Tuesday 10 October 2017

Minor Project | Project Development

With more experiments recently completed, focusing on blending tools together, I'm going to visit some of those structures and highlight some of the moments in them that present the building blocks of a Maya model, picking out broken moments and the inner workings of the software.

Fig 1

After taking some renders of a model (fig 1) and having time to reflect on them, I have a few thoughts. The aim of my project is to cause Maya to effect models naturally and present those results as works in their own right, whether they be aesthetically pleasing or not, they are what Maya naturally wants to create. Now with the above image I'm finding that it just isn't showing enough of the reasons for my disliking of the software, I'm finding it too 'nice', and I want to incorporate more of the backstage moments of Maya into the next renders, which may mean finding a way of including physical incantations of the tools applied to the model. The below image shows some elements that I want to find a way to include...   


The vectors surrounding the model and the grid running through the screen are both notions I identify with existing in Maya's core and working behind the scenes of every structure created in the software, notions I want to include in the naturally forming aesthetic of the project. With this in mind, my next steps will be discovering ways of incorporating these technicality's in my creations.


After further conversations with Phil and more thinking time based around the next steps of my project, sound seems like an aspect that could lift my creations into a completely different world and not only effectively carry the same ideals as my models, but also simultaneously improve the quality of my outcome. Whether that outcome will serve as a minor project submission or major project submission remains to be discovered through more work.

An idea that would really boost the deliverance of my final outcome exists in creating a sound that is a primitive shape in its purest form, essentially accompanying my models with their most basic sound and then being altered in coherence with the change in the sculpture itself. This sound is known as an Acousmatic sound and originates from the idea of Musique Concrete, a term passed to me by Phil. Film Sound.org defines the term as this: "Acousmatic sound is sound one hears without seeing their originating cause - a invisible sound source." (Film Sound.org, Originally from Michel Chion's book Audio Vison, 1994). Interestingly this is a polar opposite to what the models themselves will be embodying, as they will thrive to present their origins precisely.       

This idea is something that would potentially rely on connecting values of a primitive model into different elements of particular sound, so the shapes sonic identity is discovered through plugging values into a blank canvas rather than be altered to 'sound like a sphere'.

This idea is something to keep in mind as the project evolves, as it could really aid me in pulling the final pieces of my various experiments together in the final stages of either my minor or major project.


Bibliography

Chion, Michel, 1994, Audio-Vision: Sound On Screen, http://filmsound.org/chion/acous.htm, Accessed on: 10.10.17









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