Scholarly Works, School of Visual Arts

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  • Prioritizing Our Values: A Case-Study Report that Examines the Efforts of a Group of University-Level, Communication Design Educators to Collectively Construct Inclusive and Equitable Design Teaching Practices in a (Post-) Pandemic Era
    Berry, Anne H.; Dee, Meaghan A.; Laker, Penina; Tegtmeyer, Rebecca L. (University of Michigan Library, 2023-12-13)
    The Value Design Education Pledge was co-developed by the co-authors of this article: Associate Professor Anne H. Berry, Associate Professor Meaghan A. Dee, Assistant Professor Penina Laker, and Associate Professor Rebecca Tegtmeyer, with contributions by Kelly Walters (Assistant Professor, Communication Design, Parsons, The New School, New York City, N.Y., U.S.A.), to develop and promote long-term, inclusive, and equitable teaching practices that could positively affect design education. The pledge was initiated in the wake of events that transpired during the spring and summer of 2020—namely, the COVID-19 global pandemic and the Black Lives Matter protests, both of which evolved across the United States during that time. It was also undertaken in recognition of 1) the changes and challenges that evolved as a result of remote and online learning having to be implemented across most U.S.-based, university-level and K-12 design education programs, and 2) the need for pedagogic accountability when decisions have been taken by faculty and administrators to commit to inclusive and equitable teaching practices. This case study provides an overview of the timeline of events and the decision-making that preceded the development of the pledge, including the first AIGA (the professional association for design, and the primary funder of this journal) Design Educators Community (DEC) virtual roundtable in May 2020 that spawned a draft of actionable items and outcomes from educators (working at K-12, non-traditional, undergraduate, and post-graduate levels) who participated in the pledge initiative. As a key point of planning and emphasis, the Value Design Education Pledge was developed to meet two key goals. The first was to facilitate manageable and sustainable commitments to students and communities for design educators already overburdened by the strain of adapting curricula and the course materials that support them. The second was to encourage remote and online learning in ways that could effectively provide emotional and academic support to design students throughout the progression of the global COVID-19 pandemic and the social, political, and cultural upheavals that accompanied it. The authors research fueled the generation of ideas for further exploration of initiatives that could effectively support these goals, including:developing mechanisms for measuring students’ learning before and after they leave particular classes and programs identifying ways to emphasize that the outcomes of design processes can provide humanistic, tangible, and positively transformative products, services, and systems; and building better mentor models that could be facilitated inside and outside of a variety of types of design classrooms. While the disciplinary focus of the pledge as it was initially developed was centered on design education, the authors believe that several items and ideas that emerged from operating it can be adapted to benefit education across a broader array of disciplines.
  • dAnCing LiNes
    Emanuele, 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).
  • Titian and textile: Rediscovering the Loredan collection between Venice and Brescia
    Jewitt, James R. (Oxford University Press, 2022-11)
    This essay presents the first critical overview of the collection and display of art objects acquired by the Venetian nobleman Andrea di Nicolo Loredan (1450-1513). It focuses on the decoration of three key sites maintained by the Loredan clan: the governor's palace in Brescia, the location and contents of which are here identified for the first time; the Loredan palace on the Grand Canal in Venice; and the Loredan funerary chapel in the church of San Michele in Isola in the Venetian lagoon. Examination of Titian's grandiose easel painting the 'Flight into Egypt' (c.1507), recently discovered to have played a crucial role within the Loredan palace, helps to elucidate the range of material and devotional agendas of the art possessed by Andrea. Critical reconstruction of the Loredan collection is achieved through fresh attention to archival records, and a little-known panegyric (1504) by the Brescian friar Martino Codagnello.
  • Echofluid: An Interface for Remote Choreography Learning and Co-creation Using Machine Learning Techniques
    Wang, 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.
  • I Am So Sorry
    Dee, Meaghan A. (University of Michigan Library, 2022-11-08)
  • Processing the Pandemic
    Dee, Meaghan A. (2021)
  • X3D Field Trips for Remote Learning
    Polys, Nicholas F.; Meaney, Kathleen; Munsell, John F.; Addlestone, Benjamin J. (ACM, 2021-11-08)
    Combinations of immersive media and graphic portrayals can enable the human subjective sense of Presence. This paper collects our experiences and evaluations from six projects that use Extensible 3D (X3D) interactive graphics to deliver spatial experiences across the WWW. X3D enables the combination of spherical panoramas with 3D models and maps to visually transport users to a specific real location at a specific time. Remote users have access to these worlds through a Web-browser or other immersive device; local users in a CAVE can collaborate with natural physical gestures; . We reflect on the graphical and interactive requirements of these projects and provide guidance for future applications. In the face of physical lock-downs and distancing due to the CoVID pandemic, such platforms illustrate the opportunities and challenges in the design and delivery of spatial visualizations, especially for remote learning.
  • Virtual replicas of real places: Experimental investigations
    Skarbez, Richard; Bowman, Douglas A.; Ogle, J. Todd; Tucker, Thomas; Gabbard, Joseph L. (2021-07-13)
    The emergence of social virtual reality (VR) experiences, such as Facebook Spaces, Oculus Rooms, and Oculus Venues, will generate increased interest from users who want to share real places (both personal and public) with their fellow users in VR. At the same time, advances in scanning and reconstruction technology are making the realistic capture of real places more and more feasible. These complementary pressures mean that the representation of real places in virtual reality will be an increasingly common use case for VR. Despite this, there has been very little research into how users perceive such replicated spaces. This paper reports the results from a series of three user studies investigating this topic. Taken together, these results show that getting the scale of the space correct is the most important factor for generating a "feeling of reality", that it is important to avoid incoherent behaviors (such as floating objects), and that lighting makes little difference to perceptual similarity.
  • The Mainstream Media and the “Shocking Bad Art” from Cyprus: 1870s New York Reacts to the Cesnola Collections
    Knoblauch, 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.
  • In Conversation: Teaching with Primary Sources
    Ronan, Anne (University of Chicago Press, 2022)
  • A Message of Hope
    Dee, Meaghan A.; Pederson, Martin (2021)
  • FL3TCH3R Exhibit
    Dee, Meaghan A. (2020)
  • Ongoing Matter: Design, Democracy, and the Mueller Report
    Berry, Anne; Edmands Martin, Sarah; Dee, Meaghan A. (2021)
  • The Ume Group's "Voices in the Stone"
    Rosin, Jordan; Luna, Jorge; Yokko; Sheridan, Keelie; Sindicich, Karina; Rosin, Kaitlyn Samuel; Douglas, Kate (Virginia Tech, 2021-05-06)
    On May 6, 2021, The Ume Group Playback Ensemble, a branch of the New York City-based physical theatre company, The Ume Group (theumegroup.org), gave a commissioned performance for alumni of Virginia Tech’s College of Liberal Arts & Human Sciences as part of the lead-up to the university’s 150 year anniversary celebrations. The performance was sponsored by the Virginia Tech History Council with support from the School of Performing Arts. The performance begins with a soundscape overture featuring a new version of “Tech Triumph” (the Virginia Tech Fight Song composed in 1919 by Wilfred Pete Maddux and Mattie Eppes) adapted for this event by The Ume Group’s Kate Douglas, along with excerpts from the VT Stories Oral History Project (vtstories.org) and other found texts voiced live by the Ume Group actors. Production Credits: Conductor|Jordan Rosin Musician|Kate Douglas Actors|Jorge Luna, Keelie Sheridan, Karina Sindicich, Kaitlyn Samuel Rosin, Yokko Producer / Director|Jordan Rosin Community Partners|Robert H. Leonard, VT History Council & the School of Performing Arts; Christina Miller, College of Liberal Arts & Human Sciences; Ren Harman, VT Stories Duration: 1 hr, 18 min Forms Used: Fluid Sculpture|Perspectives| 3-Part Story|If This Were A Dream|3-Minute Poem 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.
  • 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.
  • The Ume Group's "Identity"
    Luna, Jorge; Yokko; Rosin, Jordan; Sheridan, Keelie; Sindicich, Karina; Rosin, Kaitlyn Samuel (Virginia Tech, 2021-04-11)
    On April 11, 2021, The Ume Group Playback Ensemble, a branch of the New York City-based physical theatre company, The Ume Group (www.theumegroup.org), gave a public performance on the theme of “Identity.” This was only their second-ever public performance (and third-ever Playback Theatre performance in general). As part of the group’s commitment to rotating roles and leadership, this was also the first time conducting for the two co-conductors, Yokko & Jorge. Production Credits: Conductors|Jorge Luna & Yokko Actors / Musicians|Keelie Sheridan, Karina Sindicich, Kaitlyn Samuel Rosin, Jordan Rosin Producer|Jordan Rosin Rehearsal Director|Kaitlyn Samuel Rosin Duration: 1 hr, 24 min Forms Used: Flares|Fluid Sculpture|Song & Movement Pair |Perspectives |3-Part Story|Narrative V
  • World Playback Theatre's "New Beginnings"
    Vogel, Heidi Winters; Paranthaman, Para (Virginia Tech, 2021-01-17)
    On January 17, 2021, World Playback Theatre (facebook.com/worldplaybacktheatre), an international online troupe emerging from the 2019 Leadership certification program of the Playback Centre, gave a public performance on the theme of “New Beginnings.” Production Credits: Conductors|Heidi Winters Vogel & Para Paranthaman Actors|Pia Loriega, Roni Alperin, Radhika Jain, Pek Kuan Tai Musician | Linda Steuernagel Duration: 1 hr, 41 min Forms Used: Fluid Sculpture|Transformational Fluid|Pairs|Perspectives|Monologues|4 Rooms|Episodes | Talking Windows 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.
  • Search for Delicious, Solo Screening at Microscope Gallery, Brooklyn, NY
    Drum, Meredith (2020)
    Microscope Gallery is highly respected in the art and cinema world. Their exhibitions are often reviewed and selected as "critic's picks" in Art Forum and the New York Times. The gallery has collaborated with the Whitney Museum. For an example review, see this "critic's pick" in Art Forum of a show that was in the gallery concurrent to my screening: https://www.artforum.com/picks/ina-archer-83884 From the gallery's event description: Microscope is very pleased to welcome Meredith Drum back to our event series for a solo online screening of her work. The program includes nine short videos made from 2005 to today by the artist addressing issues such as the environment and global warming, feminism, anthropology, and the history of cinema, with particular attention towards endangered species and cultures.