Friday 27 March 2015

History of the Carousel

A carousel (from French carrousel and Italian carosello), roundabout, or merry-go-round, is an amusement ride consisting of a rotating circular platform with seats for riders. The "seats" are traditionally in the form of rows of wooden horses or other animals mounted on posts, many of which are moved up and down by gear work to simulate galloping, to the accompaniment of looped circus music.This leads to one of the alternative names in American English, the galloper. Other popular names are jumper, horseabout and flying horses.
Carousels are commonly populated with horses, each horse weighing roughly 100 lbs (45 kg), but may include diverse varieties of mounts, like pigs, zebras, tigers, or mythological creatures such as dragons or unicorns. Sometimes, chairlike or benchlike seats are used as well, and occasionally mounts can be shaped like airplanes or cars.
Modern carousels

By the mid-19th century the platform carousel was developed; the animals and chariots were fixed to a circular floor that would suspend from a centre pole and rotate around. These carousels were called dobbies and were operated manually by the operator or by ponies.
In mid-19th century England, the carousel became a popular fixture at fairs. The first steam-powered mechanical roundabout, invented by Thomas Bradshaw, appeared at the Aylsham Fair in about 1861. It was described by a Halifax Courier journalist as: a roundabout of huge proportions, driven by a steam engine which whirled around with such impetuosity, that the wonder is the daring riders are not shot off like cannon- ball, and driven half into the middle of next month.
Soon afterwards, the engineer Frederick Savage began to branch out of agricultural machinery production into the construction of fairground machines, swiftly becoming the chief innovator in the field. By 1870, he was manufacturing carousels with Velocipedes (an early type of bicycle) and he soon began experimenting with other possibilities, including a roundabout with boats that would pitch and roll on cranks with a circular motion, a ride he called 'Sea-on-Land'.
He soon applied a similar innovation to the more traditional mount of the horse; he installed gears and offset cranks on the platform carousels, thus giving the animals their well-known up-and-down motion as they travelled around the centre pole. The platform served as a position guide for the bottom of the pole and as a place for people to walk or other stationary animals or chariots to be placed. He called this ride the 'Platform Gallopers' . He also developed the 'platform-slide' which allowed the mounts to swing out concentrically as the carousel built up speed. Fairground organs (band organs) were often present (if not built in) when these machines operated. Eventually electric motors were installed and electric lights added, giving the carousel its classic look.
These mechanical innovations came at a crucial time, when increased prosperity meant that more people had time for leisure and spare money to spend on entertainment. It was in this historical context that the modern fairground ride was born, with Savage supplying this new market demand. In his 1902 Catalogue for Roundabouts he claimed to have
...patented and placed upon the market all the principal novelties that have delighted the many thousands of pleasure seekers at home and abroad.
In the United States, the carousel industry was developed by immigrants, notably Gustav Dentzel of Germany and Dare from England, from the late 19th century. Several centers and styles for the construction of carousels emerged in the United States: Coney Island style – characterised by elaborate, and sometimes faux jewelled, saddles – with Charles I. D. Looff; Philadelphia style – known for more realistically painted saddles – with Dentzel and the Philadelphia Toboggan Company; and Country Fair style – often with no saddles at all – with Allan Herschell and Edward Spillman of western New York, and Charles W. Parker of Kansas. The golden age of the carousel in America was the early 20th century, with large machines and elaborate animals, chariots, and decorations being built.

Tuesday 24 March 2015

Environment Narrative

Here is just some bits and bobs i scribbled down whilst thinking of my proposal, i would scan it in but my hand writing is pretty illegible.

Narrative based environment/ Visual narrative/ American Culture/ Fear of the unknown/ Nightmare/ Insanity/ Awake or not?/ Trapped in a childhood memory/ On repeat no escape/ Running away from home/ stylised?/ Handmade?/ Model making?/ lost/ alone/ Carousal/ Dave Mckean/ Among the Sleep

Within the woods you wander, and then there in the distance are the orange lights of the carnival and the music attracts you towards them. Alone in the clearing is a large mysterious carousal going round and round. You see the world through a child's eye, and when alone this becomes a scary place you are reliving a distant memory in which you were separated from your parents at the Carnival when you run away to see the carousal.

To me carnivals have two sides the side you see thats bright loud and jolly, and another side of freak shows, con-men, sad-clowns. They often had things that play on our curiosity and fear of the unknown such as fortune tellers, psychics, physical mutations.

My Intial Proposal

I intend to create a 3D environment that evokes a sense of fear, similar to that which you felt as a small child where your imagination blows things out of proportion or out of reality completely. I want the environment to make you question your surroundings: are the things you’re seeing really there, are you really there? Perhaps it’s a bad dream, a childhood memory on repeat, or maybe it’s all real and you have run away from home and now find yourself without the protection of your family; on your own, in a seemingly much darker world.
I wish to elicit a response from the player; specifically feelings of isolation and abandonment through the use of visual and sound stimuli as well as a sense of unease and wonder when confronted with a mysterious abandoned carousel. The carousel as an asset should embody the spirit of the carnival, which I feel, is made to entertain and be fun and jolly however they also seem to have a dark and threatening undertone.
I would like to create this environment taking inspiration from the works of Dave McKean, in particular his colour ranges.

Friday 20 March 2015

Initial Ideas and Brainstorm

I knew that I wanted to create an Environment/ environmental asset but didn't have any idea of what the 'why?' could be behind it other than making it look nice. So struggling with an Idea I had a brainstorm and came up with this list (originally scribbled down in my notebook). I had a column for what the environment would be, and a column of what that represents, it 'why?'.
       Environment     /      Why?

  • Pillow Land / Safety & comfort
  • Deserted, Derelict room / Isolation
  • Dr Seuss style/ Fun, happy, childhood
  • Dark fantasy woods/ Lost (magical danger of the path)
  • Haunted House/ Never alone
  • Micro-world/ Educational and great views
  • Carnival/ fun happy (dark undertones)
  • Dream world/ Lucidity, lack of control, insanity
  • An Old temple/ Gods long forgotten
  • Lost treasure/ the spirit of adventure
  • Nightmare world/ world of fears and phobias
  • Mars/ Future possibilites 
After this brainstorm I started to look into the idea of an occult based environment, because I really enjoy the imagery and stories of occult eg witches and secret societies. Abandoned place have always interested me and I to make my own would of been really interesting. I started to look at abandoned churches and religious sites thinking that the way for my environment could be to do with the deterioration of religion/ faith or sacrilege and how one religion would vandalise an others sacred grounds.
This and the bottom picture is the kind of dilapidated abandoned places i wanted to do, with peeling wallpaper, molde, stains and dust everywhere. 
This is just something I found whilst thinking of doing a piece in which the environments why would be to do with sacrilege. Thought that this was some pretty scary vandalism. 
This is an abandoned asylum perfect environment for a horror scene.

Thursday 19 March 2015

What? Why? How?

The Learning Agreement (simplified)

What?
Is where we have to explain what we are doing for the project. For example I will be creating an asset etc.
Why?
‘Why’ is where we describe our motives behind our work.
How?
Where we describe in detail how we will achieve our final results.

Friday 6 March 2015

Sexual Dimorphism in the animal kingdom

Sexual dimorphism is a phenotypic difference between males and females of the same species. The prototypical example is for differences in characteristics of reproductive organs. Other possible examples are for secondary sex characteristics, body size, physical strength and morphology, ornamentationbehaviour and other bodily traits. Traits such as ornamentation and breeding behaviour found in one sex only imply sexual selection.



When & why did women start wearing pants?

 WHEN I GREW UP AND UNTIL ABOUT THE TIME I WAS MARRIED....WOMEN DID

NOT WEAR PANTS!

BEFORE THE MIDDLE OF THE 1900'S WOMEN WERE TECHNICALLY NOT
ALLOWED TO WEAR PANTS BECAUSE IT WAS A MASCULINE ITEM AND THEY
WERE  LOOKED DOWN UPON IF THEY EVERY TRIED TO WEAR THEM!    IT
WASN'T UNTIL AROUND THE TIME OF WORLD WAR II THAT WOMEN BEGAN
WEARING TROUSERS.   EVEN THEN IT WAS NOT WIDELY ACCEPTED.

ONE OF THE THINGS THAT HELPED BRING ON A CHANGE IN ATTIRE WAS
THAT DURING WORLD WAR II WHILE THE MEN WERE FIGHTING THE WAR IN
EUROPE, THE  WOMEN WERE PRODUCING THE STUFF NEEDED FOR THE WAR. 
DRESSES AND SKIRTS DID NOT OFFER ENOUGH PROTECTION FOR THE WOMEN
WORKING IN FACTORIES  AND WOMEN BEGAN WEARING PANTS AT WORK.  IT
MADE IT EASIER FOR THEM TO MOVE AROUND AND DO THEIR JOBS.  BUT EVEN
THEN PANTS WERE ONLY ACCEPTABLE IN THE WORKPLACE! 

AFTER THE WAR THINGS WENT BACK TO  WHERE THEY WERE BEFORE.
LADIES WERE EXPECTED TO WEAR DRESSES AT ALL TIMES

IN THE 1960'S FEMINIST MOVEMENTS BEGAN AND THEY CAUSED THE
EQUAL RIGHTS AMENDMENT TO BE PASSED!  SINCE EVERYONE WAS
SUPPOSED TO BE EQUAL IT FINALLY BECAME ACCEPTABLE FOR WOMEN TO
WEAR PANTS IN PUBLIC!

IN 1961 AUDREY HEPBURN WORE PANTS IN A MOVIE CALLED
BREAKFAST AT TIFFANY'S.   IT WAS A VERY DARING
THING TO DO AT THAT TIME!  SEEING HER IN THAT PICTURE
WAS ONE OF THE  THINGS  THAT INFLUENCED WOMEN TO DECIDE TO
START WEARING PANTS AS A REGULAR PART OF THEIR ATTIRE!

IN THE 1960'S A DESIGNER NAMED ANDRE COURREGES STARTED TO
MAKE JEANS FOR WOMEN.


SOME OTHER INTERESTING THINGS IN THE TIME LINE...

IN 1969 REP. CHARLOTTE READ  (R-ILL.)BECAME THE FIST WOMAN TO WEAR
PANTS IN THE U.S. CONGRESS!

IN 1989 CALIFORNIA STATE SENATOR, REBECCA MORGAN,
WAS THE FIRST WOMAN TO WEAR PANTS IN A U.S. STATE SENATE!


WELL....PARDON ME WHILE I GO GET DRESSED AND PUT ON MY PANTS!