Lost in translation_ emergence of an apparatus
Drawing and the interpretation of the drawing Mode.1
Move L : Linear
in this experiment setup, the robot and I draw the same object by translating my moving from one point to another for the robot to follow the same movement in a Linear manner. The outcome appeared to be very similar and yet different. The objects were the exhibition of the traces of their author’s characteristics in movement. Questioning once again the notion of communication, translation and interpretation.
Drawing and the interpretation of the drawing Mode.2
Move J : Joint Movement
This setup was designed to expose the drawing traces in the joint-based movement of the robot where he tries to reach the points in the shortest and most efficient manner. Similar to the previous experiment, the target points were translated for the robot by the camera after receiving my hand movement data.
Drawing and the interpretation of the drawing Mode.3
Move C : Circular Movement
The robot’s circular motion connects the points by drawing a section of the circle that connects the points. As seen the the video, the robot’s drawing is exclusively the circular curves while my drawing consist linear movement between points.
Drawing “Through” The Robot ! Mode.4
In these series of experiments, I merely move around and watched the Robot draw in the Virtual 3D Space! The feeling of drawing “through” instead of “by” was the main motivation for this test.
In the gaming world, the games are mainly experienced as either the 1st person player or the 3rd person player! The First person is a simulation of our basic feeling of self, while performing life! The 3rd person would be our experience as only an observer. But, what does a 2nd person player look like? Looking at it grammatically, it looks like this: “You now jump, and you draw a circle”. But the intention to do the act still comes from the self and happens through a 2nd person. The question of Mediation and authorship of the act comes to mind when looking through this lens.
Imagine dancing around in a room, while the consequence of your dance is captured, interpreted, and expressed as a 3D drawing by a robot arm! How much of this drawing would you recognize? How much of it is yours to claim really?
Architectural Drawing
My last series of experiments turns all of the former investigations into an architectural topic for the communication.
Rising new questions for myself concerning the authorship, the context and compositions.
The creation process of the architectural Artifact starts with my motion as I try to “enact” an architectural project for the Robot. The robot follows my lead and creates his interpretation of my enactment.
Like a symphony with me as a conductor, the author of the original architectural object turns into a composer of the music and the robot with all its interpretations as the Musician!
The Architectural projects that were picked for these experiments :
1. Peter Eisemann’s reading of Daniel Libeskind’s Jewish museum as a broken axis.
Later the question of –CO-creation led me to create a composition from the original obj and its translated version using the second straight Aux as a meeting point between two entities.
As for context, as Wittgenstein suggests, there is no meaning without context. Every word and every sentence is only realized once it is located in a context. What happens when an essence gets lost through a translation?
Even though it would carry a vivid part of its former context with itself, it would enter a limbo between two worlds, decontextualized and lost until it finds its new meaning.
2. Plans of the ONE HALF HOUSE by John Hejduk.
Enacting the whole geometries for the robot, him, redrawing them, and composing the geometries as Hejduk has done in his design process and after that: composing the actual object with its translated version also in a half-half manner.
3. Re-creating architectural artifacts, including re-forming plans and section
Generated from Frank Gehry’s The Lewis Building project he deformed parts of a symmetric classical building into a formal object and then composed his design with some of the original features of the classic building.
As for the classical object of study, I chose Villa Rotonda for all of its mathematical perfection and symmetrical design.
Feeding the plan parts according to its design process into the Robot’s platform and recreating the plans.
4. The circular response of the robot to data, Combining the idea of curves, circles and grids
Inspired by Aldo Van Eyck who has experimented on this geometrical composition throughout his professional life.
Triggering the spots on a grid that are presented as columns, to make the robot follow through its circular movement, these sets of architectural objects were created:
