[-empyre-] interpreting datasets from science and natureinanimation (Richard)
christopher sullivan
csulli at saic.edu
Wed Feb 24 16:39:28 EST 2010
Hi Richard, I am the guy that wants animations about love, hate, birth, sex, and
death.(not necessarily in that order)
your rules of engagement leave me a little cold. why would this be a goal?
"greatest possible distance between
human senses and computer code that is achievable through the
simplest material means"
what part of the human condition would make this a mandate?
why would this be effective, or rather effective at doing what?
I know I am being a little aggressive here, but this is coming from
someone who does not think Data means anything, nor does emulsion.
chris.
Quoting Richard Wright <futurenatural at blueyonder.co.uk>:
>
> > Surely though most visualization is tweaked towards some form of
> > aesthetic
> > quality either for clarity of purpose/readability or 'wowing' an
> > audience
>
>
> I once wrote that an effective data visualization (in art and
> science) was one that made the "greatest possible distance between
> human senses and computer code that is achievable through the
> simplest material means". By which I meant that it is most successful
> when there is a creative tension between what the data "means" and
> what the image "means". If we lose this link altogether then I don't
> think it's really data visualisation anymore - it's just
> visualisation. What makes data visualisation so interesting to me is
> this link to other levels of meaning, knowledge and materiality. It's
> like a photo but more so.
>
> To some extent this is like what film theorists mean by the
> indexicality of photographic film making. Which I understand as the
> degree to which the image's status as a record of something affects
> its meaning for us. So it doesn't apply only to photographic film
> making. It can also apply to animation in the way that a hand drawn
> animation acts as an material record of the hand gestures of the
> artist (didn't Kittler say something about this as regards the
> history of handwriting?). So when an animator rotoscopes from a video
> its is a little like they are "re-photographing" it, in the sense of
> transposing it through another system of physical forces (and other
> stuff, but I'm not going to be rigourous right now). And now that we
> are used to the idea of computers extracting all sorts of things like
> whole 3D scenes just from analysing video footgage, we shouldn't be
> so surprised to hear that an animator might be extracting all sorts
> of interesting stuff when they appear to some to be no more than
> tracing over some video frames.
>
> But I digress. Data visualisation seems to me to operate differently
> to traditional indexicality, partly because the relation between data
> and image is so defined, systematic, like cause and effect, not just
> at the level of meaning (it often "creates" the object as much as
> "points" to it). And also partly because it can be so arbitrary,
> without the usual physical limitations of emulsions. It is up to the
> artist or scientist to write their visualisation algorithm and argue
> for its appropriateness. There's still no accepted way for a
> scientist to distinguish a "good" data visualisation from a "bad"
> one. But I think we can start to talk about how to distinguish "good"
> data visualisation art from "bad".
>
> Richard
>
> On 23 Feb 2010, at 08:27, Corrado Morgana wrote:
>
> > Hi Richard,
> >
> > I kinda agree about Ryoji Ikeda. I've seen performances of his
> > music, which
> > is usually generated via some synaesthetic process but rather than
> > it being
> > purely generative it is heavily edited, composed, constructed for it's
> > aesthetic qualities. I love it!
> > The accompanying visuals are also heavily composed but follow some
> > form of
> > mapped visualisation, again skewed towards visual effect/affect.
> > There is
> > definitely some relationship to the audio though.
> >
> > I wasn't sure what I was watching either but I grew up with Designers
> > Republic and Wipeout so it worked for me. Seen any of Hexstatic's
> > stereoscopic pop videos? -same aesthetic but not really data vis.
> >
> > Ikeda's work at the recent Decode exhibition..loved it (again),
> > felt like I
> > was a the starship captain I've wanted to be since boyhood ;-)
> > I think the data was actually starcharts but visualised in 3
> > separate forms.
> > Not sure what the animation was actually for though (sequentially
> > selecting
> > star proximity from a fixed point?)
> >
> > Surely though most visualisation is tweaked towards some form of
> > aesthetic
> > quality either for clarity of purpose/readability or 'wowing' an
> > audience
> >
> > Off I go...
> >
> > C
> >
> > -----Original Message-----
> > From: empyre-bounces at lists.cofa.unsw.edu.au
> > [mailto:empyre-bounces at lists.cofa.unsw.edu.au] On Behalf Of Richard
> > Wright
> > Sent: 22 February 2010 9:50 PM
> > To: soft_skinned_space
> > Subject: Re: [-empyre-] interpreting datasets from science and
> > natureinanimation (Richard)
> >
> > Ah yes Corrado, I saw his concert at Ars Electronica last year. But I
> > couldn't figure out what the data was that he was visualising. Very
> > attractive, but I was afraid it could fall into the "what am I
> > looking at?" problem in digital media arts?
> >
> > Speaking of this kind of "stadium" media art, I remember seeing one
> > of Semiconductors visualisations of solar activity (or something) a
> > couple of years ago. Very attractive, but I remember waiting for
> > "something to happen". I think this is another example of the time
> > based media issue. Maybe the suns radiation was not generating the
> > kind of "figures" that could develop over perceivable time, or at a
> > scale of human perception. It was more like music than film...
> >
> > R
> >
> > On 21 Feb 2010, at 11:45, Corrado Morgana wrote:
> >
> >> Lovely stuff Richard... Ryoji Ikeda anyone?
> >>
> >> Corrado Morgana
> >>
> >> -----Original Message-----
> >> From: empyre-bounces at lists.cofa.unsw.edu.au
> >> [mailto:empyre-bounces at lists.cofa.unsw.edu.au] On Behalf Of Richard
> >> Wright
> >> Sent: 19 February 2010 10:38 PM
> >> To: soft_skinned_space
> >> Subject: Re: [-empyre-] interpreting datasets from science and nature
> >> inanimation (Richard)
> >>
> >> Thanks Suzanne, I know and love Thorsten Fleisch's work. His fractal
> >> animation (what's it called?) is possibly the only artistically
> >> successful animated film of that particular mathematical object I've
> >> seen. He seemed to keep cracking at it until he finally brought out
> >> some of the magic of that little equation.
> >>
> >> The Spiral Galaxy reference actually sounds similar to a lot of the
> >> commercial animation I've been doing recently, which are mainly
> >> science docs. For the "origin of everything" kind of work we usually
> >> resort to visual simulation techniques. But sometimes we're asked to
> >> "reinterpret" a piece of scientific data visualisation, usually to
> >> make it simpler, more graphic. And sometimes we do it in a "data
> >> visualisation style". But I won't get too deeply into that right now.
> >> After all, it's "my week" soon...
> >>
> >> Richard
> >>
> >> On 18 Feb 2010, at 09:16, Suzanne Buchan wrote:
> >>
> >>> Hello all, hi Richard
> >>>
> >>> Not having read your project draft, it might be a stab in the dark
> >>> but the following works
> >>> and projects might be what you are describing:
> >>>
> >>> An artist who uses distinctly analog 'stuff', including growing
> >>> crystals(!) on film strips
> >>> and using his own blood is Thorsten Fleisch.
> >>> His website has most of his films and conceptual ideas: http://
> >>> fleischfilm.com/
> >>> His poetic film ENERGIE! / Energy! is made by exposing photo paper
> >>> to high voltage discharge
> >>> Fleisch also published an essay describing his chemical and physics
> >>> based process:
> >>> "Borderline Bilder." in animation: an interdisciplinary journal
> >>> 2009, No 2.
> >>>
> >>> Also, FORMATION OF A SPIRAL GALAXY from The Four-Dimensional
> >>> Digital Universe Project, Japan
> >>> is a remarkable film that uses astronomy data sets to create what
> >>> the film title describes:
> >>> http://4d2u.nao.ac.jp/english/index.html
> >>>
> >>> a 1 1/2 minute excerpt used to be downloadable, and there is a new
> >>> project up on the site as well.
> >>> An essay on the process by Takaaki Takeda, National Astronomical
> >>> Observatory of Japan,
> >>> for Siggraph:
> >>> http://portal.acm.org/citation.cfm?id=1281740.1281793
> >>>
> >>>
> >>> A special issue on animation in sci- and biotech is in planning for
> >>> the ANM journal, and this is the
> >>> kind of work we aim for our authors to address.
> >>>
> >>> Suzanne
> >>>
> >>>
> >>> -----Original Message-----
> >>> From: empyre-bounces at lists.cofa.unsw.edu.au on behalf of Richard
> >>> Wright
> >>> Sent: Tue 2/16/2010 23:25
> >>> To: soft_skinned_space
> >>> Subject: Re: [-empyre-] CG and all things fuzzy, and some thoughts
> >>> on ethics
> >>>
> >>> Hi there,
> >>> I just wanted to respond to a couple of recent posts about animated
> >>> documentary and those thorny indexicality questions.
> >>>
> >>> I once wrote a proposal called "Data Visualisation as the Successor
> >>> to Documentary Film Making" (thinking actually of animated film
> >>> making). I wonder if Paul or Erik or anyone else had any thoughts
> >>> about this possibility of taking data records and animating them?
> >>> Either directly and algorithmically or using more interpretative or
> >>> even non-digital techniques? The source of the data and the
> >>> circumstances in which it was obtained can also create difficult
> >>> ethical questions, quite apart from questions of veracity (they
> >>> might
> >>> have been obtained under torture for example).
> >>>
> >>> There are very few film examples of this I can think of, not even my
> >>> own. One of the few is Aaron Koblin's "Flight Patterns" (http://
> >>> www.aaronkoblin.com/work/flightpatterns) and another is Jane
> >>> Marsching's "Rising North" (http://www.flickr.com/photos/
> >>> efimeravulgata/3496999939 for a view of the installation version of
> >>> the video). Andrea Polli possibly. Much of it to do with climate
> >>> change data. I'm not mentioning these specific ones because I
> >>> particularly like them (the "Rising North" piece, for instance,
> >>> looks
> >>> a bit too much to me like deciphering a multimedia interface). But I
> >>> was struggling to think of any others and I wondered if anyone else
> >>> knew of any film makers that were moving in this direction...
> >>>
> >>> Richard
> >>>
> >>> On 15 Feb 2010, at 18:37, Paul Ward wrote:
> >>>
> >>>> Hi, it's me again!
> >>>>
> >>>> A couple of my main research interests are Animation (quelle
> >>>> surprise!) and Documentary, and I've been looking into how
> >>>> animation and nonfiction work together (or not) for some time now.
> >>>>
> >>>> See Chapter 5 of my book "Documentary: The Margins of
> >>>> Reality" (Wallflower, 2005); plus "Animated interactions: animation
> >>>> aesthetics and the 'interactive' documentary" in S. Buchan (ed.)
> >>>> with David Surman and Paul Ward (Associate Eds.) Animated
> >>>> 'Worlds' (John Libbey, 2006). The latter discusses 'Going Equipped'
> >>>> alongside Bob Sabiston's 1999 short 'Snack and Drink'
> >>>>
> >>>> I think the idea of animation as a 'filter' is apposite - it is the
> >>>> filter through which re-presentations of real people and events are
> >>>> 'creatively treated' (to echo John Grierson again). This also makes
> >>>> some interesting possible connections to animation and memory, or
> >>>> animation and states of mind, and how these areas overlap (or
> >>>> contrast) with 'documentary'. Animations like 'Waltz with Bashir',
> >>>> 'Persepolis' or Andy Glynne's short films 'Animated minds' (about
> >>>> mental health) are all, arguably, sub-types of the animated
> >>>> documentary category, but approach it in very different ways
> >>>>
> >>>> best wishes
> >>>>
> >>>> Paul
> >>>>
> >>>>
> >>>> ________________________________
> >>>>
> >>>> From: empyre-bounces at lists.cofa.unsw.edu.au on behalf of
> >>>> christopher sullivan
> >>>> Sent: Sun 14/02/2010 18:22
> >>>> To: soft_skinned_space; Suzanne Buchan
> >>>> Cc: soft_skinned_space
> >>>> Subject: Re: [-empyre-] CG and all things fuzzy, and some thoughts
> >>>> on ethics
> >>>>
> >>>>
> >>>>
> >>>> Hi Suzanne, thanks for the generous discussion. As a "practitioner"
> >>>> I will say
> >>>> that I am really not too bothered by the issues of representation,
> >>>> and truth, or
> >>>> authenticity, I think those are interesting points of discussion,
> >>>> but nothing
> >>>> that will ever be cured. but are we really that confused in the
> >>>> theater? I have
> >>>> found that children for instance have very clear understandings of
> >>>> what is real,
> >>>> what is manipulated, what is fantasy. the idea that media is
> >>>> continuously lying
> >>>> to us, can also lead to a lot of political empathy,
> >>>> I teach an alternative animation history class, and one of
> >>>> our weeks we
> >>>> show all non fiction animation.
> >>>> here is the week.
> >>>> Reading: Understanding Animation, chapter 3 Narrative strategies.
> >>>> 68-92
> >>>>
> >>>> Week 6 October 19th NON FICTION-
> >>>> These films all use animations power to manifest images that have
> >>>> no filmic
> >>>> record. The result is a curious take on truth and representation..
> >>>> Is there an
> >>>> emotional safety in these cartoony depictions, of otherwise
> >>>> unbearable images?
> >>>>
> >>>> Roger Ebert , speaking about Grave of the Fire flies.
> >>>> John and Faith Hubley. Sample 1960-75 The Dara Dogs. Denise
> >>>> Topicoff.
> >>>> -A is for Autism, Tim Web 1998. Champaine by Michael Sporn.
> >>>> Some Protection, Marjut Rimmenen,1987 -Brother, Adam Benjamin
> >>>> Elliot 2003-
> >>>> Going Equipped ,Peter Lords 1989 -Abductees , Paul Vesters 1998
> >>>> The Fetishist, Jim Trainer 1998- Ryan, Chris Landrithe 2003
> >>>> A Room Near By, still life with animated dogs, Paul Ferlinger
> >>>> 2002- 2004
> >>>>
> >>>> these films all deal with the strange in between possibilities of
> >>>> animation as a
> >>>> filter for truth. I often show Ryan this week also, The students
> >>>> are always
> >>>> interested in discussing the inclusion of Chris Landreth in the
> >>>> film. it is
> >>>> both interesting and problematic, that his desire to implicate the
> >>>> documenter,
> >>>> is also very problematic. does he truly believe that his state of
> >>>> crisis
> >>>> parallels Ryan Larkin, in a SRO facility?
> >>>>
> >>>> I argue that the real issue of representation through animation is
> >>>> not nearly so
> >>>> complicated. and why do we have to create a theoretical censoring
> >>>> bureau,
> >>>> just make the work, and let it hit people, all sloppy and
> >>>> imperfect.
> >>>> do the questions below really need to be brought to some kind of
> >>>> conclusion?
> >>>> is it truly a crisis?
> >>>>
> >>>>
> >>>> "The increasing convergence, barrage and resulting pervasiveness of
> >>>>> manipulated imagery, including traditional and digital animation,
> >>>>> has
> >>>>> overwhelmed many of its viewers, and this has pressing
> >>>>> philosophical
> >>>>> and ethical connotations. In terms of the status of indexicality
> >>>>> and truth
> >>>>> claims of the visual, in 1998 Elsaesser suggested a crisis was
> >>>>> evolving:
> >>>>> "Any technology that materially affects this status, and
> >>>>> digitization
> >>>>> would seem to be such a technology, thus puts in crisis deeply-
> >>>>> held
> >>>>> beliefs about representation and visualization, and many of the
> >>>>> discourses - critical, scientific or aesthetic - based on, or
> >>>>> formulated
> >>>>> in the name of the indexical in our culture, need to be re-
> >>>>> examined."
> >>>>
> >>>> as media professors, I think we have to also challenge media
> >>>> literacy Dogma
> >>>> which implies that all viewers are completely at the mercy of the
> >>>> moving image.
> >>>> once something is digital, sorry Lev, but it means nothing, it is a
> >>>> technical
> >>>> expedient.
> >>>>
> >>>> Animators have the opportunity to carve out new and wonderful ways
> >>>> of creating
> >>>> work and bringing subjects to the screen that were not possible
> >>>> before.
> >>>> A true act of political subversion is the recent screening of Don
> >>>> Hertsfeilds
> >>>> new films. the audience came to see funny. instead they saw an
> >>>> amazing maturing
> >>>> of his work into a dark and beautiful piece that made me weep
> >>>> several times.
> >>>> He really seized the moment to talk about something important.
> >>>>
> >>>> I say let's focus on content, not media, and get to work making the
> >>>> films that
> >>>> we feel must be made. Chris
> >>>>
> >>>>
> >>>>
> >>>> Quoting Suzanne Buchan <sbuchan at ucreative.ac.uk>:
> >>>>
> >>>>>
> >>>>> Renate
> >>>>>
> >>>>> (I can't turn off HTML on the email I'm suing, so I hope the
> >>>>> inserted line
> >>>>> breaks improve reading.)
> >>>>>
> >>>>> Many practice-based animation and film programmes - as well as
> >>>>> photography
> >>>>> and design -
> >>>>> are increasingly replacing analogue with digital, with all the
> >>>>> implications.
> >>>>> While I'm not a hands-on 'practitioner' per se - I don't teach
> >>>>> practice - I
> >>>>> can say that
> >>>>> my university has two programmes, and both use digital tools but
> >>>>> foreground
> >>>>> fine arts-based style, process and students attend life-drawing
> >>>>> classes.
> >>>>> There are others who follow the same material-based philosophy,
> >>>>> including
> >>>>> Simon's and the RCA' this is not, however, representative of the
> >>>>> wider
> >>>>> general
> >>>>> shift to digital.
> >>>>>
> >>>>> With the current disastrous funding cuts at HEIs in the UK, a
> >>>>> room of
> >>>>> computers is more sustainable than puppet animation studios and
> >>>>> art rooms; hence it is becoming digital almost everywhere. This
> >>>>> has
> >>>>> implications on how students learn, speeds up production
> >>>>> instead of
> >>>>> slowing down, the process of drawing, painting and model building
> >>>>> is very much part of developing narrative, and good analogue films
> >>>>> need time. Others here in empyre who are practice-based can
> >>>>> probably
> >>>>> answer your question better.
> >>>>>
> >>>>> Your question about CGI brings me to another set of thoughts about
> >>>>> the
> >>>>> digital and the artefact and some ethical implications that arise
> >>>>> from the
> >>>>> use of CGI in animation and film. Since the digital shift, the
> >>>>> manipulated
> >>>>> moving image has been the focus of heated debates around
> >>>>> representation,
> >>>>> truth values and ethical responsibility of its commissioners,
> >>>>> makers and
> >>>>> distributors. The unreliablility of the photographic image as it
> >>>>> became
> >>>>> enhanced or altered by digital technologies has had a profound
> >>>>> effect
> >>>>> on audiences, a topic thematised by Thomas Elsaesser, Lev Manovich
> >>>>> and Siegfried Zielinski, ethical philosopher Jane Bennett (The
> >>>>> Enchantment
> >>>>> of Modern Life, 2001) and by others who may be on empyre.
> >>>>>
> >>>>> The increasing convergence, barrage and resulting pervasiveness of
> >>>>> manipulated imagery, including traditional and digital animation,
> >>>>> has
> >>>>> overwhelmed many of its viewers, and this has pressing
> >>>>> philosophical
> >>>>> and ethical connotations. In terms of the status of indexicality
> >>>>> and truth
> >>>>> claims of the visual, in 1998 Elsaesser suggested a crisis was
> >>>>> evolving:
> >>>>> "Any technology that materially affects this status, and
> >>>>> digitisation
> >>>>> would seem to be such a technology, thus puts in crisis deeply-
> >>>>> held
> >>>>> beliefs about representation and visualization, and many of the
> >>>>> discourses - critical, scientific or aesthetic - based on, or
> >>>>> formulated
> >>>>> in the name of the indexical in our culture, need to be re-
> >>>>> examined."
> >>>>> (Elsaesser, Thomas, "Digital Cinema: Delivery, Event, time", in:
> >>>>> Cinema Futures: Cain, Abel or Cable?,1998. Pp. 201-222)
> >>>>>
> >>>>> While following these debates, I became sensitised to one
> >>>>> specific i
> >>>>> mpact of manipulated images during a screening of Roland
> >>>>> Emmerich's
> >>>>> 1994 Independence Day. In the rather naive encounter between the
> >>>>> American missionaries and the alien Mother ship we witness a
> >>>>> brief
> >>>>> moment, only a few frames, when a fireball engulfs the pilot on
> >>>>> impact.
> >>>>>
> >>>>> Now in itself, this is not an unfamiliar scene, and it has been
> >>>>> repeated
> >>>>> in action and war films to excess. My point here is that the
> >>>>> image
> >>>>> manipulation was of the 'invisible' sort, i.e. not 'in-your-face'
> >>>>> CGI that
> >>>>> creates spectacle that is highly aware of its difference to so-
> >>>>> called
> >>>>> normal perception and representation.
> >>>>>
> >>>>> The fireball in the cockpit was created to look like live action.
> >>>>> So - what's the problem? Well, in that fraction of a second of
> >>>>> ID4,
> >>>>> an image flashed in my mind that, depending on your generation,
> >>>>> may also be indelibly etched in your own.: this 1963 photo by
> >>>>> Malcolm Brown
> >>>>>
> >>>>> http://en.wikipedia.org/wiki/Th%C3%ADch_Qu?ng_D?c
> >>>>>
> >>>>> The mental image of this while watching ID4 was an emotional
> >>>>> response
> >>>>> on my part, a response of what could be described as 'negative
> >>>>> empathy'
> >>>>> that incited ethical awareness about the inherent 'wrongness' of
> >>>>> this scene.
> >>>>>
> >>>>>
> >>>>> This personal example might illustrate why we need articulated
> >>>>> critical
> >>>>> reactions to films like these, to facilitate a sober
> >>>>> understanding of the
> >>>>> impact such films are having on our collective sense of ethics.
> >>>>>
> >>>>> In light of the inane acceptance of violent images
> >>>>> just because we are 'used to them' and the role CGI and animation
> >>>>> has to play in this, addressing the crisis rooted in the loss of
> >>>>> indexical
> >>>>> truth could effectively address a re-examination of the discourse
> >>>>> around
> >>>>> ethical responsibility in image production. Discussions around
> >>>>> animation -
> >>>>> especially the kind we are not supposed to see - have tended to
> >>>>> focus
> >>>>> on technical wizardry and the properties of programmes to create
> >>>>> the
> >>>>> impossible. It may be part of a new body of work for critical
> >>>>> investigations
> >>>>> of spectatorial manipulation in a digital age, a territory that
> >>>>> needs
> >>>>> ethical navigation to understand the philosophical
> >>>>> consequences of
> >>>>> this kind of imagery.
> >>>>>
> >>>>> The next issue of the ANM journal (5.1) will have an essay by
> >>>>> philosopher
> >>>>> and cultural studies scholar Elizabeth Walden that explores just
> >>>>> these
> >>>>> issues
> >>>>> and discusses a puppet animation film; she discusses how
> >>>>> "elements of
> >>>>> the narrative structure and the camera work give the materials
> >>>>> used in the
> >>>>> character's project a moral standing in the film, which draws
> >>>>> audience and
> >>>>> filmmaker as well as the character into an ethical situation
> >>>>> which is
> >>>>> significant to our shared moment in the digital era."
> >>>>>
> >>>>> So I'll leave this for now, and see if anyone has some thoughts on
> >>>>> it.
> >>>>>
> >>>>> I'm also happy to engage with the Quays' works, if there is
> >>>>> interest out
> >>>>> there.
> >>>>>
> >>>>> Suzanne
> >>>>>
> >>>>>
> >>>>>
> >>>>>
> >>>>> -----Original Message-----
> >>>>> From: empyre-bounces at lists.cofa.unsw.edu.au on behalf of Renate
> >>>>> Ferro
> >>>>> Sent: Sat 2/13/2010 04:37
> >>>>> To: soft_skinned_space
> >>>>> Subject: Re: [-empyre-] CG and all things fuzzy
> >>>>>
> >>>>> Dear Paul and Suzanne,
> >>>>>
> >>>>> Can you both talk about how CG fits into your animation
> >>>>> programs? At
> >>>>> Cornell, Computer Graphics and 3D animation is taught by Computing
> >>>>> faculty. It is in the art department where students, particularly
> >>>>> recently, have been creating stop action, frame by frame, roto-
> >>>>> scoping,
> >>>>> drawing based and a medley of other fuzzies. Whether working from
> >>>>> photography based or original drawing. their novel, quirky
> >>>>> rendering
> >>>>> styles, interdisciplinary interests and criticality make their
> >>>>> work fresh
> >>>>> and innovative.
> >>>>>
> >>>>> How does it work in the UK?
> >>>>>
> >>>>> Renate
> >>>>>
> >>>>> Renate Ferro
> >>>>> Visiting Assistant Professor
> >>>>> Department of Art
> >>>>> Cornell University, Tjaden Hall
> >>>>> Ithaca, NY 14853
> >>>>>
> >>>>> Email: <rtf9 at cornell.edu>
> >>>>> Website: http://www.renateferro.net <http://www.renateferro.net/>
> >>>>>
> >>>>>
> >>>>> Co-moderator of _empyre soft skinned space
> >>>>> http://www.subtle.net/empyre
> >>>>> http://en.wikipedia.org/wiki/Empyre
> >>>>>
> >>>>> Art Editor, diacritics
> >>>>> http://muse.jhu.edu/journals/dia/
> >>>>>
> >>>>>
> >>>>>
> >>>>> _______________________________________________
> >>>>> empyre forum
> >>>>> empyre at lists.cofa.unsw.edu.au
> >>>>> http://www.subtle.net/empyre
> >>>>>
> >>>>>
> >>>>
> >>>>
> >>>> Christopher Sullivan
> >>>> Dept. of Film/Video/New Media
> >>>> School of the Art Institute of Chicago
> >>>> 112 so michigan
> >>>> Chicago Ill 60603
> >>>> csulli at saic.edu
> >>>> 312-345-3802
> >>>> _______________________________________________
> >>>> empyre forum
> >>>> empyre at lists.cofa.unsw.edu.au
> >>>> http://www.subtle.net/empyre
> >>>>
> >>>>
> >>>>
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> >>>> _
> >>>> _
> >>>> _________________________
> >>>> empyre forum
> >>>> empyre at lists.cofa.unsw.edu.au
> >>>> http://www.subtle.net/empyre
> >>>
> >>>
> >>> <winmail.dat>_______________________________________________
> >>> empyre forum
> >>> empyre at lists.cofa.unsw.edu.au
> >>> http://www.subtle.net/empyre
> >>
> >>
> >> _______________________________________________
> >> empyre forum
> >> empyre at lists.cofa.unsw.edu.au
> >> http://www.subtle.net/empyre
> >>
> >>
> >> _______________________________________________
> >> empyre forum
> >> empyre at lists.cofa.unsw.edu.au
> >> http://www.subtle.net/empyre
> >
> >
> > _______________________________________________
> > empyre forum
> > empyre at lists.cofa.unsw.edu.au
> > http://www.subtle.net/empyre
> >
> >
> > _______________________________________________
> > empyre forum
> > empyre at lists.cofa.unsw.edu.au
> > http://www.subtle.net/empyre
>
>
> _______________________________________________
> empyre forum
> empyre at lists.cofa.unsw.edu.au
> http://www.subtle.net/empyre
>
Christopher Sullivan
Dept. of Film/Video/New Media
School of the Art Institute of Chicago
112 so michigan
Chicago Ill 60603
csulli at saic.edu
312-345-3802
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