http://www.schudio.co.uk/blog/2010/3d-cube-tiger-beer-lucky-8/
Some of you may remember the cube I made, from last year. Version 1.2 is being built in a few weeks time.
In Birmingham.
This new cube will have a 3D interior, that you view through a pair of 3D glasses, as part of the Tiger Beer Lucky 8 campaign to celebrate Chinese New Year. The number 8 is considered to be a lucky charm in China, and the cube has 8 corners.
As you stand on the Sweet Spot within the cube and wear the glasses, the corners and joins will vanish out of sight, creating an illusion never witnessed before. Its the accumulation of a few techniques that I’ve been working with for some years and it was the next logical progression for my Cubic experiments. Recently an edition of only 33 prints of my new sketch ‘Cover Your Tracks’ was released in 3D too.
3D CUBE v1.2
Launch 15th February 2010 and showing for only 1 week at:
Boxxed, 104-105 Floodgate Street, Digbeth Birmingham B5 5SR.
(vistors to the 51 Degrees exhibition or the Line Steppers group show will be comforted to know its the same venue!)
(3D glasses supplied)
MARK PESCEThe primary quality of any electric medium is its inherent electroplasticity, that is, its ability to construct a range of perceivable effects. The telegraph has a binary electroplasticity, dit and dah, whereas High-Definition Television has an exceptionally broad range of possible effects. As is natural in any technological evolution, electric media have tended toward a greater range of effects, or greater electroplasticity, through time.
Roughly a decade ago, major research began on media which are both highly electroplastic and designed to produce
holosthesia . This word, coined by Martens[2] has its roots in the Greek holos (whole) and aisthesia (to feel or perceive), and describes any medium which produces the perception of an event through several (or all) sensory modalities in a self-consistent manner. Immersive technologies such as virtual reality fall into this class of electroplastic media. The fundamental intent of virtual reality is to produce in the observer the perception of an event as if it had occurred in the physical world. Holosthesia is the necessary component of such a form of synthetic perception. Cyberspace, at the union of the holosthetic technology of virtual reality and communications technology can create a shared holosthetic experience.[3] It is nowhere implied that this experience will be safe.This is an important point, if only for the following reason; within twelve months, hundreds of thousands of children will be experimenting, on a daily basis, with a highly holosthetic medium. Experimenting is the operative word; within a few days more hours will be logged inside virtual environments by these children than has been amassed by the scientific community over a decade of research. Furthermore, as our tools and technology evolve beyond their current and primitive state, our ability to orchestrate holosthetic experience will be similarly extended, and this too raises questions: not of what is possible, but rather, what is safe. For this reason, this paper will directly address the issue of safety within holosthetic environments, particularly with respect to cyberspace.
Having participated in the design and implementation of one of these "Home VR" systems (Sega Virtua VR), the author has come to a realization which relates to all research work thus far performed in the field of holosthetic technology; while careful attention has been paid to the biological aspects of such systems, to prevent adverse physiological effects, very little research or design work has been conducted on the ontological or mythological content presented by these devices. Yet these aspects are fundamental to the devices themselves; the creation of a world necessarily implies the creation of a world-view. Geoffrey Hill, in Illuminating Shadows: The Mythic Power of Film discusses cinema, the most holosthetic of our current media, in the context of mythology.
The cinema has become to the modern world the
collective cathedral of primitive participation mystique.
It is the tribal dream house of modern
civilization...Indeed, the cinema is the theater of life, the
screen of human existence casting illuminating shadows
onto the wall of tribal participation...If Marshall McLuhan
is correct in arguing that each of our media is an
extension of ourselves, and that the medium is the
message, then his argument would support the contention
that film is but an extension of our most inner and
ancient consciousness...The dark cavern of the cinema is
reminiscent of a ceremonial sweat lodge, an initiation pit,
the dark night of the soul, the belly of the fish, the
alechemical grave, or the wilderness of the night
journey...It is the baptismal font where our skepticism is
drowned in the motherly sea of awe and wonder.[4]If these statements are true of cinema, how much more so for immersive technologies, which, beyond providing a space for the "suspension of disbelief", bind the participant to the mythology through interaction within the mythos? Cinema is the passive viewing of a mythology, cyberspace the active participation within a space that is essentially mythic. This phenomenon, although an everyday occurrence within aboriginal and "primitive" societies, is unprecedented in rational "Western" civilization. Thus far this technological development has been an unconscious enterprise, directed primarily toward entertainment, but always containing a mythic thread.
This paper, then, contains two threads, one scientific and one ontological or mythic. Like the works of William Irwin Thomson, the author will suggest the existence of a continuity between these aspects; each helps to create and sustain a particular configuration of the other.
The scientist tries to examine the "real" nature of
the photograph; he tries to get away from psychological
configuration, the meaning of image, to move down to
some other, more basic level of patterns of alternating
dots of light and dark, a world of elementary particles.
And yet what does he find there but another mental
configuration, another arrangement of psychological
meaning? If he persists in this direction long enough, the
mythological dimensions of science will become apparent
in his work, as they would if he had asked questions
about the meaning of sunlight rather than questions
about the behavior of photons.
Science wrought to its uttermost becomes
myth...But what is myth that it returns to mind even
when we would most escape it?
Forms of knowledge change as society changes.
Sometimes these changes are small and incremental; at
other times the changes are transformations of the
structures of knowledge and not merely the contents...But
this movement is not simply a linear and one-directional
shift toward increasing rationalization and
demystification; when the rational historian has come in
to take away authority from the mystical and tribal bard,
the artist has returned to create new forms of expression
to resacralize, re-enchant, remythologize.[5]
