PROJECT 2Bv1: PHYSICAL CONSTRUCT

These first two images are of the CAD drawing used to make the physical surface construct. These were generated with stills taken out of the movie scene. The magenta represents what was cut through, the green what was etched.

These are photos of the construct. The idea behind it is perceptions of a surface. There are two types of framing at work in the movie scene. Framing done with the ships, and framing done through the view screens on board the ships. Each face is meant to represent one of the two. The top is intentionally left open, an is meant to represent a world view where there is no framing. The bottom surface was the surface meant to be framed.

PROJECT 2Av2: ANIMATION

This analytical animation is much different from the previous version of the project. Rather than interpreting the movie and changing it into something different, this one has overlays over the original scene. The "white" is representative of framing objects, while the black shows objects. The reason the white is in quotes is because of the use of gifs. Since they are index colored based, if a frame did not have white in it, the lightest color was substituted, so the light colors in some frames was meant to be white. An improved version with white white is in the works. This is based on the first scene chosen. There is no sound. The overlays end about halfway through, when the camera changes become more important than what is actually portrayed.

PROJECT 2Av1: IMAGES

These are two stills of moments from the animations in the previous posts.


This image is from the first animation, and highlights the moment when the Reliant emerges into the view of the Enterprise, ending the period of "calm" that takes place in the first half of the animation.



This still is from the second animation, and is taken from the bridge of the Reliant as she pursues enterprise; this is the final moment of the animation, where the Enterprise is visible to the Reliant crew.

PROJECT 2Av1: ANIMATIONS

The scene I analyzed for these animations came from the ship battle at the end of Star Trek II: Wrath of Khan. Due to copyright stuff, I can't really post the scenes here. I chose these scenes for several reasons. There are two levels of framing in the scenes; a world view outside the ships, and a framed view through the view screen of the ships. The ships are moved around in ways that take advantage of an environment that has a form which is neither constant or specific. There is sectioning to a small degree in one scene where one ship is hidden away from the other until is "emerges" from a blind spot. Lastly, in both scenes, the camera changes start out slow, like a kind of calm before the storm, then change more rapidly when the two vessels encounter one another.

The first animations are from the scene that starts with the Enterprise unable to "see" the Reliant, even though she lies directly ahead.




This scene is from the perspective of the Enterprise's bridge. The "view screen" frames the view out into "space," as the Reliant emerges from a blind spot created by the environment the ships occupy.



This scene is from the perspective of the underside of Reliant. The engines and the saucer form a frame as the ship pursues the fleeing Enterprise.



This last animation is the complete version. The point to make about the combination is the camera changes. In the first 40 seconds, before the ships encounter one another, there are only 4 transitions, showing that while the viewer can see Reliant moving from one angle, the Enterprise crew cannot. After the encounter in the last 20 seconds, the camera changes twice as fast, attempting to bring forth the chaos that ensues as the Enterprise attempts to get away from the Reliant.

PROJECT 1Cv1

This set of animations is a first attempt at project 1C, which is about using these animations to show how these objects are a study of surface, and frames said surface study as a sequence of sections communicating a clear process and intention.

The first set of animations refer to the first form of the previous post.


This first animation skims the outside of the model, and portrays the object as moving in response to the observer, rather than the observer moving with the object.


This animation serves as a counterpoint to the first, having the observer follow the surface of the object.


This third animation attempts to follow the path of the one of the trace points originally used to the generate the form. Specifically, this focuses on the trace point representing the location of Yuval's head.

The next set of animations originate from the second model of the previous post, the one composed of the five ribbon forms.

The first six elements follow six of the trace points used to generate the forms of the model.

The first point here is the navel. As the navel is often referred to as the center point of the human body, this animation is mean to act as he patch of the core of the five forms.


This animation follows the path of the right hand.

This animation follows the path of the right foot.

This animation follows the path of the left foot.

This animation follows the path of the left hand.

This animation follows the path of Yuval's head.

This animation is a composite showing the previous animations in sequence. The order is not arbitrary; it begins at the core, and then goes around the perimeter of the form going clockwise from the right hand and concluding at the head.

This last animation is another composite, and serves as a contrast to the previous. Rather than showing each sequence individually, this animation shows all the paths simultaneously, arranged in a manner imitating the locations of each point within the form.