Marking Sheet
Due: Wednesday 6th November 5pm 2019
Presentation of research dissertation includes: /100
Abstract /10 – One paragraph (not included in word count)
• Abstract clearly summarises dissertation
Introduction /15 – Two paragraphs approx.
• Title is clear, concise and accurately reflects research.
• Key question is clearly explained.
• Definition of relevant key terms associated with questioning are clearly articulated.
• Rationale – explanation of why topic is of interest: clearly outlines your original contribution to relevant bodies of knowledge.
• Methodology –Clearly summarises methodology (elaborate on in paragraph one of body).
• Outline of proposed approach to documentation – clearly and succinctly explained and linked effectively to methodology (elaborate on in paragraph one of body).
• Organisation – (one to two sentences) clearly states how your arguments will be organized.
Body /40 - Six paragraphs approx
• Headings are clear, logically ordered and relevant to content.
• Methodology is clear with regard to project question and approach to blogging.
• Paragraphs are structured – argument, example, explanation of relevance of example to
argument.
• Paragraphs are logically ordered.
Conclusion /15 – Two paragraphs approx
• Restates / summarises arguments. (This will be the first sentences in the questions from the main body)
• Outlines relevant key examples from body.
• Clearly states implications of findings relevant to practical project. (Problems that may still exist in the project)
Presentation & Referencing /10
• Is clearly structured – abstract, introduction, body, conclusion.
• Correct referencing and citations (APA) evident.
• Attention to spelling, grammar and readability, and flow.
Working Copy with Remarks.
Bad
Sector Block[RT1]
– Retracing the nostalgia of urban Invercargill utilising Generative Art
In my research I question whether generative
art can be used to capture my fading memories of Invercargill inner city
architectural facades synthesised from digital photographic collections? This
can be broken down into generative art (trained AI) sharing my minds fading
pictorial recollections of Invercargill's building facades, using a large
personal photographic collection of Invercargill facades as the data.
Generative Art incorporates a self-governed or autonomous system in some way,
this project uses Pix2Pix as the system. Pix2Pix generates images by using
large pictorial collections as training data, this data is crucial and has been
curated specifically for the project. Having a background in computers
influenced this project as computer memory can be corrupted due to age, just
like people. Drawing on the parallels of technological and biological memory
loss, and the subsequent corrupted output. The impending Invercargill inner
city redevelopment shall remove many of the buildings that are part of the
photographic collection and shall similarly fade from many residents’ memories.
The methodology
employed shall be Practice-led research. “Practice-led research focuses on the
nature of creative practice, leading to new knowledge of operational
significance for that practice, in order to advance knowledge about or within
practice.” (Skains, 2017) Combined with Top Down Learning which is creativity
with an aim to output quantity over quality. One source claims that the top-down
approach creates something quickly, and that it feels good to produce on your
own. “You can get addicted to that feeling, and it can help you push through
the learning process.” (Dalling, 2018) This project uses multiple different
computer platforms to create output. A record of the works progress documented
at the blog https://roycebva3.blogspot.com/ , as digital output is best shown in its native
format a digital platform. Can generative art capture the fading memories of
Invercargill inner city building facades? by focusing on nostalgia and memory, comparing
human memories fading and computer data loss as a time-based decline of memory
accuracy. Lastly examining the reception of generative art as a new art form
that has created much attention. Summarise this into two sentences and
integrate into your introduction. The rest should form your methodology
paragraph which is the first paragraph of the body of your introduction.
Example of a rationale “I
have been drawn to the counterintuitive logic of Pärn’s film. By closely
examining the imagery in Pärn’s animation, I wish to propose a new
interpretation of the storyline, which I hope will spark revived interest
in Some Exercises, particularly as
there are almost no extended writings on his film.” Your introduction should be 2
paragraphs max so a lot of editing is needed here to make concise statements
which you can then go on to elaborate on in the body of your dissertation.
Your introduction
should be two paragraphs and include:
·
Outline of proposed key question
·
Definition of proposed key terms associated with questioning
·
Rationale – explanation of why topic is of interest
·
Methodology – explanation of proposed methodology employed
·
Outline of proposed approach to documentation
·
Statement of proposed main arguments
·
Organisation – outlines how research may be organised
Practice-led
research combined with top down learning create a results-based methodology for
this work. Experiments focusing on the output of the generative art, instead of
the technological reasons the software operates in a top down method. All
software used is open source removing copyright concerns. A digital practice
matches perfectly with blogging as an ongoing record of the projects progress.
By remaining digitally native for all work, the technology behind the scenes
can all add content to the blog via the internet. Content shall be screen
captures, video and digital photographs as evidence inside the blog. https://roycebva3.blogspot.com/ is also tagged into the different areas of
exploration via the labels function.
Example of
organization, this should be the last two sentences of your introduction that
provides navigation for the reader: In my first section, I sketch out a set of New Wave
aesthetics and problematics by closely analyzing the works and writings of Kuri
Yōji, the most prolific of a trio of trailblazing independent visual artists
from the early 1960s operating under the banner Animēshon sannin no kai (“Animation Association of Three”).
After highlighting a number of central issues within Kuri’s unusual shorts
including gender, sexuality, urbanization, and high-speed economic growth, I
turn to an examination of two short films directed by Mori Yasuji (Koneko no rakugaki [1957, Kitty’s Graffiti] and Koneko no sutajio [1959, Kitty’s Studio]) during the inaugural years of
production at animation studio Tōei Dōga, focusing on how labor conditions
ultimately curbed formal experimentation. In my concluding remarks, I work
through various contradictions and commonalities between New Wave cinema and
contemporaneous animated media, and chart a course in search of an intermedial
“New Wind.”
Invercargill
is New Zealand’s southernmost city and was established in 1856, with a diverse
range of historic building facades covering most architectural styles. On the 18th of June 2018 HWCP
Management Ltd.’s plans for the inner-city redevelopment were made public on
the Invercargill City Council’s webpage and called for the demolition of many
historic buildings to make way for a new unified structure covering a square
blockreference to webpage?. With impending destruction of these building
facades, I documented a visual record was gathered using a Digital SLR
camera and wide-angle lenses. According to who, role?Lydia Yee artists
collections are typically amassed with an intent to build and transmit
knowledge and this project is no exception. It was during my editing of the
images that the collection sparked memories of former businesses that had
occupied each building, casual conversations amongst different groups sparked
more memories. According to who, role?Joshua Sarinana sifting through images
will evoke strong emotions, some of which may be positive, and remind you of how
you earlier times. With all photographs falling under the term nostalgia
(as photographs are all in the past) curating strong nostalgic images becomes
more a personal collection of memories.
Remember to format each paragraph:
1.
Statement/Argument
2.
Example
3.
Explain relevance of example to argument/statement
Urban nostalgia helps people to
maintain a sense of emotional continuity in a rapidly shifting landscape of
their personal and social lives. Who, roles? Adams and Larkham define Urban
Nostalgia as a group nostalgia, that can be manufactured by civil
administration or by architecture. Integrate quote “Urban areas that have gone
through substantial change hold onto the past as a way to cope with the changes
that occur (redevelopment).” (Adams & Larkham, 2015) The sentimental
conversations with others created a nostalgia for buildings but it became
apparent that many of these memories were incorrect.
Examples of ways to
integrate quotes:
Ōshima constructed a
loose paradigm around “the three S’s – speed, thrills [suriru], and sex,” elements he believed typified the emergence of a
fledgling group of cinematic “modernists.”[3]
The need for animation
“to evolve” through “new processes and technologies,” lest the craft prove
“unable to break free of established thought patterns and methods,” echoes
Ōshima’s berating of uninspired studio “program pictures”[10] and Matsumoto’s diatribes against
overly-naturalistic documentarians.[11]
One confused artist
commented “I don’t think he meant ‘realism’ I think he meant something that was
more convincing.” (Thomas, Johnston, 1981)
The advantages of such
an approach are an “insider knowledge” (Adams, Jones et al, 2014) in this case,
the insider knowledge of an animator practitioner, attempting to make sense of
their work through the practice of animation, itself based on very person
expressions of emotions drawn from personal memories.
Data
loss and memory loss both create erroneous information. As a result of the
erroneous memories the correlation of time-based memories fading fitted with my
observations made during time spent working on computers that had failing hard
disk drives. The recovery of a hard drive will often leave artifacts in a
digital image or data will be recreated incorrectly. A leading cloud storage
provider Backblaze.com has compiled statistics that show 22% of all hard drives
fail within the first 4 years creating a demand for data recovery reference?. Hard
disk failure is caused by excessive use or physical damage, both are the same
reasons that the human brain suffers memory loss. Whilst hard drives can be
recovered the human brain cannot leaving a space to create mis-remembered
visuals in the same way. The Computer Vision field of computing has led to many
exciting applications for generative art. This project is using Pix2Pix trained
on the photographic collection of building facades, [Figure 1] GAN created Zookeepers Cafe from a AI trained on
Venice and was the first image I generated.
The frontages have an eerie mis-remembered look about them and share the
artifact heavy image quality of a recovered drive.
Seeing art through fresh eyes and generative
art. The first sale of generative art reached $432,500 at Christie’s auction
house [Figure 2] La Famille de Belamy (Obvious Art, 2018) was
trained on classical portraits to create fictious family portraits, the work is
signed by the underlying algorithm used by the software. After this the
generative art community started to explode with new and amazing software
flooding the internet. Generative art evolved more to video and audio as the
technology grew capable of the vast amounts of data. Real-time interactivity is
within the function of most generative art models. ( I want to include some information about my
own project on interactivity but I am still working on this so don’t have
anything to write currently)
In conclusion I have examined whether generative art captures the fading memories of
Invercargill inner city building facades by focusing on nostalgia and memory,
drawing on human memories fading and computer data loss as a time-based decline
of memory accuracy. The sentimental nature of curating photographs from a
rapidly changing urban landscape was shown to amplify the feelings of
nostalgia. Whilst what the generative art created from the photograph
collection was similar to
a police identikit as it approximated details from pre-trained knowledge
don’t bring up new content in your introduction.
At this
stage I cannot state the implications of my findings as this is still work in
progress. My personal feeling is that I am experiencing nostalgic feelings
towards the images, this is most likely due to how close to the project I am.
After the discussions on the 30th August I feel like including
something about the site I am showing the work at Des Branks. And how the
presentation of the work will impact on spectator reception. As this is a new
development it shall be worked into the next draft.
References
Adams, D., & Larkham, P. (2015). Walking
with the ghosts of the past Unearthing the value of residents’ urban nostalgias.
Urban Studies Journal Limited 2015, 53(10), 2004–2022. https://doi.org/10.1177/0042098015588683
Beach, B. (2013, November 12). How
long do disk drives last? Retrieved August 30, 2019, from Backblaze Blog |
Cloud Storage & Cloud Backup website:
https://www.backblaze.com/blog/how-long-do-disk-drives-last/
Dalling, T. (2018). Two Approaches to
Learning Programming: Top-Down and Bottom-Up - Programming for Beginners.
Retrieved May 29, 2019, from
http://www.programmingforbeginnersbook.com/blog/top-down-bottom-up-approaches-to-learning-programming/
ICC. (2018, June 19). HWCP unveils CBD redevelopment.
Retrieved March 21, 2019, from Invercargill City Council website:
https://icc.govt.nz/hwcp-unveils-cbd-redevelopment/
Kluszczynski, R. (2010). Strategies
of interactive art. Journal of Aesthetics & Culture, 2, 27.
https://doi.org/10.3402/jac.v2i0.5525
New Zealand Government. (2019). Invercargill
| NZHistory, New Zealand history online. Retrieved from
https://nzhistory.govt.nz/keyword/invercargill
Obvious Art. (2018). La Famille de
Belamy [Generative Adversarial Network print, on canvas]. Retrieved from
https://www.christies.com/lotfinder/prints-multiples/edmond-de-belamy-from-la-famille-de-6166184-details.aspx?from=salesummery&intObjectID=6166184&sid=18abf70b-239c-41f7-bf78-99c5a4370bc7
Sarinana, J. (2015). Nostalgia and
the Collapse of Imagination. Retrieved April 5, 2019, from PetaPixel -
Nostalgia collapses Imagination website:
https://petapixel.com/2015/09/10/nostalgia-collapse-imagination/
Skains, L. (2017). Creative Practice as Research: Practice-Based Research. Retrieved
March 22, 2019, from
http://scalar.usc.edu/works/creative-practice-research/what-is-pbr
Tate. (2018). Cubism – Art Term.
Retrieved June 17, 2019, from Tate website: https://www.tate.org.uk/art/art-terms/c/cubism
Trounson, R. (2019).
GAN created Zookeepers Cafe from a AI trained on Venice [Digital
Rendering]. Retrieved from
https://www.facebook.com/roycetrounson/photos/pb.261352814369541.-
Yee, L. (2015). Magnificent
Obsessions. Prestel.
Trounson, R. (2019). GAN
created Zookeepers Cafe from a AI trained on Venice [Digital Rendering].
Figure 1
Obvious Art. (2018). La Famille de Belamy [Generative
Adversarial Network print, on canvas]
Figure 2
Annotated Text
Top Down Learning – Creativity with
an aim to output quantity over quality.
Linking to Research led methodology
Bhutani, S. (2018, December 26). How
not to do Fast.ai (or any ML MOOC). Retrieved from
https://hackernoon.com/how-not-to-do-fast-ai-or-any-ml-mooc-3d34a7e0ab8c
Compares learning code to learning a
sport. You just get into it without needing to know the underlying theory and
create. Do a small part each day and you will achieve more than learning the
fundamentals. The source seems to have interviewed many of the main players in
the AI industry and has some very good quotes including Ian Goodfellow the
leading authority on AI, ML, DL. I was working from a bottom up style and not
progressing as fast as I would like, so after reading this article I changed my
approach and have created work output rapidly. This did make me re-evaluate the
methodology that I was using.
Interactive Art – How to turn the
spectator into a participant with Computer Vision.
Performative Theoretical application to
my practice
Kluszczynski, R. (2010). Strategies
of interactive art. Journal of Aesthetics & Culture, 2, 27.
https://doi.org/10.3402/jac.v2i0.5525
Breaks the strategies of interactive art
into Instrument, Game, Archives, Labyrinth, Rhizome, System, Network, and
Spectacle. Finishes with about the application of research-led based practices
complimenting interactive art. Professor Ryszard W. Kluszczynski, PhD, is the
Head of Department of Media and Audio-visual Culture at Lodz University,
Poland. He is also the Professor in Academy of Fine Arts in Lodz. From 1990 to
2001 he was the chief curator of Film, Video and Multimedia Arts in the Centre
for Contemporary Art in Warsaw. He has curated numerous international art
exhibitions and is currently the curator for the Second International Biennale
of Contemporary Art in Poznan 2010. The definitions made a huge help in which
type of interactivity I was looking for in my practice.
Nostalgic Curation – Collecting
photographs of Invercargill with an aim to trigger nostalgia.
Linking to studio practice and Research
Led
Sarinana, J. (2015). Nostalgia and
the Collapse of Imagination. Retrieved April 5, 2019, from PetaPixel -
Nostalgia collapses Imagination website:
https://petapixel.com/2015/09/10/nostalgia-collapse-imagination/
Clarifying what nostalgia is in
conjunction with photographs Sarinana brings context to the digital world.
Instagram filters are used as an example of faux nostalgia. Nostalgia is
explained as a coping mechanism for the brain and used to reinforce happiness.
Sarinana holds a PhD and is a Photographer and Neuroscientist. I had no idea
that the topic of nostalgia was so big when I started this and find the whole
chemical reactions to the brain as an aspect that needs more research.
Collecting and happiness are relevant in my own life.
Urban Nostalgia – Examining moments
in time and defining Urban Nostalgia.
Linking to studio practice and Research
Led
Adams, D., & Larkham, P. (2015). Walking with the
ghosts of the past Unearthing the value of residents’ urban nostalgias.
Urban Studies Journal Limited 2015, 53(10), 2004–2022.
https://doi.org/10.1177/0042098015588683
Defines Urban Nostalgia as a group
nostalgia, this can manufactured by civil administration or by architecture.
Urban areas that have gone through substantial change hold onto the past as a
way to cope with the changes that occur (redevelopment). Adams and Larkham are
both Birmingham City University lecturers and are both well published in
journals about architecture. Helps my practice with the group aspects of
nostalgia and with the impact that redevelopments to inner cities can make.
[RT1]The Title is a reference to
Computer Long Term Storage failing, the inner city block and of the Human
memories forgotten.
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