Progressive fabrication process involving structural layering of graphite-based line work and pigmented wash applications produces a vertically oriented composition where multiple circular apertures occupy a frontal cranial region arranged in a radial configuration. Surrounding periphery displays concentric contouring and overlapping volumetric ridges establishing a bulbous dome-like enclosure. Subjacent to the primary ocular cluster extends a narrowing columnar segment functioning as a transitional junction into an extensive network of intertwined conduits resembling vascular tubing or fibrous root formations. These conduits spread laterally into branching subdivisions, creating a symmetrical bilateral dispersion across the lower register of the sheet. Fine graphite strokes define intricate surface modulation, articulating differences between convex elevations and recessed cavities, while tonal density calibrates depth perception within shaded depressions. Pigmented areas concentrated near the midsection utilize ochre-brown washes, contrasting against monochromatic graphite zones to introduce chromatic segmentation that delineates internal organ-like cavities. Uppermost curvature illustrates a protective shell-like cap, enclosing the orbital cluster, with distinct segmental divisions suggesting reinforced plating or chitinous casing. The lower expanse incorporates layered striations mapped into repetitive folds, giving the impression of continuous extrusion of semi-organic matter transitioning into vegetative or mycelial morphology. Boundary contours have been manually cut along the drawn perimeter, isolating the subject from the supporting sheet, leaving negative margins free of extraneous material. Peripheral surfaces of the substrate reveal clean planar texture of unpigmented cellulose. Dimensional assessment indicates vertical orientation exceeding horizontal span, generating a portrait-style presentation. The integration of rounded ocular cavities with radial arrangement suggests optical array engineering, while the basal entanglement emphasizes organic proliferation through ramified extensions. Line weights fluctuate between delicate tracings and reinforced outlines, indicating intentional hierarchies of structural importance. Highlights left as untreated paper zones provide volumetric articulation through contrast rather than additive medium. The hand-held positioning of the support introduces scale referencing relative to human grip dimensions, establishing proportional context. Incised signature element appears adjacent to the inferior edge, confirming chronological designation. Material execution combines manual drafting techniques with aqueous application, producing a hybrid between technical anatomical rendering and speculative mechanical-biological synthesis.Progressive fabrication process involving structural layering of graphite-based line work and pigmented wash applications produces a vertically oriented composition where multiple circular apertures occupy a frontal cranial region arranged in a radial configuration. Surrounding periphery displays concentric contouring and overlapping volumetric ridges establishing a bulbous dome-like enclosure. Subjacent to the primary ocular cluster extends a narrowing columnar segment functioning as a transitional junction into an extensive network of intertwined conduits resembling vascular tubing or fibrous root formations. These conduits spread laterally into branching subdivisions, creating a symmetrical bilateral dispersion across the lower register of the sheet. Fine graphite strokes define intricate surface modulation, articulating differences between convex elevations and recessed cavities, while tonal density calibrates depth perception within shaded depressions. Pigmented areas concentrated near the midsection utilize ochre-brown washes, contrasting against monochromatic graphite zones to introduce chromatic segmentation that delineates internal organ-like cavities. Uppermost curvature illustrates a protective shell-like cap, enclosing the orbital cluster, with distinct segmental divisions suggesting reinforced plating or chitinous casing. The lower expanse incorporates layered striations mapped into repetitive folds, giving the impression of continuous extrusion of semi-organic matter transitioning into vegetative or mycelial morphology. Boundary contours have been manually cut along the drawn perimeter, isolating the subject from the supporting sheet, leaving negative margins free of extraneous material. Peripheral surfaces of the substrate reveal clean planar texture of unpigmented cellulose. Dimensional assessment indicates vertical orientation exceeding horizontal span, generating a portrait-style presentation. The integration of rounded ocular cavities with radial arrangement suggests optical array engineering, while the basal entanglement emphasizes organic proliferation through ramified extensions. Line weights fluctuate between delicate tracings and reinforced outlines, indicating intentional hierarchies of structural importance. Highlights left as untreated paper zones provide volumetric articulation through contrast rather than additive medium. The hand-held positioning of the support introduces scale referencing relative to human grip dimensions, establishing proportional context. Incised signature element appears adjacent to the inferior edge, confirming chronological designation. Material execution combines manual drafting techniques with aqueous application, producing a hybrid between technical anatomical rendering and speculative mechanical-biological synthesis.
Progressive fabrication process involving structural upholstery textile configured into a cylindrical elongated object with surface coloration replicating the crust patterning of a baked loaf. The material composition appears to consist of synthetic fabric containing printed gradients that simulate organic browning, including striations approximating fermentation cracks along a tapered outline. The object has volumetric stuffing that produces a consistent three-dimensional bulging profile with compressibility allowing deformation under applied arm pressure. A person positioned centrally in the frame applies bilateral limb enclosure around the artifact, indicating ergonomic adaptability of the cushion’s form to human torso curvature. The subject wears a protective respiratory covering with printed motifs and translucent corrective lenses supported by ear-mounted frames. Garment configuration consists of dark-toned short-sleeved upper clothing and a lower segment constructed of lightweight fabric reaching above the knee. Background architecture comprises a vertical fenestration unit with grid-like muntins creating subdivided panes, through which exterior light diffuses into the room. Beneath the window is a heating radiator featuring metallic fins aligned horizontally, connected to a wall-mounted housing panel. Adjacent wall planes exhibit pale surface coating with rectilinear intersections and framing around a secondary doorway positioned at right. Floor zone contains exposed concrete with adhesive tape marking borders, suggesting ongoing modification or incomplete finishing state. Illumination derives from daylight entering the window aperture, producing shadow gradients across interior surfaces, while reflective glare is observed on the transparent lenses worn by the subject. Spatial orientation situates the person perpendicular to the window axis, with head turned slightly toward the cushion, eyes obscured by optical glare. The bread-replica object extends diagonally across the vertical axis of the body, from lower hip region to upper cranial level, with length proportion exceeding average torso height. Textile rendering demonstrates gradient coloration transitioning from light beige at extremities to deep brown at midsection, corresponding with visual characteristics of a traditionally baked loaf subjected to variable oven heat exposure. The construction of the cushion involves sewing seams along lateral boundaries, maintaining symmetrical outline while concealing stitching beneath patterned outer layers. Object density appears optimized for tactile compression without collapse, suggesting polyfill or foam interior. Contact surfaces between arms and cushion display minor indentation, indicating pressure absorption capability. Positioning of the cushion relative to surrounding architectural elements shows approximate vertical height alignment with window sill, providing comparative scale reference. Environmental conditions within the space appear controlled, with closed window maintaining indoor climate stability. The juxtaposition of oversized bread form within architectural context emphasizes contrast between utilitarian interior and symbolic representation of food as an enlarged textile artifact.
Image composed of hybrid surrealist figures positioned against a desaturated grey-toned backdrop, presenting a fusion of anthropomorphic bread heads, distorted anatomical structures, and draped textile-like forms. At the left of the composition, a large torso-like shape emerges, wrapped in folds of white-grey fabric resembling both cloth and fleshy drapery. Its rounded surface is inscribed with simplified facial markers: two circular black eyes and a downward curving line forming a nose and mouth hybrid. These schematic features produce cartoon-like absurdity on a body-like volume, combining playful reduction with grotesque placement. The surface retains shading that emphasizes curvature, transforming drapery into anthropomorphic form.Above this volume, a smaller head rises at diagonal angle, its surface reddish-brown and bread-like, cracked and crusted as though baked. The head is turned in profile, with rounded protrusions resembling ears or baked dough nodules extending laterally. No detailed facial features are evident; instead, its surface is textured with rough gradients, suggesting erosion, abrasion, or material collapse. Its placement atop the larger draped form suggests body and head relationship, yet its scale distortion destabilizes anatomical clarity.
At the right edge of the composition, isolated within its own bounded space, is a smaller rounded bread-head figure, rendered in orange-brown coloration with surface gloss, as if laminated or digital in finish. This smaller figure presents clearer schematic features: circular eyes, simplified line nose, and doughlike protrusions as ears. Its placement, slightly removed and rotated, creates dialogue with the larger left composition, as though echo or mirror version of anthropomorphic form.
The background is constructed from tonal grey gradients that shift between darker shadow zones and lighter washes, giving impression of shallow space without concrete setting. Angular planes visible near the top right suggest wall or partition, situating the figures in ambiguous corner-like environment. The lack of contextual markers reinforces surreal isolation, emphasizing figures as primary content.
Materially, the rendering mixes painterly strokes, shading, and smudging techniques with digital gloss overlays. The left drapery-body form resembles a chalk or graphite drawing, while the smaller right bread figure carries smooth highlights more consistent with vector illustration or polished 3D rendering. This collision of visual languages reinforces hybridity of the work, situating it between traditional drawing and digital compositing.
Symbolically, the scene evokes tension between absurd caricature and uncanny distortion. Bread as anthropomorphic head reappears as recurring motif, here fractured across different scales and mediums: one eroded and profile-turned, one inscribed on cloth-draped torso, and one glossy and cartoon-simplified. The central drapery volume doubles as body and as blank projection field, its fabric folds hosting schematic face that appears childlike or mocking. The profile bread head adds grotesque gravity, its cracked baked texture contrasting with the soft illustrative simplicity of its smaller counterpart.
Interpretation may extend into commentary on identity fragmentation, where face is replicated across materials and scales, each iteration distorting recognition further. The absence of realistic physiognomy reinforces collapse of individuality into absurd parody. Bread as sustenance merges with fabric as body covering, erasing boundaries between consumable, wearable, and recognizable.
Photographically, composition is captured with even tonal lighting, producing smooth gradations across surfaces. Contrast is moderate, ensuring detail remains visible in fabric folds and bread crust textures. Spatial layering is shallow, focusing attention on interaction between distorted forms rather than contextual environment.
At extended descriptive length, this image functions as hybrid allegorical tableau, where bread heads destabilize identity, fabric folds blur organic with inorganic, and multiple visual languages collide. It synthesizes caricature, surrealist distortion, and digital gloss into a fragmented study of anthropomorphized absurdity, highlighting instability of human recognition when face is displaced onto edible, textile, or schematic surfaces.
Structure translucide tridimensionnelle représentant une double hélice en matériau verrier, formée de deux rubans tubulaires semi-transparents disposés en spirale ascendante. L’intérieur de l’hélice contient un réseau complexe de nœuds et de liaisons organisés selon une grille moléculaire évoquant des chaînes nucléotidiques. Les segments internes, reliés par des tiges fines, reproduisent une configuration symétrique rappelant une structure d’ADN stylisée. Les surfaces externes montrent des variations chromatiques allant du brun oxydé au bleu-vert irisé, créant un effet de profondeur et de matière organo-minérale. L’ensemble est posé sur une base neutre, éclairé par un faisceau directionnel latéral qui accentue la translucidité et les reflets prismatiques. L’objet combine vocabulaire scientifique, esthétique sculpturale et matérialité expérimentale.三维半透明结构呈现双螺旋造型，由两条玻璃质感的空心带状体组成，以螺旋方式向上延伸。内部包含复杂的节点与连接杆，形成网格状分子结构，类似核苷酸链。内部细杆将对称单元相连，构成类似DNA的程式化图形。外层表面展现棕色氧化与蓝绿色虹彩的渐变色，营造出有机与矿物之间的深度感。整体放置于中性基座上，单侧定向光源强调其透光性与棱镜反射效果。此造型融合科学意象、雕塑美学与实验材质特征。
Three-dimensional translucent formation depicts a double helix rendered in glass-like material, composed of two hollow tubular ribbons arranged in an upward spiral. Interior network contains interconnected nodes and struts forming a lattice-like molecular pattern evocative of nucleotide chains. Fine rods link symmetrical segments, approximating a stylized DNA representation. Outer surfaces display chromatic gradients ranging from oxidized brown to iridescent blue-green, producing mineral-organic depth effects. Object rests on neutral base, illuminated by lateral directional light emphasizing translucency and prismatic highlights. Composition merges scientific visualization, sculptural aesthetics, and experimental materiality.
Триизмерна прозрачна форма изобразява двойна спирала, изградена от стъклоподобен материал, съставена от две кухи лентовидни тръби, които се усукват нагоре. Вътрешността съдържа мрежа от възли и връзки, образуваща молекулярна решетка, напомняща на верига от нуклеотиди. Тънки свързващи пръчки поддържат симетрична конфигурация, стилизирана като ДНК структура. Външните повърхности показват цветови градиенти от оксидиран кафяв до синьо-зелен иридесцентен оттенък. Обектът е поставен върху неутрална основа и осветен странично, подчертавайки прозрачността и призмовите отражения. Формата обединява научна визуализация, скулптурна естетика и експериментална материалност.
Representación tridimensional translúcida en forma de doble hélice realizada con material vítreo, compuesta por dos cintas tubulares huecas dispuestas en espiral ascendente. El interior contiene una red de nodos interconectados y varillas finas que forman un patrón molecular reticulado, evocando cadenas de nucleótidos. Elementos simétricos unidos por varillas recuerdan una representación estilizada de ADN. Las superficies exteriores presentan gradientes cromáticos que van del marrón oxidado al verde azulado iridiscente, generando un efecto mineral-orgánico de profundidad. La pieza reposa sobre base neutra, iluminada lateralmente para resaltar transparencia y reflejos prismáticos. La composición integra visualización científica, estética escultórica y materialidad experimental.
Juxtaposed composition presenting two distinct representations of a head-like structure, positioned side by side within a divided frame. On the left, a robotic cranial mechanism is displayed against a black background, consisting of an off-white polymer shell partially enclosing an underlying metallic framework. The cranial casing includes apertures for eyes, nasal cavity, and jawline, cut into simplified anatomical positions, while surrounding surfaces show fastening points, drilled holes, and attachment slots indicating modular assembly. Beneath the polymer exterior, metallic rods, actuators, wiring, and support brackets are visible, arranged to simulate musculature and mechanical articulation. The jaw is partially open, revealing linkages and servo-driven components, while the base of the unit connects to a stabilizing support system featuring a rectangular horizontal bar with twin optical sensors or camera modules affixed at equal distance from the center. Below this, additional mechanical struts extend downward, terminating in a mounting bracket. Illumination is directional, producing reflective highlights on metallic surfaces while leaving recessed cavities in shadow, emphasizing the hybrid anatomical and engineered qualities of the object. On the right, a contrasting minimal illustration occupies a white field, reducing the head form to an elongated oval shape drawn with thin ink or digital line. Two small circles near the center function as simplified eyes, aligned on a vertical line that extends upward and terminates in a looped curve resembling a rudimentary nose bridge or cranial marker. The overall outline of the head is irregular, with slightly uneven edges and a faint tonal wash across the interior, providing textural variation without volumetric modeling. Minimal detail conveys anthropomorphic suggestion without anatomical specificity. Together, the pairing emphasizes contrast between mechanical complexity and abstract reduction, presenting a spectrum between engineered realism and diagrammatic minimalism.
Black-and-white graphic featuring bold italicized uppercase typography reading “TAKE THE PATH OF YEAST RESISTANCE.” The text is slightly slanted forward, emphasizing a sense of momentum and motion. Beneath the slogan, a long thick diagonal swoosh element extends left to right, forming an underline that intersects with the left margin of the letters. The swoosh tapers toward the left edge and broadens gradually toward the right, replicating the form of a stylized checkmark. The overall composition mimics the layout conventions of commercial branding, with the slogan functioning as a parody through word substitution. The phrase combines baking terminology, specifically “yeast,” with the familiar idiom “path of least resistance,” creating a visual pun within the design. The high-contrast presentation, limited to solid black on a white background, ensures clarity and immediate legibility, while the integration of text and geometric swoosh emphasizes brand-like recognition cues. The arrangement occupies a narrow horizontal band, producing a compact banner-style format.
Examining the process of TURBINE leads makes the dichotomy between real and virtual pressing. Drawing becomes an antidote to photography, as it extrudes the phenomena of synthesis from within onto the frame while remaining free from the linear focal point. For SILVERMAN, Photography, with respect to an emulsion of sensory input, is the world telling us that IT exists independently. This implies that these tools validate objectively a vision outside the loophole of self-reference as a third party, the machine, has produced an impression understood as it's own vision, secondary to human vision. Since drawing TURBINE floats in the realm of mutual agreements between my animation and readable schemas, I map a network of objectively validatable anchors onto the wrapping. This insurance policy that things exist outside of me, measurable by TURBINE's communicability is drastically similar to photography, though the emulsion captures an internal process instead of the stimuli of the natural environment. That captured internal wilderness then is unzipped on the viewer, by their processing of schema, of space. The viewer's vision is highlighted from the contrast of this second vision of photography, as imagination becomes the alternative of two in the face of reality, a constructive vision from the schema. Then the concept of analogy relates to the branching out of imagination into a sort of schema between schemas, bridging images by their meaning instead of their initial visual nature. It's harder to show this in the actual shots of the film, so I filmed some of the processes of drawing to demonstrate how the images are in fact writings of objective hieroglyphics that build the shape, the story. I'm kept in check, just like the photographer, to an exterior reality, although my case involves the audience's perception while the photographer deals with the real as raw material. Coming even closer to animation, SILVERMAN also looks at TIME as the identification of empirical stimuli as it's information from my senses about outside reality. TIME projects its origins and potential future, similar to a line of thought onto virtual space in animation. The viewer, as a pattern-recognizing creature, situates story agents implement from imagination to make meaning and generate any knowledge; TURBINE's characters and inhabited spaces are hence subjugated to my commodification of its functions in the documented process above. I connect my vision to SUMMER's ideas as I am leveling the presence of virtual creatures and places on flat virtualization to a common subjective hieroglyph to communicate it to you so that you think of the TURBINE story on your own terms, keeping me in check like the photographer answers to light.Examining the 3 experimental drawings we made in class is essential in angling the performative line of TURBINE. The second exercise explicitly concerned animation, but it's the internal process, the performance of SPACETIME VISION which calcified into drawing 1 and 3 that are most useful.
A gratifying experiment was for my center of held sight to become the center of the screen of my WACOM tablet as I drew with a digital pen. Holding frontally still, I started synthesizing my peripheral vision by intuition, or as ARENDT would say, IMAGINATION; as I held my look forward, the chain of speculations I made of my surroundings soon started bleeding the boundaries between things, meshing my flesh bound container to the imagined wrapping of the environment which makes up my world. The fringes’ level of conciseness devolved as an almost medical realm evolved; The ligaments, even a sort of intestinal modular shape express the back of my head, between and beneath my eardrums, interlaced with architecture and objects of my studio. This was an expression of the bridging of stimuli into schema expressed in previous modules. In TURBINE, this strategic confusion of container and wrapping allows for frames to mutate in a narrative constant redefinition of anatomy in an almost identical approach, showing the performance of synthesis at work. The characters and objects can only be seen once meshed in an almost sexual, genetic synthesis of anatomies.
A combination of sensorial input (1) from the outskirts of my eyesight, nerves from the hair, stomach, but also (2) a sort of new blockchain of hieroglyphics (in the sense of zipped-format representation of situated feeling) from past experience/ memory, and imagination resulting from projection derived from memory. This memory became the anchors that situated a figure somewhat impermeable from the variableness of the outskirts of definition.
In contrast to the first drawing, the third was fully speculative as it was an exercise on depicting TIME. It falls even more explicitly in line with the performative nature of sequential drawing in TURBINE; With an idea of gravity pulling time in a sort of "melting" of otherwise stagnant shapes, the time worms defined in module 5 are echoed. In the realm of the schema, so to speak, I expressed shapes in their overarching potentials, in slices/ animation frames on potential functions and positions in time, such as the hand with various fingers as I drew the space. In Animation, this idea of potential is often referred to as a LIFELINE. TURBINE hence PERFORMS, in its process of being drawn, a curation of that spectrum of slicing SPACETIME.
Drawing asks questions on SPACETIME and VISION. When contemplating myself in the act of creating TURBINE, I should be able to focus on what it is that I'm actually seeing and doing in these terms. It also becomes apparent that there is no border between passive reception and creation, as the vision itself is a creative act in the patchwork of meaning from outside stimuli. What is strange is that with animation, this process is two-folded. An inverted metabolism of SCHEMA is produced from the mind onto the page and then reversed from the frame into the patchwork of the audience. VISION in animation hence becomes an exercise of empathy and caring, as we build models from collectively acceptable prototypes. TURBINE an experimental drawing, digital, analog, hand-made, and performed product of vision, becomes the documentation of that two-way circuit. Vision is not insular, it is also communication when logged into the crystallization apparatus of the animation process. Because TURBINE explored how a line can be used to investigate space but depends on my understanding of the agreed schema and also keeps itself in check with measured results qualified by the efficiency of communication, it becomes similar to the camera's role. The striking difference is that it still keeps us in check to empirical reality, but doesn't photograph the outside world; rather it empirically weights internal processes, an inside world. I used TURBINE to find out something about how I perform representations of space; Its illustrative or communicative function as a tool are secondary applications; the act of building a drawn virtual representation of space is an exposure of my internal processes. However, I concluded that it is a two-way schematic language, social at its core for the described dichotomies and relationships above.
TURBINE is a snapshot of the underlying performance of space-time awareness.
This leads to my proposed SYNTHESIS that my animated film TURBINE is a performative act, not an illustrative one. The happy accident that confused the process as anything but performative is that with this type of performative drawing, internal processes of vision and spatial projection are crystallized in the drawn frames as internal snapshots, documents of the animator’s cognition. The illustrated virtual space in the cartoon is an accident, or the sand on the floor in a dance piece rather than the main event, and can be abstracted as the actual drawing in the mental reasoning of the animator, crystallized in the animation. My film TURBINE extends this idea that drawing is an investigation into the idea of space, into ideas of space via the performance of the line.
Production Co: National Film Board of Canada (NFB). Directed by Alex Boya. Writing Credits: Alex Boya. Produced by Jelena Popovic, Producer. Michael Fukushima, executive producer. Music by Judith Gruber-Stitzer. Film Editing by Theodore Ushev, editing consultant. Sound Department: Olivier Calvert, sound designer. Technical Specs: Runtime: 8 min Color: Black and White. Details Official Sites: National Film Board of Canada (CA). Country: Canada. Release Date: 27 September 2018 (Canada). Storyline Plot Summary: A pilot crash-lands into his home. His face has been replaced by a turbine and he's fallen in love with a ceiling fan. To save their marriage, his wife must take drastic action. One-word title Genres: Animation Short
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