Dream of the Techno-Shaman

This written component documents my thesis exhibition, Dream of the Techno-Shaman, created in partial fulfillment of the degree requirements for the Master of Fine Arts degree in Integrated Visual Arts. This multimedia installation was completed and exhibited at the Design Center\u27s Gallery 181, on the Iowa State University campus in Ames, IA, during July of 2008.;The following text details my creation process in its entirety, from initial inspiration to final exhibition. This begins with a brief introduction to tribal and computer art, followed by discussion of the inspiration I found in the similarities between these seemingly disparate genres. These similarities span all characteristics of importance to the fine art community, including their formal properties, conceptual content, and underlying socio-cultural context. More specifically, key similarities include extensive use of generative pattern, exploitation of the incorporeal, prominent use of multimedia expression, and an emphasis on interaction and collaboration.;Dream of the Techno-Shaman is my attempt to highlight and explore many of the similarities between tribal and computer art, as well as their associated cultural impact, in the form of an immersive multimedia installation. Its large scale and heavy use of both physical and virtual components necessitated a wide range of traditional and digital production processes. Ultimately, this installation successfully exploits the unique potential of computer technology to reengage with tribal processes through interactive and immersive multimedia art

Immersive Pipeline white paper

This report examines immersive experiences in the context of social shared spaces. It presents the Immersive Pipeline research project led by Prof. Atau Tanaka and funded by the AHRC/EPSRC Research and Partnership Development call for the Next Generation of Immersive Experiences from January to June 2018. It covers a historical and technological overview of state of the art on this field, cases of study and interviews in depth with some of the participants

Malay sound arts::Reimagining biophony and geophony materials. Commentary of original composition portfolio 2019-2023

This PhD takes the research theme of Nada Bumi or Voice of the Earth: exploring andaccentuating hidden Malaysia biophonic and geophonic materials, for expressing self-cultural identity and narrative through sound arts practice. The portfolio and accompanying commentary present eleven sound-art works ranging from instrumental electroacoustic music to Web-Audio API based sound installation. The main idea for this portfolio research is to explore the association of folklore, tales, myths, legends and art cultural narrative of the Malay race and the ancestors of Malay (proto-Malay), with the selected hidden and unheard Malaysia natural soundscape, in producing new sound art works. Therefore, I proposed two major compositional themes each comprising several works; Miroirs of Malay Rebab (MiMaR), and Seed of Life (SoL). The works in Miroirs of Malay Rebab reimagine selected unheard biophonic and geophonic materials as mirrors of several Malay performing art-cultural narrative and their stories, such as Makyung theater dance, Malay Gamelan music dance, Ulek Mayang dance and their stories that I have been exposed to during my undergraduate music studies in Malaysia. The works in Seed of Life (SoL) take a similar approach but focused more on local Malay and proto-Malay folklores, tales, legends and myths associated with my childhood experience. Furthermore, as I delved into the conceptual and compositional aspects of creating the Miroirs of Malay Rebab (MiMaR) set and Seed of Life I (SoL) set, I had the privilege to engage in an enriching journey of (self-) exploration through the creation of sound art within the vibrant Bristol soundscape with support from the local sound art community. This experience was part of my involvement in the Hidden Bristol Soundwalks project, which provided a unique platform for my creative endeavors. I have decided to include this project in this portfolio, which has similar compositional approach with Seed of Life (SoL). Both the major cycles, Miroirs of Malay Rebab (MiMaR) and Seed of Life (SoL), include Western classical music instrumentations with electronics; fixed media; and interactive media. This portfolio was composed and developed at the Studio One, Department of Music in the Faculty of Arts, University of Bristol; the Bristol Interaction Group (B.I.G.) Lab in the Faculty of Engineering, University of Bristol; and my home studios in Clevedon, UK, during the period of October 2019 until September 2022. The portfolio consists of scores, studio-audio production recordings, and several live performance recordings. The commentary comprises a set of philosophical considerations about my compositions and intent for creation based on the Nada Bumi theme and sub themes. Further chapters are dedicated to compositional techniques, related traditions and piece-specific documentations. The portfolio is supplied as a set of digital media, containing pdf files of musical scores in notation, associated software or media components of the works, recordings of the studio-based music, and recordings of several live public performances made in mid-2022 after the period of covid-19 lock-downs

Electronic Imaging & the Visual Arts. EVA 2012 Florence

The key aim of this Event is to provide a forum for the user, supplier and scientific research communities to meet and exchange experiences, ideas and plans in the wide area of Culture & Technology. Participants receive up to date news on new EC and international arts computing & telecommunications initiatives as well as on Projects in the visual arts field, in archaeology and history. Working Groups and new Projects are promoted. Scientific and technical demonstrations are presented

Immersive design engineering

Design Engineering is an innovative field that usually combines a number of disciplines, such as material science, mechanics, electronics, and/or biochemistry, etc. New immersive technologies, such as Virtual Reality (VR) and Augmented Reality (AR), are currently in the process of being widely adapted in various engineering fields. It is a proven fact that the modeling of spatial structures is supported by immersive exploration. But the field of Design Engineering reaches beyond standard engineering tasks. With this review paper we want to achieve the following: define the term “Immersive Design Engineering”, discuss a number of recent immersive technologies in this context, and provide an inspiring overview of work that belongs to, or is related to the field of Immersive Design Engineering. Finally, the paper concludes with definitions of research questions as well as a number of suggestions for future developments

Electronic Imaging & the Visual Arts. EVA 2015 Florence

Information Technologies of interest for Culture Heritage are presented: multimedia systems, data-bases, data protection, access to digital content, Virtual Galleries. Particular reference is reserved to digital images (Electronic Imaging & the Visual Arts), regarding Cultural Institutions (Museums, Libraries, Palace – Monuments, Archaeological Sites). The International Conference includes the following Sessions: Strategic Issues; New Technologies & Applications; New 2D-3D Technical Developments & Applications; Virtual Galleries – Museums and Related Initiatives; Access to the Culture Information. Two Workshops regard: International Cooperation; Innovation and Enterprise

Third International Conference on Technologies for Music Notation and Representation TENOR 2017

The third International Conference on Technologies for Music Notation and Representation seeks to focus on a set of specific research issues associated with Music Notation that were elaborated at the first two editions of TENOR in Paris and Cambridge. The theme of the conference is vocal music, whereas the pre-conference workshops focus on innovative technological approaches to music notation

Interactive Video Game Content Authoring using Procedural Methods

This thesis explores avenues for improving the quality and detail of game graphics, in the context of constraints that are common to most game development studios. The research begins by identifying two dominant constraints; limitations in the capacity of target gaming hardware/platforms, and processes that hinder the productivity of game art/content creation. From these constraints, themes were derived which directed the research‟s focus. These include the use of algorithmic or „procedural‟ methods in the creation of graphics content for games, and the use of an „interactive‟ content creation strategy, to better facilitate artist production workflow. Interactive workflow represents an emerging paradigm shift in content creation processes used by the industry, which directly integrates game rendering technology into the content authoring process. The primary motivation for this is to provide „high frequency‟ visual feedback that enables artists to see games content in context, during the authoring process. By merging these themes, this research develops a production strategy that takes advantage of „high frequency feedback‟ in an interactive workflow, to directly expose procedural methods to artists‟, for use in the content creation process. Procedural methods have a characteristically small „memory footprint‟ and are capable of generating massive volumes of data. Their small „size to data volume‟ ratio makes them particularly well suited for use in game rendering situations, where capacity constraints are an issue. In addition, an interactive authoring environment is well suited to the task of setting parameters for procedural methods, reducing a major barrier to their acceptance by artists. An interactive content authoring environment was developed during this research. Two algorithms were designed and implemented. These algorithms provide artists‟ with abstract mechanisms which accelerate common game content development processes; namely object placement in game environments, and the delivery of variation between similar game objects. In keeping with the theme of this research, the core functionality of these algorithms is delivered via procedural methods. Through this, production overhead that is associated with these content development processes is essentially offloaded from artists onto the processing capability of modern gaming hardware. This research shows how procedurally based content authoring algorithms not only harmonize with the issues of hardware capacity constraints, but also make the authoring of larger and more detailed volumes of games content more feasible in the game production process. Algorithms and ideas developed during this research demonstrate the use of procedurally based, interactive content creation, towards improving detail and complexity in the graphics of games