7 research outputs found

    mixed messages

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    I am interested in providing viewers with a visually interesting, optical experience through patterning, repetition, multiples, systems and color in my work. My work has never been about the viewer connecting narratively with each piece. Creating art is a release for me, a time to escape from my daily life and to focus on formulating intricate systems and patterns that I find optically dazzling. In an effort to bring new light to my work, I am trying to pull back from the obsessive nature of my work and push myself into unfamiliar arenas to see how I respond. My efforts for perfection in the patterns and systems that I enjoy so much were suffocating and slowing down my work. The pieces were becoming more burdensome in process and less interesting in concept. My resolution to this problem has been to work with less planning and with materials that prevent me from starting over again to make something perfect. The use of spray paint, oil-based markers and other more permanent mediums has allowed me to work more intuitively with a piece. Instead of letting the plan and the patterns rule the work, I am forcing myself to work with the “permanent” marks that I put down and find resolution in the ones that challenge me. I am thinking less about the final product and my work is becoming less predictable, beginning with a loose plan, and moving with the painting instead of against it, instead of forcing it to be exactly what I want it to be. Through these changes in process, I began to be able to incorporate narrative, something that has never previously been a part of my work. This body of work is not only about creating optical experiences, but also about communication. I wanted to communicate and assert myself to viewers through my work, but was uncomfortable doing so in an obvious way. I didn’t necessarily want the viewer to be able to recognize and respond to images or messages immediately. I began by thinking about forms of communication that have to be decoded, such as sound waves and Morse code. I am intrigued by the fact that despite hearing and seeing sound waves and Morse code, it is not immediately apparent what the messages are, that the average person cannot easily discern the messages. I wanted to stop hiding behind the patterns, behind the systems and put some meaning into the work. My intent is not to necessarily convey a specific or recognizable message to viewers, but to provide a visually interesting experience for them and at the same time, express myself, even if in a cloaked manner, with secret messages, censoring, and hidden images. I’m not asking the viewer to understand or relate, only to experience and to take what they may from each piece

    known as Love Your Data in 2016 - 2017

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    All pages from the Love Data Week event website are archived here in PDF. Love Data Week was established in 2016 as Love Your Data week. Originally created in the USA, it quickly grew to an international event in which a wide range of institutions, organizations, scholars, students, and other data lovers could celebrate their data. Coordinated by Heather Coates, the planning committee developed themes, wrote, curated content, developed activities, all to celebrate data in all its forms, promote good research data management strategies, ask hard questions about the role of data in our lives, and share data success and horror stories. Though the website is defunct, the event lives on, driven by the community

    Overview of the DESI Legacy Imaging Surveys

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    The DESI Legacy Imaging Surveys (http://legacysurvey.org/) are a combination of three public projects (the Dark Energy Camera Legacy Survey, the Beijing–Arizona Sky Survey, and the Mayall z-band Legacy Survey) that will jointly image ≈14,000 deg2 of the extragalactic sky visible from the northern hemisphere in three optical bands (g, r, and z) using telescopes at the Kitt Peak National Observatory and the Cerro Tololo Inter-American Observatory. The combined survey footprint is split into two contiguous areas by the Galactic plane. The optical imaging is conducted using a unique strategy of dynamically adjusting the exposure times and pointing selection during observing that results in a survey of nearly uniform depth. In addition to calibrated images, the project is delivering a catalog, constructed by using a probabilistic inference-based approach to estimate source shapes and brightnesses. The catalog includes photometry from the grz optical bands and from four mid-infrared bands (at 3.4, 4.6, 12, and 22 ÎŒm) observed by the Wide-field Infrared Survey Explorer satellite during its full operational lifetime. The project plans two public data releases each year. All the software used to generate the catalogs is also released with the data. This paper provides an overview of the Legacy Surveys project
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