The Deconstruction of the Screens Limits and Frames in Moving Image Installations

UIDB/05021/2020 UIDP/05021/2020n the view of the continuous transformations in the structures of production, distribution and consumption of images, concepts such as expanded cinema or cinema of exhibition enlarged the spectrum of cinema to the contemporary art, which has also become a space to meditate about the fate of the cinematographic device. From a trans-historical and interdisciplinary approach – going from the pictorial perspectiva artificiallis to the pre-cinematographic instruments, cinema, and contemporary art – this paper seeks to reflect, by using the historical metaphor of the window, on the volatility and multiplicity of contemporary screens and their influence on today’s modes of vision. The paper also addresses the changes undergone in the image’s frames and the consequent paradigm shift in how the viewer physically relates with these images, summoning the work of the Portuguese artist Alexandre Estrela to consider the perceptive, cognitive and topological reconfigurations in the moving-image exhibition formats in museums and art galleries.publishersversionpublishe

Narratives of ocular experience in interactive 360° environments

The purpose of this research project was to examine how immersive digital virtual technologies have the potential to expand the genre of interactive film into new forms of audience engagement and narrative production. Aside from addressing the limitations of interactive film, I have explored how interactive digital narratives can be reconfigured in the wake of immersive media. My contribution to knowledge stems from using a transdisciplinary synthesis of the interactive systems in film and digital media art, which is embodied in the research framework and theoretical focal point that I have titled Cynematics (chapter 2). Using a methodology that promotes iterative experimentation I developed a series of works that allowed me to practically explore the limitations of interactive film systems that involve non-haptic user interaction. This is evidenced in the following series of works: Virtual Embodiment, Narrative Maze, Eye Artefact Interactions and Routine Error - all of which are discussed in chapter 4 of this thesis. Each of these lab experiments collectively build towards the development of novel interactive 360° film practices. Funneling my research towards these underexplored processes I focused on virtual gaze interaction (chapters 4-6), aiming to define and historically contextualise this system of interaction, whilst critically engaging with it through my practice. It is here that gaze interaction is cemented as the key focus of this thesis. The potential of interactive 360° film is explored through the creation of three core pieces of practice, which are titled as follows: Systems of Seeing (chapter 5), Mimesis (chapter 6), Vanishing Point (chapter 7). Alongside the close readings in these chapters and the theoretical developments explored in each are the interaction designs included in the appendix of the thesis. These provide useful context for readers unable to experience these site-specific installations as virtual reality applications. After creating these systems, I established terms to theoretically unpack some of the processes occurring within them. These include Datascape Mediation (chapter 2), which frames agency as a complex entanglement built on the constantly evolving relationships between human and machine - and Live-Editing Practice (chapter 7), which aims to elucidate how the interactive 360° film practice designed for this research leads to new way of thinking about how we design, shoot and interact with 360° film. Reflecting on feedback from exhibiting Mimesis I decided to define and evaluate the key modes of virtual gaze interaction, which led to the development of a chapter and concept referred to as The Reticle Effect (chapter 6). This refers to how a visual overlay that is used to represent a user's line of sight not only shapes their experience of the work, but also dictates their perception of genre. To navigate this, I combined qualitative and quantitative analysis to explore user responses to four different types of gaze interaction. In preparing to collect this data I had to articulate these different types of interaction, which served to demarcate the difference between each of these types of gaze interaction. Stemming from this I used questionnaires, thematic analysis and data visualisation to explore the use and response to these systems. The results of this not only supports the idea of the reticle effect, but also gives insight into how these different types of virtual gaze interaction shape whether these works are viewed as games or as types of interactive film. The output of this allowed me to further expand on interactive 360° film as a genre of immersive media and move beyond the realm of interactive film into new technological discourses, which serves to validate the nascent, yet expansive reach of interactive 360° film as a form of practice. The thesis is concluded by framing this research within the wider discourse of posthuman theory as given that the technologies of immersive media perpetuate a state of extended human experience - how we interact and consider the theories that surround these mediums needs to be considered in the same way. The practice and theory developed throughout this thesis contribute to this discourse and allow for new ways of considering filmic language in the wake of interactive 360° film practice

From Edwardian Selfie to Telepresent Comic

Drawing on the media archaeology accounts of "Illusions in Motion" by Erkki Huhtamo (2013), this paper will compare and discuss audience participation in three specific self-view artworks involving interacting public audiences captured and presented in live telepresent film and video performances since 1900. This comparative study will draw out an underlying cultural fixation and amusement with the self-image, analogous to Henri Bergson's understanding of laughter in meaning of the comic (1900). These case studies will include my own artistic practice that focuses on telematic encounters and shared visual dialogues between public audiences linked via Internet videoconferencing in "Peoples Screen", in collaboration with Charlotte Gould for the Guangzhou Light Festival in 2015. The seminal live satellite public performance "Hole-in-Space" by Kit Galloway and Sherrie Rabinowitz in 1980, providing the passing public in New York and Los Angeles with opportunity to converse, co-create and play in the first live public connection of its kind. Lastly, they include Mitchell and Kenyon's historic films of Edwardian public crowds in the 1900s, allowing audiences the opportunity to play and perform in front of the film camera in the knowledge they could watch their spectacle in its screening at the local traveling fairground. In all these cultural events the audiences become both performers and viewers by creating an improvised response to the camera and screen. The striking similarity with the way audiences react and perform comical narratives from these early self-view film screenings to telematic performances possess all the unique traits of telepresent interaction and the selfie phenomenon

The Animator: The 26th Society for Animation Studies Annual Conference Toronto June 16 to 19, 2014

The 2014 Society for Animation Studies conference hosted by Sheridan College was from June 16 - 19, 2014. As Animation Studies continues to develop as a discipline, the dialogue that has opened up between more traditional academic research into the field and what we might call ‘industry-facing’ or applied research has become more important. The critical study of animation from within higher education institutions like Sheridan represents one of the many areas in which the industry can grow. Every SAS conference has its own distinct tone and flavour because we are truly international in our membership and we devolve conference organization annually to the host institution. This means that this year’s conference is strongly allied to Sheridan’s industry focus – not least with Corus warmly welcoming conference goers to their HQ for parts of the conference. SAS provides such a welcoming environment for new members, and a terrific forum to discuss animation from a multitude of perspectives. It is within this fertile and nurturing atmosphere that we decided to focus our conference on the animation artist. As a tribute to all artists whose efforts fuel our work, and in the spirit of the centenary of celebrated National Film Board of Canada animator, Norman McLaren, the 2014 SAS Conference is named “The Animator”. Keynote speakers included Scott Dyer, Executive Vice President, Strategic Planning and Chief Technology Officer, Corus Entertainment Charile Bonifacio, Animator, Arc Productions Ltd, Canada Professor Paul Wells, Director of the Animation Academy Loughborough University, UK Michael Fukushima, Executive Producer of NFB’s English Animation Studio National Film Board of Canada Panel Discussions McLaren Legacy Panel: The Centenary Year - Nichola Dobson, Terence Dobson, Kaj Pindal Stop Motion, From Local Community Members - Chris Walsh, Bret Long, Nora Keely, Mark Mayerson Conference Twitter account: @AnimatorSAS2014https://source.sheridancollege.ca/conferences_anim/1000/thumbnail.jp

Dream of the Techno-Shaman

This written component documents my thesis exhibition, Dream of the Techno-Shaman, created in partial fulfillment of the degree requirements for the Master of Fine Arts degree in Integrated Visual Arts. This multimedia installation was completed and exhibited at the Design Center\u27s Gallery 181, on the Iowa State University campus in Ames, IA, during July of 2008.;The following text details my creation process in its entirety, from initial inspiration to final exhibition. This begins with a brief introduction to tribal and computer art, followed by discussion of the inspiration I found in the similarities between these seemingly disparate genres. These similarities span all characteristics of importance to the fine art community, including their formal properties, conceptual content, and underlying socio-cultural context. More specifically, key similarities include extensive use of generative pattern, exploitation of the incorporeal, prominent use of multimedia expression, and an emphasis on interaction and collaboration.;Dream of the Techno-Shaman is my attempt to highlight and explore many of the similarities between tribal and computer art, as well as their associated cultural impact, in the form of an immersive multimedia installation. Its large scale and heavy use of both physical and virtual components necessitated a wide range of traditional and digital production processes. Ultimately, this installation successfully exploits the unique potential of computer technology to reengage with tribal processes through interactive and immersive multimedia art

Method and madness at the Isabella Stewart Gardner museum

The Isabella Stewart Gardner museum in Boston, Massachusetts is unique in history and design. Originating as a privately held collection, the Gardner Museum reflects its namesake’s eccentricities and stands in stark contrast to the backdrop of contemporary Boston. Although much has been written about the individual masterpieces held within the Gardner collection and there are numerous biographies of “Mrs. Jack,” as Gardner was sometimes called, little work has been done to investigate the museum in light of contemporary research in museology and the practices of collecting and display. Understanding collecting and curating as modes of knowledge production, this study seeks to discover the types of knowledge produced by and within the Gardner Museum. Because the museum highlights forms of knowledge other than that associated with textual criticism, I focus on the affective and historical material transfers at work in museum practice. As such, this study offers an opportunity to explore the nature of a performance-based method or orientation to scholarship. I both make use of and question “performative writing” as a mode of presentation, so that what emerges is an understanding of a method that, like the Gardner Museum, seeks to discover ways of knowing beyond (but not in lieu of) processes of representation and signification. In a sense then, performance methodology becomes both an object of study and my method. In bringing the Isabella Stewart Gardner Museum into relationship with the disciplinary problem of performative writing, I have conceived of my research and writing practices as processes of collecting and curating

2015 Program

A university is more than an amalgamation of several colleges. It also is an organization which celebrates the full richness of faculty contributions including those vital and exciting contributions in research, scholarship and creative activity within their disciplines. These contributions come in many forms: journal articles, book chapters, monographs, art works, music compositions, performances of many varieties and a host of others. Funded research contributions are similarly varied. Through such activities, faculty members stay at the growing edges of their fields, and in so doing, they enrich their intellectual lives as well as those of their students. Once again, I invite each participant at this event today to browse the contributions of your colleagues, ask questions, and celebrate the intellectual vitality of our university community. Each year as this event grows and widens its reach and audience, it continues to inspire and impress me. I am sure it will do the same for you. Provost Dr. Blair Lordhttps://thekeep.eiu.edu/scholars_programs/1002/thumbnail.jp

Electronic Imaging & the Visual Arts. EVA 2012 Florence

The key aim of this Event is to provide a forum for the user, supplier and scientific research communities to meet and exchange experiences, ideas and plans in the wide area of Culture & Technology. Participants receive up to date news on new EC and international arts computing & telecommunications initiatives as well as on Projects in the visual arts field, in archaeology and history. Working Groups and new Projects are promoted. Scientific and technical demonstrations are presented