New portfolio, please access:

This is a research blog for my MA in Visual Effects @ Ravensbourne, UK.

PG05 Practical Work

This document contains the basis for my CARD and the analysis of the practical approach taken as the essential part of the research method. It offers some of the ideas behind my practical development.

It appears you don’t have a PDF plugin for this browser. You can click here to download the PDF file.

- Posted by rrraul on 08/09/2013 | PG05 |

Emotiv 005

For the last project, I made a change to the setup by using a DMX dimmer pack along with the Enttec DMX USB Pro and a Cinder custom app. The app itself was very simple, using just a single channel to send different values to the dimmer. The dimmer is able to read up to 4 channels by because I was using just a lamp, one channel was enough. Using a similar approach, the channel that was assigned to the light was receiving the input from the values controlled by the Emotiv. Very simple approach again, but very nice project.

- Posted by rrraul on 08/09/2013 | PG05 |

Emotiv 004

Interesting how I could use the custom app I’ve written for my first physical installation and my knowledge using DMX protocol to enable a user using an Emotiv headset to interact with real objects. With the lasers, the first challenge was to change its patterns by using the brain interface. The laser projector I’m using has a number of DMX channels that control different parameters on how the laser is projected - we can control parameters such as x-axis, y-axis, zoom, and the patterns the laser is able to produce.

Using a similar setup with DMX protocol, the Enttec DMX USB Pro interface and a custom Cinder application, for this project I assigned the values I was reading from the Emotiv to the pattern channel. The way I did that was to implement a small change on how the pattern channel input was read. Again, having a minimum viable product in mind was the right approach for me, allowing me to do a larger number of projects with a simple and effective way.

The result was very interesting and I had a sort of surreal feeling controlling laser reactions without using any sort of “normal” interface. The music also contributes for a creepy atmosphere. Cool.

- Posted by rrraul on 08/09/2013 | PG05 |

Emotiv 003

The third experiment uses a particle system with an image. Similarly, coordinates from the Emotiv input are mapped to the particle system coordinate on the screen. The result if a very playful and nice interactive system.

- Posted by rrraul on 08/09/2013 | PG05 |

Emotiv 002

The second experiment uses a Twirl Distortion patch in Quartz Composer. This patch rotates pixels around a point to give a twirling effect. You can specify the number of rotations as well as the center and radius of the effect. By mapping the coordinates of the effect to the position the user is looking we are able to implement the data input from the Emotiv to the cursor in the Quartz composition. With Quartz we take the benefit of having full hardware acceleration. It is quite impressive and actually we can run all the compositions at the same time smoothly.

One of the Emotiv possibilities is that we can integrate to the Unity or other game engines. I haven’t test it yet, but it might be a useful way to interact with games and this should be an interesting path to take.

- Posted by rrraul on 08/09/2013 | PG05 |

Emotiv 001

By working with Quartz Composer, I was able to implement a simple solution to combine Emotiv EPOC and some interactive compositions with interesting visual effects in a effective way in a short time. Three experiments were made with a minimum viable product approach in mind. Most compositions were based on existent compositions with minimum changes in mind.

The first experiment uses a basic emitter and Core Image Filter that are applied to the values being read from the Emotiv. It works similarly to a mouse trail, but implementing the brain–computer interface.

- Posted by rrraul on 08/09/2013 | PG05 |

Room 205

Hyperconsciousness is also present in post modern art, characterised by an iconoclastic defiance of tradition, authority, and convention, coupled with a relentless pursuit of innovation (Barrett, 471). This is specially present in computer moderated physical installation art.

Computer programming (often shortened to programming, scripting, or coding) is the process of designing, writing, testing, debugging, and maintaining the source code of computer programs. Programming has been increasingly adopted by artists, designers and creatives working in the digital creative field, enabling them to produce computer programs for a large number of purposes, such as physical art installations, interactive video, large scale public projections, computer vision projects, and interactive sound recordings. In the context of communication between a human and a computer (or an art piece, physical installation etc, mediated by software), creative coding allow artists to set up new experiences for their audiences by exploring interactivity as their main ingredient. By adopting creative coding and physical installations as part of our research method, the intention was to inquiry and establish connections between a representation of the lateralisation of the brain as a system in a computer controlled environment and possible affects over an audience.

The installation was controlled by a custom software written in C++ using Cinder library. Cinder is a creative coding framework and one of its advantages is flexibility and readability. The software used the DMX512 protocol for communicating with the laser projects and the fog machine.

- Posted by rrraul on 08/09/2013 | PG05 |