Lumia : art/light/motion

Lumia: art/light/motion is an exciting new media exhibition presented by State Library of Queensland in partnership with Queensland-based Kuuki collective artists Priscilla Bracks and Gavin Sade. The exhibition explored contemporary life and encourages thought about the future through an extraordinary collection of hand-crafted and interactive electronic creatures and installations. The beautifully crafted new media artworks in Lumia: art/light/motion combine the bespoke with art and technology to create strange but intriguing objects. Lumia invited audiences to play, learn and then ponder the way we live and the environmental and social implications of our choices.

Lumia : Art | light | motion. The Art of Kuuki.

The State Library of Queensland is delighted to present Lumia: art/light/motion, a culmination of many years of collaboration by the Kuuki collective led by Priscilla Bracks and Gavin Sade. This extraordinary exhibition not only showcases the unique talent of these Queenslanders, it also opens up a world of future possibilities while re-presenting the past and present. These contemporary new media installations sit comfortably within the walls of the library as they are the distinctive products of inquisitive and philosophical minds. In a sense the exhibition highlights the longevity and purposefulness of a cultural learning institution, through the non-traditional use of data, information, research and collection interpretation. The exhibition simultaneously articulates one of our key objectives – to progress the state’s digital agenda. Two academic essays have been commissioned for this joint Kuuki and State Library of Queensland publication. The first is by artist and writer Paul Brown, who has specialised in art, science and technology since the late 1960s and in computational and generative art since the mid 1970s. Brown investigates the history of new media, which is celebrating its 60th anniversary, and clearly places Sade and Bracks at the forefront of this genre nationally. The second essay is by arts writer Linda Carroli, who has delved deeply into the thoughts and processes of the artists to bring to light the complex workings of the artists’ minds. The publication also features an interview Carroli conducted with the artists. This exhibition is playful, informative and contemplative. The audience is invited to play, and consequently to ponder the way we live and the environmental and social implications of our choices. The exhibition tempts us to travel deep into the Antarctic, plunge into the Great Barrier Reef, be swamped by an orchestra of crickets, enter the Charmed world and travel back in time to a Victorian parlour where you can interact with a ‘new-world’ lyrebird and consider a brave new world where our only link to the animal world is with robotic representations. In essence this exhibition is about ideas and knowledge and what better institution than the State Library of Queensland to partner such a project?. State Library is committed to preserving culture, exploring new media and creating new content as a lasting legacy of Queensland for all Queenslanders.

Contours in Motion

My practice-led research explores and maps workflows for generating experimental creative work involving inertia based motion capture technology. Motion capture has often been used as a way to bridge animation and dance resulting in abstracted visuals outcomes. In early works this process was largely done by rotoscoping, reference footage and mechanical forms of motion capture. With the evolution of technology, optical and inertial forms of motion capture are now more accessible and able to accurately capture a larger range of complex movements. The creative work titled “Contours in Motion” was the first in a series of studies on captured motion data used to generating experimental visual forms that reverberate in space and time. With the source or ‘seed’ comes from using an Xsens MVN - Inertial Motion Capture system to capture spontaneous dance movements, with the visual generation conducted through a customised dynamics simulation. The aim of the creative work was to diverge way from a standard practice of using particle system and/or a simple re-targeting of the motion data to drive a 3d character as a means to produce abstracted visual forms. To facilitate this divergence a virtual dynamic object was tether to a selection of data points from a captured performance. The proprieties of the dynamic object were then adjusted to balance the influences from the human movement data with the influence of computer based randomization. The resulting outcome was a visual form that surpassed simple data visualization to project the intent of the performer’s movements into a visual shape itself. The reported outcomes from this investigation have contributed to a larger study on the use of motion capture in the generative arts, furthering the understanding of and generating theories on practice.

The pedagogic prosthetic: Augmented learning as content-in-motion in hybrid educational spheres

This article draws on the design and implementation of three mobile learning projects introduced by Flanagan in 2011, 2012 and 2014 engaging a total of 206 participants. The latest of these projects is highlighted in this article. Two other projects provide additional examples of innovative strategies to engage mobile and cloud systems describing how electronic and mobile technology can help facilitate teaching and learning, assessment for learning and assessment as learning, and support communities of practice. The second section explains the theoretical premise supporting the implementation of technology and promulgates a hermeneutic phenomenological approach. The third section discusses mobility, both in terms of the exploration of wearable technology in the prototypes developed as a result of the projects, and the affordances of mobility within pedagogy. Finally the quantitative and qualitative methods in place to evaluate m-learning are explained.

A Novel Approach for Axle Detection in Bridge Weigh-In-Motion Systems

Bridge weigh-in-motion (B-WIM), a system that uses strain sensors to calculate the weights of trucks passing on bridges overhead, requires accurate axle location and speed information for effective performance. The success of a B-WIM system is dependent upon the accuracy of the axle detection method. It is widely recognised that any form of axle detector on the road surface is not ideal for B-WIM applications as it can cause disruption to the traffic (Ojio & Yamada 2002; Zhao et al. 2005; Chatterjee et al. 2006). Sensors under the bridge, that is Nothing-on-Road (NOR) B-WIM, can perform axle detection via data acquisition systems which can detect a peak in strain as the axle passes. The method is often successful, although not all bridges are suitable for NOR B-WIM due to limitations of the system. Significant research has been carried out to further develop the method and the NOR algorithms, but beam-and-slab bridges with deep beams still present a challenge. With these bridges, the slabs are used for axle detection, but peaks in the slab strains are sensitive to the transverse position of wheels on the beam. This next generation B-WIM research project extends the current B-WIM algorithm to the problem of axle detection and safety, thus overcoming the existing limitations in current state-of–the-art technology. Finite Element Analysis was used to determine the critical locations for axle detecting sensors and the findings were then tested in the field. In this paper, alternative strategies for axle detection were determined using Finite Element analysis and the findings were then tested in the field. The site selected for testing was in Loughbrickland, Northern Ireland, along the A1 corridor connecting the two cities of Belfast and Dublin. The structure is on a central route through the island of Ireland and has a high traffic volume which made it an optimum location for the study. Another huge benefit of the chosen location was its close proximity to a nearby self-operated weigh station. To determine the accuracy of the proposed B-WIM system and develop a knowledge base of the traffic load on the structure, a pavement WIM system was also installed on the northbound lane on the approach to the structure. The bridge structure selected for this B-WIM research comprised of 27 pre-cast prestressed concrete Y4-beams, and a cast in-situ concrete deck. The structure, a newly constructed integral bridge, spans 19 m and has an angle of skew of 22.7°.

Recognition and response to human movement contained in motion capture data using the Self Organising Map

Neural Networks have been used successfully for recognition of human gestures in many applications including analysis of motion capture data. This paper investigates the potential for using the same methods for both recognition and synthesising responses in relation to movement contained in motion capture sequences.

Finding the beat : an analysis of the rhythmic elements of motion pictures

This paper presents a new study on the application of the framework of Computational Media Aesthetics to the problem of automated understanding of film. Leveraging Film Grammar as the means to closing the "semantic gap" in media analysis, we examine film rhythm, a powerful narrative concept used to endow structure and form to the film compositionally and enhance its lyrical quality experientially. The novelty of this paper lies in the specification and investigation of the rhythmic elements that are present in two cinematic devices; namely motion and editing patterns, and their potential usefulness to automated content annotation and management systems. In our rhythm model, motion behavior is classified as being either nonexistent, fluid or staccato for a given shot. Shot neighborhoods in movies are then grouped by proportional makeup of these motion behavioral classes to yield seven high-level rhythmic arrangements that prove to be adept at indicating likely scene content (e.g. dialogue or chase sequence) in our experiments. The second part of our investigation presents a computational model to detect editing patterns as either metric, accelerated, decelerated or free. Details of the algorithm for the extraction of these classes are presented, along with experimental results on real movie data. We show with an investigation of combined rhythmic patterns that, while detailed content identification via rhythm types alone is not possible by virtue of the fact that film is not codified to this level in terms of rhythmic elements, analysis of the combined motion/editing rhythms can allow us to determine that the content has changed and hypothesize as to why this is so. We present three such categories of change and demonstrate their efficacy for capturing useful film elements (e.g. scene change precipitated by plot event), by providing data support from five motion pictures.

Toward automatic extraction of expressive elements from motion pictures : tempo

This paper addresses the challenge of bridging the semantic gap that exists between the simplicity of features that can be currently computed in automated content indexing systems and the richness of semantics in user queries posed for media search and retrieval. It proposes a unique computational approach to extraction of expressive elements of motion pictures for deriving high-level semantics of stories portrayed, thus enabling rich video annotation and interpretation. This approach, motivated and directed by the existing cinematic conventions known as film grammar, as a first step toward demonstrating its effectiveness, uses the attributes of motion and shot length to define and compute a novel measure of tempo of a movie. Tempo flow plots are defined and derived for a number of full-length movies and edge analysis is performed leading to the extraction of dramatic story sections and events signaled by their unique tempo. The results confirm tempo as a useful high-level semantic construct in its own right and a promising component of others such as rhythm, tone or mood of a film. In addition to the development of this computable tempo measure, a study is conducted as to the usefulness of biasing it toward either of its constituents, namely, motion or shot length. Finally, a refinement is made to the shot length normalizing mechanism, driven by the peculiar characteristics of shot length distribution exhibited by movies. Results of these additional studies, and possible applications and limitations are discussed.

Towards automatic extraction of expressive elements from motion pictures : tempo

This paper proposes a unique computational approach to extraction of expressive elements of motion pictures for deriving high level semantics of stories portrayed, thus enabling better video annotation and interpretation systems. This approach, motivated and directed by the existing cinematic conventions known as film grammar, as a first step towards demonstrating its effectiveness, uses the attributes of motion and shot length to define and compute a novel measure of tempo of a movie. Tempo flow plots are defined and derived for four full-length movies and edge analysis is performed leading to the extraction of dramatic story sections and events signaled by their unique tempo. The results confirm tempo as a useful attribute in its own right and a promising component of semantic constructs such as tone or mood of a film.

Finding the beat : an analysis of the rhythmic elements of motion pictures

This paper forms a continuation of our work focused on exploiting film grammar for the task of automated film understanding. We examine film rhythm, a powerful narrative concept used to endow structure and form to the film compositionally and to enhance its lyrical quality experientially. Of the many, often complex, cinematic devices contributing to film rhythm, this paper investigates the rhythmic elements that are present in edited sequences of shots, and presents a novel computational model to detect shot structural rhythm as either metric, accelerated, decelerated, or free. Details of the algorithm for the extraction of these editing rhythm classes are presented, along with experimental results on real movie data. Following this we study the usefulness of combining the rhythmic patterns induced through both motion and editing in film. We show that, whilst detailed content identification via rhythm types alone is not possible by virtue of the fact that film is not codified to this level in terms of rhythmic elements, analysis of the combined motion/shot rhythm can allow us to determine that the content has changed and hypothesize as to why this is so. We present 3 such categories of change and demonstrate their efficacy for capturing useful film elements (e.g., scene change precipitated by plot event), by providing data support from 5 motion pictures.

Her Majesty moves: Sarah Bernhardt, Queen Elizabeth and the development of motion pictures

Sarah Bernhardt, the greatest theatrical star of the late nineteenth century, enabled and even promoted the association of early film with the British monarchy. She did this literally, by playing the role of Queen Elizabeth in Queen Elizabeth (Les Amours de la Reine Elisabeth, Henri Desfontaines and Louis Mercanton, 1912). Bernhardt also promoted the association of the cinema with monarchy symbolically, making the medium a new empathetic vehicle for the development of celebrity mystique and global power.

Luz e sombra, mostrar e esconder: os efeitos de sentido e as estratégias da imagem fotográfica em magnum in motion

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Surréalisme Sous-L’Eau : science and surrealism in the early films and writings of Jean Painlevé

A French biologist who moved in Surrealist circles, Jean Painlevé began making films about underwater creatures in 1927, and by 1982 had created over two hundred films on a broad range of natural, scientific, and political subjects. His underwater films remain the most ethereal and poetic works in his oeuvre, and he specifically used cinema to capture the mystery and wonder of nature.