Augmented Ink

Augmented Ink is series of hybrid drawings: part ink on paper, part photograph, part digital color finger painted on a phone. The project started as a way to further explore drawing while chronically ill, with the images and techniques developed at home, in bed or on the couch, using tools that fit easily into that environment. Using A5 paper, ball point pens, books as drawing surfaces, and phone for photographs and coloring all combined to create ease of access. This expanded to include cutting out the inks on paper and staging them around the house.

But what happens when an established process meets new place?

25 images into the series M took the process on a visit to their Mothers home: an RV summering in Wyoming. M’s Mother is also disabled and has crafted her own living space to meet those limitations. In this new space M experimented with how a process designed for one kind of disabled life might need to shift and change when exposed to a very different disabled lived experience.

The inks shifted from fine liners to thicker markers to enabled the quick hand needed in a space that was constantly moving. Singular drawings creating singular photographs was replaced with a collage of smaller drawing pieces not simply held up to photograph but instead installed mixed into the complex indoor and outdoor spaces. And with limited access to electricity to recharge their phone the artist stopped making each image beginning to end before starting a new one and instead focused their limited battery on photographing, leaving the final color stage for when they returned home.

Masking Machine

Masking Machine is a wearable AR apparatus and performance which brings audience, artist, and algorithm face to face. It was inspired by a photography series of the same name.

Masking Machine, documented here performed at the YBCA Bay Area Now 8 opening.

Making the Bed

Making the Bed is a VR library of a diverse set of beds, from royal to homeless. Each bed can be explored and lied in at both miniature and life-size.

Below is the text of a 2017 research write up of the project for EleVR, a reseach and Development Team at SAP

Making the Bed is a VR space developed in Anyland. When it first loads you are plopped down on a red rug surrounded by a cloud of miniature beds. Each bed, in this frozen avalanche of doll furniture is numbered, 1 – 50, and some have a little green dot over the number. That dot is there to indicate which beds you can visit and experience at full size. As stated in the instructions it’s best experienced seated on the floor with a pillow near by so that you can lay down in the full sized versions. Touch a number with the model of your out stretched pointer finger, number 18 say, and you are teleported to a life sized cot in a jail cell. Touch the number again to return home. Touch number 24 and you are teleported to a nest of pillows on a fire escape. Touch the number again to return home.

This exploration was sparked by a recent Year of the Body related discussion we had in which Evelyn mentioned an art school course she took called the Drawing Marathon which helped her shift drawing from a mentally directed activity (one of planning and judging) to a physically directed activity (one of arms and fingers making decisions). The class asked her to draw for 100 hours: 10 hours a day, 5 days a week, for 2 weeks. The assignments changed frequently: Draw for 30 mins, now erase everything you drew. Fill larger and larger surfaces. Draw for 30 mins, now tear your drawing into tiny pieces and glue it onto another sheet. Draw the same thing, a piece of fruit for example, 50 times.

That last direction, drawing the same thing 50 times, is the one I used for Making the Bed. The process was pretty simple. The first bed was just a pillow, a platform, and four legs. The next one had drawers underneath, so fancy. Then came round beds and four posters and cribs and bunk beds and by 10 I had completely run out of bed ideas. The idea of beds expanded to places that we sleep, like homeless encampments and fire escapes and jail cells, and places other animals sleep too, like nests and burrows. One bed just referenced migraines, something that happens frequently in my bed. But then I was out of ideas again and I turned to historical research to keep me going. Turns out the first beds were just piles of wool and straw but it wasn’t until the invention of the platform off the ground that beds benefits (less bugs and rats) really kicked in.

Then I went off an a metaphors and fairytales tangent making beds for the stories of  Princess and the Pea and Goldilocks and the Three Bears as well as the sayings “Sleeps with the fishes” and “Dirt nap”.  And eventually, in the home stretch, I realized I could make the beds any size I wanted and started designing the beds to be interesting to lay down in at life size. The layout of the final space: the mini map, the teleportation, the detailed larger versions, and the secret teleportation objects, all came out of that late stage realization.

That late epiphany about scale (a topic VR seems always to loop around back too) reveals one of the clearest advantages of the medium.

I started this project standing but at some point over the 30-40 hours it took to complete I took to sitting on the floor legs crossed meditation style or stretched out in a Y. It saved energy while still making it easy to maneuver around the space by sliding on my butt.  I found my arms could work for long hours in what I have taken to calling the ‘hug range’: that empty space between your arms when you pretend to hug a large beach ball. I would on occasion reach out beyond the hug range to grab or place something but keeping my shoulder blades down my back with my elbows close in to my ribs let me work for longer.

(Side note: I have noticed that I prefer not wearing over the ear headphones while doing this work because the social hum of the lab makes the headset feel less isolating. I’m sure Chaim and Robert and Dan, my neighbors at HARC, can attest to the fact that I look ridiculous at best sprawled on the floor next to them all day with a giant black mask strapped to my head, flailing at the air with two black donuts on sticks, all while wearing an adult onesie I made myself.)

But satisfying my need to work in the hug range (a delightfully human need) also means that, at least initially, every bed had to fit within that small physical range.  I made less detailed overviews as sketches. Then I scaled up the sketches and worked on them at a new level of detail. The difference here is that the same motor schema, hold up wait a minute:

Motor schema are a idea I am getting from George Lakoff and Mark Johnson’s,  1999,  Philosophy in the Flesh: The Embodied Mind and Its Challenge to Western Thought. (Hit up page 77 for a more through introduction) A motor schema is a set of movements by which I interact with a basic level category of object like a car. When the motor schema for the use of two objects varies beyond a certain threshold we put the objects in different categories: car and boat for example. But if their motor schema maintains a general similarity (steering wheel, analogue acceleration etc) we group them under an umbrella term: vehicle. Motor schema variation is one way the body creates knowledge, how it categorizes.

So again the difference here is that the same motor schema I used create the miniatures, was used to create detail on the life sized versions as well. My body is thus categorizing those two levels of zoom as the same (or at least similar) tools. You might be used to that kind of motor schema flexibility in say Maya where zoom lets us use similar finger motions to manipulate at different scales but those are symbolic, abstract interactions via the interface of the keyboard and mouse. It feels completely different to have motor schema flexibility for the distance my actual hand is moving through actual space.

Making the Bed is open to explore via Anyland just go to areas and search for “MAKING THE BED”

Invisible Sculpture

Invisible Sculpture is a performance structure for audiences to interact with an invisible sculpture via an AR headset. One at a time during the performance audience members get a chance to see the invisible and their act of looking will reveal the size and position of the sculpture to those around them. Originally designed to enable the artist to show monumental scale sculpture as guerilla art at SFMOMA later the piece was shown at The Wattis, UC Irvine, and TED.

Ken Becker and the artist sat down to talk about the piece in December 2016.

This Will Take Time Artist Residency

During their time at This Will Take Time they focused on drawing with an augmented reality headset. AR is an extremely ephemeral material as the drawings themselves could not be saved so only image and video documentation of the drawings survive.

The drawings include room scale abstractions, 3d figure drawings in situ within the furniture of the residency house, and performances in which the artist interacts with the finished pieces. They explore not only the drawings relationships with their surrounding but also how the artist’s body shares that space with them.

In Climb into Bed a gender ambiguous figure is arranged in a pose reminiscent from 19th century female nude paintings, but they aren't the only nude in the video. The artist climbs into bed with the figure drawing, attempting to touch their immaterial form, conjuring up ideas about consent, avatars, and touch across the digital divide.

Due to the limitations of the AR headset the artist also created a set of 5 speculative drawing performances for video to explore what could be possible with better hardware and software.

Speculative AR Drawings in 5 figures

Bodies of Meat and Light

“I’ve not seen a piece like this before. Mesmerising.” -Viewer

Room Scale Abstraction

Tossing and Turning

In 2017 BlinkPop was invited to contribute to STATE CHANGE, the second Livingroom Light Exchange publication. This piece was a first of attempt at combining zine and video. It focused on the the relationship between body and bed by experimenting with conducting an intimate immersive experience at a distance.

Self Frottage With Light

A narrated screen capture of making a 3D self portrait frottage (also known as a rubbing) in a virtual reality paint application.

TX Watson said this piece was “slowly leading me to comprehend things about the experience [of VR] that I couldn't possibly have imagined from scratch.”

How To Bootleg

Constructed from 3D scans of SFMOMA, How to Bootleg is an experiment in overlapping virtual and physical spaces. It can be watched anywhere but it is highly encouraged to watch it in a mobile VR HMD either in the associated galleries or before or after a visit. The second video sis documentation of a viewing experience in context.

Spherical Daily Vlogs

As part of the research collective eleVR, M Eifler helped pioneer spherical/360 camera design, cinematography and editing techniques.

From June 16th, 2015 to June 16th 2016 they published a spherical video every weekday. This project was a first of its kind at a time when spherical cameras could only record a few minutes of footage and editing technology for the format was still nascent. The original blog post about the project is available on arcive.org. The a selection of the videos are available in the following playlist.

The Way Home

This piece is a form of volumetric collage. It was captured using a handheld 3D scanner then rendered as a camera path using Maya.

HyperlinkSpace

HyperlinkSpace is part VR web comic, part interactive choose your own adventure, part VR art. Explore neighboring worlds with liberated hyperlinks, no longer links between words on a page, but space travel, opening doors between places.

W, A, S and D rotate the view for those without a headset (with a bit of Q and E if you get really off kilter) and arrow keys move through space. Use spacebar to click on the EXIT signs to move between pages.

This video is a tour of the site.