Thesis contents (incl Discussion notes)
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Table of Contents (working Doc Feb 2013)
Abstract
Acknowledgements
1. Research Context
1.1 Introduction
1.2 Research questions,
aims and objectives
1.3 Space-Time
exploration and Contemporary 3D Animation
1.4 Organising Interdisciplinary
Practice-Based Research: Helix
(2012)
1.5
Discussion: Articulating practice-based
research in an evolving and inclusive research environment?
2. Nature
2.1 Introduction: Nature and Mind/Body Duality
2.2 Extending Theories of Animated ‘Life’: Holism and Nature
2.3 Observation: Leonardo, Experiment and Engineering Research Experiments (2010)
2.4 Sensory Body: Tacit knowing, the senses and the natural
environment
2.5 Nature: Computer Generation and Craft Stop-Motion
Animation
2.6
Discussion: How are Eye-Body-Natural
environments engaged with in
Contemporary 3D Animation processes?
3. Material and Light
3.1
Introduction: Eye/Body relations in contemporary 3D Animation practice
3.2 Tension between Craft/CG: The Turn to Craft & Nature Interconnection
(2008)
3.3 Craft Theory, Process and Materiality in 3D Animation practice
3.4 Applying Basic Principles of CG Modelling to Craft:
Materialising One (2008)
3.5 Applying Craft thinking to CG Modelling Tools Research
experiments (2012)
3.6
Materialising Light as Energy : Maholy-Nagy Research
experiments(2012)
3.7 Materialising Code as Information : Virtual craft, Demoscene
and Raspberry Pi
3.8 Discussion:
Is the tension between
CG/Craft one of Materiality or one of communication between self and context?
4. Pattern and Error
4.1 Introduction: Eye/Body knowledge
acquisition and organization
4.2 Cybernetics Theory: Gregory Bateson and
Second order Cybernetic Theory
4.3 Observing Order and
Randomness: Visual Perception and Perceptual Error
4.4 Observing Nature:
Pattern order and categorization practice
experiments (2012)
4.5 Sensorial
Processes: Recursion and repetition practice
experiments (2012)
4.6 Producing
Stop-Motion in a ‘Natural’ context practice
experiments (2012)
4.7
Discussion: Can shifting from an observed universe to one
of cybernetics, information and communication bring cg/craft closer
together?
5. Time
5.1 Introduction: Linearity, Recursion and Emergence in Time and
Memory
5.2 Linear Time in Nature: The observation of material decay
5.3 Linear Time in Stop-Motion and CG Animation Production Research
experiments
5.4 Recursive mechanisms in Natural Growth
Research Experiments (2010)
5.5 Recursion in Contemporary 3D Animation practice-theory
5.6 Time Unfolding: Linearity, Recursion and Reflection (Helix 2012)
5.8 Discussion:
What are the differences between Linearity, Recursion and Emergence? How does
one encounter these in a contemporary 3D Animation process?
6. Mind and Communication
6.1 Introduction: Eye-Body-Environment: Perception, Proprioception
and knowledge acquisition
6.2 Limitations of an observed universe
6.3 Communication between things: Ley’s Blade ’Call & Response’
6.4 Software architectures boundaries and the Artists Will
6.5 Identity and the creative will
6.6 The Iterative experimental Process and the organisation of
recall Helix (2012)
6.7 Discussion: Recursive
mechanisms/Recursive information, nature-mind-body, Pattern, Control, Purpose
and the artist’s signature.
7. Conclusion:
8. Recommendations
Further
development of Helix as a visualization and communication tool for Visual Arts
Research
Further
research project development on aspects of currently suspended lines of
investigation
9. Portfolio
10. References
12. Appendices
Helix
DVD: 3DStudio
Max Software File
Helix Still
Image from the Model
Practice
Experiments DVD
Selected
Helix Research Track Images
Practice
Experiments Samples
Craft
Experiments
Helix Craft
Model
