Gray Area Showcase Winter 2020 - Room 2

Teaching projection mapping at immersive this year has informed the way I want to approach art-making: sometimes silly, mostly experimental, but always accessible and meditative.

I loved experimenting with geometry when working with my students. So I started projecting onto reflective surfaces and created a little mesmerizing corner in my room. The convenience of projection mapping software helped me make things quickly. 

However, my art-making motivation is taken away by this efficiency in production. As a result, I decided to go for a rather non-linear, unorganized story. The link above will take you to a page where you can see some statistics about gender inequality in Turkey, supported with the photography that my sister created for her own project, Veils.

Iteration 3 - This is the final iteration.
Listen for new sub-frequency bubbles (subbles), giving the piece an emotional side, texture, and a sub-frequency presence you can physically feel.

Look for dramatic midway changes introducing more contrast, tension, and a little escape.  There are also changes in weather, lighting, and tone.

Teaser from live Bathing (Ryan Smith & Emma Smith) performance w/visuals by Brandon Eversole from August 28, 2020 Patch Pulse: Live from the Grand Theater
Supporting Activist Kenneth Reams

Iteration 2 - Listen for added sound texture in the form of crashing waves.

Look for more mood in the atmosphere and sky.

Iteration 1 - The first layer of sound made using a modulator synthesis technique taking a sine wave chord-like sound and modulating the chord's inversion over a long period, along with volume and spatial effects adding emotion.

The first layer of the video uses raymarching to describe the scene and get distance field information analytically.  Then in a slit-scan like way, mapping the distance fields to a 3D video texture.  Kind of like cutting into a giant video cube.  This video sets the feel with camera movement and source video selection.

Source Aerial Footage by the talented Tom Fisk

Mae Ross is a printmaker, music producer, and designer based in Oakland, CA. “soundspitter” explores the relationship between the material world and our romanticized idea of the digital world. Mimicking the waves of a computer ocean, soundspitter delivers a unique experience that explores the mindless exploitation of technology. The frivolous nature of printers and printees is something of the past now. With everything going paperless, people seem to think that can make a substantial ecological difference without considering what they might lose in the process. 

Here I am wasting paper, ink, time and money on a relationship that is dying. The “Print”. In a world of neoliberalism ideologies and faux environmentalists, holding a physical print is something we must not forget. Going paperless takes away the potential opportunity to form a relationship with something physical. Something that came from a screen, but doesn’t attack your eyes when you stare too long. To think a robot can help us create something taginable that reminds us of our own humanity so innately. I don’t want to forget this feeling in my heart and in my finger tips. “soundspitter” consists of several different methods: jQuery, p5.js, Babel, Html + Css, Apple Scripts, Soundflower, Ableton Live, Macbook Air 2015, Epson Artisan 710, and 8 1/2 x 11 paper.

Mae Ross is a printmaker, music producer, and designer based in Oakland, CA. “soundspitter” explores the relationship between the material world and our romanticized idea of the digital world. Mimicking the waves of a computer ocean, soundspitter delivers a unique experience that explores the mindless exploitation of technology. The frivolous nature of printers and printees is something of the past now. With everything going paperless, people seem to think that can make a substantial ecological difference without considering what they might lose in the process. 

Here I am wasting paper, ink, time and money on a relationship that is dying. The “Print”. In a world of neoliberalism ideologies and faux environmentalists, holding a physical print is something we must not forget. Going paperless takes away the potential opportunity to form a relationship with something physical. Something that came from a screen, but doesn’t attack your eyes when you stare too long. To think a robot can help us create something taginable that reminds us of our own humanity so innately. I don’t want to forget this feeling in my heart and in my finger tips. “soundspitter” consists of several different methods: jQuery, p5.js, Babel, Html + Css, Apple Scripts, Soundflower, Ableton Live, Macbook Air 2015, Epson Artisan 710, and 8 1/2 x 11 paper.

Teaching projection mapping at immersive this year has informed the way I want to approach art-making: sometimes silly, mostly experimental, but always accessible and meditative.

I loved experimenting with geometry when working with my students. So I started projecting onto reflective surfaces and created a little mesmerizing corner in my room. The convenience of projection mapping software helped me make things quickly. 

However, my art-making motivation is taken away by this efficiency in production. As a result, I decided to go for a rather non-linear, unorganized story. The link above will take you to a page where you can see some statistics about gender inequality in Turkey, supported with the photography that my sister created for her own project, Veils.

Teaching projection mapping at immersive this year has informed the way I want to approach art-making: sometimes silly, mostly experimental, but always accessible and meditative.

I loved experimenting with geometry when working with my students. So I started projecting onto reflective surfaces and created a little mesmerizing corner in my room. The convenience of projection mapping software helped me make things quickly. 

However, my art-making motivation is taken away by this efficiency in production. As a result, I decided to go for a rather non-linear, unorganized story. The link above will take you to a page where you can see some statistics about gender inequality in Turkey, supported with the photography that my sister created for her own project, Veils.

Teaching projection mapping at immersive this year has informed the way I want to approach art-making: sometimes silly, mostly experimental, but always accessible and meditative.

I loved experimenting with geometry when working with my students. So I started projecting onto reflective surfaces and created a little mesmerizing corner in my room. The convenience of projection mapping software helped me make things quickly. 

However, my art-making motivation is taken away by this efficiency in production. As a result, I decided to go for a rather non-linear, unorganized story. The link above will take you to a page where you can see some statistics about gender inequality in Turkey, supported with the photography that my sister created for her own project, Veils.

Teaching projection mapping at immersive this year has informed the way I want to approach art-making: sometimes silly, mostly experimental, but always accessible and meditative.

I loved experimenting with geometry when working with my students. So I started projecting onto reflective surfaces and created a little mesmerizing corner in my room. The convenience of projection mapping software helped me make things quickly. 

However, my art-making motivation is taken away by this efficiency in production. As a result, I decided to go for a rather non-linear, unorganized story. The link above will take you to a page where you can see some statistics about gender inequality in Turkey, supported with the photography that my sister created for her own project, Veils.

Subble Escape is a mellow and drifting, ambient influenced audiovisual collaboration by Ryan Smith (audio) and Brandon Eversole (visuals).

Searching for ways to create in COVID times, they tried a sort of call and response creative experiment. They'd make a music video in layers—one layer of sound followed by a layer of visuals.  They started with a base sound created by Ryan.  Influenced by the sound, Brandon then made a layer of visuals and sent the file back.  Ryan then added another layer of sound.  Rinse and repeat.

They both agreed not to talk about the project outside of the work itself, making the final result a byproduct of the back and forth interaction between Ryan's audio and Brandon's visuals

We also included a direct link to the video if you'd prefer to watch the final video outside of this VR environment.