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  • Weather Lamp - The Escape Committe
    with Mark Sutherland:

    Exploring the paradox of the "artificial" by syncing lamps to weather bevaviours.
    Watch here

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    the most artificial things in the world.
In creating the most artificial thing in the world, we placed an escape of “nature”, and ended up swapping the positions of control amidst human (creator) and nature (resource) be producing a mechanism this is man-made as an origin of the product, while the command would be nature inflicted and the human world, in this sense, remain powerless in terms of controlling the actions of the object.
the cape committee. 
our definition of artificiality.
1. man-made.
2. engineered.
3. mimics nature.
non artificial.
    A. S.
A = artificial.
s = synthetic, imitation of nature by chemicals.
plays a big part of replication realism so that the product is more artificial.
our focus point.
real time.
artificial intelligence.
artificial life.
virtual products.
digital products.
chemicals mixed.
high scale machinery.
low scale.
extraction of materials + out of original location = materials out of context.
    artificial intelligence.
intelligence to nature.
origina nature, origin intelligence.
in ray kurzweil’s how to create a mind (2014), he explores the notion of the fact that intelligence is able to transcend natural limitations and that artificial intelligence has extended to a point where humans are already attempting to catch up with it. this, in the definition of the project, is the most artificial thing. something that is so engineered that it is able to think for itself.
    although we have found that artificiality is, to some extent, non-existent, we have also found that intelligence and intellectual life is the utensil that alters the natural state into the artificial state.
we defined artificiality be it being: 1, man-made. 2, engineered. 3, mimicking something natural (simon, 1996).
defined nature as the first thing, it is the foundation of everything in our world. it can be replicated in the most perfect way by a human and tool, but this replication will never be able to be the first thing, and this is why it is so desirable in today’s world.
in relation to artificial intelligence, we got so close to artificiality reaching nature by including real-time (Rodd, Verbruggen, 1992), which manages to almost inimitable grasp the concept of the product being the first thing, as it is right next to it’s natural state in terms of time.
superior, creator, humans, artificial, inferior.
create, create, humans, artificial.
no superior, create, create, humans, artificial, no inferior.
    natural desire in the modern world.
the irony still lies in modern accessorised household culture. our brain refuses to believe that natural wall colours such as forest greens and sky blues have been engineered, processed and controlled by multiple humans, and that technically, the colour is just as artificial as (or maybe even more than) magenta or neon yellow (Turner, 1988).
We made trips to ikea to examine techniques that the company has used in order to make their furniture, essentials, additions, and most of all, bedroom sample layouts attractive and homely to the customer. naturally, they used biotic textures, colours and patterns to achieve a homely and earthly experience. we scrutinised the 'ikea wood' which is a grouped selections of various economic wood that that has been coated with a layer of hard plastic that minced wood with details of surface grain, colour, and inner wood seams and patterns. the plastic that acts as hate visible layer is melamine, which is a crystallised organic compound of hydrogen peroxide and urea (Jakob, Meininger, 2005), while in glue that fixates the chipped wood together is formaldehyde that is the oxidised product of methane, tobacco smoke, or forest fire oxidation. at this point, the establishment has generated a context where wood is pretending to be wood, though technical developments and operations conducted by the human.
    the rubber plant that is made out of rubber.
this initiated a fascination in the humour of complexly designed products that try and mimic it’s natural state. we managed to replicate a similar procedure by creating a rubber plant imitation that is made out of processed rubber. by using the example of artificial plants, we disproved the fact that unnatural pants are unnatural through this product because we linked its processed outcome to its natural origin. The synthetic sheet of rubber was laser cut, glued together, sanded and scalped out with detailed leaf textures and stems. it was acknowledged that latex constructs the industrialised rubber and it comes from the trees external bark and cambium layer (Graham, 1985) and not directly from the plan’t leaves.
however, these leaves are a part of this same tree and they do still contain traces of latex while the texture of the leaf is also very rubber-like. as we compared the plants original state and its processed state, we managed to satirically debunk the word ‘artificiality’ as the physical outcome of our argument represented the paradox of creating organic quirks.
    natural light as modern elitism.
    in order to unearth the peak of artificiality, we looked into the most technically advanced places in the city, from high-end universities that deal with scientific explorations of artificiality like imperial college London, or expensive living spaces in central London through faking that we were rich flat hunters in arranged house viewings. the visit to imperial induced the making of the artificiality scale and graph, which related to what we have seen in our tour through the school. this allowed us to put all artificial products in perspective and pinpoint what aspects we should concentrate on.
the house viewings triggered a social statement on wealth and natural products within furnished city households. we hypothesised that the more expensive the space would be, the more technically advanced. alternatively however, we found that the more expensive the place, the more wholesome and unrefined aspects the space would obtain. this would reflect in the location; whether the flat was close to the a)water flowing be (river Themes), b) sky and the clouds (highest floor), and c) earning of more space around your (unattached from civilisation). 
other aspects of organic expensive living n the city would be the furniture. additive-free, home-grown, and unprocessed materials and individually designed furnishings are in higher demand in the city world and are in higher demand int he city world and are therefore becoming more expensive. Rural light, especially, is a massive astute of wealth, it reflects the availability of more space in a congested urban area, a higher ground (as it is not surrounded by tall buildings but is the tall building itself), and aristocratic symbols of adjoining glass structures hat are costly and inefficient insulation, as heating charges would rise.
with respect to critiquing the incongruity of this culture, where the most rudimentary appearances and basic human needs have to be appropriated and targeted with a price (such as the accessibility of natural light in a city), we tried to pivot towards the shift of how, today, the weather is used as lightning within living spaces in the most extortionate ways. it relates back to how natural light is more desirable than controlled light because it is ‘the first thing’, and it’s merely unable to be controlled by us.
    swapping control with origin in technology.
this is a natural “essence” which is that nature is the raw source.
foundation is more desirable than quality because the replica of ‘the first thing’ will never be ‘the first thing’.
humans controlling nature by making nature control itself. this works by: light sensors on the roof that project light emissions strengthens the lamp, fog speed and density by heat and fan.
    controlling itself. 
the machine is so artificial that it’s almost human because the most artificial thing is replicating an essence so realistically that mimics itself in real time. we are merging the weather system/natural light (vital source of nature) and artificial intelligence. 
in order to mock society’s modern view of natural light elitism, we took away the human’s role in controlling the machine. we now made human intelligence the origin of the lamp, such as the Arduino board and the making of the lamp.
    the lamp.
at this moment, we began to contemplate the construction of light being able to control itself. Saaty (2013) mentions in Compact City that natural light will be appropriated by fibre optic technology to be recreated indoors where sunshine cannot pass by untouched. And just like artificial intelligence, in reference to Saaty’s utopia, our lamp is engineered to such an extent where it is so artificial that it almost becomes human. Henceforth, we realise that the most artificial thing is replicating an essence so realistically that it mimics itself in real time.
we built an aim, which was to merge natural light (that is a vital source of nature) and artificial intelligence into one in order to achieve the most artificial thing. But, we have not fully escaped from nature because we embrace artificiality and nature as commodities that are dependent on each other an cannot work without each other, especially in the world of domesticity.
this ignited an intricate design of a lamp, where humans bring into being a weather detective sensor that is attached to the light, which then recreates weather-like aspects inside the lamp, to produce the closest thing to natural light. in this way, the lamp is controlled by nature, and not by the human. This, there are two sensors that control what happens to the lamp.
    sunlight: controls amount of light coming through fog. blue or grey sky: controls amount of fog output. arduino. timer. light sensor. colour sensor.outlet valve. smoke machine.
firstly, a light sensor is attached to the roof that projects light emission strengths to the lamp, controlling the dimness and brightness of the bulb in relation (and in perfect synchronicity) to the dimness and brightness of the outside. secondly, there is a colour sensor also on the roof that recognises white sky to blue sky. a fog machine is planted within the roof and just above the lamp that sends fog around the bulb but id trapped in a see-through plastic sphere surrounding it. once the colour sensor receives white coloured sky data, it sends electrical triggers to the fog machine and fan, making it send the correct amount of fog to the lamp in order to replicate the fog density outside. if the colour receives blue sky data, it clears the lamp of fog through ventilation and the transparent sphere is clear, while the light rays are perfectly visible, just like it is outside.
    planning a well imitated replication of the weather.
arduino controls:
propeller to imitate wind speed.
fog machine emission to imitate fog density.
light bulb emission to imitate daylight brightness.
    the final outcome.
    further work.
to build on the physicality and inception of the lamp, we considered planning on assembling a wireless system in which the user can regulate the light in switching the options to project a beam that matches the light and weather in, for example, California. consequently, a user in the UK can receive a light when it is dark outside as a result of the sun clearly shining in a different part of the world. they are able to escape into this artificiality casted image that is evidently a natural state of a far away place. at the same time, it shows that through an intelligence process, we are able make something artificial although it is, in origin, natural. nonetheless, the control in this wireless technique would change again, and the human is in command of the object’s actions, and nature is simply the source.
despite that, it would be conceptually supportive to make the lamp solar powered, where the sun and natural light has taken absolute full control of the lamp and light would directly control itself. It would also refer to sustainability that I have touched upon but would dig deeper into interest due to the installation. the charge and action of object is also only compared of the aftereffects of natural and raw materials (petroleum, gasoline) (George, Regis, 2014), which fuels the power source of engineering and again, creates an artificial thing. It would have been interesting to proceed into not just the existence of domestic supplements but also the activity and movement of them, since both material and fuelled power is composed of organic compounds.Beijing. Akra. Geneva. New York. Helsinki. Sydney. Bangladesh. London.