a work by Nicholas Negroponte for a exhibition titled SOFTWARE in 1970. It observed some gerbils in a artificial environment which was monitored by a computer and controlled by a robotic arm. The robotic arm re-made the original set up of the artificial environment when the gerbils moved blocks which made the environment. The gerbils were closely watched, both by the computer and by the audience. this is a system and network.

Sunday, February 28, 2010


photo: rat, from 'markives' 2009

Observing my rats: 2 female rats,
cloud- 2 years old, ivangreggory- 1 year old

they live together, sleep together, ... maybe play together? i have them out of their cage alot and when they are with me they run through my tops, or sleep, and sometimes explore my room. They eat lots, and they sometimes have baths. cloud likes to run in her wheel, ivan doesnt. cloud is more friendly then ivan, ivan is not very nice, and is sometimes mean to cloud.

Thursday, February 25, 2010


a video recording of my rats to watch what they get up to when im not in the room. watching for patterns, repetitions, unusual behaviour. finding a system......