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It is wonderful seeing people's reactions upon telling them what I am working on at university. I am also really beginning to enjoy the atmosphere in the BCT labs, with everyone milling about at work on something or another as our shows begin to take form. A small crew of us from my group sat typety-typing away programming after sitting and sussing out our choreography. Most of our programming is in a draft state which we can refine once we can rehearse in the space to sync up the robots. It feels good to be able to have something physical to show for a day of work. 
Speaking of atmosphere, despite a few hiccups in terms of logistics, technology and fire alarms, I found relevance in our lecture on Monday to our studio project where Charles spoke to us about his backgound in art, architecture into the creative technologies. When he spoke about architecture, he spoke about creating an atmosphere within a space which essentially we have to do when creating the set for our robo-dance. Our set aims to enhance and help convey the messages, ideas and themes behind our dance sequence and the musical. Upon planning of our set, we discussed the painting of the walls red in terms of symbolism; hate, anger, passion, love, suffering and blood, all prominent themes in West Side Story, all interrelated. The set is in very early stages of construction as of this moment.
We decided to stick to this idea of symbolism when planning how to embellish our basic structures of robots which we currently have. We needed some way to identify key traits of each character that wasn't too complex so as to distract from the dance but prominent enough to clearly distinguish the characteristics, while also complimenting the existing lego construct. We discussed ideas of a shell - and a few of us when to check out the nuts and bolts of the laser cutter and 3D printer - but in the end decided to experiment with actual literal costuming. A simplistic white covering for the control pad for Maria - white for purity, innocence, naivety - with small white frills around the edge - femininity, delicacy - and around her 'wrists'. For Tony and Chino, neckties - masculinity, formality of the event - of opposing colours to indicate the opposing tensions between the characters, gangs and cultures.
So I pulled out and dusted off the sewing machine and dug into my resources of many years careful hoarding of 'things that might come in useful.' I am still unsure as to how well the fabric will compliment the Lego but only one way to find out. If not, we will have some neckties at the ready should we encounter any people who are 10" tall...
It is wonderful seeing people's reactions upon telling them what I am working on at university. I am also really beginning to enjoy the atmosphere in the BCT labs, with everyone milling about at work on something or another as our shows begin to take form. A small crew of us from my group sat typety-typing away programming after sitting and sussing out our choreography. Most of our programming is in a draft state which we can refine once we can rehearse in the space to sync up the robots. It feels good to be able to have something physical to show for a day of work. 
Speaking of atmosphere, despite a few hiccups in terms of logistics, technology and fire alarms, I found relevance in our lecture on Monday to our studio project where Charles spoke to us about his backgound in art, architecture into the creative technologies. When he spoke about architecture, he spoke about creating an atmosphere within a space which essentially we have to do when creating the set for our robo-dance. Our set aims to enhance and help convey the messages, ideas and themes behind our dance sequence and the musical. Upon planning of our set, we discussed the painting of the walls red in terms of symbolism; hate, anger, passion, love, suffering and blood, all prominent themes in West Side Story, all interrelated. The set is in very early stages of construction as of this moment.
We decided to stick to this idea of symbolism when planning how to embellish our basic structures of robots which we currently have. We needed some way to identify key traits of each character that wasn't too complex so as to distract from the dance but prominent enough to clearly distinguish the characteristics, while also complimenting the existing lego construct. We discussed ideas of a shell - and a few of us when to check out the nuts and bolts of the laser cutter and 3D printer - but in the end decided to experiment with actual literal costuming. A simplistic white covering for the control pad for Maria - white for purity, innocence, naivety - with small white frills around the edge - femininity, delicacy - and around her 'wrists'. For Tony and Chino, neckties - masculinity, formality of the event - of opposing colours to indicate the opposing tensions between the characters, gangs and cultures.
So I pulled out and dusted off the sewing machine and dug into my resources of many years careful hoarding of 'things that might come in useful.' I am still unsure as to how well the fabric will compliment the Lego but only one way to find out. If not, we will have some neckties at the ready should we encounter any people who are 10" tall...
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