Research
Kim Kwansoo
Master of Philosophy Photography and Media Arts / Cinema & TV
Studio research
8.2007-In Progress: "Hybrid Visuals and Creative Process of Digital Cinematic" The correlativity between hybrid visuals, creative process and digital cinematic is discussed to examine the influence of visual culture by media transition in imagery industry and independent creativity of THE ANIMATED POEM FILM.
Studio filmmaking
8.2007-In Progress: Independant Production of the Animated Poem Film, "The wheel in the wind", a life and love story of a wheelchair racer. The focus is on the balance and harmony of Visual Storytelling, Metaphor Design and Symbolic Picture Composition in the animated filmmaking.
Professional history
4.2000-4.2007: Visual Designer for broadcast & corporate film (Cable TV & Media industry)3.1996-4.2000: Visual Designer for broadcast, Cable TV OUN(Open University Networks)1.1992-3.1996: Visual Designer for print (YBM SI-SA, Publisher)
Education
3.1985-2.1992: Bachelor of Fine Art in Visual Design, Department of Art, Crafts & Industrial Design, College of Arts, Chung-Ang University in Korea.
Winnie (Yung-Lin) Yang
Master of New Media Arts Photography & Media Arts
Education
Taipei Municipal University of Education - Taipei, 2001-2005 The Australian National University - Canberra, 2006
Background & Research Intentions
Winnie Yang, a current student of Master of New Media Arts, has always had a great interest in films and editing. She graduated from the field of Language, Literature and Education. After previous academic study in university, she decided to follow her original desire and dream of being a media-artist. Being made to study teaching at her last university, she knew that education offered limited and restricted opportunities so Winnie decided to take a new direction and study digital video arts in the Australian National University (ANU) in Canberra.
Her current research direction is the exploration of psych-analytic themes in horror and using these themes to create the sense of the uncanny on film. Her real passion however is documentary filming and editing which she hopes one day will enable her to have a career creating environmental documentaries.
When Winnie was looking for a university in which to study new media arts she was afraid of choosing a heavily theoretical course which would leave her with no practical experience. The course at ANU however has a lot of practical courses, which she has gained filming and editing experience from, as well as the use of practical software. These are the things that she thinks makes ANU a good choice for studying new media arts.
Chris Fortescue
PhD Candidate Photography & Media Arts
"liminalTransitions: towards a cognitive aesthetics of the threshold"
There is no pure perception. Every sensation, conscious and unconscious, is culturally mediated - by language, the group mind (cultural memory), personal history etc. Subjectivity is a dynamic self-organising scale-free network in which perception, cognition and interpretation are mutually enfolded. There's no inside or outside; everything that can be known or experienced is expressed in terms of the network. All the nodes within the network have variant time signatures.
It's kind of like a termite's nest.
I'm interested in what could be described as phase transitions in the subjectivity network. And in the role of metaphor (inference preserving cross domain mapping) in the production of new pathways within the network in order to incorporate/facilitate change.
If "things" and "signs of things" are indivisible, then so are other dualities - presence/absence, unity/multiplicity, etc. My work is somehow an experiment with metaphorical structure, setting up epistemological loops using sound, images, objects, narratives.
Chris Fortescue http://www.haresbreath.com/fortescue
James Sheridan
PhD Candidate Photography & Media Arts
Project Title: Thought Train – A Mind Wandering.
Project Description"Where shaped by our environment, it all depends where your time is spent" Nightmares On Wax - Environment To get things done we need to focus on them, focus to much and our ideas become boring, stale and routine, focus to little and what more are they than a passing thought or forgotten scribble. My project aims to explore the relationship between attention and creative inspiration. This will be done by constructing a system to track brainwaves and visual focus and then using these to influence a persons thinking style.
Goals
- Create adaptive interface systems
- Investigate aspects of attention related to interfaces and creativity
- Create systems allowing natural information capture and retrieval
Background Growing up on a farm in regional NSW James had lots of time and opportunity to explore a multitude of practical systems for getting things done. There were always new and different jobs to be done, many often long, tedious and boring. This left much time to think about how they could be done in ever quicker, easier and often fun ways. This lead to a constant building and creation of things ranged from practical (profitable) welded metal sculptures to the not so practical laser guided tractor system.
Computers instantly took and held my attention being a medium where there was always something new, always something changing. Here is a place so unexplored, so powerful and so accessible.
Education Australian National University Canberra, ACT 2002-2003 Information Technology Honours 1998-2000 B.A. Information Technology (Software Engineering major)
Ettore Siracusa
PhD Candidate Photography & Media Arts / Film Studies
Works on film and video
Ettore Siracusa's short films and videos are inspired and informed by a tradition of visionary or extra-realist cinema keen to bear witness to the more perplexing and strange in the everyday. In his latter video work Ettore has sought to extend his film documentary fictions, on migration and the depiction of urban environments, to exploring ideas on film memory and baroque architectural forms. The video essay, The House of Doctor Duende , (1997), presents a fictional portrait of an Italian baroque city, Lecce, in a collage of voices, fragmented remembrances and overlays of interpretations. His most recent work, Picture Palaces is a documentary multi-screen video installation for the Australian Centre for the Moving Image, Federation Square, Melbourne.
Research
par Film, Memory, Architecture. A PhD research project which sets out to developing a conceptual and creative practice on the relationships of film memory, architecture and new media technologies. It looks to explore questions of cultural memory in built form and urban environments as performative and transformative acts of remembrance. Principally a practice-led research, the project proposes to produce a video/installation piece and an archive database of city life of Melbourne on film.
Films and Videos
Picture Palaces (2003, Video multi-screen installation at ACMI, Federation Square);
Shanghai Daily (2001, 20 mins, Video documentary);
Jadi Jadian (1998, 50 mins, Video for stage projection);
Lecce: locations for unmade film (1997, 25 mins, Video);
The House of Doctor Duende (1997, 28 mins, Video);
Italians at Home (1991, 29 mins, 16mm, col.);
Yours Faithfully (1969, 5 mins, 16mm, b&w);
The Occupant (1984, 25 mins, 16mm, col.); co-directed with Peter Lyssiotis and Michael Karris;
Natura Morta (1980, 14 mins, 16mm, col.);
Lost (1971, 5 mins, 16mm, b&w);
Short Story (1970, 8 mins, 16mm, b&w).
Select Bibliography
"2 Films", Catalogue, The First Australian Filmmakers' Festival, 23 August 1971. "L'imagine dei settant'anni", Antonio Di Pierro, Il Messagero, page 17, March 1979. "The Occupant", Interview with Peter Lyssiotis, Cantrills Filmnotes, No. 49/50, April 1986. "Alike/Unalike: Cultural Diversity in Australian Independent Film", Bill Mousoulis, Art Link, Vol 11, No. 1, Autumn 1991. "At Home with Ettore Siracusa", Steven Ball, Cantrills Filmnotes No. 65/66, October 1991. "Screen", Julie Rigg and Adrian Martin, ABC Radio 3NR, 25 April 1991. "Wit's End. The ways of irony", Gabrielle Finnane, Catalogue, Museum Contemporary Art, Sydney, May 1993. "Screen", Vikki Riley, ABC Radio 3NR, 13 May 1993. "The New Breed of Ethnic Filmmakers", Pat Gillespie, Cinema Papers, No. 90, October 1992. "Cultural Difference and Ethnicity in the Australian Cinema", John Conomos, Cinema Papers , No. 90, October 1992. "Dream and Drives: Australian Experimental Cinema", Adrian Martin, Catalogue, Australian Focus - Week of Experimental Cinema, Madrid, 1994. "Something Strange Disturbing Us Everyday Day", Ross Gibson, Catalogue, Australian Experimental Cinema, Madrid, November 1998.
Michael Hood
Master of Philosophy Photography & Media Arts
Research Intentions
Investigate how modern training aids/VR and Ancient Buddhist training can work together to gain insight into the nature of reality. Can VR be used to learn about real life situations or is the virtual work too unlike the real? What then makes VR believable? What is it that makes our reality seem real? Could we use this technology to treat mental disorders? How could the Buddha Dharma be combined with the VR technology to treat mental affliction?
NMA Direction
Generating 3D worlds without bounds. Create things we cannot in this physical realm. Learn how to use the tools to express inner thoughts and be able to get a message across in innovative ways. Create the illusion of a real, material work of art brought to life with animation. Explore beyond the physical and cost limitations that apply to art in non-digital environments. Develop a use for computer game engines for art related projects. Use VR to present work in a more intuitive, natural environment; going beyond the flat screen experience.
Biography
Completed College at Dickson College in 1998. http://www.dicksonc.act.edu.au/ Gained basic and advanced Certificate 4 in 3D computer animation for the Canberra Institute of Technology. http://www.aie.act.edu.au/ Industry experience working for Micro Forte (1999-2000). Employed a 3D artist, worked on the computer game Fallout Tactics. http://www.microforte.com/games/bos.htm Interest in photography and digital manipulation. Completed the sculpture “Material Man” in 2004 http://www.machinista.org.uk/submissions/hood/
Eunah Lee
Master of Philosophy Photography & Media Arts
Biography Publication
2006 "A study on the changes in the communication between viewers and digital art as experience", Journal of Korea Digital Design Association, Study of Digital Design Vol.7 No. 2
Seminars
2005 "Cognition of space in new media installation: Integration of exhibit and virtual space" 2005 CNMA Postgraduate forum at ANU 2004 "The Study of the Relationship between Virtual Space and Exhibit Space with Integration of Computer Animation and Installation" 2004 CNMA Postgraduate forum at ANU
Teaching
2006 Part-time lecturer, [Offline media Design] Industrial Management Design Graduate School at Hanyang University
Exhibitions
2006 Environment Art Organization, [Spectrum Festival of Contemporary Art] 2006 Japan Society of Basic Design & Art, [2006 Kurasaki Conference and Exhibition] 2006 Korean Society of Basic Design & Art, [2006 KSBDA International Spring Conference & Exhibition: Basis Design & Art and Sensibility]
MPhil Research Direction
Digital Art can be defined as a form of communication in which it presents visual stimuli to the viewers and invoke their response using high-tech equipment use. The most significant characteristic of digital art is immersive virtual reality. The main concept of virtual reality in the early stage was a focus on presenting virtual reality visually to the viewers as realistic as possible. However, when real digital era came in the 20th century, digital art works began to assume a different aspect of virtual reality which concerns human sensual experiences. It has been changed now into a way of communication in which viewers can have direct experience by interacting with such spaces as open places. It is important to point out that the viewers will choose physical space not cyberspace as real digital communication place for the future. Although raised by the analogue generation, the new generation that has a digital way of thinking is likely to pursue unique ways of communication more complicated than those of the previous generations. For better communication in this rapidly changing world, future studies should include serious investigation on the relationship between viewers and their digital experience in the physical space.