Assignment 3 - Kazbah Projection
For this assignment, we were tasked with creating an audio visual experience in the form of a mapped projection for the Burning Man Festival’s Kazbah tower. We decided to develop a concept surrounding that of polarities in weather and climate, more specifically, fire and ice. This concept of ‘fire and ice’ reflects the many different weather phases and how they change and interrelate with one another. We wanted to visually explore various climates in our work to emphasise a passage of time through the seamless transitioning between these different weather extremes. I worked with Melba and Nina for this project and we all designated various roles throughout the creation process. While Nina and Melba were more responsible for the planning and designing phase of the process, my role was mainly implementation and coding. Having a sound knowledge of coding concepts, I was able to incorporate various animations using Processing to vividly represent our concept as effectively as possible.
One of my implementation contributions was creating the hourglass to be projected within the Kazbah. This required the use of classes to create individual sand particles and have them fall down to the bottom of the Kazbah at different velocities and positions, simulating that of a realistic sand pouring motion. I utilised the incrementing of variables to achieve this as well as with animating the pile of sand that builds up in the hourglass. My idea with this was to tie in weather (dust storms and desert climate) with the concept of time and the proverbial ‘clock’. By having an animated sand hourglass, it reflects that of Burning Man’s environment but also symbolises the passage of time and how important that time is to us. Another sketch that I developed was a circular phyllotaxis pattern that spreads outwards over time. I was drawn to the aesthetic of this through a video in which Daniel Shiffman broke it down, explaining it mathematically and through code. The phyllotaxis pattern is one that is found commonly in nature, e.g. sunflowers, and I thought implementing it into our design would fit into the natural aspect of our concept. Although it doesn’t specifically represent a weather system, it’s circular spreading nature does simulate that of a cyclone which is consistent with the concept and rhythm of our animation style. Developing this pattern required the use of trigonometric concepts which was interesting to utilise and play with, seeing how messing with the different variables changed the nature of the pattern.
Along with developing some of the animations, I was also responsible for formatting those animations to the Kazbah shape as well as compiling them together in a cohesive flowing visual, reflecting the change in seasons and weather over time. I used gradient techniques and variables to create a transition between some of the sketches. This involved setting the colour of the Kazbah (in RGB format) to three variables, and using if statements, incrementing those variables until they matched the colour of the next sketch. I incremented the variables by 0.5 to make the colour transition more gradual.
For the audio component of the work, I created reverb-laden soundscapes using my guitar, amp and pedals. I aimed to create something more melancholic sounding to reflect the contemplative tone of time passing. The ambient style of the music also brings an effective sense of texture to the experience that would otherwise be unachievable with just the visual component alone.
I believe our work follows the guidelines of good audio visual design as it takes both the concept and the implementation and combines them in a way that is both cohesive and aesthetically pleasing. Our design works both as a deconstruction of time and change as well as just simply providing a powerful audio visual spectacle. Our work takes great inspiration from many projection mapping projects shown at events such as Vivid Sydney which similarly have an overarching concept designed to be as effective an experience as possible. Our work differs in that it is being supplanted on an unusually tall and thin structure which has our sketches stand out in a media field where visuals are typically projected on television screen-like formats.
Throughout the development of our design, we encountered more than a few issues that got in the way of our progress. Because our work consists of multiple different sketches, a problem that we found was trying to combine all of our sketches into one Processing file that flowed from one to another and looped repeatedly. The complexity in trying to achieve this was too much for us to handle considering none of us are really ‘skilled’ programmers. Instead, I used a video capture library within Processing to record each sketch and combine them together in Premiere Pro. Although each sketch runs well on it’s own using Processing, the feasibility of combining them altogether in one Processing file was far beyond our expectations. Another issue we had was with developing the dust storm effect being that it was difficult for us to visually represent a realistic looking dust storm satisfactorily. We tried experimenting with flowfields to create a whirlwind effect but it ended up being too complicated and arduous for the program to run so we rejected it and instead went with the more achievable implementation of the phyllotaxis pattern. Despite much of our issues being rooted in the complications of programming, I believe we developed an overall effective work that is both conceptually strong and visually engaging.



















