CASTING: Site-Specific Projection Mapping Installation

Leonardo ◽  
2018 ◽  
Vol 51 (4) ◽  
pp. 399-404 ◽  
Author(s):  
Yiyun Kang
Keyword(s):  
Site Specific ◽  
Moving Image ◽  
Projection Mapping ◽  
Victoria And Albert Museum

This paper investigates CASTING, Yiyun Kang’s site-specific projection mapping installation at the Victoria and Albert Museum in London, U.K., and the acquisition of the piece by the V&A in the following year. It identifies how CASTING developed distinctive properties in the field of projected moving-image installation artworks and how these novel characteristics were reflected in the acquisition by the V&A.

Lenticular Waterwheels: Simultaneous Kinetic and Embedded Animation

Leonardo ◽  
2017 ◽  
Vol 50 (4) ◽  
pp. 394-399
Author(s):  
Scott Hessels
Keyword(s):  
Specific Energy ◽  
Large Scale ◽  
Curved Surface ◽  
Site Specific ◽  
Moving Image ◽  
Narrative Structures ◽  
Steel Fabrication

After decades as a novelty, lenticular technology has resurfaced in compelling large-scale projects. Without any required energy, the medium offers stereography without glasses and frame animation without electronics. A kinetic artwork installed in a remote river in the French mountains broke from the technology’s previous restrictions of static and flat display, recalculated the print mathematics for a curved surface, and explored narrative structures for a moving image on a moving display. This paper documents how the sculpture used custom steel fabrication, site-specific energy, and revised lens calculation to present a previously unexplored hybrid of animation.

scholarly journals Decolonizing processes in film education

2021 ◽  
Vol 4 (1) ◽  
Author(s):  
Jyoti Mistry
Keyword(s):  
Social Media ◽  
Social Justice ◽  
Case Studies ◽  
Image Sequences ◽  
Site Specific ◽  
Moving Image ◽  
Film Education ◽  
Social Media Platforms ◽  
Research Initiatives ◽  
Different Cultures

This paper considers what decolonizing film education might mean through a series of research initiatives undertaken across different cultures which explore social media platforms for creating moving image sequences. The paper attends to three factors in the current climate of education: the accessibility of the medium, its immediacy in dissemination, and the democratizing effect that these conditions have had on the medium of film. Working with these three conditions in contemporary film education, the case studies described include workshops that aimed to shift the curriculum from film canons to proposing the introduction of concepts. Furthermore, elided histories are explored through site-specific projects that show how decolonial processes allow these histories to be reclaimed in film practice, and for marginal subjectivities to be made visible. Finally, the proposal of decolonial processes seeks to work with creating opportunities for social and historical visibilities. The proposition is to work with film(ed) evidence as material connected to broader social justice issues that are expressed through aesthetic forms closely associated with decolonial processes and described as decolonial aesthesis.

Camera as Object and Process

2019 ◽  
pp. 257-272
Author(s):  
Ryan Bishop ◽  
Victor Burgin ◽  
Sean Cubitt
Keyword(s):  
Aesthetics And Politics ◽  
Site Specific ◽  
Moving Image ◽  
The Status ◽  
History Of ◽  
Relationship Of ◽  
The Relationship

The chapter provides a conversation between the three authors in which a number of Burgin's site-specific installations frame a consideration of the status and future of the camera from photography to moving image to computer-generated virtual works. In the process Burgin modifies Bazin's question 'What is cinema?' to ask 'What is a camera?'. The CGI projection works extend and develop Burgin's long-standing interest in the relationship of aesthetics and politics as rendered through visualisation technologies, especially as it pertains to space. Burgin's account constructs a genealogy of seeing, visualising and image-making as technologically determined and crafted. In brief, he explains that 'the history of the camera is inseparable from the history of perspective'.

Camera as Object and Process: An Interview with Victor Burgin

2013 ◽  
Vol 30 (7-8) ◽  
pp. 199-219
Author(s):  
Ryan Bishop ◽  
Sean Cubitt
Keyword(s):  
Aesthetics And Politics ◽  
Global Village ◽  
Site Specific ◽  
Moving Image ◽  
Moving Images ◽  
The Status ◽  
Relationship Of ◽  
The Relationship ◽  
Visual Technologies

Using a number of his recent site-specific installations, conceptual artist and theorist Victor Burgin discusses the status and future of the camera from photography to moving image to computer-generated virtual works that combine both still and moving images. In the process he modifies Bazin’s question ‘What is cinema?’ to ask ‘What is a camera?’ These works extend and develop Burgin’s long-standing interest in the relationship of aesthetics and politics as rendered through visualization technologies, especially as it pertains to space. Burgin’s discussion constructs a genealogy of seeing, visualizing and image-making as technologically-determined and crafted. The ideology of vision and the ideological artefacts produced by and through visual technologies from perspectival painting to analog photography to computer imaging constitute, in Burgin’s argument, ‘the ideological chora of our spectacular global village’.

scholarly journals Installation of the Exotic

2015 ◽  
Author(s):  
Rod Stoneman
Keyword(s):  
Public Service ◽  
Experimental Work ◽  
Video Art ◽  
Fine Art ◽  
Specific Work ◽  
Art World ◽  
Site Specific ◽  
Moving Image ◽  
Expanded Cinema ◽  
Public Museums

INSTALLATION OF THE EXOTIC Film and audiovisual installations have increasingly taken place in the art world in recent years extending and renewing the range of activities in the fine art domain. Tracing its origins to expanded cinema and video art in the 1970s, moving image installation is now ubiquitous in public museums and private galleries. This is at a time when access to experimental work via public service versions of television has now all but disappeared.(1) In the two decades since, as television channels have proliferated, choice has actually narrowed. Moving image installations are visible in a diversity of art environments from gallery spaces to site-specific work in urban or industrial pop-ups. Multi-screen configurations are not easily arranged in cinemas or easily watched on television sets, let alone computers. The small portable digital screens may issue a blizzard of information and imagery everyday, but their size and scale...

Casting

2020 ◽  
pp. 193-210
Author(s):  
Yiyun Kang
Keyword(s):  
Digital Media ◽  
Three Dimensional ◽  
Experimental Film ◽  
Video Installation ◽  
Moving Image ◽  
Projection Mapping ◽  
Moving Images ◽  
Outdoor Spaces ◽  
Augmented Space ◽  
Volumetric Objects

This chapter investigates how projection mapping reconfigures the relationship between projection surface, moving image, and space in the field of artists’ projected moving-image works. Projection mapping is a relatively new method that can be used to transform irregularly shaped objects and indoor/outdoor spaces into display surfaces. This mode of projection envelops three-dimensional surfaces with digital moving images, using complicated projection technologies. In examining this process, the author analyses various contextual reviews as well as her own piece Casting to discover projection mapping’s distinctive properties. Casting (2016) is Kang’s projection-mapping installation at the Victoria and Albert Museum (V&A) in London, which was created as the culmination of Kang’s six-month artist-in-residency program at the V&A, and acquired by the institution in 2017 as its first purchase of a projection-mapping installation piece. This chapter examines how, by integrating volumetric objects and space, projection mapping dismantles the conventional notion of screen and frame that are accepted in experimental film and video installation works. The chapter introduces the concept of augmented space to understand how the spatial employment of projected moving images generates a novel type of narrative and experiences in comparison with the previous projected moving-image artworks. Accordingly, the chapter identifies how projection mapping practices can develop a distinguished type of aura in the realm of digital media art works.

Probing Light: Projection Mapping, Architectural Surface, and the Politics of Luminous Abstraction

2015 ◽  
Author(s):  
Katerina Korola
Keyword(s):  
High Tech ◽  
Arts Organizations ◽  
Short History ◽  
Moving Image ◽  
Projection Mapping ◽  
Architectural Support ◽  
Expanded Cinema ◽  
Urban Branding ◽  
The Spectator ◽  
The One

Over the last decade, 3D projection mapping has flourished around the world under the auspices of corporate publicity firms, arts organizations, and urban-branding initiatives. In the popular press, this work has been hailed at once as fulfilling the ambitions of expanded cinema (freeing the moving image from the screen) and as performative architecture (liberating architecture from stasis). However, this emphasis on the freedom of the moving image, on the one hand, and on movement itself, on the other, has caused neglect toward the way that such projections interact with their architectural support. Indeed, in its short history, projection mapping has already developed favoured idioms, whose repetition across the globe draws into question its site-specificity. Whereas unapologetically commercial projects have tended toward figurative motifs, projects aspiring to the artistic have tended to systematically favour the language of abstraction. This latter group is the concern of this essay, in which, drawing on the critical framework provided by earlier inter-war debates surrounding light architecture, the author investigates the potential and limitations of such luminous abstractions in engendering new forms of spatial experience. Do these high-tech projections encourage the spectator to engage with architecture in a new way, or do they instead efface their architectural setting beneath an ornamental visual spectacle?

scholarly journals Enchanted encounters: moving images, public art and an ethical sense of place

2021 ◽  
Vol 20 (1) ◽  
Author(s):  
Annie Dell’Aria ◽  
Andy Buchanan
Keyword(s):  
Sense Of Place ◽  
Public Art ◽  
Public Places ◽  
Site Specific ◽  
Moving Image ◽  
Moving Images ◽  
Theoretical Investigations

This article examines site-specific moving images, particularly public artworks that engage windows and monuments as cinematic screens. Employing the concept of enchantment and Doreen Massey’s notion of a ‘global sense of place’, this article analyses how the physical experience of moving image media in public places can enrich and complicate our understanding of place. Artworks by Lynn Hershman Leeson, Ofri Cnaani, Krzysztof Wodiczko and Tony Oursler are explored, in addition to recent protest projections and critical and theoretical investigations of place and enchantment.

Large-cluster and combined fluorescent and gold immunoprobes

1996 ◽  
Vol 54 ◽  
pp. 892-893
Author(s):  
Richard D. Powell ◽  
James F. Hainfeld ◽  
Carol M. R. Halsey ◽  
David L. Spector ◽  
Shelley Kaurin ◽  
...  
Keyword(s):  
Metal Cluster ◽  
Sulfonyl Chloride ◽  
Gel Filtration ◽  
Cross Linking ◽  
Site Specific ◽  
Fab Fragments ◽  
Cluster Label ◽  
Covalently Linked ◽  
Texas Red ◽  
Fold Excess

Two new types of covalently linked, site-specific immunoprobes have been prepared using metal cluster labels, and used to stain components of cells. Combined fluorescein and 1.4 nm “Nanogold” labels were prepared by using the fluorescein-conjugated tris (aryl) phosphine ligand and the amino-substituted ligand in the synthesis of the Nanogold cluster. This cluster label was activated by reaction with a 60-fold excess of (sulfo-Succinimidyl-4-N-maleiniido-cyclohexane-l-carboxylate (sulfo-SMCC) at pH 7.5, separated from excess cross-linking reagent by gel filtration, and mixed in ten-fold excess with Goat Fab’ fragments against mouse IgG (obtained by reduction of F(ab’)2 fragments with 50 mM mercaptoethylamine hydrochloride). Labeled Fab’ fragments were isolated by gel filtration HPLC (Superose-12, Pharmacia). A combined Nanogold and Texas Red label was also prepared, using a Nanogold cluster derivatized with both and its protected analog: the cluster was reacted with an eight-fold excess of Texas Red sulfonyl chloride at pH 9.0, separated from excess Texas Red by gel filtration, then deprotected with HC1 in methanol to yield the amino-substituted label.

The challenge of detecting modifications on proteins

2020 ◽  
Vol 64 (1) ◽  
pp. 135-153 ◽  
Author(s):  
Lauren Elizabeth Smith ◽  
Adelina Rogowska-Wrzesinska
Keyword(s):  
Mass Spectrometry ◽  
Protein Function ◽  
Chemical Properties ◽  
Lysine Acetylation ◽  
Mass Determination ◽  
Post Translational Modifications ◽  
Site Specific ◽  
The Common

Abstract Post-translational modifications (PTMs) are integral to the regulation of protein function, characterising their role in this process is vital to understanding how cells work in both healthy and diseased states. Mass spectrometry (MS) facilitates the mass determination and sequencing of peptides, and thereby also the detection of site-specific PTMs. However, numerous challenges in this field continue to persist. The diverse chemical properties, low abundance, labile nature and instability of many PTMs, in combination with the more practical issues of compatibility with MS and bioinformatics challenges, contribute to the arduous nature of their analysis. In this review, we present an overview of the established MS-based approaches for analysing PTMs and the common complications associated with their investigation, including examples of specific challenges focusing on phosphorylation, lysine acetylation and redox modifications.

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