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A4 handout sheets

Welcome to MA DIGITAL ARTS / DIGITAL ARTS ONLINE.
Digital technology is so deeply embedded into wider creative practice, that it is no longer thought of as simply a tool. It is with this benchmark that the Digital Arts course sets an agenda that challenges the traditional sub-cultures of creative practice. By using concept and medium, this year's students dispute any simple definition of the term 'Digital Arts'.

This show presents the work of face to face and online students. They have collaborated across the classroom and across the oceans, from Canada to Greece to Peckham. This collaboration took the form of group crits, the sharing of blogs and wiki spaces, challenging the traditional notions of art practice. Confidence and critical assessment of their work has been developed through several self initiated exhibitions.

The end of year show is the fruition of a sustained period of project development. Every individual has been pushed into areas of research they had not anticipated, and learnt skills they thought would be impossible. These students have travelled together a long way; peer to peer support has been vital in developing a strong sense of the group, and in producing this show.

Andy Stiff, Senior Lecturer in Digital Arts.

=Fish and Plastic Part 3=

By performance artist Mieko Takanami
7.30 - 7.45 pm July 14th - Ground Floor corridor

You can download her most recent roll [|here]

Dan Fone
A Questionnaire Regarding the Word All dan@hammerheadrabbits.com http://www.humjam.com

I set out to make a history of the word ‘all’. I am approaching this by asking people to help me in compiling a database of thoughts about this word. I am also interested in observing the effect of this participation on my audience’s view of the subject matter.

300 word text In my project, I set out to make a history of the word ‘all’. I realised impartation of simple historical facts would not make for compelling art work. I wanted to make something that would require some investment from the audience, but which would still work if people did not want to spend too long with it.

I have decided to approach this by making a questionnaire. People will have the option of completing as much or as little as they wish. My audience will then have the opportunity to help me in compiling a database of thoughts about this word. The project has become more of an assessment of the word’s present state with a view to looking both backward and forward.

I’d like to invoke our old friend Marcel Duchamp and his lecture ‘The Creative Act’. In this lecture he said that the audience has always been crucial in completing an artwork, in the way they bring their own thoughts and experience to it. In this piece I’m making that viewer process the focus of the work. In filling out the questionnaire and subsequently reading other answers people's thoughts will hopefully become more actualised than they might have been if they had engaged with the work in a more conventional manner.

= = = = =Ayhan Oensal= Mental Images email@ayhan.oensal.net http://ayhan.oensal.net/


 * Mental Images has been developed over two years on a MA Digital Arts program at the University of the Arts London (Camberwell College). It is a participational piece of video art that intends to encourage self reflection by including the observer in a narrative.

Mental Images consists of two parts. The first part is a thought collector which is basically a website connected to a database accessible through the internet. Everyone who feels like participating can leave a thought or a statement. These statements will be randomly included into the narrative, so that the meaning and the relationship of the narrative is changing dynamically.

The second part of Mental Images is a video. The video tells a story and includes the collected statements from the database. At a crucial moment the watcher will be included into the narrative by means of a video capture and becomes part of the art piece.

Research: Activism & confrontation, relational aesthetics, emotions, digital responsive art installations

Contextual references: Gran Fury, Tessa Boffin, David Wojnarowicz, Nam June Paik, Simon Biggs, Camille Utterback **



Mental Images is a participational piece of video art that intends to encourage self reflection towards HIV by including the outside world and the observer in a narrative.
 * A 50 word brief description of your project**

=Chris Lawrence= = Television = chriscoughed@gmail.com = = =** I have spent the last two years studying current television and creating my own re-edits of existing programmes. The aim is to give the viewer the opportunity to see familiar programmes from a different perspective. I am attempting to ‘un-edit’ the programmes to try to strip away the visual and auditory ‘fluff’ and discover the programmes' core values. **=

The speed and aggression of modern editing techniques means that the viewer has very little time to digest the barage of information that is being fed to them. As the images are constantly refreshed, strange montages are created and emotive sound and imagery are combined to convey the narrative and more importantly, the tone and moral standpoint of the programme. I have developed various techniques to deal with the different material to create my own view of the original programmes' underlying atmospheres. By changing the amount and context of information, it allows the viewer to absorb details that would otherwise go unnoticed.

I have tried to avoid making a moral judgement of current TV. Producers are concerned with supply and demand and popular programmes are only a reflection of human interest. This is what I find truly fascinating. Rather than preach to people about what I think they should be watching, I would like to ask them to question what they find interesting about the programmes they watch and why.

= =

**A 50 word brief description of your project**
My project looks at the way that television programmes are constructed to create carefully considered atmospheres and specific messages. I have used various techniques to attempt to ‘un-edit’ the source material and unveil the original programmes’ core values. = =

= = =Mieko Takanami= 'Matter and Antimatter are two sides of one coin' = mieko.takanami@btinternet.com = = http://miekotakanami.wordpress.com/ = = My final piece was created from the desire to visualize my thesis: 'Matter and Antimatter are two sides of one coin'. Matter is everything in this world that we can perceive, while Antimatter is beyond our sense perception, though it is a reflection of the Matter world. I wanted to share this fundamental truth, in which I believe, with a multitude of people. I have examined the outcome of research at CERN and contrasted it with Spiritual outlooks. The phrase is also the title of a series of films I have made. I have focused on the fact that Antimatter is not only invisible but also can’t be touched, it has no weight, no form. In that case the only way to engage with Antimatter is through metaphor or abstraction. This is the case in an earlier video: ‘Number 1 London Bridge’. My final film 'Optical illusion creates an after image’ evolved from the same thesis. It consists of a series of various shapes and symbols. Each image is followed by a blank screen where after images appear as an optical illusion to the eye. These after images seem to me to be a visualization of Antimatter as like Antimatter they don't exist. = = = = = =**A 50 word brief description of your project**= My fascination with the thesis; ‘Matter and Antimatter are two sides of one coin’ led me to create moving image videos. ‘Optical illusion…’ appears to one's eyes as a pure form of visualizing Antimatter in the non-existent after images left by a sequence of symbols. = =

=Patrizio Spadoni= = “The Lord of the Rabbits” = Expanding Contents in interactive TV Casual Games spadonicosta@hotmail DOT com =** http://pspadoni.wordpress.com/ **=

=** The basic structure of my project is a matching-pairs (Memory) game intended for a very young audience with a story loosely inspired by Tolkien’s “The Lord of the Rings” and Golding’s “The Lord of the Flies”. I invented a short story about a legendary island inhabited by nice tiny bunnies threatened by an evil presence and nasty predators. The rabbits have to fight for their liberty and their beautiful island. I also envisaged a progressive game design with three main game levels: **=

First level: The Fight In this level the player has to clear all the predators from the island.

Second level: Survival In this level the player has to feed and take care of the endangered baby bunnies

Third level: Victory In this level the player has to build an idol mask in order to defeat the evil presence on the island.

The player has to match all the tiles pairs in all game levels in order to set all the baby bunnies free in the end. Story text, hints and suggestions are provided in the upper area of the screen and this gives the player the impression of having a real mission to accomplish beyond playing a plain memory game. This is quite unusual in interactive TV casual games and should be the key element that makes a difference in my project.

I ensured all the game assets are compliant with iTV and set-top- boxes technical standards for colour depth, size, transparency settings and anti alias management. The game art has been created with Adobe Illustrator and exported as 8-bit and 24-bit bitmaps. Every object in the bitmap has hard edges against a solid color background (RGB value 255 0 255) set as transparent in the first index of the 8-bit colour palette.

Having all the required technical features for interactive TV, this game can be broadcast on an Open TV - compliant satellite channel like B SKY B or SKY Italia.

=**A 50 word brief description of your project**= Casual games for interactive TV are very simple: their main goal is to let the occasional player try their skills in an uncomplicated game environment. In this project I tried to enhance contents in this kind of media by expanding their narrativity, designing a game around a story and drawing all graphics.

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=Tim Pickup= Long Exposure Photography, Video & Sculpture tim@tpickup.demon.co.uk http://timpickup.wordpress.com

The final outcome of this project has been to render life-size, full colour sculptures of the space passed through by a human being in motion; effectively long exposure sculptures.

The bulk of my time on the course has been spent working out exactly how to use a mixture of java programs and 3D modelling packages to convert animated motion sequences into a format that can be physically rendered. The final sculptures are constructed from over 1000 meticulously cut out and glued pieces of corrugated cardboard, which are then covered in papier-mache and painted. Apart from being a fun hands on solution, the contrast between the high-tech 'behind the scenes' calculations and the low-tech finish adds a friendly element of intrigue to the pieces - just exactly how were they made?

Throughout the course I have carried out experiments in long exposure digital photography and video as a means of checking progress, and have also contextualised my work by examining historical artists and scientists. The key inspiration has been the chronophotography of Etienne-Jules Marey, and the way in which twentieth century avant-garde artists, and in particular the Italian Futurists, interpreted his images almost exactly 100 years ago.

I have chosen to model two actions which both address issues of balance. One piece models the artist falling off a plinth (or has he been pushed?), and in the other the artist vaults over the balcony of a stairwell. Both pieces could perhaps also be read as metaphors for my future life as an artist, which too is in the balance.



My project attempts to substantiate the space carved out by a person in motion. I use an array of java programs and 3D modelling packages to get the motion data into a fit state to render as a traditional art object.
 * A 50 word brief description of your project**

=Nan Zhang= = “London Impression” = High resolution moving chronophotography editing with sound

= peterpan_31@hotmail.com = []

= The quest for experimental digital art and conceptual visual is a journey with no beginning or end. However, the aim of my project is to explore this city through the way I perceive it (reflection of my mind) and express that way by using images (High Resolution Photography) and audio. My aim was to explain and express the feeling of fragmentary flash memory passing and recorded in my visual mind about London. I hope the visual effect were fragmented and some parts were highlighted randomly. Therefore, I decided to hang some lathy papers up as the background, in order to build a illusion environment. =

I hope to make this project describe my impressions of London. There was hustle and bustle all day in this city, great metropolis, crowded with people, all of them living courteously crammed together. Therefore, the art featured in this project was conceived through a process of research and testing which I hope will identify variations in style, and a unique impression of this city.

= = =  = = = =**A 50 word brief description of your project**= I want to explore and identify the city’s visual and urban culture from a traveller's view. I'm interested in the chronophotography, via high resolution photography experiments video, which reflect mine and other peoples impressions of the city.

=Bob Milner= = PEEP! = bob.milner@yahoo.co.uk **[|http://www.peeep.co.uk]** = PEEP! is a project with one mission: change. We need change. We have to change or perish. We have no divine right to exist. We are nothing but sophisticated bacteria. PEEP! can make a difference; it is an evolutionary and continuous process of questioning. We aim to encourage the people of the world to come together, united in opposition to the current system of governance that perpetuates the oppression of the people, by the people, for the benefit of a few people. Life does not have to be shit. PEEP! does not have all the answers. We think that creating a dialogue and fostering the desire for a new way is more important than imposing a doctrine from above. This should be a fun process! We have to laugh in the face of adversity, a much better plan than keeping up the pretense that all will be well in the end; that science will mysteriously provide the answer. You’d be better off trusting in God. PEEP! is an attempt at offering solutions. We have to reevaluate what is important. Making money isn’t. A tiny minority benefit from that scheme. Most people struggle to enjoy the rewards of their labour. By the time you own the house, you’re practically dead. Just about managing every month, peppered with the occasional ‘treat’ isn’t living; it is existing; stuck in the same cycle. Let art into your life! Art has been significant since the beginning of humankind. We need to claim it back from the artificial system we live in. Art can heal the world. We live in a world saturated with visual material; we need to infiltrate this culture to begin to make a difference. = PEEP! is a project with the aim to make the world come together, united in opposition to the many faces of evil that oppress the people. Art is one way to do this. It is a beginning. Turn away from the corporate whores and the money men. Join the paupers! Revel in poverty! Make your work and make it seen.
 * A 50 word brief description of your project**

= = = = = = = =

=David MacWilliam= //Nonsite// david.macwilliam@gmail.com http://nonsite.com

//Nonsite// represents my Digital Arts research over the past two years. I have been reflecting on how my memories of being an undergraduate art student at the //Nova Scotia College of Art and Design// in Halifax, Canada from 1974 to 1976, relate to my experience as an MA student at //Camberwell College of the Arts//, London from 2007 to 2009. I have been reflecting on the formation of my identity as an artist, on how a sense of community is created by a school or college within a university, and in particular I've been considering the art world as an imagined community of artists regardless of our actual geographical location.

This research has become a memory work. My goal is to create a place for the reader to locate themselves and to help them make sense of the world. I've been reflecting on art events, artworks, exhibitions, people and artist talks that I remember from the mid-1970s and how they contributed to me becoming an artist and as such, part of a larger art world and contemporary art community. Within //nonsite,// I am collapsing my memories of those past events with my current reflections as an online student at Camberwell, an art college in London that I have never visited, yet that has formed a particular sense of community for me.

I have been searching for an appropriate visual form for this net.art project in relation to my written research. One of my challenges has been to determine a design for the content that appropriately reflects and collapses the content from these two distinctly different times: 1974-76 and 2007-09. I have dated each post as part of entry title and made the decision to time stamp the postings in order to arrange the sequence by day and month regardless of year.





//Nonsite// reflects my memories of being an undergraduate art student at the Nova Scotia College of Art and Design in Halifax, Canada from 1974-76, and my experience as an MA student at Camberwell College of the Arts, London from 2007-09.
 * A 50 word brief description of your project**

= **Kenji Ko** = = 040908/040909 = = kenji@kenjiko.com = = http://www.kenjiko.com = = Nowadays Internet users are able to upload or publish any information to the Internet through blogs, wikis, forums, social sites, youtube etc. without necessarily hosting a webpage. This participatory culture ends up making people doubt how faithful the online information is. However, before the internet there were also scandals such as fake news, covered up news, cropped images, journalists asking misleading questions etc. Traditional media has become more gossipy and dramatic; news is as “entertaining” as soap, to keep audiences reading or watching. They present “olds”, not “news”. This has been affected by the “new” media, the internet. = = On 9 April 2008, a distinguished CNN political commentator, Jack Cafferty, made a comment about the relationship between the United States and China on the programme, The Situation Room. He stated: //"… I think our relationship with China has certainly changed, I think they're basically the same bunch of goons and thugs they've been for the last 50 years."// This dramatic and exaggerated comment appeared on a mass medium. This fits Cafferty’s style, which consists of an attention grabbing commentary on the political news of the day. Since January 2009, I started writing Cafferty a letter every day, trying to convince him to re-address his comment on the anniversary of its broadcast. I recorded the same programme one year later. I've uploaded both videos to youtube. My final piece is an interactive installation that reflects my research question about the reliability and quality of the information from the traditional mass media. It interacts with my audiences and my youtube videos in real time. By using new media as its medium, it is basically a parody of the fact that the general public nowadays cannot indeed get the truth from traditional media. Information is transferred in one direction, and the general public are passively receiving that information. The validity of the information is controlled by the media itself. = = = = = =**A 50 word brief description of your project**= Traditional media nowadays is more gossipy and dramatic. News is as “entertaining” as soap, to keep audiences watching. On the 9th April 2008, a CNN commentator, Jack Cafferty stated, "… I think our relationship with China has certainly changed, I think they're basically the same bunch of goons and thugs they've been for the last 50 years."

=**Sale Price (optional)**= The first edition of 10 books (A documentry of over 50 text/visual letters that I wrote to Jack Cafferty since Janurary 2009) £60/each

=Susana Anágua= Ir(reversible systems) anagua112@yahoo.com http://anagua.wordpress.com/


 * “In a scientific experiment designed to study the behavior of populations under stress, fish are incrementally introduced into an aquarium. At first, each fish creates its own space. But, as the space available for each individual gets reduced, the fish become increasingly aggressive towards one another. However, there is a point at which the number of fish is so great that the notion of vital space vanishes and the fish settle down as if resigned to their condition. Metaphorically speaking, this experiment raises an interesting question, there is an obvious interpretation whereby in increased disorganisation violence will ensue, but from a certain point on enters a phenomenon of auto-organisation (restricted available space for each) that results in the lessening of tensions. (Now imagine this at the scale of human society). “ in a conversation with Carlos B. Pereira”

This metaphor has been fundamental to understanding the main concern of my research. Humans have been defined as existing inside a reversible system like a society. States can change and be redefined constantly, because people sometimes cannot just resign themselves to their own condition and position in the structure of the system. It seams there is always some error in the pattern that an individual creates, and this will reach a turning point, and inevitably lead toward chaos. I found a particular interest in visualising the effort that Man and Machine puts into establishing order from disorder, to reorganising systems coming out of the chaos, to producing and inventing new orders, and how much energy they spend on it. It’s the switch and turning point moments, the illusion of transformation, the tension, that I intent to transport to my moving images.

The video-installation intends to combine Man/Machine situations, that in a macroscopical viewing, goes from and individual state of disorder to create new massive patterns of several different kinds of orders. Therefore, in a microscopic analysis, the paint and glass used in the installation reference the concept of recycling; light energy is stored in the organization of the paint particles and by glowing in the dark, the energy is returned. **





In a dark room a video-sound-installation brings up several themes as order, chaos, energy, recycling, effort and society create patterns. The video is projected on the wall and the installation is created when the light of the video is intercepted by suspended objects.
 * A 50 word brief description of your project**

=Zai Tang=

fuze02@yahoo.co.uk
http://zaitang.wordpress.com

"…how do we listen to sounds never before noticed, sounds long vanished, or sounds that are not sounds, exactly, but more like the fluctuations of light, weather and the peculiar feeling that can arise when there is a strong sense of place?" (Toop. 112: 2007)

My work explores the dialogue between sound and space. More specifically, it focuses on the relationship between the soundscape and our perception of the urban environment.

I undertook this project to investigate this in relation to my own experience of London. I felt my interaction with the city was becoming increasingly dislocated and often dictated by routines of work and necessity. Inspired by Situationist ideas of urban exploration, I embarked on a series of journeys stemming from the River Thames. I didn’t plan any routes, I simply let the allure of the landscape and the sounds I experienced lead me towards my next location.

These soundwalks through London's urban terrain were the initial steps I took towards freely recreating my experience of the city. It gave me the opportunity to examine how my perception of the spaces encountered was being shaped by the sounds present and vice versa. En route I collected and recorded the material I've used to create my final piece //Sonorous City//.

My methodologies and aesthetic decisions have been strongly influenced by experimental music and sound-based artistic practice; in particular Acoustic Ecology, defined by R M Schafer as ‘…the study of the effects of the acoustic environment or SOUNDSCAPE on the physical responses or behavioural characteristics of creatures living within it..." (Schafer. 271: 1977)

The final work I am presenting has been realised as an immersive sound installation, which invites the audience to use their ears to engage their minds eye, and experience London in a new sonorous light.


 * References**

Schafer, R. M. (1977) __The Soundscape: Our Sonic Environment & the Tuning of the World__, Vermont: Destiny Books Toop, D. (2007) __To Move Within Sound__, In: Carlyle, A. __Autumn Leaves: Sound and the Environment in Artistic Practise__, Paris: Double Entendre





A 50 word brief description of your project
//Sonorous City// is an immersive listening space, which invites the audience to experience a London illuminated by the ear. Central to my creative practise is an exploration of how the soundscape relates to our perception of urban environments.

Sale Price (optional)
Edition of 50 CD's, price to follow

=Jules Jans= julesjans@me.com
 * Tales of The High Seas **
 * http://www.talesofthehighseas.com **

The crossover between art and science in cartography has always intrigued me, ever since pouring over charts as a child and daydreaming about distant shores, and for my project I wanted to explore this with digital media - combining my interest in maritime charts with a desire to improve my web development skills to a professional level.

My project proposal evolved into creating an illustrated online chart, to see if I could draw a chart of my own and understand and solve the artistic and technical issues involved. To personalize the chart further I planned to add images that I had captured directly. To create the possibility of producing my own content (and primary research) for a web-based chart, I took the opportunity to fulfill a childhood dream of completing a transatlantic passage on a small yacht; during the Spring of 2008 I completed a 36 day crossing, from St Lucia in the Caribbean to the south coast of England.

The resulting project is a chart covering the northern Atlantic ocean and the Mediterranean sea, so far comprising over 18,000 map-tiles created with a combination of Photoshop and Illustrator, with added content rendered dynamically. The site is built with the Ruby on Rails framework, utilizing the Google Maps API.

Whilst little has fundamentally changed in my project since the proposal stage, certain areas have been more concentrated on than others. The concept of using content collected on my trip has certainly given way to the technical aspects of completing my project; the bulk of my coursework has been spent progressing with web development skills, essentially problem solving my original project proposal. In producing my final piece I believe I have achieved my goal of exploring the visual and technical aspects of my original idea and combining art and science in my project.

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Tales of the High Seas is a web-based illustrated chart of the northern Atlantic Ocean combining digital art concepts and web technologies: "How valuable a good map is, in which one views the world as from another world thanks to the art of drawing."
 * A 50 word brief description of your project**

Samuel Dirksz van Hoogstraten, //Inleyding tot de Hooge Schoole der Schilderkonst//, Rotterdam 1678.Cited in Alpers, S. (1987), //The Mapping Impulse in Dutch Art//. IN: Woodward, D. ed. //Art &// //Cartography, Six Historical Essays//. Chicago: Chicago University Press

=Simon Ball= On Being Lost in the City... Digital Imaging, Motion Graphics and Interaction simon@si-dent.co.uk
 * http://**www.si-dent.co.uk

Being lost and disorientated is not seen as a good thing, yet losing oneself often is. At the same time, knowing exactly where we are, all of the time, is considered useful, but not being able to free oneself, to move into the unknown, seems somewhat oppressive. Is it still possible to get lost in the city? What are the implications of being unable to do so?
 * 300 word description of your project**

Inspired by walks through London, my work explores this idea of being lost. I see walking as a kind of anarchic act that goes against the fast paced nature of the city. Urban spaces are becoming ever more developed for automated travel and our experiences of them are constantly changing in response to digital technologies. To me, walking in the city provides a contrast to these developments, a mode of travel unmediated by machines.

I document journeys using a digital camera and/or sound, with a view to rebuilding the experiences in post production. In computer I try to visualise the relationship between mediated perspectives of the city and those of the pedestrian. I am particularly inspired by David Hockney's joiners, in which he used multiple images to depict a subject or scene. By doing this Hockney was able to collapse space by representing different perspectives within a single image. The joiners also provided a sense of time, revealing the movement of the photographer and/or subject as the many photographs were taken. I've tried to distort this sense of time by bringing together elements from different places and making them appear as one entity.



Being lost is not seen as a good thing, yet losing oneself often is. Knowing exactly where you are is important; yet being unable to explore the unknown seems oppressive. Is it still possible to get lost in the city? What are the implications of being unable to?
 * A 50 word brief description of your project**

=Brian C. Morris= "A" 3D Character Animation History, A work in progress bcmorris@the.forthnet.gr []

My aspirations have always been somewhere between fine art and animation. When asked at 5 what I wanted to be when I grew up I said: "an Artist". In 1986 when I enrolled in art school I planned to study animation. As it turned out apart from one 3d ‘coding’ class (you really could not call it animation), the school’s offering of courses which were called things like ‘experimental computer imaging’ were the closest that I got to studying animation back then, so most of my efforts were in fine art. These “experimental computer imaging” courses are now referred to as ‘Digital Media’ where I find myself doing this project.

My Masters of Digital Arts Project concerns 3D character animation. I’m interested in its history and in its ability to enhance the creation of characters and narratives. As an animator I am always striving to become more accomplished, and having a premise is a good way to practice, therefore I needed to find a story. What I am trying to do with my MA project is to tell a story about the History of 3d animation, using the medium of animation. This involved developing a cyclic character-story-character flow, researching animation history, researching and production of the actual content, as well as a myriad of other small tasks. The main concern was finding the right balance between the story and the historic content.

In the show piece I will use a mixture of 2d and 3d elements, to reflect the importance that the history of 2d character animation plays in the development of 3d character animation.

I maintain that this is just a tiny bit of ‘an’ animation history and not the definitive history. The history of animation is quite large and subject to interpretation so I can not attempt to cover it all in this project.




 * A mugshot**

 **A 50 word brief description of your project** My Masters of Digital Arts project concerns 3D character animation. I’m interested in its history and in its ability to create characters and stories. What I am trying to do with my MA project is to tell a story about the History of 3d animation, using the medium of animation.

=Toi Ng= Project Title: The Line of 1000 noeltmng@me.com http://web.me.com/noeltmng/TM_Ng/home.html

Toi Ng started studying “The Line” in 1999. This year, 2009, in her MA in Digital Arts, her research continues with “The Line”. By adding the number '1000' into her study she limits the way in which she works… so she thinks...

**Finding my Line of a thousand.**
A line drawn on paper with pencil. A line drawn on screen with the mouse. A line drawn 1000 times. A line for I, to be counted within the number of a thousand. A line made to be recorded. A line made to build an illusion. A line made to be shown. A line within a space. A line found in a space. A line reflected in a space. A line to react with the space. A line moved within my capability in a space. A line within an internal space. A line in the physical space. A line in the virtual space. A line build of an external space. A line found within a chosen space. A line looping. A line to tell a story. A line within a moment in time. A line between two points. A line made from start to end. A line when they join. A line of light. A line seen in the dark. A line making a plane. A line made from sound. A line made chaos. A line made to think. A line in the view of perspective. A line of text. A line that travels. A line made of vapour. A line seen by others. A line made from order. A line of making. A line to illustrate. A line found. A line made for others. A line made by the others. A line a figure is walking on. A line built for the figure to walk on. A line taped in a space for the figure to walk on. A line reflected to us. A line that makes one unbalanced. A line to build an experience. A line to me. A line to show how I am programmed in the way I think. A line tells me my mind. A line of unknown. Unknown! I shall follow you til the end.



A line. She tries to understand. It is the line she subjectively chose as a subject of investigation. "Investigate" so she thinks, is being objective, when she knows she is not. She drew a line repeatedly on a 76 mm x 76 mm "Post it sized paper". She records and records as many ways as she can, there… she realizes it started with the mind…
 * 50 words**

=WEN wei= The Frozen Moment of Chinese Calligraphy, Motion and Sound w.wen731@googlemail.comhttp://zulovelife.wordpress.com/


 * What is the reform movement within Chinese text and what is its final direction? **

Computer technologies display widespread applications in all areas of society. **I am applying digital technologies to Chinese Calligraphy, but it has been difficult. So far, what I have worked out are animated objects and characters. The next stage is getting these characters to 'perform' the text within animations and audio compositions. The animation created is going to display the clear meaning of the text. I am using images and sounds to express the passion and power of character. I want to set up my own design style which I have developed in the past. The deeper meaning in this project is trying to figure out what is behind the paper? As a text I am going to use a famous Chinese poem. **

In this project I'm attempting to make Chinese calligraphy look to the future, by using digital image and sound to create a new ways to understand text. I try to 'perform' the text within animations to display the meaning as clearly as possible.
 * 50 words:**