Semiotics of Glitch Artistic Practice (peer-reviewed)

Glitch art is typically described as a kind, or style, of production error: “accidental” (caused or found) mistakes in the production or translation of a digital work. However, much of glitch is created using intended errors, or even simulations of error, created via reproducible means. The latter defines glitch aesthetics, as distinct from glitch production. This paper explores the semiotics of various types of glitch in the context of a fluctuating artistic practice.

Presented at the 22nd International Symposium on Electronic Art, Hong Kong | May 19 4.30pm, Studios Unit 2A, Kin Luen Factory Bldg 89-91 Larch Street Tai Kok Tsui, Hong Kong

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Sensing—Methodologies for Interfacing Digital Art with the Kinetic World

In this paper, I have two goals: (1) discuss the implementation of physical computing towards a kinetic realization of sound/visual art, and (2) discuss methodologies and techniques for mapping the kinetic onto real-time three-dimensional synthetic animation.

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Windows, Bridges, and Transparencies: An Analysis of Current Sculpture, Glass, and Installation Art

Intermedia art traditionally requires constructing “bridges.” These bridges connect one medium in a work of art to another one, so that the artist can create a single, cohesive architecture underpinning the entire work from otherwise isolated or discordant aesthetic components and paradigms. For the intermedia artist, the immediate challenge is how to achieve these bridges or connections, which aspects of a work to connect to which other ones, and how to create unexpected and interesting linkages that still make sense aesthetically. While the metaphor of bridges, with its attendant notions of structural support and linear topography, is a helpful one for creating new media work, it can also be limiting. Too often, we think of bridges as one-dimensional, static lines connecting different domains rather than dynamic, organic interfaces that are important aesthetic objects in their own right.

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Connecting the Dots: Methodologies for Interfacing the Digital with the Kinetic

Technical developments in hardware and software design have facilitated enormous precision in across-pollination in sensing and decision-making in digital art. These developments raise important aesthetical questions about the creative role of digital paradigms in new media performance and about the nature of computer-mediated interactivity. In this study, I explore the idea of a ‘cross-pollination’ from four different vantage points, using four contrasting examples from my own creative work.

Keywords: physical computing, Wacom tablet, data mapping, real-time OpenGL 3D graphics, real-time multi-channel surround sound, digital improvisation, structured, improvisation, new interfaces, laptop performance, audiovision, visual music, pitch tracking.

Guest presentation at the 13th Biennial Arts and Technology Symposium, The Ammerman Center for Arts and Technology, Connecticut College, March 1-3, 2012.

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Sculpting Sound And Image Achieving Digital Transmedia Through Kinetic Movement

Masters Thesis, Brown University

Transmedia is concerned, most generally, with the aesthetic relationships among artistic elements taken from multiple traditional media, such as dance, music, and sculpture, into a single work of art. As a taxonomic category, transmedia has found rich expression throughout the history of art, from the ancient Greek theater with its integration of drama, music, dance, and painting to the pyrotechnics of Richard Wagner’s staged operas, from the sacred rituals in the caves of Lascaux to contemporary installation art. However, with the rise of digital art, the traditional notion of transmedia exploded, opening up new artistic possibilities for translating elements across media and for creating wholly new art forms.

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Audio-vision: A Critical Examination of the Connections between Sound and Image in New Media Art

In the past several decades, sound and visual artists have been explicitly engaged in the evolving tradition of abstract audiovision. The advent of new media art has sharpened important questions about the aesthetic connections between media, first raised by ancient Greek philosophers and renewed in the nineteenth century with Richard Wagner’s concept of Gesamtkunstwerken (‘total works,’ Wagner 1849). What makes multimedia artworks ‘total’ works in Wagner’s sense, and how does new media art change our understanding of what unifies sound and image in audiovisual works, such as opera and cinema, in particular?

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Variations on the Theme of Metamorphosis as Applied to Musical Compositional Structure

The concept of metamorphosis has been a fruitful source of composition structure in my recent work. By analyzing this concept and its variations, I hope to achieve a greater self-understanding of my artistic development, as well as to provide a general framework for understanding structural transformation in art. Before examining the application of the concept, however, we must first discuss ideas of structure and transformations in more abstract terms across multiple artistic paradigms and disciplines.

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Anxiety of Influence: Artistic Identity in Interactive New Media

Motivated by questions posed to the new media artist, concerning the difficulties with coming up with an innovative artistic style in interactive media performance, this dissertation takes as a departure point a self-created multimedia work for a dancer, 5.1 surround sound, and 3-channel HD interactive projection. The work uses a custom-built wireless gestural interface to translate kinetic energy from the performer, into real-time multichannel synthetic sound and real- time OpenGL graphics. Throughout my preliminary research I became very much aware of the importance of influence on not only creative endeavors in general, but also the influential nature of the ever-evolving technologies available.

This paper attempts, firstly, to place the new work in the context of these available technologies, within a sociological context for the contemporary artist, and secondly, to analyze how personal artistic style and voice can be transposed through so many different converging elements, all the while, encompassing design, technological enhancements & spontaneous performance.

The over-arching thesis was to observe the journey of self-discovery of creating the piece, to discover how it fits in with the history of interactive media and new media art today.
In its entirety, the paper follows a dual purpose. Firstly, it attempts to formalize a perception of the self in this century, via the convergence of mind and body, through its relationship to software and hardware. Any deduced conclusions are then pitted against an analysis of the work itself.

In conclusion, it is useful to re-evaluate the juxtaposition of disparate media paradigms, as reconciled by the human body, to create a new way of thinking about the marriage between the moving digital image and digital sound in the context of time – as instigated by the translation of kinetic movement.

Metamorphosis as a Musical Algorithm (peer-reviewed)

This paper presents a personal inquiry into processes of musical transformation open to the electro- acoustic composer of today. The case study is the writer’s own compositional formulae drawing from acoustic and electro-acoustic examples. A transformative process of metamorphosis is raised as the thesis and it’s various subdivisions described. The elements of electronic composition are discussed in relation to the concept of metamorphosis – by filtering techniques such as wave synthesis, additive synthesis, granular synthesis, as well as frequency modulation, in the attempt of ‘differentiating’ and ‘integrating’ sound. The ratio of the Golden Section used in formal musical structure as well as in sound formation is also discussed. The genres of Musique Concrete and SoundScape provide preliminary topics for electronic formal structure before the main antithesis of this paper is raised; the electronic interactive genre that is available to the post-modern composer. Examples from the composer’s Second Symphony are used as a summary for both thesis and antithesis.

Presented at the 2001 Australasian Computer Music Conference, Melbourne Australia.

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The Preponderance of Self-awareness for the Modern Artist

This paper aims to establish a contextual framework for the contemporary artist to which issues of culture, concepts of truth and symbolism as well as basic ideas of human perception and interaction are of paramount influence. Thus, ultimately to attempt to define the essence of a personality defined by sociological environments and to display a direct link, consciously and unconsciously, to his/her creative work. Despite these components to the nature of art and the artist, I will attempt to raise the following hypothesis in relation to my own creative work;

An artist must be well educated in the recent and future developments in sociological studies, trends and stylistic developments so to consciously attempt to remove oneself as a creative artist from the perimeters of sociological constraints and general cultural frameworks. Thus forming a utopian ideal of creating an art form of constant evolution removed (if not completely) from these despotic components of modern day life.

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Processes of Collaboration- Music, Choreography and Design

“ Why do you always ask about the relationship or connections between us? Let me put it another way. Don’t you see that the fan is here and that the Norfolk Pine is there? How in heaven’s name are they related? If you can answer that, then you can answer these other questions…”

Interview of John Cage on the subject of Collaborations 

Why do we ask? Cage’s rhetoric is pertinent. How do the connections of minds, particularly artistic minds establish grounds for group achievement? As a composer, I have been extremely interested in the collaborative process of artists. This interest has instigated many collaborations, working with artists ranging from musicians, actors, both play and film directors, dancers and of course choreographers. My preoccupation with dance genres has so far culminated in two commissions for stage ballets, firstly, from the West Australian Ballet, and secondly, The Australian Ballet. Traveling through the journey of creative artist, past self-realization and artistic self-expression towards the act of connecting with others culminating in an artistic production has taught me much, raising such shy and tentative topics as human relations, communicative skills as well as the various illusive issues concerning methods of liaising between contrasting artistic fields. Though this paper will attempt to draw from several sources specifically from ballet to exemplify processes of collaboration and the various issues of artistic realization, the predominant case study will be my own work Mirror, Mirror, drawing from experiences at a time when I was working closely with the Australian Ballet.

Interactive Visual Music and Audio Vision: Ryoichi Kurokawa as Case Study

By elucidating the curious notion of time-based digital visual art and electronic sound art and the synesthetic implications they can contain is to address a new shift in artistic thought and cultural conditioning in the 21st century. This, in turn, has become a new standard paradigm for performance. These thoughts are explored as a context to the analysis of a single audiovisual artist and his current work.

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