FIVE COLORS BLACK
exhibition of a shadow
2014-15
Site-specific, c-/kinematic Light-/shadow Installation
- Galerie Göttlicher 2014 [solo exhibition] - Krems/Austria
- PQ 2015 - Prague Quadrennial of Performance Design & Space
- 4AM Forum ‘Adaptive Strategies’ 2017 - Brno/Czech Republic
Concept, Installation Design, Realization Gregor Holzinger, Adam Orlinski
Sound Design Abby Lee Tee
Electronic Design Daniel Skrzipek
Light not as a static condition, but a dynamic trajectory - a warping shadow projection as an animated anamorphosis of a spatial structure, or a complex notation of a moving viewpoint´s viewshed and its visual exclusions, folded into infinite detail - or just: An allegoric model for the perception of space [...]
Related Videos / Video Documentation
- ‘Five Colors Black‘ by system jaquelinde
[Take 1 - TELE + MACRO] - 2:57 min
- ‘Fade to Black’ by Gregor Holzinger, Adam Orlinski
[Take 2 - WIDE-ANGLE/FISHEYE] - 5:39 min (~1 min intro)
- Galerie Göttlicher 2014 [solo exhibition] - Krems/Austria
- PQ 2015 - Prague Quadrennial of Performance Design & Space
- 4AM Forum ‘Adaptive Strategies’ 2017 - Brno/Czech Republic
Concept, Installation Design, Realization Gregor Holzinger, Adam Orlinski
Sound Design Abby Lee Tee
Electronic Design Daniel Skrzipek
Light not as a static condition, but a dynamic trajectory - a warping shadow projection as an animated anamorphosis of a spatial structure, or a complex notation of a moving viewpoint´s viewshed and its visual exclusions, folded into infinite detail - or just: An allegoric model for the perception of space [...]
Related Videos / Video Documentation
- ‘Five Colors Black‘ by system jaquelinde
[Take 1 - TELE + MACRO] - 2:57 min
- ‘Fade to Black’ by Gregor Holzinger, Adam Orlinski
[Take 2 - WIDE-ANGLE/FISHEYE] - 5:39 min (~1 min intro)
The space probe Voyager I – on its mission since 1977 and still continuing – has reached the edge of our solar system and started to enter interstellar space in 2012/13 - being the one most distant of man-made objects. Equipped with the technology of the 70s, using its last remaining systems functional (including a 40-W radio transceiver), it continuously communicates with us, mankind on planet Earth in the 21st Century.
Based on this expedition the project is creating an allegoric model for the perception of space itself - a piece of basic research regarding the phenomenon of space, inspired by everything from Plato´s Parable of the Cave to Heisenberg´s Uncertainty Principle.
As Voyager I is exploring the outer reaches of (known) reality and expanding human perception beyond its very-own limits in each and every moment of its journey, a moving apparature (the „space probe“ or so-called ‚traveller‘ – a strange, at first not further explainable object, hard to tell if c-/kinematic vehicle or epistemological device) is travelling through the installative environment of an abstract experimental set-up or test arrangement, which is only surmisable in an inscrutable darkness, and comprises of a small multi-scale(-d) world of exemplary reality (or a kind of altered/alternatively extended version of itself).
The small kinetic apparatus, provided with a customized set of imaging equipment consisting of pointlight, micro-camera and pico-projector, explores the spatial details of the installation and thereby reveals parts of its constructed/alternative reality, which themselves remain unattainable in its smallest passages for the viewers, but appear as a moving shadow projection warping through space – momentarily immersing the viewers into the traversed spatial sequences, as if they were contemplating the structure from the inside perspective of the moving observation instrument (=traveller), acting as a remote, real-time extension to their spatial perception.
Based on this expedition the project is creating an allegoric model for the perception of space itself - a piece of basic research regarding the phenomenon of space, inspired by everything from Plato´s Parable of the Cave to Heisenberg´s Uncertainty Principle.
As Voyager I is exploring the outer reaches of (known) reality and expanding human perception beyond its very-own limits in each and every moment of its journey, a moving apparature (the „space probe“ or so-called ‚traveller‘ – a strange, at first not further explainable object, hard to tell if c-/kinematic vehicle or epistemological device) is travelling through the installative environment of an abstract experimental set-up or test arrangement, which is only surmisable in an inscrutable darkness, and comprises of a small multi-scale(-d) world of exemplary reality (or a kind of altered/alternatively extended version of itself).
The small kinetic apparatus, provided with a customized set of imaging equipment consisting of pointlight, micro-camera and pico-projector, explores the spatial details of the installation and thereby reveals parts of its constructed/alternative reality, which themselves remain unattainable in its smallest passages for the viewers, but appear as a moving shadow projection warping through space – momentarily immersing the viewers into the traversed spatial sequences, as if they were contemplating the structure from the inside perspective of the moving observation instrument (=traveller), acting as a remote, real-time extension to their spatial perception.
FADE TO BLACK
Chapter 1:
‚Dark Noise -(s), div.‘ - 5:38 min [~1:05 min intro] + sound
Light is no longer - as by common understanding - conceived as static condition, but rather acts as a dynamically perceived trajectory that creates a spatial scenario and alternative form of theater/“Raumtheater“, in which - instead of the actors - the light and the space (or set) are animated.
Analogue to the principle of a moving light source, the shadows within this spatial setup detach from their static two-dimensional nature of projection and extend - within the continuity of the movement - to a model of higher-dimensional perception over time. The resulting animated anamorphosis can not only be seen as a field of light but also as a field of sight, i. e. the field of view (view-shed) covered throughout the movement: From the visual expeditions of the traveller a time-based map of light and shadows derives, representing the perceptive horizon of a moving observer – as a complex notation of a variable spatial field-of-view and its visual exclusions (= ‚sight-shadows‘ folded into infinite detail), as well as its exclusiveness.
Analogue to the principle of a moving light source, the shadows within this spatial setup detach from their static two-dimensional nature of projection and extend - within the continuity of the movement - to a model of higher-dimensional perception over time. The resulting animated anamorphosis can not only be seen as a field of light but also as a field of sight, i. e. the field of view (view-shed) covered throughout the movement: From the visual expeditions of the traveller a time-based map of light and shadows derives, representing the perceptive horizon of a moving observer – as a complex notation of a variable spatial field-of-view and its visual exclusions (= ‚sight-shadows‘ folded into infinite detail), as well as its exclusiveness.
SPACE PROBE (‘Raum-sonde’) - Fly-by trajectory with gravity assists
Long-term exposure - approx. 15 sec.
Long-term exposure - approx. 15 sec.
LONG-TERM EXPOSURES
Photos: Adam Orlinski - upper left: approx. 20 sec | lower: 3 min
Photos: Adam Orlinski - upper left: approx. 20 sec | lower: 3 min
INSTALLATION VIEWS / SHADOW DETAILS
STREET VIEWS - ‘Zaungast-Perspektive’
Perspective of the passer-by - View through the shop-window/display case into the exhibition space
Perspective of the passer-by - View through the shop-window/display case into the exhibition space
EXHIBITION VIEWS
Nadja, Adam, Gregor & Adam - Galerie Göttlicher | Krems
07-2014
Photos: Doris Neumüller
Nadja, Adam, Gregor & Adam - Galerie Göttlicher | Krems
07-2014
Photos: Doris Neumüller
KINEMATIC CONCEPT - Development Stages
Evolutionary development of kinetic apparatus (= ‚traveller‘) consisting of
EXOSKELETON + CHASSIS and LIGHT UNIT + FLAPS
as of Phase 1 - Gen. 1-5 | 2012-2014
based on:
- Analog-digital Hybridization / High- & Low-Tech Hybrids: use of specially tailored and prefabricated chassis parts (CAD-designed + STL 3d-printed) and custom-developed miniaturic joint together with hand-made, welded mechanical components
- Re-Engineering of Ready-mades: technical ready-mades (ball bearings, thread bars and different screws/bolts M1,5 and smaller) as well as re-purposed fragments of various special components are composited to exoskeletoid structures, which allow for modular mounting of light or camera unit as well as electronic equipment for remote control, as well as re-composed to suspension frames which stabilize the transport slide (=‘traveller‘) on its trajectory along the curved rail structure freely suspended in space and prevents it from dropping when going overhead or in extreme curve ratings
- Customization of Model-train technology: micro model-train driving axles (N-track, 9mm) +(under-)carriages and motors are diverted from their intended function and mounted onto the transport slides as running gear and propulsion unit; sufficient frictional traction for steep grades is built up by the inverted suspension frames of the ‘exoskeletons’
- Collection of aesthetic Characters/‘Gestalten‘ (‚Ghosts in Shells‘, complete zoo of ‚Weird Fishes‘), based on a variety/range of aesthetic typologies with different functional/behavioural patterns, vaguely resembling the abstract figurations and bizarre physique of deep-sea creatures (cf. e. g. Ceratioidei =„Anglerfische“ (in German: ~ ‚fishing-rod fish‘)
Evolutionary development of kinetic apparatus (= ‚traveller‘) consisting of
EXOSKELETON + CHASSIS and LIGHT UNIT + FLAPS
as of Phase 1 - Gen. 1-5 | 2012-2014
based on:
- Analog-digital Hybridization / High- & Low-Tech Hybrids: use of specially tailored and prefabricated chassis parts (CAD-designed + STL 3d-printed) and custom-developed miniaturic joint together with hand-made, welded mechanical components
- Re-Engineering of Ready-mades: technical ready-mades (ball bearings, thread bars and different screws/bolts M1,5 and smaller) as well as re-purposed fragments of various special components are composited to exoskeletoid structures, which allow for modular mounting of light or camera unit as well as electronic equipment for remote control, as well as re-composed to suspension frames which stabilize the transport slide (=‘traveller‘) on its trajectory along the curved rail structure freely suspended in space and prevents it from dropping when going overhead or in extreme curve ratings
- Customization of Model-train technology: micro model-train driving axles (N-track, 9mm) +(under-)carriages and motors are diverted from their intended function and mounted onto the transport slides as running gear and propulsion unit; sufficient frictional traction for steep grades is built up by the inverted suspension frames of the ‘exoskeletons’
- Collection of aesthetic Characters/‘Gestalten‘ (‚Ghosts in Shells‘, complete zoo of ‚Weird Fishes‘), based on a variety/range of aesthetic typologies with different functional/behavioural patterns, vaguely resembling the abstract figurations and bizarre physique of deep-sea creatures (cf. e. g. Ceratioidei =„Anglerfische“ (in German: ~ ‚fishing-rod fish‘)
KINEMATICS - Exoskeleton + Chassis
SPACE PROBE - The ‘Traveller’
KINEMATICS - Light + Shades/Flaps
- Proprietary development of modular aperture geometries - digitally designed and 3d-printed (STL Stereo-Lithography) additive aperture geometries (centrical symmetrical - adaptive free-form) based on light- & projection simulations in Rhinoceros 3d-modelling software (+ Grasshopper visual scripting plug-in), serving as masking flaps or glare shields adapted for the 3- resp. 4-directional custom-made tetrahedral LED-unit
- Light unit equipped with 4x ultra-bright LED with 170°-emission angle (mounted on CAM-milled aluminium cooling elements) -> see exploded assembly drawings/screenhots above
- Proprietary development of modular aperture geometries - digitally designed and 3d-printed (STL Stereo-Lithography) additive aperture geometries (centrical symmetrical - adaptive free-form) based on light- & projection simulations in Rhinoceros 3d-modelling software (+ Grasshopper visual scripting plug-in), serving as masking flaps or glare shields adapted for the 3- resp. 4-directional custom-made tetrahedral LED-unit
- Light unit equipped with 4x ultra-bright LED with 170°-emission angle (mounted on CAM-milled aluminium cooling elements) -> see exploded assembly drawings/screenhots above
Blank pieces for tetrahedral sets of masking flaps for the all-directional light unit
as of Phase 1 - Gen. 1-3 | 2014
as of Phase 1 - Gen. 1-3 | 2014
THE COMPLETE ‘ZOO’
Complete set of assembled kinetic devices & epistemological apparatures
(= so called: ‚travellers‘), as of Phase 1 - Gen. 1-5 | 2012-2014
each provided with customized sets of lighting/imaging equipment
consisting of one of the following:
(1.) Pointlight +shading flaps / (2.) micro-camera and
(3.) mounting appliance for pico-projector
(all with proprietary calibration systems, based on miniaturic technical ready-mades, and using adapted N-track model-train carriages+motors with digitally modelled + 3d-printed chassis parts)
Complete set of assembled kinetic devices & epistemological apparatures
(= so called: ‚travellers‘), as of Phase 1 - Gen. 1-5 | 2012-2014
each provided with customized sets of lighting/imaging equipment
consisting of one of the following:
(1.) Pointlight +shading flaps / (2.) micro-camera and
(3.) mounting appliance for pico-projector
(all with proprietary calibration systems, based on miniaturic technical ready-mades, and using adapted N-track model-train carriages+motors with digitally modelled + 3d-printed chassis parts)
VIDEO PERSPECTIVES
MOBILE CAMERA PERSPECTIVES
‘TRAVEL-CAM’ - VIDEO STILLS | Mobile camera perspectives
Video-perspectives out of the individual moving viewpoint of the “traveller” --> complete real-time mapping of FOV/’Field-of-View’ by an on-board moving camera
(--> shift in perspective by establishing an additional ‘inside-out’-view -or- ‘drive-through perspective’)
MOBILE CAMERA PERSPECTIVES
‘TRAVEL-CAM’ - VIDEO STILLS | Mobile camera perspectives
Video-perspectives out of the individual moving viewpoint of the “traveller” --> complete real-time mapping of FOV/’Field-of-View’ by an on-board moving camera
(--> shift in perspective by establishing an additional ‘inside-out’-view -or- ‘drive-through perspective’)