To ‘Sketch-a-Scratch’

A surface can be harsh and raspy, or smooth and silky, and everything in between. We are used to sense these features with our fingertips as well as with our eyes and ears: the exploration of a surface is a multisensory experience. Tools, too, are often employed in the interaction with surfaces, since they augment our manipulation capabilities. “Sketch-a-Scratch” is a tool for the multisensory exploration and sketching of surface textures. The user’s actions drive a physical sound model of real materials’ response to interactions such as scraping, rubbing or rolling. Moreover, different input signals can be converted into 2D visual surface profiles, thus enabling to experience them visually, aurally and haptically

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

Computational expressionism : a study of drawing with computation

Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, February 1999.Includes bibliographical references (leaves 68-73).This thesis presents computational expressionism, an exploration of drawing using a computer that redefines the concepts of line and composition for the digital medium. It examines the artistic process involved in computational drawing, addressing the issues of skill, algorithmic style, authorship, re-appropriation, interactivity, dynamism, and the creative/evaluative process. The computational line augments the traditional concept of line making as a direct deposit or a scratching on a surface. Digital representation is based on computation; appearance is procedurally determined. The computational line embodies not only an algorithmic construction, but also dynamic and interactive behavior. A computer allows us to construct drawing instruments that take advantage of the dynamism, interactivity, behavioral elements and other features of a programming environment. Drawing becomes a two-fold process, at two distinct levels of interaction with the computer. The artist has to program the appearance and behavior of lines and subsequently draw with these lines by dragging a mouse or gesturing with some other input device. The compositions incorporate the beauty of computation with the creative impetus of the hand, whose apparent mistakes, hesitations and inspirations form a complex and critical component of visual expression.by Joanna Maria Berzowska.S.M

The HOA library, review and prospects

International audienceIn this paper, we present the HOA Library, an open source high order ambisonic spatialisation tools collection programmed in C++. We expose the objectives and characteristics of the project, which treat the potential of high order Ambisonics in a musical perspective, based on the practice and the creativity of the electronic musicians. We clarify the context of use, the choice of optimization and decoding. We review the implementations of thelibrary in various environments, such Max, Pure Data, and Faust. We discuss the use of feedback from musicians and members of especially Max and Pure Data community. Finally, we advance the prospects of the HOA library in its current developments in three dimensions

Perception of space through representation media: a comparison between 2D representation techniques and 3D virtual environments

Thesis (Master)--İzmir Institute of Technology, Architecture, İzmir, 2005Includes bibliographical references (leaves: 109-113)Text in English; Abstract: Turkish and Englishxii, 122 leavesFor centuries, 2D drawing techniques such as plans, sections and elevations have been the main communication media for the profession of architecture. Addition to these techniques, for two decades, computer based representation techniques and 3D virtual environments (VE) have also entered to the profession of architecture. Effects of these computer based techniques on perception of space have always been interrogated by several researches.Although these researches generally regarded these computerized techniques as better and proper than conventional techniques, in some cases conventional techniques can be more effective to depict architectural space. Main aim of this thesis is to compare and evaluate the positive effects and shortcomings of 3D virtual environments and 2D conventional representation techniques in the context of perception of architectural space. Parallel to this objective, the thesis also aims to show the differentiation in perception of space with the change of representation media. To show these differences, a comparative method is used. As the main step of the application of this method, an experimental case study and survey has been constituted for comparing 2D conventional techniques and 3D computer based techniques. In this survey, 38 first yearstudents from Izmir Institute of technology have taken place as test subject.According to the results of this comparative case study, contributions and shortcomings of 2D conventional representation techniques and 3D computer based techniques on improving the capability of architects on perception of the space have been determined