656
edits
(→Lichen) |
|||
(24 intermediate revisions by the same user not shown) | |||
Line 3: | Line 3: | ||
[[File:lichen?starts.png|800px]] | [[File:lichen?starts.png|800px]] | ||
====sketches : a plan to install==== | |||
<gallery> | |||
Image:lichen_render (3 - 3).png | |||
Image:lichen_render (3 - 4).png | |||
Image:lichen_render (3 - 5).png | |||
</gallery> | |||
3D render | |||
<br> | |||
<br> | |||
This installation work consists of two parts. | |||
The first part is lichen with transferred photography on the stone. Images show a human’s body and fragile emotion. When lichen grows up many years, they might grow above, break images. Yes, it is a long term work, when viewers see it happen. But in daily life, viewers notice that human share with lichen or other organisms certain time but the different scale of time. | |||
The second part is the vibrated water that under the stone. Water is vibrated by the sound wave which comes from the speaker under the water bowl. The sound is affected by data which recorded outside of environment or particular data in human society. (working with Minsoo Hwang) This vibration of water also provides good environmental conditions (humidity and air circulation) to help to grow lichen. | |||
Very slow lichen's growth is a big problem to make an interactive installation.
However paradoxically speaking, it is an interesting aspect to understanding, how we are different but also we live together certain time and spaces. In human's perspective, lichen grows up too slow, but in their perspective, we are too fast to live and die. | |||
------------------------------------------------------------------------------------------------------------------ | |||
=== Inspiration === | === Inspiration === | ||
Line 30: | Line 51: | ||
Lichens occur from sea level to high alpine elevations, in a very wide range of environmental conditions, and can grow on almost any surface. Different kinds of lichens have adapted to survive in some of the most extreme environments on Earth: arctic tundra, hot dry deserts, rocky coasts, and toxic slag heaps. They can even live inside solid rock, growing between the grains. Some lichens do not grow on anything, living out their lives blowing about the environment. It is estimated that 6% of Earth's land surface is covered by lichen. | Lichens occur from sea level to high alpine elevations, in a very wide range of environmental conditions, and can grow on almost any surface. Different kinds of lichens have adapted to survive in some of the most extreme environments on Earth: arctic tundra, hot dry deserts, rocky coasts, and toxic slag heaps. They can even live inside solid rock, growing between the grains. Some lichens do not grow on anything, living out their lives blowing about the environment. It is estimated that 6% of Earth's land surface is covered by lichen. | ||
<br> | <br> | ||
====distinguish points of Lichen==== | ====distinguish points of Lichen==== | ||
Line 41: | Line 61: | ||
4. Distinct physical mechanisms by which lichens break down the raw stone, recent studies indicate lichens attack stone chemically, entering newly chelated minerals into the ecology. [3] | 4. Distinct physical mechanisms by which lichens break down the raw stone, recent studies indicate lichens attack stone chemically, entering newly chelated minerals into the ecology. [3] | ||
<br> | <br> | ||
==== References==== | ==== References==== | ||
Line 49: | Line 68: | ||
------------------------------------------------------------------------------------------------------------- | ------------------------------------------------------------------------------------------------------------- | ||
<h1> Growing</h1> | |||
====Collection==== | ====Collection==== | ||
[[File:lichen_italy_smin.png|800px]] | [[File:lichen_italy_smin.png|800px]] | ||
Line 62: | Line 81: | ||
<br> | <br> | ||
====Species==== | ====Species==== | ||
*Crustose lichen - Caloplaca and Caloplaca marina<br> | *Crustose lichen - Caloplaca and Caloplaca marina<br> | ||
Line 68: | Line 86: | ||
*Endophloelic - Amandinea punctata<br> | *Endophloelic - Amandinea punctata<br> | ||
*Chrysotrix candelaris or chlorina (green yellow)<br> | *Chrysotrix candelaris or chlorina (green yellow)<br> | ||
<br> | |||
====Conditions==== | ====Conditions==== | ||
Keeping lichen in the shade, 24h air circulation, water supplying 2-3 time in a day (Rice water supplying 2 times in a week) | Keeping lichen in the shade, 24h air circulation, water supplying 2-3 time in a day (Rice water supplying 2 times in a week) | ||
<br> | |||
------------------------------------------------------------------------------------------------------------- | ------------------------------------------------------------------------------------------------------------- | ||
*Lichen on the stone | *Lichen on the stone | ||
An idea | An idea: how it looks lichen on the stone. | ||
<gallery> | <gallery> | ||
Line 82: | Line 101: | ||
===Methods=== | ===Methods=== | ||
====Method1 | ====Method1 : Transfer gel medium==== | ||
The Acrylic Gel Lift/Transfer is a process with many stages, ultimately enabling the artist to apply their photographic work to a wide variety of surfaces. The process entails the creation of a positive print, applying acrylic gel to the print, curing the gel, soaking the gel coated print, removing the paper backing, then applying the final suspended ink to a new surface. This exercise will illustrate the non-traditional acrylic side down version of the process that has been developed as a way to further control and manipulate the photograph. It celebrates the old transfer aesthetic of being a reverse of the original capture and allows more manipulation of the ink side before it is sealed. Although it may require more work, patience and care than other transfer processes, it is a wonderful variation and has its own unique aesthetic quality. | The Acrylic Gel Lift/Transfer is a process with many stages, ultimately enabling the artist to apply their photographic work to a wide variety of surfaces. The process entails the creation of a positive print, applying acrylic gel to the print, curing the gel, soaking the gel coated print, removing the paper backing, then applying the final suspended ink to a new surface. This exercise will illustrate the non-traditional acrylic side down version of the process that has been developed as a way to further control and manipulate the photograph. It celebrates the old transfer aesthetic of being a reverse of the original capture and allows more manipulation of the ink side before it is sealed. Although it may require more work, patience and care than other transfer processes, it is a wonderful variation and has its own unique aesthetic quality. | ||
<br> | |||
==== References==== | ==== References==== | ||
Line 98: | Line 109: | ||
*[http://www.alternativephotography.com/wp/processes/transfers-and-lifts/acrylic-gel-lift-and-transfer Alternative photography, Brady Wilks] | *[http://www.alternativephotography.com/wp/processes/transfers-and-lifts/acrylic-gel-lift-and-transfer Alternative photography, Brady Wilks] | ||
<br> | |||
====How to make it?==== | ====How to make it?==== | ||
<br> | <br> | ||
1. Clean the rock | 1. Clean the rock | ||
2. Gesso is not necessary for the transfer here, it just adds tooth and depth. | 2. Gesso is not necessary for the transfer here, it just adds tooth and depth. | ||
You can use watered down white paint. Let it dry. | You can use watered down white paint. Let it dry. | ||
3. Use a Transfer gel or | 3. Use a Transfer gel or Splendid Blender pen. | ||
Other blender pens | Other blender pens dont have the same chemical composition, and wont work. | ||
4. Make a laser, toner based copy of the image you want to use. Ink jet copies do not work. | |||
4. Make a laser, toner based copy of the image you want to use. Ink jet copies | |||
5. Place the copy face down on the rock. | 5. Place the copy face down on the rock. | ||
6. Rub the Transfer gel or pen over the image, while keeping the paper stable. | 6. Rub the Transfer gel or pen over the image, while keeping the paper stable. | ||
If it slides around, you | If it slides around, you will get a blurry image. Press hard till the image transfers. | ||
7. Make sure you have lots of ventilation when using the Transfer gel or pen. | 7. Make sure you have lots of ventilation when using the Transfer gel or pen. | ||
<br> | |||
====References==== | ====References==== | ||
*[http://www.villabarnes.com/2012/03/playing-with-rocks.html Playing With Rocks by villabarnes.com] | *[http://www.villabarnes.com/2012/03/playing-with-rocks.html Playing With Rocks by villabarnes.com] | ||
Line 119: | Line 129: | ||
------------------------------------------------------------------------------------------------------------- | ------------------------------------------------------------------------------------------------------------- | ||
==== | ====Method2 : 배접 (褙接) Bae-jeop==== | ||
Traditional korean technic for conservation <br>Material : 풀 (糊) Pull / Rice paste, Material | Traditional korean technic for conservation <br>Material : 풀 (糊) Pull / Rice paste, Material | ||
Line 134: | Line 144: | ||
4. Keep the water for a while, take away upper water, put new water. | 4. Keep the water for a while, take away upper water, put new water. | ||
5. Mixing with small amount of rice. (Should use cold water, A proportion of mixing is important. Experience is useful) | 5. Mixing with small amount of rice. (Should use cold water, A proportion of mixing is important. Experience is useful) | ||
<br> | |||
[[File:_DSF0894.png|300px]] | |||
==== References ==== | ==== References ==== | ||
Line 148: | Line 160: | ||
*Making smooth flat stone | *Making smooth flat stone | ||
*Curve stone | *Curve stone | ||
<br> | <br> | ||
* test images from last work | |||
<gallery> | <gallery> | ||
Image:transfer_test3_1.png | Image:transfer_test3_1.png | ||
Image:transfer_test2.png | Image:transfer_test2.png | ||
</gallery> | </gallery> | ||
<br> | |||
<br> | |||
* process of test | |||
<gallery> | <gallery> | ||
Image:lichen_process01.png | Image:lichen_process01.png | ||
Line 163: | Line 176: | ||
</gallery> | </gallery> | ||
<br> | <br> | ||
I try out a transfergel medium for attaching an image on diffierent surfaces for example wood, a branch, flat stone, well-trimed stone, curly surface of stone. Mostly i can get a clearly image on the different surfaces. but it is hard to transfer an image on surface which is rough and uneven (a branch and curly surface of stone) While a barnch sock with water in process, it become weaker. it is not enought strength to hold an image. Also Color of surface is important for clearly image. when metrial is too dark, difficult to figur out where image is. | I try out a transfergel medium for attaching an image on diffierent surfaces for example wood, a branch, flat stone, well-trimed stone, curly surface of stone. Mostly i can get a clearly image on the different surfaces. but it is hard to transfer an image on surface which is rough and uneven (a branch and curly surface of stone) While a barnch sock with water in process, it become weaker. it is not enought strength to hold an image. Also Color of surface is important for clearly image. when metrial is too dark, difficult to figur out where image is. | ||
<br> | <br> | ||
<br><h3>Current process</h3> <br> | |||
[[File:_DSF0901.png|300px]][[File:lichenll.png|300px]][[File:_DSF0905.png|300px]] | |||
<br> | <br> | ||
because of lichen’s slow speed of growth, It was very difficult in short time to have the visual aspect that I expect.<br> | |||
lichen is growing now but it is very slow. therefore it will take a quit long time to be ready to be in installation. | |||
<br> | |||
<BR/> | |||
<BR/> | |||
<BR/> | |||
<BR/> | |||
==<h1> The Miller-Urey Experiment </h1>== | ==<h1> The Miller-Urey Experiment </h1>== | ||
[https://www.youtube.com/watch?v=NNijmxsKGbc What Was The Miller-Urey Experiment?] | [https://www.youtube.com/watch?v=NNijmxsKGbc What Was The Miller-Urey Experiment?] |
edits