---
# System prepended metadata

title: '**installation_SANDS** **dev blog 20.06.2022**'

---

# **installation_SANDS** **dev blog 20.06.2022**
#vrchat #unity #touchdesigner #devblog

---


# **Intro**

I'm writing this intro last of all. It's been therapeutic for me to get my thoughts down like this, rather than an unorganised mess in the ether of my mind. I can't say how regular or thorough these will be but I should probably introduce the project to you, right?

I'm a visual artist creating a series of generative digital installations, built in TouchDesigner (art) and Unity (world), and experienced in VRChat. 

This is my second exhibition in the series. The first, *installation_TWO SOULS*, can be visited in VRChat [here](https://vrchat.com/home/world/wrld_9acd8680-245e-4039-854c-4d9e5f97012b).

Here's where a new development journey begins.


---

# **Naming the project**

I hit Ctrl+S and the first decision before I've even thought about what it is I'm doing is the working name for the project. 

I researched some names which could potentially fit the project, based on well-known deserts (yes i already know the theme will be centred around the desert), words associated with the desert, and some different languages. I also looked at deserts on other planets, but these are not well covered.

Desert
Dune
Sahara
Erg
Olympia
Dasht
Reales
Sands

Of course it will follow the same taxonomy as the first exhibition in this generative art series, *installation_TWO SOULS*, but for now I'm naming the project *SANDS*. *installation_SANDS*.



---

# **A quick trip back into TouchDesigner**

Forgive me for getting right into things without explaining more. I promise that will come. I just wanted to start with an immediate upgrade to the object physics from *TWO SOULS*, as this had been something I wanted to implement during the original project's development and it may or may not be useful in this project. I was also fighting the urge to apply this new technique I had recently learned and this catered to that itch. 

In TouchDesigner, I replaced the Circle TOP which was generating the main 'souls' featured in the artwork with a Circle SOP + Render TOP. This had multiple benefits:
* Now allowed for z axis transformation
* Materials can be applied to the object, rather than a solid colour
* The Circle TOP can be replaced by any geometry or even text for alternative applications

I also assigned a Noise CHOP to each individual axis for separate control.

*installation_TWO SOULS approach:*
![](https://i.imgur.com/9hw5e2j.png)


*New approach:*
![](https://i.imgur.com/BhsjTWy.png)


I also refamiliarised myself with the screen mapping and the method to get 1920x1080 video to be split across a screen size of 5760x360:

![](https://i.imgur.com/L2kYVRG.png)


That's all in TouchDesigner for now. 



---

# **Project inspiration**

I think it's worth providing context for the original goal for the series; a world in which the space is permanent but the artwork changes. Over time, the interior would be updated, like a living space with an unknown occupier: tinkering and upgrading; personalising and embellishing.  

This was still the goal until I saw the following set of images while researching for the next exhibit's visual inspiration. This made me think that the spaces could in fact be different, still connected as one collective, linked together through space and time.

![](https://i.imgur.com/wRVh13i.jpg)


The images are of the following scenes:
* 'Recasting' installation for the 2018 Venice Biennale [link](https://www.designboom.com/architecture/recasting-alison-brooks-architects-venice-architecture-biennale-05-27-2018/)
* 'Imagined architectural space' by South African winemaker, Alexis Christodoulou [link](https://alexiscstudio.com/)
* A vista through the ancient city of Palmyra in Syria [link](https://www.flickr.com/photos/eriagn/16633814143)
 
They portray a compelling visual style, which immediately drew my attention. The architectural style has an ancient, culturally significant and grand quality to it. The colour palette and quality of natural light is beautiful to me. Lastly, the visual style of colour and architecture is against the grain of many popular spaces in VR; typically dark blacks, blues and greens with a night time and neon setting, whereas this features elegant pastel tones reminiscent of the Middle Eastern sands.

This is a style I would like to explore deeply. I can imagine the light pulsating to the right of the space in the 'Recasting' space, creating dynamic shadows and intrigue as the viewer navigates the corridor. The pulsating could be paired with ambient pulsing sounds that combine audio and visual experiences as one.

The arch of the Palmyra ruins are epically scaled, framing the beautiful ancient structures and hilltop in the distance, and bathed in a low golden sun. This could be a perfect window for the main display.

As I'm writing this, I'm listening to [*Folding Space*](https://www.youtube.com/watch?v=6JeZR13dLLI), a generative ambient mix that accompanies these visions well. I'm hearing angelic swells with the rush of wind. A synth lead circling round with an air of intrigue.

In terms of how the exhibition space is presented, ultimately the artwork should be the main consideration, as the space lives to serves the art. I deliberated this point further and my feelings as of now are that multiple solutions should be developed and considered.

Various iterations of the screen and surrounding space should be taken from concept to prototype, including:
* existing screen and space from *TWO SOULS*, 5760x360
* existing screen in a new space, 5760x360
* new screen in new space, 3840x540
* new vertical screen in new space, 1080x1920

As a side note, the screen resolution should be upgraded to 1440p for better fidelity, if possible.

Here is how the different aspect ratios compare, using a [reference image](https://hdqwalls.com/wallpapers/desert-landscape-morning-4k-w4.jpg) as a test:

![](https://i.imgur.com/etcH2Fp.png)


I certainly have thoughts on these. And they're conflicting. 

Let's start with the widest format here, as was used in *TWO SOULS*.  The vastness of the space is captured well, but its downfall is in the lack of flexibility in contrasting heights. Overall it feels quite claustrophobic and the sky doesn't have room to breathe. 

The middle option is preferable as it helps to aid the problems above, but I think it is a compromise that does not fulfil the art's full potential.

I'll consider the portrait version next as I am most fond of this composition. The depth is amplified by the white space created by the sky and the way the sand dunes expand off into the distance. I like this a lot.

For now, the portrait version is my format of choice but I'll revisit this as visual development evolves.


---

# **Concept development**

What is art without a concept behind it? *TWO SOULS* told a story about the longing for companionship and that was something deeply personal to me, and I believe many others who have been able to visit the exhibition. The artwork should be inherently human if it is to elicit real connection between the screen and the mind.

While writing this I noticed some insightful commentary by [phi16](https://twitter.com/phi16_) in their [Miscellaneous notes 220610](https://phi16.hatenablog.com/entry/2022/06/10/170814) entry around 'the feel of the concept'.  What particularly resonated with me (at least through the power of Google Translate) was phi's paragraph on understanding language on a deeper level:

> In order to properly pass information, you must know the receiving ability of the other party. 
> 
> Therefore, I think that this process can be used in reverse. That is, the acceptance ability of the other party is measured based on what the other party expresses. 
> 
> In other words, from the detailed choice of words on the other side, you can guess what the other person's thoughts are like and **sympathize with them**

Ultimately, I think two main things can be deduced:

1. Concept/story is integral to the bond between art and viewer
2. The viewer needs to be understood to know how to best communicate the story

I then brainstormed some initial ideas that would inform the basis of this project's story. I like how the idea of going on a journey can be powerful, as can the feeling of change; of time passing... The feeling of the universe moving forward around us while we stand still.

I considered how this might be conveyed through the art.

Time passing can be experienced through the creation and destruction of dunes by the eternal winds; by the rise and setting of the sun and moon. By creating a dynamic landscape containing all of time: past, present and future.

Some of the methods to achieve this may include:
* Transition between night and day, with a rising/setting sun and moon
* Ever-changing clouds
* Sand dunes that are created and destroyed over time
* Footsteps appearing in the sand
* Sand blowing with the wind
* Sense of moving forward

I'll revisit these ideas and define the concept more thoroughly after visual development has progressed somewhat and I know what will be possible from a technical standpoint.



---

# **Visual development**

I want to start this development by reviewing a TouchDesigner workshop that explores geometry creation for landscapes, and see how this might be adapted or learned from to create dynamically generated landscapes. The focus will be on dune-like terrain, as opposed to mountainous like in the video.

The workshop was hosted by Kohui at TDSW and generously posted to [YouTube](https://youtu.be/UBXnInY1hL8) for free. It also includes an audio-reactive element but we'll be skipping this for now. I have plans for the audio experience which I will talk about another time.

![](https://i.imgur.com/0AwoYf4.jpg)


I'll continue this week.

-beesha