COLLISIONcollective

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*                        For engineers that moonlight as artists and artists that moonlight as engineers                                         *
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Glitched Dog Fight

Steel, Objet Verowhite Plastic
2013
Artwork by collisi1

The piece was created by first modelling a pair of dogs fighting. Then once that was completed the file was edited using a hex editor. The file was intentionally pushed to the breaking point and then had to be pieced back together in MeshLab and a few other 3D file editing softwares. The final result is a collobration between myself and the computer.

Verbing Man

Wood, steel, plastic (acrylic mirrors and foam)
2012
Verbing Man @COLLISION18:present

 

Verbing Man is the latest in a series of animation devices which I call Image Engines. It was designed to maximize interactivity. It is an animated sculpture which, like a zoetrope, uses persistence of vision to create an illusion of continuous motion from a series of “frames”.  Verbing Man offers unprecedented interactivity for this type of sculpture due to the use of 12 poseable artist mannequins as frames, making it possible for the animation to be repeatedly altered and remade by viewers. Further, the mannequins are arranged on a platter which viewers rotate by means of a crank in order to bring the animation to life.

Verbing Man uses new materials to reinvent a 19th century technology in which an inner circle of mirrors was used to animate, in reflection, an outer circle of flat images mounted on the same rotating wheel. Verbing Man is likely the largest praxinoscope ever made with a wheel diameter of 4 feet instead of the more typical 4 inches. For technical reasons, it is also likely that this is the first time a praxinoscope has been used to animate three dimensional objects. The use of mirrors instead of strobe lights or slits means that animations are visible in almost any lighting condition, from candle light to full sun, and from all sides at almost any angle.

Undulum

cast acrylic, wood, aluminum, neoprene foam, motor, phenolic laminate, steel
2011
Artwork by [user-name]

I’ve long been fascinated with the segmented structures of larvae and of spinal forms and their ability to express elegant motion through waveforms and writhing. Undulum is the first attempt in a series of sculptures under development inspired by sinuous motion in nature.

The mechanism of Undulum is deceptively simple and consists of a helically shaped rod that rotates within a flexible sheath, which in turn is anchored. A second, outer, sheath is built of translucent acrylic shapes held apart by preloaded flexible foam spacers and is also anchored. As the rod rotates within the core of the sculpture, the outer sheath rides the convolutions of the inner sheath as it contorts to follow the changing shape of the rod within.

See video

Divining Rods for a Technologically Advanced Civilization

brass and steel
2011
Artwork by [user-name]

Here I propose an update to the traditional method of divining with a “Y” or “L” rod. Fractal element design antennas have found application in cellular telephony and microwave communications. These fractal element design divining rods utilize bends based on a space-filling curve called a Minkowski Island, named after the mathematician Hermann Minkowski, who helped build the mathematical foundation for the theory of relativity.

Though the exact mechanism behind what has variously been called “divining,” “doodlebugging, “dowsing,” and “water witching” remains unclear, many mechanistic explanations have been proposed. In his book “The Illusion of Conscious Will” the psychologist Daniel Wegner proposes that the mechanism underlying the persuasive psychological effect of divining is similar to other “automatisms” such as the Ouija board, and operates on the “principle of movement confusion,” leading the dowser to misattribute their own involuntary movement to outside agency.

In addition to space optimizing bends, the fractal element design divining rods presented here are carefully balanced and designed with sensitive swivel handles to produce a compelling effect.

The Big Dripper

eight oscillating pumps, tubing, sink, wood, steel, UV LEDs, Arduino Pro microcontrollers, electronics, water, fluorescein dye
2011
Artwork by [user-name]

The Big Dripper is a concept based on Harold Edgerton's Piddler. Edgerton's Piddler, also known as a "Time Fountain", uses a stroboscopic light source to highlight individual drops of water in a constant stream of liquid. With the strobe off, the stream looks like a solid cylinder of falling water. With the strobe on, and correctly synchronized with the actuation of the pump, the individual drips of water that compose the stream are exposed. The drips appear to hang in space as if frozen in time. By modulating the phase relationship between the frequency of the pump and the frequency of the strobe, the device can generate optical illusions of motion. For example, the individual drops can appear to fall slowly, or even crawl upwards.

The Big Dripper was featured on Hack A Day!

http://hackaday.com/2011/03/11/water-droplet-sculpture-using-leds-and-arduino/

Solar Flowers

Aluminum, Brass, Steel, Rosewood, solar engine
2010
Artwork by [user-name]

I think of Sculptural Robotics first and foremost as a synthetic discipline. It's a way to explore the world around me, and it's also a delightful waste of time. My machines are designed according to a conceptual aesthetic that emphasizes minimalist design elements. I prototype and test my designs just like any roboticist, but unlike most I am not intersted in finding solutions to practical problems. Instead, I'm more interested in finding designs that produce flowing, graceful movement, and that are increasingly autonomous in control and energy acquisition, generation after generation.

Optoma DLP

Welded steel, projector, laptop
2008
Artwork by [user-name]

This piece is a nine foot tall structure that holds a projector at its top, and projects moving images down over itself. The images are carefully masked, so that they land precisely on one or more different panels at different times. The imagery has to do with buildings under construction, and often includes images of the sculpture itself in different contexts.

Mechanical Universe, Part I: The Pastoral

Oil paint on wood, aluminum (steel brackets), motors, solar panels, wire, electronics
2008
Artwork by [user-name]

Mechanical Universe originally was created for the Boston Cyberarts Festival and shown as part of the 2007 festival at TransCultural Exchange: Punzo shipped his cyber insects to the Boston, where I created their ‘living spaces’ - part irreverent homage to Donald Judd; part reverent homage to Jean Tinguely and Alexander Calder. But pure Punzo and Sherman.
Each 'box' is a collage of highly textured paint and polished aluminum.
At the push of a button, the doors open at staggered intervals, revealing a host of musical 'cyber insects,' before slamming close. The individual 'boxes' also can be re-configured to respond to the architecture of the space in which the piece is exhibited. The idea is to create an up-dated, modular version of the 17th century Italian pastoral by way of the 21st century
Special thanks to George Bossarte for electronic/programming help; and Nexus Machine Shop and Gallery for use of the shop

FaceLifter

Acrylic modeling resin, foam board, wood, steel, servo motor, micro-controller, custom software, webcam, video projectors
2009
Artwork by [user-name]

FaceLifter is an interactive video installation that allows the viewer to see his/her face projected on a 3d mask. The mask is mechanically raised and lowered to allow the viewer to see him/herself eye-to-eye.
An outline of shoes marks the spot on the floor where the viewer can get a closer look at FaceLifter (and FaceLifter can get a closer look at the viewer). The viewer's faces is illuminated by lights mounted on the column. A web camera mounted above the mask captures the viewer's image, which is algorithmically identified and processed with a hidden computer.
The mask, rendered in white acrylic resin, is mounted on the surface of a column attached to vertical rails. A computer controlled motor inside the column lifts the mask to the height of the viewer.
A video stream of the face is projected via two ceiling-mounted projectors. The projectors are mounted diagonally to allow the viewer to get close to the mask without casting a shadow. The images are adjusted vertically by the computer to track with the mask.
The overall effect of the installation is to allow the viewers to see themselves as they appear to others.
The face finding algorithm is by Philip Abbet, from the IDIAP Research Institute, in Valais, Switzerland.
Thanks to Jennifer Lim, Vivien Leone, and William Tremblay.

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