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Old 06-28-2007, 04:48 PM   #16
Flint
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Quote:
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... If the sculpture that casts the shadow had a visual meaning of it's own, different from the shadow. That would be really tricky.
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Originally Posted by xoxoxoBruce View Post
That's what the thread is about. I'm not surprised you didn't know that.
A pile of trash is pretty visually flexible when you're aiming for a desired effect on the other side. So is a welded together mess of pots and pans, or whatever that is. These pieces have one subject. What I'm talking about is a piece with two distinct subjects, IE a statue of object A that casts a shadow of object B. What would complicate this is that the shadow is fixed (2-D) but people could look at the 3-D part from different angles.
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Old 06-28-2007, 04:54 PM   #17
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Flint -- even better if different light angles produced different shadow images. Then you could have the 3D object on a rotating platform and the shadow would change to show different 2D images.
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Old 06-28-2007, 05:10 PM   #18
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Originally Posted by Flint View Post
A pile of trash is pretty visually flexible when you're aiming for a desired effect on the other side. So is a welded together mess of pots and pans, or whatever that is. These pieces have one subject. What I'm talking about is a piece with two distinct subjects, IE a statue of object A that casts a shadow of object B. What would complicate this is that the shadow is fixed (2-D) but people could look at the 3-D part from different angles.
A pile of trash with two seagulls is an identifiable sculpture. Being easy to create or "visually flexible" has no bearing on it. It's recognizable and casts a shadow of something completely different. If you want it to be a more defined sculpture, why don't you go make one and stop bothering the adults?
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Old 06-28-2007, 05:29 PM   #19
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Flint -- even better if different light angles produced different shadow images. Then you could have the 3D object on a rotating platform and the shadow would change to show different 2D images.
Interesting. What I've been working on is casting a flat image on an irregular surface, so that when viewed from a specific angle, the visual data compiles back into the original flat image. The obvious limitation, depending on how you look at it (no pun intended) being that you have to view it from that specific angle. Now, I don't know about moving images, but I suppose I could attempt maybe three fixed images viewed from three distinct vantage points, cast on one 3-D object. (I'll leave it to your imagination what specific object I'm using as a "canvas" here...)
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Old 06-28-2007, 05:52 PM   #20
HungLikeJesus
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Julian Beever has done some interesting 3-D sidewalk drawings with chalk, like:


and



Here's another good one:



Keep in mind that these are all 2D, and only look right from one angle.

You can find more here.
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Old 06-28-2007, 06:14 PM   #21
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Originally Posted by xoxoxoBruce View Post
A pile of trash with two seagulls is an identifiable sculpture.
More than the other ones, at least. They're all amorphous, but one has seagulls.

This reminds me of the digital sundial (check out #8).
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Old 06-28-2007, 07:39 PM   #22
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The artist threw away a pair of perfectly good seagulls?
Couldn't find a good recipe.
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Old 06-28-2007, 07:51 PM   #23
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The closest thing to what I'm thinking, regarding multiple images cast and reproduced on a single, complex 3-D surface, and this is a gross over-simplification, but you know those billboards that change as you drive by? Like that, but, not to name the particular object, it's much more interesting than parallel, vertical louvers with angled facets.

To do what I'm talking about, you'd need something like a Tracer, which I do have, and which most notably a friend and I used to blow up a single eye from an india ink, cross-hatched illustration (he did) of a photograph of a model's face, up from about one inch to about ten feet across, then re-colored it with oil pastels, thus making a perfect photographic reproduction of a human eye that you can only see from at least twenty feet away.
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There's a level of facility that everyone needs to accomplish, and from there
it's a matter of deciding for yourself how important ultra-facility is to your
expression. ... I found, like Joseph Campbell said, if you just follow whatever
gives you a little joy or excitement or awe, then you're on the right track.

. . . . . . . . . . . . . . . . . . . . . . . . . . Terry Bozzio

Last edited by Flint; 06-28-2007 at 08:01 PM.
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Old 06-28-2007, 08:03 PM   #24
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And what did it's shadow look like?
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Old 06-28-2007, 08:12 PM   #25
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More than the other ones, at least. They're all amorphous, but one has seagulls.
Aren't all piles of trash amorphous at first glance? That was the point, they are supposed to appear as piles of trash and not hint at the shadow they would produce, even though they were carefully constructed like any other sculpture.
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Old 06-28-2007, 08:53 PM   #26
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To carry this idea to a really ridiculous level (because, why not?), I suppose you could cast the shadow of one 3-D object onto another 3-D object, and have the resulting image represent a third subject (appearing to be 2-D on the surface of the second 3-D object). Continuing to expand upon the idea of shapes and images projecting and changing upon the surface of one another, eventually you could build an Escher-esque funhouse where you wouldn't even be sure what you were looking at! This thread certainly opens up what you might even call a can of worms. Like, art worms.
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There's a level of facility that everyone needs to accomplish, and from there
it's a matter of deciding for yourself how important ultra-facility is to your
expression. ... I found, like Joseph Campbell said, if you just follow whatever
gives you a little joy or excitement or awe, then you're on the right track.

. . . . . . . . . . . . . . . . . . . . . . . . . . Terry Bozzio
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Old 06-29-2007, 11:11 AM   #27
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Seagulls, shadows, or whatever, we're all fortunate to be viewing this away from the stink of 6 month old garbage.
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Old 06-29-2007, 11:31 AM   #28
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Originally Posted by xoxoxoBruce View Post
Aren't all piles of trash amorphous at first glance?
I think that was Flint's point.
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Old 06-29-2007, 11:45 AM   #29
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...a perfect photographic reproduction of a human eye that you can only see from at least twenty feet away.
Wow, do you or he have any close vs. far pics of that? I would love to see how that turned out!
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Old 06-29-2007, 12:07 PM   #30
Flint
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Seagulls, shadows, or whatever, we're all fortunate to be viewing this away from the stink of 6 month old garbage.
I'd say this is definitely a case of someone suffering for their art!

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Originally Posted by LabRat View Post
Wow, do you or he have any close vs. far pics of that? I would love to see how that turned out!
I don't have any pics; but as soon as I get a chance (whenever I go to my friend's house next) I will take some from the normal standing-next-to-the-wall-looking-at-a-painting range, and then from the distance-that-the-image-starts-to-make-sense range.

.

.

.

So, I sketched up some diagrams...
..the first two involving casting shadows on 2-D and then 3-D surfaces, while the 3-D surfaces retain their information...
..the third involving projected, visible light images, reproduced on 3-D surfaces, so that different images become visible depending on the angle:
Attached Images
  
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******************
There's a level of facility that everyone needs to accomplish, and from there
it's a matter of deciding for yourself how important ultra-facility is to your
expression. ... I found, like Joseph Campbell said, if you just follow whatever
gives you a little joy or excitement or awe, then you're on the right track.

. . . . . . . . . . . . . . . . . . . . . . . . . . Terry Bozzio

Last edited by Flint; 06-29-2007 at 12:17 PM.
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