Pressure Project 3: Puzzle Box
Posted: April 2, 2024 Filed under: Uncategorized | Tags: Isadora, Pressure Project, Pressure Project 3 Leave a comment »Well uh the thing is is that the project didn’t work. The idea was for a box to have a puzzle entirely solvable without any outside information. Anyone with any background can have a fair chance at solving the puzzle. So, because I am not a puzzle making extraordinaire, I had to take inspiration from elsewhere. It just so happens that a puzzle with just those requirements was gifted to me as a gift from my Grandpa. It is called a Caesar’s Codex. The puzzle works by presenting the user with a four rows of symbols that can slide up and down then right next to it is a single column of symbols. Then on the back is a grid full of very similar symbols to the ones with the four rows. Finally, their are symbols on the four sides that are similar to the ones on the column next to the four rows.
Now the challenge is to get this fully mechanical system to interact with the user interface created in Isadora. The solution was to use a Makey Makey kit. So the wat the user moves the pieces to solve the puzzle needed to change, but the hints to solve the puzzle needed to stay the same. The mechanical puzzle requires flipping the box over constantly to find the right symbol on the grid and then flip it over again to move the row to the right position. I opted to just have the grid portion be set up to directly solve the puzzle.
The paperclips are aligned in a grid like pattern for the users to follow. There is one unique paperclip color to indicate the start. The binder clips are used to indicate when an alligator clip needs to be attached to the paperclip. When the alligator clip is attached to the right paper clip, the screen shown on Isadora will change. Unfortunately, I never tested whether or not the paperclips were conductive enough. I assumed they would, but the coating on the paper clips was resistive enough to not allow a current to flow through them. So, lesson learned, always test everything before it is too late to make any changes, or you make your entire design based on it.
Pressure Project 3
Posted: March 28, 2024 Filed under: Uncategorized | Tags: Pressure Project Leave a comment »A Mystery is Revealed | Color By Numbers
Initially, I began this project with uncertainty about the mystery I wanted to explore. Reviewing past student work, I stumbled upon a personality test concept that intrigued me, expanding my understanding of what constitutes as a mystery.
Following my usual design process, I sought inspiration from Pinterest and various design platforms. A comic called “Polychromie” by artist Pierre Jeanneau caught my attention, particularly its use of anaglyph—a technique where stereo images are superimposed and printed in different colors, creating a 3D effect when viewed through corresponding filters. I was intrigued by how the mystery unfolded depending on the filter used.
While exploring the feasibility of implementing anaglyph on web screens, I encountered challenges due to my unfamiliarity with the term. Nonetheless, I pivoted towards a “color by numbers” concept, drawing inspiration from “Querkle,” a coloring activity based on circular designs developed by graphic designer Thomas Pavitte, who drew inspiration from logos designed using circles.
For practicality and time constraints, I chose simple images and creted them using Adobe Illustrator, layering the circles into colorable sections. Using MakeyMakey for interaction and Isadora’s Live Capture for audio cues, I facilitated engagement. Additionally, I devised a method using MakeyMakey and alligator clips for answering multiple-choice questions.
Implementing keyboard watchers, trigger values, and jump++ actors, I orchestrated transitions between scenes in the patch, ultimately unveiling the mysteries.
PP3 – Scarcity & Abundance
Posted: March 4, 2024 Filed under: Uncategorized | Tags: Pressure Project Leave a comment »This project began with the idea to use a snare drum as a control event in relation to the Makey Makey device and Isadora. With the prompt of ‘a surprise is revealed’, I wanted to explore user experiences involving sharp contrasts in perspective through two parallel narratives. One narrative (‘clean path’) contains imagery suggestive of positive experiences within a culture of abundant resources. The second narrative (‘noisy path’) includes imagery often filtered out of mainline consciousness as it is a failure byproduct within the cultures of abundant resources. By striking the snare drum in accordance with an audible metronome, the user traverses a deliberate set of media objects. In photo based scenes, there is a continuum of images scaled from most to least ‘noisy’. Hitting the drum in synchronous with the metronome will enhance the apparent cleanliness of the image. While hitting off beat renders the reverse effect giving more noisy or distasteful images. In video based scenes, two videos were chosen which illustrate opposing viewpoints and similarly, the timing of drum beats alters the display of positive or negative imagery.
The first images are of random noise added to a sinusoid. A Python script was written to generate these images and an array of noise thresholds were selected to cover the variation from a pure sinusoid to absolute random noise. This serves as a symbol for the entire piece as Fourier mathematics form the basis for electrical communication systems. This theory supports that all analog and digital waveforms can be characterized by sums of sinusoids of varying frequency and amplitude. As such, all digital information (video, image, audio…) can be represented digitally in the form of these sinusoids for efficient capture, transmission, and reception. In the digital domain, often unwanted signal artifacts are captured during this process, so digital signal processing (filtering) mechanisms are incorporated to clean up the signal content. Just as filtering adjusts signal content from the binary level of media objects, it exists at higher computing levels, most notably algorithmic filtering in search engine recommendation, social media feeds, and spam detection in email inbox to name a few. Further, on the human cognitive level, societies with abundance of resources may be subjected to the filtering out of undesirable realities.
One such undesirable reality is that of consumer waste which is conceptually filtered through the out of sight, out of mind tactic of landfills. Even when in sight, such as in a litter prevalent city, the trash may be filtered out cognitively just as is done by audible ambient noise. The grocery store shopping and landfill scenes serve to illustrate this concept. The timelapse style emphasizes the speed and mechanicalness at which the actions of buying colorful rectangular food items and compressing massive trash piles occur. Within the system of food consumption, this video pair the familiar experience of filling up a cart at the grocery store with the unfamiliar afterthought of where those consumables are disposed.
The third scene takes influence from Edward Burtynsky’s photography of shipbreaking in countries like Pakistan, India, and Bangladesh in which a majority of the worlds ships and oil tankers are beached for material stripping. These countries are not abundant in metal mines and their economies are dependent on reception of ships for recyclability of iron and steel. The working conditions are highly dangerous involving toxic material exposure and regular demolition of heavy equipment which dehumanize workers and cause environmental damage. This video is contrasted by an advertisement for Carnival cruise line and a family enjoying the luxury of vacationing at sea on a massive boat containing a waterpark and small rollercoaster. This scene reveals an excessive leisure experience available to those in areas of abundance and the disposal process when these ships are no longer of use. Further emphasizing the sentiment of ‘what is one man’s trash is another man’s treasure’.
The last scene includes a series of screenshots taken from Adobe photoshop showing the digital transformation of a pregnant woman into a slim figure. Considering the human body as having an ideal form, akin to that of the pure sinusoid, manual and automated photoshop tools provide ways to ‘cleanup’ individual appearance to a desired form. With body image insecurity, obesity, and prevalence of cosmetic surgeries pervading the social consciousness of abundance societies, this scene registers the ease at which these problems can be filtered away.
The choice of the drum and metronome as a control interface is designed to reconstruct the role that conformity plays in decision making and exposure to alternate perspectives. It is suspected that most users will hit the drum on beat because that is what sounds appealing and natural. Here the metronome represents the social systems underpinning our formation of narratives around consumption and self identity. With the design of this media system, it is possible for the user to only experience positive imagery so long as they strike in phase with the metronome. But for those daring to go against the grain and strike off beat, they are greeted by a multitude of undesirable realities. It is my hope that in participating with this media system, that users realize the role that digital systems play in shaping perceptions as well as how our the style of our interactions alter the possibilities on what can be seen.
Resources used in this project:
- Makey Makey
- Snare Drum
- Copper Tape
- Drum Stick
- Isadora
- 10 Hours of time
Media Artifacts Used:
Otherworldly Experience
Posted: February 8, 2024 Filed under: Uncategorized | Tags: Pressure Project, Pressure Project 2 Leave a comment »This room is one of the first rooms I experienced. It is immediately after the room that Rick rolls guests and allows them to mess with other guests throughout the facility. It is a dimly lit room with three ominous human sized capsules. They all surround a giant sphere suspended in the air with what looks like wires from each of the capsules leading into it.
The capsules are really eye catching so many guests that entered the room immediately walked into them to check it out. Then they hear a noise in the pod and can see the side light up. This prompted nearly all of them to go looking for other people nearby to fill the other two pods to see what may happen. Once three people are standing in the pods They begin to flash black and white as well as the lights leading to the orb. At the same time a noise that sounds like static electricity is whirling around the room. Finally, the room goes dark and all is quiet then the guests standing in the pods are sprayed with gusts of air. Caught off guard, the guests let out a scream or flee from the container.
There is not much I would want to redesign with how the system is able to capture people’s attention and clearly convey what needs to be done to activate. So, what I would add would be some sort of fog like effect that is also ejected with the puff of air as well as maybe tone down the air pressure, but keep it spraying for longer. This would hopefully make it a bit less of a jump scare and make it seem cooler when the guest leaves the pod.
Pressure Project 1 – Fireworks
Posted: January 30, 2024 Filed under: Uncategorized | Tags: Interactive Media, Isadora, Pressure Project, Pressure Project One Leave a comment »When given the prompt, “Retain someone’s attention for as long as possible” I begin thinking about all of the experiences that have held my attention for a long time. Some would be a bit hard to replicate such as a conversation or a full length movie. Other experiences would be easier as I think interacting with something could retain attention and be a bit easier to implement. Now what does that something do so people would want to repeat the experience again and again and again? Some sort of grand spectacle that is really shiny and eye catching. A fireworks display!
The Program
The first scene is setting up the image that the user always see. This is the firework “barrels” and buttons to launch the fire works.
The buttons were made as a custom user input function. I did not know there was a control panel that already has preset buttons programed. If I had known that I could have saved myself 2 hours of experimenting. So how each button works is the Stage Mouse Watcher checks the location of the mouse in the stage and if the mouse clicks. Then two inside range actors are used to check where the mouse is in the x and y axis. If the mouse is in preset range it triggers a Trigger value actor that goes to a Toggle actor. The toggle actor then turns a wave generator on and off. The wave generator then sends its value to a Value Changed actor. If the in the x bounds, the y bounds, and the mouse clicks triggers activate all at once, then the scene is moved to launch a firework.
The scenes that the buttons jump to is set up to be a unique firework pattern. The box will launch a firework to a set location and after a timer the sparkle after effect will show. Then after it ends the scene ends.
Upon reflection, one part that could have helped retain attention even longer would have been to randomize the fireworks explosion pattern. This could have been done with the random number generator and the value scalar actors to change the location of where the sparkle explosion effect ends up and with how long they last in the air.
Lawson: PP3 “Melting Point”
Posted: November 14, 2023 Filed under: Nico Lawson, Uncategorized | Tags: Interactive Media, Isadora, Pressure Project Leave a comment »For Pressure Project 3, we were tasked to improve upon our previous project inspired by the work of Chuck Csuri to make the project suitable to be exhibited in a “gallery setting” for the ACCAD Open House on November 3, 2023. I was really happy with the way that my first iteration played with the melting and whimsical qualities of Csuri’s work, so I wanted to turn my attention to the way that my patch could also act as it’s own “docent” to encourage viewer engagement with the patch.
First, rather than wait until the end of my patch to feature the two works that inspired my project, I decided to make my inspiration photos the “passive” state of the patch. Before approaching the web camera and triggering the start of the patch, my hope was that the audience would be curious and approach the screen. I improved the sensitivity of the motion sensor aspect of the patch so that as soon as a person began moving in front of the camera, the patch would begin running.
When the patch begins running, the first scene that the audience sees is this explanation. Because I am a dancer and the creator of the patch, I am intimately familiar with the types of actions that make the patch more interesting. However, audience members, especially those without movement experience, might not know how to move with the patch with only the effects on the screen. My hope was that including instructions for the type of movement that best interacted with the patch would increase the likelihood that a viewer would stay and engage with the patch for it’s full duration. For this reason, I also told the audience about the length of the patch so audience members would know what to expect. Additional improvements made to this patch were shortening the length of the scenes to keep viewers from getting bored.
Update upon further reflection:
I wish that I had removed or altered the final scene in which the facets of the kaleidoscope actor were controlled by the sound level watcher. After observing visitors to the open house and using the patch at home where I had control over my own sound levels, I found that it was difficult to get the volume to increase to such a level that the facets would change frequently enough for the actor to attract audience member’s attention by allowing them to intuit that their volume impacted what they saw on screen. For this reason, people would leave my project before the loop was complete seeiming to be confused or bored. For simplicity, I could have removed the scene. I also could have used an inside range level actor to lower the threshold for the facets to be increased and spark audience attention.
Lawson: PP2 Inspired by Chuck Csuri
Posted: October 24, 2023 Filed under: Nico Lawson, Pressure Project 2 | Tags: Chuck Csuri, Isadora, Pressure Project Leave a comment »My second pressure project is inspired by the two Chuck Csuri works below: Lines in Space (1996) and Sign Curve Man (1967). I love the way that each work takes the human form and abstract it, making it appear that the figures melt, warp, and fray into geometric shapes and rich, playful colors.
For my project, I wanted to allow the audience a chance to imitate Csuri’s digital, humanoid images in a real time self-portrait. I also wanted to build my project around the environmental factors of an art gallery – limited space in front of each art work, a mobile audience with split attention, and ambient noise. In addition to the patch responding to the movement of the audience, I wanted to introduce my interpretation of Chuck Csuri’s work in layers that progressively built into the final composite image. You can see a demonstration of the Isadora self-portrait below.
To draw the audience’s attention to the portrait, I built a webcam motion sensor that would trigger the first scene when a person’s movement was detected in the range of the camera. I built the motion sensor using a chain of a video-in watcher, the difference actor, a calculate brightness actor, the comparator to trigger a jump scene actor. If the brightness of the webcam was determined to be greater than 0.6, the jump scene actor was triggered. So that the jump actor would only be triggered once, I used a gate actor and trigger value actor to stop more than one trigger from reaching the jump actor.
Once the patch had detected a person in the range of the webcam, the remainder of the patch ran automatically using chains of enter scene triggers, trigger delays, and jump scene actors.
To imitate the colored banding of Csuri’s work, I filtered the image of the web came through a difference actor set to color mode. The difference actor was connected to a colorizer actor. In order to create the fluctuating colors of the banding, I connected a series of envelope generators to the colorizer that raised and lowered the saturation of hues on the camera over time.
In the next scene I introduced the sense of melting that I experienced in Csuri’s work by adding a motion blur actor to my chain. At the same time, I attached a soud level watcher to the threshold of the difference actor to manipulate it’s sensitivity to movement. This way the patch is now subtlely responsive to the noise level of the gallery setting. If the gallery is noisy, the image will appear brighter because it will require less movement to be visible. This visibility will then fluctuate with the noise levels in the gallery.
In the next scene I introduced the warping and manipulation I observe in Csuri’s work. I wanted to play with the ways that Csuri turns real forms into abstract representations. To do this, I introduced a kaleidoscope actor to my chain of logic.
My final play scene is a wild card. In this scene, I connected the sound level watcher to the facet element of the kaleidoscope actor. Instead of the clarity of the image being dependent on the noise level of the gallery, the abstraction or warping of the image would be determined by the noise levels. I consider this scene to be a wild card because it’s effectiveness is dependent on the audience realizing that their talking or silence impacts their experience.
The patch ends by showing the audience my inspiration images and then resetting.
In thinking about improving this patch for Pressure Project 3, I want to consider the balance of instructions and discoverability and how to draw in and hold an audience member’s attention. I am unsure as to whether my project is “obvious” enough for an audience member to figure out what is happening without instructions but inviting enough to convince the audience member to stay and try to figure it out. I also know that I need to calibrate the length of my black out scenes and inspiration image scenes to make sure that audience members are drawn to my installation, but also don’t stay so long that they discourage another audience member from participating in the experience.
Pressure Project 1: “About Cycles”
Posted: September 13, 2023 Filed under: Isadora, Pressure Project I | Tags: Au23, Isadora, Pressure Project, Pressure Project One Leave a comment »Recording of the Pressure Project:
Motivations:
- Learn about Isadora
- General features/ways to create in Isadora
- Ways to organize objects in Isadora
- Ways to store information in Isadora
- Control flow
- Engage with the subject of “Cycles”
- This class uses cycles as an integral component of its processes. Therefore, focusing on the idea of cycles for this first project seemed fitting.
- Because this project encouraged the use of randomness to create something that “plays itself” (once you start it) and holds the viewer’s attention for some time, playing with indefinite cycles seemed appropriate.
- Find a “Moment of Joy”
- The “Side Quest” for this project was to invoke laughter or a moment of joy.
- When I started my 6 hours for this project, I was in a little bit of a bad mood. Consequently, I was not in the mood to create something joyful. Therefore, I decided to challenge myself to take something negative and turn it into something positive—since this artwork would feel more authentically “joyful” to me if that “joy” came from a genuine determination to find that joy within an honest acknowledgement of both the good and bad.
How the Project Supports those Motivations:
- The Storyline
- The beginning portion employs Sisyphean imagery to convey feelings of being trapped in cycles and not making any noticeable progress.
- I experimented with the number of times this scene would play to try to play it just enough times that the viewer could think that this scene was all there would be—a psychological trick that would hopefully invoke negative feelings corresponding to this theme.
- Since the animation was relatively abstract (there was no person figure included, for example), I was glad to hear from the people who watched it in class that they realized that this reference was being made.
- Eventually, it is revealed that the rocks that are rolling backwards are rolling backwards into somewhere new and exciting.
- The rock is traveling to these new places over bridges created by other rocks that had arrived there before. (I am not sure from the audience response whether this part came through, consciously or subconsciously. If I were to continue working on this project, I would change what the rocks look like to make it more obvious that the bridge is made of those rocks specifically.)
- This animation of the traveling rock cycles indefinitely, with the background effects randomized each time. (This, combined with the effect of the Sisyphean section of changing the location after the viewer starts to think that section will be the only one, had the interesting effect of causing the in-class audience to not be sure for some time that this section would repeat indefinitely. While this has some obvious drawbacks, it does arguably complement some of the themes of this piece.)
- While I want each viewer to come to their own personal interpretation of this piece, I am hoping it can encourage viewers to consider the idea that, even if we cannot see it, in the cycles in our lives we are stuck in—even the ones where the negative effects far outweigh the positive ones—we still get something each time, even if that is just a little bit more knowledge that we can use to get just a bit further next time.
- The beginning portion employs Sisyphean imagery to convey feelings of being trapped in cycles and not making any noticeable progress.
- The Technical Aspects
- This project did give me the opportunity to experiment with a variety of Isadora “Actors.” My favorite one (which this project used for special effects and textures) was the “Explode” Actor.
- I used User Actors (which I found could be used similarly to classes from more traditional object-oriented coding languages) frequently to keep things more organized and to limit the amount of copied and pasted Actors.
- I experimented with Global Values (which have some similarities to global variables from more traditional programming), the Calculator Actor, the Comparator Actor, Actors that handled Triggers, and the Jump++ Actor for control flow, especially to repeat Scenes.
- I tried to automatically set the Global Value at the start of the show, but some unknown aspect of my logic was incorrect, so I did have to remember to manually set it each time I played the show.
- Much of the control flow resulting in the final effect on the Stage could have been accomplished with just the Counter Actor, Actors that handled Triggers, and the Jump++ Actor. However, I specifically wanted to learn about Global Values using this project, and there is some symbolism involved in the fact the Scene itself truly does fully repeat (rather than just a set of steps within the Scene). This does raise an interesting question about how the way something is done can in itself be part of an artwork—but is that worthwhile when it takes more time, is less clean, and ultimately results in the same user/viewer experience?
Isadora File Documentation/Download:
WORK > PLAY > WORK > PLAY >>>
Posted: September 12, 2023 Filed under: CgRyan, Isadora, Pressure Project I, Uncategorized | Tags: Isadora, Pressure Project, Pressure Project One Leave a comment »My goals for Pressure Project #1 were to deepen and broaden skills working in Isadora 3 and to create a motion piece that could hold attention. The given Resources were 6 hours and a minimum of using defined Actors: Shape, Projector, Jump++, Trigger Delay, and the Envelope Generator, and that would auto-play.
PROCESS
Pressure Project 1: TAKE 1 took 3 hours, and though I learned the basics of scene transition and shape control and video placement, I was not satisfied with how the scenes progressed and connected: I had not taken the time to create a defined concept. (When feeling “time pressured” I sometimes forget what one of my most respected design teachers at ArtCenter said “To save time, take the time to create a concept first.”)
Pressure Project #1 – TAKE 1
CONCEPT
I am both a designer and an artist, and creating a balance between personal work [PLAY] and paid client projects [WORK] has been an ongoing battle over my careers. I decided I wanted to symbolize this “dance” between WORK and PLAY in my motion piece. Conceptually, I think of WORK as a rectangle, or a “frame” that defines the boundaries of both Resources and what the Valuation criteria are. When I think of PLAY, I think of circles, more open and expansive, and playful. When I think of the combination of these 2 concepts, I see a choreography between grace and collision, satisfied expectations and for serendipity. When deciding on the pacing and transitions of the whole, I wanted to create an “endless loop” between WORK and PLAY that symbolized my ubiquitous see-saw between the two poles. An endless loop would represent “no separation” between WORK and PLAY: my live-long goal of to have work that feels like PLAY, and to WORK meaningfully at my PLAY so that it is worth the currency of my life force: time and energy.
Concept: WORK > PLAY sketch
ADDITIONAL TUTORIALS
I found an additional Isadora tutorial “Build it! Video Porthole” by Ryan Webber that demonstrated skills I wanted to learn: how to compose video layers with masking and alpha channels, and another demo of the User Actor. From this tutorial, I was inspired to use the Alpha Mask actor to make the WORK > PLAY > repeat cycle explicit. I decided to use the letters of the two “four letter words” to explicitly to represent my history as a communications designer, and to alternate between a more structured motion path using the squares and a more playful evolution as the piece transitioned to circles, then a finale of a combination.
LIMITED REMAINING TIME: 2.5 hours
To respect the time limit of the project, I used an application that I use in both personal art “play” and client work, After Effects, to quickly create three simple animations with the WORK + PLAY letters to use with the Alpha Mask actor.
After Effects alpha masks
To save additional time, I used a combination of motion pattern videos I have used in earlier projection mapping projects. I used the Shapes and Alpha Mask actors in Isadora to combine the elements.
Scene 1 – 3 stills: videos in alpha masks
To create the endless “loop” transitions between the three scenes, I used the Trigger Delay actor on each of the three scenes, using the jump value of “-2” to return to scene one.
Scene 3: Trigger Delay and Jump++ to return to Scene 1: “-2”
To export the Isadora project to video to post online, I used the Capture Stage to Movie actor. I look forward to the next Pressure Project!
Lawson: Pressure Project 1
Posted: September 12, 2023 Filed under: Nico Lawson, Pressure Project I, Uncategorized | Tags: Isadora, Pressure Project, Pressure Project One Leave a comment »For pressure project one, I was inspired to create a narrative as opposed to an infinite loop. I have recently been interested in outerspace and interstellar processes and decided to create an animation of a supernova, albeit in a simple, geometric representation.
To create a sense of time and scale, I played with trigger delays, envelope generators, and the fade in/fade out aspects of the jump++ actor. Playing with the fade in and fade out aspects of the jump scene actor helped me to create the perception of a camera zooming out to show the entire solar system. Trigger delays and envelope generators allowed me to establish movement of particular elements and create a sense of passing time. Because I did not yet know about the spinner actor I used a wave generator to manipulate the planet shapes’ horizontal and vertical positions long an elliptical pathway. To prevent them from traveling together in a straight line, I gave each planet a different scale limit and used trigger delays to offset the initiation of the planets’ pathways. For this reason, the planets appear to move in a random pathway across the screen, rather than circular orbits.
To create the sun’s “explosion,” I used an envelope generator to increase it’s scale over 10 seconds. In the next scene I used the shimmer actor to disrupt the pointed red shape and the dots actor to disrupt the yellow circle. The seeming “fizzling” of the sun was achieved through the cross-fade between scenes.
If I was to improve this patch, I would want to first, reduce the load on the Isadora program and offset the limited power of my computer’s processor, and second, create an orbit for my planets using the spinner actor. I might also use the explode and particle actors to create a “real” explosion of the sun rather than the illusion that I created using the shimmer actor. Additionally, I think that I could use the layer functions and blend mode of the projector actors to allow the planets to disappear and reappear around the sun, rather than showing up as bright spots when the images overlap.
Upon further reflection…
From a storytelling and pacing standpoint, I wish that I had allowed the scene in which the planets appear to stay longer. For me, the scene jumps to quickly after the last planet appears, rushing the story rather than establishing the presence of a solar system. For similar reasons, I wish that I had used a similar strategy of trigger delays and envelope generators to allow the stars to appear at the end of the story. I think that the narrative would have had a more satisfactory ending had I allowed the stars to slowly establish themselves rather than appear all at once. It would have also been a more satisfying final image if I had used a particle generator to create a background of smaller stars- this would have created significantly more depth to the screen.
