Third extended test series for FLUX, no.02, Experiment no.02: primary state emission with two sequential state transitions from featuring the motion control nodes, "move towards goal" and "flow around surface". Simulated with an initial Segment particle shape and additonal programmed Sphere particle shape emission procedures. Frame range 1-2720, rendering process; Mental Ray, Default Scan-line, Main Colour pass. Made in Autodesk Softimage 2012 with the ICE Simulation Engine. Edited in AfterEffects. A Particle System simulated, 3D digital visualization by Michal Shachman, June 2012
This proposed exhibition, “Proabsthetics”, consists of three series of simulation experiments performed with the use of the technology of Particle System Simulation. These three series of experimental simulations will exhibit the use of a programmed, abstract aesthetic and constitute digital visual productions created as Abstract Animation. The intention for exhibiting the unique programmed aesthetic inherent in the computational logic of Particle System Simulation will be for the exploration of the impossibly real founded upon abstraction. It is commonplace that the technology of Particle System Simulation is predominantly used for the depiction of realistic, natural phenomena and complex visual effects in both the commercial and entertainment industries of advertising and movie film-making. However in this this series the integrity of the abstract aesthetic of this simulation method will be exhibited as a tool for creating digital artwork that proposes a process for visualizing the impossibly real. From here, this body of work is based on a set of Thematic Aesthetics chosen especially for the presentation of all the above proposed concepts. This set of Thematic Aesthetics includes the exhibition of; Volume, Light and Flux.
This FLUX series features an extensive experimentation of control. Along with control, this series exhibits attempts of strategy, synchronization and symmetry resembling the work of animator-artists from the 20th century such as John Whitney and Jordan Belson. However, what is also of interest in this series are the flaws that potentially arise within regiments of control. One aspect that is highlighted as a point of experimentation in this series is what is not possible in reality could happen within simulation. Moreover, perhaps in realist representation, these impossible flaws or indescrepencies are nominal and are at some cost avoided. However these indescrepencies are an inherent and indicative aspect within programmed aesthetics and should be welcomed. The possibility of the impossible is always paramount.
Colour in the Flux series is completely eliminated. Because flow and movement are the main features when considering flux, the series is produced in an alternating black and white process. Simple rendering procedures of specular and shadow will also be utilized in order to show the suggested depth of field inherent in a default 3D scene with in the Softimage 2012 program.
More FLUX experiments coming soon
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