Physics of Lasers in Contemporary Visual Arts Brief Ph.D. proposal Submitted from: Diaa Ahmed Mohamed Ahmedien Ph.D student, Graduate School of Art (GSA) Faculty of Humanities, University of Bern Under supervision: Prof Dr. Norberto Gramaccini, University of Bern, Switzerland & Prof Dr. Rita Hofmann, University of Applied sciences Bern, Switzerland & Prof Dr. Christian Sandor, NARA institute of Sciences and technology, Japan.
The state of the research General trend: Since the middle of 21st century the scientific and artistic communities have been struggling to generate human thoughts that can provide nontraditional contributions to produce what is more than merely science or art, seeking to understand the origin of human being, the beginning of the universe, and thus, our potential future in order to reinterpret our identities, culture, and civilizations in a parallel form with the latest scientific mutations and discoveries. Accordingly, the visual arts as an important branch of humanities, it is no longer an isolated domain, but became depend on other disciplines as a most important characteristic in some contemporary visual arts trends, which are reflected in a renewed and strong sense of affinity between art, science and technology (Nay, 2007). After all, the relationship among art, science, and technology has its extended roots through the history of art. The difference in our contemporary era can be summarized as some paradigm shifts that happened in this relationship as a result of breaking the dividing line down among scientific and artistic specializations, and conducting certain kinds of cutting-edge research. Consequently, in some cases it became difficult to redefine new boundaries among some of the artistic and scientific fields. So, interdisciplinarity as a term and method has already dominated scientific and artistic activities. Due to the paradigm shifts that happened in scientific methodologies through many domains, Stephen Wilson1 in his book entitled Art and science now, describes accurately the current case of the unity among art, science, and technology and its effects on the nature of the interactive physical processes in some contemporary experimental artistic trends: In the 21st century, some of the most dynamic works of art are being produced not in the studio but in the laboratory, where artists probe cultural, philosophical and social questions connected with cutting-edge scientific and technological research. Their work ranges across disciplines – microbiology, the physical sciences, information technologies, human biology and living system, kinetics and robotics- taking in everything from eugenics and climate change to virtual reality and artificial intelligence. (Wilson 2010: -1)
In fact, Wilson’s description of the contemporary visual arts trends is emphasized by what Roy Ascott2 said about the contemporary visual arts as he confirmed that they divided into three phases: The first and the second have common properties; most important of them is reliance on use of technology directly and indirectly in the artworks, and sciences applications had been expanded into many of visual arts trends. Nevertheless, the third phase is more special, (Ascott called this phase “the third culture”) where the sciences were not used in an unlimited way, rather the art and sciences became two sides of one coin 1
2
Stephen Wilson: San Francisco author, artist and professor who explores the cultural implications of new technologies
Roy Ascot: Professor of Technoetic Arts and famous writer in arts and science.
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(Ascott, 2002). The artworks are achieved in laboratories, and artists and scientists moved along a common path, to the extent that some of the artistic trends were classified by the kind of scientific techniques that are used to achieve them. Accordingly, three main independent kinds of visual arts trends have been generated in the third phase chronologically: (Laser Art – physics applications in visual arts), (Bio Art – Biological sciences in visual arts) and (Mechatronic Art – Engineering applications in visual arts). All of those three visual artistic trends belong to the Processes art historically. laser light as an artwork may has the biggest chance to be expanded, perhaps more than two other kinds of these trends, because it is a unique material due to its spatial and temporal coherence leading to speckle and allowing signal processing, interference patterns, very narrow beam width and very narrow line width which leads to strong and pure colors (the scientific properties became artistic advantages). Therefore, artistically it has extraordinary ability to interact with different environments and audiences. Previous Researches: (Theoretical): In terms of theoretical documentation in laser art, we can see most of references explain and analyze laser artworks in the same way that is usually used to analyze other visual arts trends and the same criteria without taking into account the special case of laser artworks. Few studies put laser art in a relatively suitable position, the common characteristic in all of them, they were written almost under the same title (art and science), and laser artworks were a part of them. In his Book entitled (Art and Science, third edition-2014), Stephen Wilson concentrated on laser arts, as a most important part in physics applications in contemporary visual arts (Wilson, 2002). Also in his book entitled (Art, Science and Technology and Consciousness-2002), Roy Ascott emphasized on the third culture as a contemporary term unleashed with the third phase of contemporary visual arts through laser artworks as an important part of this phase (Ascott, 2002). Through a scientific report, by (RTDinfo-2004), European commission confirmed to the role of scientific applications in the third phase in contemporary visual arts through laser art (European research, 2004). As well, Peplo Garcia referred to the role of advanced techniques in laser artworks to build more interactive artworks with audiences in his booklet entitled (Art and science-2005), and also Siân Ede in his book entitled (Art and Science-2005) introduced potential historical roots for laser artworks (Ede, 2005). As has been seen, some of books and studies discussed laser artworks as a part of them, and still there is no entire collected theoretical study for only laser artworks. (Practical): If we take a closer look on laser artworks –experimental practice- in general, we will find that there are two main paths: direct laser applications and indirect laser application. In terms of direct laser applications there are two sections, the first is free modulation by laser beam. We cannot talk about this section without referring to one of the most important pioneers among laser artists “Horst H. Baumann”3, where his laser artworks were carrying new interactive connection dimensions. Also, Japanese artist “Hiro Yamagata”4 and his monumental laser artworks that were discussing the relationship between internal and external environment through laser light. In advanced progress in laser light modulation, the “United Visual Artists”5 in London were able to make a paradigm shift in laser art technically and through its artistic experiments in (the speed of light project - 2010) in the UK. Last but not least, we see individual advanced progress in work of the American artist “Shawn Brixy”6 , where he uses super advanced laser technology to build huge laser art projects. The second section is object building – Holographic Art- which is considered as the largest branch deriving from laser art. There are “Margaret 3
Horst H. Baumann: (born June 19, 1934 Aachen) is a German architect, designer, light artist, and photographer. He is best known for designing Rheinturm Düsseldorf, in Düsseldorf, Germany. 4 Hiro Yamagata: he has been known as a contemporary artist using laser and hologram technology recently. He is recognized as a pioneer of contemporary laser art in Japan. 5 United Visual Artists: multidisciplinary art and design group, founded in 2003 by Matt Clark, Chris Bird and Ash Nehru in the United Kingdom. The group specializes in light installations. Their designs have used 3-‐D scanners, lasers, LED lights, sound, movement, digital technology, shadow, and pendulums. 6 Shawn Brixy: an artist, educator, researcher, writer, and inventor working primarily at the interface of art, science and technology.
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Benyon’s”7 holographic artworks as a pioneer in this field and followed by “Martin Richardson”8, “Melissa Crenshaw”9 and other artists. In terms of indirect laser applications there are also two sections the first is electronic lase light, for example the Serbian Artist “Ana Knezevic’s”10 works project entitled (the Void- 2011), where she was trying to redefine the concept immaterial and the invisible through electronics and a laser beam. Another example is the artwork entitled (electronic shadow- 2010) by “Cedric Huchet”11 and his attempts to follow the concept of shadow via interactive techniques. The second section in indirect laser application is digital holography that we can see in the work of “Stephen Benton’s”12, “Rudie Berkhout”13, “Betsy Connors”14 and others. The Current Research: (Theoretical): the current research focuses on the laser light itself as an artwork, and examines some of the scientific theories to explain the conceptual and technical aspects in laser artworks, like the theory of information15 and the theory of communication16. Also the study identifies the special properties that make laser light unique among other light sources in light artworks comparing the state of light art before and after laser, through laser artworks in theory and practice. Through historical investigation, Light will be discussed not only as history of artistic element or material but also as history of civilization. The research wants to elucidate the historical roots of laser artworks philosophically and technically. The research attempts to achieve new approaches to explain and document new artistic and aesthetical values, which are a result of laser light usage in contemporary artworks conceptually and practically. The theoretical outcome of the research could be to determine new classifications for types of laser artworks, therefore enriching the contemporary visual arts trends by accurate analytical studies and practical experiments in laser artworks. (Practical): the experimental frame in the current research consists of three parts; the first part will be conducted in a holographic lab to produce an analog holographic recorded image and analyze the result to document the scientific processes and their effect on the aesthetical values by comparing the holographic image to a normal image. The second part will lead to experimental studies in light and interactive techniques and how advanced technology can redefine the concept of light through the contemporary visual arts trends. The third part is the final project that will be the design of an interactive system by using microscopic holographic techniques to create an advanced virtual environment as an installation art that can interact with audience automatically or can be controlled by the audience.
Research problem According to the state of the previous research, it became obvious that there are knowledge gaps in Laser art theoretically and practically because it is still outside the theorizing circle (Analysis, Classification and Documentation). This problem did not only lead to unbalances in artistic practice but also decreased the efficiency of the practical procedures because of shrinking the philosophical approaches, which are 7
Margaret Benson: one of the most important famous holographer in visual arts in the UK. Martin Richardson: Martin Richardson gained the world’s first PhD in display holography from The Royal College of Art in 1988. 9 Melissa won early and lasting recognition for her technically and creatively advanced color control work, which is still 8
considered a benchmark amongst art holographers. Ana Knezevic: Serbian artist, she always uses laser light in her installation artwork electronically. 11 Cedric Huchet: electronic artist, he always uses advanced technology for controlling on laser beam. 12 Stephen Benton: Massachusetts Institute of Technology professor, and the inventor of the rainbow hologram and a pioneer in medical imaging and fine arts holography. 13 Rudie Berkhout: was among the very few artists in the world who chose light as the principal medium for their work. Combining his passion for technology with his drive to explore his own aesthetic frontiers, Rudie found his ideal métier in the arcane disciplines of holography 14 Betsy Connors has earned acclaim as both a photographer and a video artist, but she now works primarily in holography. 15 https://en.wikipedia.org/wiki/Information_theory 16 https://en.wikipedia.org/wiki/Communication_theory 10
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evoked through the theoretical and analytical studies. Accordingly, this research tries to answer four questions: 1- How can the scientific procedures in Laser Art contribute to reformulate a new key to 21st century aesthetics in contemporary visual arts? 2- To what extent physics of laser beam has a significant role to change the nature of light art through contemporary visual arts? 3- How far some of theoretical theories can reinterpret the laser artworks as an independent visual artistic trend? 4- Can some kind of advanced interactive technologies represent new approaches towards re-defining laser beam as an artistic element and material in the light art?
Hypotheses 1- The physics of the Laser beam has significantly contributed to change the nature of light in contemporary visual arts philosophically and technically. 2- The scientific processes and technological techniques have considerable effects on the nature of the aesthetical values in laser artworks. 3- The theory of information and the theory of communication can reinterpret laser artworks “quantitatively and qualitatively” as an independent contemporary artistic trend. 4- Microscopic holography can represent a revolutionary progression in laser art by using it through an interactive system to build a virtual environment in sciences of visual arts.
Aims 1- Investigate and compare the history of visible light usage in artworks before and after the availability of laser light through the historical relationship among art, science, and technology technically and conceptually. 2- Evaluate the role of contemporary theories to explain, classify, and document laser artwork conceptually and technically. 3- Analyze the new artistic and aesthetical values, which result from the use of laser light in artworks as an extraordinary element and material. 4- Examine some of technical interactive approaches to design an interactive virtual environment as an advanced level of interactive laser art.
Importance A: For the accurate specialization: 1- Enhancing the common background of laser art as an independent and advanced level in contemporary visual art trends. 2- Enrich laser art philosophically and technically as a one of the important branches in sciences of visual arts. 3- Support new advanced scientific methodologies in sciences of visual arts by laser artworks that can melt artistic, scientific, and technological concepts in one artwork. 4- Improve some of technical approaches in sciences of visual arts as a significant guide to analyze laser artworks. 5- Emphasize the deep philosophical and technical knowledge of sciences of visual arts generally. 6- Reinterpret the relationship among art, science, and technology by new understanding of contemporary visual arts. B: For the home institution (the Graduate school of Art & institute of art history, University of Bern): 1- Develop new artistic knowledge of a very rare specialization in contemporary visual arts, as this is the first study in advanced sciences of visual arts generally and in laser art particularly in the graduate school of arts in the University of Bern.
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2- Confirm the significant role of interdisciplinarity as a new advanced method in artistic studies conceptually and technically. 3- Support an advanced level in scientific procedures and technological tools for going hand in hand with the latest scientific developments in visual arts around the world. 4- Establish the partnerships with an international scientific institution in a different field by conducting joint research in sciences of visual arts through multidisciplinary team work that can be considered one of the most important characteristic of the projects in the contemporary visual arts. C: For the host institution (Nara Institute of science and technology): 1- Improve some advanced practical approaches in laser arts. 2- Support advanced scientific methodology in sciences of visual arts particularly laser art. 3- Develop an interactive virtual reality design through laser arts as an extraordinary material.
Methodology
The research will follow the analytical method17 in its theoretical frames and experimental method in its practical frame as follows: 1- The Theoretical Frame is consisted of two axes; the historical axis and conceptual axis as follows: A- The Historical Axis: - analytical studies of the previous literatures - Analytical studies to reinterpret the history of visible light as an art form before laser. - Drawing analytical diagrams to summarize progress processes in light art before laser through visual arts and related domains. - Analytical studies of the history of the theory of laser action. B- The Conceptual axis: - Analytical studies of the formation theories by laser beam in visual arts. - Drawing analytical diagrams to summarize progress process in light art after laser through visual arts and related domains. - Analytical studies to document the new artistic and aesthetical values, which have existed as a result of laser light usage in contemporary artworks. - Analytical studies of some of leading contemporary theories to classify laser artworks. 2- The Practical Frame is consisted of two axes; the experimental studies and the final project as follows: A- The Experimental Studies: - Experimental studies to classify laser artworks technically. - Experimental studies in object building techniques (Hologram). - Experimental studies in interactive techniques. B- The Final Practical Project: - Microscopic Holographic Recording for Biological cells. - Experimental processing in recorded holographic cells. - Experimental studies for designing and magnifying a virtual maze as a container for the recorded cells. - Designing an interactive system to control on the recorded cells. - Applying the software on the system. - Building the final interactive holographic biological environment installation. - Analysis and document the result. *For further information about the practical part -that must be done in Japan- look at the “Logical Framework Matrix” (LFM Model): http://issuu.com/diaaahmedien/docs/5-2_logical_framework_matrix__lfm_/1 17
Dissertation structure will fellow the Compromise model: (focused literature review, Core, Analysis, Discussion). Pattern of explanation: Analytical plus argumentative (Analytical is primary, according to Matrix pattern B), Dunleavy, P. (2003) Authoring a PhD guideline. 2nd edn. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan. Style guide: Oxford Style guide line for editing
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Foreseen achievement (out comes): 1- A comprehensive historical study of laser light in contemporary artworks. 2- Developed criteria can be used as references to classify laser artworks; historically, conceptually and technically as an independent artistic trend. 3- An independent catalog of laser techniques in laser artworks. 4- Documented scientific procedures and strategies for laser artworks. 5- The progress of laser light techniques in going from analog to digital holograms is shown in a practical experiment. 6- An interactive laser artwork as new conceptual and technical dimensions in laser art. 7- A recorded (Simulation) virtual reality of laser interactive artwork in “Google Chrome Experiments”.
Literatures review: Some of the related research collected, show the importance of the topic. Every one of the researchers discusses laser art through the relationship between art and sciences, theoretically, but they did not focus in laser art only. Researches will be shown in chronological order as follows: 1- (Art in the Information Age: Technology and Conceptual Art), Stephen Wilson, (2002). Art historians have generally drawn sharp distinctions between conceptual art and art and- technology. This essay reexamines the interrelationship of these tendencies as they developed in the 1960s, focusing on the art criticism of Jack Burnham and the artists included in the Software exhibition that he curated. The historicization of these practices as distinct artistic categories is examined. By interpreting conceptual art and art and technology as reflections and constituents of broad cultural transformations during the information age, the author concludes that the two tendencies share important similarities, and that this common ground offers useful insights into late the20th century art. 2- (From Fine Art to Natural Science through Allegory), Silvana Barbosa, (2003). The researcher clarifies some aspects of recent art and science collaborative ventures, tackling problems both theoretically and practically, but discussed from her perspective as a practicing artist. In collaboration with the Finnish artist Henna Asikainen, she has explored the relationship between art, science and nature in a series of works discussed as case studies in the thesis. She has used digital technology, combining visual and sound elements in multiple projection video installations, so there is a reference to the discussions around video and installation art in the case study Chapters, although this is not the primary theme of the thesis. 3- (new art science AFFINITIES), Simon Lewis, (2010). Reactive, interactive, generative, computational, robotics, Data visualization, all these terms had appeared in one study, where it consists of a lot of artistic experiments, depending on scientific techniques. As new technologies emerge with greater rapidity, and as they grow in accessibility, the opportunities for artists to respond by finding alternative, innovative, and expanded possibilities for these recently developed tools increase in kind. And this study focuses on practical frame through the translation the relationship between art and science into real artworks. There was not conceptual frame in any of them, so its results consider just experimental artworks. 4- (New media, design and the arduino microcontroller :), Alicia. M. Gibb, (2010). This research emphasizes on the relationship between art and science through using of microcontroller cells to create artistic compositions, whether by using it as a just figure, or using its Electrical properties. And this kind of technology considers a part of physics of the impossible in second class. But regardless of anything this study still under consideration in terms of its philosophical frame. 5- (The Art and Science of a Long-term collaboration), Alf. L. Nay, (2010). In this paper we consider some aspects of the historical relationship between science and art, and look at some implications of these historical precedents for contemporary art-science collaborations. From our experience we identify some of the important elements of a successful collaboration, including: creativity and risk taking; the development of a common language; external endorsement in the form of funding and public recognition. We look at a number of practical considerations that face scientists and artists working together and then present a range of issues relating to our own collaborative projects. We 6 | P a g e
conclude that creative collaborative partnerships open up a space in which individual artists and scientists can gain a new perspective on their own work and together can acquire new tools to reflect on some of the bigger issues that concern us all. 6- (Art in the Information Age: Technology and Conceptual Art), Madame de Duras (2011). This essay reexamines the interrelationship of these tendencies as they developed in the 1960s, focusing on the art criticism of Jack Burnham and the artists included in the Software exhibition that he curated. The historicization of these practices as distinct artistic categories, 6 is examined. By interpreting conceptual art and art-and-technology as reflections and constituents of broader cultural transformations during the information age, the author concludes that the two tendencies share important similarities, and that this common ground offers useful insights into late-twentieth century art. 7- (The modern use of optics design techniques to produce visual Art works), D.Ahmedien, (2011). This work reveals the possibility of using laser light to produce the visual art generally and as visual language in particular. Many optical designs have been built by using and controlling the path of laser beam to achieve the target of our work. The main objective of this work is to study the effect of the optical design variables in the formation methods of laser beam to produce visual art. This research is considered an extension of the close relationship between optics science and art throughout the ages. In addition to these results of this research have become visual language in itself, as a result of using the close relationship between optics science and art in produced it. 8- (Thinking in networks: artistic-architectural responses to ubiquitous information), Philip Gamblen, (2011) The article discusses creative practices that in aesthetical technical ways intervene into the computer network communication systems. I am interested in artist practices that use networks in different ways to make us aware about the possibilities to rethink media-cultural environments. It uses the example of the Japanese art-architectural group Double Negative Architecture to give an example of creative thinking in networks. This research tries to reveal on the advanced technology roles in contemporary art, through network art. This could be able to achieve the part of the concepts of physics of the impossible, but without focusing on the physics of the impossible itself. 9- (Science of art-historical study), Gil. Dekel, (2013) This research studies the relationship between art and science -historical frame- and the extent of this relationship strength through a lot of periods and phases in art history. But this research did not discuss the position of physics of the impossible in art history and what were the effects of both of them on the other.
References - Ana Knezevic / Installations (no date) Available at: http://www.anaknezevic.net/installations.html (Accessed: 26 July 2015). - Artus, P. (2010) snail trail - laser sculpture. Available at: http://vimeo.com/27659555 (Accessed: 26 July 2015). - Ascott, R. (2002) Art, Technology, Consciousness: Mind Large. 1st edn. Bristol, UK: Intellect Ltd - Asmus, J. F. (2010) ‘Thirty-seven years of lasers in the conservation of art’, Revista Cubana de Física, Vol.27(No1), p. 1:6. - Azevedo, I. and Oliveira, R. M. (2008) ‘Optics and Laser Light in Visual Arts, the Kinetic Viewer’, Research Institute for Design, Media and Culture, University School of Arts of Coimbra, - Canaria, C. (2009) ‘Data + Art: science and art in the age of information’, Disease Models & Mechanisms, 2(11-12), pp. 538–540. doi: 10.1242/dmm.004291. - Center for Information Technology Research in the Interest of Society (2006) Art, Technology, and Culture. USA, California Berkly: Center for Information Technology Research in the Interest of Society - Debatty, R., Evans, C. L., Pablo Garcia, P. G. and Grover, A. (eds.) (2011) NEW ART/SCIENCE AFFINITIES. 1st edn. Miller Gallery: Carnegie Mellon University. - Doubek, J. (1977) ‘Applications of Lasers to Kinetic Art for the Theater and Cinema’, Leonardo, Vol.10(No.2), p. 1:8. doi: 10.2307/1573684. - Ede, S. (2005) Art and Science. 2nd edn. LONDON: I. B.Tauris & Company.
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- European research (2004) ‘Art & Science’, RTD info. Feast, M. L. (no date) Soundform. Available at: http://vimeo.com/59565793 (Accessed: 26 July 2015). - Holographic Cubes Reflect Dazzling Spectrum of Colors (2013) Available at: http://www.mymodernmet.com/profiles/blogs/hiro-yamagata-quantum-field-x3 (Accessed: 26 July 2015). - Kroo, N. (1986) ‘The application of laser to compose pictures: the method of super position’, Leonardo, Vol. 30(No.1), p. 1:6. - Lewis, S. (1995) art and science of smalltalk. 1st edn. New York: Prentice Hall. - Mirage – ralf baecker (no date) Available at: http://www.rlfbckr.org/work/mirage (Accessed: 26 July - Nay, A. (2007) Long term of Art and Science of Collaboration. PhD thesis. London, University of London Gold themes. - Photo Galleries - Dr. Megavolt (no date) Available at: http://drmegavolt.com/photo-galleries/ (Accessed: 26 July 2015). - Popper, F. (1993) ‘The Place of High-Technology Art in the Contemporary Art Scene’, Leonardo, Vol.26(No.1), doi: 10.2307/1575783. - Schreiber, M. and Solids, P. (2008) Laser Light shows. - Shanken, E. A. (2002) ‘Art in the Information Age: Technology and Conceptual Art’, Leonardo, 35(4), pp. 433–438. doi: 10.1162/002409402760181259. - Shawn Brixey (2004) Available at: http://shawnx.com/eon.php (Accessed: 26 July 2015). - Speed of Light (no date) Available at: http://uva.co.uk/work/speed-of-light (Accessed: 26 July 2015). - Stiles, K. (2003) ‘Art and Technology’, in Art in Postmodernism. USA: , p. 384: 396. - Strosberg, E. (1999) Art and science. 2nd edn. Paris: UNESCO. - Wilson, S. (2002) Information arts: intersections of art, science, and technology. Cambridge, MA: MIT Press. Artworks: - Ana Knezevic, Void, Art Project, installation Laser Art, The Messenger of Light” installation for the occasion of 153rd anniversary of Nikola Tesla’s birth at the 25th University Belgrade: , Sepia, 2012. http://www.anaknezevic.net/installations.html - Austin Richard, Dr. Megavolt, Art Project, Laser Plasma electricity, USA, 2006. http://drmegavolt.com/photo-galleries/ - Hero Yamagata, Art Project, A couple walks past 'Quantum Field- X3', an Laser art installation, The work, which is displayed outside the Guggenheim museum, consists of two giant cubes made up of holographic panels that reflect and refract visible light frequencies, Bilbao, northern Spain, 2005. http://www.mymodernmet.com/profiles/blogs/hiro-yamagata-quantum-field-x3 - Marshmallow Laser Art group, Sound Form, Art Project, Laser Art installation, series of on-going studies exploring the relationship between sound and movement through the medium of light, USA, 2013. http://vimeo.com/59565793 - RALF BAECKER, Mirage, Art Project, Laser Art installation, principles from optics (astronomy/telescopes) and artificial neural network research to form a projection apparatus, LEAP Gallery, Berlin, 2014. http://www.rlfbckr.org/work/mirage - Shawn Brixy, Eon, Art Project, Process Art, Eon uses the mysterious phenomenon of sonoluminescence the process by which sound in liquid can be converted directly into light, USA, 2002 http://shawnx.com/eon.php - Shawn Brixy, Instruments of Material Poetry, Art Project, Mitsukoshi Museum, Tokyo, Japan & the MIT Museum, Cambridge, Massachusetts, USA, 1992. , http://shawnx.com/instruments.php - Shawn Brixy, Celestial Vaulting, Art Project, holographic interferometry installation that uses real-time optical laser holography to determine the minute time-of-flight difference between phase entangled photons at the speed of light, Cranbrook Academy of Art Museum, Bloomfield Hills, Michigan, , USA, 1990. http://shawnx.com/celestial.php - Snail trail, Laser Sculpture, Art project, Laser installation sculpture, 360° phosphorescent laser sculpture, USA, 2011. http://vimeo.com/27659555 - United Visual Artist Group, Speed of light, Art Project, Laser installation, Electronic free modulation, UK, 2010. http://uva.co.uk/work/speed-of-light
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2015).
Task/activities
Start
Duration (days)
% Completed
SCHEDULE OF THE PROJECT
*
Preparation
1 M
4 M
122
10%
4 months
9:12 / 2014
(1)
First Axis (historical frame) (in Swiss)
5 M
th
14
304
25%
10 months
1-‐1
analytical studies of the previous literatures (Chapter one)
5 M
th
8 M
120
10%
1:4 / 2015
th
11 M
th
92
7.5%
5:7 / 2015
th
92
7.5%
8:10 / 2015
349
29%
12 months
th
92
7.5%
11&12 / 2015 1 / 2016
1-‐2 1-‐3 (2)
Analytical study to reinterpret the history of visible light as an art form before laser. (Chapter one) and analytical diagrams (Chapter two) The theory of laser action (Chapter three)
st
9 M th
12 M
th Second Axis (Conceptual frame) (in Swiss) 15 M
End th
th
th
14 M
TIME Months/year
th
½ 26 M
2-‐4
The theory of laser formation in visual arts (Chapter three) Drawing analytical diagrams to summarize progress process in light art After laser through visual arts (Chapter three) Document and analysis the new artistic values, which have existed as a result of laser light usage in contemporary artworks (Chapter four) Analytical studies of some of leading contemporary theories to classify laser artworks. (Chapter five)
(3)
Third Axis (Practical frame) (in Japan)
½ 26 M
3-‐1
Experimental study to classify laser artworks techniques (Chapter six)
½ 26 M
3-‐2
Practical artistic experiments in object building techniques (Hologram) (Chapter six)
28 M
th
29 M
62
5%
3-‐3
Experimental studies in interactive techniques (Chapter six) Build an artistic project (Interactive Microscopic Holography) (Chapter six)
30 M
th
32 M
nd
89
7%
2:4 / 2017
168
14%
5:10 / 2017
2-‐1 2-‐2 2-‐3
3-‐4 (4)
15 M
th
17 M
18 M
th
19 M
th
59
5%
2&3 / 2016
th
24 M
th
153
12.5%
4:8 / 2016
45
4%
9 & ½ 10 / 2016
364
30%
12 months
27 M
th
45
4%
th
20 M
th
th
25 M th
th
½ 26 M th
½ 38 M
½ 10&11 / 2016 12 / 2016 1 / 2017
th
33 M
½ 38 M
Finalize writing and official procedures ½ 38th M (in Swiss)
40 M
th
76
6%
2 months
40 months
1215 days
100%
Total
rd
For further information look at the complete time table: http://issuu.com/diaaahmedien/docs/time_table/1
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Reason for the choice of research institution The host institution: NARA Institute of Science and technology A lot of scientific reasons lead to choose Nara institute of Science and technology as a host institution, most of them will be discussed as follows: First: in terms of the Institute generally: “Nara Institute of Science and Technology” (NAIST)18 is a Japanese national university located in Kansai Science City, a border region between Nara, Osaka, and Kyoto. Founded in 1991, NAIST consists solely of graduate schools in three integrated areas: information science, biological sciences, and materials science. The university's objectives are to conduct cutting-edge research in frontier areas and to train students to become tomorrow's leaders in science and technology. According to the current PhD research project that is going to create an interactive biological holographic environment, the Nara institute is very suitable because this project is considered a cutting-edge research among Laser in material science section, biology in biological science section, and the finally project will be entirely assembled by designing an interactive system in information science section. Second: in terms of the Graduate school of Information Sciences: The Graduate school of information science provides advanced research facilities and environment to support independent research in interactive media as a one of the key technologies that facilitates a usable and comfortable ubiquitous computing environment. The laboratory researches not only future interactive media itself but also the media technologies, human-computer interaction and data engineering necessary for creating innovative interactive media. In fact the school has about 34 devices and equipment especially for super advanced practical research19; it’s difficult to be existed together in other institution. The current PhD practical project depends on most of them to be carried out particularly: “Ultra-short pulse laser microscope spectrometer”, “Super-high definition image interactive system”, “Evanescent microscope”, “Optical motion capturing system/KARADA (body) measurement center”, and others. Third: in terms of the host Supervisor: Prof Dr. “Christian Sandor”20 is a Professor at one of Japan's most prestigious research universities, Nara Institute of Science and Technology (NAIST), where he is co-directing the Interactive Media Design Lab together with Professor Hirokazu Kato. Since the year 2000, his foremost research interest is Augmented Reality, as he believes that it will have a profound impact on the future of mankind. Dr. Sandor is a leading researcher in interactive techniques and professional in building interactive systems in sciences of visual arts worldwide. Also he has already approved on the current PhD research and agrees to provide all possible scientific and technical helping for the researcher. Fourth: in terms of the official arrangement: Nara institute of science and technology “Graduate School of information science” has already signed an agreement with the University of Bern (the Home Institution) especially to carry out the current PhD practical project under the two Swiss supervisors in addition Professor Sandor in Japan as a third supervisor. According to this agreement the researcher has been accepted as a special research student in the institute for one year.
18
http://www.naist.jp/en/ http://isw3.naist.jp/Contents/InfoSci/outline3-en.html 20 http://imd.naist.jp/imdweb/people/ChristianSandor/ 19
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Report of the relevance for personal career development An overview: My main specialization is “science of visual arts and new media”. In fact, this specialization is considered a rare specialization and complicated; due to it depends on intersection of multi disciplines by the relationship among art, science, and technology. A lot of cutting-edge researches are conducted in cooperation with two or three scientific fields in order to produce visual artworks. Science of visual arts is one of the contemporary science branches that concentrate on study a lot of scientific methodologies not only to produce advanced artworks but also to push visual arts in scientific arena to contribute with traditional sciences for generating a contemporary visual knowledge in parallel with the latest scientific mutations around us. I graduated from my faculty; “faculty of art Education” my grade was excellent with honor degree that is why I was able to choose freely among advanced specializations to complete my study as a post graduate student in master degree. I have already chosen science of visual arts and new media as an accurate specialization. Although there were a lot of difficulties, i was able to be enrolled in Laser institute to study physics of light and laser applications as a minor subject with my major subject in visual arts. finally i have got on master degree where my grade was excellent in both of sciences curriculums and arts curriculums and submitted my thesis entitled Laser techniques as an approach to enrich contemporary painting (2D and industrial applications). For me, there is an extremely importance to complete my studies in my accurate specialization and its relevance for my personal career developments as follows: First: as a researcher The recent research is necessary as an advanced completion of my previous studies to obtain the professional degree in my accurate specialization. This will make me able to conduct super advanced research in my post-doctor studies in the same scientific field, which can make me one of the pioneers in this specialization. In other hand by achieving a significant contribution in this research it will be possible to apply in Massachusetts Institute of Technology in advanced studies in visual arts program as a post doctor researcher or apply in graduate school of arts in the Harvard university as an advanced personal plan to enhance my scientific reputation and expand my international researcher worldwide with the highest impact factor. Second: as a lecturer The recent research will gave me high opportunities to be enrolled as a staff in international universities, because my master and my PhD will be in the same accurate specialization and this will lead me to an excellent deep knowledge in this specialization. Accordingly, I think seriously to establish an independent branch between the graduate School of Arts in the University of Bern and the University of Applied science for studying sciences of visual arts, and the studies in this department must depend on the international relation in studying and teaching also among some of leading institution around the world. Also I am talking now with my professors in the University of Bern, and some institutions in Japan and in the UK for possible lecturer position in the near future after finishing my PhD, and of course my professional studies in this rare specialization will give me a priority to get on a great chance to internationalize my career as a lecturer in these countries. Third: as an artist Especially, contemporary visual arts trend have a great deal with sciences of visual arts and a lot of artistic trends depend on interdisciplinarity and a lot of artistic communities have been established essentially to support this kind of visual arts that were able to record an excellent reputation worldwide like LEONARDO “the international society for art science and technology” and SIGGRAPH “international community of researchers in computer graphic and interactive techniques” and others. as an artist there will be great chance to provide my artworks through these international organizations and record them artistically and scientifically with a highest rate of expansion all over the world, also there will be great chance to conduct international artistic project with international team works through artists residence programs that are announced annually by international institution like Arts council and DXARTS in the University of Washington, UK art council, and others. 11 | P a g e
Planned publications According to the time table of the PhD thesis, there will be need to additional theoretical and practical studies that must be published separately in international scientific journals as a supporter material for the entire PhD studies, which would strongly increase the credibility of the PhD thesis internationally. For this reason there is a parallel plan for international publications based on the main theoretical and technical axes in the PhD thesis as follows: Approaches related to the historical studies in light Arts: Potential journal: The Oxford Art Journal21 Potential submission time: the end of 2015 Approaches related to the history of scientific practical techniques: Potential journal: Empirical Studies of the Arts22 Potential submission time: the first quarter of 2016 Approaches related to the analog hologram techniques: Potential journal: International Journal of Arts and Technology23 Potential submission time: the second quarter of 2016 Approaches related to the digital hologram techniques: Potential journals: Digital Creativity24 : Computational Visual Media25 Potential submission time: the third and the fourth quarters of 2016 Approaches related to the scientific methodologies in contemporary visual arts: Potential journals: LEONARDO26 : Siggraph scientific poster27 Potential submission time: the first quarter of 2017 Approaches related to advanced visual arts practice in practical frame: Potential journals: Journal of Visual Art Practice28 : ART Margins29 : Art Journal30 Potential submission time: the second, the third, and the fourth quarters of 2017. * This plane does not include the Potential international conferences or any other activities that may be available through all period.
21
http://oaj.oxfordjournals.org/# https://us.sagepub.com/en-‐us/nam/empirical-‐studies-‐of-‐the-‐arts/journal202393#description 23 http://www.inderscience.com/jhome.php?jcode=IJART 24 http://www.tandfonline.com/toc/ndcr20/current#.VbhxFfmqqko 25 http://www.springer.com/computer/image+processing/journal/41095 26 http://www.leonardo.info/ 27 http://www.siggraph.org/ 28 http://www.tandfonline.com/action/journalInformation?show=aimsScope&journalCode=rjvp20#.Vbh6jvmqqko 29 http://www.mitpressjournals.org/loi/artm 30 http://artjournal.collegeart.org/ 22
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