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Proximity (bubble version) (2010)
這麼近那麼遠（泡泡版）(2010)
Caspar STRACKE
卡斯帕．史察克
GERMANY 德國
Artist's Biography 藝術家簡介 >
Artist Statement 藝術家陳述 >
Technical Statement 技術陳述 >
這麼近那麼遠（泡泡版）(2010)
Caspar STRACKE
卡斯帕．史察克
GERMANY 德國
Artist's Biography 藝術家簡介 >
Artist Statement 藝術家陳述 >
Technical Statement 技術陳述 >
Technical Statement
The 50 displayed virtual spheres create of moving images in a crude 12 x 8 pixel resolution, remaining deliberately just on the threshold of recognizability. Movements and luminance/color changes are primary means of perception.
Nonetheless, the three-dimensional constellation of the spheres provides a second layer of cognition - as the 96 pixels describe shadows and outlines of objects (i.e. a close up of a human face).
They are extracted from the background and protruding outwards of the screen whereas the spheres displaying the remaining parts of the background jump inwards. Together, they form a cluster of fluctuating lights in shape of a giant moving bas-relief.
The cumbersome use of polarized 3D glasses possess a certain irony in the context of the narrative, as the image - even watched with glasses in full 3D - remains blurred and semi-abstract.
At the same time the viewer is listening to eye patience that regains their eyesight, and eye doctors describing the quintessence of human perception.
Thank you to Bernd Neutag for custom XPresso programming
The 50 displayed virtual spheres create of moving images in a crude 12 x 8 pixel resolution, remaining deliberately just on the threshold of recognizability. Movements and luminance/color changes are primary means of perception.
Nonetheless, the three-dimensional constellation of the spheres provides a second layer of cognition - as the 96 pixels describe shadows and outlines of objects (i.e. a close up of a human face).
They are extracted from the background and protruding outwards of the screen whereas the spheres displaying the remaining parts of the background jump inwards. Together, they form a cluster of fluctuating lights in shape of a giant moving bas-relief.
The cumbersome use of polarized 3D glasses possess a certain irony in the context of the narrative, as the image - even watched with glasses in full 3D - remains blurred and semi-abstract.
At the same time the viewer is listening to eye patience that regains their eyesight, and eye doctors describing the quintessence of human perception.
Thank you to Bernd Neutag for custom XPresso programming
技術陳述
五十個虛擬球體拼湊成一個 12x8 像素，僅可辨認的動態影像。動作及顏色亮度的變化成為認知圖像的重要原素。
縱然如此，三維球體的影像可從九十六個像素中隠約描繪出物件的陰影及輪廓(比如是近距離的臉部輪廓)。
物體輪廓從背景中跳出並浮於屏幕表面，而其餘球體則緊貼背景。所有球體共同構成一個光影的巨型動態浮雕。
多餘地使用三維眼鏡是對敘事內容的諷刺：因為縱使以三維眼鏡觀看，圖像依然是模糊及半抽象的。
同一時間，觀眾可透過耐心領聽及觀望來重拾視覺。這個過程，眼科醫生形容為人類感知的精髓。
特別鳴謝 Bernd Neutag 為作品編寫 XPresso 程式。
五十個虛擬球體拼湊成一個 12x8 像素，僅可辨認的動態影像。動作及顏色亮度的變化成為認知圖像的重要原素。
縱然如此，三維球體的影像可從九十六個像素中隠約描繪出物件的陰影及輪廓(比如是近距離的臉部輪廓)。
物體輪廓從背景中跳出並浮於屏幕表面，而其餘球體則緊貼背景。所有球體共同構成一個光影的巨型動態浮雕。
多餘地使用三維眼鏡是對敘事內容的諷刺：因為縱使以三維眼鏡觀看，圖像依然是模糊及半抽象的。
同一時間，觀眾可透過耐心領聽及觀望來重拾視覺。這個過程，眼科醫生形容為人類感知的精髓。
特別鳴謝 Bernd Neutag 為作品編寫 XPresso 程式。
