The first installation of the work created out of the TINT Arts Lab Residency will be in Paris, France at the TPTP Art Space in October 2010. Through our first Skype meeting, we discussed how we individually envision the process and product of the piece, and make sure we are all on the same page with the idea.

Ryan Boatright’s Error v.1, Brown Pear utilizes color measurements taken with a spectrophotometer on an actual object, which are then translated to a particular color space (sRGB). A picture of the same object is made, the color measurements are compared, and the quantitative information is gathered pertaining to the differences found in the RGB values. A problem with the implementation of this exact process exists. When attempting to use this process in a gallery space in real time, the color measurements on the individual subjects (art viewers), during the exhibition, will not be able to be made. Pre-determined measurements would be possible via color targets measured and then photographed with the same camera, with all ambient lighting conditions standardized before the exhibition and then repeated during it. We discussed how the colors measured through the live recording could, pixel by pixel, shift themselves to the color of an associated color patch (they would essentially be quantisized into a standard color from the target) and then the representational gap (that was pre-reocrded) could be projected or displayed on a LCD in real time. Depending on the error of the camera, and the colors existing on the viewers, the image would appear very faint, like it does in the final representation of Ryan’s Error video.

Jordan and Adam suggested an alternative to the process, that would involve the basic premise of this process, but shift it slightly to provide two different representations. The colors gathered through the live recording would, pixel by pixel, shift themselves to the color of an associated color patch on a target in the space. If there were 500 different color pixels in one frame of the feed, than these colors what be shifted to match a maximum number of, for example, 50 possibilities. This would then be displayed. The second representation, running concurrently, would depict, in black and white, the amount of error associated with the color of each pixel- the amount of shifting that was necessary, and that occurred in the first representation. Adam believes that he could produce a custom program that could output both representations twice per second (two frames per second). The group believes that the evidence of computer processing in the final representation would be a positive aesthetic, and compliment the visual/conceptual aspects of this piece.

A preliminary discussion then pursued about the first installment of the work in Paris.

Some pertinent questions:

• Would the 2 representations be projected, or displayed on two LCD panels?
• Since a color target will be included in the background of the live video feed, which one shall be used? Should a custom-made, wall size, target be made as a constant backdrop? If so, which colors should be chosen?
• Should the two representations be shown side by side? Back to back?
• Should the black and white projection be projected onto the viewers?themselves? …creating a luminous aesthetic and integrating the work back to the viewers? This seems possible, although challenging because more parameters would have to be accounted for. It could be interesting to project the piece back onto the source.

Included below is a sketch of the TPTP space:

The TPTP Art Space (Colour Data Processing Exhibition)

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