Ambient Video, Slow-Motion, and Convergent Domains of Practice

Ambient Video, Slow-Motion, and Convergent Domains of Practice

Jim Bizzocchi (Simon Fraser University, Canada) and Belgacem Ben Youssef (Simon Fraser University, Canada)
DOI: 10.4018/978-1-60566-352-4.ch004
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Abstract

The chapter describes the synergistic integration of distinct research and creation agendas, each firmly grounded in its own set of practices and methodologies. The authors participate in three separate domains of practice: humanities scholarship, scientific research, and artistic creation. They have continued to work within their respective specialties, but have also aligned their research and creation activities within a larger context that enriches their individual work. Humanities scholarship, artistic creation, and scientific research support each other at various critical junctures in the overall arc of the research. The chapter analyzes the details of each individual research or creation strand, and identifies the instances and the dynamics of mutual support and synergy. The mechanisms and attitudes that support the success of cross-disciplinary collaboration are identified and explicated.
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Collaboration And Cross-Disciplinary Practice

The topic of collaboration has been examined through various lenses. Bennis and Biederman examined collaboration in the business world (Bennis and Biederman, 1997). They found a number of factors which aided the development of successful collaborations. Their list included quality of participants, quality of leadership, shared purpose, ability to focus, optimistic stance, commitment to finishing, development of espirit-de-corps, and a sense of great work as its own reward. Schrage examined the same domain and found a similar list that included shared goals and a general level of competence, but added mutual respect, trust, effective communication, clear roles leavened by flexibility, and the examination of multiple representations of critical phenomena (Shrage, 1995).

Others have considered the question of collaboration across the two domains in question in this chapter (the arts and the sciences). Some have identified success factors that echo the findings drawn from the business world, but they also add other factors as well. Candy and Edmonds have the following list: shared vision, complementary interests, communication (including the development of a shared language). Significantly, they also include “time” within their list of enablers, indicating the need for a sustained effort at cross-discipline collaboration (Candy and Edmonds, 2002). In separate studies, Vera John-Steiner (John-Steiner, 2000) and Oppenheimer (Oppenheimer, 2007) also stress the importance of common vision and shared values to dynamically harness distinct roles and traditional discipline-based approaches into a shared agenda. The Bridges Project brought together a group of artists and scientists to discuss their experience in arts-science collaborations. They stress the importance of language as a potential unifier, or disruptor, citing the need to maintain disciplinary language for purposes of precision, but also a concomitant need to clarify meaning across practices (Pearce, Diamond and Bean, 2003).

Finally, Wilson disagrees with Snow’s basic assumption of fundamental differences. He maintains there is significant commonality in the two approaches: “…scientific and technological research should be viewed more broadly than in the past: not only as specialized technical inquiry, but as cultural creativity and commentary, much like art” (Wilson, 2002). We lean towards this interpretation, and although we each respect the perspectives and methodologies of our core domains, the history of our research program illustrates commonalities and intersections that join our interests and enquiries.

Key Terms in this Chapter

Poetics: Originally (from Aristotle) the study of the form and structure of classic Greek drama. The term has since broadened, and now refers to “the creative principles informing any literary, social or cultural construction, or the theoretical study of these; a theory of form.” (quote from Oxford English Dictionary, 2007)

Frame Rate: Is the rate or frequency at which an imaging device records or displays a sequence of frames. As a rate, it is expressed in frames per second (fps), while as a frequency in hertz (Hz).

High Dynamic Range (HDR): Means that the range of luminance (brightness) values has been increased.

Close Reading: Critical, highly detailed deconstruction and analysis of a text or a work of art.

Frame Interpolation: Is a method of constructing and inserting new video frames between existing frames within a given video sequence.

Frame: In both film and video, a single image is referred to as a frame.

Motion Estimation: Is the process of determining motion vectors that describe the transformation from one frame to an adjacent one in a video sequence.

Ambient Video: Video piece intended to play in the background, but to also give visual pleasure whenever it is looked at. Like Brian Eno’s ambient music, ambient video “must be as easy to ignore as it is to notice”. Also called “video painting”.

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Table of Contents
Foreword
Gabriele Meiselwitz
Preface
James Braman, Giovanni Vincenti, Goran Trajkovski
Acknowledgment
James Braman, Giovanni Vincenti, Goran Trajkovski
Chapter 1
Adérito Fernandes Marcos, Pedro Branco, João Álvaro Carvalho
Art objects might be described as symbolic objects that aim at stimulating emotions. They reach us through our senses (visual, auditory, tactile, or... Sample PDF
The Computer Medium in Digital Art's Creative Process
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Chapter 2
Salah Uddin Ahmed, Letizia Jaccheri, Guttorm Sindre, Anna Trifonova
The interaction between art and technology, especially computing technology, is an increasing trend in the recent years. The context of this... Sample PDF
Conceptual Framework for the Intersection of Software and Art
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Chapter 3
Joseph William Pruitt
The purpose of this chapter is to define the roles of engineering and design within the product development cycle looking at both the scientific and... Sample PDF
The Design of Engineering
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Chapter 4
Jim Bizzocchi, Belgacem Ben Youssef
The chapter describes the synergistic integration of distinct research and creation agendas, each firmly grounded in its own set of practices and... Sample PDF
Ambient Video, Slow-Motion, and Convergent Domains of Practice
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Chapter 5
Ethan Ham
Randomness is a slippery term that conveys different meanings in different disciplines. In mathematics, an individual number is random when there is... Sample PDF
Randomness, Chance, & Art
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Chapter 6
Holography: Re-Defined  (pages 103-112)
Martin Richardson, Paul Scattergood
When writing this chapter it became apparent that we were not only exponents of digital holography, but also the critics. This is a problem when it... Sample PDF
Holography: Re-Defined
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Chapter 7
Lorenzo Picinali
What is the real potential of computer science when applied to music? It is possible to synthesize a “real” guitar using physical modelling... Sample PDF
3D Sound Simulation over Headphones
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Chapter 8
Raphael DiLuzio
This is a guide for working with a visual art form using a digital time-based medium. This chapter will provide an overview of the necessary... Sample PDF
Broken Cinema: The Eye and Hand in a Time-Based Art
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Chapter 9
Ambivalent Interplay  (pages 146-161)
Heejoo Kim
The human vision, the most ubiquitous receptor of the human senses, has been the prevailing sensory organ for a noticeable manifestation of visual... Sample PDF
Ambivalent Interplay
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Chapter 10
Yueh Hsiu Giffen Cheng
The development of net art originates from the rising of net media generally. During the past two decades, Net art has overthrown the standards of... Sample PDF
The Aesthetics of Net dot Art
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Chapter 11
Nicola Quinn, Annette Aboulafia
People have used tools for artistic expression for millennia. Relatively recent is the use of digital technology to afford the creation of art.... Sample PDF
A Graphics Tablet as a Fine Art Tool
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Chapter 12
Greg J. Smith
This text seeks to contextualize the history of and discourse surrounding information visualization. It positions visualization in relation to... Sample PDF
Information Visualization and Interface Culture
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Chapter 13
Benjamin David Robert Bogart
“Memory Association Machine” (also known as “Self-Other Organizing Structure #1”) is the first prototype in a series of site-specific responsive... Sample PDF
Memory Association Machine
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Chapter 14
Stefano De Luca, Eugenia Benelli, Francesco Altarocca, Dario Dussoni
Designing good and sound architectural projects is a hard job. Generally these kinds of projects involve many stakeholders, everyone with his/her... Sample PDF
EVO-PARK: Designing Better Architecture Projects Using Participated and Interactive Genetic Algorithms
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Chapter 15
Sergiy Rakov, Viktor Gorokh, Kirill Osenkov
The chapter discusses the possibilities modern IT opens for Mathematics and its applications to real life, in particular to Art – by an example of... Sample PDF
Mathematics, Computer Mathematical Systems, Creativity, Art
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Chapter 16
Jim Barta, Ron Eglash
Students who may typically view mathematics as a sterile and disjointed subject are learning new skills and concepts using a suite of virtual design... Sample PDF
Teaching Artful Expressions of Mathematical Beauty: Virtually Creating Native American Beadwork and Rug Weaving
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Chapter 17
Mia Kalish
One visualization in Diné philosophy is four small dots arranged in a circular sequence at 90°, 0°, 270°, and 180°. Each position is associated with... Sample PDF
Visual Analytics and Conceptual Blending Theory
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Chapter 18
Lindsay Grace
Enculturation is the act of passing cultural ideologies from one person to the other. It is what breeds innovation instead of new creation. It is... Sample PDF
The Challenge of Enculturation on Art
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Chapter 19
Lindsay Grace
Software is philosophical. Software is designed by people who have been influenced by a specific understanding of the way objects, people and... Sample PDF
The Philosophies of Software
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Chapter 20
Technological Social-ism  (pages 343-374)
Judson Wright
Culture is a byproduct of our brains. Moreover, we’ll look at ways culture also employs ritual (from shamanistic practices to grocery shopping) to... Sample PDF
Technological Social-ism
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Chapter 21
Stephen A. Schrum
As creative people inhabit virtual worlds, they bring their ideas for art and performance with them into these brave new worlds. While at first... Sample PDF
Theatre in Second Life® Holds the VR Mirror up to Nature
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Chapter 22
Machinima in Second Life  (pages 396-416)
Stephany Filimon
This chapter provides a brief history of machinima, films created by computer users within virtual worlds, and focuses on machinima produced within... Sample PDF
Machinima in Second Life
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Chapter 23
Andrew Jinman
Massively multiplayer online role-playing games (MMORPGs) are becoming an increasingly popular recreational activity for social engagement.... Sample PDF
Player Motivation and Understanding Game Dynamics
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About the Contributors