Epithet of an Automotive [or] Death of the Silver Stallion.

dance of the dead / celebration of the living

[1] Partially hidden behind haphazard swaths of black gaffers tape and held precariously against the steering wheel, an old Samsung Galaxy S8 records gyroscope data as it peers through the thin film of a clear ziplock bag (fig. 1). Close by and similarly fastened, a GoPro camera takes unnecessarily high quality footage of the road ahead. Outside of two additional phones taped to the drivers ankle and forearm, this is the state of the “data lab” that was so valiantly proposed in the early stages of ‘van_03’ (a project title that evidently did not make it to the finish line). placing far less attention than his mounted companion on that which lies ahead, the driver grips the wheel as he decides that the billowing cloud of smoke in his rearview mirror looks more and more like it’s coming from the Stallion.

(fig. 1) the data wagon

It was at this point in the project’s timeline that I realized that the virtual space couldn’t (and perhaps shouldn’t) be what I had initially intended. This was the latest pivot in a series of failed attempts to capture data for this virtual-spatial production, and at this point the deconstruction of the space had become central to the project narrative. Although my initial intention had been to recreate the journey I had taken to get to New Haven in order to generate kinetic and visual data, alas, I was data-less and for all intents and purposes, site-less. What had started as an innocent mistake in draining the battery of the van during my initial site scanning adventures had somehow spiralled to taking video of the plumes of smoke creeping out from under the hood of the vehicle. Data set 01, acquired (fig. 3)

(fig.3) video levels manipulated to pick up the smoke for Max8

While the van was getting fixed for the fourth time (battery, alternator, fuse box, and now radiator), I was able to extrapolate gyro data from the aforementioned ‘data wagon’ setup (fig. 4) and now had two sets of data I could potentially layer into the model. Additionally, doubting my method of travel over the holidays, I found myself staring at google maps and revisiting the routes I had taken with the vehicle over the course of the semester. I realized that outside of generic errands there were 9 distinctly memorable trips I had taken, most importantly, the original trip I had longed to recreate; Data set 03, acquired. (fig. 5) Between these unexpected (and somewhat exciting) discoveries, and the fact that I didn’t light my engine on fire, I sensed progress.

(fig.4) gyroscope data and video footage data setup

(fig.5) GPS data from 9 more drives within the past 4 months. Top left represents the trip from London to New Haven

Contrasting with this new idea of finality and decay, my last exploration in writing had emphasized growth within the space: Could I create a ‘temporal alignment’ between the 20+ years I’ve had with the space and the brief period of time the viewer would be in the installation? If my data sets could drive the deforming and scaling of parts over the course of the viewing experience, perhaps I could curate both sides of the story. Previous emphasis on an interactive exhibition had now evolved to become a more pensive viewing experience comprised of two scenes: the growth scene (fig. 6), and the decay scene (fig. 7).

(Fig.6 & Fig 7) Left: experience of growth within the space. Right: eventual deconstruction

Exaggerated contours of the interior (fig. 8) could initiate the viewer with a topographic exploration of the space. The viewer can explore as much as they desire before activating the overall sequence of events. A scaling takes place that sees the exaggerated parts shrink to a natural scale (fig. 9) and lock into place as the camera height ascends to the roof of the space. As the scale increases, the viewer is encouraged to continue to view from a seated (fixed) position on the ground. Just as quickly as the digital space ‘resolves’ itself, it begins tearing itself apart; each gps data set can be layered within to inform rotation/position data of individual pieces that comprise the space. In this way a curated dance between objects (fig. 10) will reflect the long-standing movement and overall decay and finality of the object itself. What I would be interested in exploring further in an architectural context is this idea of layering.

(fig. 8) experiencing the site initially as a vast interior, with more emphasized contours

(fig.9) sensation of growth within space

(fig. 10) choreographic ruination

~ How can experiences layer into a space so that it’s expression might be inexhaustible?

[2] Before translating the data in Unity, I used MEL script in Maya (for the gyroscope data) and Max8 (for the video footage) In order to visualize the sets of data I had generated with a little more fidelity (fig. 11 & 12). I began to imagine how this duality of growth and decay of/within the van could translate through these data sets: particle clouds (in my case, a field of snow) would represent the aggression of the engine smoke (number of pixels per frame, after the video ran through a frame differencing filter), and rotational/positional translations would be executed based on layered gyroscope coordinates.

(fig. 11) MEL script writes gyro data to inform rotation, and GPS data to inform position movement. Separated here, however the two data streams are combined in unity

(fig. 12) Max8 is used for a frame differencing filter that tracks the change in pixels per frame. This effectively tracks the smoke, which then generates total pixel value fluctuation (bottom right number)

I needed to spend some more time fine tuning the site model in order to create the feeling of locking into place, as well as subsequent breakage (fig. 13). Once I built out the single-mesh-wall Artec model in Maya (fig. 14) I could then take each piece of the site and attach respective unity scripts to read the gps data and gyroscope data. While the gps and gyroscope was layered into the model to create the curated deconstruction, I ran into issues extracting the data I needed from Max8 and similarly hit a proficiency block for scripting particle systems in unity. The snow field ended up existing as an ambiance to the overall sequenced scene. While I generally accomplished the sequence I set out for, I found myself uncovering cool unity scripts and visualization that I wish I could have incorporated into my final model. This has been a promising intro to unity, and something I will build on in my pedagogical and professional future.

(fig. 13) construction and destruction of interior space

(fig. 14) built out / exploded maya model

I’m a firm proponent of aggressively developing a digital toolkit so that creativity can develop from ideological underpinnings (rather than as a product of the end of one’s skill-set rope). That said, the benefit of realizing the creative potential of curveballs is just as important; I’ve consumed a healthy dose of both during the course of this virtual production.

~

C