高速ミラーアクチュエータを用いたモーションブラーフリー高速度カメラに関する研究

広島大学(Hiroshima University)博士(工学)Doctor of Engineeringdoctora

Radiant Sites: Projection and the Mobile Spectator in Contemporary Moving-Image Installations

This dissertation examines contemporary moving-image installations that use projected images to expand and elaborate upon the cinematic experience. It focuses on works by Douglas Gordon (b. 1966), Jim Campbell (b. 1956), and the partnered artists Janet Cardiff (b. 1957) and George Bures-Miller (b. 1960), all of whom have reconfigured the classical cinematic system of viewing since the 1990s. Through their works, I trace the term “expanded cinema” as a literal extension of projected light from the screen into the open gallery and beyond. I argue that the term “projection” – as thrown light, mental anticipation, and moving bodies – brings together cinema’s apparatus, text, and reception as a cohesive experience. These artists transport their light-based images to the gallery, exposing the projected image to mobile spectators, as well as to lighting conditions less conducive to a clear picture. However, the works I will discuss also maintain an explicit connection to the theatrical projection of narrative film. As these artists expand the exhibition spaces of cinema from theater to gallery, they also converge numerous cinematic formats, including celluloid film, magnetic videotape, digital video, still photography, and dynamic audio. I offer “projection” as a term which tethers the myriad trajectories of cinema’s expansion back to its apparatus, and even to the mobile spectator. Beyond the light phenomenon, I also draw from psychoanalytic theories of projection, especially relevant given its foundational contribution to film theory since the 1970s by authors such as Laura Mulvey, Christian Metz, and Mary Ann Doane. Furthermore, the “suture” theory of Kaja Silverman and others offers a link between classical Hollywood editing conventions and the spatial orientation of the gallery spectator. From these theorists, I ultimately offer a notion of the projecting viewer, a physically active version of the “embodied viewer” as conceived by phenomenological film theorist Vivian Sobchack. By observing their similarities to the common multiplex, art house, or even living rooms, these otherwise uprooted screens reveal in fleeting flickers traces of what we might intuitively call “the cinematic.

Ecocinema Theory and Practice 2

This second volume builds on the initial groundwork laid by Ecocinema Theory and Practice by examining the ways in which ecocritical cinema studies have matured and proliferated over the last decade, opening whole new areas of study and research. Featuring fourteen new essays organized into three sections around the themes of cinematic materialities, discourses, and communities, the volume explores a variety of topics within ecocinema studies from examining specific national and indigenous film contexts to discussing ecojustice, environmental production studies, film festivals, and political ecology. The breadth of the contributions exemplifies how ecocinema scholars worldwide have sought to overcome the historical legacy of binary thinking and intellectual norms and are working to champion new ecocritical, intersectional, decolonial, queer, feminist, Indigenous, vitalist, and other emergent theories and cinematic practices. The collection also demonstrates the unique ways that cinema studies scholarship is actively addressing environmental injustice and the climate crisis. This book is an invaluable resource for students and scholars of ecocritical film and media studies, production studies, cultural studies, and environmental studies

Ecocinema Theory and Practice 2

This second volume builds on the initial groundwork laid by Ecocinema Theory and Practice by examining the ways in which ecocritical cinema studies have matured and proliferated over the last decade, opening whole new areas of study and research. Featuring fourteen new essays organized into three sections around the themes of cinematic materialities, discourses, and communities, the volume explores a variety of topics within ecocinema studies from examining specifc national and indigenous flm contexts to discussing ecojustice, environmental production studies, flm festivals, and political ecology. The breadth of the contributions exemplifes how ecocinema scholars worldwide have sought to overcome the historical legacy of binary thinking and intellectual norms and are working to champion new ecocritical, intersectional, decolonial, queer, feminist, Indigenous, vitalist, and other emergent theories and cinematic prac-tices. The collection also demonstrates the unique ways that cinema studies scholarship is actively addressing environmental injustice and the climate crisis. This book is an invaluable resource for students and scholars of ecocritical flm and media studies, production studies, cultural studies, and environmental studies.https://cupola.gettysburg.edu/books/1181/thumbnail.jp

Preliminary Electrical Designs for CTEx and AFIT Satellite Ground Station

This thesis outlines the design of the electrical components for the space-based ChromoTomography Experiment (CTEx). CTEx is the next step in the development of high-speed chromotomography at the Air Force Institute of Technology. The electrical design of the system is challenging due to the large amount of data that is acquired by the imager and the limited resources that is inherent with space-based systems. Additional complication to the design is the need to know the angle of a spinning prism that is in the field of view very precisely for each image. Without this precise measurement any scene that is reconstructed from the data will be blurry and incomprehensible. This thesis also outlines how the control software for the CTEx space system should be created. The software ow is a balance of complex real time target pointing angles and simplicity to allow the system to function as quick as possible. This thesis also discusses the preliminary design for an AFIT satellite ground station based upon the design of the United States Air Force Academy\u27s ground station. The AFIT ground station will be capable of commanding and controlling satellites produced by USAFA and satellites produced by a burgeoning small satellite program at AFIT

Ecocinema Theory and Practice 2

This second volume builds on the initial groundwork laid by Ecocinema Theory and Practice by examining the ways in which ecocritical cinema studies have matured and proliferated over the last decade, opening whole new areas of study and research. Featuring fourteen new essays organized into three sections around the themes of cinematic materialities, discourses, and communities, the volume explores a variety of topics within ecocinema studies from examining specific national and indigenous film contexts to discussing ecojustice, environmental production studies, film festivals, and political ecology. The breadth of the contributions exemplifies how ecocinema scholars worldwide have sought to overcome the historical legacy of binary thinking and intellectual norms and are working to champion new ecocritical, intersectional, decolonial, queer, feminist, Indigenous, vitalist, and other emergent theories and cinematic practices. The collection also demonstrates the unique ways that cinema studies scholarship is actively addressing environmental injustice and the climate crisis. This book is an invaluable resource for students and scholars of ecocritical film and media studies, production studies, cultural studies, and environmental studies

open / close: assimilating immersive spaces in visual communication

I am interested in two spaces obverse to each other: open and closed. An open space develops organically based on how people inhabit it. Interacting with an open space is a dynamic, sporadic, multisensory, immersive, and subjective experience. In such spaces, we are confronted with an alternative aesthetic, one that is in conflict with the seamlessness of a closed space. A closed space is anchored on definite variables like structure, use and boundaries. While interaction between people and space is important, the space is tightly controlled and interaction is designed. Through this thesis project, I present a method that metaphorically transforms the experience of a walk through a closed space into an open-ended and immersive experience. When space develops as a response to our actions, it affords intimacy and a sense of belonging. It facilitates deeper expressiveness through engagement. By applying a method that uses fragmentation, recurrence and motion, I am metaphorically transforming an urban closed space to open. Through this transformation I am creating a fresh person-space dialogue that temporarily destabilizes perception and encourages physical sensation which allows for an intimate experience of the space. An immersive interaction with an open space transgresses the urban sterility of a closed space and is capable of creating a diversity of distinct experiences

How can structural film expand the language of experimental ethnography?

This research question 'How can structural film expand the language of experimental ethnography?' considers the potential cross-fertilisation of a structural film practice with experimental ethnography to challenge dominant assumptions about cultural representation in anthropology and to suggest ways in which anthropology can actively interrogate visual systems as a means of renewing the avant-gardism of structural film. Thus this study asks what a structural–materialist project mostly connected with the 1960s and 1970s could contribute to contemporary ethnography if issues of anthropological representation were allowed to penetrate field of vision and what new forms of representation occur where the textual embodiment of authority in fieldwork studies becomes the subject of a structural film. This includes the crossover of these terms with minimal and conceptual art, experimental aesthetic systems and/or artworks that blur fact and fiction. These theoretical parameters are then explored through practice in an installation proposal The Autonomous Object? and a single screen work The Exception and the Rule. The Autonomous Object? takes as its subject the boundary between documentary and performance, the raw realism of the photographic image and the sculptural qualities of the monochrome. The Exception and the Rule proposes that the viewer experience representational issues at stake in anthropology and structural film, a transfer of emphasis from what a film’s subject ‘is’ to how a film’s subject is seen. Both works gather geo/political urgency due to the current civil unrest in Pakistan and India, where they were primarily filmed. The resulting question as to how one makes a political film foregrounds the multi-layered and complex relationship between art, politics and language that has led to The Museum of non Participation, the future body of work that concludes this thesis