FACING EXPERIENCE: A PAINTER’S CANVAS IN VIRTUAL REALITY

Full version unavailable due to 3rd party copyright restrictions.This research investigates how shifts in perception might be brought about through the development of visual imagery created by the use of virtual environment technology. Through a discussion of historical uses of immersion in art, this thesis will explore how immersion functions and why immersion has been a goal for artists throughout history. It begins with a discussion of ancient cave drawings and the relevance of Plato’s Allegory of the Cave. Next it examines the biological origins of “making special.” The research will discuss how this concept, combined with the ideas of “action” and “reaction,” has reinforced the view that art is fundamentally experiential rather than static. The research emphasizes how present-day virtual environment art, in providing a space that engages visitors in computer graphics, expands on previous immersive artistic practices. The thesis examines the technical context in which the research occurs by briefly describing the use of computer science technologies, the fundamentals of visual arts practices, and the importance of aesthetics in new media and provides a description of my artistic practice. The aim is to investigate how combining these approaches can enhance virtual environments as artworks. The computer science of virtual environments includes both hardware and software programming. The resultant virtual environment experiences are technologically dependent on the types of visual displays being used, including screens and monitors, and their subsequent viewing affordances. Virtual environments fill the field of view and can be experienced with a head mounted display (HMD) or a large screen display. The sense of immersion gained through the experience depends on how tracking devices and related peripheral devices are used to facilitate interaction. The thesis discusses visual arts practices with a focus on how illusions shift our cognition and perception in the visual modalities. This discussion includes how perceptual thinking is the foundation of art experiences, how analogies are the foundation of cognitive experiences and how the two intertwine in art experiences for virtual environments. An examination of the aesthetic strategies used by artists and new media critics are presented to discuss new media art. This thesis investigates the visual elements used in virtual environments and prescribes strategies for creating art for virtual environments. Methods constituting a unique virtual environment practice that focuses on visual analogies are discussed. The artistic practice that is discussed as the basis for this research also concentrates on experiential moments and shifts in perception and cognition and references Douglas Hofstadter, Rudolf Arnheim and John Dewey. iv Virtual environments provide for experiences in which the imagery generated updates in real time. Following an analysis of existing artwork and critical writing relative to the field, the process of inquiry has required the creation of artworks that involve tracking systems, projection displays, sound work, and an understanding of the importance of the visitor. In practice, the research has shown that the visitor should be seen as an interlocutor, interacting from a first-person perspective with virtual environment events, where avatars or other instrumental intermediaries, such as guns, vehicles, or menu systems, do not to occlude the view. The aesthetic outcomes of this research are the result of combining visual analogies, real time interactive animation, and operatic performance in immersive space. The environments designed in this research were informed initially by paintings created with imagery generated in a hypnopompic state or during the moments of transitioning from sleeping to waking. The drawings often emphasize emotional moments as caricatures and/or elements of the face as seen from a number of perspectives simultaneously, in the way of some cartoons, primitive artwork or Cubist imagery. In the imagery, the faces indicate situations, emotions and confrontations which can offer moments of humour and reflective exploration. At times, the faces usurp the space and stand in representation as both face and figure. The power of the placement of the caricatures in the paintings become apparent as the imagery stages the expressive moment. The placement of faces sets the scene, establishes relationships and promotes the honesty and emotions that develop over time as the paintings are scrutinized. The development process of creating virtual environment imagery starts with hand drawn sketches of characters, develops further as paintings on “digital canvas”, are built as animated, three-dimensional models and finally incorporated into a virtual environment. The imagery is generated while drawing, typically with paper and pencil, in a stream of consciousness during the hypnopompic state. This method became an aesthetic strategy for producing a snappy straightforward sketch. The sketches are explored further as they are worked up as paintings. During the painting process, the figures become fleshed out and their placement on the page, in essence brings them to life. These characters inhabit a world that I explore even further by building them into three dimensional models and placing them in computer generated virtual environments. The methodology of developing and placing the faces/figures became an operational strategy for building virtual environments. In order to open up the range of art virtual environments, and develop operational strategies for visitors’ experience, the characters and their facial features are used as navigational strategies, signposts and methods of wayfinding in order to sustain a stream of consciousness type of navigation. Faces and characters were designed to represent those intimate moments of self-reflection and confrontation that occur daily within ourselves and with others. They sought to reflect moments of wonderment, hurt, curiosity and humour that could subsequently be relinquished for more practical or purposeful endeavours. They were intended to create conditions in which visitors might reflect upon their emotional state, v enabling their understanding and trust of their personal space, in which decisions are made and the nature of world is determined. In order to extend the split-second, frozen moment of recognition that a painting affords, the caricatures and their scenes are given new dimensions as they become characters in a performative virtual reality. Emotables, distinct from avatars, are characters confronting visitors in the virtual environment to engage them in an interactive, stream of consciousness, non-linear dialogue. Visitors are also situated with a role in a virtual world, where they were required to adapt to the language of the environment in order to progress through the dynamics of a drama. The research showed that imagery created in a context of whimsy and fantasy could bring ontological meaning and aesthetic experience into the interactive environment, such that emotables or facially expressive computer graphic characters could be seen as another brushstroke in painting a world of virtual reality

How sketches work: a cognitive theory for improved system design

Evidence is presented that in the early stages of design or composition the mental processes used by artists for visual invention require a different type of support from those used for visualising a nearly complete object. Most research into machine visualisation has as its goal the production of realistic images which simulate the light pattern presented to the retina by real objects. In contrast sketch attributes preserve the results of cognitive processing which can be used interactively to amplify visual thought. The traditional attributes of sketches include many types of indeterminacy which may reflect the artist's need to be "vague". Drawing on contemporary theories of visual cognition and neuroscience this study discusses in detail the evidence for the following functions which are better served by rough sketches than by the very realistic imagery favoured in machine visualising systems. 1. Sketches are intermediate representational types which facilitate the mental translation between descriptive and depictive modes of representing visual thought. 2. Sketch attributes exploit automatic processes of perceptual retrieval and object recognition to improve the availability of tacit knowledge for visual invention. 3. Sketches are percept-image hybrids. The incomplete physical attributes of sketches elicit and stabilise a stream of super-imposed mental images which amplify inventive thought. 4. By segregating and isolating meaningful components of visual experience, sketches may assist the user to attend selectively to a limited part of a visual task, freeing otherwise over-loaded cognitive resources for visual thought. 5. Sequences of sketches and sketching acts support the short term episodic memory for cognitive actions. This assists creativity, providing voluntary control over highly practised mental processes which can otherwise become stereotyped. An attempt is made to unite the five hypothetical functions. Drawing on the Baddeley and Hitch model of working memory, it is speculated that the five functions may be related to a limited capacity monitoring mechanism which makes tacit visual knowledge explicitly available for conscious control and manipulation. It is suggested that the resources available to the human brain for imagining nonexistent objects are a cultural adaptation of visual mechanisms which evolved in early hominids for responding to confusing or incomplete stimuli from immediately present objects and events. Sketches are cultural inventions which artificially mimic aspects of such stimuli in order to capture these shared resources for the different purpose of imagining objects which do not yet exist. Finally the implications of the theory for the design of improved machine systems is discussed. The untidy attributes of traditional sketches are revealed to include cultural inventions which serve subtle cognitive functions. However traditional media have many short-comings which it should be possible to correct with new technology. Existing machine systems for sketching tend to imitate nonselectively the media bound properties of sketches without regard to the functions they serve. This may prove to be a mistake. It is concluded that new system designs are needed in which meaningfully structured data and specialised imagery amplify without interference or replacement the impressive but limited creative resources of the visual brain

Plotting the sixties : the culture of conspiracy in the USA.

This dissertation explores how the discourse of conspiracy shaped and was itself shaped by the cultural and political landscape of the USA during the 1960s. It focuses on the popular engagement with notions of conspiracy in four key areas, namely postmodernism, feminism, the counterculture, and gay rights. Broadly speaking, it traces the way those groups who had previously been the object of demonological scrutiny began in the sixties to tell conspiracy theories about those in power-and about each other. It is concerned with "plotting" both as a form of conspiratorial organisation, and as a narrative device. Through close readings of the poetics of conspiracy in both factual and fictional texts, this thesis aims to bring together "realist" and "symbolist" approaches to the "paranoid style" in American culture. It consists of four interrelated case studies, each of which examines key texts from around 1963, in conjunction with works from the 1990s which rethink the earlier representations. The first chapter explores how conspiracy theories have mounted a challenge not just to the official "lone gunman" version of the assassination of President Kennedy, but to the "authorised version" of the 1960s themselves. Through a reading of Don DeLillo's Libra (1988) and Oliver Stone's JFK (1992), I argue that narratives about the conspiratorial activities of the authorities have contributed to a crisis in the authority of narrative, making the Kennedy assassination both a symptom and a cause of a postmodern culture of paranoia. The second chapter considers the figuration of conspiracy in popular American feminist writing, from Betty Friedan' s The Feminine Mystique (1963) to Naomi Wolf's The Beauty Myth (1990). I argue that conspiracy tropes have functioned not only to link the personal and the political, but also to establish a series of implicit divisions within American feminism. The next chapter traces the emergence of a self-conscious engagement with the culture of conspiracy in the sixties through the career of Thomas Pynchon. I then examine what has happened to the conspiracy culture of the sixties, through an analysis of Vineland (1990). I argue that the earlier paranoid "depth" of secrecy has been flattened out by the proliferation of the signs of mass culture. The final chapter concentrates on the highly idiosyncratic paranoid fictions of William S. Burroughs. My aim is not so much to diagnose him as to locate his writings within postwar discourses of homosexuality, drug addiction and disease. I examine how his novels of the sixties rework the notion of paranoia as an externalisation of private fears by highlighting the internalisation and even the literal incorporation-of public surveillance. I then consider the possibilities and pitfalls of reading Burroughs in the light of the HIV/AIDS epidemic, and conversely, of reading his novels as a map of the contemporary culture of body panic

Gilbert Simondon: Media and Technics

Special issue of Platform: Journal of Media and Communicatio

ASTRAL PROJECTION: THEORIES OF METAPHOR, PHILOSOPHIES OF SCIENCE, AND THE ART O F SCIENTIFIC VISUALIZATION

This thesis provides an intellectual context for my work in computational scientific visualization for large-scale public outreach in venues such as digitaldome planetarium shows and high-definition public television documentaries. In my associated practicum, a DVD that provides video excerpts, 1 focus especially on work I have created with my Advanced Visualization Laboratory team at the National Center for Supercomputing Applications (Champaign, Illinois) from 2002-2007. 1 make three main contributions to knowledge within the field of computational scientific visualization. Firstly, I share the unique process 1 have pioneered for collaboratively producing and exhibiting this data-driven art when aimed at popular science education. The message of the art complements its means of production: Renaissance Team collaborations enact a cooperative paradigm of evolutionary sympathetic adaptation and co-creation. Secondly, 1 open up a positive, new space within computational scientific visualization's practice for artistic expression—especially in providing a theory of digi-epistemology that accounts for how this is possible given the limitations imposed by the demands of mapping numerical data and the computational models derived from them onto visual forms. I am concerned not only with liberating artists to enrich audience's aesthetic experiences of scientific visualization, to contribute their own vision, but also with conceiving of audiences as co-creators of the aesthetic significance of the work, to re-envision and re-circulate what they encounter there. Even more commonly than in the age of traditional media, on-line social computing and digital tools have empowered the public to capture and repurpose visual metaphors, circulating them within new contexts and telling new stories with them. Thirdly, I demonstrate the creative power of visaphors (see footnote, p. 1) to provide novel embodied experiences through my practicum as well as my thesis discussion. Specifically, I describe how the visaphors my Renaissance Teams and I create enrich the Environmentalist Story of Science, essentially promoting a counter-narrative to the Enlightenment Story of Science through articulating how humanity participates in an evolving universal consciousness through our embodied interaction and cooperative interdependence within nested, self-producing (autopoetic) systems, from the micro- to the macroscopic. This contemporary account of the natural world, its inter-related systems, and their dynamics may be understood as expressing a creative and generative energy—a kind of consciousness-that transcends the human yet also encompasses it

URSS Event Program Booklet 2017

This event program booklet contains a schedule of the event, list of awards, and student abstracts

Gilbert Simondon: Media and Technics

Special issue of Platform: Journal of Media and Communication on Gilbert Simondo

Evolution: From Big Bang to Nanorobots

The present volume is the fourth issue of the Yearbook series entitled ‘Evolution’. The title of the present volume is ‘From Big Bang to Nanorobots’. In this way we demonstrate that all phases of evolution and Big History are covered in the articles of the present Yearbook. Several articles also present the forecasts about future development. The main objective of our Yearbook as well as of the previous issues is the creation of a unified interdisciplinary field of research in which the scientists specializing in different disciplines could work within the framework of unified or similar paradigms, using the common terminology and searching for common rules, tendencies and regularities. At the same time for the formation of such an integrated field one should use all available opportunities: theories, laws and methods. In the present volume, a number of such approaches are used

Evolution: From Big Bang to Nanorobots

The present volume is the fourth issue of the Yearbook series entitled ‘Evolution’. The title of the present volume is ‘From Big Bang to Nanorobots’. In this way we demonstrate that all phases of evolution and Big History are covered in the articles of the present Yearbook. Several articles also present the forecasts about future development. The main objective of our Yearbook as well as of the previous issues is the creation of a unified interdisciplinary field of research in which the scientists specializing in different disciplines could work within the framework of unified or similar paradigms, using the common terminology and searching for common rules, tendencies and regularities. At the same time for the formation of such an integrated field one should use all available opportunities: theories, laws and methods. In the present volume, a number of such approaches are used