Conference Paper

Generative spatial montage with multi-layered screens in "Lost Fragments of Night"

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Abstract

Lost Fragments of Night' is a poetic documentary film that utilizes an algorithmic generative editing system to preselect shots to be rendered over four screens arranged in layers. The artwork's subject is the chaotic and paradoxical sensation found by night in the city of Seoul. These author themes of disconnected and paradoxical images in urban public spaces resonate with the concepts of the multi-layered screens and generative editing system. The fragmented images are distributed over layers of screens to emphasize a chaotic and simultaneous sense of fragility that nevertheless together forms a whole. Designed for large-scale installation in urban public spaces, our artwork has been prototyped via a physical miniature, projecting by rear diffusion onto four layered screens constructed of grey sheer fabric. The audience can appreciate the montage from different angles and positions in a public space to produce different layering effects not possible in traditional 2D cinema. The generative editing system uses a dynamic Bayesian network constructed according to clips and timeline tagging. Audience members can actively contribute to the direction of the montage through a web interface, so the artwork creates different meanings by embracing the role of the audience in every screening.

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Thesis
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As an interdisciplinary artist and composer I have found that, beyond the common language of new media, the connecting tissue between various art practices and music can be found in narrative. In particular, the kind of narrative that is structured using nonlinear representations of information, time, and space. Nonlinear narrative is an inherent aspect of new media that provides a common baseline whereby media artworks can be evaluated and understood. The discussion of nonlinear narrative as interactive media is an exploration of the question, "what is the form of nonlinear interactive narrative?" providing the impetus for a theoretical discussion, and a formal approach to the understanding of my past works, while providing a basis for the creation of new works that have a dynamic nonlinear structure and reflect on our modern understanding of knowledge and nature. The domain of this document falls within the field of media art and is motivated by a transmodal aesthetic that developed and matured in tandem with my participation in a series of seminars led by Marcos Novak on the subject of transvergence. The terms and ideas presented in support of the concepts put forth in this document are derived from a variety of sources, including the histories of art, music, and literature; concepts in philosophy (in particular Deleuzeian philosophy); and pattern language as found in the field of software engineering. The result of this discussion is the definition, evaluation, and exploration of a transmodal, generalized description of nonlinear narratives in an abstract formal model called the Universe. It is important to clarify that the term Universe is not intended to describe what can be understood as a "universal model." The Universe is a reference to the concept of worlds borrowed from Virtual Reality terminology in order to describe the qualities of immersive interactive artworks as immersive environments. Thus the Universe Model is a description of the formalized approach taken in the realization of my own work and, although not strictly about music, this document follows a long line of documents in music whereby composers formally define the techniques and theory used in their work.
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The now-classic Metaphors We Live By changed our understanding of metaphor and its role in language and the mind. Metaphor, the authors explain, is a fundamental mechanism of mind, one that allows us to use what we know about our physical and social experience to provide understanding of countless other subjects. Because such metaphors structure our most basic understandings of our experience, they are "metaphors we live by"—metaphors that can shape our perceptions and actions without our ever noticing them. In this updated edition of Lakoff and Johnson's influential book, the authors supply an afterword surveying how their theory of metaphor has developed within the cognitive sciences to become central to the contemporary understanding of how we think and how we express our thoughts in language.
Poetry and the Film: A Symposium
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Deren, Maya, A. Miller, D. Thomas, and P. Tyler. "Poetry and the Film: A Symposium." Film Culture 29 (1963): 55-63.
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Young-Jung, Bang. Community, Life and Value. Kemi Press, 2011. 25. Rascaroli, Laura. "The essay film: Problems, definitions, textual commitments." Framework: The Journal of Cinema and Media 49, no. 2 (2008): 24-47. 26. Nichols, Bill. Introduction to documentary. Indiana University Press, 2010. 27. Nichols, Bill. "Documentary film and the modernist avantgarde." Critical Inquiry (2001): 580-610.
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Film Editing: the art of the expressive
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