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.
Photogrammetry scan of a Philadelphia streetscape
Photogrammetry scan of a Philadelphia ally
Photogrammetry of a Philadelphia skyline
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.
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.
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.
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.
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.
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?
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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.
Landscape Image -- Noon
Landscape Image -- Afternoon
Landscape Image -- Evening
Landscame Image -- Evening
Landscape Image -- Night
Landscape Image -- Night
Landscape Image -- Afternoon
Landscape Image -- Evening
Landscape Image -- Afternoon
Landscape Image -- Afternoon
Landscape Image -- Evening
Landscape Image -- Night
Landscape Image -- Afternoon
Landscape Image -- Evening
Turnable animation of Shanghai Night view
Landscape animation with low speed
Landscape Animation low resolution and low speed
Wuhan city view morning version
Landscape Animation high resolution low speed
Shanghai Night view particle image
Shanghai Night view particle image 1
Shanghai Night view mesh image
"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
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.
Landscape animation normal speed from day to night
“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.
“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.
“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.
“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@ $$9#*4#8&@*407#%099%&%374!5%!@929$*#* $8^71!70376*!60*739@3%^1&899!1574$74#%38%0 7535##51&3842$6$3&239^@411&41844&%55#3@3687236#%^9 827#72!2%*5$128!#436!*8$7627$62#8@297* 420#480983&1$&01^4*9&3344528^6^9@*!
“&**68809^0829$!8$857406624@18&^@13%#%*^32&4#39722%866^$^6^&^83!32@!6809$21!2!26956#16$3%%232%22@9*740@928#79*4^40%4#85!7!4758!$6&23!@236%%4” By Jacques Derrida The Truth in Painting 7U$!65*4@&392@%$3^1@9242!&8&52&5^7930$%00&*63$0@3*!92*!2%@0#%^0!302$9%#&$85#*43^%6*%7763@0&84&!4*65@*485*1^$0265!4%43156*699982066^75@@5!0!%21$^39*0#7!#%33*918!64%6&6!^5&*^2&7#1$96972@79%*$&7*9#5^$81&!49^4%6*3$#@3@!4&54$37*9495*068@#34!3735#27!750^7*23@446^3560#*3695177^#!24@62#9*6*6$588795*777&5^@!$23&^#5@10!6264092$^224#!05&&3$24$@17&!28$!$627#8!0$8*153957@$$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@ $$9#*4#8&@*407#%099%&%374!5%!@929$*#* $8^71!70376*!60*739@3%^1&899!1574$74#%38%0 7535##51&3842$6$3&239^@411&41844&%55#3@3687236#%^9 827#72!2%*5$128!#436!*8$7627$62#8@297* 420#480983&1$&01^4*9&3344528^6^9@*!
“&**68809^0829$!8$857406624@18&^@13%#%*^32&4#39722%866^$^6^&^83!32@!6809$21!2!26956#16$3%%232%22@9*740@928#79*4^40%4#85!7!4758!$6&23!@236%%4” By Jacques Derrida The Truth in Painting 7U$!65*4@&392@%$3^1@9242!&8&52&5^7930$%00&*63$0@3*!92*!2%@0#%^0!302$9%#&$85#*43^%6*%7763@0&84&!4*65@*485*1^$0265!4%43156*699982066^75@@5!0!%21$^39*0#7!#%33*918!64%6&6!^5&*^2&7#1$96972@79%*$&7*9#5^$81&!49^4%6*3$#@3@!4&54$37*9495*068@#34!3735#27!750^7*23@446^3560#*3695177^#!24@62#9*6*6$588795*777&5^@!$23&^#5@10!6264092$^224#!05&&3$24$@17&!28$!$627#8!0$8*153957@$$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@ $$9#*4#8&@*407#%099%&%374!5%!@929$*#* $8^71!70376*!60*739@3%^1&899!1574$74#%38%0 7535##51&3842$6$3&239^@411&41844&%55#3@3687236#%^9 827#72!2%*5$128!#436!*8$7627$62#8@297* 420#480983&1$&01^4*9&3344528^6^9@*!
“&**68809^0829$!8$857406624@18&^@13%#%*^32&4#39722%866^$^6^&^83!32@!6809$21!2!26956#16$3%%232%22@9*740@928#79*4^40%4#85!7!4758!$6&23!@236%%4” By Jacques Derrida The Truth in Painting After reading the introduction chapter, the whole section feels likea metaphor of our animated parallax project. Especially the part discusses the “discourse on the frame” on what is beyond the frame. Our camera movement and timeline editor are the metaphor of “Frame” in this case, they are used to position the viewer in relation to its perspectival construction of space, in other words, leading viewer’s perception of the projects.However, they also demarcate the views behind to constitute what it contains. 56#16$3%%232%22@9*740@928#79*4^40%4#85!7!4758!$6&23!@236%%4#*$*&65^$#2411021@925055$3#&9&2@6$9!96$&4%%#38#8*20$5$$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@*!
“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@*!
“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@ $$9#*4#8&@*407#%099%&%374!5%!@929$*#* $8^71!70376*!60*739@3%^1&899!1574$74#%38%0 7535##51&3842$6$3&239^@411&41844&%55#3@3687236#%^9 827#72!2%*5$128!#436!*8$7627$62#8@297* 420#480983&1$&01^4*9&3344528^6^9@*!
“&**68809^0829$!8$857406624@18&^@13%#%*^32&4#39722%866^$^6^&^83!32@!6809$21!2!26956#16$3%%232%22@9*740@928#79*4^40%4#85!7!4758!$6&23!@236%%4” By Jacques Derrida The Truth in Painting 7U$!65*4@&392@%$3^1@9242!&8&52&5^7930$%00&*63$0@3*!92*!2%@0#%^0!302$9%#&$85#*43^%6*%7763@0&84&!4*65@*485*1^$0265!4%43156*699982066^75@@5!0!%21$^39*0#7!#%33*918!64%6&6!^5&*^2&7#1$96972@79%*$&7*9#5^$81&!49^4%6*3$#@3@!4&54$37*9495*068@#34!3735#27!750^7*23@446^3560#*3695177^#!24@62#9*6*6$588795*777&5^@!$23&^#5@10!6264092$^224#!05&&3$24$@17&!28$!$627#8!0$8*153957@$$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@*!
“&**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@*!
“&**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@ $$9#*4#8&@*407#%099%&%374!5%!@929$*#* $8^71!70376*!60*739@3%^1&899!1574$74#%38%0 7535##51&3842$6$3&239^@411&41844&%55#3@3687236#%^9 827#72!2%*5$128!#436!*8$7627$62#8@297* 420#480983&1$&01^4*9&3344528^6^9@*!
“&**68809^0829$!8$857406624@18&^@13%#%*^32&4#39722%866^$^6^&^83!32@!6809$21!2!26956#16$3%%232%22@9*740@928#79*4^40%4#85!7!4758!$6&23!@236%%4” By Jacques Derrida The Truth in Painting 7U$!65*4@&392@%$3^1@9242!&8&52&5^7930$%00&*63$0@3*!92*!2%@0#%^0!302$9%#&$85#*43^%6*%7763@0&84&!4*65@*485*1^$0265!4%43156*699982066^75@@5!0!%21$^39*0#7!#%33*918!64%6&6!^5&*^2&7#1$96972@79%*$&7*9#5^$81&!49^4%6*3$#@3@!4&54$37*9495*068@#34!3735#27!750^7*23@446^3560#*3695177^#!24@62#9*6*6$588795*777&5^@!$23&^#5@10!6264092$^224#!05&&3$24$@17&!28$!$627#8!0$8*153957@$$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@*!
“&**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@*!
“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.
Walk into the fog.
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 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.