New
Art
City
Virtual Art Space

Catalog view is the alternative 2D representation of our 3D virtual art space. This page is friendly to assistive technologies and does not include decorative elements used in the 3D gallery.

Space Title

Indeterminate Delineations

Within the World Titled Indeterminate Delineations
Credited to Maya Alam & Students, UPenn
Opening date December 22nd, 2020
View 3D Gallery
Main image for Indeterminate Delineations

Artworks in this space:

Artwork title

transparent floor test

transparent floor test
Artwork title

CQ - Still Rendering 2

CQ - Still Rendering 2
Artwork title

CQ - artbreeder painting

CQ - artbreeder painting
Artwork title

CQ - Video 2

Artwork title

CQ - Window Scan 2

Artist name Tianshuo
Artwork title

CQ - Short Video 1

Artist name Congqi
Artwork title

CQ - Sample video

Artwork title

CQ - Still - 11

CQ - Still - 11
Artwork title

Mesh of Philadelphia_001

Artist name By Danny Ortega, Lauren Hunter, and Nicholas Houser
Artwork Description:

Photogrammetry scan of a Philadelphia streetscape

Artwork title

Mesh of Philadelphia_002

Artist name By Danny Ortega, Lauren Hunter, and Nicholas Houser
Artwork Description:

Photogrammetry scan of a Philadelphia ally

Artwork title

Mesh of Philadelphia_003

Artist name By Danny Ortega, Lauren Hunter, and Nicholas Houser
Artwork Description:

Photogrammetry of a Philadelphia skyline

Artwork title

GAN_LANDSCAPE_001

Artist name by Danny Ortega, Lauren Hunter, and Nicholas Houser
Artwork Description:

A new interpretation of The Ghauts at Benares (William Hodges, 1787) using Art Breeder as a means to exaggerate specific elements of the painting. In this image, the landscape is exaggerated and the original painting is no longer recognizable.

GAN_LANDSCAPE_001
Artwork title

GAN_LANDSCAPE_003

Artist name by Danny Ortega, Lauren Hunter, and Nicholas Houser
Artwork Description:

A new interpretation of The Ghauts at Benares (William Hodges, 1787) using Art Breeder as a means to exaggerate specific elements of the painting. In this image, color, architectural elements, and vegetation are exaggerated.

GAN_LANDSCAPE_003
Artwork title

GAN_LANDSCAPE_004

Artist name by Danny Ortega, Lauren Hunter, and Nicholas Houser
Artwork Description:

A new interpretation of The Ghauts at Benares (William Hodges, 1787) using Art Breeder as a means to exaggerate specific elements of the painting. In this image,the horizon line is blurred and the differentiation between sky and ground is lost.

GAN_LANDSCAPE_004
Artwork title

GAN_LANDSCAPE_002

Artist name by Danny Ortega, Lauren Hunter, and Nicholas Houser
Artwork Description:

A new interpretation of The Ghauts at Benares (William Hodges, 1787) using Art Breeder as a means to exaggerate specific elements of the painting. In this image, landscape elements take over the image while maintaining the original color palette.

GAN_LANDSCAPE_002
Artwork title

GAN_LANDSCAPE_005

Artist name by Danny Ortega, Lauren Hunter, and Nicholas Houser
Artwork Description:

A new interpretation of The Ghauts at Benares (William Hodges, 1787) using Art Breeder as a means to exaggerate specific elements of the painting. In this image, color, architectural, and landscape elements as well as the horizon line remain similar to the original painting.

GAN_LANDSCAPE_005
Artwork title

ALIEN BOI

Artist name by Danny Ortega, Lauren Hunter, and Nicholas Houser
ALIEN BOI
Artwork title

DUSTY SKY

Artist name by Danny Ortega, Lauren Hunter, and Nicholas Houser
DUSTY SKY
Artwork title

MOLDY MILK

Artist name by Danny Ortega, Lauren Hunter, and Nicholas Houser
MOLDY MILK
Artwork title

MOLDY PAINT

Artist name by Danny Ortega, Lauren Hunter, and Nicholas Houser
MOLDY PAINT
Artwork title

RUSTY ROCK

Artist name by Danny Ortega, Lauren Hunter, and Nicholas Houser
RUSTY ROCK
Artwork title

SLUSH MOB

Artist name by Danny Ortega, Lauren Hunter, and Nicholas Houser
SLUSH MOB
Artwork title

Joe Window Mesh Turntable

Artist name Joe Mathews + Kat Vavilov
Artwork Description:

The blurring between what is seen and what is not, what could be, or the familiar unfamiliar becomes a question of what is important to the viewer and what is important to the artist. Rarely do we see photography that isn’t touched digitally, so it could be argued that we never see true reality, so why capture it? Is there more potential for aesthetic superiority in the altered, than in the truth? This blurring between reality and the digital made becomes the key theme in the project. There are specific forms within our scans that are distinctly recognizable, so there is a familiar quality that carries through the scenes. In distorting this object, and blending it through and between other natural objects that are abstracted, we can start to make the familiar, unfamiliar, and change the perception of that object in the space through the use of scaling, opacities, and layering. In earlier studies, through the paintings we explored the effect of blurring layers and blending textures. Can there be a moment within the scene where we know what we are seeing, but then lose sight of it as it blends in with its surroundings, loses clarity in its form, but still appears familiar?

Artwork title

FinalTest_Animation_01

Artist name Joe + Kat
Artwork Description:

...

Artwork title

QL-1 STILL IMAGE

Artist name Nengjie Qu, Shiqi Liu
Artwork Description:

Landscape Image -- Morning "Landscape is a natural scene mediated by culture. It is both a represented and presented space, both a signifer and a signified, both a frame and what a frame contains, both a real place and its simulacrum, both a package and the commodity inside the package." The world that we live in contains so much different types of species such as human, animinal and botany etc. We as human created our own culture, urban condition and history however the landscape is a beautiful scene created by the nature and has it's own culture. Under the different season, different time period the landscpae scene will transform from an old natural scene to a new natural scene. There is no doubt that some of the landscape scenes have the urban culture or urban scene. Our project aims to create a new type of landscape which tell it's own story of how the landscape will transform from day to the night. From a high intense light of landscape to the dark surrounding with weak light of landscape and between the transition the landscape create the specific spation condition relate to nature.

QL-1 STILL IMAGE
Artwork title

QL-STILL IMAGE 2

Artist name Nengjie Qu, Shiqi Liu
Artwork Description:

Landscape Image -- Noon

QL-STILL IMAGE 2
Artwork title

QL-STILL IMAGE 3

Artist name Nengjie Qu, Shiqi Liu
Artwork Description:

Landscape Image -- Afternoon

QL-STILL IMAGE 3
Artwork title

QL-STILL IMAGE 4

Artist name Nengjie Qu, Shiqi Liu
Artwork Description:

Landscape Image -- Evening

QL-STILL IMAGE 4
Artwork title

QL-STILL IMAGE 4

Artist name Nengjie Qu, Shiqi Liu
Artwork Description:

Landscame Image -- Evening

QL-STILL IMAGE 4
Artwork title

QL-STILL IMAGE 5

Artist name Nengjie Qu, Shiqi Liu
Artwork Description:

Landscape Image -- Night

QL-STILL IMAGE 5
Artwork title

QL-STILL IMAGE 6

Artist name Nengjie Qu, Shiqi Liu
Artwork Description:

Landscape Image -- Night

QL-STILL IMAGE 6
Artwork title

QL-STILL IMAGE 7

Artist name Nengjie Qu, Shiqi Liu
Artwork Description:

Landscape Image -- Afternoon

QL-STILL IMAGE 7
Artwork title

QL-STILL IMAGE 8

Artist name Nengjie Qu, Shiqi Liu
Artwork Description:

Landscape Image -- Evening

QL-STILL IMAGE 8
Artwork title

QL-STILL IMAGE 9

Artist name Nengjie Qu, Shiqi Liu
Artwork Description:

Landscape Image -- Afternoon

QL-STILL IMAGE 9
Artwork title

QL-STILL IMAGE 10

Artist name Nengjie Qu, Shiqi Liu
Artwork Description:

Landscape Image -- Afternoon

QL-STILL IMAGE 10
Artwork title

QL-STILL IMAGE 11

Artist name Nengjie Qu, Shiqi Liu
Artwork Description:

Landscape Image -- Evening

QL-STILL IMAGE 11
Artwork title

QL-STILL IMAGE 12

Artist name Nengjie Qu, Shiqi Liu
Artwork Description:

Landscape Image -- Night

QL-STILL IMAGE 12
Artwork title

QL-STILL IMAGE 13

Artist name Nengjie Qu, Shiqi Liu
Artwork Description:

Landscape Image -- Afternoon

QL-STILL IMAGE 13
Artwork title

QL-STILL IMAGE 14

Artist name Nengjie Qu, Shiqi Liu
Artwork Description:

Landscape Image -- Evening

QL-STILL IMAGE 14
Artwork title

SHANGHAI PERSPECTIVE

Artist name Nengjie Qu
Artwork Description:

Turnable animation of Shanghai Night view

Artwork title

Landscape Animation 1

Artist name Nengjie Qu, Shiqi Liu
Artwork Description:

Landscape animation with low speed

Artwork title

Landscape Animation 3

Artist name Nengjie Qu, Shiqi Liu
Artwork Description:

Landscape Animation low resolution and low speed

Artwork title

Wuhan Park_Turntable

Artist name Shiqi Liu
Artwork Description:

Wuhan city view morning version

Artwork title

Landscape animation 2

Artist name Nengjie Qu, Shiqi Liu
Artwork Description:

Landscape Animation high resolution low speed

Artwork title

SHANGHAI NIGHT 1

Artist name Nengjie Qu
Artwork Description:

Shanghai Night view particle image

SHANGHAI NIGHT 1
Artwork title

SHANGHAI NIGHT 2

Artist name Nengjie Qu
Artwork Description:

Shanghai Night view particle image 1

SHANGHAI NIGHT 2
Artwork title

SHANGHAI NIGHT 3

Artist name Nengjie Qu
Artwork Description:

Shanghai Night view mesh image

SHANGHAI NIGHT 3
Artwork title

Katharine Window Scan

Artist name Kat Vavilov, Joe Mathews
Artwork Description:

"A fall toward objects without reservation, embracing a world of forces and matter, which lacks any original stability and sparks the sudden shock of the open: a freedom that is terrifying, utterly deterritorializing, and always already unknown...Falling is corruption as well as liberation, a condition that turns people into things and vice versa." - Hito Steyerl. "In Free Fall: A Thought Experiment on Vertical Perspective" (28) “The purpose of art is to impart the sensation of things as they are perceived and not as they are known. The technique of art is to make objects ‘unfamilIar; to make forms difficult, to increase the difficulty and length of perception because the process of perception is an aesthetic end in itself and must be prolonged.” - Seeing Ourselves Through Tech / Jill Walker

Artwork title

Artbreeder Image 2

Artist name Kat Vavilov, Joe Mathews
Artbreeder Image 2
Artwork title

Parallax 1 Blur Flat

Artist name Katharine Vavilov, Joe Mathews
Parallax 1 Blur Flat
Artwork title

Final Total Animation

Artist name Katharine Vavilov, Joe Mathews
Artwork title

"Seeing Without Objects"

Artist name Danny Ortega, Lauren Hunter, and Nicholas Houser
Artwork Description:

 The world that we live in today is drastically different than each of our realities perceives it to be. As Robert Pepperell states in “Seeing Without Objects: Visual Indeterminacy and Art,” the world is filled with an in-numerable amount of discrete objects and that the existence of these objects may only be attributed to the world that we understand, as opposed to our own realities. Thinking of this, our team considered how we can bridge between these realities by layering together different discrete pieces in order to compose a new reality. The defamiliarization of seemingly normal pieces, through a series of different translations, denies the viewer an immediate identification of the new world. Therefore, the relationship between the looker and the looked at became an important consideration in the design of this installation. By using subtle camera movements, playing between 2D and 3D, strategic color changes, and considering the movement of viewers within the exhibition, we have created a reality that begs the viewer to make sense of the installation based off of individual experiences and discrete details. The strategic placement of animations and still frames in 3D space further adds to this play of perception by questioning the negotiation between 2D and 3D space. The resulting installation disrupts our perception of reality by making us question what we see because the objects are not easily recognizable. Instead, it challenges the viewer to consider a plethora of possibilities because the answer is never resolved.

Artwork title

CQ-1

CQ-1
Artwork title

CQ-model

Artwork title

ams-video1

Artwork title

PARALLAX

Artist name By Danny Ortega, Lauren Hunter, and Nicholas Houser
Artwork title

turantable-1

Artwork title

Landscape animation 2

Artwork Description:

Landscape animation normal speed from day to night

Artwork title

veils

Artist name Sami Samawi, Merrick Castillo
Artwork title

veil 1

veil 1
Artwork title

Collapsed and truest view

Artist name Sami Samawi, Merrick Castillo, Hanqing yao
Artwork title

collapsed view

Artist name Sami Samawi, Merrick Castillo, Hanqing Yao
Artwork title

..

Artwork title

Still Parallax_2

Artist name By Nahye Shin, Gordon Cheng, Xiaoran Zhang
Artwork Description:

“A frame marking what is inside the work but, paradoxically, demarcating its outside in order to constitute what it contains.” By Jacques Derrida The Truth in Painting After reading the introduction chapter, the whole section feels likea metaphor of our animated parallax project. Especially the part discusses the “discourse on the frame” on what is beyond the frame. Our camera movement and timeline editor are the metaphor of “Frame” in this case, they are used to position the viewer in relation to its perspectival construction of space, in other words, leading viewer’s perception of the projects.However, they also demarcate the views behind to constitute what it contains. “A ‘windowed’ multiplicity of perspectives implies new laws of‘presence’—not only here and there, butalso then and now—a multiple view—sometimes enhanced, sometimes diminished—out the window.” Our strategy starts from manipulating the “window” to look inside of the “frames” as well as the outside. Through the animated frames, the evolutiontakes placefrom actuals to virtuals(From a landscape painting to Animated Parallax),physical existence to constructed simulacrum(Photogrammetry), the reals to the possible(From meshmodelto particle movement). And just like Hayles argues,these evolutions can be seen as a metaphor of the machinic dematerialization of “bodies” into information. She defines the cultural perception of “virtuality” that material objects are interpenetrated by information patterns. The parallax can also be defined as an interpretation of dematerialization processas we transform the landscape into animated renderings with particle movements. A poem that inspired our project Do not go gentle into that good night By Dylan Thomas Do not go gentle into that good night, Old age should burn and rave at close of day Rage, rage against the dying of the light. Though wise men at theirend know dark is right, Because their words had forked no lightning they Do not go gentle into that good night. Good men, the last wave by, crying how bright Their frail deeds might have danced in a green bay,Rage, rage against the dying of the light. Wild men who caught and sang the sun in flight, And learn, too late, they grieved it on its way, Do not go gentle into that good night. Grave men,near death, who see with blinding sight Blind eyes could blaze like meteors and be gay, Rage, rage against the dying of the light. And you, my father, there on the sad height, Curse, bless, me now with your fierce tears, I pray. Do not go gentle into that good night. Rage, rage against the dying of the light.

Still Parallax_2
Artwork title

Still Parallax_3

Artist name By Nahye Shin, Gordon Cheng, Xiaoran Zhang
Artwork Description:

“A frame marking what is inside the work but, paradoxically, demarcating its outside in order to constitute what it contains.” By Jacques Derrida The Truth in Painting After reading the introduction chapter, the whole section feels likea metaphor of our animated parallax project. Especially the part discusses the “discourse on the frame” on what is beyond the frame. Our camera movement and timeline editor are the metaphor of “Frame” in this case, they are used to position the viewer in relation to its perspectival construction of space, in other words, leading viewer’s perception of the projects.However, they also demarcate the views behind to constitute what it contains. “A ‘windowed’ multiplicity of perspectives implies new laws of‘presence’—not only here and there, butalso then and now—a multiple view—sometimes enhanced, sometimes diminished—out the window.” Our strategy starts from manipulating the “window” to look inside of the “frames” as well as the outside. Through the animated frames, the evolutiontakes placefrom actuals to virtuals(From a landscape painting to Animated Parallax),physical existence to constructed simulacrum(Photogrammetry), the reals to the possible(From meshmodelto particle movement). And just like Hayles argues,these evolutions can be seen as a metaphor of the machinic dematerialization of “bodies” into information. She defines the cultural perception of “virtuality” that material objects are interpenetrated by information patterns. The parallax can also be defined as an interpretation of dematerialization processas we transform the landscape into animated renderings with particle movements. A poem that inspired our project Do not go gentle into that good night By Dylan Thomas Do not go gentle into that good night, Old age should burn and rave at close of day Rage, rage against the dying of the light. Though wise men at theirend know dark is right, Because their words had forked no lightning they Do not go gentle into that good night. Good men, the last wave by, crying how bright Their frail deeds might have danced in a green bay,Rage, rage against the dying of the light. Wild men who caught and sang the sun in flight, And learn, too late, they grieved it on its way, Do not go gentle into that good night. Grave men,near death, who see with blinding sight Blind eyes could blaze like meteors and be gay, Rage, rage against the dying of the light. And you, my father, there on the sad height, Curse, bless, me now with your fierce tears, I pray. Do not go gentle into that good night. Rage, rage against the dying of the light.

Still Parallax_3
Artwork title

Still Parallax_4

Artist name By Nahye Shin, Gordon Cheng, Xiaoran Zhang
Artwork Description:

“A frame marking what is inside the work but, paradoxically, demarcating its outside in order to constitute what it contains.” By Jacques Derrida The Truth in Painting After reading the introduction chapter, the whole section feels likea metaphor of our animated parallax project. Especially the part discusses the “discourse on the frame” on what is beyond the frame. Our camera movement and timeline editor are the metaphor of “Frame” in this case, they are used to position the viewer in relation to its perspectival construction of space, in other words, leading viewer’s perception of the projects.However, they also demarcate the views behind to constitute what it contains. “A ‘windowed’ multiplicity of perspectives implies new laws of‘presence’—not only here and there, butalso then and now—a multiple view—sometimes enhanced, sometimes diminished—out the window.” Our strategy starts from manipulating the “window” to look inside of the “frames” as well as the outside. Through the animated frames, the evolutiontakes placefrom actuals to virtuals(From a landscape painting to Animated Parallax),physical existence to constructed simulacrum(Photogrammetry), the reals to the possible(From meshmodelto particle movement). And just like Hayles argues,these evolutions can be seen as a metaphor of the machinic dematerialization of “bodies” into information. She defines the cultural perception of “virtuality” that material objects are interpenetrated by information patterns. The parallax can also be defined as an interpretation of dematerialization processas we transform the landscape into animated renderings with particle movements. A poem that inspired our project Do not go gentle into that good night By Dylan Thomas Do not go gentle into that good night, Old age should burn and rave at close of day Rage, rage against the dying of the light. Though wise men at theirend know dark is right, Because their words had forked no lightning they Do not go gentle into that good night. Good men, the last wave by, crying how bright Their frail deeds might have danced in a green bay,Rage, rage against the dying of the light. Wild men who caught and sang the sun in flight, And learn, too late, they grieved it on its way, Do not go gentle into that good night. Grave men,near death, who see with blinding sight Blind eyes could blaze like meteors and be gay, Rage, rage against the dying of the light. And you, my father, there on the sad height, Curse, bless, me now with your fierce tears, I pray. Do not go gentle into that good night. Rage, rage against the dying of the light.

Still Parallax_4
Artwork title

Parallax Animation_Broken_1

Artist name By Nahye Shin, Gordon Cheng, Xiaoran Zhang
Artwork Description:

“A frame marking what is inside the work but, paradoxically, demarcating its outside in order to constitute what it contains.” By Jacques Derrida The Truth in Painting 7U$!65*4@&392@%$3^1@9242!&8&52&5^7930$%00&*63$0@3*!92*!2%@0#%^0!302$9%#&$85#*43^%6*%7763@0&84&!4*65@*485*1^$0265!4%43156*699982066^75@@5&#!0!%21$^39*0#7!#%33*918!64%6&6!^5&*^2&7#1$96972@79%*$&7*9#5^$81&!49^4%6*3$#@3@!4&54$37*9495*068@#34!3735#27!750^7*23@446^3560#*3695177^#!24@62#9*6*6$588795*777&5^@!$23&^#5@10!6264092$^224#!05&&3$24$@17&!28$!$627#8!0$8*153957@$$9#*4#8&@*407#%099%&%374!5%!@929$*#*$8^71!70376*!60*739@3%^1&899!157464%6&6!^5&*^2&7#1$96972@79%*$&7*9#5^$81&!49^4%6*3$#@3@!4&54$37*9495*068@#34!3735#27!750^7*23@446^3560#*3695177^#!24@62#9*6*6$588795*777&5^@!$23&^#5@10!6264092$^229495*068@#34!3735#27!750 56#16$3%%232%22@9*740@928#79*4^40%4#85!7!4758!$6&23!@236%%4#*&#$*&65^$#2411021@925055$3#&9&2@6$9!96$&4%%#38#8*20$5$$7U$!65*4@&392@%$3^1@9242!&8&52&5^7930$%00&*63$0@3*!92*!2%@0#%^0!302$9%#&$85#*43^%6*%7763@0&84&!4*65@*485*1^$0265!4%43156*699982066^75@@5&#!0!%21$^39*0#7!#%33*918!64%6&6! &54$37*9495*068@#34!3735#27!750^7*23@446^3560#*3695177^#!24@62#9*6*6$588795*777&5^@!$23&^#5@10!6264092$^224#!05&&3$24$@17&!28$!$627#8!0$8*153957@$$9#*4#8&@*407#%099%&%374!5%!@929$*#*$8^71!70376*!60*739@3%^1&899!1574$ &54$37*9495*068@#34!3735#27!750^7*23@446^3560#*3695177^#!24@62#9*6*6$588795*777&5^@!$23&^#5@10!6264092$^224#!05&&3$24$@17&!28$!$627#8!0$8*153957@$$9#*4#8&@*407#%099%&%374!5%!@929$*#*$8^71!70376*!60*739@3%^1&899!1574$74#%38%07535##51&3842$6$3&239^@411&41844&%55#3@3687236#%^9827#72!2%*5$128!#436!*8$7627$62#8@297*420#480983&1$&01^4*9&3344528^6^9@*!$255#6^6^0!80!05&&3$24$@17&!28$!$627#8!0$8*153957@$$9#*4#8&@*407#%099%&%374!5%!@929$*#*$8^71!70376*!60*739@3%^1&899!1574$ A poem that inspired our project Do not go gentle into that good night By Dylan Thomas 7406624@18&^@13%#%*^32&4#39722%866^$ ^6^&^83!32@!6809$21!2!26956#16$3%%232%22@ 9*740@928#79*4^40%4#85!7!4758!$6&23!@236%%4#*&#$*&65^$#2411021@925055$3#&9&2@6$9!96$&4%%#38# 8*20$5$$7U$!65*4@&392@%$3^1@9242!&8&52&5 ^7930$%00&*63$0@3*!92*!2%@0#%^0!3 02$9%#&$85#*43^%6*%7763@0&84&!4*65@*485* 1^$0265!4%43156*699982066^75@@5&#!0!%21$^39 *0#7!#%33*918!64%6&6!^5&*^2&7#1$96972@79%*$&7*9 #5^$81&!49^4%6*3$#@3@!4&54$37*9495*0 #1$96972@79%*$&7*9#5^$81&!49^4%6* 3$#@3@!4&54$37*9495*068@#34!3735#27!750 ^7*23@446^3560#*3695177^#!24@62#9* 6*6$588795*777&5^@!$23&^#5@10!6264092 $^224#!05&&3$24$@17&!28$!$627#8!0$8*153957@ $$9#*4#8&@*407#%099%&%374!5%!@929$*#* $8^71!70376*!60*739@3%^1&899!1574$74#%38%0 7535##51&3842$6$3&239^@411&41844&%55#3@3687236#%^9 827#72!2%*5$128!#436!*8$7627$62#8@297* 420#480983&1$&01^4*9&3344528^6^9@*!

Artwork title

Parallax Animation_Broken_3

Artist name By Nahye Shin, Gordon Cheng, Xiaoran Zhang
Artwork Description:

“&**68809^0829$!8$857406624@18&^@13%#%*^32&4#39722%866^$^6^&^83!32@!6809$21!2!26956#16$3%%232%22@9*740@928#79*4^40%4#85!7!4758!$6&23!@236%%4” By Jacques Derrida The Truth in Painting 7U$!65*4@&392@%$3^1@9242!&8&52&5^7930$%00&*63$0@3*!92*!2%@0#%^0!302$9%#&$85#*43^%6*%7763@0&84&!4*65@*485*1^$0265!4%43156*699982066^75@@5&#!0!%21$^39*0#7!#%33*918!64%6&6!^5&*^2&7#1$96972@79%*$&7*9#5^$81&!49^4%6*3$#@3@!4&54$37*9495*068@#34!3735#27!750^7*23@446^3560#*3695177^#!24@62#9*6*6$588795*777&5^@!$23&^#5@10!6264092$^224#!05&&3$24$@17&!28$!$627#8!0$8*153957@$$9#*4#8&@*407#%099%&%374!5%!@929$*#*$8^71!70376*!60*739@3%^1&899!157464%6&6!^5&*^2&7#1$96972@79%*$&7*9#5^$81&!49^4%6*3$#@3@!4&54$37*9495*068@#34!3735#27!750^7*23@446^3560#*3695177^#!24@62#9*6*6$588795*777&5^@!$23&^#5@10!6264092$^229495*068@#34!3735#27!750 “A ‘windowed’ multiplicity of perspectives implies new laws of‘presence’—not only here and there, butalso then and now—a multiple view—sometimes enhanced, sometimes diminished—out the window.” Our strategy starts from manipulating the “window” to look inside of the “frames” as well as the outside. &54$37*9495*068@#34!3735#27!750^7*23@446^3560#*3695177^#!24@62#9*6*6$588795*777&5^@!$23&^#5@10!6264092$^224#!05&&3$24$@17&!28$!$627#8!0$8*153957@$$9#*4#8&@*407#%099%&%374!5%!@929$*#*$8^71!70376*!60*739@3%^1&899!1574$ &54$37*9495*068@#34!3735#27!750^7*23@446^3560#*3695177^#!24@62#9*6*6$588795*777&5^@!$23&^#5@10!6264092$^224#!05&&3$24$@17&!28$!$627#8!0$8*153957@$$9#*4#8&@*407#%099%&%374!5%!@929$*#*$8^71!70376*!60*739@3%^1&899!1574$74#%38%07535##51&3842$6$3&239^@411&41844&%55#3@3687236#%^9827#72!2%*5$128!#436!*8$7627$62#8@297*420#480983&1$&01^4*9&3344528^6^9@*!$255#6^6^0!80!05&&3$24$@17&!28$!$627#8!0$8*153957@$$9#*4#8&@*407#%099%&%374!5%!@929$*#*$8^71!70376*!60*739@3%^1&899!1574$ A poem that inspired our project Do not go gentle into that good night By Dylan Thomas 7406624@18&^@13%#%*^32&4#39722%866^$ ^6^&^83!32@!6809$21!2!26956#16$3%%232%22@ 9*740@928#79*4^40%4#85!7!4758!$6&23!@236%%4#*&#$*&65^$#2411021@925055$3#&9&2@6$9!96$&4%%#38# 8*20$5$$7U$!65*4@&392@%$3^1@9242!&8&52&5 ^7930$%00&*63$0@3*!92*!2%@0#%^0!3 02$9%#&$85#*43^%6*%7763@0&84&!4*65@*485* 1^$0265!4%43156*699982066^75@@5&#!0!%21$^39 *0#7!#%33*918!64%6&6!^5&*^2&7#1$96972@79%*$&7*9 #5^$81&!49^4%6*3$#@3@!4&54$37*9495*0 #1$96972@79%*$&7*9#5^$81&!49^4%6* 3$#@3@!4&54$37*9495*068@#34!3735#27!750 ^7*23@446^3560#*3695177^#!24@62#9* 6*6$588795*777&5^@!$23&^#5@10!6264092 $^224#!05&&3$24$@17&!28$!$627#8!0$8*153957@ $$9#*4#8&@*407#%099%&%374!5%!@929$*#* $8^71!70376*!60*739@3%^1&899!1574$74#%38%0 7535##51&3842$6$3&239^@411&41844&%55#3@3687236#%^9 827#72!2%*5$128!#436!*8$7627$62#8@297* 420#480983&1$&01^4*9&3344528^6^9@*!

Artwork title

Parallax Animation_Broken_4

Artist name By Nahye Shin, Gordon Cheng, Xiaoran Zhang
Artwork Description:

“&**68809^0829$!8$857406624@18&^@13%#%*^32&4#39722%866^$^6^&^83!32@!6809$21!2!26956#16$3%%232%22@9*740@928#79*4^40%4#85!7!4758!$6&23!@236%%4” By Jacques Derrida The Truth in Painting 7U$!65*4@&392@%$3^1@9242!&8&52&5^7930$%00&*63$0@3*!92*!2%@0#%^0!302$9%#&$85#*43^%6*%7763@0&84&!4*65@*485*1^$0265!4%43156*699982066^75@@5&#!0!%21$^39*0#7!#%33*918!64%6&6!^5&*^2&7#1$96972@79%*$&7*9#5^$81&!49^4%6*3$#@3@!4&54$37*9495*068@#34!3735#27!750^7*23@446^3560#*3695177^#!24@62#9*6*6$588795*777&5^@!$23&^#5@10!6264092$^224#!05&&3$24$@17&!28$!$627#8!0$8*153957@$$9#*4#8&@*407#%099%&%374!5%!@929$*#*$8^71!70376*!60*739@3%^1&899!157464%6&6!^5&*^2&7#1$96972@79%*$&7*9#5^$81&!49^4%6*3$#@3@!4&54$37*9495*068@#34!3735#27!750^7*23@446^3560#*3695177^#!24@62#9*6*6$588795*777&5^@!$23&^#5@10!6264092$^229495*068@#34!3735#27!750 56#16$3%%232%22@9*740@928#79*4^40%4#85!7!4758!$6&23!@236%%4#*&#$*&65^$#2411021@925055$3#&9&2@6$9!96$&4%%#38#8*20$5$$7U$!65*4@&392@%$3^1@9242!&8&52&5^7930$%00&*63$0@3*!92*!2%@0#%^0!302$9%#&$85#*43^%6*%7763@0&84&!4*65@*485*1^$0265!4%43156*699982066^75@@5&#!0!%21$^39*0#7!#%33*918!64%6&6! Through the animated frames, the evolutiontakes placefrom actuals to virtuals(From a landscape painting to Animated Parallax),physical existence to constructed simulacrum(Photogrammetry), the reals to the possible(From meshmodelto particle movement). And just like Hayles argues,these evolutions can be seen as a metaphor of the machinic dematerialization of “bodies” into information. She defines the cultural perception of “virtuality” that material objects are interpenetrated by information patterns. The parallax can also be defined as an interpretation of dematerialization processas we transform the landscape into animated renderings with particle movements. A poem that inspired our project Do not go gentle into that good night By Dylan Thomas 7406624@18&^@13%#%*^32&4#39722%866^$ ^6^&^83!32@!6809$21!2!26956#16$3%%232%22@ 9*740@928#79*4^40%4#85!7!4758!$6&23!@236%%4#*&#$*&65^$#2411021@925055$3#&9&2@6$9!96$&4%%#38# 8*20$5$$7U$!65*4@&392@%$3^1@9242!&8&52&5 ^7930$%00&*63$0@3*!92*!2%@0#%^0!3 02$9%#&$85#*43^%6*%7763@0&84&!4*65@*485* 1^$0265!4%43156*699982066^75@@5&#!0!%21$^39 *0#7!#%33*918!64%6&6!^5&*^2&7#1$96972@79%*$&7*9 #5^$81&!49^4%6*3$#@3@!4&54$37*9495*0 #1$96972@79%*$&7*9#5^$81&!49^4%6* 3$#@3@!4&54$37*9495*068@#34!3735#27!750 ^7*23@446^3560#*3695177^#!24@62#9* 6*6$588795*777&5^@!$23&^#5@10!6264092 $^224#!05&&3$24$@17&!28$!$627#8!0$8*153957@ $$9#*4#8&@*407#%099%&%374!5%!@929$*#* $8^71!70376*!60*739@3%^1&899!1574$74#%38%0 7535##51&3842$6$3&239^@411&41844&%55#3@3687236#%^9 827#72!2%*5$128!#436!*8$7627$62#8@297* 420#480983&1$&01^4*9&3344528^6^9@*!

Artwork title

Parallax Animation_Broken_2

Artist name By Nahye Shin, Gordon Cheng, Xiaoran Zhang
Artwork Description:

“&**68809^0829$!8$857406624@18&^@13%#%*^32&4#39722%866^$^6^&^83!32@!6809$21!2!26956#16$3%%232%22@9*740@928#79*4^40%4#85!7!4758!$6&23!@236%%4” By Jacques Derrida The Truth in Painting After reading the introduction chapter, the whole section feels likea metaphor of our animated parallax project. Especially the part discusses the “discourse on the frame” on what is beyond the frame. Our camera movement and timeline editor are the metaphor of “Frame” in this case, they are used to position the viewer in relation to its perspectival construction of space, in other words, leading viewer’s perception of the projects.However, they also demarcate the views behind to constitute what it contains. 56#16$3%%232%22@9*740@928#79*4^40%4#85!7!4758!$6&23!@236%%4#*&#$*&65^$#2411021@925055$3#&9&2@6$9!96$&4%%#38#8*20$5$$7U$!65*4@&392@%$3^1@9242!&8&52&5^7930$%00&*63$0@3*!92*!2%@0#%^0!302$9%#&$85#*43^%6*%7763@0&84&!4*65@*485*1^$0265!4%43156*699982066^75@@5&#!0!%21$^39*0#7!#%33*918!64%6&6! &54$37*9495*068@#34!3735#27!750^7*23@446^3560#*3695177^#!24@62#9*6*6$588795*777&5^@!$23&^#5@10!6264092$^224#!05&&3$24$@17&!28$!$627#8!0$8*153957@$$9#*4#8&@*407#%099%&%374!5%!@929$*#*$8^71!70376*!60*739@3%^1&899!1574$ &54$37*9495*068@#34!3735#27!750^7*23@446^3560#*3695177^#!24@62#9*6*6$588795*777&5^@!$23&^#5@10!6264092$^224#!05&&3$24$@17&!28$!$627#8!0$8*153957@$$9#*4#8&@*407#%099%&%374!5%!@929$*#*$8^71!70376*!60*739@3%^1&899!1574$74#%38%07535##51&3842$6$3&239^@411&41844&%55#3@3687236#%^9827#72!2%*5$128!#436!*8$7627$62#8@297*420#480983&1$&01^4*9&3344528^6^9@*!$255#6^6^0!80!05&&3$24$@17&!28$!$627#8!0$8*153957@$$9#*4#8&@*407#%099%&%374!5%!@929$*#*$8^71!70376*!60*739@3%^1&899!1574$ A poem that inspired our project Do not go gentle into that good night By Dylan Thomas 7406624@18&^@13%#%*^32&4#39722%866^$ ^6^&^83!32@!6809$21!2!26956#16$3%%232%22@ 9*740@928#79*4^40%4#85!7!4758!$6&23!@236%%4#*&#$*&65^$#2411021@925055$3#&9&2@6$9!96$&4%%#38# 8*20$5$$7U$!65*4@&392@%$3^1@9242!&8&52&5 ^7930$%00&*63$0@3*!92*!2%@0#%^0!3 02$9%#&$85#*43^%6*%7763@0&84&!4*65@*485* 1^$0265!4%43156*699982066^75@@5&#!0!%21$^39 *0#7!#%33*918!64%6&6!^5&*^2&7#1$96972@79%*$&7*9 #5^$81&!49^4%6*3$#@3@!4&54$37*9495*0 #1$96972@79%*$&7*9#5^$81&!49^4%6* 3$#@3@!4&54$37*9495*068@#34!3735#27!750 ^7*23@446^3560#*3695177^#!24@62#9* 6*6$588795*777&5^@!$23&^#5@10!6264092 $^224#!05&&3$24$@17&!28$!$627#8!0$8*153957@ $$9#*4#8&@*407#%099%&%374!5%!@929$*#* $8^71!70376*!60*739@3%^1&899!1574$74#%38%0 7535##51&3842$6$3&239^@411&41844&%55#3@3687236#%^9 827#72!2%*5$128!#436!*8$7627$62#8@297* 420#480983&1$&01^4*9&3344528^6^9@*!

Artwork title

Parallax Animation_Normal

Artist name By Nahye Shin, Gordon Cheng, Xiaoran Zhang
Artwork Description:

“A frame marking what is inside the work but, paradoxically, demarcating its outside in order to constitute what it contains.” By Jacques Derrida The Truth in Painting After reading the introduction chapter, the whole section feels likea metaphor of our animated parallax project. Especially the part discusses the “discourse on the frame” on what is beyond the frame. Our camera movement and timeline editor are the metaphor of “Frame” in this case, they are used to position the viewer in relation to its perspectival construction of space, in other words, leading viewer’s perception of the projects.However, they also demarcate the views behind to constitute what it contains. “A ‘windowed’ multiplicity of perspectives implies new laws of‘presence’—not only here and there, butalso then and now—a multiple view—sometimes enhanced, sometimes diminished—out the window.” Our strategy starts from manipulating the “window” to look inside of the “frames” as well as the outside. Through the animated frames, the evolutiontakes placefrom actuals to virtuals(From a landscape painting to Animated Parallax),physical existence to constructed simulacrum(Photogrammetry), the reals to the possible(From meshmodelto particle movement). And just like Hayles argues,these evolutions can be seen as a metaphor of the machinic dematerialization of “bodies” into information. She defines the cultural perception of “virtuality” that material objects are interpenetrated by information patterns. The parallax can also be defined as an interpretation of dematerialization processas we transform the landscape into animated renderings with particle movements. A poem that inspired our project Do not go gentle into that good night By Dylan Thomas 7406624@18&^@13%#%*^32&4#39722%866^$ ^6^&^83!32@!6809$21!2!26956#16$3%%232%22@ 9*740@928#79*4^40%4#85!7!4758!$6&23!@236%%4#*&#$*&65^$#2411021@925055$3#&9&2@6$9!96$&4%%#38# 8*20$5$$7U$!65*4@&392@%$3^1@9242!&8&52&5 ^7930$%00&*63$0@3*!92*!2%@0#%^0!3 02$9%#&$85#*43^%6*%7763@0&84&!4*65@*485* 1^$0265!4%43156*699982066^75@@5&#!0!%21$^39 *0#7!#%33*918!64%6&6!^5&*^2&7#1$96972@79%*$&7*9 #5^$81&!49^4%6*3$#@3@!4&54$37*9495*0 #1$96972@79%*$&7*9#5^$81&!49^4%6* 3$#@3@!4&54$37*9495*068@#34!3735#27!750 ^7*23@446^3560#*3695177^#!24@62#9* 6*6$588795*777&5^@!$23&^#5@10!6264092 $^224#!05&&3$24$@17&!28$!$627#8!0$8*153957@ $$9#*4#8&@*407#%099%&%374!5%!@929$*#* $8^71!70376*!60*739@3%^1&899!1574$74#%38%0 7535##51&3842$6$3&239^@411&41844&%55#3@3687236#%^9 827#72!2%*5$128!#436!*8$7627$62#8@297* 420#480983&1$&01^4*9&3344528^6^9@*!

Artwork title

Parallax_S-B-Y

Artist name Sharvari Mhatre, Bhavana Shyamsundar, Yuan Zheng
Artwork title

Window-ish 01_S-B-Y

Artist name Sharvari Mhatre, Bhavana Shyamsundar, Yuan Zheng
Artwork title

Falling 01_S-B-Y

Artist name Sharvari Mhatre, Bhavana Shyamsundar, Yuan Zheng
Artwork title

Parallax Animation_Normal

Artist name By Nahye Shin, Gordon Cheng, Xiaoran Zhang
Artwork Description:

“A frame marking what is inside the work but, paradoxically, demarcating its outside in order to constitute what it contains.” By Jacques Derrida The Truth in Painting After reading the introduction chapter, the whole section feels likea metaphor of our animated parallax project. Especially the part discusses the “discourse on the frame” on what is beyond the frame. Our camera movement and timeline editor are the metaphor of “Frame” in this case, they are used to position the viewer in relation to its perspectival construction of space, in other words, leading viewer’s perception of the projects.However, they also demarcate the views behind to constitute what it contains. “A ‘windowed’ multiplicity of perspectives implies new laws of‘presence’—not only here and there, butalso then and now—a multiple view—sometimes enhanced, sometimes diminished—out the window.” Our strategy starts from manipulating the “window” to look inside of the “frames” as well as the outside. Through the animated frames, the evolutiontakes placefrom actuals to virtuals(From a landscape painting to Animated Parallax),physical existence to constructed simulacrum(Photogrammetry), the reals to the possible(From meshmodelto particle movement). And just like Hayles argues,these evolutions can be seen as a metaphor of the machinic dematerialization of “bodies” into information. She defines the cultural perception of “virtuality” that material objects are interpenetrated by information patterns. The parallax can also be defined as an interpretation of dematerialization processas we transform the landscape into animated renderings with particle movements. A poem that inspired our project Do not go gentle into that good night By Dylan Thomas 7406624@18&^@13%#%*^32&4#39722%866^$ ^6^&^83!32@!6809$21!2!26956#16$3%%232%22@ 9*740@928#79*4^40%4#85!7!4758!$6&23!@236%%4#*&#$*&65^$#2411021@925055$3#&9&2@6$9!96$&4%%#38# 8*20$5$$7U$!65*4@&392@%$3^1@9242!&8&52&5 ^7930$%00&*63$0@3*!92*!2%@0#%^0!3 02$9%#&$85#*43^%6*%7763@0&84&!4*65@*485* 1^$0265!4%43156*699982066^75@@5&#!0!%21$^39 *0#7!#%33*918!64%6&6!^5&*^2&7#1$96972@79%*$&7*9 #5^$81&!49^4%6*3$#@3@!4&54$37*9495*0 #1$96972@79%*$&7*9#5^$81&!49^4%6* 3$#@3@!4&54$37*9495*068@#34!3735#27!750 ^7*23@446^3560#*3695177^#!24@62#9* 6*6$588795*777&5^@!$23&^#5@10!6264092 $^224#!05&&3$24$@17&!28$!$627#8!0$8*153957@ $$9#*4#8&@*407#%099%&%374!5%!@929$*#* $8^71!70376*!60*739@3%^1&899!1574$74#%38%0 7535##51&3842$6$3&239^@411&41844&%55#3@3687236#%^9 827#72!2%*5$128!#436!*8$7627$62#8@297* 420#480983&1$&01^4*9&3344528^6^9@*!

Artwork title

Parallax Animation_Reverse_1

Artist name By Nahye Shin, Gordon Cheng, Xiaoran Zhang
Artwork Description:

“&**68809^0829$!8$857406624@18&^@13%#%*^32&4#39722%866^$^6^&^83!32@!6809$21!2!26956#16$3%%232%22@9*740@928#79*4^40%4#85!7!4758!$6&23!@236%%4” By Jacques Derrida The Truth in Painting 7U$!65*4@&392@%$3^1@9242!&8&52&5^7930$%00&*63$0@3*!92*!2%@0#%^0!302$9%#&$85#*43^%6*%7763@0&84&!4*65@*485*1^$0265!4%43156*699982066^75@@5&#!0!%21$^39*0#7!#%33*918!64%6&6!^5&*^2&7#1$96972@79%*$&7*9#5^$81&!49^4%6*3$#@3@!4&54$37*9495*068@#34!3735#27!750^7*23@446^3560#*3695177^#!24@62#9*6*6$588795*777&5^@!$23&^#5@10!6264092$^224#!05&&3$24$@17&!28$!$627#8!0$8*153957@$$9#*4#8&@*407#%099%&%374!5%!@929$*#*$8^71!70376*!60*739@3%^1&899!157464%6&6!^5&*^2&7#1$96972@79%*$&7*9#5^$81&!49^4%6*3$#@3@!4&54$37*9495*068@#34!3735#27!750^7*23@446^3560#*3695177^#!24@62#9*6*6$588795*777&5^@!$23&^#5@10!6264092$^229495*068@#34!3735#27!750 56#16$3%%232%22@9*740@928#79*4^40%4#85!7!4758!$6&23!@236%%4#*&#$*&65^$#2411021@925055$3#&9&2@6$9!96$&4%%#38#8*20$5$$7U$!65*4@&392@%$3^1@9242!&8&52&5^7930$%00&*63$0@3*!92*!2%@0#%^0!302$9%#&$85#*43^%6*%7763@0&84&!4*65@*485*1^$0265!4%43156*699982066^75@@5&#!0!%21$^39*0#7!#%33*918!64%6&6! &54$37*9495*068@#34!3735#27!750^7*23@446^3560#*3695177^#!24@62#9*6*6$588795*777&5^@!$23&^#5@10!6264092$^224#!05&&3$24$@17&!28$!$627#8!0$8*153957@$$9#*4#8&@*407#%099%&%374!5%!@929$*#*$8^71!70376*!60*739@3%^1&899!1574$ &54$37*9495*068@#34!3735#27!750^7*23@446^3560#*3695177^#!24@62#9*6*6$588795*777&5^@!$23&^#5@10!6264092$^224#!05&&3$24$@17&!28$!$627#8!0$8*153957@$$9#*4#8&@*407#%099%&%374!5%!@929$*#*$8^71!70376*!60*739@3%^1&899!1574$74#%38%07535##51&3842$6$3&239^@411&41844&%55#3@3687236#%^9827#72!2%*5$128!#436!*8$7627$62#8@297*420#480983&1$&01^4*9&3344528^6^9@*!$255#6^6^0!80!05&&3$24$@17&!28$!$627#8!0$8*153957@$$9#*4#8&@*407#%099%&%374!5%!@929$*#*$8^71!70376*!60*739@3%^1&899!1574$ A poem that inspired our project Do not go gentle into that good night By Dylan Thomas Do not go gentle into that good night, Old age should burn and rave at close of day Rage, rage against the dying of the light. 8*20$5$$7U$!65*4@&392@%$3^1@9242!&8&52&5 ^7930$%00&*63$0@3*!92*!2%@0#%^0!3 02$9%#&$85#*43^%6*%7763@0&84&!4*65@*485* 1^$0265!4%43156*699982066^75@@5&#!0!%21$^39 *0#7!#%33*918!64%6&6!^5&*^2&7#1$96972@79%*$&7*9 #5^$81&!49^4%6*3$#@3@!4&54$37*9495*0 #1$96972@79%*$&7*9#5^$81&!49^4%6* 3$#@3@!4&54$37*9495*068@#34!3735#27!750 ^7*23@446^3560#*3695177^#!24@62#9* 6*6$588795*777&5^@!$23&^#5@10!6264092 $^224#!05&&3$24$@17&!28$!$627#8!0$8*153957@ $$9#*4#8&@*407#%099%&%374!5%!@929$*#* $8^71!70376*!60*739@3%^1&899!1574$74#%38%0 7535##51&3842$6$3&239^@411&41844&%55#3@3687236#%^9 827#72!2%*5$128!#436!*8$7627$62#8@297* 420#480983&1$&01^4*9&3344528^6^9@*!

Artwork title

Parallax Animation_Reverse_2

Artist name By Nahye Shin, Gordon Cheng, Xiaoran Zhang
Artwork Description:

“&**68809^0829$!8$857406624@18&^@13%#%*^32&4#39722%866^$^6^&^83!32@!6809$21!2!26956#16$3%%232%22@9*740@928#79*4^40%4#85!7!4758!$6&23!@236%%4” By Jacques Derrida The Truth in Painting 7U$!65*4@&392@%$3^1@9242!&8&52&5^7930$%00&*63$0@3*!92*!2%@0#%^0!302$9%#&$85#*43^%6*%7763@0&84&!4*65@*485*1^$0265!4%43156*699982066^75@@5&#!0!%21$^39*0#7!#%33*918!64%6&6!^5&*^2&7#1$96972@79%*$&7*9#5^$81&!49^4%6*3$#@3@!4&54$37*9495*068@#34!3735#27!750^7*23@446^3560#*3695177^#!24@62#9*6*6$588795*777&5^@!$23&^#5@10!6264092$^224#!05&&3$24$@17&!28$!$627#8!0$8*153957@$$9#*4#8&@*407#%099%&%374!5%!@929$*#*$8^71!70376*!60*739@3%^1&899!157464%6&6!^5&*^2&7#1$96972@79%*$&7*9#5^$81&!49^4%6*3$#@3@!4&54$37*9495*068@#34!3735#27!750^7*23@446^3560#*3695177^#!24@62#9*6*6$588795*777&5^@!$23&^#5@10!6264092$^229495*068@#34!3735#27!750 56#16$3%%232%22@9*740@928#79*4^40%4#85!7!4758!$6&23!@236%%4#*&#$*&65^$#2411021@925055$3#&9&2@6$9!96$&4%%#38#8*20$5$$7U$!65*4@&392@%$3^1@9242!&8&52&5^7930$%00&*63$0@3*!92*!2%@0#%^0!302$9%#&$85#*43^%6*%7763@0&84&!4*65@*485*1^$0265!4%43156*699982066^75@@5&#!0!%21$^39*0#7!#%33*918!64%6&6! &54$37*9495*068@#34!3735#27!750^7*23@446^3560#*3695177^#!24@62#9*6*6$588795*777&5^@!$23&^#5@10!6264092$^224#!05&&3$24$@17&!28$!$627#8!0$8*153957@$$9#*4#8&@*407#%099%&%374!5%!@929$*#*$8^71!70376*!60*739@3%^1&899!1574$ &54$37*9495*068@#34!3735#27!750^7*23@446^3560#*3695177^#!24@62#9*6*6$588795*777&5^@!$23&^#5@10!6264092$^224#!05&&3$24$@17&!28$!$627#8!0$8*153957@$$9#*4#8&@*407#%099%&%374!5%!@929$*#*$8^71!70376*!60*739@3%^1&899!1574$74#%38%07535##51&3842$6$3&239^@411&41844&%55#3@3687236#%^9827#72!2%*5$128!#436!*8$7627$62#8@297*420#480983&1$&01^4*9&3344528^6^9@*!$255#6^6^0!80!05&&3$24$@17&!28$!$627#8!0$8*153957@$$9#*4#8&@*407#%099%&%374!5%!@929$*#*$8^71!70376*!60*739@3%^1&899!1574$ A poem that inspired our project Do not go gentle into that good night By Dylan Thomas 7406624@18&^@13%#%*^32&4#39722%866^$ ^6^&^83!32@!6809$21!2!26956#16$3%%232%22@ 9*740@928#79*4^40%4#85!7!4758!$6&23!@236%%4#*&#$*&65^$#2411021@925055$3#&9&2@6$9!96$&4%%#38# Though wise men at theirend know dark is right, Because their words had forked no lightning they Do not go gentle into that good night. 1^$0265!4%43156*699982066^75@@5&#!0!%21$^39 *0#7!#%33*918!64%6&6!^5&*^2&7#1$96972@79%*$&7*9 #5^$81&!49^4%6*3$#@3@!4&54$37*9495*0 #1$96972@79%*$&7*9#5^$81&!49^4%6* 3$#@3@!4&54$37*9495*068@#34!3735#27!750 ^7*23@446^3560#*3695177^#!24@62#9* 6*6$588795*777&5^@!$23&^#5@10!6264092 $^224#!05&&3$24$@17&!28$!$627#8!0$8*153957@ $$9#*4#8&@*407#%099%&%374!5%!@929$*#* $8^71!70376*!60*739@3%^1&899!1574$74#%38%0 7535##51&3842$6$3&239^@411&41844&%55#3@3687236#%^9 827#72!2%*5$128!#436!*8$7627$62#8@297* 420#480983&1$&01^4*9&3344528^6^9@*!

Artwork title

Parallax Animation_Reverse_3

Artist name By Nahye Shin, Gordon Cheng, Xiaoran Zhang
Artwork Description:

“&**68809^0829$!8$857406624@18&^@13%#%*^32&4#39722%866^$^6^&^83!32@!6809$21!2!26956#16$3%%232%22@9*740@928#79*4^40%4#85!7!4758!$6&23!@236%%4” By Jacques Derrida The Truth in Painting 7U$!65*4@&392@%$3^1@9242!&8&52&5^7930$%00&*63$0@3*!92*!2%@0#%^0!302$9%#&$85#*43^%6*%7763@0&84&!4*65@*485*1^$0265!4%43156*699982066^75@@5&#!0!%21$^39*0#7!#%33*918!64%6&6!^5&*^2&7#1$96972@79%*$&7*9#5^$81&!49^4%6*3$#@3@!4&54$37*9495*068@#34!3735#27!750^7*23@446^3560#*3695177^#!24@62#9*6*6$588795*777&5^@!$23&^#5@10!6264092$^224#!05&&3$24$@17&!28$!$627#8!0$8*153957@$$9#*4#8&@*407#%099%&%374!5%!@929$*#*$8^71!70376*!60*739@3%^1&899!157464%6&6!^5&*^2&7#1$96972@79%*$&7*9#5^$81&!49^4%6*3$#@3@!4&54$37*9495*068@#34!3735#27!750^7*23@446^3560#*3695177^#!24@62#9*6*6$588795*777&5^@!$23&^#5@10!6264092$^229495*068@#34!3735#27!750 56#16$3%%232%22@9*740@928#79*4^40%4#85!7!4758!$6&23!@236%%4#*&#$*&65^$#2411021@925055$3#&9&2@6$9!96$&4%%#38#8*20$5$$7U$!65*4@&392@%$3^1@9242!&8&52&5^7930$%00&*63$0@3*!92*!2%@0#%^0!302$9%#&$85#*43^%6*%7763@0&84&!4*65@*485*1^$0265!4%43156*699982066^75@@5&#!0!%21$^39*0#7!#%33*918!64%6&6! &54$37*9495*068@#34!3735#27!750^7*23@446^3560#*3695177^#!24@62#9*6*6$588795*777&5^@!$23&^#5@10!6264092$^224#!05&&3$24$@17&!28$!$627#8!0$8*153957@$$9#*4#8&@*407#%099%&%374!5%!@929$*#*$8^71!70376*!60*739@3%^1&899!1574$ &54$37*9495*068@#34!3735#27!750^7*23@446^3560#*3695177^#!24@62#9*6*6$588795*777&5^@!$23&^#5@10!6264092$^224#!05&&3$24$@17&!28$!$627#8!0$8*153957@$$9#*4#8&@*407#%099%&%374!5%!@929$*#*$8^71!70376*!60*739@3%^1&899!1574$74#%38%07535##51&3842$6$3&239^@411&41844&%55#3@3687236#%^9827#72!2%*5$128!#436!*8$7627$62#8@297*420#480983&1$&01^4*9&3344528^6^9@*!$255#6^6^0!80!05&&3$24$@17&!28$!$627#8!0$8*153957@$$9#*4#8&@*407#%099%&%374!5%!@929$*#*$8^71!70376*!60*739@3%^1&899!1574$ A poem that inspired our project Do not go gentle into that good night By Dylan Thomas 7406624@18&^@13%#%*^32&4#39722%866^$ ^6^&^83!32@!6809$21!2!26956#16$3%%232%22@ 9*740@928#79*4^40%4#85!7!4758!$6&23!@236%%4#*&#$*&65^$#2411021@925055$3#&9&2@6$9!96$&4%%#38# 8*20$5$$7U$!65*4@&392@%$3^1@9242!&8&52&5 ^7930$%00&*63$0@3*!92*!2%@0#%^0!3 02$9%#&$85#*43^%6*%7763@0&84&!4*65@*485* Good men, the last wave by, crying how bright Their frail deeds might have danced in a green bay,Rage, rage against the dying of the light. #1$96972@79%*$&7*9#5^$81&!49^4%6* 3$#@3@!4&54$37*9495*068@#34!3735#27!750 ^7*23@446^3560#*3695177^#!24@62#9* 6*6$588795*777&5^@!$23&^#5@10!6264092 $^224#!05&&3$24$@17&!28$!$627#8!0$8*153957@ $$9#*4#8&@*407#%099%&%374!5%!@929$*#* $8^71!70376*!60*739@3%^1&899!1574$74#%38%0 7535##51&3842$6$3&239^@411&41844&%55#3@3687236#%^9 827#72!2%*5$128!#436!*8$7627$62#8@297* 420#480983&1$&01^4*9&3344528^6^9@*!

Artwork title

Falling 02_S-B-Y

Artist name Sharvari Mhatre, Bhavana Shyamsundar, Yuan Zheng
Artwork title

Parallax Animation_Reverse_4

Artist name By Nahye Shin, Gordon Cheng, Xiaoran Zhang
Artwork Description:

“&**68809^0829$!8$857406624@18&^@13%#%*^32&4#39722%866^$^6^&^83!32@!6809$21!2!26956#16$3%%232%22@9*740@928#79*4^40%4#85!7!4758!$6&23!@236%%4” By Jacques Derrida The Truth in Painting 7U$!65*4@&392@%$3^1@9242!&8&52&5^7930$%00&*63$0@3*!92*!2%@0#%^0!302$9%#&$85#*43^%6*%7763@0&84&!4*65@*485*1^$0265!4%43156*699982066^75@@5&#!0!%21$^39*0#7!#%33*918!64%6&6!^5&*^2&7#1$96972@79%*$&7*9#5^$81&!49^4%6*3$#@3@!4&54$37*9495*068@#34!3735#27!750^7*23@446^3560#*3695177^#!24@62#9*6*6$588795*777&5^@!$23&^#5@10!6264092$^224#!05&&3$24$@17&!28$!$627#8!0$8*153957@$$9#*4#8&@*407#%099%&%374!5%!@929$*#*$8^71!70376*!60*739@3%^1&899!157464%6&6!^5&*^2&7#1$96972@79%*$&7*9#5^$81&!49^4%6*3$#@3@!4&54$37*9495*068@#34!3735#27!750^7*23@446^3560#*3695177^#!24@62#9*6*6$588795*777&5^@!$23&^#5@10!6264092$^229495*068@#34!3735#27!750 56#16$3%%232%22@9*740@928#79*4^40%4#85!7!4758!$6&23!@236%%4#*&#$*&65^$#2411021@925055$3#&9&2@6$9!96$&4%%#38#8*20$5$$7U$!65*4@&392@%$3^1@9242!&8&52&5^7930$%00&*63$0@3*!92*!2%@0#%^0!302$9%#&$85#*43^%6*%7763@0&84&!4*65@*485*1^$0265!4%43156*699982066^75@@5&#!0!%21$^39*0#7!#%33*918!64%6&6! &54$37*9495*068@#34!3735#27!750^7*23@446^3560#*3695177^#!24@62#9*6*6$588795*777&5^@!$23&^#5@10!6264092$^224#!05&&3$24$@17&!28$!$627#8!0$8*153957@$$9#*4#8&@*407#%099%&%374!5%!@929$*#*$8^71!70376*!60*739@3%^1&899!1574$ &54$37*9495*068@#34!3735#27!750^7*23@446^3560#*3695177^#!24@62#9*6*6$588795*777&5^@!$23&^#5@10!6264092$^224#!05&&3$24$@17&!28$!$627#8!0$8*153957@$$9#*4#8&@*407#%099%&%374!5%!@929$*#*$8^71!70376*!60*739@3%^1&899!1574$74#%38%07535##51&3842$6$3&239^@411&41844&%55#3@3687236#%^9827#72!2%*5$128!#436!*8$7627$62#8@297*420#480983&1$&01^4*9&3344528^6^9@*!$255#6^6^0!80!05&&3$24$@17&!28$!$627#8!0$8*153957@$$9#*4#8&@*407#%099%&%374!5%!@929$*#*$8^71!70376*!60*739@3%^1&899!1574$ A poem that inspired our project Do not go gentle into that good night By Dylan Thomas 7406624@18&^@13%#%*^32&4#39722%866^$ ^6^&^83!32@!6809$21!2!26956#16$3%%232%22@ 9*740@928#79*4^40%4#85!7!4758!$6&23!@236%%4#*&#$*&65^$#2411021@925055$3#&9&2@6$9!96$&4%%#38# 8*20$5$$7U$!65*4@&392@%$3^1@9242!&8&52&5 ^7930$%00&*63$0@3*!92*!2%@0#%^0!3 02$9%#&$85#*43^%6*%7763@0&84&!4*65@*485* 1^$0265!4%43156*699982066^75@@5&#!0!%21$^39 *0#7!#%33*918!64%6&6!^5&*^2&7#1$96972@79%*$&7*9 #5^$81&!49^4%6*3$#@3@!4&54$37*9495*0 Wild men who caught and sang the sun in flight, And learn, too late, they grieved it on its way, Do not go gentle into that good night. 6*6$588795*777&5^@!$23&^#5@10!6264092 $^224#!05&&3$24$@17&!28$!$627#8!0$8*153957@ $$9#*4#8&@*407#%099%&%374!5%!@929$*#* $8^71!70376*!60*739@3%^1&899!1574$74#%38%0 7535##51&3842$6$3&239^@411&41844&%55#3@3687236#%^9 827#72!2%*5$128!#436!*8$7627$62#8@297* 420#480983&1$&01^4*9&3344528^6^9@*!

Artwork title

Merging 01_S-B-Y

Artist name Sharvari Mhatre, Bhavana Shyamsundar, Yuan Zheng
Artwork title

Layers 01_S-B-Y

Artist name Sharvari Mhatre, Bhavana Shyamsundar, Yuan Zheng
Layers 01_S-B-Y
Artwork title

Where's the ground 01_S-B-Y

Artist name Sharvari Mhatre, Bhavana Shyamsundar, Yuan Zheng
Where's the ground 01_S-B-Y
Artwork title

Parallax Animation_Sound Base

Artist name By Nahye Shin, Gordon Cheng, Xiaoran Zhang
Artwork Description:

“&**68809^0829$!8$857406624@18&^@13%#%*^32&4#39722%866^$^6^&^83!32@!6809$21!2!26956#16$3%%232%22@9*740@928#79*4^40%4#85!7!4758!$6&23!@236%%4” By Jacques Derrida The Truth in Painting 7U$!65*4@&392@%$3^1@9242!&8&52&5^7930$%00&*63$0@3*!92*!2%@0#%^0!302$9%#&$85#*43^%6*%7763@0&84&!4*65@*485*1^$0265!4%43156*699982066^75@@5&#!0!%21$^39*0#7!#%33*918!64%6&6!^5&*^2&7#1$96972@79%*$&7*9#5^$81&!49^4%6*3$#@3@!4&54$37*9495*068@#34!3735#27!750^7*23@446^3560#*3695177^#!24@62#9*6*6$588795*777&5^@!$23&^#5@10!6264092$^224#!05&&3$24$@17&!28$!$627#8!0$8*153957@$$9#*4#8&@*407#%099%&%374!5%!@929$*#*$8^71!70376*!60*739@3%^1&899!157464%6&6!^5&*^2&7#1$96972@79%*$&7*9#5^$81&!49^4%6*3$#@3@!4&54$37*9495*068@#34!3735#27!750^7*23@446^3560#*3695177^#!24@62#9*6*6$588795*777&5^@!$23&^#5@10!6264092$^229495*068@#34!3735#27!750 56#16$3%%232%22@9*740@928#79*4^40%4#85!7!4758!$6&23!@236%%4#*&#$*&65^$#2411021@925055$3#&9&2@6$9!96$&4%%#38#8*20$5$$7U$!65*4@&392@%$3^1@9242!&8&52&5^7930$%00&*63$0@3*!92*!2%@0#%^0!302$9%#&$85#*43^%6*%7763@0&84&!4*65@*485*1^$0265!4%43156*699982066^75@@5&#!0!%21$^39*0#7!#%33*918!64%6&6! &54$37*9495*068@#34!3735#27!750^7*23@446^3560#*3695177^#!24@62#9*6*6$588795*777&5^@!$23&^#5@10!6264092$^224#!05&&3$24$@17&!28$!$627#8!0$8*153957@$$9#*4#8&@*407#%099%&%374!5%!@929$*#*$8^71!70376*!60*739@3%^1&899!1574$ &54$37*9495*068@#34!3735#27!750^7*23@446^3560#*3695177^#!24@62#9*6*6$588795*777&5^@!$23&^#5@10!6264092$^224#!05&&3$24$@17&!28$!$627#8!0$8*153957@$$9#*4#8&@*407#%099%&%374!5%!@929$*#*$8^71!70376*!60*739@3%^1&899!1574$74#%38%07535##51&3842$6$3&239^@411&41844&%55#3@3687236#%^9827#72!2%*5$128!#436!*8$7627$62#8@297*420#480983&1$&01^4*9&3344528^6^9@*!$255#6^6^0!80!05&&3$24$@17&!28$!$627#8!0$8*153957@$$9#*4#8&@*407#%099%&%374!5%!@929$*#*$8^71!70376*!60*739@3%^1&899!1574$ A poem that inspired our project Do not go gentle into that good night By Dylan Thomas 7406624@18&^@13%#%*^32&4#39722%866^$ ^6^&^83!32@!6809$21!2!26956#16$3%%232%22@ 9*740@928#79*4^40%4#85!7!4758!$6&23!@236%%4#*&#$*&65^$#2411021@925055$3#&9&2@6$9!96$&4%%#38# 8*20$5$$7U$!65*4@&392@%$3^1@9242!&8&52&5 ^7930$%00&*63$0@3*!92*!2%@0#%^0!3 02$9%#&$85#*43^%6*%7763@0&84&!4*65@*485* 1^$0265!4%43156*699982066^75@@5&#!0!%21$^39 *0#7!#%33*918!64%6&6!^5&*^2&7#1$96972@79%*$&7*9 #5^$81&!49^4%6*3$#@3@!4&54$37*9495*0 #1$96972@79%*$&7*9#5^$81&!49^4%6* 3$#@3@!4&54$37*9495*068@#34!3735#27!750 ^7*23@446^3560#*3695177^#!24@62#9* 6*6$588795*777&5^@!$23&^#5@10!6264092 $^224#!05&&3$24$@17&!28$!$627#8!0$8*153957@ $$9#*4#8&@*407#%099%&%374!5%!@929$*#* $8^71!70376*!60*739@3%^1&899!1574$74#%38%0 7535##51&3842$6$3&239^@411&41844&%55#3@3687236#%^9 827#72!2%*5$128!#436!*8$7627$62#8@297* 420#480983&1$&01^4*9&3344528^6^9@*!

Artwork title

Unstable 01_S-B-Y

Artist name Sharvari Mhatre
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Disappearing 01_S-B-Y

Artist name Sharvari Mhatre, Bhavana Shyamsundar, Yuan Zheng
Artwork title

Following 01_S-B-Y

Artist name Sharvari Mhatre, Bhavana Shyamsundar, Yuan Zheng
Following 01_S-B-Y
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Whirlpool 01_S-B-Y

Artist name Sharvari Mhatre, Bhavana Shyamsundar, Yuan Zheng
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Blur 02_S-B-Y

Artist name Sharvari Mhatre, Bhavana Shyamsundar, Yuan Zheng
Blur 02_S-B-Y
Artwork title

Falling 03_S-B-Y

Artist name Sharvari Mhatre, Bhavana Shyamsundar, Yuan Zheng
Falling 03_S-B-Y
Artwork title

Still_Parallax_1

Artist name By Nahye Shin, Gordon Cheng, Xiaoran Zhang
Artwork Description:

“A frame marking what is inside the work but, paradoxically, demarcating its outside in order to constitute what it contains.” By Jacques Derrida The Truth in Painting After reading the introduction chapter, the whole section feels likea metaphor of our animated parallax project. Especially the part discusses the “discourse on the frame” on what is beyond the frame. Our camera movement and timeline editor are the metaphor of “Frame” in this case, they are used to position the viewer in relation to its perspectival construction of space, in other words, leading viewer’s perception of the projects.However, they also demarcate the views behind to constitute what it contains. “A ‘windowed’ multiplicity of perspectives implies new laws of‘presence’—not only here and there, butalso then and now—a multiple view—sometimes enhanced, sometimes diminished—out the window.” Our strategy starts from manipulating the “window” to look inside of the “frames” as well as the outside. Through the animated frames, the evolutiontakes placefrom actuals to virtuals(From a landscape painting to Animated Parallax),physical existence to constructed simulacrum(Photogrammetry), the reals to the possible(From meshmodelto particle movement). And just like Hayles argues,these evolutions can be seen as a metaphor of the machinic dematerialization of “bodies” into information. She defines the cultural perception of “virtuality” that material objects are interpenetrated by information patterns. The parallax can also be defined as an interpretation of dematerialization processas we transform the landscape into animated renderings with particle movements. A poem that inspired our project Do not go gentle into that good night By Dylan Thomas Do not go gentle into that good night, Old age should burn and rave at close of day Rage, rage against the dying of the light. Though wise men at theirend know dark is right, Because their words had forked no lightning they Do not go gentle into that good night. Good men, the last wave by, crying how bright Their frail deeds might have danced in a green bay,Rage, rage against the dying of the light. Wild men who caught and sang the sun in flight, And learn, too late, they grieved it on its way, Do not go gentle into that good night. Grave men,near death, who see with blinding sight Blind eyes could blaze like meteors and be gay, Rage, rage against the dying of the light. And you, my father, there on the sad height, Curse, bless, me now with your fierce tears, I pray. Do not go gentle into that good night. Rage, rage against the dying of the light.

Still_Parallax_1
Artwork title

Thesis_S-B-Y

Artist name Sharvari Mhatre, Bhavana Shyamsundar, Yuan Zheng
Artwork title

Shift and Blend_Final Animation Sequence

Artist name Joe and Kat
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Animation Clip 1

Artist name Joe and Kat
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Animation Clip 2

Artist name Joe and Kat
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Animation Clip 3

Artist name Joe and Kat
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Falling Audio

Artist name Katharine Vavilov, Joe Mathews
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Introduction_S-B-Y

Artist name Sharvari Mhatre, Bhavana Shyamsundar, Yuan Zheng
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Final Total Parallax Mid Frames 2

Artist name Kat + Joe
Final Total Parallax Mid Frames 2
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Final Total Parallax Mid Frames 1

Artist name Kat + Joe
Final Total Parallax Mid Frames 1
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Growing 2_S_B_Y

Artist name Sharvari Mhatre, Bhavana Shyamsundar, Yuan Zheng
Growing 2_S_B_Y
Artwork title

You Are Here.

Artwork Description:

Walk into the fog.

You Are Here.
Artwork title

Introduction

Artist name Work By: Merrick E Castillo, Gordon Cheng, Nicholas Grant Houser, Lauren Heidi Hunter, Shiqi Liu, Joseph Robert Mathews, Sharvari Arvind, Mhatre, Danny Ortega, Nengjie Qu, Sami Samawi, Nahye Shin, Bhavana Shyamsundar, Katharine Elizabeth Vavilov, Congqi Wang, Tianshuo Wang, Hanqing Yao, Xiaoran Zhang & Yuan Zheng
Introduction
Artwork title

New Land

Artist name Joseph Robert Mathews & Katharine Elizabeth Vavilov
Artwork Description:

A selection of Colonial Landscape Painting was fed through a GAN platform (Generative Adversarial Networks) to defamiliarize the subject matter and speculate on new 3dimensional environments.

New Land
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Constellations

Artist name Merrick E Castillo, Sami Samawi & Yao Hanqing
Artwork Description:

We started with the concept of landscape, or rather with someone looking at and representing a land. A selection of Colonial Landscape Painting was fed through a GAN platform (Generative Adversarial Networks) to defamiliarize the subject matter and speculate on new 3dimensional environments. We used the outcome to speculate on other worlds / worldviews.

Constellations
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Worlds

Artist name Joseph Robert Mathews & Katharine Elizabeth Vavilov
Worlds
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Landscapes in Lockdown

Artist name Nicholas Grant Houser, Lauren Heidi Hunter & Danny Ortega
Landscapes in Lockdown
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Shiqi's Window

Artist name Nengjie Qu & Shiqi Liu
Shiqi's Window
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Nengjie's Window

Artist name Nengjie Qu & Shiqi Liu
Nengjie's Window