328 research outputs found
Uncaged boxed-up
This chapter departs from a critical examination of my personal experience of working towards a ‘mixed-mode’ PhD in Electronic Arts. In particular, it looks at the relationships between the written dimension of my thesis and the making, exhibition and audio-visual documentation of UNCAGED, a series of six interactive installations exploring interrelationships and transitions between screen-based digital environments and their physical surroundings. An outline of the motivation and theoretical framework behind UNCAGED is followed by an account of its creation process and a reflection on the extent to which theory and practice might have informed each other. Based on a study of audience behaviour with UNCAGED at a major London museum, it is claimed that the work’s popularity seems to relate to its perceptually intriguing fusion between the virtual domain and the physical world. However, this apparent ‘success’ is subsequently undermined by a 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 way. This problematic is further explored in the final section of the chapter, which considers issues arising from the combination of physical and digital outputs used for the formal delivery of my PhD project and provides some suggestions for improvement of the Mixed-Mode Thesis
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
ParaSites: initial report and research context
The ongoing, practice-led research project ParaSites explores the potential of using behaviours and strategies of parasites as a model for sculptural propositions in the built environment and investigates how these interventions might resonate with architectural, urban, historical and socio-cultural issues. We treat the term parasitism both literally and metaphorically, and are particularly inspired by Michel Serres’ philosophical writing "The Parasite" (2007). Considering its different significations in French language (biological, social, static/noise), Serres uses the parasite to extrapolate ideas about human relations, society, history and communication while emphasising its destabilising and transformative powers. With this in mind, we are keen to explore the potential of using the polysemic notion of the parasite as an integrated conceptual framework and methodological tool to feed new sculptural interventions, and to investigate their impact on our relationship with the built environment (sonic, visual, structural, historical, ecological, symbolic and socio-cultural). "ParaSites: Initial Report and Research Context" presents a preliminary artistic intervention at a dilapidated edifice in Paris which has initiated this ongoing research. This is followed by a brief discussion of the methodological framework that has evolved from this, originally rather intuitive, practical investigation. The second part of this paper provides an overview of the research context, ranging from artistic and architectural explorations of site-specificity to socially engaged projects
ParaSites: new propositions
The ongoing, practice-led research project ParaSites explores the potential of using behaviours and strategies of parasites as a model for sculptural propositions in the built environment and investigates how these interventions might resonate with architectural, urban, historical and socio-cultural issues. We treat the term parasitism both literally and metaphorically, and are particularly inspired by Michel Serres’ philosophical writing "The Parasite" (2007). Considering its different significations in French language (biological, social, static/noise), Serres uses the parasite to extrapolate ideas about human relations, society, history and communication while emphasising its destabilising and transformative powers. With this in mind, we are keen to explore the potential of using the polysemic notion of the parasite as an integrated conceptual framework and methodological tool to feed new sculptural interventions, and to investigate their impact on our relationship with the built environment (sonic, visual, structural, historical, ecological, symbolic and socio-cultural).
"ParaSites: New Propositions" presents a preliminary artistic intervention at a dilapidated edifice in Paris which has initiated this ongoing research. This is followed by a discussion of the theoretical framework that has evolved from this, originally rather intuitive, practical investigation. We then introduce two new artistic propositions which have been developed within the context of this research and debate to what extent they correspond with and/or elicit our theoretical ideas
The Mexican punitive expedition and the United States Army Aviation Section
The United States Army Signal Corps Aviation Section was a weak air service devoted primarily to experimental testing prior to World War I. In March 1916, President Woodrow Wilson ordered a punitive expedition into Mexico to capture the Mexican nationalist, Francisco (Panco) Villa. One of the organizations assigned to the expedition was the Frist Aero Squadron: The Signal Corps\u27 only operational unit. This study examines the Mexican punitive expedition, preparedness for World War I, and the development of United States air power. It concludes that the Mexican punitive expedition was a critical point in the history of the United States Air Force
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A plan for the development of superconducting Undulator prototypes for LCLS-II and future FELs
Undulators serve as the primary source of radiation for modern storage rings, and more recently for the advent of Free-Electron Lasers (FELs). The performance of future FELs can be greatly enhanced using the much higher magnetic fields of superconducting undulators (SCU) [1]. For example, the LCLS-II hard x-ray undulator can be shortened by up to 70 m using an SCU in place of a PMU (permanent magnet undulator), or its spectral performance can be critically improved when using a similar length. In addition, SCUs are expected to be orders of magnitude less sensitive to radiation dose; a major issue at LCLS-II with its 1-MHz electron bunch rate. We present a funded R&D collaboration between SLAC, ANL, and LBNL, which aims to demonstrate the viability of superconducting undulators for FELs by building, testing, measuring, and tuning two 1.5-m long planar SCU prototypes using two different technologies: NbTi at ANL and Nb Sn at LBNL. Our goal is to review and reassess the LCLS-II HXR baseline plans (PMU) in July of 2015, after the development and evaluation of both prototypes, possibly in favor of an SCU for LCLS-II.
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Electron Beam Alignment Strategy in the LCLS Undulators
The x-ray FEL process puts very tight tolerances on the straightness of the electron beam trajectory (2 {micro}m rms) through the LCLS undulator system. Tight but less stringent tolerances of 80 {micro}m rms vertical and 140 {micro}m rms horizontally are to be met for the placement of the individual undulator segments with respect to the beam axis. The tolerances for electron beam straightness can only be met through beam-based alignment (BBA) based on electron energy variations. Conventional alignment will set the start conditions for BBA. Precision-fiducialization of components mounted on remotely adjustable girders and the use of beam-finder wires (BFW) will satisfy placement tolerances. Girder movement due to ground motion and temperature changes will be monitored continuously by an alignment monitoring system (ADS) and remotely corrected. This stabilization of components as well as the monitoring and correction of the electron beam trajectory based on BPMs and correctors will increase the time between BBA applications. Undulator segments will be periodically removed from the undulator Hall and measured to monitor radiation damage and other effects that might degrade undulator tuning
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