Drawings from Instrument Two drying after exposure. Also the photograms from the dioramascopes.
Instrument two shown below.
I hope the new instruments will be up and running before too long, but these are the last three throws of paint I made, almost two years ago. In each of them there is a similar amount of paint and the paint catapult is left on the same settings. You can see how repeatable the aim is, and although the character of the flight of paint varies it is also more consistent than the earlier throws. In switching from projecting light to paint one of the reasons was to make the shadow (splatter) a less controlled event but also I anticipated that my catapult would not be as accurate and repeatable as it turned out. During my work with the sequence of paint-throwing instruments I learnt more about how to control them, so I have been building a more sophisticated version that I hope will lose control a bit more for the next series, although inevitably the process will repeat itself.
Three views of Instrument Six in action, the two top views construct paradoxical shadows that float in the air, adjacent to the surface you would expect them to land on , in real time. The bottom image is of the instrument in photographic mode where the relative parallax between shadow projections can be adjusted for pairs of stereoscopic photographs, and it uses a single lightbulb instead of a pair of candles.
A picture of Instrument Seven with a drawing, after receiving paint thrown by another instrument. The paper follows the folds of the picture plane support (behind) which has tabs to match those on the paper and they are held together with bulldog clips. You can see how little of the main throw of paint lands on the drawing (unlike Instrument Five) and instead it catches just the splatter of paint that collides with the drawing pieces.
Some new views of the Bird Automata Test track. The picture with the author gives scale. The bottom image is a stereoscopic pair that will resolve into a 3D image if you go cross eyed and register one image exactly over the other. I purchased the figures on line from an art store in the ‘States in the hope that they would be less pumped up than the artist’s figures I used previously, but suspect they look even more pervy. I will try and find a solution.
Another of the new pictures – this time Instrument Five in stereo.
Usual process for resolving the stereo image.
I have been reshooting Instrument Six – the earlier photographs were too saturated. Here are some tests. The surface on the folding picture plane is a material that retains polarisation, made by Da-Lite Screens. The instrument is seen here in real time mode – to see a shadow floating off the surface on which it should, by rights, land.
Looking through some photographs I found some of the stereoscopic shots I had made of the instruments. Here are a few of Instrument Three.
To view the images in three dimensions, go cross-eyed until you can register one image over the other. You may need to reduce the size of the images a little and perhaps tilt your head a little to keep the horizons together. When you have the image, try to relax to get the full stereoscopic depth.
A couple of stereoscopic views of a model for a house. It is a sanitised version of the project due to the circumstances that led to this model. The original ceiling became part of another model – I just came across these pictures that I took a while ago as it was sitting on my desk and I threw a couple of pieces of MDF on for the snaps. There are lots of missing pieces, to be held by the white steel armature.