Jeong Seon (1676–1759), was one of the most innovative painters in Korean history. More than 300 of his paintings and a great deal of material written about him has enabled Korean art historians to study his work carefully in the past 20 years. Unlike the conventional art style of the early Joseon period (ca. 1392–1592), his attempts to directly observe nature and capture it in his paintings spawned the so-called "true-view" art movement (jingyeong) that dominated in the late Joseon period (ca. 1700–1850). Despite its name, Jeong’s style was not only the result of realistic observation but also a considerable shift away from traditional painting subjects, such as Mt. Wuyi, the center of Taoism and Buddhism. His appointment as the mayor of Cheongha in North Gyeongsang province in 1753 gave him opportunities to explore the famous scenic areas around the town. These paintings were collected in the Album of Gyeongsang Province (yeongnamchup).
Jeong’s methods for simulating Korean landscapes have been the subject of much debate, but most of the discussion surrounding his work has been focused on the literature around him. For this reason, Jeong’s unique perspective style has yet to be clearly defined. Thus, after reading Kay Black’s exceptional paper on how to scientifically describe paint styles, I decided to define the true-view style.
This research presents clear answers about Jeong’s extraordinary perspective skill based on computer graphical analysis. Jeong’s paintings in Album of Gyeongsang Province were virtually reconstructed based on photographs and geographic data of the locations. The true-view landscape painting style utilized multiple distances, hemispheric distortion effect, morphological transitions, and constructing a linear narrative in painting. This dissertation explains how Jeong represented natural scenery using these techniques in his paintings. Finally, this research furthered the goal of our program to build bridges between art and science.
Audio-visual performances and installations by the MAT community in downtown Santa Barbara, on the first Thursday of every month.
Making Visible the Invisible is a six-screen, dynamic data visualization artwork at the Seattle Public Library. It visualizes patrons’ library checkouts received by the hour through four different animations to give a sense of community interests. The artwork was activated in September 2005 for a 10-year operation and was extended.
Photos: George Legrady. James Bay Cree, Fort George, James Bay, 1973, Quebec, Canada.
The award is for an upcoming publication titled "James Bay Cree Culture & Architecture", a monograph of documentary photographs created in four coastal Cree First Nation villages in sub-arctic James Bay in 1973. The publication is to consist of introductory texts, approximately 180 black and white photographs of everyday scenes in the Cree communities just prior to their legal negotiations over infrastructure autonomy and land rights in response to the construction of the James Bay Hydro-electric project on traditional hunting lands.
The "Authority of the News" series, Fuji Inkjet, 1986.
The photographs focused on the intersection of noise and signal in the news from the mid 1980s. The images were acquired into the SBMA collection in 2017.
"Etherial" will bring the quantum form into the material, through virtual reality, spatial augmented reality and material form. The work will consist of two windows into the virtual that will ultimately control the various visual/sonic quantum forms, a SAR window in a completely immersive VR space that will allow one to sculpt quantum mechanics in real time, and a physically rendered sculpture that will be tracked with gestural sensors so one can perform the work from the sculpture as well. Two controllers into a completely immersive VR space that will allow performers to sculpt quantum mechanics in real time in total synchrony with one another and the virtual environment that they control.
In keeping with the theme of “LUX”, the quantum, revealed, the hydrogen-like atom combinations feature light-emitting wave function combinations that move toward the science of the phenomenon, while the quantum, suggests the ethereal nature of spirit in the form of light, EHERIAL/IMMUTABLE – to touch the untouchable.
"System 319" at the Venice Biennale.
Marko Peljhan’s work revolves around two fundamental aspects of the world today: the technological developments in communication, transport, and surveillance; and the highly complex systems of political, economic, and military power driving such developments and employing them in administration, control, production or military applications. The potentials of technology are introduced into art as a way of confronting the systems of governance and their strategies. Peljhan’s art has thus evolved into a process involving a cartography of "signal territories," an analysis of the role of technology in society, particularly as it relates to power structures, a reflection on the possibilities of a different, creative and resistant use of technological means, and, ultimately, the creation of socially useful models of resistant behaviors in the contemporary social system. The theatrical dimension of Peljhan’s art plays a crucial role in this; his best-known project Makrolab can in this sense be interpreted as a technological laboratory and a social stage based on the concept of micro-performance.
At the Venice Biennale, Peljhan will present a work from his Resolution series. This series, which has evolved over some 20 years, proposes some specific material and applicable solutions to certain problems in society. It is the artist’s response to the state in which the world finds itself today, calling for a rediscovery of space and a utopian response to the rapid changes in the environment. In this sense, the autonomous vessel produced as part of the "Here we go again… SYSTEM 317" project is a colonizing, apocalyptic and pirating tool of sorts. In it, Peljhan brings together his vision, the potential for and the impossibility of a final exit from our rapidly deteriorating planetary conditions in a process he calls “reverse conversion.” He first employed this methodology in his "TRUST-SYSTEM" series, which focused on the conversion of cruise missile technology and later, unmanned systems for civil counter-reconnaissance. The artist proposes the construction of a counter-privateering machine intended for the days when the world’s great empires find themselves, once again, in confrontation—and one characterized by a grave lack of responsibility together with great destructive potential.
The X-43A Hypersonic Experimental (Hyper-X) Vehicle in Benefield Aenechoic Facility at Edwards Air Force Base radio January 2000. Photo: Tom Tschida. Image courtesy of NASA.
Reincarnation is a virtual reality art experience, based on French surrealist painter Yves Tanguy's paintings in combination with my creation of pseudo-natural beings. Reincarnation intends to amplify the experience of original artworks by creating an agent-based spatial narrative and a surreal aesthetic for visual, audio, motion, and interaction. Reincarnation is also an artistic search of animism in various matters, and it challenges the anthropocentric worldview in an artificial intelligence era. By providing a multi-perspective experience, it calls for people's empathy for human beings as well as other organic creations, artifacts, places, and abstract entities.
"Touching Affectivity" is an interactive sculpture whose vocalizations are sonifications of the way it is touched. The creature experiences its world through pressure sensors and handmade conductive fur, which can detect different types of touch. Exhibit guests can interact with the creature while listening to the creature’s response. Aspects of the conductive fur signal affect the speed, volume, filters, and the timbre of the synthesized sound. The parameters chosen for the sound generation algorithm are grounded in prior research in emotive vocal communication and emotive music. This work explores how gesture can be used to produce sound and communicate emotion.
"BeHave" by Sihwa Park
This paper presents BeHAVE, a web-based audiovisual piece that explores a way to reveal the author’s mobile phone use behavior through multimodal data representation, considering the concept of indexicality in data visualization and sonification. It visualizes the spatiality and overall trend of mobile phone use data as a geographical heatmap visualization and a heatmap chart. On top of that, BeHAVE presents a mode for temporal data exploration to make a year of data perceivable in a short period and represent the temporality of data. Based on a microsound synthesis technique, it also sonifies data to simultaneously evoke visual and auditory perception in this mode. As a way of indexical visualization, BeHAVE also suggests an approach that represents data through mobile phones simultaneously by using WebSocket. Ultimately, BeHAVE attempts to not only improve the perception of self-tracking data but also arouse aesthetic enjoyment through a multimodal data portrait as a means of self-representation.
This VR project is a conceptual response to "Ground Truth" in the modern AI age. From a neural network (NN) that is trained to recognize thousands of objects, to a NN that can only generate binary outputs, each NN, like human beings, has its own understanding of the real world, even when the inputs are the same. LAVIN provides an immersive responsive experience, that allows you to visually explore one understanding of a NN in which the real world is mapping to less than a hundred daily objects. LAVIN constantly analyzes the real world via a camera, and outputs semantic interpretations in which the audience navigates, in a virtual world that consists of all of the fluid abstract structures that are designed and animated based on the photogrammetry of daily objects that the NN can recognize.
In the Digital Age - Experiencing Architecture and Music Through STEM - Course Description
In this course, we will challenge what you think architecture and music are by examining how the intersection of these topics evolved over time through the lens of human experience and the digital age. For example, the way in which theme parks are intentionally designed or the role that a musical score plays in movies to enhance or manipulate the audience's experience. You will learn the basic concepts of digital architecture and computer music through exercises using physical and digital modeling, 3D fabrication, haptics (touch sound), and interactive design highlighting how new media technologies and fabrication tools have allowed for the integration of STEM and the fine arts. Students will attend a field recording workshop and develop a hands-on studio project to learn creative techniques in music composition and sound making. In addition, students will develop oral communication and formal presentation skills through a series of workshop project presentations. By the end of the course, you will develop the methodologies for an interdisciplinary research project. This is an excellent opportunity for participants interested in both science and art, to increase their skills and knowledge towards their college education.
Media Arts and Technology (MAT) at UCSB is a transdisciplinary graduate program that fuses emergent media, computer science, engineering, electronic music and digital art research, practice, production, and theory. Created by faculty in both the College of Engineering and the College of Letters and Science, MAT offers an unparalleled opportunity for working at the frontiers of art, science, and technology, where new art forms are born and new expressive media are invented.
In MAT, we seek to define and to create the future of media art and media technology. Our research explores the limits of what is possible in technologically sophisticated art and media, both from an artistic and an engineering viewpoint. Combining art, science, engineering, and theory, MAT graduate studies provide students with a combination of critical and technical tools that prepare them for leadership roles in artistic, engineering, production/direction, educational, and research contexts.
The program offers Master of Science and Ph.D. degrees in Media Arts and Technology. MAT students may focus on an area of emphasis (multimedia engineering, electronic music and sound design, or visual and spatial arts), but all students should strive to transcend traditional disciplinary boundaries and work with other students and faculty in collaborative, multidisciplinary research projects and courses.