Plastic Glory

In ancient times, humans used drawing on walls as a way to express their emotions and thoughts. Then, cameras were invented to pursue that purpose through photos and videos in sharper images. And now we do animation, not just because it is pretty, but also because it is the tool that allows us to freely speak our minds, without being bothered by what we can and what we cannot do in film! There is a Lebanese thinker, poet, artist and writer named Jubran Khaleel Jubran, who has always inspired me with his artworks and specifically his poems. Mysteriously, there was something about his writings that I did not like so much. His thoughts were astonishing, but what made his thoughts less amazing to me was the fabulous poetic writing he descried his thoughts with. My feeling about his style eventually taught me that when we have strong ideas, simplicity in expressing them becomes the best vessel that delivers the thoughts, which leads to success. However, failure is certain when the ideas are too simple. Filmmakers should think big, plan bigger and act simple. I might have passed the simplicity line in my thesis, but I kept that idea of simplicity in my mind and I am sure it helped me making my film go as simple as possible, rather than ending up with a film that is impossible to accomplish. Plastic can mean either the material of toys or other objects, or the meaning of the word fake . The main story of Plastic Glory is about plastic soldiers who die for a glory that is fake . It is fake because it promises that soldiers die only when necessary, for the glory of their country. But what happens is that soldiers always die, unfortunately only for the glory of those who control them and, in the most cases, care more about getting promoted than choosing to keep their troops alive. The film is about plastic toy soldiers in battle, firing at each other, bombing each other in a way that mimics real battles and wars, only without blood, smoke or fire. Such an approach makes more room for the imagination of the audience where they can fill in what they do not see with what they know and perceive. It also makes the film appropriate for kids to watch, while safely passing the idea to them that war is merely a mean killing machine. And the most unfortunate victims of the violence that is delivered through the toy soldiers are the kids

Human experience in the natural and built environment : implications for research policy and practice

22nd IAPS conference. Edited book of abstracts. 427 pp. University of Strathclyde, Sheffield and West of Scotland Publication. ISBN: 978-0-94-764988-3

Tangible user interfaces : past, present and future directions

In the last two decades, Tangible User Interfaces (TUIs) have emerged as a new interface type that interlinks the digital and physical worlds. Drawing upon users' knowledge and skills of interaction with the real non-digital world, TUIs show a potential to enhance the way in which people interact with and leverage digital information. However, TUI research is still in its infancy and extensive research is required in or- der to fully understand the implications of tangible user interfaces, to develop technologies that further bridge the digital and the physical, and to guide TUI design with empirical knowledge. This paper examines the existing body of work on Tangible User In- terfaces. We start by sketching the history of tangible user interfaces, examining the intellectual origins of this field. We then present TUIs in a broader context, survey application domains, and review frame- works and taxonomies. We also discuss conceptual foundations of TUIs including perspectives from cognitive sciences, phycology, and philoso- phy. Methods and technologies for designing, building, and evaluating TUIs are also addressed. Finally, we discuss the strengths and limita- tions of TUIs and chart directions for future research

Virtual reality based multi-modal teleoperation using mixed autonomy

The thesis presents a multi modal teleoperation interface featuring an integrated virtual reality based simulation aumented by sensors and image processing capabilities onboard the remotely operated vehicle. The virtual reality interface fuses an existing VR model with live video feed and prediction states, thereby creating a multi modal control interface. Virtual reality addresses the typical limitations of video-based teleoperation caused by signal lag and limited field of view thereby allowing the operator to navigate in a continuous fashion. The vehicle incorporates an on-board computer and a stereo vision system to facilitate obstacle detection. A vehicle adaptation system with a priori risk maps and real state tracking system enables temporary autonomous operation of the vehicle for local navigation around obstacles and automatic re-establishment of the vehicle\u27s teleoperated state. As both the vehicle and the operator share absolute autonomy in stages, the operation is referred to as mixed autonomous. Finally, the system provides real time update of the virtual environment based on anomalies encountered by the vehicle. The system effectively balances the autonomy between the human operator and on board vehicle intelligence. The reliability results of individual components along with overall system implementation and the results of the user study helps show that the VR based multi modal teleoperation interface is more adaptable and intuitive when compared to other interfaces

Captured Artifacts

My art examines the possible existence of an unknown civilization through the presentation of sculptural art objects within the conventional practice of displaying artifacts in a public institution. Historically, artifacts have served as visual records of journeying to and returning from a far-away land, unknown territory, alien soil, or enemy battlefield. Whether that place is tangible or is a fabrication of our subconscious, the presence of an artifact represents validation of the existence of that place. When displayed, artifacts offer a pleasurable challenge to the viewer by evoking the possibilities of a lost civilization or adventurer\u27s journey. I employ these concepts in a mixed-media installation of sculptural artworks titled Captured Artifacts. In this installation, the juxtaposition of the known with the unknown causes one to pontificate an unfathomable happenstance: the actual possibility of an unknown culture existing beyond the known civilization

Intellectual Property in Experience

In today’s economy, consumers demand experiences. From Star Wars to Harry Potter, fans do not just want to watch or read about their favorite characters— they want to be them. They don the robes of Gryffindor, flick their wands, and drink the butterbeer. The owners of fantasy properties understand this, expanding their offerings from light sabers to the Galaxy’s Edge®, the new Disney Star Wars immersive theme park opening in 2019. Since Star Wars, Congress and the courts have abetted what is now a $262 billion-a-year industry in merchandising, fashioning “merchandising rights” appurtenant to copyrights and trademarks that give fantasy owners exclusive rights to supply our fantasy worlds with everything from goods to a good time. But are there any limits? Do merchandising rights extend to fan activity, from fantasy-themed birthday parties and summer camps to real world Quidditch leagues? This Article challenges the conventional account, arguing that as the economic value of fantasy merchandising increases in the emergent “experience economy,” intellectual property owners may prove less keen on tolerating uncompensated uses of their creations. In fact, from Amazon’s Kindle Worlds granting licenses for fan fiction, to crackdowns on sales of fan art sold on internet sites like Etsy, to algorithms taking down fan videos from YouTube, the holders of intellectual property in popular fantasies are seeking to create a world requiring licenses to make, do, and play. This Article turns to social and cultural theories of art as experience, learning by doing, tacit knowledge, and performance to demonstrate that fan activity, from discussion sites to live-action role-playing fosters learning, creativity, and sociability. Law must be attentive to the profound effects these laws have on human imagination and knowledge creation. I apply the insights of these theories to limit merchandising rights in imaginative play through fair use, the force in the legal galaxy intended to bring balance to intellectual property law

Contemporary Kitsch: An examination through creative practice

This exegesis examines the theoretical concept of contemporary kitsch within a creative practice that incorporates sculptural and installation art. Kitsch is a distinct aesthetic style. Once designated to the rubbish bin of culture, kitsch was considered to be low class, bad taste cheap fakes and copies (Greenberg, 1961; Adorno & Horkheimer, 1991; Calinescu, 1987; Dorfles, 1969). I argue, however, that this is no longer the case. This research critically examines the way in which contemporary kitsch now plays a vital and positive role in social and individual aesthetic life. Although there are conflicting points of view and distinct variations between recent cultural commentators (Olalquiaga, 1992; Binkley, 2000; Attfield, 2006) on what kitsch is, there is a common sentiment that “the repetitive qualities of kitsch address . . . a general problem of modernity” (Binkley, p. 131). The research aligns the repetitive qualities to what sociologist Anthony Giddens (1991) refers to as “dissembeddedness” (1991) or “the undermining of personal horizons of social and cosmic security” (Binkley, 1991, p.131). The research investigates: how the sensory affect of sentimentality imbued in the kitsch experiences, possessions and material objects people covet and collect, offer a way of the individual moving from disembeddedness to a state of being re-embedded; and locates the ways in which the artist can facilitate the re-embedding experience. Through this lens it is demonstrated that kitsch has become firmly rooted in our “lifeworlds” (Habermas, 1971), as an aesthetic that reveals “how people make sense of the world through artefacts” (Attfield, 2006, p. 201) and everyday objects; that the sensory affect of sentimentality on connections to possessions and material objects that contemporary kitsch offers is shared across cultures and societie

UNCAGED: a novel, ‘telesymbiotic’ approach to bridge the divide between the physical world and the virtual world of computers?

The main subject of this thesis is my artistic project UNCAGED, which explores interrelationships and transitions between computer-based virtual environments and their immediate physical surroundings. The underlying motivation behind my approach was to ‘uncage’ screen-based realities from the confines of their digital existence and to bring the remote computer world closer to our human experience. In particular, my work was opposed to the notion of immersive ‘virtual reality’ where the physical world is more or less excluded from the participants, but instead attempted to situate the virtual domain within the physical world. Initially, I will discuss the theoretical framework behind UNCAGED, ranging from aesthetic considerations, the particular role of sound, human computer interaction (HCI) to technical issues, and afterwards describe the creation process of UNCAGED. Based on a study of audience behaviour with UNCAGED at a major London museum, I will claim that the work’s popularity seems to relate to its perceptually intriguing fusion between the virtual domain and the physical world, and in this respect my project can be deemed successful. Furthermore, on the basis of an extended review and analysis of related work in the broad area of ‘mixed reality’, I will suggest that my own approachcan indeed be viewed as a novel way to bridge the divide between the physical world and the virtual world of computers. The innovation relates, in particular, to its unique balance of formal simplicity and technical sophistication. In the last chapter, I will provide a more critical evaluation of UNCAGED, largely informed by Jean Baudrillard’s conception of the ‘real’ and the ‘virtual’, which raises questions about the very idea of integrating digital technology in our lives in a meaningful and satisfying way. Finally, I will present my subsequent practical work, which strongly engages with my critical reflections on UNCAGED. In particular, it is informed by a new heightened sensitivity regarding the role of digital technology in my artistic practice