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- Anaglyph Chiroptera (Fresco permanent Installation - Stoveworks)Lechner, Amanda (2022-01-28)
- Conditions of ExchangeDrum, Meredith (2019)Group exhibition curated by Abigail Simon and Esther Boesche
- Critical Inclusion: Valuing Student Perspectives, Queering Practice, and Hybridizing Pedagogy for 4D Media CritiqueWeaver, Rachel L. (Www.Macaart.Org, 2016-10-28)Over the past decade, time-based visual media has attained the same ubiquity that the still image has enjoyed for the past 150 years. In this deliriously-mediated present, guiding students to use 4D media’s evolving languages of critique requires teaching strategies that address the strengths and blind spots of digital natives. Most undergraduate, internet-savvy students are natural critics of 4D media, and thoughtful educators will facilitate critique by valuing and harnessing these existing interests and useful perspectives. Vernacular media forms become an important and playful entryway to close looking and parsing. Colloquial and familiar viewing habits are eventually transformed by adoption of new terminology and critical angles. Situating contemporary 4D media works within greater art and design history is an extremely important way to effectively broaden perspectives and generate new critical conversations. Reading, continuous discussion, and exposure to artists, media works, history, and theory in the context of the studio classroom is just as important as 4D studio practice itself. Unless we are lucky enough to teach at an institution with a media+art history course, the 4D media educator is often saddled with the hybrid role of both studio practitioner and pioneering contemporary art/media/technology historian. This challenge, however great, is also an opportunity unique to our discipline. The 4D media educator must remain chameleon-like in negotiation of critical viewpoints, looking across disciplines, and responding swiftly to the unending torrent of hybridized art forms, expanding design needs, and emerging media technologies.
- Current Seen: Best Foot ForwardDrum, Meredith; Rachel, Stevens (2019)
- dAnCing LiNesEmanuele, Ella; Hunter, David; Duer, Zachary; Birch, Simon (ACM, 2023-06-19)How do we interpret a multi-participant choreographed performance in the public domain through digital technologies? In collaboration with data visualisation expert David Hunter from University of Colorado at Boulder, and visual artist Zach Duer from Virginia Tech, dAnCing LiNes explores how dance can generate a choreographic view of drawing through mediated representation. In this respect the artwork produced for dAnCing LiNes is not intended as a means of documentation of the live events but as a tool for new artistic production. The intention is to rethink performative drawing beyond the gestural trace of the body in movement through the use of data visualisations. Capturing chorographic scores and task-based instructions through digital technologies, the data visualisations explore how the agency of dance moves from the performative to the visual via technological means by using combinations of established computer vision techniques from OpenCV [1] like Optical Flow, Blob Detection. The visualisations not only reveal the rules of the underlying choreography in each location but also computationally play with and exemplify those rules on a per location basis (five in total).
- Development of a Responsible Policy Index to Improve Statutory and Self-Regulatory Policies that Protect Children’s Diet and Health in the America’s RegionRincón-Gallardo Patiño, Sofía; Rajamohan, Srijith; Meaney, Kathleen; Coupey, Eloise; Serrano, Elena L.; Hedrick, Valisa E.; da Silva Gomes, Fabio; Polys, Nicholas F.; Kraak, Vivica (MDPI, 2020-01-13)In 2010, 193 Member States of the World Health Organization (WHO) endorsed World Health Assembly Resolution WHA63.14 to restrict the marketing of food and beverage products high in fat, sugar and salt (HFSS) to children to prevent obesity and non-communicable diseases (NCDs). No study has examined HFSS marketing policies across the WHO regional office countries in the Americas. Between 2018 and 2019, a transdisciplinary team examined policies to restrict HFSS food and beverage product marketing to children to develop a responsible policy index (RESPI) that provides a quality score based on policy characteristics and marketing techniques. After designing the RESPI, we conducted a comprehensive literature review through October 2019 to examine policies in 14 countries in the WHO Americans Region. We categorized policies (n = 38) as either self-regulatory or statutory and calculated the RESPI scores, ranked from 0 (lowest) to 10 (highest). Results showed Brazil, Canada, Chile, and Uruguay had the highest RESPI scores associated with statutory policies that restricted point of sale, cartoon, licensed media characters and celebrities; and HFSS products in schools and child care settings, and broadcast and print media. Policymakers can use the RESPI tool to evaluate marketing policies within and across geopolitical boundaries to protect children’s diet and health.
- Echofluid: An Interface for Remote Choreography Learning and Co-creation Using Machine Learning TechniquesWang, Marx; Duer, Zachary; Hardwig, Scotty; Lally, Sam; Ricard, Alayna; Jeon, Myounghoon (ACM, 2022-10-29)Born from physical activities, dance carries beyond mere body movement. Choreographers interact with audiences’ perceptions through the kinaesthetics, creativity, and expressivity of whole-body performance, inviting them to construct experience, emotion, culture, and meaning together. Computational choreography support can bring endless possibilities into this one of the most experiential and creative artistic forms. While various interactive and motion technologies have been developed and adopted to support creative choreographic processes, little work has been done in exploring incorporating machine learning in a choreographic system, and few remote dance teaching systems in particular have been suggested. In this exploratory work, we proposed Echofuid-a novel AI-based choreographic learning and support system that allows student dancers to compose their own AI models for learning, evaluation, exploration, and creation. In this poster, we present the design, development and ongoing validation process of Echofluid, and discuss the possibilities of applying machine learning in collaborative art and dance as well as the opportunities of augmenting interactive experiences between the performers and audiences with emerging technologies.
- Examining Pair Dynamics in Shared, Co-located Augmented Reality NarrativesConnor, Cherelle; Schoenborn, Eric; Hu, Sathaporn; Porcino, Thiago; Moore, Cameron; Reilly, Derek; Lages, Wallace (ACM, 2024-10-07)Augmented reality (AR) allows users to experience stories together in the same physical space. However, little is known about the experience of sharing AR narratives with others. Much of our current understanding is derived from multi-user VR applications, which can differ significantly in presence, social interaction, and spatial awareness from narratives and other entertainment content designed for AR head-worn displays. To understand the dynamics of multi-user, co-located, AR storytelling, we conducted an exploratory study involving three original AR narratives. Participants experienced each narrative alone or in pairs via the Microsoft Hololens 2.We collected qualitative and quantitative data from 42 participants through questionnaires and post-experience semi-structured interviews. Results indicate participants enjoyed experiencing AR narratives together and revealed five themes relevant to the design of multi-user, colocated AR narratives. We discuss the implications of these themes and provide design recommendations for AR experience designers and storytellers regarding the impact of interaction, physical space, spatial coherence, and narrative timing. Our findings highlight the importance of exploring both user interactions and pair interactions as factors in AR storytelling research.
- FL3TCH3R ExhibitDee, Meaghan A. (2020)
- Fostering Creativity in an Educational EnvironmentDee, Meaghan A. (2016-05-31)Many believe creativity is something you’re born with, rather than a skill you can learn. But, being a professor of graphic design, I believe teachers can and should foster creative thinking, regardless of the subject matter. Every child is naturally imaginative, but as they grow up they’re taught to conform. One way to encourage students to uncover their originality is to build an environment that is free of judgment. To be creative is to be abnormal, in that it requires thinking in unique ways. In order to be comfortable with artistic expression, students must feel free to make “mistakes” — they must even be encouraged to do so. We’ve all heard the mantra “fail faster.” There’s no way to know if an idea will be successful until you try it out, so the more you can explore, the better. But this might be easier said than done, as fear of failure can be paralyzing. Twyla Tharp, in The Creative Habit, combats her fears by writing them down and physically destroying them. For any creative person trying to get “unstuck,” this sort of ritual can be a first step in getting moving on a project. Under this line of thinking, helping creativity flourish should be integrated into every graphic design course. I focus on creativity in my curriculum by implementing mini exercises, discussions, and by approaching each project with a unique methodology – so students have a chance to learn and make in diverse ways.
- Green: 12th Conference of the European Society for Literature, Science and the Arts (SLSAeu)Drum, Meredith (2018-06-14)
- I Am So SorryDee, Meaghan A. (University of Michigan Library, 2022-11-08)
- In Conversation: Teaching with Primary SourcesRonan, Anne (University of Chicago Press, 2022)
- Intersections, International Symposium of Electronic Arts 2018, Durban, ZADrum, Meredith (2020-06-26)My paper, Mediated Natures - Speculative Futures and Justice Panel, was accepted, through a peer-review process, as part of the academic conference of Intersections, International Symposium of Electronic Arts 2018, Durban, South Africa.
- Light Year 47: Tales of Diverted RealityDrum, Meredith (2019-03-07)LIGHT YEAR 47: TALES OF DIVERTED REALITY {MARCH 7, 2019} Curated by: Peter Fulop & Brigitta Veradi Participating Artists (all artists are former artists in residence of ChaNorth): Chen Wang, James Hopkins & Tori Carr, Meredith Drum, Jonathan Sims, and Marisa Adesman & Christian Berman Tales of Diverted Reality is a collection of short stories exploring perceptions of reality from ancient to contemporary, from the individual point of view. Tales can estrange the reader, in this case the viewer from the real world & allows him or her to deal with deep-rooted psychological problems and anxiety provoking incidents to achieve anatomy. Tales of Diverted Reality jumps between circling endlessly around a candy colored amusement park, the vastness of Las Vegas and the authenticity within its deception, consumer driven visual culture that dominates many commercial worlds created with 3D computer software, visual invocation of a spell formula from the Egyptian Book of the Dead, and a feminist re-adaptation of the Bluebeard fairytale.
- The Mainstream Media and the “Shocking Bad Art” from Cyprus: 1870s New York Reacts to the Cesnola CollectionsKnoblauch, Ann-Marie (2019)When the Metropolitan Museum of Art first opened the doors of its Fifth Avenue building on March 30, 1880, the majority of the exhibition space was occupied by Cypriot art purchased by the Met’s trustees from Luigi Palma di Cesnola in two lots, one in 1872 and another in 1876. The two collections amounted to around twenty thousand objects, all finds Cesnola had acquired while serving as US Consul on the island from 1865–1876. After the acquisition of the second collection, Cesnola left Cyprus to become the first director of the Metropolitan Museum, a position he held until his death in 1904. New Yorkers in the 1870s were most intrigued by the works of limestone sculptures from the sanctuary at Golgoi. In the 1880s these objects would become embroiled in a scandal because of the claim that Cesnola had performed intentionally misleading restorations, but before that disgrace and through much of the 1870s, New Yorkers were processing the arrival of an enormous volume of ancient Cypriot objects in a relatively short amount of time.
- A Message of HopeDee, Meaghan A.; Pederson, Martin (2021)
- Ongoing Matter: Design, Democracy, and the Mueller ReportBerry, Anne; Edmands Martin, Sarah; Dee, Meaghan A. (2021)
- Pangea Playback Theatre's "What Now?"Fox, Hannah (Virginia Tech, 2021-06-11)On June 11, 2021, Pangea Playback Theatre gave a performance on the theme of “What Now?” for a public audience of friends and family. This was the group’s second public performance after a year’s worth of numerous private online performances for clients. Hannah Fox, seen Conducting this performance, is the daughter of Jonathan Fox & Jo Salas (co-founders of the original Playback Theatre) and is Co-Director of the New York School of Playback Theatre (nyspt.org/). Production Credits: Conductor｜Hannah Fox Musician｜Steve Nash Actors｜Joyce Lu, Cherae Halley, Ricardo Pérez González, Will C Technician | Federico Mallet Flores Duration: 1 hr, 32 min Forms Used: “Zoom” (Fluid) Sculpture｜Perspectives | Story | 3-Part Story｜Tableau｜Beat This performance in featured in "Storytelling on Screen: An Online Playback Theatre Archive and Guidebook" by Jordan Rosin and Heidi Winters Vogel, which is available at http://hdl.handle.net/10919/104420.