Second extended test series for VOLUME, no.02,Experiment no.01: primary state emission with two sequential state transitions featuring the motion control node, "spawn particles" and the Sphere particle shape emission procedure. Frame range 1-1000, rendering process; Mental Ray, Default Scan-line, Main Colour pass. Made in Autodesk Softimage 2012 with the ICE Simulation Engine. 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.
VOLUME in this experimental simulation series will be explored on the premise of the lack of control. In Autodesk Softimage, Particle System Simulation is based on the instance of an emission. From here the particles are by default calculated to keep on emitting from a chosen source based on the initial default values set for an emission created and prompted by the technology within the programmed system. The timeframe and manner of this initial emission is then only altered through the employment of certain programmed data nodes that “control” the simulation. Hence, Volume is explored in this series through the extension of time and the accumulation of particles within the duration of these visual productions. What ultimate volume these particles then can potentially have is an effect initiated by no control. The initial states of emission are constructed and altered differently for the different experiments within the series, however after a creation of an initial emission, the particles are left to simulate “on their own”. The resulting aesthetics of this process shows an extended volume, uncontrolled and dictated by computational logic of the computerized system to which it is inherently and eternally linked to.
COLOUR plays a significant role as part of the experimental process within each of the series of experimentations. In the Volume series, colour will be used to indicate the transition of the Particle System Simulation states. A fundamental component of the intuitive programming procedure featured in the ICE Simulation Engine is the data nodes which structure the simulation in terms of “states”. States are the construction of programming that is given to the simulation at defined intervals and progressions of the simulation. States can change on command of triggers and can be executed once upon entering a state, every frame of the state or as a result of a happening within a previous state. Therefore the colour indicated in the Volume series is not meant for any other purpose other than to show the varied amount of transitions from state to state within the simulations. Because time and lack of control are main features in this series, the colour indicators of these separate states highlight the progression of the exhibited inherent programmed aesthetics and the backend programming procedures which are calculated simultaneously.