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experiments rhythm exercise_part 4 “Lottery_1-5” Research Diary Note: ups, what was this? Sudden movement at high speed, is this correct? or is this another coding mistake? No coding mistakes can be found. But maybe … I am just underestimating the tempo, when I am looking on this drawing (see detail from “Lottery_3” below left). As new structural patterns appear, Verschränkungen, I can no longer predict the movement of the light in the braid. The phrases are too complex. After viewing “Lottery_1-5” several times, I begin to develop a slight familiarity with some of them (see detail from “Lottery_5” below right). This is odd, really strange – but interesting … This is just not working at all … Oh I like this … so why? … smooth fading in and out … this one is fluid …. it feels like a repetition with a slight shift. Three mini phrases together form a new rhythmic unit, this type of rhythmic structure I am naming Verschränkung for now. The same thing occurs by all the other Verschränkungen, several mini phrases, minimum two, create new structural units (see examples previous page). 110
Limiting the number of phrases used to play the Lottery game to five original sequences, “Lottery_4-5” increases the perceived difference in speed between the different mini-phrases. Furthermore it opens up for the play with repetition of single figures/phrases/sequences. When one phrase is played twice in a loop, the repetition/repeat is clearly visible, a “moment of obvious repeat”. However, repeating a phrase with several other phrases in-between does not necessarily bring the word repeat to my mind. Yet, phrase No. 1, step-bystep, seems to fall out of the picture a bit. lt appears to be the most significant phrase, as although it has not been played for quite some time I still remember seeing it before. There I tend to say: “oh, this appeared before, it is repeated.” There seems to be two ways to repeat a phrase: as a direct repetition and as a recurring element. Somehow these two forms of repetition are clearly distinguishable and create something different … another nuance of expression. 111
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Composing over time, temporal patte
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Composing over time, temporal patte
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PRELUDE. . . . . . . . . . . . . .
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Textiles With the beginning of the
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on the circadian dominated body pro
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in Light Shell (2008) and Light and
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quickly became my main goal. Explor
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This form of physical involvement i
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physical objects, viz. the developm
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“The work of designing light is a
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experiments
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experiments Experimental Set-up: La
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experiments There are two ways in w
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experiments colour flow_part 1 The
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experiments The graphics below, rep
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experiments colour flow_part 1 In t
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experiments colour flow_part 2 Expe
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experiments colour flow_part 2 scen
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experiments colour flow_part 2 Scen
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experiments colour flow_part 2 Rese
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EXPERIMENTS such a solution is an o
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ate complex patterns, compositions
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experiments rhythm exercise Experim
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Page 97 and 98: Third Set-up: Code Microcontroler D
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eferences
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eferences HEMMINGS, J. 2012. Warp +
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efernces NOSAD. N.D. NOSAD. Availab
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Page: 10 Graphics: DEHOFF, P. 2008.
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Optical Fibres “What are optical
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woven light - powered by sun energy
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Industrial weaving MA Studies, 2006
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Industrial weaving MA Studies, 2006
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Light Shell MA Thesis, 2008 The Swe
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Esparteria EL Puerto de Santa Maria
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Esparteria Pilas, Andaluzia, Spain,
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Textiles, between 2005-2008. Many t
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Figure 1 Figure 2 Figure 3 on indus
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Figure 4 Figure 5 Figure 6 a heat s
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into knitted structures 3D knitting
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cepts incorporating dynamic lightin
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This paper has discussed a varying
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SMART TEXTILES BARBARA JANSEN rhyth
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of designing textiles using a new v
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SMART TEXTILES BARBARA JANSEN, MARI
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206 52
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DESIGN PROCESS The starting point o
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