Model Photos
T4T LAB Spring 2016. Object Redux.
Invited Professor
Adam Fure
Team: Justin Zumel, Elin Verhoeven, Tung Dinh, Maria Fuentes
Within the
realm of representation, a resolution occurs during the transition between
mediums: creating the possibility of emulating new objects.
In our
process of photogrammetry, we rediscovered the idea of flattening. Through this process of using the camera as a
marker between physical to digital, there is a loss of information that creates
formal and textural discrepancies. For the methodology, reproducing these
objects in the digital form can be controlled through the amount of photos used. For example, less photos equate more data
loss and tears within the mesh, while more photos create higher dense polymesh
digitally.
The
categories of objects in our mereology consisted of: physical natural rock,
Physical synthetic rock, and rock-like object. Through that process, these
object’s unequivocal qualities dissolved into the same field to a point of obscured
qualities between the three categories.
Another production from this method was an image that represents the
object through texture; which creates a flattened representation of the object
as if the object were a flat image.
Through this
exploration of controlled resolution of meshes, we then created an object
digitally that would be added to this array of meshcount. We noticed that if we widened this spectrum
of density from high poly to low poly meshes, then the low poly meshes will
turn into flat planes or faces. Through
these flat planes, they do not represent the rocks, but the idea of
flattening. Again, this idea of
flattening is not only a production of the photogrammetry, but also a
production between the pure digital, pure physical, and translation between the
physical to digital.
These planes
and objects were then mapped with textures that did not emanate from the
objects themselves, but other objects.
For example, the texture map that was created for one object was mapped
onto another object to form another degree of obscuration; the delineation from
what the object was to what the object manifested itself through digital manipulations. To exhaust the idea of obscuration even
further, our collective of textures did not only come from the photogrammetry,
but also photographed textures of found objects. Through the post processing phase, there was
another level of obscuration that manipulates the way in which a rendering
software actualizes a digital texture, and how photoshop renders that same
texture. This degree of obscuration is
executed by the creation of certain moments of photoshopped texture filters
within the same image of the raw render.
In this
project there are two autonomous forms that create the illusion of a dichotomy
rather than a visual articulation of cohesion.
In a trivial notion, this illusion represents these flat planes as a
form of disruption through the splitting of these objects, but what these planes
are argued to do, is create a plane in which the objects have a relationship
with the ground. In a way, these planes
create a notion of flattened ground where all of these objects have a direct
relationship with their planes. This
contains the idea of figure and ground and that all of the objects are on the
same field of different degrees of flattened representations.
As a whole,
this project is a question of representation and translation that… are these
objects a representation of the initial object?... or are these objects a
creation of new objects that do not rely on the idea of representation; because
through the process of photogrammetry, they do produce a representation of what
was scanned initially, but because of the control of the input of images
processed to purposefully produce tears, these objects become new objects. As a result, the idea of representation does
not exist.
