Layer by Layer, A Study of Scale

In a single split-moment, we experience the world in multiple layers, in different scales – not as an instant snapshot with a foreground and a background, but more as a long exposure photograph with ambiguous artefacts.

As I step out of my apartment, I experience my thoughts, one stride forward, my pace as I cross the street, the sudden sprint when the red light turns green, the avoidance of a stranger’s eye contact, or the gaze, the leafs that fall, noticing the sun rising later each day, noticing the moon becoming fuller, and vanishing, noticing the seasons change, noticing the shape of my face changing, my hairline, my relationships.

This is time and space. Fine-grained and sparse.

Layer by Layer is an experimental research in the form of choreography, composition and online installation to attempt to peel apart our physical experiences layer by layer.

Research themes:

Locating yourself – How you locate yourself reflects your relation to everything else. Your location is a moving point in space, not a spectrum, a multi-dimensional space that only you define and know.

  • locate yourself in space – where are you situated, which part of the chair, which part of the room, which part of the city, which planet 
  • locate yourself in time – where are you in time, can you move forward, which way is forward, can time stretch, can time contract, can you resist
  • locate yourself in respect to others – how far are you in the physical space, how far are you in the mental space, what is the distant determined by
  • your location is a moving point in space, not a spectrum, a multi-dimensional space that only you define and know

A minute is also a year – What happens in a minute also happens in a year, on a smaller scale. Now is not only the current moment but is part of your past and part of your future depending on where you’re positioned in time.

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Study of scale

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Moments versus time –Measured time is an abstraction of a natural cycle, can you sense time without a clock or a calendar?

What can we do to peel apart our physical experiences layer by layer?

Light Calendar Update



  • using a tripod to place camera next to the window
  • using thick black cloth to prevent reflections from the window


  • the cloth keeps falling
  • the camera is silver and therefore reflected on screen
  • suction mount


  • overheating

Light / Shadow Calendar

Illumination Festival – October 22-24
Celebrating the opening of ‘Under the ‘K’ Bridge Park’

Idea: becoming attuned to light changes

  • We experience light in the moment. Each moment light influences us: brightness, shadows, color temperature, texture. 
  • Do we feel like going to the park or being indoors? Walking on this side of the road or the other side? Adjust our blinds, turn on LED light, turn on incandescent light, light a candle? 
  • All of these things change our environment and our behavior in each moment
  • Another thing that does it our schedule: time, calendar. However, that is fixed.
  • There is a fundamental difference between these influences – fixed and varying
  • One solution we’ve come to is ‘Daylight Savings’.
  • But that’s once a year even though this happens continually everyday. 
  • How do we become more attuned to the light changes? So that we’re able to adjust / appreciate it a little bit more

Installation: interactive time-lapse calendar

30 days by time —> audience use slide to change time of day

30 days by brightness —> audience use slide to change level of brightness

Projector installation with a tablet on podium for control
Projection: calendar view of each day
Tablet: control interface, choose to align videos by ‘time’ or by ‘brightness value’


  • Possible to install a camera under the bridge soonest?
  • ITP floor
    • How to set up digital ocean to save all images?
    • Time to use better camera?
    • Would fixed controls work? or auto?
    • Technically doesn’t have to be live… unless have another control being ‘current time’?
    • What’s the best way to do this?

Recreating the Past

Final thoughts:

  • impossible to find a visual artist i like (it’s mostly performance artists / choreographers / composers that i can think of – see below)
  • a new program for graphic design – tear up the syllabus and write your own RTP?
  • so i did a little reflection
  • main thing – the idea of “form driven content” // get to know your materials // why do it

My own takeouts / thoughts from each class:

pattern (vera monar)

  • hand computation vs computer
  • plotter aesthetics
  • how to use eyes better and not be restricted by default parameters and linear change

geometry (john and james whitney)

  • threshold of perception*
  • how to derive feelings from geometry
  • sine wave as change engine

typography (muriel cooper)

pixels (ken knowlton)

  • pixel kernels (for blurring and sharpening) / dilation, erosion
  • dithering
    Screen Shot 2563-07-22 at 23.26.36.png
  • image making technology*

image (jason salavon)

  • videos / series of images / sorting images
  • images as information* (titanic average frame color)
  • averaging / mod

body (myron krueger)

  • virtual body, reduced body
  • what interaction does digital bodies allow?
  • manipulation of time (delay) / space (scale)



Final reading:

This is how one pictures the angel of history. His face is turned towards the past. Where we perceive a chain of events, he sees one single catastrophe which keeps piling wreckage and hurls it in front of his feet. The angel would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing in from Paradise; it has got caught in his wings with such a violence that the angel can no longer close them. The storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. This storm is what we call progress.

—Walter Benjamin on Paul Klee’s Angelus Novus from Theses on the Philosophy of History, 1940

“What new cultures are emerging through the use of these media? What does it mean to be “socially” distant? And in a socially distant society, where does the burden of social responsibility fall and fail? How will media technology, and/or the related arts, change as a result of this halt?”

Implementation from class:

Artists I’d like to study:

Pending relating to class:

  • learn about jpeg*
  • windows of new york – generative building composition
  • screen print layers (how to separate layer?)

More from class:

*important points


If I must choose: Anne Teresa De Keersmaeker


Structure and choreography



Glitch / Deformation (Rosa Menkman / Steina and Woody Vasulka)

An Informal Catalogue of Slit-Scan Video Artworks and Research. Compiled by Golan Levin.

3D timelapse slitscan

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selected sentences from reading –

“Beneath our eyes there is being solved the most complex problem of culture: utilitarian form becomes pure creative form.”

A glitch is a mess that is a moment, a possibility to glance at software’s inner structure, whether it is a mechanism of data compression or HTML code.

A glitch is stunning. It appears as a temporary replacement of some boring conventional surface; as a crazy and dangerous momentum (Will the computer come back to “normal”? Will data be lost?) that breaks the expected flow.

more reading – Rosa Menkman ‘A Vernacular of file formats’:

lines (try to work with web GL) :

Screen Shot 2563-07-16 at 11.18.03

delay (save frames) :

Myron Krueger

Reading:  dinner with myron


The point is…

Screen Shot 2020-07-09 at 12.10.22 PM

I got as far as detecting contours but wanted to do live interaction (between two people, using glitch).

My rendition (video by Pichet Klunchun):
At first wanted to do posenet but didn’t work.

Thai dance = high art // what if pop?

(how to make the colors pop?)

The important part is… getting a clear background

Screen Shot 2020-07-09 at 12.09.44 PM

code examples:

video source:

Jason Salavon

Created using frames from videos created using GANS. Original video with real humans×1080/

Unable to average the frames, I ended up drawing the frames on top of each other with very high transparency. Mathematically this should yield a similar result? If transparency level == number of frames.

I’ve worked with a similar technique in the past trying to replicate a pinhole camera image i.e. creating a digital pinhole (long exposure) image with a video.

There are digital artefacts that end up looking like paper texture in what is supposedly empty spaces (the background).

snap webcam every time button is pressed, then average:
snap every 60 frames from video,  then average:

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