R E S E A R C H
D E S I G N
The research design is concerned with the knowledge convergence in multimodal paradigms of related knowledge in design, art, science and thought. Theoretical accumulation of ideas across interdisciplinary sources of literature are interlinked with the network of creative practice reflected in the process of making a short film. Design discipline will entail the trajectory of contemporary research of nature and biology in relation to character aesthetics. Artistic modality of the literature is questioning machine intelligence within the cognition of the film heroine. Anatomy, co-creative design in the dynamics of the human eye and neural theory are the foundation of the scientific investigation of the review. The overarching operational methodology is underpinned with the research design in creative thinking and qualitative heuristic enquiry.
D E S I G N
Attention to the design related literature and ideas presented are following the conventions of the prescription in the contemporary design methods. Utilizing laws and principles of nature in synthetic biology with stating fundamental question of what life is.
In Synthetic Aesthetics, Will Carey talks about “Designers can present a powerful vision of the future, facilitating visceral and tangible forms of engagement with innovation and possibility, and exposing their audience to new ways of being and interacting in the world.” (Synthetic Aesthetics, 2014)
In this context the making of a short film accommodates human eye to be timeless form of telling the language of life within the synthetic nature of the technology. In doing so the challenge of simultaneous presence of those two opposites creates living machines.
In Speculative Everything, Anthony Dunne and Fiona Raby outline that “Designing for unreality has its own aesthetic rules. Somehow these objects, scenes, characters, interactions, and activities must appear “real” but gently signal that they are not.” (Speculative Everything, 2013)
Imagination in this realm respond to knowledge of how method of multimodal approach to imagery in film represents intentional design intelligence.
In his thought Gelernter reflects “Elegance of a digital artefact, in a technical sense, is a combination of power and simplicity” (Gelernter, 1998)
The trajectory of the door in what we see and the reflected theater on the corneal surface of the human eye is in relationship with the environment to be drawn in real time. In cinematic reality it heightens the understanding of presence in both physical and mental in the state of the heroine and relation to the surrounding world. Virtually this essence embodies the framework of dimensionality within language in film.
In Thoughtful Interaction Design, Jonas Lowgren and Erik Stolterman crystalizes his idea, “Every design process unfolds within a unique situation: a complex and dynamic reality”. (Lowgren J., Stoleman E., 2005)
This imposes the alliance of filmmaking technique to co-create premeditated implementation into the virtual platform where the volumetric modality of one narrative is being continuously enhanced with the reflected.
Transformative and metaphysical nature of the phenomena of looking into the human eye and sensing feelings of the observed organism still seeing the reflection of self spiritually imposed in The Machinima Reader, by Henry Lowood and Michael Nitsche mentioning clearly that “As Lowood (2007) describes, it can be eerily like inhabiting “the shell of the ghosts of players” – seeing the same experience through their eyes”.
A R T
Traditionally the linkages of men and technology in the intellect indication of the photogrammetric form of life that is given to inanimate shell of the heroine is the thematic art of the film. The fundamental question motivating the research of themes examines ways of learning how imagination and visual thinking heightens the horizons of inner language in the work of art.
Martin Heidegger in The Question Concerning Technology “A phenomenon of no less importance is machine technology. We must not, however, misinterpret that technology as the mere application of modern mathematical physical science to praxis.”
This lead to heuristic discovery of the precision knowledge in nature, biology and genetics to be a form of making human eye with film technology and open the possibility for paradigms of science, art and design to genuinely co-exist and to enhance human lives. Artificial intelligence is the antagonist in the narrative that is guided with the linguistic reflection assessed to transcend identity portrait of both the world and the mind of the heroine.
Around the idea of language forming the reality Martin Heidegger in The Question Concerning Technology correlates it to the nature of living, “Language is the primal dimension within which man’s essence is first able to correspond to all to Being and its claim, and, in corresponding, to belong to Being.”
The distinctive matter of script writing as a method of making the mark in film creates powerful energy to find voice of the cinema to be spoken, followed by Martin Heidegger, “The written word of literature is at any given time the spoken word of a language”.
Artistic plasticity of the film palette is highly prescribed with careful observation of the human eye in detail to increase depth of understanding of its form and anatomy, optics, material and biological movement by means of photography, artistic drawing and volumetric design.
David J. Gunkel in The Machine Question, supports “Drawing a distinction between the mere appearance of something and the real thing as it really is in itself is a persuasive distinction that has considerable philosophical traction.”
In computation the notation is alternative to visual thinking, the code of the material of the skin is the vast network of points accumulated in continuous and isomorphic union.
Photogrammetric transition of what is life and what is the virtual is a way of visual enhancement in film and reflected in the writing of Mary Flanagan and Austin Booth, Re:skin, “This is what we see in parametric design, in point clouds, or very simply in the distribution of digital information that is generated when a physical object is scanned.”
Alternative and similar to the word said it may create the dialogue of the film, in written words the psychological portrait is painted with the allocation of memories and the emotional states. Intellect to create is concerned with cognitive process of thinking demonstrating potential for living accompanied intertextually though terminology and para-linguistics in script writing.
Actress directed in this sense is put into imaginative scenario and what Murray Shanahan in The Technological Singularity teaches to be, “When a person has a conscious experience, according to this way of thinking, they are in a state that implicates their whole brain, or a large portion of it. It involves their long- and short- term memory, their language center, their emotion, their imagination.”
Dualism with the notion of body and mind being separated has let to embody the heroine with two souls and dematerialize the body of the fictional character of being alive.
Act of the uncanny in this context has emerged from cyber theory, in particular Kotahi M. and LaMarre T. in the Networks of Desire, “The doll is just another metaphor for death” (Mechademia, University of Minesota Press).
The art of doll puppets crafted by Hans Bellmer had a dramatic impact on the thematic design of the film. The art in research of creative and imaginative spectrum has lead to the question of philosophy to understand visual thinking and its implications in education.
As per Ernst van de Wetering in The Learned Eye, “The principle of art is neither beauty, concept, nor imagination, and not even feeling, but visibility; and its organ is the eye, the artist’s eye concentrated in seeing …”.
S C I E N C E
Scientific measurements and precision knowledge of the human eye are sourced from medical research in ophthalmology and anatomical foundation. Three dimensional computer animation as a method prior to visualisation and learning of the underlying principles and motion of the human eye. Neural theory as part of looking deeper into behavioural response of the human eye mimics the network of cognitive processes responsible for the eye movement on the subconscious level.
David Vernon critiques it in Artificial Cognitive Systems, “… the ability to infer intentions is very important for artificial cognitive systems, particularly for robots that need to interact naturally with humans, on human terms”.
Facts of recognition by human gaze direction and identity has been revealed in the research around dynamic faces traced in the visual neurophysiological literature and allows to reveal evidence of multi sensory communication. Significance is repeatedly provided the difference of the perception inside visual cortex of static verses dynamic imagery of the human eye and its motion. The context of the film of symbolic signal of facial expression and eye movement is directly associated with recognition of skeletal reflexes.
Further modality of the biological behavioural is expressed in speech and its synchronicity to the articulation of the facial skin movement as per Harold Hill in Dynamic Faces, “Even a static photograph of speaking face can provide information about what is being said”.
Visual apparatus as the organ of sight reveals the future intentions and attentional state predominantly found in power when activated by neural tissues not only in humans yet in monkeys.
“The eye-movement patterns or rhesus monkeys viewing dynamic vocalizing faces share many of the same features as human eye-movement pattern.” (Ghazanfar, Nielsen, & Logothetis, 2006).
Ophthalmology and medical literature in the eye research do contribute to the wide-ranging terminology and developed sensitivity necessary for the practice involved human beings during data acquisition in film directing and computational implementation.
In Encyclopedia of the Eye, Darlene A. Dartt, Joseph C. Beshabse and Reza Dana draw on “Propel hydroxyls domain proteins (PHD), and oxygen-dependent degradation domain (ODDD) of HIF one alpha.”
Selected publications by Disney Research Zurich are intertextual to human eye visual and deformation qualities particularly to methods observed in three dimensional capture and reconstruction of the eyeball, iris and the sclera, visualisation and pre-orbital phenomena such as eyelid folds and procedural skin motion. These sources allow to direct the creation of artificial visual and marionette apparatus as the modality to film text and understand anatomical motivation in the higher level of photographic realism.
Pascal Berard in Hight-Quality Capture of Eyes investigates, “The micro-geometry of the iris is as unique to every person as a fingerprint, and its position and deformation depends on the accommodation of the underlying lens.
T H O U G H T
The architecture of the theoretical foundation concentrated with science, art and design paradigms represent conflicting viewpoints if the flexibility of the thinking creatively isn’t applied. The converge of ideas in creative thinking across multiple disciplines reflected in qualitative heuristics model and fundamentals of the research design. It allows art practice of making the film and scientific visualisation to co-exist naturally within the design framework and increase contribution to research for its essence to create new knowledge.
The research methodology and acquisition of tacit knowledge is deeply embedded in what Kuna Leski would call, “Distracted states are states in which a new open mind is possible”.
This approach has assessed for the eureka moment to emerge from looking at life and technology as the correlated and biological inspiration. The context of the research is encompassed in the originality of the thought process in the pursuit of the methodological framework, processes and experiences supplemented with wide spectrum of sources.
Similar to medical encyclopedia of the eye Linda Candy in Practice Based Research: A Guide Creativity and Cognition Studios outlines, “They are the things that arise from the work that are new and shown to advance understanding or practice internationally.”
In deep understanding of the work of language in film the narrative design was drawn on the information of both computation and aesthetics as the phenomena of human experience. Tacit knowledge is intangible and complex in the form of being diverse to reach the complicated connections.
Kuna Leski, in The Storm of Creativity, “Bringing together several disciplines broadens and challenges each discipline’s thinking”.
When the connections created it forms the architectural network of cells leading to both new knowledge and heuristic discovery. In this realm the responsibility of the network has been whispered to respond in the way that research compass is driven, in both making of the film and cognitive underpinning.
Accompanied by D. Garath Jones, Kerry Galvin and David Woodhouse in the Universities As Critic And Conscience of Society, “…the intellectual process of increasing knowledge is dependent widely, without externally applied presuppositions about where the investigation will lead.”
C O N C L U S I O N
In the reflection to the research question for how could the communicative potential be enhanced in film, the observed sources of the review distinguish gifts of the human eye within its anatomical depth and surrounding appearance. Design research unlocks the theoretical model for understanding life as a form of making the film. In the work of art, the machine question described by Martin Heidegger heightens the historical foundation for the research in artificial intelligence with simultaneous observation of the contemporary text in technology augmented with the traditional thought in art and design education. Neuropsychological aspect and revelations of static imagery of gaze and anatomical world develops the sensitivity and language reflected in the computational and anatomy to populate the practice of replicating artificial visual system in the virtual form. Creative thinking in several research models architects the theory as a network for co-creation of new knowledge accompanied with the framework of an open mind and accomplished heuristic enlightenment.
R E F E R E N C E S
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Berard P., Bradley D., Nitti M., Beeler T., Gross M., (2014) High-Quality Capture ofEyes ETH Zurich. Disney Research Zurich. Transactions on Graphics. Proceedings of ACM SIGGRAPH Asia 2014: Volume 33 Issue 6, November 2014.
Bernano A., Beeler T., Kozlov Y., Bradley D., Bickel B., Gross M., (2015) Detailed spatio-temporal reconstruction of eyelids. ACM Transactions on Graphics. Proceedings of ACM SIGGRAPH 2015: Volume 34 Issue 4, August 2015.
Candy L., Practice Based Research: A Guide Creativity and cognition studios. University of Technology, Sydney. CCS Report: 2006-V 1.0 November.
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Darlene A. Dartt, (2010). Encyclopaedia of the Eye. Academic Press.
Dunne A., Raby F., (2013) Speculative Everything: design, fiction, and social dreaming. Library of Congress Cataloguing-in-Publication Data. Massachusetts Institute of Technology. Printed and bound in United States of America. ISBN 978-0262-01984-2
Flanagan M., Booth A., (2006) Re: Skin. Library of Congress Cataloguing-in-Publication Data. Massachusetts Institute of Technology. Printed and bound in United States of America. ISBN:10: 0-262-06260-7
Ginsberg A. D., Calvert J., Schyfter P., Elfick A., Endy D., (2014) Synthetic Aesthetics: Investigating Synthetic Biology’s Designs on Nature Library of Congress Cataloguing-in-Publication Data. The MIT Press. Cambridge, Massachusetts. London, England.
Gunkel, D. (2012). The machine question critical perspectives on AI, robots, and ethics. Cambridge, Mass: MIT Press.
Hamilton, Jillian G. (2011) The voices of the exegesis. In Ken, Friedman & Justice, Lorain (Eds.) Practice, Knowledge, Vision: Doctoral Education in Design, Hong Kong Polytechnic University, School of Design, Hong Kong Polytechnic University, Hong Kong.
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Kotani M., LaMarre T., (2007) Networks of Desire. Mechademia. University of Minnesota Press. Pp. 49-62
Leski K., Maeda J., (2015) The Storm of Creativity. Design, Technology, Business, Life. Library of Congress Cataloguing-in-Publication Data. Massachusetts Institute of Technology. Printed and bound in United States of America. ISBN 9780262029940
Lowgren J., Stoleman E., (2004) Thoughtful interaction design: a design perspective on information technology. Library of Congress Cataloguing-in-Publication Data. Massachusetts Institute of Technology. Printed and bound in United States of America. ISBN 0-262-12271-5
Lowood H., Nitsche M., (2011) The Machinima Reader. Library of Congress Cataloguing-in- Publication Data. Massachusetts Institute of Technology. Printed and bound in United States of America. ISBN 978-0-262-01533-2
Murray S., (2015) The Technological Singularity Library of Congress Cataloguing-in-Publication Data. Massachusetts Institute of Technology. Printed and bound in United States of America. ISBN 978-0-262-52780
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Vernon D., (2014) Artificial Cognitive Systems Library of Congress Cataloguing-in-Publication Data. Massachusetts Institute of Technology. Printed and bound in United States of America. ISBN 978-0-262-02838-7
