poetic essay

“…imagination is our way of grasping objects through their images, shadows and reflections. But as we all know from our experience, such images can be fleeting, changeable, and illusory. …In fact, on this account, nothing in the physical world gives us real knowledge, since all perceptible objects are constantly changing, while their essences are fixed. (Mark Johnson)

THERE IS NO FINAL PRODUCT. THE PROCESS IS NEVER FINISHED. IT HAS, IN FACT ONLY BEGUN. INTUITIVE MOVES BASED ON PREVIOUS PHASES CREATE A LAYERED CONVOLUTION OF AN ORIGINAL IMAGE. REALITY COMPRESSED INTO TWO DIMENSIONS ONLY TO BE EXPLODED AGAIN IN FUTURE PHASES. MAKING THE REAL ARTIFICIAL WITH THE INTENTION OF RESTORING A NEW VISIAL PERCEPTION OF SPACE. A FROZEN MOMENT IN TIME. THIS IS NOT A STRUCTURE. IT IS A GENERATOR OF SPATIAL CONCEPTS. BREAKING THE OBJECT DOWN INTO BASIC ELEMENTS. AN INVENTORY IS CREATED, A WAREHOUSE OF ARCHITECTURAL IDEAS. SCALE, REFLECTIVITY, TEXTURE. BUILD. (RE)BUILD. CUTTING, EDITING, MONTAGE, UNDERLAY, OVERLAY. IN REFERENCE TO A MEDIA-DRIVEN CULTURE. OUR SELF. DIGITAL METHODOLOGIES ALLOW US THE TEMPORALITY WE CRAVE. ANALOG METHODOLOGIES PROVIDE A FOUNDATION FOR THE PERCEIVED PHYSICALITY OF PROPOSED “SPACE”. IMPROVISATIONAL PROCESSES:HANDS INTERACTING WITH TRADITIONAL MATERIALS ARE PRODED, MANIPULATED, DEVELOPED BY THE ELECTRONIC MIND. A LABORATORY FOR THE POETIC IMAGINATION.

KELLY BAIR

apparatus: 7-in x 10-in plexiglas panel; 14-in plexiglas armature; digital video recorder

means of capture: 14 in armature holds panel at 5° angle in view of camera lens; plexiglas serves as reflective and transparent surface for view on and through simultaneously

theory: original event conceptualizes the apparatus as an instrument for reflection and superimposition. the apparatus serves to capture ʻhiddenʼ [out of camera view] scenic elements allowing them to become ʻactiveʼ elements in the capture.

frame captures serve as visual diagrams of elements and possibilities of virtual-physical fusions. the superimposed elements gathered from the panel are seen as false realities- explored as false elements. the diagrams remain honest to the physical and virtual worlds present in the source. physical elements explore tangible geometries; reflected elements represent virtual geometries.

we assume that these are then built into the space of the room according to two-dimensional rules, becoming reality. three-dimensional objects are covered with symbols, with every object a representation of itself. a digital projection of the templates transforms the intentional screen into another round of photographic mapping. the evidence of the photograph thus serves when the map or drawing becomes the thing-in-itself

the re-presentation exhibits the specific scene of the source. the final event takes place in the exact location of capture. we allow the scene to generate new possibilities, new results. new captures during the exhibit, document the scenic superimposition of the course exploration.

blender box -00h:01m:00s appliance, catalyst , unconventional, apparatus, vehicle, instrument, enclosed, sinister, disturbing, ominous, worrying, threatening, transparent, dormancy, peace -00h:00m:10s suspense, anticipation, tension, isolated, trepidation, concern, remote 00h:00m:01s explosion, ignition, blast, bang, discharge, transformation, alteration, illumination, kinetic, transitory,, climax, disorganized, momentary, hectic, frenzied, erratic, enclosed, active, lively, energy, irregular, variable, liberated, ephemeral, organic, unrefined, crude, temporary, contained 00h:00m:05s abeyance, interruption, reflection, interpretation 00h:00m:08s continuation, resume, reckless, broken, busted, wrecked, shattered, disharmony, inconsistent, chaotic, disordered, 00h:00m:20s aftermath, repercussion, outcome, traumatized, crushed, fragmented, shattered, disarrangement, result, disarray, disorder, jumbled, consequences, scrambled, blight, disfigure, marred, devastated

The concept of the blender box develops an environment that maximizes the amount of possible variables in a contained space. The concept is only the beginning of a greater experience and does not dictate the path of the exploration through the development of this project. Although some design methods follow a strict analytical path that fetishizes on an original concept, we chose a liberated exploration of the endless possibilities of event.

The designers, seamlessly transitioning between the roles of creator and critic, conduct this exploration of the performance. Unbounded by linear process each designer is free to pursue a design for its qualities rather than its connection to the original concept. This approach requires each designer to generate a multitude of variations that provide a large pallet from which he chooses the most appropriate solutions.

From digital and analog studies, a vocabulary of building blocks develops. These blocks become the constants from which the original information is variably restructured. In the end the final performance is not a recreation of the blender box concept, but rather it is another experience produced through the exploration of the original event.

poetic poster

Poetic Poster: design an 11" x 17" (horizontal) poster announcing the project for the final exhibition event. Include your name, poetic potential of computers (or poetics06), key words or phrases from the poetic essay, and the date and place of the final exhibition (Wed. Dec 13th, 7:30 - 10:00 pm; Architecture Room 6).

due: Tues, Nov 29th, no later than 7pm to the server.

houser haynes kyle blender box

jury comments

jury:

Dennis Andes, Designer and owner, Dennis Andes, Inc., New JerseyWassim Jabi, PhD, Assistant Professor of Architecture, New Jersey Institute of Technology,

New JerseyVictor Martinez, Conceptual Designer, Film Industry, CaliforniaBart Overly, Partner, Blostein/Overly Architects, OhioPeter van Colen, Designer, Design East Corporation, Illinois

This is an incredible experimental academic investigation. It was inspiring to see the use of many tools (form•Z, sketching, compositing, physical modeling and digital fabrication) working so well together in the production of a clear hypothesis of “production for the pure effect of production.” - Bart Overly

This is a very ambitious and thoughtful exploration of analog and digital approaches to instigating a certain mood in the viewer. The digital work almost matches the intensity of the analog work. The animations are particularly unsettling and draw you in to attempt to understand them. – Wassim Jabi

I felt that this project was not only the strongest project in this category, but also perhaps, the most interesting project of all the categories. What an interesting project – so twisted, dark and raw, but at the same time, beautiful to look at. The renderings are per-haps some of the best, not because they are the best lit, the best shaded, etc., but rather because they display a level of abstraction that, when inserted into the whole of the project, they reinforce the mood and aesthetic of the work. Thus, the combination of different media (drawings, models, photos, video) all work in unison to create a cohesive expression that evokes both beautiful and uncomfortable moments that makes for a very interesting project. – Victor Martinez