2024-03-28T13:47:11Zhttp://digital.lib.washington.edu/dspace-oai/requestoai:digital.lib.washington.edu:1773/240732016-02-14T11:17:39Zcom_1773_4888col_1773_19678
Pampin, Juan
Petric, Maja
62c880e7-f315-4afc-91a3-c6e89374fa00
-1
2013-11-14T20:50:19Z
2013-11-14T20:50:19Z
2013-11-14
2013
Petric_washington_0250E_12223.pdf
http://hdl.handle.net/1773/24073
Thesis (Ph.D.)--University of Washington, 2013
Transforming the Poetic Experience of Space Through Light investigates theoretical and practical artistic methods of manipulating senses through which the space is experienced cognitively and emotionally. The focus is on innovative use of experimental lighting that engages perception, emotion, memory, and imagination. Theoretical research focuses on historical and contemporary references that demonstrate transformation of spatial experience by means of manipulating light. Studying theoretical and practical examples leads towards discovering, interpreting, and developing a novel body of knowledge for enhancing the multisensory spatial experience that provides access to transforming the perception of space in the purpose of art. Practice based research investigates both traditional and progressive principles of spatial design, fabrication, lighting design, audiovisual systems, and algorithmic composition. The interest is in exploiting technological advancements in lighting that can fuse perception of senses and add to the phenomenological experience of the artistic intentions. The core of the artistic research is the sublime that is inherently unknowable by reason, but accessible in experience that can be created in art. A collected theoretical and practical body of knowledge on Transforming the Poetic Experience of Space Through Light is summed up and reflected in the light art installation Horizon is an Imaginary Line. The piece utilizes beams of light emitted from projectors positioned around a darkened space that is filled with haze and fog. Homogeneous clouds suspended in the air make light beams visible and appear perceptible by touch. These palpable light beams travel from the projector lamp across the space and form dynamic light spaces that change based on video that is projected into the state of the haze. The videos are designed to sculpt the light while emulating the vast scale of the universe and sublimity of nature. The kinetic light sculptures in tandem with the electroacoustic compositions are designed to transform the poetic experience of space. The premise for this piece is an expansion of the lighting apparatus into immersive perceptual hyperspace. Horizon is an Imaginary Line examines this premise through primary research trajectories that constitute the technical and artistic foundations for the artwork: - The Sublime - Phenomenology - Light Ar
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Copyright is held by the individual authors.
art; light; space; sublime; technology; video
Art history
digital arts and experimental media
Transforming the Poetic Experience of Space Through Light
Thesis
No embargo
ORIGINAL
Petric_washington_0250E_12223.pdf
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1773/24073
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2016-02-14 03:17:39.383
ResearchWorks
rworks@uw.edu
oai:digital.lib.washington.edu:1773/253942017-11-20T22:35:20Zcom_1773_4888col_1773_19678
Pampin, Juan
Solis, Hugo
96fcd8bd-5e8c-4f55-9dcc-0810a29c5d23
-1
2014-04-30T16:21:00Z
2014-04-30T16:21:00Z
2014-04-30
2014
Solis_washington_0250E_12825.pdf
http://hdl.handle.net/1773/25394
Thesis (Ph.D.)--University of Washington, 2014
Axial is a sound installation in which a cargo container is employed as a resonant object: resonant in its acoustic sense because the container is used as sound generator, but also resonant in its metaphorical connotation because the container and the generated sounds translate and represent the geological properties of Axial, an active submarine volcano on the Juan de Fuca Ridge located about 250 miles off the coast of Oregon. The container is also the space-instrument for interpreting the scientific data obtained during the oceanographic expedition <italic>Enlighten10</italic>, during which the artist recorded the sounds of the hydrothermal vents located in the area at depth of over 4,500 feet. This thesis describes in detail the entire compositional process as well as the concepts, procedures, and context of the artwork. Chapter one offers a general description of the project and should be the starting point for a first–time reader because it helps to establish the context. Chapter two describes the concept of <italic>digital plurifocality</italic> and presents the properties of the <italic>Plurifocal Events Controller</italic>, a technological infrastructure for creating spatially distributed sound works. Chapter three describes <italic>Juum</italic>, a piece of software that helps to organize and create digital artworks using an extended timeline logic employing scripting programming. Chapter four presents the concepts, logic, influences, and preoccupations behind Axial including personal preoccupations about sound art and digital art. Chapter five presents the preparation process required for the creation of the work, explaining the different versions and explorations that were required to achieve the final iteration. Chapter six describes the compositional process of the final version as well as the installation and exhibition process. The last chapter presents a set of conclusions that summarizes the experience, the contributions to the field, and the obtained artistic achievements. This chapter relates the work to the artist's current artworks. A set of five appendixes complement the thesis, offering technical details, links to digital materials and digital scores that help to round the description, and explanations of the realized work which was developed during the doctoral program in Digital Art and Experimental Media at the University of Washington. One of these appendixes presents a basic marine geology context and presents the <italic>Ocean Observatory Initiative</italic>, an ambitious oceanographic research program that embraced the scientific aspect of Axial.
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axialSound.zip; other; Zip file with two audio files, one short example, and one stereo rendering of full piece..
axialVideos.zip; other; Zip file with three videos. Documentacion and process..
juum.zip; other; Zip file with source code of Juum software..
pec.zip; other; Zip file with diagrams, schematics, and circuits files of the Plurifocal Events Controller.
cloudSynthesis.zip; other; Zip file with source codes of the Cloud Synthesis system..
Copyright is held by the individual authors.
Axial Volcano; Digital Plurifocal Music; Electronic Art; Ocean Observatory Initiative; Oceanography; Sound Art
Music
Fine arts
Multimedia
digital arts and experimental media
Axial; a Sound Art Work of an Oceanographic Expedition
Thesis
No embargo
ORIGINAL
Solis_washington_0250E_12825.pdf
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2017-11-20 14:35:20.059
ResearchWorks
rworks@uw.edu
oai:digital.lib.washington.edu:1773/330712017-11-20T22:35:43Zcom_1773_4888col_1773_19678
Karpen, Richard
Varchausky, Nicolas
017312fe-7a3f-4239-968d-c13817fa8bc4
-1
2015-05-11T19:58:00Z
2015-05-11T19:58:00Z
2015
Varchausky_washington_0250E_14194.pdf
http://hdl.handle.net/1773/33071
Thesis (Ph.D.)--University of Washington, 2015
In 1955, Argentine writer Jorge Luis Borges was appointed Director of the National Library at the same time he was losing his sight completely. In his "Poem of the Gifts", he reflects on the magnificent irony of being given at once "the books and the night". LA BIBLIOTECA CIEGA (The Blind Library) is a site-specific sound art performance in two parts composed for the very reading room of the library where Borges stood sightless surrounded by books. For the first part, three short acousmatic pieces for 3D sound were composed, each one using recordings of a different consonant. Employing analysis and resynthesis techniques, each piece takes the recording of a single phoneme to turn it inside out, unfolding in the process their latent acoustic beauty. The three pieces on the second part explore unusual techniques of imprinting and reproducing sound, using a series of custom made instruments that turn light into sound. Mechatronic optical turntables, sonic backlights and bars of light were designed and built by the artist, and performed by members of the Banda Sinfónica de Ciegos, an orchestra of blind musicians. Chapter one of the thesis briefly introduces the main concepts, technologies and components present in the project. Chapter two provides a historical overview on some of the experimental art and technologies that informed the production and development of the project. Chapter three discusses previous works by the author where elements from LA BIBLIOTECA CIEGA can be traced. Chapter four is a detailed account of the project's creation process, methodologies, technologies, ideas and final exhibition form. Chapter five considers further developments made since its premier, its links to current work, and future directions for the project.
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varchausky_laBibliotecaCiega_prixArsElectronica2013.aif; audio; Stereo live version of LA BIBLIOTECA CIEGA Chapter 2: Photosensitive Volumes..
LaBibiotecaCiega_Chapter1_ResonancesTurbulencesExplosions_UHJ_44k24B_Varchausky.zip; audio; UHJ stereo version of LA BIBLIOTECA CIEGA Chapter 1: Resonances, Turbulences & Explosions (/k/,/S/,/f/)).
LaBibiotecaCiega_Chapter1_ResonancesTurbulencesExplosions_BF_44k24B_Varchausky.zip; audio; B Format 3D sound version of LA BIBLIOTECA CIEGA Chapter 1: Resonances, Turbulences & Explosions (/k/,/S/,/f/)).
NicolasVarchausky_LaBibliotecaCiega_PrixArsElectronica_SoundArt.mov; video; Short video description of LA BILBIOTECA CIEGA.
LaBibliotecaCiega_PicturesOfPhotosensitiveInstruments.zip; other; Pictures of the Photosensitive Instruments..
LBC_SuperColliderCode.zip; code/script; SuperCollider code used during live performance of LA BIBLIOTECA CIEGA..
Copyright is held by the individual authors.
3D SOUND; ACOUSTICS OF PHONEMES; BORGES; DARKNESS; MEDIA ART; PERFORMANCE
Performing arts
Music
digital arts and experimental media
LA BIBLIOTECA CIEGA
Thesis
Open Access
ORIGINAL
Varchausky_washington_0250E_14194.pdf
application/pdf
18431895
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oai:digital.lib.washington.edu:1773/33071
2017-11-20 14:35:43.853
ResearchWorks
rworks@uw.edu
oai:digital.lib.washington.edu:1773/343212017-11-20T22:33:47Zcom_1773_4888col_1773_19678
Coupe, James
Wan, On Ni
80013807-8743-4ba2-bc4b-4fe0df9f312d
-1
2015-11-24T21:20:59Z
2015-11-24T21:20:59Z
2012
http://hdl.handle.net/1773/34321
“Modularity and Space Juxtaposition: Beyond Site-specificity in Art” suggests a modular structure that constructs and presents digital artworks related to spatial practice. This structure involves multi-layered space, interconnected modules and nomadic qualities. This dissertation discusses the discourses of site-specific art, cultural specificity and spatial practices in an artwork. The research analyzes characteristics of locative artworks, such as the unstable relationship between spatialized narrative and its site, the temporal shift in multilayered space, and the significance of this modularity in an artwork. Chapter One of this dissertation, Introduction, reveals the importance of the origin of locative art while presents a critical analysis of the art practice in the 1960s. Chapter Two, The Bonds, describes artistic approaches to everyday life and argues that elements from our everyday life in art projects as the bonds that connect each other. In Chapter Three, Characteristics of Locative Art, it suggests a new art discipline, which originates from site-specific art and provides a theoretical framework. This analytical structure manifests in technological advancement of mobile technology, spatialized narrative and its modular structure. While in Chapter Four, The Art Projects, it describes the dissertation's art projects both conceptually and technologically. It also explains the diagnostic art-making process and justifies its contribution to history of art, in relation to the domains covered in the previous chapters. The last chapter foresees how to extend the boundaries of the suggested framework and practice. It includes both possible technological developments and exploration in concepts discussed.
Submitted by ANNE GRAHAM (grahaa@u.washington.edu) on 2015-11-24T21:20:59Z
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Previous issue date: 2012
en_US
University of Washington Graduate School
Copyright is held by the individual authors.
Modularity and Space Juxtaposition: Beyond Site-specificity in Art
Thesis
No embargo
ORIGINAL
Wan_washington_0250E_10195.pdf
Wan_washington_0250E_10195.pdf
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2017-11-20 14:33:47.999
ResearchWorks
rworks@uw.edu
oai:digital.lib.washington.edu:1773/369822016-09-23T10:24:59Zcom_1773_4888col_1773_19678
Pampin, Juan
Rice, Tivon
fc0ec7a7-0f44-40fb-8323-dde9763f6bc3
300
2016-09-22T15:41:15Z
2016-09-22T15:41:15Z
2016-07
Rice_washington_0250E_16298.pdf
http://hdl.handle.net/1773/36982
Thesis (Ph.D.)--University of Washington, 2016-07
University of Washington Abstract Site Machines Tivon Rice Chair of the Supervisory Committee: Juan Pampin Center for Digital Arts and Experimental Media Site Machines is a multimedia artwork installed at Seattle’s Suyama Space Gallery in 2014. Organizing neon light and live video feeds from six motion controlled cameras, the project works as a mechanism for both creating and viewing images, and thus emulates the functions of the Suyama Building: an active architecture studio and an art venue; a site of production and of presentation. This dissertation describes the thematic and technical development of Site Machines by placing it in context with two previous artworks, A Macrocosmic Zero (2010) and Arcade Zero (2012). It further documents the art-historical and site-specific research that contributed to each project, research conducted during studies at the University of Washington’s Center for Digital Art and Experimental Media (DXARTS), and a year of Fulbright-supported work in Seoul, South Korea. Chapter one provides a brief, practical overview of Site Machines. Chapter two establishes a historical backdrop for the ongoing studies of visual and digital culture that inform the artwork. Chapters three through five detail the site-specific research, working process, and actualized viewing experience of each individual installation. The document concludes with reflections on the body of work as a whole, and possible extensions of these ideas into future projects.
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Site Machines-HD.mp4; video; Documentation of "Site Machines" - 2014.
Arcade Zero-HD.mp4; video; Documentation of "Arcade Zero" - 2012.
A Macrocosmic Zero-HD.mp4; video; Documentation of "A Macrocosmic Zero" - 2010.
Digital Art
Installation
Kinetic Art
Media Art
Robotic Art
Video Art
Fine arts
digital arts and experimental media
Site Machines
Thesis
Open Access
tivonrice@gmail.com
THUMBNAIL
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ORIGINAL
Rice_washington_0250E_16298.pdf
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A Macrocosmic Zero-HD.mp4
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MD5
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Arcade Zero-HD.mp4
application/octet-stream
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Site Machines-HD.mp4
application/octet-stream
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MD5
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1773/36982
oai:digital.lib.washington.edu:1773/36982
2016-09-23 03:24:59.192
ResearchWorks
rworks@uw.edu
oai:digital.lib.washington.edu:1773/369832016-09-23T10:22:44Zcom_1773_4888col_1773_19678
Pampin, Juan C
Paczkowski, Marcin
3b4b8845-6f85-401f-bce1-8dbdf4c22226
500
2016-09-22T15:41:16Z
2016-09-22T15:41:16Z
2016-08
Paczkowski_washington_0250E_16526.pdf
http://hdl.handle.net/1773/36983
Thesis (Ph.D.)--University of Washington, 2016-08
Deep Decline is a musical piece for chamber ensemble and interactive computer-generated sound that uses custom motion-sensing devices for controlling sound transformations. The work focuses on organic integration of playing the instrument and influencing audio processing, combining improvisation elements, computer-assisted composition, accelerometer sensors, and live sound transformations. Deep Decline was premiered by Ensemble Dal Niente on October 30, 2015 in Seattle, Washington. This document describes the creative process leading up to composing this piece, as well as preparation of the performance with the musicians. Conceptual and technical aspects of the motion-sensing devices and computer-generated sound are documented, enabling future implementations of the technologies used.
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application/pdf
en_US
Paczkowski-Deep_Decline__code.zip; code/script; Code needed for the performance of the piece.
accelerometer
chamber music
computer music
live electronics
motion sensing
Music
digital arts and experimental media
Deep Decline
Thesis
Open Access
dyfeer@gmail.com
THUMBNAIL
Paczkowski_washington_0250E_16526.pdf.jpg
Paczkowski_washington_0250E_16526.pdf.jpg
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image/jpeg
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MD5
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TEXT
Paczkowski_washington_0250E_16526.pdf.txt
Paczkowski_washington_0250E_16526.pdf.txt
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MD5
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ORIGINAL
Paczkowski_washington_0250E_16526.pdf
application/pdf
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MD5
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Paczkowski-Deep_Decline__code.zip
application/octet-stream
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MD5
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1773/36983
oai:digital.lib.washington.edu:1773/36983
2016-09-23 03:22:44.344
ResearchWorks
rworks@uw.edu
oai:digital.lib.washington.edu:1773/369842016-09-23T10:23:22Zcom_1773_4888col_1773_19678
Pampin, Juan C.
Lee, Ha Na
7d15b9bd-83fe-41a6-addb-b4ad1f1e74a0
300
2016-09-22T15:41:20Z
2016-09-22T15:41:20Z
2016-07
Lee_washington_0250E_16319.pdf
http://hdl.handle.net/1773/36984
Thesis (Ph.D.)--University of Washington, 2016-07
Two Women; On the Cinematic Experience in Installation Art documents the research and practice underpinning the installation art piece Two Women, a multimedia video and sound installation with kinetic machines. The research focuses on replicating the cinematic experience in the realm of installation art, by addressing the perceptual and physical experience of the moving image in space. With the use of new media technology, experiencing the moving image becomes progressive and interactive. The research covers aspects of the theoretical meaning of ‘the cinematic’, the history of embodiment and the senses, expanded cinema in the 1960s and 70s, contemporary cinematic art in the gallery as well as the theater, and the relationship between cinema and new media. Two Women is practice-based research which utilizes a hybridization of film, installation art, electroacoustic composition, algorithmic narrative, and kinetic machines. The piece thematically addresses the invisible crisis of an old Korean woman in a framework of fictional narrative, and a database of historical news archives. Two Women attempts to depict multiple layers of imagination, memory, and history in a physical space. In the piece, time is experienced as a fragmented, spatially distributed, and non-linear concept. Two Women investigates the research trajectories which constitute the technical, artistic, foundations and process for the artwork.
Made available in DSpace on 2016-09-22T15:41:20Z (GMT). No. of bitstreams: 1
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application/pdf
en_US
Cinematic experience
Installation Art
Interdisciplinary Art
New Media Art
Fine arts
digital arts and experimental media
Two Women; On the Cinematic Experience in Installation Art
Thesis
Open Access
hana21@uw.edu
THUMBNAIL
Lee_washington_0250E_16319.pdf.jpg
Lee_washington_0250E_16319.pdf.jpg
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MD5
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TEXT
Lee_washington_0250E_16319.pdf.txt
Lee_washington_0250E_16319.pdf.txt
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text/plain
218304
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MD5
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ORIGINAL
Lee_washington_0250E_16319.pdf
application/pdf
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16b3317b6a8ed4b68b61611f847a0bcc
MD5
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1773/36984
oai:digital.lib.washington.edu:1773/36984
2016-09-23 03:23:22.528
ResearchWorks
rworks@uw.edu
oai:digital.lib.washington.edu:1773/404052017-10-29T11:02:47Zcom_1773_4888col_1773_19678
Pampin, Juan
Ong, Joel
3f7ddf10-1b91-48d0-8fdf-8c1159759472
300
2017-10-26T20:44:58Z
2017-10-26T20:44:58Z
2017-08
Ong_washington_0250E_17651.pdf
http://hdl.handle.net/1773/40405
Thesis (Ph.D.)--University of Washington, 2017-08
Aeolian Traces is a multimedia artwork installed first at the University of Washington’s Jacob Lawrence Gallery in 2016 and subsequently at the Seattle Art Museum in 2017. The project collects human migration data from the United Nation’s release of migrant figures to generate gusts of wind around the gallery space and trigger sounds in a database of recordings in these countries’ native languages. A work of data sonification and visualization, this project is an extension of two previous artworks, The Aeolus Notification System and Those who Observe the Wind.. , where wind data is harvested as a metaphor for geographical and cultural nomadism. This dissertation describes the thematic and technical development of Aeolian Traces and aforementioned works, describing the artistic, literary and theoretical research conducted at the University of Washington’s Center for Digital Art and Experimental Media (DXARTS). It further places these works in context within a growing field of information design and data-based artworks, especially in the areas of environmental and ecological data. By discussing strategies that encourage a merging of two very fraternal but institutionally separate disciplines - Design and Art, the works presented offer ways information and affect may coexist as commensal entities. Chapter one provides a brief, practical introduction to Aeolian Traces. Chapter two expands on the interdisciplinary backdrop of contemporary hybrid or informational ecologies and art that informs the artwork. Chapters three through five detail the artistic and theoretical research, studio experimentations, and gallery documentation of each individual installation. Finally, the dissertation concludes with reflections on the body of work as a whole, and future projects of these ideas into further artworks.
Made available in DSpace on 2017-10-26T20:44:58Z (GMT). No. of bitstreams: 2
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application/pdf
en_US
DissertationSENDOUT.zip; other; Media and Programming files for Aeolian Traces.
CC BY-ND
Ambisonics
Data Aesthetics
Installation Art
Media Theory
Fine arts
Information science
Music
Digital arts and experimental media
Aeolian Traces
Thesis
Open Access
joelong@yorku.ca
THUMBNAIL
Ong_washington_0250E_17651.pdf.jpg
Ong_washington_0250E_17651.pdf.jpg
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MD5
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TEXT
Ong_washington_0250E_17651.pdf.txt
Ong_washington_0250E_17651.pdf.txt
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text/plain
194058
https://digital.lib.washington.edu:443/researchworks/bitstream/1773/40405/3/Ong_washington_0250E_17651.pdf.txt
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MD5
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ORIGINAL
Ong_washington_0250E_17651.pdf
application/pdf
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MD5
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DissertationSENDOUT.zip
application/octet-stream
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b5b5c15628fddeec8f3b37636c8c6b1b
MD5
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1773/40405
oai:digital.lib.washington.edu:1773/40405
2017-10-29 04:02:47.519
ResearchWorks
rworks@uw.edu
oai:digital.lib.washington.edu:1773/417122018-04-25T11:05:17Zcom_1773_4888col_1773_19678
Pampin, Juan C
Twomey, Robert
c3ce204d-8149-4c98-a3a0-50fa36391628
300
2018-04-24T22:16:27Z
2018-04-24T22:16:27Z
2018
Twomey_washington_0250E_18374.pdf
http://hdl.handle.net/1773/41712
Thesis (Ph.D.)--University of Washington, 2018
This thesis describes A Machine for Living In, a digital media artwork using newly available computational and sensing tools to study the home as a site of intimate life. The title invokes Le Corbusier's modernist framing of the house as a machine to interpret the promise of contemporary smart home technologies. The project has two distinct phases: the construction and inhabitation of a functional smart home system, followed by an exhibition of processed data as a multi-part digital art installation. In a process of joint human-machine authorship, this system produces a complex portrait of the home: as a space of language, intimacy, bodily practice, and quotidian narrative. Compositionally, it contrasts utopian illusions of beautiful, frictionless utility with artistic strategies generating insight into the messy, material realities of the everyday. The thesis begins with three key frames of reference for the work in Bachelard's topoanalysis, critical engineering design, and site-specific and systems-oriented arts production. It describes early projects pursing the psychological study of intimate life, leading to the current work. It recounts the conceptual and technical development of A Machine for Living In, and discusses the composition of the resulting exhibition. The thesis concludes with a speculative framing of this research as a kind of introspective design: a hybrid practice of targeted inquiry to provide insight about both human and machine.
Made available in DSpace on 2018-04-24T22:16:27Z (GMT). No. of bitstreams: 1
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application/pdf
en_US
none
computation
digital art
home
sensing
smart home
systems art
Fine arts
Digital arts and experimental media
Machines for Living
Thesis
Open Access
rtwomey@uw.edu
THUMBNAIL
Twomey_washington_0250E_18374.pdf.jpg
Twomey_washington_0250E_18374.pdf.jpg
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MD5
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TEXT
Twomey_washington_0250E_18374.pdf.txt
Twomey_washington_0250E_18374.pdf.txt
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text/plain
188359
https://digital.lib.washington.edu:443/researchworks/bitstream/1773/41712/2/Twomey_washington_0250E_18374.pdf.txt
0699e43cc43eb6d3b9f3caaeaed70ffb
MD5
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ORIGINAL
Twomey_washington_0250E_18374.pdf
application/pdf
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ef0cf39b0bc59c8efa686f4004a3c92c
MD5
1
1773/41712
oai:digital.lib.washington.edu:1773/41712
2018-04-25 04:05:17.175
ResearchWorks
rworks@uw.edu
oai:digital.lib.washington.edu:1773/420432018-08-01T10:14:31Zcom_1773_4888col_1773_19678
Coupe, James
Lee, Inmi
ee6050bf-a18c-46c5-b7d4-8a992ea6f9e8
300
2018-07-31T21:06:36Z
2018-07-31T21:06:36Z
2018
Lee_washington_0250E_18583.pdf
http://hdl.handle.net/1773/42043
Thesis (Ph.D.)--University of Washington, 2018
The Dialectics of a Machine is a four-channel video piece that explores the potential of fiction to question our social expectations, including their systems, functions, and worth. The video documents speech therapy sessions with people with varying speech barriers, from someone who’d had a recent throat surgery to someone speaking English as a second language. The issues each person is trying to correct are not clearly identified in the video. They go through individually designed speech and bodily exercises with a professional speech pathologist to reduce their impediments. When the speech pathologist introduces a fictional machine that could correct their speech problems, the patients’ honest responses to the correction device reveal their personal stories, including self-perceived identity and power. The video leads the audience to shift their attention from the patients’ problems to the system (therapist and the machine) that encourages them to acknowledge their speech impediments as problems. Additionally, the video exposes the strong tie between each patient’s speech and their life on various levels. Chapter One provides an introduction to the relationship between art and reality in history of art. Chapter Two expands on art based in reality, particularly through the effectiveness of storytelling in traumatic and political art with fact and fiction-based approaches in the construction of narrative and for the authentic experience of the audience. This chapter looks at works by Abbas Kiarostami, Omer Fast, and Walid Raad in depth to study the artistic methodologies used by them. Chapter Three discusses the thematic research of the dissertation, the methodology adopted from the short introduction moving image to Andrei Tarkovsky’s movie The Mirror, and looks at two art experiments and various processes taken to arrive at the dissertation piece. Finally, the dissertation concludes with the future directions for the project and reflections on the body of work as a whole.
Made available in DSpace on 2018-07-31T21:06:36Z (GMT). No. of bitstreams: 1
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application/pdf
en_US
none
Art and reality
Digital Art
Language and power
Parafiction
Speech Therapy
Video Art
Fine arts
Digital arts and experimental media
The Dialectics of a Machine
Thesis
Open Access
inmilee@gmail.com
THUMBNAIL
Lee_washington_0250E_18583.pdf.jpg
Lee_washington_0250E_18583.pdf.jpg
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image/jpeg
456
https://digital.lib.washington.edu:443/researchworks/bitstream/1773/42043/3/Lee_washington_0250E_18583.pdf.jpg
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MD5
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TEXT
Lee_washington_0250E_18583.pdf.txt
Lee_washington_0250E_18583.pdf.txt
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text/plain
141879
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69e8d0c91b112e24a6a8f1aec9d5c79e
MD5
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ORIGINAL
Lee_washington_0250E_18583.pdf
application/pdf
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https://digital.lib.washington.edu:443/researchworks/bitstream/1773/42043/1/Lee_washington_0250E_18583.pdf
08db0d0ab3f9b26f5d95cbe0146e7c5f
MD5
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1773/42043
oai:digital.lib.washington.edu:1773/42043
2018-08-01 03:14:31.059
ResearchWorks
rworks@uw.edu
oai:digital.lib.washington.edu:1773/438732019-08-15T10:42:46Zcom_1773_4888col_1773_19678
Karpen, Richard
Shao, Chun
c8f9b4b1-cb79-494f-8f37-5283887accfb
300
2019-08-14T22:25:42Z
2019-08-14T22:25:42Z
2019
Shao_washington_0250E_19968.pdf
http://hdl.handle.net/1773/43873
Thesis (Ph.D.)--University of Washington, 2019
Silicone Love – Her Garden is a mixed media installation representing a conceptual figure: an Internet ghost. It is a metaphor applied to the explore aesthetic properties of online videos. The work emphasizes on deeming web-based footage as an atmosphere rather than a single visual object as in film. A result of studio-based practice, the installation consists of eight video mapped hanging sculptures and a surrounding sound system. Inspired by the form of the Chinese garden, the work revives the ancient architectural theory termed Borrowed Scenery. A circular frame is applied and variated to create rhythms of seeing in relation to distance, perspective, and changing lights. The sculptures, moving images, and sound spatialization are structured to encourage playful voyeurism. The narrative structure approaches YouTube as an ever-growing database of lifelike videos. Applying both digital and traditional hand crafting techniques, the “ghost” is then realized as a hybrid form of soft sculpture creating volume from projected light. This work transforms online footage into a fictional site, triggering poetic meanings in a viewer’s mind.
Made available in DSpace on 2019-08-14T22:25:42Z (GMT). No. of bitstreams: 2
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application/pdf
en_US
SiliconeLove_HerGarden_doc_1080.mov; video; Video documentation of the installation..
none
Computational arts
Data-driven art
Electronic textiles
Mixed media installation
Fine arts
Digital arts and experimental media
Silicone Love - Her Garden
Thesis
Open Access
THUMBNAIL
Shao_washington_0250E_19968.pdf.jpg
Shao_washington_0250E_19968.pdf.jpg
IM Thumbnail
image/jpeg
398
https://digital.lib.washington.edu:443/researchworks/bitstream/1773/43873/4/Shao_washington_0250E_19968.pdf.jpg
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MD5
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TEXT
Shao_washington_0250E_19968.pdf.txt
Shao_washington_0250E_19968.pdf.txt
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MD5
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ORIGINAL
Shao_washington_0250E_19968.pdf
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MD5
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SiliconeLove_HerGarden_doc_1080.mov
video/quicktime
152369265
https://digital.lib.washington.edu:443/researchworks/bitstream/1773/43873/2/SiliconeLove_HerGarden_doc_1080.mov
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MD5
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1773/43873
oai:digital.lib.washington.edu:1773/43873
2019-08-15 03:42:46.357
ResearchWorks
rworks@uw.edu
oai:digital.lib.washington.edu:1773/438742019-08-15T10:42:47Zcom_1773_4888col_1773_19678
Karpen, Richard
Jarmick, Martin
c1878165-6838-4e1f-9121-be668ec2ae8b
300
2019-08-14T22:25:43Z
2019-08-14T22:25:43Z
2019
Jarmick_washington_0250E_20075.pdf
http://hdl.handle.net/1773/43874
Thesis (Ph.D.)--University of Washington, 2019
The Final Image is a virtual reality (VR) artwork combining spherical stereoscopic images, interactive interludes, 3D soundscape, and voice-over narration. Viewers use a head-mounted display (HMD) and a hand-held controller to navigate 3D spaces and activate portals into immersive narrative vignettes. The piece takes the form of a cinematic visual-sonic poem about fragmented recollections of home, and an inner journey of reassembly and clarity. The project is regularly updated and publicly available on the internet where it can be downloaded and viewed using the appropriate virtual reality hardware. This document supports the production by describing a framework for narrative immersion in the artistic context. Works of art in cinema, painting, music, video installation, electronic games and literature are presented as influences for The Final Image, and in addition, media theory and philosophy lay a foundation for the phenomenological structure of immersion with both subjective and spatial dimensions. Discussions of artworks and concepts weave in the document and reflect the non-linear relationship of thought and practice present in The Final Image.
Made available in DSpace on 2019-08-14T22:25:43Z (GMT). No. of bitstreams: 1
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application/pdf
en_US
none
cinema
experimental art
games
immersion
virtual reality
visual art
Fine arts
Digital arts and experimental media
The Final Image: An Artwork and Techniques in Immersion
Thesis
Open Access
THUMBNAIL
Jarmick_washington_0250E_20075.pdf.jpg
Jarmick_washington_0250E_20075.pdf.jpg
IM Thumbnail
image/jpeg
394
https://digital.lib.washington.edu:443/researchworks/bitstream/1773/43874/3/Jarmick_washington_0250E_20075.pdf.jpg
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MD5
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TEXT
Jarmick_washington_0250E_20075.pdf.txt
Jarmick_washington_0250E_20075.pdf.txt
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101859
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MD5
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ORIGINAL
Jarmick_washington_0250E_20075.pdf
application/pdf
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3c06604e95a4fb61b7ee91e172227ff7
MD5
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1773/43874
oai:digital.lib.washington.edu:1773/43874
2019-08-15 03:42:47.747
ResearchWorks
rworks@uw.edu
oai:digital.lib.washington.edu:1773/457132020-08-14T10:49:41Zcom_1773_4888col_1773_19678
Coupe, James
Her, Yun Mi
c34f7951-70fe-49ec-af07-d74f71aa9a1b
300
2020-08-14T03:22:53Z
2020-08-14T03:22:53Z
2020
Her_washington_0250E_21904.pdf
http://hdl.handle.net/1773/45713
Thesis (Ph.D.)--University of Washington, 2020
The current dissertation points out that Internet platforms promote ‘individual homogeneity’ for easy control. This paper focused on how an individual’s view of social justice and cultural diversity could be acquired against the Internet platform’s surveillance system. Through my recent exhibition Natural Individuals in Seattle, which consists of VR Mobile Application, Metamorphosis into Self-resemblance (2020) and Generative Sculptures, The Space Beyond Recognition (2020), I reveal that the structure of Internet platforms limits individuals to think an object excessively in the category formed by ‘sharing and similarity’. Artworks of ‘Net art’ that inherited an artistic context from an avant-garde movement, dismantling and exploring the Internet medium, are researched in this dissertation. For theoretical reference, I used ‘resemblance of representation’ by Michel Foucault, ‘multiple being’ by Alain Badiou, ‘out of human-centered cognition’ by Quentin Meillassoux and ‘digital swarm’ by Byung-Chul Han. In Chapter 1, I criticize that internet platforms have a surveillance system disguising with communication, and it provokes ‘individual homogenization’ in cultural and social aspects. I point out that ‘similarity,’ a major methodology to form an Internet platform’s structure, leads to standardization of individuality. Individuals are categorized by similarity, form ethnic-network, and become labors producing data that are easy to process in the digital surveillance system for consumption encouragement. The surveillance system includes aggregate and statistical analysis, self-referentiality search results, recommend system reflecting major tastes, and their algorithms create an invisible framework to close the possibility of individuals’ diverse cultural preference and subjective identity. In Chapter 2, Net art combined with Net.art (net-dot-art) and Post-Internet will be researched to find ways to improve the Internet platform’s surveillance system ethically and aesthetically rather than trying to deviate from the system. Selected artworks in Net art show representative methodologies of avant-garde art movements like uncertainty, randomness, a collection with heterogeneous objects, media-translation, and annihilation. These methodologies are also analyzed in Chapter 2. In addition, the artworks intend to reflect changes in social and cultural awareness after the Internet and to dismantle and criticize the limited structure of the Internet environment. In Chapter 3, the two artworks in my dissertation exhibition, Natural Individuals, are explained. Metamorphosis into Self-resemblance (2020) is a mobile virtual reality application that plays back videos and sounds according to a viewer’s gaze. In Scene 1, the interactive mechanism works only on the waterfall of the pond, which looks real. To progress to the next scene, viewers have to fix their eyes to the waterfall, reminding viewers’ immobile single eye in front of the illusion made with a linear perspective. The viewer’s gaze moves to the next scene chasing the ladybug and wanders among miscellaneous images associated with a ladybug. In the last scene, the gaze cannot find the original ladybug missing in the previous scene and eventually transforms into the ladybug itself and disappears from the darkness. The narrative of Metamorphosis into Self-resemblance indicates that an object’s authentic identity can never be reached in the chain of representations moving from one resemblance to another. The Space Beyond Recognition (2020) is created from the three-dimensional arrangement of similar images obtained by searching for a specific keyword in an Internet search engine. These generative sculptures reveal the insignificant morphological information of a particular object that was lost on the web. A ladybug that has one side of its body, ammonites that still have its patterns but lost its three-dimensionality, and a conch shell with a free form except for the horns located at specific positions are examples. Their morphological metamorphosis implies that image data on the Internet is biased and limited to human-centered recognition. Lastly, in Chapter 4, my future direction after Natural Individuals includes generating ‘autonomous simulation’ artworks created with pure mechanical processes, including image training set. Classification of a new machine separated from the human realm is necessary to maintain the machine’s neutral decision. In conclusion, I emphasized that through the ‘pure mechanical category’ in the internet environment, we can find the possibility of social and cultural progress without any limitation and bias that the internet platform could lead.
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3 dimensional Internet data
Internet Platform surveillance
Mobile VR Application
Natural Individuals
Net art
Post Internet
Fine arts
Artificial intelligence
Mass communication
Digital arts and experimental media
Natural Individuals: Extro-Categorized Arts after the Internet
Thesis
Open Access
huyunmi@gmail.com
THUMBNAIL
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2020-08-14 03:49:41.023
ResearchWorks
rworks@uw.edu
oai:digital.lib.washington.edu:1773/457142020-08-14T10:49:38Zcom_1773_4888col_1773_19678
Coupe, James
Yoo, Sangjun
800d20ff-7c2d-4140-b76d-2f10df455870
300
2020-08-14T03:22:55Z
2020
Yoo_washington_0250E_21555.pdf
http://hdl.handle.net/1773/45714
Thesis (Ph.D.)--University of Washington, 2020
This paper is intended to elucidate and analyze artistic practice performed during my doctorate study based on observations of the screen as a receptive surface where the invisible becomes visible and perception and imagination combine. The screen reveals the process of the human mind on perceiving specific things in between a variety of appearances and the endless desire and self-experience that drive one’s perspective to somewhere over physical distance, somewhere we can see our progressions in time. Within the scope of the correlation between screen and space, screen-based works will be revisited through its emergent relationship with the spectator, where the spectator encounters the new materiality of the screen and produces a new subjectivity of affirmation. Furthermore, the paper explains the medium and interactive system used in new media artwork where found footage, computer-aided, real-time visualization, and new possibilities of expressions are visible. Based on an interpretation of Paul Virilio’s theory of dromology (the logic of speed), my dissertation exhibition investigates how one relates to moving images and then seeks to identify modes of associations among ideas that occur in reality. The exhibition aims to expand the perception of existence by implementing screens that become temporal and spatial and are then vitalized through fusion and exchange with real-space parameters such as distance, scale, speed, and directionality.
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Fine arts
Digital arts and experimental media
So near, So far
Thesis
Restrict to UW for 5 years -- then make Open Access
2025-07-19T03:22:55Z
sangjunyooart@gmail.com
THUMBNAIL
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2020-08-14 03:49:38.833
ResearchWorks
rworks@uw.edu
oai:digital.lib.washington.edu:1773/469452021-05-27T10:29:18Zcom_1773_4888col_1773_19678
Kang, Haein
98c59725-c19a-420a-95f3-ea700773335f
600
2021-05-26T23:12:14Z
2021-05-26T23:12:14Z
2021
http://hdl.handle.net/1773/46945
This thesis describes Illusion, a performance-based sound installation that explores the mind's obscurity employing brain-computer interfaces. The doctoral study investigates the correlation between the human mind and brain waves through interdisciplinary research encompassing neuroscience, computer science, philosophy of mind, and early experimental arts. Furthermore, it presents an audio-visual system that enables both real-time performance and sound installation by simultaneously manipulating images and sounds by selecting particular brain waves. This study results in creating artworks and engaging the public with the new brain-computer interface variant.
This project creates art by designing artistic representation instruments using the brain-computer interface, a direct communication channel between the human brain and the machine. It advocates a neurologic view of the correlation between the human mind and brain waves and pursues Cybernetics’ ideal, the co-evolution of humans and machines. Human beings and machines' mutual prosperity through art creation also inherits the vision of early experimental artists who attempted to converge art-oriented science and technology.
Submitted on 2021-05-26T23:12:14Z
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Previous issue date: 2021
Attribution-NonCommercial-NoDerivs 3.0 United States
http://creativecommons.org/licenses/by-nc-nd/3.0/us/
Artistic Illusion
Brain-computer Interface
Creative Technology
EEG
Sound Art
Synesthetic Imagery
Illusion: An Instrument Propelled by the Mind
No embargo
THUMBNAIL
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2021-05-27 03:29:18.955
ResearchWorks
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oai:digital.lib.washington.edu:1773/469762021-07-08T10:57:14Zcom_1773_4888col_1773_19678
Pampin, Juan
Fraser, Cameron
e3b3617c-7fd7-494c-b904-5f6968bd790f
300
2021-07-07T19:58:33Z
2021-07-07T19:58:33Z
2021
Fraser_washington_0250E_22597.pdf
http://hdl.handle.net/1773/46976
Thesis (Ph.D.)--University of Washington, 2021
University of Washington
Abstract
Large String Array
Cameron Fraser
Chair of the Supervisory Committee:
Professor Juan Pampin
Digital Arts and Experimental Media (DXARTS)
Twelve hundred piano strings reach from floor to ceiling in Large String Array, turning the whole of Jack Straw New Media Gallery into an automatic instrument. An ensemble of synthesized voices playback over the array of strings, for a seventeen minute song cycle. Custom high-gain amplifiers and contact microphones were developed to listen in to faint transmissions of daily life during the pandemic of 2020. Large String Array reimagines this cloistered soundscape as a tone poem transfigured through the seventeen by twelve foot array of steel wire. This document outlines the technical and conceptual development of Large String Array. First, addressing research and artistic inquiry, the results of which culminate in an installation at the Jack Straw Cultural Center in Seattle Washington in September of 2020. This is followed by a historical argument of the work, detailing the confluence of diverse sound practitioners to whom Large String Array is indebted. Next, the core of the paper details the creation of the Large String Array, from its conception to installation. Finally, conclusions and future iterations will be addressed.
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application/pdf
en_US
CC BY
DXARTS
Electroacoustic
Installation Art
Intermedia
Mechatronic Art
Sound Art
Art education
Music
Musical composition
Digital arts and experimental media
Large String Array
Thesis
Open Access
y2kameron@yahoo.com
THUMBNAIL
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2021-07-08 03:57:14.866
ResearchWorks
libanswers@uw.edu
oai:digital.lib.washington.edu:1773/478652021-10-30T10:46:42Zcom_1773_4888col_1773_19678
Karpen, Richard
Hogan, Adam
765ac585-4c7f-4728-b34a-be29e2d16d6b
300
2021-10-29T16:16:23Z
2021-10-29T16:16:23Z
2021
Hogan_washington_0250E_23388.pdf
http://hdl.handle.net/1773/47865
Thesis (Ph.D.)--University of Washington, 2021
This document is a collection of writings that serves as an exploration of the ingrained interconnections between art and technology framed through the moving image. It examines a selection of my experimental films, installations, and cinematic meditations via my own research practice heavily embedded in the formal cinematic, several years of field research, development, and contexts around Return, my dissertation project.
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none
Cinematography
Digital arts and experimental media
Return
Thesis
Open Access
info@adam-hogan.com
THUMBNAIL
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Hogan_washington_0250E_23388.pdf.jpg
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Hogan_washington_0250E_23388.pdf.txt
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2021-10-30 03:46:42.745
ResearchWorks
libsys@uw.edu
oai:digital.lib.washington.edu:1773/481562022-01-27T11:40:33Zcom_1773_4888col_1773_19678
Psarra, Afroditi
Vitols, Rihards
06a50f59-163d-4ab1-9a27-752bf8d9c8a1
300
2022-01-26T23:20:29Z
2022-01-26T23:20:29Z
2021
Vitols_washington_0250E_23807.pdf
http://hdl.handle.net/1773/48156
Thesis (Ph.D.)--University of Washington, 2021
“Mežs” is an artistic research project that explores the use of artificial intelligence (AI) and machine learning (ML) algorithms in generative art. This dissertation project, namely, investigates how creating a custom training dataset, which is an ML system, can generate audiovisual and textual material that can form the basis of the artwork itself. The dissertation consists of a series of artworks: the first work is an interactive online archive of trees and their soundscapes; the three future iterations are a time-based works that demonstrate how the world could look like with the new generated tree species; an augmented reality iteration; and a book archiving all the previously generated materials.In my dissertation, I am researching a repertoire of artists who created their works with the help of AI, and specifically on artworks that deal with artificial ecology, speculative futures, and critical design. The research of my dissertation investigates artists creating art machines and speculative futures, collaborating with generative organizations and artificial life in the field of critical ecologies.
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CC BY-NC-ND
Artificial intelligence
Critical Ecology
Digital art
Future of Forests
Generative art
Speculative art
Design
Artificial intelligence
Ecology
Digital arts and experimental media
Mežs
Thesis
Open Access
vitols.rihards@gmail.com
THUMBNAIL
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oai:digital.lib.washington.edu:1773/491982022-09-24T11:11:45Zcom_1773_4888col_1773_19678
Psarra, Afroditi
Choi, Chanhee
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300
2022-09-23T20:41:16Z
2022-09-23T20:41:16Z
2022
Choi_washington_0250E_24787.pdf
http://hdl.handle.net/1773/49198
Thesis (Ph.D.)--University of Washington, 2022
Remembrance: Magma is a 3D animation displayed in an immersive video installation that addresses the imaginaries of a mind as it is dying of dementia. The work was exhibited at The Jack Straw Gallery in Seattle through a solo show in April to June 2022. Remembrance: Magma incorporates machine learning, cutting-edge research on the aging brain, East Asian crafting aesthetics, and Korean shamanic traditions as it examines the nature of the brain as a sensor that desires data even as it slowly fails. Culturally intersectional, Remembrance explores world-building through the poetic and painful processes of memory degeneration.
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3D Animation
East Asian Crafting Aesthetics
Immersive Art
Machine Learning
Surrealism
Fine arts
Film studies
Computer science
Digital arts and experimental media
Remembrance: Magma
Thesis
Open Access
cchoi8@uw.edu
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2022-09-24 04:11:45.622
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oai:digital.lib.washington.edu:1773/498202023-04-18T11:02:09Zcom_1773_4888col_1773_19678
Pampin, Juan
Manousakis, Stelios
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2023-04-17T18:01:39Z
2023-04-17T18:01:39Z
2023
Manousakis_washington_0250E_25213.pdf
http://hdl.handle.net/1773/49820
Thesis (Ph.D.)--University of Washington, 2023
This dissertation is centered around a series of three artworks (Hertzian Fields) that explore WiFi as a spatial and embodied sensing medium. These works use a new sensing technique developed by the author that leverages the interference of the human body on WiFi signals to create highly responsive live performance and interactive systems. Hertzian Field #1 (2014) is an augmented reality immersive environment using sound to explore the materiality of WiFi communication through its interaction with space and the human body. Hertzian Field #2 (2016) is a 20'-25' augmented reality immersive performance for solo performer, WiFi fields, computers and surround sound that conjures a phenomenology of the hertzian medium explored through sound and movement. The Water Within (Hertzian Field #3 and #3.1) is a reactive wet sauna: an intimate multi-sensory environment of complete immersion, combining WiFi sensing fields, machine listening software, embedded 3D sound, hot steam, and architectural design. Steered by the flows and variable densities of water molecules traced in steam and bodies by (ab)using WiFi, it creates a regenerative post-relational experience that celebrates interference, signal-loss, and disconnecting. The piece exists in two iterations and formats: an interactive installation (2016) and a composed interactive experience (2018).
The dissertation describes the author's conceptual and technical approach in using WiFi microwave signals as an artistic medium. It also examines the background, context, ideas and research processes that led to the creation of these works. In doing so, it lays the foundation for developing a better and deeper understanding of microwaves and WiFi signals, investigates their artistic potential, and discusses related approaches by other artists.
Chapter One (Introduction: The hertzian medium) introduces core ideas and concepts regarding the medium. This includes: a discussion on the impact of wirelessness in contemporary living and how it has transformed our interactions with and understanding of the world; an overview of the physics of electromagnetism and the electromagnetic spectrum; and an investigation of the hertzian (i.e. radio and microwaves) as a multilayered medium consisting of seven interconnected layers: physics, science, imagination, engineering, use, impact, regulation.
Chapter Two (The birth of a medium: Energy becomes technology) introduces a media archaeological approach as a method for grasping what the medium affords, and how our imagination of what we can use it for has developed over time. It presents an overview of key developments in hertzian science, imagined and realized applications, and their impact. This chapter focuses primarily on the early years around Heinrich Hertz’s discovery of electromagnetism, looking at the birth of wireless technologies relevant to the Hertzian Field series: communication, broadcast, hacking and electronic warfare, navigation, meteorology, radio astronomy, and radar, before closing with a section on the development of WiFi.
Chapter Three (Radar and Direction-Finding in sonic art and beyond) surveys musical instruments and artworks based on spatial and/or embodied uses of the hertzian as a sensing medium. The emphasis is on sound-centric practices and specific technologies that have been used to this extent: from capacitative / electric field sensing, to musical instruments utilizing direction-finding principles, to spatial uses of broadcast radio, to doppler radar systems. Instruments discussed include: Theremin and Terpsitone; Pupitre d'Espace; Radio Baton; Marimba Lumina. Artworks by the following artists are examined: Max Neuhaus; Edwin van der Heide; Christina Kubisch; John Cage; Philippa Cullen; Liz Phillips; Sonia Cillari; Tetsuo Kogawa; Anna Friz; Edward Ihnatowicz; Steve Mann; Joe Paradiso / MIT Lab; Arthur Elsenaar; Godfried-Willem Raes.
Chapter Four (First hertzian explorations: From the network to the body, from WiFi to Radar) turns to the author's own work. It presents the first phase (2010-14) of his research trajectory on the hertzian medium, and introduces three projects in which he explored WiFi and broadcast radio.
Chapter Five (Ubiquitous sensing with radio waves and microwaves) dives into the technological context influencing the author's research. It introduces the field of Ubiquitous Sensing and discusses relevant localization and device-free sensing techniques, concluding with a discussion on the physics and biological factors involved so as to comprehend how and why such techniques work.
Chapter Six (Wireless Information Retrieval: Sensing with WiFi signals) presents the device-free WiFi-sensing technique that the author developed for the Hertzian Field series. Combining elements from Ubiquitous Sensing and Music Information Retrieval, this technique performs multi-layered feature extraction on the Received Signal Strength Indication (RSSI) of WiFi Beacon frames to deduce a variety of information related to the movement of uninstrumented bodies, and to changes in environmental factors (e.g. humidity).
Chapter Seven (Composing Hertzian Fields) discusses strategies for creating works with this technique, and examines the three works of the Hertzian Field series in detail. It finally touches on ideas for future work by the author.
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Stelios Manousakis - The Network Is A Blind Space [2011-12] @ Jack Straw Seattle, 2012.mov; video; The Network Is a Blind Space [Stelios Manousakis, 2011-12] is a distributed, micro-telematic, interactive installation exploring the hertzian spaces created by WiFi networks. Documentation from the work's exhibition at Jack Straw, Seattle, US, 2011-12..
Stelios Manousakis - x27Act so that there is no use in a centrex27 [2014] @ Musical Utopias Festival, The Hague, 2019.mp4; video; ‘Act so that there is no use in a centre’ [Stelios Manousakis, 2014] is an abstracted and deconstructed spatial radio play. The video documents a 2019 exhibition at Musical Utopias Festival, Korzo Theater in The Hague, NL..
Stelios Manousakis - Hertzian Field 1, an augmented reality surround sound environment [2014] @ ZKM Karlsruhe 2014.mp4; video; Hertzian Field #1 [Stelios Manousakis, 2014] is an immersive augmented reality environment exposing the raw materiality of WiFi. Excerpts from a performance by Stelios Manousakis from the work's premiere, ZKM Center for Art and Media, Karlsruhe, DE, 2014..
Stelios Manousakis - Hertzian Field 1 [2014] with Eugenia Demeglio @ Sussex Creativity Zone, 2015.mov; video; Hertzian Field #1 [Stelios Manousakis, 2014] is an immersive augmented reality environment exposing the raw materiality of WiFi. Excerpts from a performance by Eugenia Demeglio; Sussex Creativity Zone, Brighton, UK, 2015..
Stelios Manousakis - Hertzian Field 1 (for moving transmitter) [2015] with Eugenia Demeglio @ Sussex Creativity Zone, 2015.mov; video; Hertzian Field #1 [Stelios Manousakis, 2014] is an immersive augmented reality environment exposing the raw materiality of WiFi. Excerpts from a performance by Eugenia Demeglio with wearable transmitter; Sussex Creativity Zone, Brighton, UK, 2015..
Stelios Manousakis - Hertzian Field2 [2016] @ GLOBALE Festival, ZKM Karlsruhe, 2016.mov; video; Hertzian Field #2 [Stelios Manousakis, 2016] is an augmented reality immersive performance exposing the sympathetic resonance of the body to the invisible flows of WiFi. Excerpts from the work's premiere, GLOBALE Festival, ZKM Karlsruhe, DE, 2016..
Stelios Manousakis - The Water Within (Hertzian Field 3.1) [2018] @ Modern Body Laboratory 2, The Hague, 2018.mp4; video; The Water Within (Hertzian Field #3.1) [Stelios Manousakis, 2018] is an intimate experience of complete multi-sensory immersion in a reactive wet sauna with bodies and steam sensed via WiFi. Excerpts from Modern Body Laboratory #2, The Hague, NL, 2018..
none
Media Theory
Microwaves
Music
Sound Art
Ubiquitous Sensing
WiFi Sensing
Music
Performing arts
Computer science
Digital arts and experimental media
Hertzian Fields: Exploring WiFi microwave signals as a spatial and embodied sensing medium for art
Thesis
Open Access
stm@modularbrains.net
THUMBNAIL
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ResearchWorks
libsys@uw.edu
oai:digital.lib.washington.edu:1773/510542024-02-13T11:17:24Zcom_1773_4888col_1773_19678
Karpen, Richard
Tavaglione, Breana
680f4102-4ee8-45b0-9849-e778c2968e78
300
2024-02-12T23:38:01Z
2024-02-12T23:38:01Z
2023
Tavaglione_washington_0250E_26316.pdf
http://hdl.handle.net/1773/51054
Thesis (Ph.D.)--University of Washington, 2023
This document provides a comprehensive view into the research trajectory and composition process culminating in Western Panorama (2023), an electroacoustic composition reimagining of the Western film genre exploring scale, proximity, and perception. This dissertation discusses the trajectory of work on a documentary inspired piece that conveys the vastness of a desert landscape through intimate listening. It explores the challenges of working with scale, maintaining consistency across listening devices, conveying a sense of intimacy and immersion, as well as the use of sound characters, silence, and spatial audio techniques to achieve this.
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CC BY-ND
Musical composition
Digital arts and experimental media
Western Panorama
Thesis
Open Access
bbtavaglione@gmail.com
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