It’s only natural that cats should have kittens, and plastic cat statues should therefore have their progeny too. The Coven of Catoliths gave birth to a Litter of Kittoliths.
After 5 years of design and production I feel that the Catolith is at last nearing its potential. The newly refurbished Catoliths that were just installed at KALW with their LiDAR based interactivity, battery operation, independent control via Raspberry Pi computer, and lighter more mobile wooden base actually exceed what I imagined for this artwork 5 years ago.
Below is a table showing the progression of techniques from one iteration of Cathenge to the next.
Component
New Catolith (2024)
Kittolith System (2023-24)
Catolith System (Patricia’s Green 2022)
Catolith System (BMan 2019)
Interactivity
LiDAR (“Time of Flight”), Raspberry Pi
LiDAR (“Time of Flight”), Raspberry Pi
Passive Infrared
Capacitive Sensing by Theremin Barney
Purring
Solfeggio Tone Based
Solfeggio Tone Based
Purr Data interactive composition by Jacob Tonski
Purr Tones by No.e
3D Printing
PETG/CR-10 S-5 Self-Printed
PETG/CR-10 S-5 Self-Printed
PETG/CR-10 S-5 Self-Printed
PLA by Titanic Design
3D Modeling
“Voxel Modeling” for 2-ply model with “shiplap” joints.
“Voxel Modeling” for 2-ply model with “shiplap” joints.
“Voxel Modeling” for 2-ply model with “shiplap” joints.
No joining system!
Base
Wooden Base
Wooden Base
Concrete Base
Concrete Base
Sound
Transductive Speakers/Inverted Sub Mounted in the Base
Transductive Speakers/Inverted Sub Mounted in the Base
Transductive Speakers/Bazooka Sub
Car Audio Stuff
The Vision of Cathenge
From the beginning, the vision of Cathenge and of the Catolith Cat Statue has been exceedingly difficult to realize because it combines lighting effects and interactivity in very specific ways and is dependent on the large format 3D printing to achieve. However, each installation of Cathenge succeeded in communicating this vision in different ways, but never completely to my satisfaction, and that’s why I have continued working on the project.
The goal has been to express the concept of “Holofelinity: Universal Cat Consciousness”. Holofelinity is the magical power of the Ancient Lyran Space Cats to manifest their minds over matter and to transform themselves into any shape. This is expressed in the artwork as “Harmonic Purring” (AKA; “Purrbration of Holofelinity”), an evocation of the capacity of the Space Cats to purr their visions into material form.
The Kittolith
In order to reach this goal, it was instrumental to create a smaller version of the Catolith, the “Kittolith”:
Because the Kittolith presents as a single statue instead of a circle of statues (as in Cathenge) it has been necessary to condense the interactive harmonic purring system into one sculpture. This has been done using LiDAR. People interact with the LiDAR beam extending from the collar of the Kittolith and trigger different frequencies (“Solfeggio Tones”). The infographic below shows how the Kittolith works with the use of Solfeggio sound healing tones:
From Kittolith to Catolith
The “Kittolith Interactive Sound System” (KISS) was adapted for use in the Catolith. The photo gallery below documents our process of creating the New Catolith. Essential to this process was the design and construction of a new wooden base for the Catolith.
This new, lighter base not only facilitates a wider range of possibilities of exhibitions because of its much reduced weight (compared to the previous concrete bases), but also resolves acoustic issues since the wooden base acts as a ported speaker cabinet for the subwoofer installed in the base. Below is a gallery of photos of the new Catolith and its new base under construction:
Cathenge at Patricia’s Green was created, conceived and directed by David Normal. David was involved in all aspects of its production from the sketching, modeling and writing of the initial ideas to the grant writing, administration and negotiation through to the consideration and application of the smallest bolts holding the installation itself together. Yet, it is not at all something he could have done by himself. It was a collaborative group effort involving a diverse array of people. It is easy to credit it completely to David Normal, and that is what will typically happen, however the artist has taken a moment to write an appreciation of the many different people who were involved in the production.
David Normal writes:
PROJECT PERSONNEL:
HOLOFELINITY INTERACTIVE PURRING:
Theremin Barney
Barney is my longest running production collaborator. We’ve been working together since 1997! There’s no one remotely like Barney, and his quirky one-of-a-kind talent for creating original analog electronic musical instruments from the hand-etched circuit board on up have taken front and center in the creation of Cathenge. Barney diligently and tirelessly manufactured not only the essential analog motion detecting boards that fundamentally drive the purring effect, but he engineered and fabricated the system to power the lasers and the eyes – working closely with me through all stages of production. Not to mention always being there as the truest friend you could ever ask for.
Jacob Tonski
I like to say that Jacob just dropped out of heaven to help me with Cathenge. This card carrying genius/renaissance man, a kinetic sculptor recently transplanted to Bolinas from Chicago where he had been a tenured professor in “Art and Tech”, had just the right blend of skills to help me not only get out of a rut with the daunting 3D printing tasks, but, equally importantly; do the programming and electronic/electrical rigging – a very complex task – needed to realize the “Holofelinity Sound Sculpture” that is the purring effect integral to the Cathenge sculpture. Jacob comprehended the concept and found brilliant ways to embody and express it, so that, ultimately; the result is beyond my expectations. He did a fabulous job and was always exemplar in his communications and artistic, technical and personal commitment. The most wonderful thing is that visitors to Cathenge have no clue of the careful work behind the effects – they just experience the seamless magic!
Aaron Winett
I’ve been privileged to consult with expert sound engineer and electronic music producer, Aaron “SPAZ” Winett. He contributed excellent solutions to sound amplification challenges – especially the use of small transductive “exciter” speakers that effectively transform the entire Catolith into one large vibrating cat shaped speaker. This combined with the choice and positioning of the subwoofers give the Holofelnity purring much of its aural appeal.
BUILD CREW:
Andrew Spalding
Andrew, master carpenter, has been an indefatigable pillar of support. Having created the platform for Cathenge 2019 at Burning Man he was indispensable in re-purposing the platform to the new design used at Patricia’s Green. Andrew’s impeccable craftsmanship and unwavering loyalty have been key in the success of many of my projects, not least of all Cathenge.
Kris Peterson
Kris Peterson, aka “Kris Potter” because of his Harry Potter like ability to build and repair just about anything. Kris has been working with me longer than almost anyone – over 20 years – and was a stalwart on the Patricia’s Green build. Kris was instrumental in pouring the concrete for the two cats that had to have custom bases poured on site. Kris stuck with me through dawn the night before Halloween and put up all six cats.
Emmalie Kraakman
I met Emmalie (aka, “Phoenix ‘Pheno’ Fatale”) at this year’s Burning Man where she assisted with the Cathenge Presentation at Dustfish Camp. Phoenix was perhaps the most reliable and consistent worker through the entire build and helped with a wide range of tasks, most notably; she clear-coated all the cats with no less than 9 layers of polyurethane clearcoat that gives them the deep gloss iridescence that is their signature daytime look. Phoenix let me know that this was her first “big” art installation project, and I’m really glad to have given her the opportunity and see her shine.
Luther Zonko
Luther was an unexpected surprise and immense blessing. A steady, efficient, well-organized, well-equipped worker with a wide range of technical skills from electronics and programming to carpentry. Luther used his Festool Track Saw to complete the installation of the side panels – a tricky job expertly and rapidly completed. I really didn’t know Luther, but he was referred to me by contractor Rhush Wanigatunga and he just started showing up and really contributing immensely to the project. I was quite blown away!
Larry Swimer
Professionally, Larry is an expert in international shipping logistics and was indispensable in the success of the Crossroads of Curiosity at the British Library because he saw to the successful shipping of the container in the midst of a longshoreman’s strike. Larry is also a great hands-on helper, and veteran of Patricia’s Green installs. Cathenge was his third (“Squared”, “Tara Mechani”, previously) PG install and he helped in many ways, and I especially appreciated his wisdom and insight.
Opal Essence
It’s said that “an army marches on its stomach” and so few things are as important than keeping a crew fed. Opal very kindly cooked for the Cathenge build and brought us hot lunches and dinners, as well as her charming, engaging, empathetic company. Not to mention, Opal hosted the Cathenge installation at her well-known Dustfish theme camp at Burning Man 2022.
Hannah Wise
Set builder and prop-maker, Hannah Wise, was my main assistant and, as such, was totally instrumental in presenting Cathenge for Burning Man 2022. In addition to being an excellent presentation in its own right, Cathenge for Burning Man 2022 was a crucial trial run/stress-test for the Cathenge installation at Patricia’s Green. Multi-talented and remarkably capable, Hannah did a fantastic job making Cathenge BMan 2022 happen!
Philip Tripp
Philip, an itinerant carpenter and builder recommended to me by Zina the Moroccan Cat Priestess, stayed at Stinson Beach for several days and did diverse array of useful tasks and then departed to Portugal.
Temple Gunther
Happy to have met builder and artist Temple Gunther from Bolinas and had him join the build for a day. Looking forward to doing more projects with him in the future!
Oliver Right
Olllie Right is a painter and craftsman that supported the project by assisting Andrew and consulting on the stencils and other decorative work.
Asia Thorpe
Asia helped clarify the decorative decisions and strategies for Cathenge by assisting me in experimenting with different painting materials and techniques applied to the Catoliths. She also decorated the Catolith collar pendants.
Susanna Weinholt
Susanna, creator of the “Suitcase” for BMan 2019 helped with the Cathenge build for two or three days.
Mark Wurtzel
Mark, a barrister and confirmed “cat freak”, is the “Consigliere” of the Institute of Crazyology non-profit and has been one of the most loyal, consistent supporters of the Cathenge project since 2019 when he assisted in creating the fire braziers (with Brad Allen) that were a central part of the original installation. Mark didn’t fail to help with Cathenge for Patricia’s Green either.
DESIGN AND ENGINEERING
RBHU Engineering
Wow! How refreshing!! In the world of structural engineering, RBHU is a tall, cool, pure glass of water (to use an expression). Selinda Martinez, Alan Lum and the rest of the RBHU team understand art and sculpture and have the capacity to think outside of the box (to use another expression). They are not merely engineers, but “artist engineers” who specialize in the engineering of large scale art. It was a pleasure to work closely with Alan Lum who knew how to achieve the structural requirements elegantly and with a minimum of added costs and labor while retaining exactly the form of the artwork. The RBHU structural engineering was simple for the builders and the administrators in city government to understand and work with, and was essential to the success of the project.
Scott Pinckert (Pinckert Environmental Design)
Scott, a professional carpenter and trained landscape engineer, was invaluable throughout the long, arduous engineering/planning obstacles in the process of producing Cathenge. Scott made a gigantic contribution to Cathenge by producing CAD drawings, attending meetings, and following the seemingly endless email discussions that were part of the process of producing the installation. In so doing he was a real morale support to me through some of the most challenging times in the entire process. It was unfortunate that he was not available for the build at Patricia’s Green because his superb craftsmanship and dry wit would have been a great asset to the build. However, he did get the Cathenge platform build started out at my studio in Stinson Beach.
ADMINISTRATIVE:
Jill Manton
My old friend and Patricia’s Green Artist Emeritus, Dana Albany (“Tara Mechani” 2019-20) said of Jill Manton, “She’s the best!!”, and it really is true. As the SFAC’s supervisor for the Cathenge project, Jill displayed limitless patience and kindness, and has been impeccable in her constancy as an advocate for not only the project itself, but for me as an artist. She helped Cathenge get over every kind of hurtle, navigating the way through a complex bureaucratic process. She was always there for me – resourceful, responsive, and responsible. And it’s not over yet!
Paris Cotz
Jill’s assistant, Paris, has been delightful to work with and very attentive to all the details. She has a genuine enthusiasm and caring for Cathenge, and has made an extra effort throughout the project to help it along orgnizationally. She and Jill make a great team!
SPONSORS AND DONORS:
San Francisco Arts Commission
It’s been a great honor to receive the grant for the Patricia’s Green installation. As a San Francisco native, I’ve been thrilled to have this recognition from the City of San Francisco and it has been a real pleasure to work with the SFAC.
Kathryn and Lewis Shepherd
My folks! My mother, Kathryn Shepherd, step-father, Lewis Shepherd, have been extraordinarily generous in supporting Cathenge. Without there support this could not possibly have happened. Not only have they outdone themselves in supporting Cathenge, but in so doing they have been instrumental in launching my new non-profit arts organization, “Institute of Crazyology”. Not only have they supported this financially, but they have been invaluable in advising me and helping me through the many challenges of producing Cathenge. Having such supportive, patient, understanding, and generous family is blessing of simply transcendental graciousness.
Burning Man Foundation
Burning Man has been a central pillar of support throughout my artistic career. Without Burning Man there simply would be no “Cathenge”. I’m grateful for the Burning Man Foundation’s funding of the arts and the opportunities it has provided me over the years, and, indeed; the entire cultural and aesthetic milieu Burning Man’s arts programs have fostered. For over 25 years, Burning Man has been an organization that has been not merely open to, but positively enthusiastic about my off-beat visions in a world where perhaps simply no one else would even be receptive. The great thing is that when visions like mine are given a chance, they are not merely good for Burning Man, but resonate with the world in general as can be seen in the case of Cathenge at Patricia’s Green.
Institute of Crazyology
As a new non-profit, I’ve been very pleased to have Cathenge be the organization’s first “use-case” scenario. The Institute of Crazyology has amply demonstrated how it can provide support for art and artists, and set a solid precedent for further endeavors that will benefit more and different artists to go “crazy” with their creativity.
SPECIAL THANKS:
Marian Goodell
Marian Goodell, CEO of the Burning Man foundation, who I first met in 1997(!), has been a key supporter of Cathenge from the beginning. In certain respects, I have made Cathenge with Marian in mind. For her part, she has steadfastly supported the ongoing project since it began 4 years ago. As a true ailurophile, she has believed firmly in the value of a Cat Temple. When I wanted to give up, she encouraged me and kept me going.
John Law
I want to thank John Law for being legendary. Why is he so legendary? Not merely because he is daring, but because he has an uncanny insight and intuition and knows what is important, and how to make it happen strategically. John used his power in subtle ways to make Cathenge a reality at Patricia’s Green.
Paul Koudounaris
My dear old friend, Paul Koudounaris, the world’s leading authority in feline history, is an essential inspiration for Cathenge. One night we were out together at an art opening in Joshua Tree, and the possibility of my making an installation in the area came up. I thought that since Paul was suggesting it that it really should be about cats. Then, In my mind’s eye, the vision flashed: I saw tall, elegant, mystical cat statues arrayed in a circle like the standing stones of Stonehenge, and I said to myself, “Ah! Cathenge!”. I daresay that without Paul the idea might never have occurred to me.
April Lelia Naftalin
My wife, April, does as much as anyone to support my efforts as anyone on this list, if not more so. Definitely she has to put up with more! I often work incessantly and obsessively, and it is April that looks after me during these periods of maximum effort when I am so intensely concentrated that I have difficulty managing the most rudimentary considerations in life. Additionally, April tends to play a “pinch hitter” kind of role in my projects – coming in to help when labor is short or deadlines are tight, and often doing the more menial and humbler tasks associated with the projects. She also often provides food to the crew making lovely Indonesian dinners. Her presence is much appreciated by all.
Last Wednesday, October 19th, the San Francisco Department of Recreation and Parks issued a one year permit for Cathenge to be installed and exhibited at Patricia’s Green Park (Octavia and Fell streets, Hayes Valley). This is the green light, the permission, Cathenge has been waiting for! By October 31st 2022 Cathenge will be all finished and ready to receive the public.
Needless to say, the whole Cathenge Crew of collaborators and I are very excited. We are in the home-stretch of production. Many final tasks and finishing touches are being completed. The “Holofelinity Sound-Light Sculpture” is being refined and perfected. The base is being decorated with laser cut space cat themed motifs and metallic gilding. The cats are being given their final clear-coat of iridescent hi-gloss finish. So many details being coordinated, a concerted collaborative effort of a dedicated team of artists and technicians, an elaborate and meticulous vision on a monumental scale is being realized.
It has also been a concerted effort of SF City Officials from different departments, as well as engineers, insurance agents and other professionals to work through and process all the regulations, civic and legal requirements to bring a sculpture like this to the public. It is easy to take public artworks for granted, but behind the scenes; the large amount of administrative work required to produce them cannot be underestimated.
Here are photos and videos documenting the latest efforts of Cathenge in progress.
In February we completed the “New Prototype Kittolith” and debuted it at the Space Cat Cavalcade. This 5′ tall Catolith was printed by Re3D in Houston, Texas. The sound and lights were created by Theremin Barney, Artur Pyrogovskyi, and Aaron Winette. In this video I am demonstrating the motion detection based sound/light interactivity that Barney engineered using passive infrared sensors. The cat itself is a speaker. A kind of transductive speaker is affixed to the perimeter wall of the cat statue and the entire plastic cat vibrates to produce the sound. The sounds are solfeggio tones that Artur programmed in a randomized cycle to be triggered by the voltage signal transmitted from Barney’s motion detection circuit. This is still a work in progress, but we are developing this system to be used in the ring of six Catoliths that will be installed at Patricia’s Green.
Today I printed out a small version of “Thanata” the Catolith of Death in sparkly blue-green irridescent PLA plastic. This is the first version of the Catolith that I’ve modeled with decorative surface embellishment. I modeled this in the subdivision surface modeler “Sculpt” of Cimema 4D 3D software. My intention is to use these surface details as the basis for painted decoration of the big Catoliths. This small print is a useful experiment in painting technique that can be applied on a much larger scale.
I’ve been running test prints of just the toe of the cat. First on the smaller Ender 3 printer with smaller size nozzle and now on the larger CR-10 S5 printer with correspondingly larger gauge of nozzle. I’ve modified this printer with a direct drive extruder and an improved bed heater. This is the first print I’ve done with the large printer. I am testing all of the parameters and specifications in preparation for replicating this with another 6 printers. There will be a total of seven printers dedicated to producing cathenge. I reckon one will be devoted to each section of the six height segments of the Catolith and the seventh for printing the divider components.
I’m setting up a print farm of 7 of these CR-10 S5 printers. This is the first one which I am testing modifications on. This printer has a 500*500*500 mm build space, however the stock print bed only heats a 300*300 area, so I have upgraded this with a 500*500 heat mat. I also added the crossbraces since I anticipate that as the print grows tall and the load heavy that the z-axis will need all the reinforcement it can get.
Next up: I will replace the bowden style extruder with a direct drive extruder for greater printing efficiency and capability.
I’ve opted to print Cathenge myself. It’s a big undertaking – typically people print something the size of an action figure, but it’s possible to do much larger things, and so I’m printing all 6 Catoliths. Doing the printing myself gives me the latitude to experiment with the design and the technique and that is essentially what artistic control is about.
I was able to source high quality yet inexpensive large format 3D printers (Creality CR-10 S5) which give me a 500*500*500 mm build space to work with. I am setting up seven of these printers at my studio in Stinson Beach. Using all seven printers at once I estimate I can produce one cat in 3 days. I’ll begin production of Catoliths by the second week of April and hazard to guess I’ll finish all six Catoliths within a month.
Of course, I get to keep the printers which opens up a whole new world of artistic possibilities for me. Building on my long experience in 3D modeling, I envision new “Crazyological” sculptures 3D printed and embellished with paint, lighting effects, interactivity and/or kinetics. It’s quite exciting!
This 3D printed Catolith prototype “Kittolith”. Printed by Christopher Christensen. This prototype features motion activated interactive purring by Theremin Barney. Ultimately, we settled on touch sensitivity through “Capacitive Sensing” as the mechanism of interactivity for the large Catoliths at Cathenge, Black Rock City 2019.