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Bound - Critical Analysis

Andrew Logie - 1201803



Norwich University of the Arts
MA Moving Image and Sound

Andrew Logie (1201803) MA Moving Image and Sound

Contents Page

Contents Page 2
Table of illustrations 3
Introduction 4
Section 1: Artistic Infuences 4
1.1: Ryoichi Kurokawi 4
1.2: Daito Manabe 5
1.3: Aether - Thomas Sanchez and Gilberto Castro 6
1.4: Other infuences 7
Section 2: Theoretical Infuences 8
Section 3: Collaboration, experimentation and project development 10
Conclusion 12
Bibliography 14
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Andrew Logie (1201803) MA Moving Image and Sound

Table of illustrations

Figure. 1 Sirens, Ryoichi Kurokawi, 2012. 5
Figure. 2 Eclipse/Blue by Noisaj Thing, Daito Manabe, 2012. 6
Figure. 3 Aether, Thomas Sanchez and Gilberto Castro, 2014. 6
Figure. 4 The Treachery of Sanctuary, Chris Milk, 2014. 7
Figure. 5 Sub-atomic decay patterns, Kysa Johnson, 2014. 9
Figure. 6 Sketchbook Extract, Andrew Logie, 2014. 11
Figure. 7 Worldwide views www.andrewlogie.co.uk, Andrew Logie, 2014. 12
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Andrew Logie (1201803) MA Moving Image and Sound

Introduction

The aim of this project was to draw on the range of skills developed over the course of the MA and create
an interactive audio-visual installation. This installation was to be based on an ongoing theme in my
recent work, the exploration of particle physics from a hybrid science/art perspective. I had several key
aims for the project; to create a synergy between image and sound, to create an interactive experience
via a pleasurable medium and to continue my previous research and exploration of particle science in
relation to art. This lead to the production of the fnal piece of work, Bound.

This critical analysis will discuss the research, methodology, collaboration, project development and
outcomes in relation to the initial learning agreement. I will also discuss my ideas, artistic infuences and
justify decisions taken as the work evolved into a fnal outcome. From this analysis I will draw conclusions
on the success of the fnal project in relation to my initial aims and explore future development of the
work.


Section 1: Artistic Infuences

The initial aim of the project was to create an immersive and interactive installation that combines audio
and visuals, with the aim of exploring the synergy between sound and image. I researched a range of past
and current practitioners working with interactive and audio/visual mediums, pleasurable visual styles
and/or combining science and art. In this section I will discuss some of the key artists and work that
infuenced the development of the project.

1.1: Ryoichi Kurokawi

Ryoichi Kurokawis work focuses on a variety of multimedia forms with a focus on sound, image and
digitally generated structures. Kurokawi states that his work is an interactive experience. Something
where audio and visual are in complete unison. (Kurokawi 2013). His work is a synesthetic experience that
combines diferent mediums to create striking installations. A key piece of work that infuenced the initial
project idea was Sirens (2012) (Figure.1). Sirens combines a range of animal images including elks, birds
and horses. These images are combined with a soundtrack to create ghost images (The Creators Project
2014). If the audience moves, the images vanish, they recombine if the audience remain still, to create a
meditative piece of work that combines interactive elements.







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Andrew Logie (1201803) MA Moving Image and Sound
Figure. 1 Sirens, Ryoichi Kurokawi, 2012.

An aspect of the work that infuenced my initial idea was the concept of fragmentation of an image based
on the interaction of the audience. This interactivity engages the audience and enables them to become
part of the work. Kurokawis work isproviding an interactive experience. Something where audio and
visual are in complete unison. (The Creators Project 2014).

1.2: Daito Manabe

Daito Manabes work crosses the boundaries of technology and art. He uses a range of unconventional
canvases. His experiments attempt to meld the human body with technology, looking at how it can be
used in conjunction with ourselves. (Holmes 2010). Eclipse/Blue by Noisaj Thing (2012) (Figure. 2) utilises
movement tracking and projection mapping. In this particular video, Manabe worked with
choreographers to create projection mapped visuals that track the dancers. It made use of a range of
technologies, including 3D depth sensing technology, to track movement, which in turn created live
visuals, which mapped onto the dancers.












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Andrew Logie (1201803) MA Moving Image and Sound
Figure. 2 Eclipse/Blue by Noisaj Thing, Daito Manabe, 2012.

1.3: Aether - Thomas Sanchez and Gilberto Castro

In Aether (2014) (Figure. 3) Sanchez and Castro collaborated to explore the link between art and
interactivity. The piece uses deep-space imagery from NASA to explore the
intersticesbetweentheparticlesofmatter (Adorno 2014).
Figure. 3 Aether, Thomas Sanchez and Gilberto Castro, 2014.

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Andrew Logie (1201803) MA Moving Image and Sound


we want the audience to feel deeply inserted in the piece, where they can transform and afect [the]
particles with their own hands. We believe that interactivity is a tool that opens new doors and enables
new ways of communication between art and technology. (Alonso 2014)

This work explores a similar topic but also combines a range of technologies to create an engaging
artwork that asks to be interacted with, It is all about making the audience part of the artistic
process (Adorno 2014). The work utilises 4 projectors and multitouch technology, alongside visuals that
are generated live using software like C++ and Cinder.

1.4: Other infuences

Over the course of the research I explored work by a range of artists, including Quayola and Moment
Factory. In a variety of ways these artists have helped infuence and shape the project over the course of
its development. I visited the Digital Revolutions exhibition, Barbican, London (July 2014). A range of
installations were shown, including Chris Milks The Treachery of Sanctuary (2014) (Figure. 4). This work
utilised Kinect depth-sensor technology to map the audience into an animated silhouette. This
technology became core to my installation and at this stage of the project, it was reassuring to see other
artists utilising the same technology.
Figure. 4 The Treachery of Sanctuary, Chris Milk, 2014.

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Andrew Logie (1201803) MA Moving Image and Sound

Section 2: Theoretical Infuences

"Particle physics and the arts are inextricably linked: both are ways to explore our existence what it is to be
human and our place in the universe." (CERN, 2014)

Another focus was to explore particle physics. I aimed to explore the science in more depth and integrate
it into the work. I drew initial inspiration from a range of resources on the subject, in particular The
Quantum Universe by Brian Cox. This book explains Quantum physics in relation to visual ideas and
attempts to demystify the science. My initial sketchbooks drew on the ideas set out within this book.

I am fascinated by the elemental nature of the universe. Underlying the complexity of the universe is
simplicity. Everything in the universe is created from an assembly of atoms, and that the wide variety of
atoms are constructed using only three particles: electrons, protons and neutrons. We have discovered that the
protons and neutrons are themselves made up of smaller entities called quarks. Underpinning all of this is
quantum theory. (Forshaw, 2012: 8). Around us is an invisible macroscopic world I wanted to explore with
this project.

This is perhaps the crowning achievement of modern science; the reduction of the tremendous
complexity in the world, human beings included, to a description of the behaviour of just a handful of
tiny sub-atomic particles and the four forces that act between them (Forshaw, 2012: 8)

The four forces that interact upon them are; the strong and weak forces that hold the nucleus of an atom
together, electromagnetism that bind atoms to one another, and gravity. The aim of the project was to
attempt to visualise and convey a visual metaphor that explored these building blocks, which would
appeal to a broad audience.

After reading theories by: Rutherford, Heisenberg, Pauli, Planck and Einstein I quickly became bogged
down and confused by the complexity of the science. At this early stage of the project I reached out to
experts in the feld to seek some answers to my questions and try to develop a possible collaboration
with an expert. By doing this I could seek further guidance on the theory and how this could be conveyed
through my work. I sent out emails to specifc organisations and universities and was lucky enough to
receive a response from Fermilabs (US Department of Energy) media department. They put me in touch
with a particle physicist, Dr. Don Lincoln. This became a collaboration and had a positive impact on the
project direction.

I discovered other artists working alongside scientists in a similar form of collaboration, for example Kysa
Johnson. Johnsons work explores the patterns created by the decay of sub-atomic particles. These
patterns are combined into detailed illustrations (Figure. 5). This is an innovative approach of integrating
science and art to create beautiful artwork.
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Andrew Logie (1201803) MA Moving Image and Sound
Figure. 5 Sub-atomic decay patterns, Kysa Johnson, 2014.

CERN (European Organisation for Nuclear Research) study the fundamental structure of the universe.
They use the worlds largest and most complex scientifc instrument (the Large Hadron Collider) to study
the basic constituents of matter the fundamental particles that form the universe. Arts@CERN is an
outreach program thatbelieve[s] that particle physics and the arts are inextricably linkedthe two felds are
natural creative partners for innovation in the 21st century. (Koek 2014). The program enables collaboration
between artists and scientists and may be a potential avenue to pursue with my work in the future.

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Andrew Logie (1201803) MA Moving Image and Sound

Section 3: Collaboration, experimentation and project development

I was extremely lucky to collaborate with Dr. Lincoln. He ofered to mentor the project. The aimwas to
integrate real scientifc theory and data either as a basis for the project or inspiration.

Dr. Don Lincoln is a senior physicist at Fermilab, Americas fagship particle physics laboratory. He
splits his research time between experiments at Fermilab and the CERN laboratory in
Switzerland. (Lincoln, 2014)

Dr. Lincoln answered many of my questions and supported my work throughout the process of design
and creation from a scientifc perspective. This collaboration was benefcial and helped give the work
direction. It enabled the visual and sonic ideas I developed to be linked to real scientifc concepts. The
process took place via email conversations. This collaboration was dealt with professionally and we
developed a good working relationship. From an ethical perspective I agreed to ensure no private
communications were published publicly without his consent.

As Dr. Lincoln is based primarily in Chicago so some aspects of the communication were challenging. Dr.
Lincoln put me in touch with his colleague based in London, Dr. Jonathan Hayes, Queen Marys University.
In the later stages of the project I arranged a meeting with Dr. Hayes and discussed a range of concepts
and theories to help clarify my ideas. This added further focus to the work and also sparked the idea for
the sound design; this was to relate diferent particles to diferent frequencies. The collaboration
benefted the project in many ways and helped direct both the visual look and soundtrack.

A visual concept (Figure. 6) for the project was developed. After experimenting with diferent
technologies I concluded that utilising a cheap consumer depth-sensor (Xbox Kinect) attached to a Mac
would allow live granular control of visuals and sound that a traditional camera would not. Unlike a
traditional camera that senses visible light, the Kinect camera sends out a beam of infrared dots that are
refected back to a sensor. A processor inside the camera collates this data to create a map of the space in
3D. It automatically detects human bodies and tracks limb movements. These can be then be mapped to
control a range of parameters within software.










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Andrew Logie (1201803) MA Moving Image and Sound
Figure. 6 Sketchbook Extract, Andrew Logie, 2014.

After experimenting with a range of software, I selected Delicode Z-vector for the visuals and Ableton
Live 9 for the sound. Z-vector allows creation of particles in a 3D space and can be programmed to track a
body shape, which can be explored using a virtual 3D camera. A variety of animation controls to be linked
to sound input, allowing a deep link between the two; this can be manipulated to create a unique visual
look.

The soundtrack ofBound is integral to the work. It acts as both a trigger for the animation and helps to
elaborate on the concept sonically. The soundtrack is generated from the datagenerated by thedecay
ofparticles collected by the ATLASparticle detector. The originalprocess was undertaken by a group
called LHCsound, who received funding from the Science & Technology Facilities Council. This research and
data was released under a Creative Commons licencethat enables the remix and transformation of the
work on any basis, even commercial (Creative Commons, 2014). Rather than acting as one audio
soundtrack with a start, middle and end, it has been designed to loop continuously. I wanted the sound
and image to fow through various periods of intensity, but also not be repetitive. I envisagea broad
audience experiencing and interacting with the work foranywhere up to 1 min. The sound works well,
and fts with the concept of the work. It adds another layer, which helps convey the message of the piece.

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Andrew Logie (1201803) MA Moving Image and Sound

Conclusion

At the beginning of this unit, an initial agreement was outlined stating the way I would demonstrate and
evidence each learning outcome. Over the course of the unit I explored a broad range of practitioners,
which helped contextualise the work within the current practices of my area of study. I feel the fnal
project fts well alongside the work of other practitioners. I had to think practically about other aspects of
the project e.g. reliability and ease of setup and make compromises in the complexity of the design. It
was interesting to see both the length of time and how people interacted with the installations at the
Digital Revolutions exhibition. Many factors were considered when constructing the work.

The project demonstrated a range of experimentation and understanding of diferent materials and
processes from which I have selected the appropriate tools. This was a process of evaluating and selecting
the correct technology and software to enable the work to be generated. I demonstrated the application
of the research fndings via an online refective journal. This journal enabled the documentation of the
journey alongside critically evaluating ongoing work. The journal articulated the content and ambitions
of the work to a range of specialist and non-specialist audiences. The online journal has had over 9000
views worldwide to date (Figure. 7). I also delivered a short presentation to my peer group, which
received positive feedback. The online journal has become a platform to promote my work and has
established a professional online presence in conjunction with social media.
Figure. 7 Worldwide views www.andrewlogie.co.uk, Andrew Logie, 2014.

The work was planned around a key timeline therefore it was essential to be organised to balance my
artistic practice with work commitments. I had the opportunity to show Bound at the Fusion screen in
Norwich a week prior to my fnal deadline so it was key to be on top of the work to meet this extra
deadline. This pre-exhibition was organised on an individual basis and adhered to all health and safety
regulations. After trialling the installation, soak testing and ensuring the technology worked efectively in
the space, it was opened to the public. This worked well and was an opportunity to get feedback.
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Andrew Logie (1201803) MA Moving Image and Sound

Alongside the fnal MA installation of Bound, I hope the piece may have additional life and potential for
further development. I aim to apply for an Arts@CERN residency and have had some interest in applying
the work within a live music venue or working alongside a choreographer for a performance. I have
developed a professional presence online alongside developing a professional network. I feel the overall
project has ended on a very positive note and it has achieved my initial aims for both the project and
overall MA.

Word Count: 2492

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Andrew Logie (1201803) MA Moving Image and Sound

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