Persistence of Vision: The Value of Invention in Independent Art Animation

The focus of this investigation is in the realm of animation that straddles the ever-shrinking gulf between a screening and an exhibition, the theater and the art gallery. There is a subtle maturity and movement in the animation art world that not only continues but also extends the often-overlooked legacy of independent animation while engaging the conceptual dialogue of contemporary art. This tradition of an art aesthetic is passed from the early inventors who fashioned the necessary tools and images. The myriads of techniques and concepts evidenced throughout this history inform the current practitioner, just as digital technology and the aesthetic questioning of art offer a broad opportunity for frame-by-frame moving images

The Techno-Soma-Aesthetics of a Dance for the iPhone

UID/PAM/00417/2019On the course of intensive research a corpus of artworks that instantiate dance performance in cyberspace have been inspected in order to understand how expert-practitioners used new technologies for production as well as the new means of public dissemination that they enabled. This paper is dedicated to Soi Moi, which was made for the IPhone in 2009 by n+n corsino using motion capture, synthesized environments and multi-sensorial human-computer interaction. I bare the commitment of an expert-spectator that demonstrates the value of this research-practice to understand and inform creative process, technological development, aesthetic experience and scholar debate. This enquiry pursued a constructivist analysis of components and attributes that revealed the ‘remediation’ of disciplinary traditions. But intersecting close examination with a contextualizing project and interpretative layers generated a productive dialogue with theoretical perspectives about the arts, media and cyberculture of the 21st century. It shall be evident why securing a place for this artwork in the history of new media art and performance is a relevant contribution to knowledge. Despite solid proof that performance experts have provided computer technology and information society with pioneering discourse, their practices have a marginal position in the new media art sector and market. Retrieving research results is paramount. Like ephemeral live dance and performance artworks have succumbed to time, the spectre of redundancy hovers Soi Moi because the state-of-the-art technology in use is already outdated.publishersversionpublishe

A tool for generating three dimensional animation on computers

Ankara : The Department of Graphic Design and the Institute of Fine Arts of Bilkent Univ. , 1991.Thesis (Master's) -- Bilkent University, 1991.Includes bibliographical references leaves 31-32.In this work, a three dimensional computer animation system has been designed to be employed in schools, for the training of art students on basic three dimensional animation techniques. Puppet Theater, as we have called the system, utilizes the flexibility and effectiveness of the low-end hardware, namely IBM PC™ computers supported with Targa 16™ graphics board and gives special emphasis to user friendliness. It Is basically a software to design three dimensional objects and choreograph the object data in the computer's memory, before rendering the resulting scenery with shading methods. The system is the result of reflecting the recent advances in the field of computer graphics and pushing the potentials of the existing platform. Software is Implemented in C language, thus the code is transportable. A custom designed object oriented windowing system called WODNTW is used as the user Interface. This open windowing system supports pull-down menus, interactive buttons, scalable windows and other popular user interface elements.Türün, Cemil ŞinasiM.S

Master of Fine Arts

thesisIn this thesis, I explore how dance performance can be a catalyst for healing trauma. Throughout my own research on performance, it has been my experience that the act of being witnessed itself triggers a healing response. The intimacy of performance, where I channel my emotional intelligence through the body, can allow for space to clear the past of any "unfinished business." This is a witnessed evocation, and with it comes a softening of the heart and the possibility for transformation - a potential for both individual and communal expansion. The experience of moving with and through my emotions has influenced not only my own performative presence, but it also influences the ways in which I engage with collaborators in my choreography. In my thesis piece, "This is your Paradise," a trio performed at the Ladies' Literary Club in Salt Lake City on November, 2014; overwhelming experiences (both in movement and emotional climate) were negotiated by each of the three performers. The piece created a safe space for the performers and audience to experience heightened states of emotion, transitioning between the metaphoric states of Earth, Sun and Stars. These three shifts in existence relate to human conditions of struggle and resistance (Earth), hope and reverence (Sun), and lastly the infinity of possibility (Stars). I conclude by relating my creative process to the healing process itself - where together sensorial awareness and desire act to repair life's wounds

Implementing Puppetry Into The Little Prince

Puppetry arts are inherently theatrical; however, puppetry is almost always isolated from traditional theatrical productions. In most recent history the use of puppets has moved away from theatre and exists primarily in the realm of “Puppet Shows.” Puppets are treated as or viewed as a prop and not an extension of a character in a performance. “Puppet shows” are shows that exclusively feature puppets with no human actors visible and are separate from general theatre productions that utilize puppetry. Puppets are a unique way to create fantasy elements and nonhuman characters in theatrical productions instead of glorified props on stage. When you treat a puppet as a character it becomes another actor in the production. In this section, I explain the goals of the project from my original proposal and the decisions that I made in order to prepare for the project. As well as giving an overview of the process of the creative project. The goal of this project was to research various styles of puppetry from puppetry traditions around the world and implement these techniques into an established production that does not already include puppetry in the provided text and implement puppetry into the production. I set out to research puppetry techniques, design several puppets that could be used in a production that did not already call for puppetry to be used in the script, and construct prototypes, models, and one completed puppet. I noticed a deficit in traditional American theatre where I feel that puppets can be used to represent characters in theatre through visual storytelling techniques. I was interested in ways to implement puppetry into production which do not explicitly call for puppets to be used. I feel like this technique could be implemented in many theatrical productions. I sought to make discoveries on strategies to achieve this, through the process of designing puppets for a theoretical production. The main focus of the project was puppetry design that is rooted in the research of the art of puppetry. With a wide range of overall research into the art form, I was able to make decisions informed by my research into various forms of puppetry techniques. Having hands-on experience creating models helped me to find techniques and problems in placing puppetry in production which they are not included

Methods in Costume and Projection Design for Theatre

A report detailing multiple practices for theatre design in costumes and projection. It is focused on playscript analysis, the design process, and the final build of the design for production

Fruits of Gregory Bateson’s epistemological crisis: embodied mind-making and interactive experience in research and professional praxis

Background: The espoused rationale for this special issue, situated “at the margins of cybernetics,” was to revisit and extend the common genealogy of cybernetics and communication studies. Two possible topics garnered our attention: 1) the history of intellectual adventurers whose work has appropriated cybernetic concepts; and 2) the remediation of cybernetic metaphors. Analysis: A heuristic for engaging in first- and second-order R&D praxis, the design of which was informed by co-research with pastoralists (1989–1993) and the authors’ engagements with the scholarship of Bateson and Maturana, was employed and adapted as a reflexive in-quiry framework.Conclusion and implications: This inquiry challenges the mainstream desire for change and the belief in getting the communication right in order to achieve change. The authors argue this view is based on an epistemological error that continues to produce the very problems it intends to diminish, and thus we live a fundamental error in epistemology, false ontology, and misplaced practice. The authors offer instead conceptual and praxis possibilities for triggering new co-evolutionary trajectories

Structured Linearization of Discrete Mechanical Systems for Analysis and Optimal Control

Variational integrators are well-suited for simulation of mechanical systems because they preserve mechanical quantities about a system such as momentum, or its change if external forcing is involved, and holonomic constraints. While they are not energy-preserving they do exhibit long-time stable energy behavior. However, variational integrators often simulate mechanical system dynamics by solving an implicit difference equation at each time step, one that is moreover expressed purely in terms of configurations at different time steps. This paper formulates the first- and second-order linearizations of a variational integrator in a manner that is amenable to control analysis and synthesis, creating a bridge between existing analysis and optimal control tools for discrete dynamic systems and variational integrators for mechanical systems in generalized coordinates with forcing and holonomic constraints. The forced pendulum is used to illustrate the technique. A second example solves the discrete LQR problem to find a locally stabilizing controller for a 40 DOF system with 6 constraints.Comment: 13 page

Scenic design as a field for experimentation by architects: the set designs by Herzog & de Meuron and Morphosis

Architecture and set designs have historically shared investigations into the concepts of space, time dimensions, illusion, and reality. This article analyses the scenography projects of architects recognized for the coherence of their conceptual investigation, in order to understand how the stage has enabled the realization of experiments that push their research work forward. Here we investigate the set designs by Herzog & De Meuron for ‘Tristan und Isolde’ (Berlin Opera House, 2006) and ‘Atilla’ (Metropolitan Opera House, 2010), and the set designs by Morphosis for ‘Silent Collisions’ (Venice Dance Biennale, 2003). By crossing over reflections on art, theatre and architecture, by Hal Foster, Rafael Moneo, Beth Weinstein, Chris Salter, Thea Brejzek and the architects themselves, this investigation seeks to base set design and architectural projects in the same conceptual field claimed by each of the architects. In the work of Herzog & De Meuron, the screen and the texture of materials potentiate the lighting designs, raising questions regarding volume and flatness, as well as theatricality and reality. The same questions are experienced on the one hand, in their Dominus Winery, and on the other, in the Ricola pavilion. For Thom Mayne (Morphosis), the sense of time may be stimulated with the light and the memory of pure geometry, when the transformation maintained the “cube” as a reference. They threw light on the same issues in the Cooper Union School (2006) and the Snow Show Pavilion (2004). The works studied reflect in these artistic fields the contemporary notions of uncertainty, virtual perception and time superpositions. They reveal how the nature of theatre has taken architecture and launched it into a study on illusion, space-time and movement or, according to Tschumi, the replacement of utilitas or function by the event.Arquitetura e cenografia têm historicamente compartilhado investigações sobre os conceitos de espaço, dimensões de tempo, ilusão e realidade. Este artigo analisa os projetos de cenografia de arquitetos reconhecidos pela coerência de sua investigação conceitual, a fim de compreender como o palco possibilitou a realização de experimentos que impulsionam seu trabalho de pesquisa. Aqui investigamos as cenografias de Herzog & De Meuron para 'Tristan und Isolde' (Berlin Opera House, 2006) e 'Atilla' (Metropolitan Opera House, 2010), e as cenografias de Morphosis para 'Silent Collisions' (Venice Dance Bienal, 2003). Ao cruzar reflexões sobre arte, teatro e arquitetura, de Hal Foster, Rafael Moneo, Beth Weinstein, Chris Salter, Thea Brejzek e dos próprios arquitetos, esta investigação busca fundamentar cenografia e projetos arquitetônicos no mesmo campo conceitual reivindicado por cada um dos arquitetos. Na obra de Herzog & De Meuron, a tela e a textura dos materiais potencializam os projetos de iluminação, levantando questões sobre volume e planaridade, além de teatralidade e realidade. As mesmas questões são vivenciadas por um lado, na Adega Dominus, e por outro, no pavilhão Ricola. Para Thom Mayne (Morphosis), o sentido do tempo pode ser estimulado com a luz e a memória da geometria pura, quando a transformação mantém o “cubo” como referência. Eles lançaram luz sobre as mesmas questões na Cooper Union School (2006) e no Snow Show Pavilion (2004). As obras estudadas refletem nestes campos artísticos as noções contemporâneas de incerteza, percepção virtual e superposições de tempo. Eles revelam como a natureza do teatro tomou a arquitetura e a lançou em um estudo sobre ilusão, espaço-tempo e movimento ou, segundo Tschumi, a substituição de utilitas ou função pelo evento