Form Follows Media::What is The Matrix as Film, Animation, Game and Comics?

In the digital age, the hyperspace of virtual reality systems stands out as a new spatial notion creating a parallel world to the space we live in. In this alternative realm, the body transforms into a hyperbody, and begins to follow the white rabbit. Not only in real world but also in the Matrix world. The Matrix project of Andy and Larry Wachowski started with a feature film released in 1999. However, The Matrix is not only a film (trilogy). It is a concept, a universe that brings real space and hyperspace together. It is a world represented not only in science fiction films but also in The Animatrix that includes nine animated Matrix films directed by Peter Chung, Andy Jones, Yoshiaki Kawajiri and others, four of which are written by the Wachowskis. The same universe is used in Enter the Matrix, a digital game whose script was written and directed by the brothers and a comic book, The Matrix Comics, which includes twelve different stories by artists like Neil Gaiman and Goef Darrow. The Wachowskis played an active role in the creation and realization of all these “products” of different media. The comic book came last (November 2003), however it is possible to argue that everything came out of comics – the storyboards of the original film. After all the Wachowskis have a background in comics.

In this study, I will focus on the formal analysis of the science fiction world of The Matrix - as a representation of hyperspace - in different media, feature film, animated film, digital game and comic book, focusing on diverse forms of space that come into being as a result of medium differences. To unfold the different formal characters of film, animation, game and comics, concepts and features including framing, flattening, continuity, movement, montage, sound/text, light and color will be discussed. An analysis of these products will help to open up a discussion on the relation of form, media and representation.

The Representation of the Female Body in the Multimedia Works of Regina José Galindo

The female body is central to the performance art, poetry and blog site interventions of Guatemalan Regina José Galindo. While Galindo is best known for her performance work, this article compares the hereto overlooked, distinctive and often shocking representations of the female body across her multimedia outputs. We first consider the ways in which, in all three media, Galindo presents an ‘excessive’, carnivalised, grotesque and abject female body. Second, we analyse representations of the female body that has been subjected to violence at a private and public level. In so doing, we show how Galindo not only contests hegemonic visions of gender and (national) identity but also challenges the viewer/reader to engage with, rather than look away from, the violence to which women are subjected in patriarchal society.

A Data Model for Content Modelling of Temporal Media

This paper describes a data model for content representation of temporal media in an IP based sensor network. The model is formed by introducing the idea of semantic-role from linguistics into the underlying concepts of formal event representation with the aim of developing a common event model. The architecture of a prototype system for a multi camera surveillance system, based on the proposed model is described. The important aspects of the proposed model are its expressiveness, its ability to model content of temporal media, and its suitability for use with a natural language interface. It also provides a platform for temporal information fusion, as well as organizing sensor annotations by help of ontologies.

Living in The Matrix: Virtual Reality Systems and Hyperspatial Representation in Architecture

In the digital age, the hyperspace of virtual reality systems stands out as a new spatial concept creating a parallel realm to "real" space. Virtual reality influences one’s experience of and interaction with architectural space. This "otherworld" brings up the criticism of the existing conception of space, time and body. Hyperspaces are relatively new to designers but not to filmmakers. Their cinematic representations help the comprehension of the outcomes of these new spaces. Visualisation of futuristic ideas on the big screen turns film into a medium for spatial experimentation. Creating a possible future, The Matrix (Andy and Larry Wachowski, 1999) takes the concept of hyperspace to a level not-yet-realised but imagined. With a critical gaze at the existing norms of architecture, the film creates new horizons in terms of space. In this context, this study introduces science fiction cinema as a discussion medium to understand the potentials of virtual reality systems for the architecture of the twenty first century. As a "role model" cinema helps to better understand technological and spatial shifts. It acts as a vehicle for going beyond the spatial theories and designs of the twentieth century, and defining the conception of space in contemporary architecture.

Cultura, arte e media na identidade timorense

Tese de doutoramento, Estudos de Literatura e de Cultura (Cultura e Comunicação), Universidade de Lisboa, Faculdade de Letras, 2015

Alternative Time Representation in Dopamine Models

Groupe de recherche sur le système nerveux central, Département d'informatique et de recherche opérationnelle, Département de physiologie.

THE WINCHESTER CENTRE FOR GLOBAL FUTURES IN ART DESIGN & MEDIA

The Winchester Centre for Global Futures in Art Design and Media highlights historical, contemporary and future roles for art, design and media within globalization. Its members build sustained collaborations with international partners in public service, the creative industries and civil society. Critically concerned with art and design practices of making, thinking and representation, the Winchester Centre actively engages in education and enterprise, exploring the contribution of media, materials and technologies to the improvement of human societies globally. Led by professors Jonathan Harris, Sean Cubitt, and Ryan Bishop, the Winchester Centre will make a decisive contribution to the work of the School and the University in future years. The Centre's inaugural professors would like to invite you now to suggest future research themes and activities. In the coming weeks details regarding the programme and prospective membership of the Winchester Centre will be made available.

Semi-automatic knowledge extraction, representation and context-sensitive intelligent retrieval of video content using collateral context modelling with scalable ontological networks

Automatic indexing and retrieval of digital data poses major challenges. The main problem arises from the ever increasing mass of digital media and the lack of efficient methods for indexing and retrieval of such data based on the semantic content rather than keywords. To enable intelligent web interactions, or even web filtering, we need to be capable of interpreting the information base in an intelligent manner. For a number of years research has been ongoing in the field of ontological engineering with the aim of using ontologies to add such (meta) knowledge to information. In this paper, we describe the architecture of a system (Dynamic REtrieval Analysis and semantic metadata Management (DREAM)) designed to automatically and intelligently index huge repositories of special effects video clips, based on their semantic content, using a network of scalable ontologies to enable intelligent retrieval. The DREAM Demonstrator has been evaluated as deployed in the film post-production phase to support the process of storage, indexing and retrieval of large data sets of special effects video clips as an exemplar application domain. This paper provides its performance and usability results and highlights the scope for future enhancements of the DREAM architecture which has proven successful in its first and possibly most challenging proving ground, namely film production, where it is already in routine use within our test bed Partners' creative processes. (C) 2009 Published by Elsevier B.V.

Systems analysis of absorbing media

A complete treatment of the charcterastic admittance-matrix representation of multilayer thin-film systems with absorbing media is presented. The algorithm from the systems analysis is implemented on an IBM microcomputer and some examples of filter design calculation are presented. Relevant source code in IBM Advanced Basic interpreter are also included.

Representation and interpretation : textbooks, teachers, and historical culture

This article presents a study of how contemporary Swedish lower secondary school textbooks present the emergence of the Cold War and how 10 active lower secondary school history teachers interpreted a quotation that was ambiguous in relation to the general narrative in the studied Swedish textbooks, seeking to analyse textbooks both from the perspectives of content and reception. Applying a theoretical framework of uses of history, the study finds that the narratives presented in the studied textbooks are what could be called traditional in the sense that they do not acknowledge perspective and representation in history. While the interviewed teachers generally acknowledged that textbook narratives are representations of history and contingent on perspective, few teachers extended this to include how their own views affect their interpretations, suggesting an intermediary appreciation of the contextual contingency of historical narratives.

On the margins : a study of the representation of the arts in the news pages of the newspaper

The principal objective of this paper is to investigate how the arts are represented in the Australian print media. The research is conducted by means of textual analysis focusing on a number of case studies where arts stories appeared in the news pages of an Australian daily broadsheet newspaper. This paper argues that in these case studies the arts are represented in terms of a limited range of rhetorical frameworks. These frameworks help constitute public knowledge about the arts and their marginalised status in Australia. This paper offers a critique of current arts policy which fails to recognise the role of the media in reinforcing the marginalisation of the arts.

Correct interpretation of chemical diagrams requires transforming from one level of representation to another

17 volunteer non-major chemistry students taking an introductory university chemistry course were interviewed about their understanding of a variety of chemical diagrams. All the students' interviewed appreciated that diagrams of laboratory equipment were useful to show how to set up laboratory equipment. However students' ability to explain specific diagrams at either the macroscopic or sub-microscopic level varied greatly. The results highlighted the poor level of understanding that some students had even after completing both exercises and experiments using the diagrams. The connection between the diagrams of the macroscopic level (equipment, chemicals), the sub- microscopic level (molecular) and the symbolic level (equations) was not always considered explicitly by students. The results indicate a need for chemical diagrams to be used carefully and more explicitly to ensure learner understanding. Correspondingly, students need to interpret visual chemical diagrams using meta-visualisation skills linking the various levels of representation, and appreciating the role of the diagrams in explanations need to be developed.

On representation and construction in a tectonic design studio

The study compares the roles of representation and construction in enhancing students' learning in a tectonic design studio by investigating issues of representational media use in the conception, development and communication of design processes and relating these to real-scale construction as a means of understanding tectonic design.

One line lacks density : A study of the associations between cartographic representation and ontology

One way to represent and communicate density in the spatial disciplines including architecture, town planning and geography is through the map, plan or aerial photograph. These media and tools are generally perceived to be objective and analytical modes of practice. But what else do these modes of representation mediate? The paper will respond to this question by exploring notions of ontology, notions of dwelling and being in relation to lines and drawing techniques. A map or plan is an image, in addition to a mode of communication, and affects visual pleasure. As proposals of an unbuilt world and documents of existing environment, drawings contain lines of desire. The thesis is that the lines provide a corporeal framework for an imaginary projection between the viewer and a ‘real’ built environment. The paper becomes focussed on the specifics of the ‘green line’ that has represented post-war Beirut, and is typical of representation of sites of conflict.

In the plans of post-war Beirut an almost straight line running from the top to the bottom of the page is highlighted and represents a trajectory from the Place des Martyr to the Pine Forest. To descend from this metaphoric height of the map into the streets of Beirut is to confront urban density, traffic congestion, pollution exacerbated by dust, and a lack of greenery. During the war much of the fighting occurred across this marker, and since, it has been described as an empty neutral space due to the destruction of edifices on either side, and is often proposed as the only appropriate site for building projects of national significance. Is its emptiness an a priori condition of imaginary projections? Will it remain forever empty of the density everywhere else in Beirut? Who wants to dwell there?
This paper will examine the several nuances of the ‘green line’ and what role it plays between representation and defining ontological environments.