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Module 3 - Creative Project

Material Installation

tl;dr: Create a site specific liminal installation for Hunt Library which incorporates a material constraint. You'll be assigned one material it must use and you'll work collaboratively. Document visitor experience with the installation and reflect on it's success.

Due Date: Monday, Oct 20, 9pm (see full timeline)

Gallery Pool: Material Installation

• Brief and goals
• Learning Objectives
• Considerations and Constraints
• Deliverables
• Timeline and Process
• Documentation

Brief and Goals

As part of this project you’re asked to plan, design and implement an experiential installation. You’ll be asked to consider how digital and physical interact to create a liminal media space. First what do we mean by liminality: simply put an ambiguous space that “introduces a discontinuity that heightens the spatial awareness of the occupant.” within “an architecture that responds to and advances the perception of the threshold as a unique transformative space that connects two dissimilar spaces”1

Liminality: Definition and Significance: The understanding of liminality has multiple contexts, ranging from the social and cultural to the spatial. The root word limen “is derived from the Latin word for ‘threshold,’ [and] literally means ‘being on a threshold” (Alexander 31). In all contexts, liminal refers to an intermediate state or condition; an in-between condition in which the liminal entity has characteristics of what it is between, but at the same time is separate and distinct from them. In cultural contexts the liminal entity is a person while in architectural contexts it is the space itself. The liminal stage is one of pure possibility in which there is an ambiguity of clear definition. Fred Koetter defines this in-between zone that is the liminal as “the realm of conscious and unconscious speculation and questioning – the ‘zone’ where things concrete and ideas are intermingled, taken apart and reassembled – where memory, values, and intentions collide (Koetter 69).” It is a space which is essentially ambiguous and is, by definition, temporary; a transitional space or space between fixed constants.
From Liminal Space in Architecture: Threshold and Transition

OK, so the objective is to use media to create an ambiguity between real and imagined space - to construct a new experience of space through media (projection, light, sound, etc) and it’s interaction with materials introduced to a space. You’re going to use liminality to explore questions of materiality and media by constructing beautiful, expressive installations.

Specifically, the goals will be to :

• Construct a new digitally-mediated space within a physical space;
• Create a interesting and joyful experience for those passing through/within it;
• Avoid obstructing the experience those who don’t want to experience/engage with it;
• Potentially allow for interaction or reaction to participants/visitors;

As part of the exploration you’ll need to experiment with the interactions of media and material. To help constrain and focus your exploration, you’ll be assigned a primary material for your installation. This is the main physical matter that you’ll need investigate and integrate with. As part of your work you’ll need to conduct material studies and examine it’s use at various scales and how it responds to and works with different forms of media (e.g. projection, sound).

You’ll be assigned one of the following:

• Paper
• Twine
• Water (liquid)
• Fabric
• Wire

In addition to the material constraint, we’re going to constrain where the installation is located. You’ll design an installation for the interior of Hunt Library. You’re welcome to choose any location in the Library (within the constraints listed below).

You’ll work collaboratively (in teams of 3). Teams will be paired to balance skills across sound and visual composition. Finally, it’s up to you to decide if your installation will be interactive or non-interactive i.e. should it respond and react to the presence or gestures of people near by.

Learning Objectives

In this exercise you’ll explore tangible media and media installations. As part of this exercise you will be asked to:

1. Become familiar with the design of media installations through applied exploration;

2. Study, investigate and test the relationship between the material and the digitial and the design considerations involved at various scales

3. Acquire new skills or knowledge of new media tools and workflows for creating media installations;

4. Develop you skills in evaluating and critically responding to your own media;

5. Design and build a full scale interactive installation.

Considerations and Constraints

Constraints:

• You must work with the assigned material;
• You must design for Hunt Library as the primary deployment site;
• You must work collaboratively;
• Absolutely no screens;

Exhibit Constraints: This is a site specific work and it requires respectful use of the Library and it’s spaces. As such we’ve been asked to adhere to the following Exhibit Guideslines for CMU libraries

Installation and disassembly

1. Exhibit must not interfere with regular library use in any way.
2. Exhibitor must provide all materials and labor for the installation/disassembly.
3. Exhibitor must not damage any library structure or furnishings.
4. Exhibitor must return the library area to its original condition at the exhibit end date.
5. Exhibitor will be charged for damage or clean-up.

Signage and Security

1. The name of the exhibitor(s), title of the work(s), and begin/end dates of the exhibit must be posted in the installation area. Exhibitors are encouraged to post an explanatory statement about the exhibit to assist public understanding of the work
2. Security is the responsibility of the exhibitor. The University Libraries cannot insure or guarantee the safety of the exhibition installation or objects in the exhibition.

In addition we have been asked to adhere to the following additional requests:

• Do not use Floor 3 for any installations as it is a Quiet Study space;
• Do not use the arts journal area on the 4th floor;
• Avoid locations where the installation or operation of your piece will be disruptive to Library users;
• Do not use the Nakashima lattice screen next to Studio A to hang any installation. It is an expensive and valueable artwork;
• No flashing or strobe lights;
• No explosive, startling or excessively loud sounds;
• You must make sure the installation is safe (no sharp objects, etc.), and does not create a tripping or accessibility issue (blocking egress, cords on floors, etc.)

Considerations:

• As a collaborative assignment you should immediately delegate and define clear roles and responsibilities. For example, assigning someone to planning the technical implementation, someone on aesthetics and style, someone on documentation, etc.
• There will be competition over prime locations. Try and find an unusual location that others in the class are unlikely to choose. Alternatively select 2-3 backup locations for your proposal.
• Investigate the qualities of your location. This will apply further constraints to your installation. Is it bright and will this create a challenge for projection? Is it noisy? Is it busy and well trafficked? Will this be a problem for deployment?
• Test, test and test. Start early. Try out media projections. Don’t assume it will all work on the day or go smoothly without testing.
• Don’t underestimate the amount of time it will take to physically construct and assemble. A simple, streamlined approach to working at scale with a material will yield most success here. The more intricate your design the more likely it will be to fail.
• Don’t overlook the details of deploying your installation. When, where and what time of day you introduce it to the site will effect how many people might see it or potentially interact with it? Do you have access to power in the location you’re choosing? Will you need extension cords and will they create a tripping hazard or an unseamly aesthetic? etc.

Deliverables

You are asked to deliver five things for this exercise:

1. Installation: A working, site-specific deployed installation + documentation of it. Must include video of the installation.
2. Response: Document the audience participation and response to the installation.
3. Statement: An artist’s statement of the intent and ideas that drove the creation of the work (approx 100 words).
4. Narrative A description of the manner in which you approached the project, the process you followed and the strategies you used to translate the work
5. Reflection: A critical reflection on outcome and it’s success.

Process and Timeline

• Concept Development: Start by develping a statement on the work. This should include the major themes, ideas, message and meaning behind your intented work. Imagine how this is executed. This will form the basic for your proposal.

• Proposal: Create a proposal for your creative project (200 words + illustrations) and share on the Gallery by Thursday, Oct 20, 9am. This should specify a) a brief description of the proposed installation and it’s operation b) presumed technical implementation and needs, c) concept illustrations and d) proposed site(s) in the Library

• Digital Crit: You’ll receive feedback from your peers on the concept by 9pm that night.

• Development: You’ll have one week to prepare a first cut of your installation. For this you’re expected to complete a material study and a material + media mockup. For a material study, you should tangibly investigate the ways you can use the material in your installation. You’ll be expected to prepare variations of constructions, assemblies, etc of the material. You can find an examples here. You must also come with at least one media/material mockup (using real media on a physical/material surface) to show how your installation will work.

• Desk Crit: Bring in an early stage version of the work for discussion during the in-class desk crits. You’ll get feedback from instructors on peers (Thursday, Oct 17, 9am).

• Iterate: After the class you’re expected to integrate feedback and advance the outcome. This should be documented as part of your process.

• In Class Presentation: All projects will be reviewed in class. Presenters will give a 1-2 minute introduction to their work.

• Deliver: Deliver your final outcome and documentation (see below) by Tuesday, Oct 20, 9pm

• Digital Crit: You’ll give feedback to two projects based on the documentation and discussion.

Approaches, Inspiration and Methods

There are countless ways you could approach this project. Below are a bunch of examples that you might draw on. Credit to Eddy Man Kim for preparing these fantastic list.

Multisensory + Responsive + Material

Sculptural + Material

Sculptural + Illusory

Reactive/Responsive

Sonic

Body Tracking

Kinetic

Responsive + Environmental

Documentation:

Include a write up of the following:

• Statement - Include the statement you created for the work. What is the intention? what are the big ideas behind your project? what are the goals? why did you make it? what are your motivations?

• Context - Include references and discussion of artists, artworks, movements or aesthetic frameworks/techniques/approaches that inspired your outcome, process or approach. What has informed your outcome? How does your outcome relate to other artists and their work? What ideas, styles, or themes did you draw on any why? You must cite at least 3 critical texts, theories or works.

• Process - Describe how you translated your concept into the outcome. How did you approach the exercise? What were the design choices? What challenges were encountered and how did you resolve them? What ideas did you generate and how did you refine or reject them? What approaches did you reject?

• Product - Describe the outcome. What did you create, how, etc.? How did you compose your image? What styles, methods or techniques did you use? What tools and technologies were involved?

• Critique - Critically evaluate the success of your own work. What does your inner critic say about this work? Did you match intent and outcome effectively? (note: use the framing questions to guide your response!)

• Personal Reflection - Briefly outline what you took away from this project. What did you learn? What would you do differently?

Each of these sections should be no more than 200 words max. and well illustrated (images, videos, etc.)

For the Project Info’s goal description: it must be tweetable - summarise your outcome in no more than 140 characters