Nexus, Winter 2003

Nexus is a magazine that began as an insert in the Wright State Guardian student newspaper in 1965 and has since been published semi-regularly. It began only accepting creative writing, but has since expanded to include illustrations, photography and other non-written art forms. Today, it is published in a digital format and accepts submissions from around the country, though it maintains its commitment to the Wright State Community.https://corescholar.libraries.wright.edu/nexusliteraryjournal/1099/thumbnail.jp

An OpenISS Framework Specialization for Deep Learning-based Person Re-identification

Person detection and person re-identi�cation are rapidly increasing research areas in computer vision. They are independent but related. In fact, the output of person detection is the input of person re-identi�cation. There are a certain number of solutions for each of these two individual tasks. But currently, there is no existing solution that can combine them to form an integrated working pipeline. To �ll the gap, we propose a highly modular and structural framework solution that provides the functionalities including not only cross-language invocation and pipeline execution mechanism but also viewer, device, tracker, detector, and recognizer abstraction. We instantiate the proposed framework to achieve our goal of tracking the same person across multiple cameras, which essentially is the combination of person detection and person re-identi�cation. Besides the main task of person re-identi�cation, we also support skeleton tracking, as well as camera calibration, image alignment and green screen image which commonly comes with a computer vision framework. We evaluate our proposed solution according to the requirements and usage scenarios and report the major metrics used by the research community for person detection and person re-identi�cation tasks, respectively

Non/Disclosure: Documentation and Participant Observation as Hybrid, Nonfiction, Artistic Research Methodology for Ethnographic Media Production, Contemplative Discovery, Social Practice and Catharsis

As if presaged by the physical, fine and philosophical arts that preceded it, the amelioration to the process of documenting the wonted human existence, political strife, and sundry cultural phenomena through the neo-normative medium of film (and eventually digital video) inaugurated the true scope and importance of anthropological research among a vastly wider audience who would use it, and its intrinsic capacity for the augmentation of artistic expression, to proliferate an expansive accompaniment to the field which would all become recognized platforms for demonstrative presentation of individual oeuvres. Intermedia has worked in this way to amalgamate concepts like Futurism, Dadaism, and other expressionist movements within (and yet intentionally excluding) fine art. Film and video, while maintained as the mediums of choice for this author’s preference for creative and professional praxis, are discussed herein, as well as the other, more intermedial, forms of creative articulation which have been used explicitly throughout the latter half of graduate study in the program if its namesake. As a lifelong visual media enthusiast, this author has witnessed the paradigm shift of mediums like photography, videography and multimedia design evolving from analog instrumentation to the digital spectrum of non-mechanized vehicles of expression. Having not only maintained a long held fascination with these media, but also a vested interest in the avenues which they forge, this author considers himself fortunate to be counted as an observational proponent of the exhaustive, global, artifactual transposition consistent with no other industry over the same period of recent years. The purpose of the discussion directly related to that digital medium within the context of this paper is to more definitively characterize this author’s contributions to the substance and content of that pool of collective change - and the effect that change has imposed on his individual work as it relates to programmatic and academic scholarship. This is, herein, referenced as the prior half of those programmatic studies. On the whole, the components of the ensuing discussion will also draw in the latter half of progression through the Intermedia program, wherein this author was faced with two extreme challenges: a life-changing, personal attack in the midst of an accelerated terminal graduate curriculum; and the apposite realization that Intermedia, and not necessarily the creative medium with which this author has spent the bulk of his professional and creative life becoming familiar, was the consummate medium necessary to address and overcome that traumatic event - which momentously presented the opportunity to gerrymander the circumstances to the benefit of the thesis work found below (as well as a wide swathe of lagniappes inadvertently proffered as a result in other spheres of personal and professional life). As such, this paper will be framed by two constituent methodological discussions: Section One: Visual Multimedia, and Section Two: Intermedial Adaptations. Each will work to bring specific conclusivity to the implications admitted of their appellation and demonstrate how the major contributing factors to each such subset of praxis have informed the evolution of this author’s most contemporary practice. Additionally, each will employ a notion of exposition incongruent with the other segment, detailing individualistic development specific to that work. The third and concluding section, which will lend itself to particularizing the composite commonality of individual works, the discussion of their historiographic endowments, and the unifying factors of their generally misapprehended miscellany, will draw on the collective evolution and distill the subsequent objectives upon which the same contemporaneous successes have garnered educational momentum

Really: towards a photorealist ontology of facticity

The overall aim of this investigation is to present a more detailed reading and analysis of 1970s American Photorealism than has been offered by historians and theorists to date. To this end, the thesis reveals and develops the ontological significance of the complex of `mundane facts' which comprises Photorealist painting: a layered complex of facts which I summarise throughout the thesis as the `facticity' of the Photorealist artwork.In order to develop a more comprehensive understanding of Photorealism on an ontological level, the thesis attends to the four layers which make up all Photorealist paintings, namely: i) the copied photographic `facts' which comprise the final painting; ii) the plastic `facts' of the paintings and the methods of their construction; iii) the `matter -of- fact', quotidian subject matter; and iv) the `(f)act' of beholding the paintings. This analysis is founded on a critical discussion of the three seemingly conflicting art theory components inherent in Photorealist painting: the `artless', `objective' photograph; the mechanistic Minimalist construction; and the Pop iconography.By contending with the peculiar theoretical tensions within the layers of mundane facts, this thesis demonstrates a deeper reading of these seemingly superficial paintings of photographs, and argues for Photorealism to be regarded as a form of painting which brilliantly, and critically, conjoins `the Real' & `the Minimal', the photographic & the handmade: deliberate paradoxes which reveal as much about present visual ontologies as they do the debates and frictions between the pictorial and the non -representational which surrounded their making. At this level the investigation is ultimately concerned with the extended meanings of that artwork which gives again, in meticulous, painstaking detail, the quotidian world in which it and the viewer are situated

An overview of artificial intelligence and robotics. Volume 1: Artificial intelligence. Part B: Applications

Artificial Intelligence (AI) is an emerging technology that has recently attracted considerable attention. Many applications are now under development. This report, Part B of a three part report on AI, presents overviews of the key application areas: Expert Systems, Computer Vision, Natural Language Processing, Speech Interfaces, and Problem Solving and Planning. The basic approaches to such systems, the state-of-the-art, existing systems and future trends and expectations are covered

Networks for art work: an analysis of artistic creative engagements with new media standards

The principle objective of this study is to examine the culture of networks that are implicated in the production of culture, specifically as it pertains to artists' design and use of digitally networked information and communication technologies (ICTs) for the production of artworks. The analysis in this study seeks to reveal a better understanding of the working practices that underpin artists' creative engagements with new media while recognising the significance of discursive continuities that inform such engagements. Theoretically, a case is presented for combining several theoretical perspectives into a multilayered conceptual framework for examining the circulation of power as it relates both to artistic creativity and to technological innovation. The former is accomplished through a critical assessment of the production of culture theoretical tradition. In calling upon concepts of discursive conduct as a means of developing relations of power, the concept of maverickness is proposed to understand how certain artists do not necessarily bring about change in an art world but instead dedicate themselves to the production of artistic creativity through a contention among various conventions. The latter is problematised drawing upon theories of mediation to develop a model of the conversion and classification of new media standards into art world conventions. A novel methodological approach is developed based on the development of multiple biographical threads of an individual and of a technology within a single case study of an art world network. Empirically, the thesis contributes insights into the diverse end contingent collective work practices involved in the design and use of ICTs by artists for the production of artworks. The findings suggest that individual artists are able to develop designer roles consistent with their situated understandings of creative conduct for modifying aspects of the ICT infrastructure despite shifting technological and social new media standards. However, in order to coordinate such roles within wider collective social structures, artists also initiate forms of mediation, articulation, and classification work that extend beyond the production of artworks and into attempts at programming art world networks within which such artworks were produced and distributed

European Avant-Garde: Art, Borders and Culture in Relationship to Mainstream Cinema and New Media

This research analyses the impact of transformation and hybridization processes at the intersection of art, science and technology. These forms of transformation and hybridization are the result of contemporary interactions between classic and digital media. It discusses the concept of 'remediation' presented by Bolter and proposes the concept of 'digital ekphrasis,' which is based on Manovich' s analyses of the interactions between classic and digital media. This is a model which, borrowed from semiotic structures, encompasses the technical as well as aesthetic and philosophical transformations of contemporary media. The thesis rejects Baudrillard's and Virilio's proposed concepts of 'digital black hole' as the only possible form of evolution of contemporary digital media. It proposes a different concept for the evolutionary model of contemporary hybridization processes based on contemporary forms of hybridizations that are rooted in aesthetic, philosophical and technological developments. This concept is argued as emancipated from the 'religious' idea of a 'divine originated' perfect image that Baudrillard and Virilio consider to be deteriorated from contemporary hybridization experimentation. The thesis proposes, through historical examples in the fine arts, the importance of transmedia migrations and experimentations as the framework for a philosophical, aesthetic and technological evolutionary concept of humanity freed from the restrictions of religious imperatives

Spartan Daily, September 21, 1995

Volume 105, Issue 15https://scholarworks.sjsu.edu/spartandaily/8730/thumbnail.jp

Beasts of the Modern Imagination

Originally published in 1985. Beasts of the Modern Imagination explores a specific tradition in modern thought and art: the critique of anthropocentrism at the hands of "beasts"—writers whose works constitute animal gestures or acts of fatality. It is not a study of animal imagery, although the works that Margot Norris explores present us with apes, horses, bulls, and mice who appear in the foreground of fiction, not as the tropes of allegory or fable, but as narrators and protagonists appropriating their animality amid an anthropocentric universe. These beasts are finally the masks of the human animals who create them, and the textual strategies that bring them into being constitute another version of their struggle. The focus of this study is a small group of thinkers, writers, and artists who create as the animal—not like the animal, in imitation of the animal—but with their animality speaking. The author treats Charles Darwin as the founder of this tradition, as the naturalist whose shattering conclusions inevitably turned back on him and subordinated him, the rational man, to the very Nature he studied. Friedrich Nietzsche heeded the advice implicit in his criticism of David Strauss and used Darwinian ideas as critical tools to interrogate the status of man as a natural being. He also responded to the implications of his own animality for his writing by transforming his work into bestial acts and gestures. The third, and last, generation of these creative animals includes Franz Kafka, the Surrealist artist Max Ernst, and D. H. Lawrence. In exploring these modern philosophers of the animal and its instinctual life, the author inevitably rebiologizes them even against efforts to debiologize thinkers whose works can be studied profitably for their models of signification