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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.

Catalog:

Indeterminate Delineations

Maya Alam & Students, UPenn Opened December 22nd, 2020 View 3D Gallery
Poster image for Indeterminate Delineations

Artworks in this room:

transparent floor test

transparent floor test

CQ - Still Rendering 2

CQ - Still Rendering 2

CQ - artbreeder painting

CQ - artbreeder painting

CQ - Video 2

CQ - Window Scan 2

Tianshuo

CQ - Short Video 1

Congqi

CQ - Sample video

CQ - Still - 11

CQ - Still - 11

Mesh of Philadelphia_001

By Danny Ortega, Lauren Hunter, and Nicholas Houser

Photogrammetry scan of a Philadelphia streetscape

Mesh of Philadelphia_002

By Danny Ortega, Lauren Hunter, and Nicholas Houser

Photogrammetry scan of a Philadelphia ally

Mesh of Philadelphia_003

By Danny Ortega, Lauren Hunter, and Nicholas Houser

Photogrammetry of a Philadelphia skyline

GAN_LANDSCAPE_001

by Danny Ortega, Lauren Hunter, and Nicholas Houser

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

GAN_LANDSCAPE_003

by Danny Ortega, Lauren Hunter, and Nicholas Houser

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

GAN_LANDSCAPE_004

by Danny Ortega, Lauren Hunter, and Nicholas Houser

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

GAN_LANDSCAPE_002

by Danny Ortega, Lauren Hunter, and Nicholas Houser

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

GAN_LANDSCAPE_005

by Danny Ortega, Lauren Hunter, and Nicholas Houser

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

ALIEN BOI

by Danny Ortega, Lauren Hunter, and Nicholas Houser
ALIEN BOI

DUSTY SKY

by Danny Ortega, Lauren Hunter, and Nicholas Houser
DUSTY SKY

MOLDY MILK

by Danny Ortega, Lauren Hunter, and Nicholas Houser
MOLDY MILK

MOLDY PAINT

by Danny Ortega, Lauren Hunter, and Nicholas Houser
MOLDY PAINT

RUSTY ROCK

by Danny Ortega, Lauren Hunter, and Nicholas Houser
RUSTY ROCK

SLUSH MOB

by Danny Ortega, Lauren Hunter, and Nicholas Houser
SLUSH MOB

Joe Window Mesh Turntable

Joe Mathews + Kat Vavilov

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?

FinalTest_Animation_01

Joe + Kat

...

QL-1 STILL IMAGE

Nengjie Qu, Shiqi Liu

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

QL-STILL IMAGE 2

Nengjie Qu, Shiqi Liu

Landscape Image -- Noon

QL-STILL IMAGE 2

QL-STILL IMAGE 3

Nengjie Qu, Shiqi Liu

Landscape Image -- Afternoon

QL-STILL IMAGE 3

QL-STILL IMAGE 4

Nengjie Qu, Shiqi Liu

Landscape Image -- Evening

QL-STILL IMAGE 4

QL-STILL IMAGE 4

Nengjie Qu, Shiqi Liu

Landscame Image -- Evening

QL-STILL IMAGE 4

QL-STILL IMAGE 5

Nengjie Qu, Shiqi Liu

Landscape Image -- Night

QL-STILL IMAGE 5

QL-STILL IMAGE 6

Nengjie Qu, Shiqi Liu

Landscape Image -- Night

QL-STILL IMAGE 6

QL-STILL IMAGE 7

Nengjie Qu, Shiqi Liu

Landscape Image -- Afternoon

QL-STILL IMAGE 7

QL-STILL IMAGE 8

Nengjie Qu, Shiqi Liu

Landscape Image -- Evening

QL-STILL IMAGE 8

QL-STILL IMAGE 9

Nengjie Qu, Shiqi Liu

Landscape Image -- Afternoon

QL-STILL IMAGE 9

QL-STILL IMAGE 10

Nengjie Qu, Shiqi Liu

Landscape Image -- Afternoon

QL-STILL IMAGE 10

QL-STILL IMAGE 11

Nengjie Qu, Shiqi Liu

Landscape Image -- Evening

QL-STILL IMAGE 11

QL-STILL IMAGE 12

Nengjie Qu, Shiqi Liu

Landscape Image -- Night

QL-STILL IMAGE 12

QL-STILL IMAGE 13

Nengjie Qu, Shiqi Liu

Landscape Image -- Afternoon

QL-STILL IMAGE 13

QL-STILL IMAGE 14

Nengjie Qu, Shiqi Liu

Landscape Image -- Evening

QL-STILL IMAGE 14

SHANGHAI PERSPECTIVE

Nengjie Qu

Turnable animation of Shanghai Night view

Landscape Animation 1

Nengjie Qu, Shiqi Liu

Landscape animation with low speed

Landscape Animation 3

Nengjie Qu, Shiqi Liu

Landscape Animation low resolution and low speed

Wuhan Park_Turntable

Shiqi Liu

Wuhan city view morning version

Landscape animation 2

Nengjie Qu, Shiqi Liu

Landscape Animation high resolution low speed

SHANGHAI NIGHT 1

Nengjie Qu

Shanghai Night view particle image

SHANGHAI NIGHT 1

SHANGHAI NIGHT 2

Nengjie Qu

Shanghai Night view particle image 1

SHANGHAI NIGHT 2

SHANGHAI NIGHT 3

Nengjie Qu

Shanghai Night view mesh image

SHANGHAI NIGHT 3

Katharine Window Scan

Kat Vavilov, Joe Mathews

"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

Artbreeder Image 2

Kat Vavilov, Joe Mathews
Artbreeder Image 2

Parallax 1 Blur Flat

Katharine Vavilov, Joe Mathews
Parallax 1 Blur Flat

Final Total Animation

Katharine Vavilov, Joe Mathews

"Seeing Without Objects"

Danny Ortega, Lauren Hunter, and Nicholas Houser

 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.

CQ-1

CQ-1

CQ-model

ams-video1

PARALLAX

By Danny Ortega, Lauren Hunter, and Nicholas Houser

turantable-1

Landscape animation 2

Landscape animation normal speed from day to night

veils

Sami Samawi, Merrick Castillo

veil 1

veil 1

Collapsed and truest view

Sami Samawi, Merrick Castillo, Hanqing yao

collapsed view

Sami Samawi, Merrick Castillo, Hanqing Yao

..

Still Parallax_2

By Nahye Shin, Gordon Cheng, Xiaoran Zhang

“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

Still Parallax_3

By Nahye Shin, Gordon Cheng, Xiaoran Zhang

“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

Still Parallax_4

By Nahye Shin, Gordon Cheng, Xiaoran Zhang

“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

Parallax Animation_Broken_1

By Nahye Shin, Gordon Cheng, Xiaoran Zhang

“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@*!

Parallax Animation_Broken_3

By Nahye Shin, Gordon Cheng, Xiaoran Zhang

“&**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@*!

Parallax Animation_Broken_4

By Nahye Shin, Gordon Cheng, Xiaoran Zhang

“&**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@*!

Parallax Animation_Broken_2

By Nahye Shin, Gordon Cheng, Xiaoran Zhang

“&**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@*!

Parallax Animation_Normal

By Nahye Shin, Gordon Cheng, Xiaoran Zhang

“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@*!

Parallax_S-B-Y

Sharvari Mhatre, Bhavana Shyamsundar, Yuan Zheng

Window-ish 01_S-B-Y

Sharvari Mhatre, Bhavana Shyamsundar, Yuan Zheng

Falling 01_S-B-Y

Sharvari Mhatre, Bhavana Shyamsundar, Yuan Zheng

Parallax Animation_Normal

By Nahye Shin, Gordon Cheng, Xiaoran Zhang

“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@*!

Parallax Animation_Reverse_1

By Nahye Shin, Gordon Cheng, Xiaoran Zhang

“&**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@*!

Parallax Animation_Reverse_2

By Nahye Shin, Gordon Cheng, Xiaoran Zhang

“&**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@*!

Parallax Animation_Reverse_3

By Nahye Shin, Gordon Cheng, Xiaoran Zhang

“&**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@*!

Falling 02_S-B-Y

Sharvari Mhatre, Bhavana Shyamsundar, Yuan Zheng

Parallax Animation_Reverse_4

By Nahye Shin, Gordon Cheng, Xiaoran Zhang

“&**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@*!

Merging 01_S-B-Y

Sharvari Mhatre, Bhavana Shyamsundar, Yuan Zheng

Layers 01_S-B-Y

Sharvari Mhatre, Bhavana Shyamsundar, Yuan Zheng
Layers 01_S-B-Y

Where's the ground 01_S-B-Y

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

Parallax Animation_Sound Base

By Nahye Shin, Gordon Cheng, Xiaoran Zhang

“&**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@*!

Unstable 01_S-B-Y

Sharvari Mhatre

Disappearing 01_S-B-Y

Sharvari Mhatre, Bhavana Shyamsundar, Yuan Zheng

Following 01_S-B-Y

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

Whirlpool 01_S-B-Y

Sharvari Mhatre, Bhavana Shyamsundar, Yuan Zheng

Blur 02_S-B-Y

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

Falling 03_S-B-Y

Sharvari Mhatre, Bhavana Shyamsundar, Yuan Zheng
Falling 03_S-B-Y

Still_Parallax_1

By Nahye Shin, Gordon Cheng, Xiaoran Zhang

“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

Thesis_S-B-Y

Sharvari Mhatre, Bhavana Shyamsundar, Yuan Zheng

Shift and Blend_Final Animation Sequence

Joe and Kat

Animation Clip 1

Joe and Kat

Animation Clip 2

Joe and Kat

Animation Clip 3

Joe and Kat

Falling Audio

Katharine Vavilov, Joe Mathews

Introduction_S-B-Y

Sharvari Mhatre, Bhavana Shyamsundar, Yuan Zheng

Final Total Parallax Mid Frames 2

Kat + Joe
Final Total Parallax Mid Frames 2

Final Total Parallax Mid Frames 1

Kat + Joe
Final Total Parallax Mid Frames 1

Growing 2_S_B_Y

Sharvari Mhatre, Bhavana Shyamsundar, Yuan Zheng
Growing 2_S_B_Y

You Are Here.

Walk into the fog.

You Are Here.

Introduction

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

New Land

Joseph Robert Mathews & Katharine Elizabeth Vavilov

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

Constellations

Merrick E Castillo, Sami Samawi & Yao Hanqing

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

Worlds

Joseph Robert Mathews & Katharine Elizabeth Vavilov
Worlds

Landscapes in Lockdown

Nicholas Grant Houser, Lauren Heidi Hunter & Danny Ortega
Landscapes in Lockdown

Shiqi's Window

Nengjie Qu & Shiqi Liu
Shiqi's Window

Nengjie's Window

Nengjie Qu & Shiqi Liu
Nengjie's Window