Tag: Virtual Worlds

Virtual kingdoms

Welcome to the virtual kingdom, curious to see what I will encounter in this realm of melancholic assets and disobeying objects.

Animations imported into Unity.

New materials wrapped around the 3D objects.

Shadows and lighting, see what needs attention.

Disobeying objects can get quite bolshy.

Spinning objects approaching through the trees. Run.

Note to Self:

  • Have to edit so listener audio is less over-powering.
  • Have to make list as to which object is paired with which audio when triggered.
  • By combining Unity assets with imported objects the overall aesthetic is quite ‘gamer’ looking visually, but It is the look/feel I want for this piece.

Terra Firma

I have been adding and sculpting Terrain in Unity.

I have become fascinated by some of the default standard assets and how they can look when sculpted.

“If things are intrinsically withdrawn, irreducible to their perceptions or relations or uses, they can only affect each other in a strange region of traces and footprints.”

Trees, grasses, mud etc… An almost naive realm, an environment to host whatever decides to play out in it. Who or what will populate this digital kingdom?

There is a naive default beauty to these standard assets.

Note to Self:

  • Low poly leaves in the trees also, but like the aesthetic.
  • Need to learn about lighting levels and baking light etc…

Slouching towards Bethlehem

3D orbits + investigation into unfurled textures.

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“Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world”

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“When a vast image out of Spritus Mundi
Troubles my sight: somewhere in the sands of the desert.”

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“And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?”

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Note to Self:

  • The messy feel of this ‘beastie’ is how I want it, as if it has just emerged from some primordial ooze.

Neun Arme

Some 3D grabs + orbits. Unfurled 3D texture detail also.

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Actually I had nine arms, dried out in sunlight.
Legs used to be like tentacles extinct in daylight.

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Eigentlich hatte ich neun Arme vertrocknet im Sonnenlicht
Eigentlich war’n Beine wie Tentakeln verkuemmert im Tageslicht.

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I want my pincers back.

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Note to Self:

  • The texture of the terrain works well I think.
  • Explore .stl and .obj files in Blender, and cell fracture.

Buggy G

I revisited some 90s video and cover imagery from FSOL’s (Future sound of London) ‘Lifefroms’ album. The artist was Buggy G Riphead and in a decade that was dominated by some really bad fractal and rave imagery for album artwork and flyers the FSOL work seems strangely contemporary.

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Maybe its all the current interest in VR, AR and all things 3D?

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Note to Self:

  • Don’t Mention: The ‘Lawnmower Man’ or ‘Strange Days’ movies.

Boolean Expressions: Contemporary Art and Mathematical Data

I am soon going to attend an exhibition called ‘Boolean Expressions: Contemporary Art and Mathematical Data’ at the Lewis Glucksman Gallery in Cork. This is to commemorate the legacy of George Boole, the self taught mathematician who originated Boolean logic, a lot of whose ideas are now seen to be years ahead of his time.

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There a piece called ‘Dunhuang’ by the  artist John Gerrard, an Irish artist based in Vienna, known for his sculptures which take the form of digital simulations displayed using Real-time computer graphics. He uses technology to remind us that we are living in an increasingly simulated reality, one that we have imagined into being and are continuously recalibrating. He regards realtime 3D as a medium that enables us to work with time in new ways, working with Virtual worlds which include time as one of their dimensions thus allowing time to become a sculptural component.

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His piece entitled “Exercise (Dunhuang) 2014” is a large-scale cinematic art installation that takes place in the heart of the Chinese desert. It overlays terrain, real bodies and sites using satellite data, intensive photographic documentation, 3D scanning and motion capture. It is “stunningly mounted, displayed in custom-made brass box frames that transform the frequently dissatisfying experience of viewing screen-based artworks into something akin to seeing an old master in in a gilt frame”. Christin Leach Hughes, Sunday Times. [1] and also addresses the issues of time and a strict set of rules dictating outcomes. As Christine Paul observes in her excellent book ‘Digital art ( 3rd edition )’, “This has strong connections to previous art movements, among them Dada, Fluxus and conceptual art…using formal instructions to create an artifice that resulted from an interplay of randomness and control”.[2]

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The piece ‘Dunhuang’ works on many levels. Denied access by the Chinese authorities Gerrard commissioned a commercial company to take a 10km square scan of the area from space, he then worked with a team of computer programmers to produce a hyper-real 3D virtual landscape based on the satellite photos. Into this world he places x 38 human characters who partake in a kind of knockout game as they move through the grid. The characters are virtual portraits of workers in a Chinese motherboard factory who he filmed. He later had these workers ‘played’ by real actors whose movements were motion-captured to produce three actions: walk, wait or sit.

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As the program runs, the characters actions are dictated by an algorithm, they must cross the grid using the shortest path. When two meet, the algorithm decides based on how far they have come, who will carry on or who will lose. The game ends when only one man or woman is left standing. Viewers follow the leader’s progress from three ‘camera’ angles on three screens as the game unfolds, with landscape, drone and satellite views. When a winner emerges, the whole exercise starts up again. So in a nutshell, a group of resigned souls walking though a bare landscape, endless actions unfolding in a virtual world based on a real place, populated by virtual characters based on real people played by actors!