Towards a digitally conceived physical performance object

Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2007.Includes bibliographical references (p. 122-126).In the performing arts, the relationship that is established between what is seen and what is heard must be experienced to fully appreciate and understand the aesthetics of performance. Actual physical objects such as musical instruments, lights, elements of the set, props, and people provide the visual associations and a tangible reality which can enhance the musical elements in a performance. This thesis proposes that new and artistic physical objects can, in themselves, be designed to perform. It introduces the Chandelier, a kinetic sculpture, a central set piece for a new opera, a new kind of musical instrument, and an object that performs. The piece moves and changes shape through mechanical action and the designed interplay between surfaces and light. It is intended to be interacted with by musicians and players of the opera. This thesis also explores the design process and evolution of the Chandelier with a primary objective of realizing a constructible, physical performance object through an authentic and abstruse digital conception. It is a conception not of a static nature, but incorporates a dynamic sense of changeable form through coordinated elements of light, mechanics, and sculpture.Steven L. Pliam.S.M

Computational Geometry for Sculpture

This presentation illustrates examples of my geometric sculpture and outlines certain design techniques. I apply methods from the field of computational geometry to the creation of forms which are aesthetic objects. I am a full-time sculptor creating works that manifest what I call the geometric aesthetic. This aesthetic celebrates the beauty of geometry and spatial rationality. I seek to produce novel forms which engage the viewer visually and have an underlying coherence based on symmetric three-dimensional mathematical structures. Internal relationships between the components of a sculpture can provide a depth to the work, leading the viewer to return again and again, each time seeing deeper into the piece. In addition, the viewer is led to ask questions of a mathematical nature about the patterns he or she finds. In the design of such sculpture, there are many issues of calculation to be addressed. I work constructively, assembling parts that are shapes. Exact lengths and angles must be worked out for these components to fit together appropriately. But there are also many free parameters that I may vary in seeking an ideal design. Physical models are sometimes sufficient, but often I write software to allow me to explore the design space of a sculpture. This makes me a user of computational geometry methods, applying appropriate techniques for each problem. However, unlike most computational geometers, my concerns are for an expedient result which I find aesthetically valid, rather than efficient general purpose algorithms. Iterative numerical methods are often satisfactory. Figures 1-11 illustrate a variety of recent works and references [1]-[13] provide some further details