Instrument Seven (Nat Chard)
A few more recent shots of Instrument Seven, showing the back of the folding picture plane (above) and a couple more views.
Instrument Seven (Nat Chard)
Instrument Seven (Nat Chard)
Instrument Seven (Nat Chard)
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.
Instrument Five (Nat Chard)
Another of the new pictures – this time Instrument Five in stereo.
Usual process for resolving the stereo image.
Instrument 6 (Nat Chard)
Instrument 6 (Nat Chard)
Instrument 6 (Nat Chard)
Instrument 6 (Nat Chard)
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.
Instrument Three (Nat Chard)
Instrument Three (Nat Chard)
Instrument Three (Nat Chard)
Looking through some photographs I found some of the stereoscopic shots I had made of the instruments. Here are a few of Instrument Three.
See also:
https://natchard.com/2011/09/14/drawing-instrument-three/
https://natchard.com/2011/12/26/more-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.
Instrument Five
A couple of extra pictures of Instrument Five in action, with a very laid back picture plane to draw out the throw of paint. Notice the meniscus of paint on the top right drawing piece (above) that is still there for the subsequent white paint throw (below).
Instrument Five
See also:
https://natchard.com/2011/10/16/more-instrument-five-2/
https://natchard.com/2011/09/28/more-instrument-five/
https://natchard.com/2011/09/24/drawing-instrument-five-developed-drawings/
https://natchard.com/2011/09/21/drawing-instrument-five-first-drawings/
Design Ecologies
I just received a copy of Design Ecologies (Volume 2 No.1) edited by Shaun Murray. The title of the issue is The Ill Defined Niche. It has chapters by Shaun Murray, Camila Sotomayor, Tim Matts and Aiden Tynan and one by me called Drawing Uncertainty that covers some of the instruments and the Bird Automata Test Track. If you are interested you can order a copy here.
Instrument Five Shadows
Early morning sunlight landing on a version of Instrument Five, with a very dirty dome capturing the image from the surface that normally captures the image.
Institute for Paradoxical Shadows
An earlier view of the Institute for Paradoxical Shadows. It is developing the full size implications of instrument Six, shown below.
Instrument Six in real-time floating shadow mode
Instrument Six in research (photographic) mode
Stereoscopic view of floating shadow from Instrument Six
To view the floating shadow make sure the image is small enough to register the shadow in the left image over the one in the right hand image when you go cross-eyed (you will see three images – concentrate on the middle one). Try to relax to get a good three-dimensional view. You will see that the shadow sits a short way off the surface in which you would expect it to land.
Instrument Eight under construction
Instrument Eight components
A couple of pictures of components and sub-assemblies for the various versions of Instrument 8.
I managed to get the chassis for the first version together – see:
and am hoping to find time to get the others assembled soon. There is lots yet to resolve on the active parts – I will post some more on that when I get there.
Nat Chard 