Dataremix: Aesthetic Experiences of Big Data and Data Abstraction

This PhD by published work expands on the contribution to knowledge in two recent large-scale transdisciplinary artistic research projects: ATLAS in silico and INSTRUMENT | One Antarctic Night and their exhibited and published outputs. The thesis reflects upon this practice-based artistic research that interrogates data abstraction: the digitization, datafication and abstraction of culture and nature, as vast and abstract digital data. The research is situated in digital arts practices that engage a combination of big (scientific) data as artistic material, embodied interaction in virtual environments, and poetic recombination. A transdisciplinary and collaborative artistic practice, x-resonance, provides a framework for the hybrid processes, outcomes, and contributions to knowledge from the research. These are purposefully and productively situated at the objective | subjective interface, have potential to convey multiple meanings simultaneously to a variety of audiences and resist disciplinary definition. In the course of the research, a novel methodology emerges, dataremix, which is employed and iteratively evolved through artistic practice to address the research questions: 1) How can a visceral and poetic experience of data abstraction be created? and 2) How would one go about generating an artistically-informed (scientific) discovery? Several interconnected contributions to knowledge arise through the first research question: creation of representational elements for artistic visualization of big (scientific) data that includes four new forms (genomic calligraphy, algorithmic objects as natural specimens, scalable auditory data signatures, and signal objects); an aesthetic of slowness that contributes an extension to the operative forces in Jevbratt’s inverted sublime of looking down and in to also include looking fast and slow; an extension of Corby’s objective and subjective image consisting of “informational and aesthetic components” to novel virtual environments created from big 3 (scientific) data that extend Davies’ poetic virtual spatiality to poetic objective | subjective generative virtual spaces; and an extension of Seaman’s embodied interactive recombinant poetics through embodied interaction in virtual environments as a recapitulation of scientific (objective) and algorithmic processes through aesthetic (subjective) physical gestures. These contributions holistically combine in the artworks ATLAS in silico and INSTRUMENT | One Antarctic Night to create visceral poetic experiences of big data abstraction. Contributions to knowledge from the first research question develop artworks that are visceral and poetic experiences of data abstraction, and which manifest the objective | subjective through art. Contributions to knowledge from the second research question occur through the process of the artworks functioning as experimental systems in which experiments using analytical tools from the scientific domain are enacted within the process of creation of the artwork. The results are “returned” into the artwork. These contributions are: elucidating differences in DNA helix bending and curvature along regions of gene sequences specified as either introns or exons, revealing nuanced differences in BLAST results in relation to genomics sequence metadata, and cross-correlation of astronomical data to identify putative variable signals from astronomical objects for further scientific evaluation

Modelling appearance and geometry from images

Acquisition of realistic and relightable 3D models of large outdoor structures, such as buildings, requires the modelling of detailed geometry and visual appearance. Recovering these material characteristics can be very time consuming and needs specially dedicated equipment. Alternatively, surface detail can be conveyed by textures recovered from images, whose appearance is only valid under the originally photographed viewing and lighting conditions. Methods to easily capture locally detailed geometry, such as cracks in stone walls, and visual appearance require control of lighting conditions, which are usually restricted to small portions of surfaces captured at close range.This thesis investigates the acquisition of high-quality models from images, using simple photographic equipment and modest user intervention. The main focus of this investigation is on approximating detailed local depth information and visual appearance, obtained using a new image-based approach, and combining this with gross-scale 3D geometry. This is achieved by capturing these surface characteristics in small accessible regions and transferring them to the complete façade. This approach yields high-quality models, imparting the illusion of measured reflectance. In this thesis, we first present two novel algorithms for surface detail and visual appearance transfer, where these material properties are captured for small exemplars, using an image-based technique. Second, we develop an interactive solution to solve the problems of performing the transfer over both a large change in scale and to the different materials contained in a complete façade. Aiming to completely automate this process, a novel algorithm to differentiate between materials in the façade and associate them with the correct exemplars is introduced with promising results. Third, we present a new method for texture reconstruction from multiple images that optimises texture quality, by choosing the best view for every point and minimising seams. Material properties are transferred from the exemplars to the texture map, approximating reflectance and meso-structure. The combination of these techniques results in a complete working system capable of producing realistic relightable models of full building façades, containing high-resolution geometry and plausible visual appearance.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

Hard-Hearted Scrolls: A Noninvasive Method for Reading the Herculaneum Papyri

The Herculaneum scrolls were buried and carbonized by the eruption of Mount Vesuvius in A.D. 79 and represent the only classical library discovered in situ. Charred by the heat of the eruption, the scrolls are extremely fragile. Since their discovery two centuries ago, some scrolls have been physically opened, leading to some textual recovery but also widespread damage. Many other scrolls remain in rolled form, with unknown contents. More recently, various noninvasive methods have been attempted to reveal the hidden contents of these scrolls using advanced imaging. Unfortunately, their complex internal structure and lack of clear ink contrast has prevented these efforts from successfully revealing their contents. This work presents a machine learning-based method to reveal the hidden contents of the Herculaneum scrolls, trained using a novel geometric framework linking 3D X-ray CT images with 2D surface imagery of scroll fragments. The method is verified against known ground truth using scroll fragments with exposed text. Some results are also presented of hidden characters revealed using this method, the first to be revealed noninvasively from this collection. Extensions to the method, generalizing the machine learning component to other multimodal transformations, are presented. These are capable not only of revealing the hidden ink, but also of generating rendered images of scroll interiors as if they were photographed in color prior to their damage two thousand years ago. The application of these methods to other domains is discussed, and an additional chapter discusses the Vesuvius Challenge, a $1,000,000+ open research contest based on the dataset built as a part of this work

Variations and Application Conditions Of the Data Type »Image« - The Foundation of Computational Visualistics

Few years ago, the department of computer science of the University Magdeburg invented a completely new diploma programme called 'computational visualistics', a curriculum dealing with all aspects of computational pictures. Only isolated aspects had been studied so far in computer science, particularly in the independent domains of computer graphics, image processing, information visualization, and computer vision. So is there indeed a coherent domain of research behind such a curriculum? The answer to that question depends crucially on a data structure that acts as a mediator between general visualistics and computer science: the data structure "image". The present text investigates that data structure, its components, and its application conditions, and thus elaborates the very foundations of computational visualistics as a unique and homogenous field of research. Before concentrating on that data structure, the theory of pictures in general and the definition of pictures as perceptoid signs in particular are closely examined. This includes an act-theoretic consideration about resemblance as the crucial link between image and object, the communicative function of context building as the central concept for comparing pictures and language, and several modes of reflection underlying the relation between image and image user. In the main chapter, the data structure "image" is extendedly analyzed under the perspectives of syntax, semantics, and pragmatics. While syntactic aspects mostly concern image processing, semantic questions form the core of computer graphics and computer vision. Pragmatic considerations are particularly involved with interactive pictures but also extend to the field of information visualization and even to computer art. Four case studies provide practical applications of various aspects of the analysis

NASA/MSFC FY-83 Atmospheric Processes Research Review

The atmospheric processes research program was reviewed. Research tasks sponsored by the NASA Office of Space Science and Applications, Earth Sciences and Applications Division in the areas of upper atmosphere, global weather, and mesoscale processes are discussed. The are: the research project summaries, together with the agenda and other information about the meeting

Contemporary Fiction and Climate Uncertainty

This open access book argues that storytelling is an important resource in coming to terms with the loss of the feeling of living a grounded existence where the future remains relatively stable and predictable. Faced with the specter of climate catastrophe, we lose confidence in the future—a well-documented response in the environmental movement, for example. Yet stories, and in particular sophisticated fictional stories, can help us negotiate that uncertainty: they offer affective and imaginative tools that channel the instability of our climate future and invite audiences to accept its fundamental uncertainty. In all, this book represents a serious contribution to the environmental humanities that brings a flexible formal approach to bear on central questions of our time. Its commentary on contemporary works of prose and digital narrative is an aid for navigating climate uncertainty and appreciating the more-than-human scale—but also the tragic ramifications—of the ecological crisis. The eBook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by The European Research Council and the University of Ghent

Contemporary Fiction and Climate Uncertainty

This open access book argues that storytelling is an important resource in coming to terms with the loss of the feeling of living a grounded existence where the future remains relatively stable and predictable. Faced with the specter of climate catastrophe, we lose confidence in the future—a well-documented response in the environmental movement, for example. Yet stories, and in particular sophisticated fictional stories, can help us negotiate that uncertainty: they offer affective and imaginative tools that channel the instability of our climate future and invite audiences to accept its fundamental uncertainty. In all, this book represents a serious contribution to the environmental humanities that brings a flexible formal approach to bear on central questions of our time. Its commentary on contemporary works of prose and digital narrative is an aid for navigating climate uncertainty and appreciating the more-than-human scale—but also the tragic ramifications—of the ecological crisis. The eBook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by The European Research Council and the University of Ghent

Digital Alchemy: Matter and Metamorphosis in Contemporary Digital Animation and Interface Design

The recent proliferation of special effects in Hollywood film has ushered in an era of digital transformation. Among scholars, digital technology is hailed as a revolutionary moment in the history of communication and representation. Nevertheless, media scholars and cultural historians have difficulty finding a language adequate to theorizing digital artifacts because they are not just texts to be deciphered. Rather, digital media artifacts also invite critiques about the status of reality because they resurrect ancient problems of embodiment and transcendence.In contrast to scholarly approaches to digital technology, computer engineers, interface designers, and special effects producers have invented a robust set of terms and phrases to describe the practice of digital animation. In order to address this disconnect between producers of new media and scholars of new media, I argue that the process of digital animation borrows extensively from a set of preexisting terms describing materiality that were prominent for centuries prior to the scientific revolution. Specifically, digital animators and interface designers make use of the ancient science, art, and technological craft of alchemy. Both alchemy and digital animation share several fundamental elements: both boast the power of being able to transform one material, substance, or thing into a different material, substance, or thing. Both seek to transcend the body and materiality but in the process, find that this elusive goal (realism and gold) is forever receding onto the horizon.The introduction begins with a literature review of the field of digital media studies. It identifies a gap in the field concerning disparate arguments about new media technology. On the one hand, scholars argue that new technologies like cyberspace and digital technology enable radical new forms of engagement with media on individual, social, and economic levels. At the same time that media scholars assert that our current epoch is marked by a historical rupture, many other researchers claim that new media are increasingly characterized by ancient metaphysical problems like embodiment and transcendence. In subsequent chapters I investigate this disparity

Literacy for digital futures : Mind, body, text

The unprecedented rate of global, technological, and societal change calls for a radical, new understanding of literacy. This book offers a nuanced framework for making sense of literacy by addressing knowledge as contextualised, embodied, multimodal, and digitally mediated. In today’s world of technological breakthroughs, social shifts, and rapid changes to the educational landscape, literacy can no longer be understood through established curriculum and static text structures. To prepare teachers, scholars, and researchers for the digital future, the book is organised around three themes – Mind and Materiality; Body and Senses; and Texts and Digital Semiotics – to shape readers’ understanding of literacy. Opening up new interdisciplinary themes, Mills, Unsworth, and Scholes confront emerging issues for next-generation digital literacy practices. The volume helps new and established researchers rethink dynamic changes in the materiality of texts and their implications for the mind and body, and features recommendations for educational and professional practice