Looking for meaning: the found object in animation

This paper will focus upon the use of found objects in stop-motion animation. It will survey a number of found-object animated films, exploring how the viewer might closely identify with such objects in motion, as well as attributing to them multiple meanings. This analysis will be furthered through the consideration of an object-orientated phenomenological perspective, referencing Graham Harman and Martin Heidegger. It will also consider how the cinema studies concept of star studies might be applied to the use of found objects in animation as a means of detecting additional layers of meaning.

In Pursuit of Magic

In Pursuit of Magic is the next installment in Courtney’s exploration of her position as an artist in the ‘history’ of art in association with notions of infatuation, love and relationships, both real and imagined.

It's complicated: Romancing the [male] modernist canon

This research project proposes a model of dialogue between the [predominantly male] modernist canon and models of feminist resistance. Employing a practice based methodology that utilises humour as a method for ironic deconstruction as well as a feminist methodology of revision, critique, and dialogic exchange; the resulting body of work disrupts and augments the modernist canon. Making intimate relationships explicit, the artworks explor collaborative and faux-llaborative processes to form a series of tentative gestures that refute notions of mastery and control. The accompanying exegesis contextualises this work by placing the research and the outputs amongst the field.

Means are the Ends: The Command Issue

Means are the Ends: The Command Issue (2014) was an exhibition of sculptural works exhibited at LEVEL Artist-Run Initiative, Brisbane. The exhibition playfully critiqued the portrayal of women’s desire in cultural production and symbolic discourse through a focus on fetish sensibilities. Developed during a summer residency, the artworks looked to the rituals, materials and iconographies associated with certain divergent subcultures. Employing strategies of sculptural intervention and appropriation, the exhibition consisted of found objects, which had been deconstructed, altered and intervened; a dildo became a faux drawing machine, a butt-plug a makeshift horn. Reconstructing these visual codes through the formal and theoretical language of contemporary sculptural practice, Means are the Ends: The Command Issue spoke to the problematic, humorous and often paradoxical relationship between depictions of the feminine and women’s desire and agency.

headspace Digital Art Exhibition

headspace Digital Art Exhibition is a curated collection of artwork created during a youth arts project and research in which young people’s improved mental health wellbeing and mental health literacy were the focused outcomes for the project. The project aimed to improve mental health literacy, and offer greater opportunities for creative expression supporting young people facing mental health challenges. The Inside project aimed to build dialogue related to youth, arts, mental illness and recovery, through a partnership approach. The partnership approach involved artists and health workers in two separate headspace youth mental health services and aimed to provide opportunities to explore the potential of an arts and health framework. The project ran over ten weeks at both centres, incorporating themed activities such as unleashing inner selfie (sketching, photography and digital manipulation); creating dioramas (found object, three dimensional modelling); creating avatars (sculptural and digital animation); and digital narrating and poster creation (visual, written and spoken texts). Two professional artists facilitated the project, one in each location alongside headspace health workers at weekly workshops. A research component explored the appreciation of how artsbased workshops can be used alongside more traditional responses in youth specific mental health services. Both headspace centres had previously provided unstructured art activities as a way to showcase their services to young people, increase access, and to create a welcoming ‘safe’ youth friendly environment. However, these activities were generally extemporaneous and not specifically evaluated. The digital art exhibition collectively shares the artwork created by the young people and reveals the inter-relationships between risk and resilience and overcoming the odds. Inside unleashed possibilities for a sense of well-being and even happiness into the future.

Short films about flying

Online artwork which streams web-cam images live from the Internet and re-mixes them into disjointed narrative sequences, thereby producing cinema as a 'found object' made entirely of live material streamed from the internet. ‘Short Films about Flying’ is an online film which explores how a cinematic work can be generated using live material from the internet. The work is driven by software that takes surveillance video from a live camera feed at Logan Airport, Boston, and combines this with randomly grabbed audio from the web and texts taken from websites, chat rooms, message boards etc. This results in an endless open edition of unique cinematic works in real-time. By combining the language of cinema with global real-time data technologies, this work is one of the first new media artworks to re-imagine the internet in a different sensory form as a cinematic space. ‘Short Films about Flying’ was developed over the course of a year in collaboration with Jon Thomson (Slade) to explore how the concept of the found object can be re-conceptualised as the found data stream. It has informed other research by Craighead and Thomson, such as the web project http://www.templatecinema.com, and began an examination into relationships between montage and live virtual data –an early example of which would be ‘Flat Earth’, an animated work developed for Channel 4 in 2007, with the production company Animate. This piece has been cited in discussions on new media art, as a significant example of artworks using a database as their determining structure. It was acquired for the Arts Council Collection and has continuously toured significant international venues over the last 4 years. Citations include:’ Time and Technology’ by Charlie Gere (2006); 'The Wrong Categories' by Kris Cohen (2006); 'Networked Art - Practices and Positions' edited by Tom Corby (Routledge 2005) and Grayson Perry in The Times (9.8.06).

Modeling Invariances in Inferotemporal Cell Tuning

In macaque inferotemporal cortex (IT), neurons have been found to respond selectively to complex shapes while showing broad tuning ("invariance") with respect to stimulus transformations such as translation and scale changes and a limited tuning to rotation in depth. Training monkeys with novel, paperclip-like objects, Logothetis et al. could investigate whether these invariance properties are due to experience with exhaustively many transformed instances of an object or if there are mechanisms that allow the cells to show response invariance also to previously unseen instances of that object. They found object-selective cells in anterior IT which exhibited limited invariance to various transformations after training with single object views. While previous models accounted for the tuning of the cells for rotations in depth and for their selectivity to a specific object relative to a population of distractor objects, the model described here attempts to explain in a biologically plausible way the additional properties of translation and size invariance. Using the same stimuli as in the experiment, we find that model IT neurons exhibit invariance properties which closely parallel those of real neurons. Simulations show that the model is capable of unsupervised learning of view-tuned neurons. The model also allows to make experimentally testable predictions regarding novel stimulus transformations and combinations of stimuli.

Taxonomical musings

In the ‘Object as Subject’ exhibition held at the Stephen Lawrence Gallery, Greenwich University, myself and two other artists showed work which explores the use of the ‘found object’ in their respective practices. My work was selected by the gallery curator David Waterworth. The work exhibited by me, two multi-media pieces and two films, continues my (practice as research) investigation into using everyday objects as starting points for creating work in a variety of mediums including: sculpture, films, installations and multiples. In this work I address a range of subject matters – philosophical, social and cultural. The history of the use of found object in art began in early 20th century European art when Marcel Duchamp and Pablo Picasso independently introduced everyday objects into their practice. My work continues this research.

Closer to life : the work of sari dienes

Like many of her female contemporaries, artist Sari Dienes’s contributions to the art historical dialogue have been largely overlooked in favor of her male counterparts. Often seen as a mentor and mother figure to neo-Dada artists Jasper Johns and Robert Rauschenberg, Dienes was an active member of the New York avant-garde circle surrounding composer/choreographer duo John Cage and Merce Cunningham in the 1950s and 1960s. These social relationships are central to the existing discourse on Sari Dienes, while her work remains little discussed. The fact that her dynamic, ever-changing style lacked aesthetic consistency was commonly lamented by notable figures such as Betty Parsons, however, I argue that Dienes’s diverse oeuvre is unified by her philosophies on art and life. The unification of art and life, denoted clearly by Dienes’s use of the found object, experimentation and chance happenings, and sensory experience, marks her as an innovator and catalyst in the neo-Dada movement as well as in other experimental art endeavors that took place in the aftermath of Abstract Expressionism.

When the object speaks, a postcolonial encounter : anthropological, representations and Aboriginal's women's self-presentations

As an Aboriginal woman currently reviewing feminist literature in Australia, I have found that representations of Aboriginal women's gender have been generated predominantly by women anthropologists. Australian feminists utilise this literature in their writing and teaching and accept its truths without question; the most often quoted ethnographic text is Diane Bell's Daughters of the Dreaming (1983a).1 Feminists' lack of critical engagement with this literature implies that they are content to accept women anthropologists' representations because Aboriginal women are not central to their constructions of feminism.2 Instead the Aboriginal woman is positioned on the margins, a symbol of difference; a reminder that it is feminists who are the bearers of true womanhood.

Human brain regions required for the dividing and switching of attention between two features of a single object

This combined PET and ERP study was designed to identify the brain regions activated in switching and divided attention between different features of a single object using matched sensory stimuli and motor response. The ERP data have previously been reported in this journal [64]. We now present the corresponding PET data. We identified partially overlapping neural networks with paradigms requiring the switching or dividing of attention between the elements of complex visual stimuli. Regions of activation were found in the prefrontal and temporal cortices and cerebellum. Each task resulted in different prefrontal cortical regions of activation lending support to the functional subspecialisation of the prefrontal and temporal cortices being based on the cognitive operations required rather than the stimuli themselves.

The influence of colour and sound on neuronal activation during visual object naming

This paper investigates how neuronal activation for naming photographs of objects is influenced by the addition of appropriate colour or sound. Behaviourally, both colour and sound are known to facilitate object recognition from visual form. However, previous functional imaging studies have shown inconsistent effects. For example, the addition of appropriate colour has been shown to reduce antero-medial temporal activation whereas the addition of sound has been shown to increase posterior superior temporal activation. Here we compared the effect of adding colour or sound cues in the same experiment. We found that the addition of either the appropriate colour or sound increased activation for naming photographs of objects in bilateral occipital regions and the right anterior fusiform. Moreover, the addition of colour reduced left antero-medial temporal activation but this effect was not observed for the addition of object sound. We propose that activation in bilateral occipital and right fusiform areas precedes the integration of visual form with either its colour or associated sound. In contrast, left antero-medial temporal activation is reduced because object recognition is facilitated after colour and form have been integrated.

Fragment-based real-time object tracking: a sparse representation approach

Real-time object tracking is a critical task in many computer vision applications. Achieving rapid and robust tracking while handling changes in object pose and size, varying illumination and partial occlusion, is a challenging task given the limited amount of computational resources. In this paper we propose a real-time object tracker in l(1) framework addressing these issues. In the proposed approach, dictionaries containing templates of overlapping object fragments are created. The candidate fragments are sparsely represented in the dictionary fragment space by solving the l(1) regularized least squares problem. The non zero coefficients indicate the relative motion between the target and candidate fragments along with a fidelity measure. The final object motion is obtained by fusing the reliable motion information. The dictionary is updated based on the object likelihood map. The proposed tracking algorithm is tested on various challenging videos and found to outperform earlier approach.

Automatic object segmentation from calibrated images

This paper addresses the problem of automatically obtaining the object/background segmentation of a rigid 3D object observed in a set of images that have been calibrated for camera pose and intrinsics. Such segmentations can be used to obtain a shape representation of a potentially texture-less object by computing a visual hull. We propose an automatic approach where the object to be segmented is identified by the pose of the cameras instead of user input such as 2D bounding rectangles or brush-strokes. The key behind our method is a pairwise MRF framework that combines (a) foreground/background appearance models, (b) epipolar constraints and (c) weak stereo correspondence into a single segmentation cost function that can be efficiently solved by Graph-cuts. The segmentation thus obtained is further improved using silhouette coherency and then used to update the foreground/background appearance models which are fed into the next Graph-cut computation. These two steps are iterated until segmentation convergences. Our method can automatically provide a 3D surface representation even in texture-less scenes where MVS methods might fail. Furthermore, it confers improved performance in images where the object is not readily separable from the background in colour space, an area that previous segmentation approaches have found challenging. © 2011 IEEE.

Simultaneous colour search renders other object properties less salient

A common approach to visualise multidimensional data sets is to map every data dimension to a separate visual feature. It is generally assumed that such visual features can be judged independently from each other. However, we have recently shown that interactions between features do exist [Hannus et al. 2004; van den Berg et al. 2005]. In those studies, we first determined individual colour and size contrast or colour and orientation contrast necessary to achieve a fixed level of discrimination performance in single feature search tasks. These contrasts were then used in a conjunction search task in which the target was defined by a combination of a colour and a size or a colour and an orientation. We found that in conjunction search, despite the matched feature discriminability, subjects significantly more often chose an item with the correct colour than one with correct size or orientation. This finding may have consequences for visualisation: the saliency of information coded by objects' size or orientation may change when there is a need to simultaneously search for colour that codes another aspect of the information. In the present experiment, we studied whether a colour bias can also be found in a more complex and continuous task, Subjects had to search for a target in a node-link diagram consisting of SO nodes, while their eye movements were being tracked, Each node was assigned a random colour and size (from a range of 10 possible values with fixed perceptual distances). We found that when we base the distances on the mean threshold contrasts that were determined in our previous experiments, the fixated nodes tend to resemble the target colour more than the target size (Figure 1a). This indicates that despite the perceptual matching, colour is judged with greater precision than size during conjunction search. We also found that when we double the size contrast (i.e. the distances between the 10 possible node sizes), this effect disappears (Figure 1b). Our findings confirm that the previously found decrease in salience of other features during colour conjunction search is also present in more complex (more 'visualisation- realistic') visual search tasks. The asymmetry in visual search behaviour can be compensated for by manipulating step sizes (perceptual distances) within feature dimensions. Our results therefore also imply that feature hierarchies are not completely fixed and may be adapted to the requirements of a particular visualisation. Copyright © 2005 by the Association for Computing Machinery, Inc.