Waves of Code
After different new media art practices on lights, such as lighting installations, 3D projection mapping, and setting up the specific site, we found that people have become accustomed to absorbing the information in general from screens and lens projection in a projector. So this artwork, we would like to explore and show the reflexivity of the media in which we are engaged, then try to increase a deeper diverse understanding of the media we use from different perspectives.
Continuing our research on the nature of real-time rendering in the universe, we added no materials except light-emitting diodes and acrylic. Instead, by the language of Infographic, we are creating a natural space with industrial light where the essential majority turns from installation to the area, perception, and flow created by the simulated light.
In the virtual world, we turn the L- shaped space of the Cc Foundation & Art Centre into a square. Locate and record the physical data information throughout the day within its coordinates, such as wind speed, power and direction, and extracting the sunlight shining on the wave for 8 and 1/3 minutes. (The story from : The Sun is 93 million miles away, so sunlight takes 8 and 1/3 minutes to reach us.) When the ocean’s surface fluctuates with the wind, the random distribution of the sea surface slope is a Gaussian distribution, and its average slope is proportional to the wind speed. Instead of the drone view, we use the camera in the software—a photographic image of a flare reflecting direct sunlight from ocean waves. The spatial coordinates of the burst correspond to the slope of the sea surface, thereby obtaining the distribution of the wave slope and light. After that, we used AIGC to generate the visual system of sun glitter, then represented it on LED lights. In the middle, the sea level is reflected by a mirror wall, supplementing the space that does not exist in real space and forms an entire horizon in the programmed virtual reality site.
The sun changes in a second-base, lead a different view in every look-up. In Houdini, we created, extracted, layered, and output the light to two specifications of light in the lighting software, meanwhile, output to 221 light grid controllers with a total length of 730 meters. Through the 221 plexiglass with LED lights, refraction and transmission, we can find a different level presenting a peaceful but fully energetic space.
The seats nearby as an invitation aim to enhance the immersion, involve the visitor to be part of the artwork as an interviewee, and encourage the visitor to have a dialogue and imagination with the space. Simultaneously, in field theory, they influence each other in terms of the behaviour of others, so they’re experience changes every second of their behaviour also. The space becomes a port between the virtual and real worlds through different activities to constantly convey feedback information in various dimensions to extend possibilities.