Thesis Book: Sabrina Minter

BY SABRINA MINTER/

THE FICTIONAL AND NON FICTIONAL REPRESENTATION OF A CYBORG

ASX Timeline Wall There 2012/

REFERENCES: There 2012, 'ASX Timeline Wall' http://graphicambient.com/2013/07/01/asx-timeline-wall-australia/ Date Accessed: 22nd February 2015, 16:59

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After reviewing the exhibition space, and revealing potential ways to mount, hang and display the idea of an installation piece, I then used the initiative to explore existing content looking into how others have displayed a timeline as an installation piece. An example which stood out in particular was the ASX Timeline Wall in Sydney, Australia. The piece is displayed in the headquarters of ASX, and was created by WMK Architecture as part of a refurbishment in 2012 displaying the historical and financial history of ASX. Although the installation is not exhibited in a gallery space, it still provides an engaging, dynamic and artistic visual impact for its viewers. Viewing these images have already influenced ideas surrounding how I could potentially display my timeline, particularly in relation to the timestamp boards which appear to stick out of the wall. As I aim to create interactive features in my design, such as screens, this could become in interesting way to draw attention towards these interactive features, capturing interest from my audience. It literally sticks out from the rest of the display.

Furthermore, levels of black constantly changing in this timeline has influenced the idea to perhaps portray my own timeline similar to a graph. This way I can display detailed information such as what date each Cyborg film was set, and how this differs from the years each technology replica was made. This will provide the audience with a clearer outlook on how fast technology is advancing. Moreover, this can indicate visually whether film and games influences how technology is made, or if film-makers merely research existing developments in the making in order to create a futuristic view of a Cyborg.

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Work: Meaning and Worry Art+Com/

REFERENCES: Art+Com, 2009. Work: Meaning and Worry http://infosthetics.com/archives/2009/09/continuous_physical_ribbon_reveals_meaning_care_of_work.html Date Accessed: 22nd February 2015, 17:07

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This particular timeline is displayed within a German exhibition and uses interactive features such as light up maps and bar charts to display information in an engaging way. It again uses a timeline, however compared to my previous examples this is the only one which develops statistics using moving visual data. Once the user interacts with the exhibit, touching, watching or listening to certain areas of the timeline, there are animations and light responses to react as it creates a dialogue between the timeline and its user.

The piece contains 50 small monitors and touch screen technology. Alongside this the exhibit is displayed using three dimensional graphics to contrast against the two dimensional screens.

Out of all of the timelines, this is personally my favourite as it looks the most aesthetically engaging and draws audiences to interact with it. This idea has influences me to create and implement interactive features in my own design, perhaps similarly using a screen.

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Artist: Dave Rapoza Method and Technique

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REFERENCES: Rapoza, D. (Unknown) Teenage Mutant series https://daverapoza.carbonmade.com Date Accessed 1st April 2015, 09:32

Dave Rapoza is a freelance illustrator born from Boston MA. He is most recognised for his concept art pieces. His personal projects include an online motion comic (httpL//StarVeil.com), a Steve Lichman comic and other animation/digital art based projects. I first found Rapoza’s art when viewing his concept art for Teenage Mutant Ninja Turtles. I particularly admired how he had managed to take a cartoon image and recreate it with such a cinematic variation. His use of light and shadow particularly stood out to me which lead me to research tutorials on how he created images with such strong, realistic content.

I had already worked on creating concept art, and hoped that it would look realistic when positioned on my timeline, however after researching Rapoza’s work I have discovered that there is a wide room for improvement as I am not yet satisfied with the image I have produced for the Edge of Tomorrow concept art.

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REFERENCES: Terminator. USA: James Cameron, 1984. film.

Haraway's definitive summary of a Cyborg also highlights further misconception that a Cyborg may be viewed as an artefact that is limited to fictional representation in visual culture. However, she states that it is 'a creature of social reality as well as a creature of fiction' (Haraway, 1991: 150). Many examples of Cyborg technology in practice can be drawn from reality as well as constructed fictional representations. It appears that the term Cyborg is not strictly limited as a fictitious state. Clark outlines, “we shall all be kin to Terminator, to Eve 8, to Cable…just fill in your favourite fictional Cyborg. Perhaps we already are” (Clark, 2004: 3).

Using Clark’s example of a ‘favourite fictional Cyborg’ (Clark, A. 2004, p.3), ‘Terminator’ (The Terminator, 1984) portrays an android using technology altered to terminate with the exterior aesthetic of a man. When researching the text online, well recognized website ‘IMBD’ summarizes content in ‘The Terminator’ as the following. “A Cyborg is sent from the future on a deadly mission” (Tinto, 1990). If this particular plot summary were to be compared with Haraway’s definition of a Cyborg, it would be suggested to be a misinterpretation of a Cyborg, when in reality Terminator is an android. The Cyborg in question is not a ‘hybrid of machine and organism’ (Haraway, D. 1991, p.150), but rather machine imitating the aesthetic of an organism.

Despite this, I will be using Terminator as an example in my timeline.

Although it is not technically a Cyborg, Terminator will be used as an example of film which may have influenced further developments in nonfictional technology (such as the bionic eye or google glass).

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I began recreating this particular image of Terminator by first outlining its image using a slow, gradual build-up of white. This was done using a hard brush stroke with a default brush in Photoshop. This was done with a flow of about 4% and varying opacity settings to build up facial features which appeared threedimensional. After outlining the area in white, I began to add shadow using black. I wanted to keep my image black and white through early stages of construction as this was a process I have learnt from researching the images of Dave Rapoza. The areas with most shadow, such as the eyes and nose were filled in using a larger levels of opacity. The areas surrounding it would then gradually build up shadow around

the solid black to blend the light and create a realistic, cinematic image. I thought that the shadows were a really important aspect to include as these 5 images were made to resemble cinematic imagery of a Cyborg.

Cinematic Cyborgs are usually viewed as part of a dystopian future, and it is not often that a future revolving around the use of technology is viewed in a positive light. Semiotically, when images are viewed to be surrounded by shadow or darkness it usually indicates a negative connotation.

After outlining these areas of shadow, I finally began to draw thin,detailed lines which again made the image more life-like.

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FLOWERFIELD ART CENTRE/ Flowerfield Art Centre is an art centre located in Portstewart, displaying art in their gallery, available free to the public. The building itself was built in 1855 as a Victorian house, however, it has since been re purposed as Northern Ireland's first art centre by the Coleraine Borough Council in 1973.

The building was actually described as 'derelict and fast falling into decay' in 1971 by the The Ulster Architectural Heritage Society. Since then, the site has become a welcoming exhibit for art.

Flowerfield Art Center will be where the final exhibition of my work will be displayed, however, due to it's early build, there are many limitations in displaying work as it may easily damage its walls. For example, when initially visiting the site, it was made clear that no drilling was allowed when mounting work as it could potentially pull apart the old structure of the walls. Similarly, no sticky back Velcro or blue-tack is allowed as this may result in the same way. Instead, wall mounts are advised to be hung using clear string.

REFERENCES: 'Flowerfield Through the Years', http://www.flowerfield.org/show.php?id=1 Date Accessed: 20th February 2015, 23:00

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FLOWERFIELD ART

GALLERY After viewing the space, looking for a potential location to frame my work, I discussed the various ways to present my outcome with Debra, who is in charge of the exhibition. Due to my final piece being an installation, displaying the large works space could be difficult. Various ways to potentially hang the piece must be experimented with, due to screwed fixtures not being allowed.

Because was already aware that blue tack was not allowed to be used on the walls due to their damage, I questioned whether vinyl stickers would be able to by stuck to the walls, as this was my initial plan towards how to display my work.

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FLOWERFIELD ART

GALLERY

One of the main spaces which I was drawn to in the gallery was what was referred to as the 'long gallery', (the hallway) leading to gallery one and two. I specifically liked the wall on the right hand side as I found this was a large amount of space which the audience would already be lead to follow. Furthermore, the wall was a newer addition to the gallery, meaning that it may not be as fragile as the outside walls. This could potentially mean that I could use vinyl stickers to display my timeline without any damage to the area.

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I looked into other potential areas I could work with. There was a small corner on the opposite side of the hallway wall which already had wood attached to the wall. This would be convenient if I needed to physically screw anything to the wall (perhaps the monitor I will be using).

Although there was lots of space in the gallery, only the hallway was carpeted which may be an issue when it comes to my vinyl stickers.

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