YGR Fontainebleau

New technologies have arguably displaced the hegemony of painting in the hierarchies of contemporary art. Projectors and other digital imaging tools in particular continue to expand the artist’s aesthetic and conceptual possibilities beyond canvas, paper, and stone. Yet painting, (the practice of smearing coloured mud about) far from being marginalised, simply continues to cannibalise these new technologies extruding them into its own analogue processes. Whether intentionally or as a by-product of this cannibalisation, painting creates a critical distance in which the tacit aspects of these technologies – their representational language and ‘special effects’ - are made fully visible. Of course ‘traditional’ easel painting practices persist not just to critique new technologies. Digital imaging technologies inevitably feed back into the souped-up vocabularies of contemporary painting, expanding the medium’s physical boundaries, formal strategies, and modes of display. The work for this project explores the ways in which projection and virtual geographical mapping invite new configurations for the practice of landscape painting.

YGR Warrandyte

New technologies have arguably displaced the hegemony of painting in the hierarchies of contemporary art. Projectors and other digital imaging tools in particular continue to expand the artist’s aesthetic and conceptual possibilities beyond canvas, paper, and stone. Yet painting, (the practice of smearing coloured mud about) far from being marginalised, simply continues to cannibalise these new technologies extruding them into its own analogue processes. Whether intentionally or as an by-product of this cannibalisation, painting creates a critical distance in which the tacit aspects of these technologies – their representational language and ‘special effects’ - are made visible. Of course ‘traditional’ easel painting practices persist not just to critique new technologies. Digital imaging technologies inevitably feed back into the souped-up vocabularies of contemporary painting, expanding the medium’s physical boundaries, formal strategies, and modes of display. The work for this project explores the ways in which projection and virtual geographical mapping invite new configurations for the practice of landscape painting.

Dance interrogations

A performed conference presentation incorporating dance, video projection and spoken word.

Evanescent

Exhibition of original artworks created in 2013. Evanescent is a new series produced in 2013 which premiered at the Castlemaine State Festival 15-24 March 2013. The series revisits a childhood delight and fascination with the projected image and the natural world. For me then, as it is now, a magnifying glass was a wonder; its simple optics twisted light into abstract comas and sci-fi aberrations; able to compact a whole view into a luminous, paradoxically inverted phantom that could fit literally into the palm of my hand. By curling fingers and thumb around the lens and cupping both hands around the elusive rays, and by peering into the space in which I had trapped them, I fancied that I had entered into the secret workings of the eye. Chrysalis, for example, appears as a scenic projection from a hand-held lens and simultaneously as the litter of the forest floor. It is produced with a makeshift camera-obscura. The nebulous silhouettes of trees, some blurred under the passing clouds of a summer wind resolve here and there into crisp lines curled across the surface of a fallen leaf on which a moth chrysalis adheres. The leaf assumes Brobdingnagian proportions and thickness as the evanescent image shrinks and is foreshortened then dissolves in the enlarged dust and grit. It manifests the unique sight anchored at this fixed point, to reveal what we might see if we were to become vegetable or mineral. Near and far, large and small, superimpose, trigonometrically exact in their adjacency and spatial relations, presenting us with a located point of view.Why? I want to understand more intimately the interior of the natural landscape, rather than any ‘scene’ of human presence, or the context of any cultural landmark. In the steep, bush locations in which I am making these images, my means are necessarily makeshift; my camera and an old manual-aperture lens able to be carried in a backpack with a black T-shirt as a 'dark-tent'. The project is not systematic but intuitive and responsive to prevailing conditions and the effect on the projection caused by sun, shade, weather and situation. I am guided by the response of objects, textures and surfaces to the projected image and how they modulate and map it. This is landscape, but not from a human point of view.

Parallax

Parallax is a live contemporary dance work that incorporates 3D animation, stereoscopic illusions and dance. This work was performed within the Melbourne Fringe Festival at the Substation, Newport. Within this work the stereoscopic illusion creates a new choreographic palette that can be used to manipulate human physicality via animated bodies that appear within the performance space. The stereoscopic image is released from the wall and placed within the dancing environment the image becomes another body within the dance space that can be manipulated in ways that would be impossible for a real physical body. In turn, the dancing body is positioned within the digital environment. The performer’s abilities have not changed, but the space around the dancer can be manipulated with imagery that transforms the place of the dancer within time and space. The stereoscopic illusion and live dance are melded creating a new experience of choreography one that takes the infinite possibilities of 3D animation and places them directly within choreography. Thematically this performance draws on the historical events revolving around the development of the stereoscope in the 1830s and the seminal ideas of the virtual that surfaced at this time. In the early 1830s Charles Wheatstone drew on the ideas and writings of Euclid and Leonardo da Vinci and discovered binocular vision through the use of his stereoscope box. It was this box that became the entertainment sensation of this time becoming a standard parlour entertainment. Unlike now where imagery of people are everywhere in the 1830s these types of imagery were novel. The stereoscopic pictures often showed content of people doing ordinary tasks such as chopping wood, doing the washing or simply standing in front of their house. In Parallax a Victorian woman is transported from her hallway to virtual worlds where she encounters, Euclid’s ancient Greek column, a di Vinci sphere and one of the first stereoscopic images drawn by Charles Wheatstone’s a stick figure cube.

Recognition from appearance subspaces across image sets of variable scale

Linear subspace representations of appearance variation are pervasive in computer vision. In this paper we address the problem of robustly matching them (computing the similarity between them) when they correspond to sets of images of different (possibly greatly so) scales. We show that the naïve solution of projecting the low-scale subspace into the high-scale image space is inadequate, especially at large scale discrepancies. A successful approach is proposed instead. It consists of (i) an interpolated projection of the low-scale subspace into the high-scale space, which is followed by (ii) a rotation of this initial estimate within the bounds of the imposed “downsampling constraint”. The optimal rotation is found in the closed-form which best aligns the high-scale reconstruction of the low-scale subspace with the reference it is compared to. The proposed method is evaluated on the problem of matching sets of face appearances under varying illumination. In comparison to the naïve matching, our algorithm is shown to greatly increase the separation of between-class and within-class similarities, as well as produce far more meaningful modes of common appearance on which the match score is based.

Freehand 3D Scanning in a Mobile Environment using Video

This work is motivated by two important trends in consumer computing: (i) the growing pervasiveness of mobile computing devices, and (ii) the users’ desire for increasingly complex but readily acquired and manipulated information content. Specifically, we develop and describe a system for 3D model creation of an object, using only a standard mobile device such as a smart phone. Our approach applies the structured light projection methodology and exploits multiple image input such as frames from a video sequence. In comparison with previous work, a significant further challenge addressed here is that of lower quality input data and limited hardware (processing power and memory, camera and projector quality). Novelties include: (i) a comparison of projection pattern detection approaches in the context of a mobile environment – a robust method combining colour detection and a phase congruency descriptor is evaluated, (ii) a model for single view reconstruction which exploits epipolar, coplanarity and topological constraints, (iii) the use of mobile device sensor data in the iterative closest point algorithm used to register multiple partial 3D reconstructions, and (iv) two heuristics for determining the order in which buffered single view based reconstructions are merged. Our experiments demonstrate that visually appealing results are obtained in a speedy manner which does not require specialist knowledge or expertise from the user.

Mixing Matrix Estimation From Sparse Mixtures With Unknown Number of Sources

In blind source separation, many methods have been proposed to estimate the mixing matrix by exploiting sparsity. However, they often need to know the source number a priori, which is very inconvenient in practice. In this paper, a new method, namely nonlinear projection and column masking (NPCM), is proposed to estimate the mixing matrix. A major advantage of NPCM is that it does not need any knowledge of the source number. In NPCM, the objective function is based on a nonlinear projection and its maxima just correspond to the columns of the mixing matrix. Thus a column can be estimated first by locating a maximum and then deflated by a masking operation. This procedure is repeated until the evaluation of the objective function decreases to zero dramatically. Thus the mixing matrix and the number of sources are estimated simultaneously. Because the masking procedure may result in some small and useless local maxima, particle swarm optimization (PSO) is introduced to optimize the objective function. Feasibility and efficiency of PSO are also discussed. Comparative experimental results show the efficiency of NPCM, especially in the cases where the number of sources is unknown and the sources are relatively less sparse.

Chime

A multi-disciplinary, site-specific performance which moved between several spaces in the Courthouse Arts building. The work combined improvised dance, choreographic practice, video projection and sound which utilized and computer-manipulated the Federation Handbells.