Tracing as Process

Tracing is a way to observe, document and translate, to be anchored in the physical working, to find personal occupancy in the built environment. By establishing one-to-one relationships with the physical context, tracing enables us to comprehend objects in multiple dimensions. Through tracing, we can explore how two-dimensional drawings can be transformed into three-dimensional objects, and vice versa, objects can be documented through drawing to capture the essence of reality. Based on materials and motion, research on tracing techniques guides me into how tracing could act as a process of art and architecture practice

Bringing it all together: a multi-method evaluation of Tanum 247:1

This paper presents the results of a photogrammetric survey of the rock art panel Tanum 247:1 in Kalleby, which revealed an entirely new boat that had previously been missed in a documentation history over 50 years long. Through the combined use of digital and traditional methods the results could be verified. It is therefore argued that collating documentations, both past and present, can help to create a better picture of Bronze Age rock art carvings.  In addition to using new and traditional documentation methods together, panels should be recorded beyond what is known, both in terms of discovering unknown carvings, as well as creating better data for future researchers

Temporal Stabilities

Cosmati paving in Roman churches inspired work resulting in visualisations that represent the palimpsest of pilgrim footfall and a C21st haunting of the spaces. Images constitute an amalgam of artistic methodology and exist as hybrid form that echo spaces redolent of hidden histories

Disaster, traces of displacement, and mizuaoi seeds

Curated by socio-cultural anthropologist Fuyubi Nakamura, the exhibition entitled A Future for Memory: Art and Life after the Great Japan Earthquake at the Museum of Anthropology at UBC in British Columbia addresses the sociocultural role of art produced in situ in the aftermath of the triple disaster which occurred in the Tōhoku region of northeast Japan in 2011. The exhibition’s curatorial project was born in the affected regions through anthropological research, and the selections of works brought to British Columbia are by The center for remembering 3.11; Lost & Found Project; Lost Homes Scale Model Restoration Project; Chihiro Minato; Atsunobu Katagiri; Masao Okabe; Rias Ark Museum of Art; Tsunami Ladies film project team. This article engages with the conversations that the curator, artists, and collaborators wove through the exhibition. The construction of social memory building on the experiences of a drastically changing environment is its main theme

State v. Bailey Respondent\u27s Brief Dckt. 43143

https://digitalcommons.law.uidaho.edu/not_reported/3346/thumbnail.jp

Portrait of an artist at work: exploring Max Ernst's surrealist techniques

AbstractMax Ernst was one of the most influential artists associated with both the Dada and Surrealist movements. However, until now, only few scientific studies have been devoted to his works. This paper presents the results of a multi-analytical investigation on six oil paintings, made between 1927 and 1942, belonging to the Peggy Guggenheim Collection in Venice (Solomon R. Guggenheim Foundation, New York). Through a combined art historical and scientific approach, this study aims at understanding Ernst's painting techniques, including frottage, grattage, dripping, and decalcomania, the used materials, and the state of conservation of the artworks. Non-invasive in situ investigations were performed by means of Vis–NIR multi-spectral imaging, X-ray fluorescence, external reflection FTIR and Raman spectroscopy. Imaging analysis revealed important information about Ernst's painting methods while the other techniques provided useful information about the ground layer, the painting materials and the presence of alteration products. Ernst's palette discloses great freedom in his use of materials and evolution during the time. This investigation demonstrates that an integrated, non-invasive, diagnostic approach provides a thorough analysis of materials and execution techniques of Ernst' masterworks allowing an in-depth knowledge of his highly skilled work

From extension to engagement: Mapping the imaginary of wearable technology

This article maps the metaphors that have been used to facilitate human engagement with wearable technologies - extension, enhancement, augmentation - and locates the values and assumptions about the body and technology that they articulate. At the same time it considers the figure of the cyborg, in which many of these metaphors are incorporated fictionally and theoretically, and locates in this figure not one (interrogative, critical) meaning, but many possible meanings. The article then goes on to explore a recent reconfiguring of the human-technology relationship (Schroeder and Rebelo's 2007 analogy with the relationship between musician and intstrument), which it describes in terms of engagement - and to propose further that we need to embrace fully the embodied character of this relationship in order to realize the most creative possibilities of our relationship with the material world as expressed in this recent technology. © 2008 SAGE Publications