Terra Incognita

Seduction is not about the culmination or gratification of desire; it is about the thrill of the desire itself. I am the architect of my own wonderland, creating ‘Terra Incognita’— unknown or unexplored territory— through my large scale compositions. I compose my acoustic map with expressive mark making to enhance the experience of movement, space, and perception through the abstract structure. Interlocked with the expressive marks, I pull from music theory to create controlled nonsense, developing an overwhelming geometric pattern that translates sound through movement of time. Where there is order there is language— if you explore, you get rewarded with new findings, just as you are reading a map to depict a code, or reading a clock, counterclockwise. Visualizing this experience of sound in the monochromatic composition, is shown through altering shapes to create abstracted human form within industrial structures to put the viewer in a metaphysical sense of place and rhythm. I am developing a map that seduces you into a garden of euphoria—the essence of Mushin. Communicating movement of vibrations through the act of repetition of design rules, type as form, and musical notation to represent the chaos in our organic environment versus industry. I manipulate the gestural lines to disconnect us with the familiar, taking us into a visual vocabulary of architecture. Using a process of layering reductively and additively is how I deconstruct the perception of my large scale composition with multi media—screen print, wood cut, drawing, painting, bookbinding, and sculptural installation.https://digitalcommons.murraystate.edu/art498/1068/thumbnail.jp

Models of Neutrino Masses and Mixings

Pocket guide to Terra Incognita of the ``Planisphaerium Neutrinorum'' (http://www.ba.infn.it/~now2004/) by Eligio Lisi. Includes a survival kit for the Ue3 territory and a first-aid package for the case of maximal atmospheric mixing angle.Comment: Adapted from talks given at ``Neutrino 2004'', June 14-19, Paris and ``Now 2004'', September 11-17, Conca Specchiulla (Otranto, Italy

5.3 Terra Incognita

Rampike Vol. 5 / No. 3 (Terra Incognita issue): Pierre-André Arcand, Hank Bull, Giovanni Fontana, Noel Harding, R. Murray Schafer, Paul Dutton, Christopher Dewdney, Steve McCaffery, Aina Tilups, Susan Parker, Richard F. Purdy, George Bowering, Brian Edwards, Philippe Sollers, Marina LaPalma, Charles Bernstein, Michael Dennis, Giorgio Manganelli, Roberto Echavarren, Alicia Borinsky, Saul Yurkievich, Juan Cameon, Al Purdy, R. Barretto-Rivera, Richard Martel, Andre Tcetera, Ed Bloomberg, Alan Lord, Monty Cantsin, Gary Paul, Robert Harris, Harry Polkinhorn, Jurgen O. Olbrich, Ian Chunn, Robert C. Morgan, David UU, Larry Baiden, George Honecker, Thomas M. McDade, Melody Sumner, Nancy Zboch, Karl Mickel, Uwe Kolbe, Istvan Eorsi, Tillye Boesche-Zacharow, Imre Orvecz, Line McMurray, Jones, Jon Cone, Guillermo Deisler, Chris Magwood, Cheryl Kitts, Jim Francis, Maxine Gadd, James Gray, Nancy Johnson, Shelagh Alexander, Barbara Kruger, Opal L. Nations. Cover Art: Christopher Dewdney

Recognition in Terra Incognita

It is desirable for detection and classification algorithms to generalize to unfamiliar environments, but suitable benchmarks for quantitatively studying this phenomenon are not yet available. We present a dataset designed to measure recognition generalization to novel environments. The images in our dataset are harvested from twenty camera traps deployed to monitor animal populations. Camera traps are fixed at one location, hence the background changes little across images; capture is triggered automatically, hence there is no human bias. The challenge is learning recognition in a handful of locations, and generalizing animal detection and classification to new locations where no training data is available. In our experiments state-of-the-art algorithms show excellent performance when tested at the same location where they were trained. However, we find that generalization to new locations is poor, especially for classification systems. (The dataset is available at https://beerys.github.io/CaltechCameraTraps/

Recognition in Terra Incognita

It is desirable for detection and classification algorithms to generalize to unfamiliar environments, but suitable benchmarks for quantitatively studying this phenomenon are not yet available. We present a dataset designed to measure recognition generalization to novel environments. The images in our dataset are harvested from twenty camera traps deployed to monitor animal populations. Camera traps are fixed at one location, hence the background changes little across images; capture is triggered automatically, hence there is no human bias. The challenge is learning recognition in a handful of locations, and generalizing animal detection and classification to new locations where no training data is available. In our experiments state-of-the-art algorithms show excellent performance when tested at the same location where they were trained. However, we find that generalization to new locations is poor, especially for classification systems. (The dataset is available at https://beerys.github.io/CaltechCameraTraps/

Into the Unknown: Navigating Spaces, Terra Incognita and the Art Archive

This paper is a navigation across time and space – travelling from 16th century colonial world maps which marked unknown territories as Terra Incognita, via 18th century cabinets of curiosities; to the unknown spaces of the Anthropocene Age, in which for the first time we humans are making a permanent geological record on the earth’s ecosystems. This includes climate change. The recurring theme is loss and becoming lost. I investigate what happens when someone who is lost attempts to navigate and find parallels between Terra Incognita and the art archive, and explore the points where mapping, archiving and collecting intersect. Once something is perceived to be at risk, the fear of loss and the impulse to preserve emerges. I investigate why in the Anthropocene Age we have a stronger impulse to the archive and look to the past, rather than face the unknowable effects of climate change. This is counterpointed by artists, whose hybrids practices engage with re-imaging and re-imagining today’s world, thereby moving us forward into the unknown. ‘Becoming’ is therefore another central theme. The art archive is explored from multiple perspectives – as an artist, an art archive user and an archivist – noting that the subject, the consumer and the archivist all have very differing agendas. I question who uses physical archives today and how we can retain our sense of curiosity. I conclude with a link to an interactive artwork, which visualises, synthesises and expands this research

Lab UA: Terra Incognita

Panel: The Shape of Your Paragraph: Genre and Its Constraint