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

Doctor of Philosophy

dissertationWhile boundary representations, such as nonuniform rational B-spline (NURBS) surfaces, have traditionally well served the needs of the modeling community, they have not seen widespread adoption among the wider engineering discipline. There is a common perception that NURBS are slow to evaluate and complex to implement. Whereas computer-aided design commonly deals with surfaces, the engineering community must deal with materials that have thickness. Traditional visualization techniques have avoided NURBS, and there has been little cross-talk between the rich spline approximation community and the larger engineering field. Recently there has been a strong desire to marry the modeling and analysis phases of the iterative design cycle, be it in car design, turbulent flow simulation around an airfoil, or lighting design. Research has demonstrated that employing a single representation throughout the cycle has key advantages. Furthermore, novel manufacturing techniques employing heterogeneous materials require the introduction of volumetric modeling representations. There is little question that fields such as scientific visualization and mechanical engineering could benefit from the powerful approximation properties of splines. In this dissertation, we remove several hurdles to the application of NURBS to problems in engineering and demonstrate how their unique properties can be leveraged to solve problems of interest