Golden grove

Golden Grove was designed as an integral part of the redevelopment of the public space area at the university of Sydney's Darlington Campus. It uses a combination of ground patterning, dispersed and embedded lighting and stenciled poetic inscriptions to animation, of rhythmic interconnectivity across place and time. The ground pattern of the work follows that of the constellation Pleiades, to the arrangement of nine focal points across the campus.

Byron Bay hysteria

"This time lapse video work of De Bruyn's evidences the bold rythmic structures found in his nahd-painted 16 mm film work. A prolific fimmaler, de Bruyn is a master of his craft and shows in this work that that mastery knows no bounds in this format."  Fractured Light exhibition catalogue

Revelation International Film Festival (11th : 2008 : Perth, WA.)

Machinima revelations presents cutting-edge machinima experiments from around the world. Machinima is filmaking by combining the techniques of filmaking, animation production and the technology of real-time 3D game technologies.  Machinima Revelations curator Dr Leon Marvell from Deakin University presented cutting-edge machinima experiments from around the world and Australia, including the award-winning feature-length machinima, Stolen Life by Australian pioneer Peter Rasmussen

Painting that moves : digital realism and the single moving image

Explores space and object relations in a digital 3-D animation production, "Moving-Image". The exegesis examines these relations through an analysis of pictorial realism in painting. The illusion of three dimensional forms in the space of the computer screen is contextualised by investigation of the work's underlying digital conditions.

Choreotopography

Choreotopography is the result of a collaboration between the Melbourne Ballet Company and Deakin University's Motion.Lab. It is a ballet performance that uses 3D and interactive technology, requiring the aduience to wear 3D glasses.

Kristeva reframed : interpreting key thinkers for the arts

For Kristeva, in a world immersed in readymade images, art or aesthetic experience is a practice that constitutes both a subject (a sense of self) and an object that is able to transform meaning and consciousness.Kristeva Reframed examines key ideas in Kristeva's work to show how they are most relevant to artists, and how they can be applied in interpreting artworks. With examples from the paintings of Van Gogh and Picasso, the work of contemporary feminist painters, the photography of Bill Henson and the film and animation work of Van Sowerine, Estelle Barrett demonstrates how Kristeva can illuminate the relationships between artist and art object, between artists, artworks and audiences, and between art and knowledge. Through these relationships she explores what Kristeva's work reveals about the role and function of art in society and offers a smooth passage through Kristeva's ideas and her relevance to visual culture.

Ten years of environmental university building

The authors have been involved in over ten years of environmental consulting and research on university buildings. Numerous simulations and measurement studies have occurred over this period of time. The intentions have always been to improve and optimise the environmental performing aspects of a building. This paper is a reporting of the implemented strategies, their pre-building research investigation as well as their operational outcomes. Their successes and failures are discussed here. This research is intended as a feedback loop to future design specification, commissioning and maintenance improvements. In hindsight many of the environmental concepts, when executed as planned, were successful. However, often those requiring extensive control, such as lighting, ventilation and mechanical air-conditioning were a failure. The observations between simulation and actual performance are also noted. The paper includes discussion about some of the obstacles in building procurement which can hinder the result of a good environmental performing building.

Animated feather coats using field lines

The tedious task of manually placing feathers on computer animated objects involves aligning feathers, ensuring that they do not insect each other or penetrate the surface, deforming every feather to match the local surface features, and ensuring that the feather coat is consistent when the underlying object is animated.

We present a technique for generating a feather coat over an object. Feather orientation is specified quickly and easily, feathers are deformed while ensuring collision prevention, and the coat can be animated. We create a vector field in the space surrounding the body object and deform feathers to align with the field lines. The non-intersection property of the field lines ensures that feather intersections are avoided. We provide a formulation of a suitable vector field and demonstrate that it is capable of producing realistic feather coats. The process can easily be integrated into the work-flow of standard modelling and animation processes.

We show examples of feather coat creation on a range of objects, proving that field line based placement of feather coats provides the desired functionality for feather modelling and animation.

The development of a generic framework for the implementation of a cheap, component-based virtual video-conferencing system

We address the problem of virtual-videoconferencing. The proposed solution is effected in terms of a generic framework based on an in-house Virtual Reality system. The framework is composed of a number of distinct components: model acquisition, head tracking, expression analysis, network transmission and avatar reconstruction. The framework promises to provide a unique, cheap, and fast system for avatar construction, transmission and animation. This approach affords a conversion from the traditional video stream approach to the management of an avatar remotely and consequently makes minimal demands on network resources.

A method for automatically creating 3D animated scenes from annotated fiction text

This paper describes a strategy for automatically converting fiction text into 3D animations. It assumes the existence of fiction text annotated with avatar, object, setting, transition and relation annotations, and presents a transformation process that converts annotated text into quantified constraint systems, the solutions to which are used in the population of 3D environments. Constraint solutions are valid over temporal intervals, ensuring that consistent dynamic behaviour is produced. A substantial level of automation is achieved, while providing opportunities for creative manual intervention in animation process. The process is demonstrated using annotated examples drawn from popular fiction text that are converted into animation sequences, confirming that the desired results can be achieved with only highlevel human direction.

Cavity

This series of photographs focuses on caves in Western Victoria that have a layer of colonial occupation; caves said to be inhabited by bush rangers, escaped convicts, shipwreck survivors and hermits. The photographer was drawn to a rich vein of sites associated with colonial myths of inhabitation. These include the escaped convict William Buckley; Miss Carmichael, survivor of the wreck of the Lochard in 1878; Bushranger Captain Melville, and elusive enigmatic Black Ranges hermit David Ross. The resulting photographs explore the sensory and psychological resonance of these extraordinary places, what they feel like and how they feed the imagination, the need to feel rooted, to feel at home. Her approach embraces the paradoxical ambivalence of this need and the complex process of negotiating our presence in the land.

The imagined body – the cyborg

During a NASA conference in the 1960s, the term cyborg was created through an amalgamation of the terms ‘cybernetics’ and ‘organism’. Coined by concert pianist Manfred Clynes and research colleague Nathan Kline to describe the internal technological modification of the body. This new term resonated within popular culture and was quickly embraced by science fiction where the cyborg became a popular character. The image of the cyborg is often hyper-physical and hyper-sexual. The super sexualised woman who can shoot bullets from her breasts is a popular comic book cyborg representation. The Replicants from Riddley Scott’s Blade Runner and Arnold Schwaznegger’s role the Terminator are other examples where the technological and physical combination produces a terrifying hyper humans. Increasingly the future of our physicality is one that is intertwined with technology. Although the image of the cyborg is often an exaggerated character it holds within it real future possibilities. Consider the portable arm wrist communicator from the scifi classic Star Trek. The watch phone communication device was once an object of the imagination but now a reality in the personal mobile phone. This paper argues that through imagined imagery of the cyborg, future possibilities can be seen.

One example of the image of the cyborg representing possible human futures is the performance work Cyborpyg. Cyborpyg is a 40-minute contemporary dance work that integrates three dimensional (3D) animation and video media within the performance. Projected 3D animated prosthetic limbs appear to extend the dancers from within. These digital limbs integrate with dancer’s bodies transforming them into cyborgs. The animations are an extreme form of aesthetic modification reflecting the possible consequences of the integration of technology within the body. Cyborpyg also explores both utopic and dystipic themes within the cyborg paradigm. The dancing hybrid bodies perform magical feats not possible with an unmodified body. Feet twist into talons and flippers, eyes extend from the head, arms transform into robotic attachments. The dancer’s bodies also appear trapped in an unrelenting environment with prosthesis that appear to torture and inflict serious harm. This paper explores the idea that the imagined image of the cyborg reflects future possibilities for the human physicality.

Closer

Contemporary dance has only recently gained the capability of mapping imagery into 3D theatre environments that appear to move towards and away from the audiences. This capability radically expands the metaphoric content possible in dance work. This work was animated by Megan Beckwith, performed and choreographed by Stephanie Hutchison with the sound designed by Jacques Soddell. The performance combines contemporary dance with stereoscopic illusions and video imagery. The work is based on the Walter Benjamin’s Ninth Thesis on the Philosophy of History, 1938. Benjamin describes the angel of history being ‘caught in a storm’ from Paradise and being ‘propelled into the future to which his back is turned’. This performance comments on how we invariably move into the future by taking our past with us.

Witch laughing and coughing with thunder (saying "it's Halloween") 02

A sound recording of a female voices cackling like a witch and saying "it's Halloween!" amidst a storm. A file for Halloween projects.