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      Moving Data: Artistic tendencies in visualising human and non-human movement

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      Electronic Visualisation and the Arts (EVA)
      Electronic Visualisation and the Arts
      9 - 13 July 2018
      Felt movement, Experimental CGI animation, Artistic data visualisation, Relationality
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            Abstract

            How does data ‘move’? How can we both feel data moving and feel movement through data visualisation? As more of our media become data-based and driven, we need to ask: how is movement being registered through data visualisation? We need to inquire in to how specific practices of visualizing data – both analytical and artistic – constrain or help us explore all kinds of movement, including that initiated both by human actions and nonhuman forces. This paper proposes that artistic approaches using ‘movement data’ within experimental animation, including our own artistic work pull made in 2017, as well as choreographic and experimental cartographic visualisation practices register a ‘feeling’ for and of moving data. The use of ‘movement data’ – typically geographical x,y coordinates accompanied by timestamp data – has been an strong focus of big data visual analytic research in to geospatial movement of human, animal and inanimate objects tracked via GPS devices. However, the overall conceptual approach to movement comes from data science influenced by a mathematical (and implicitly Euclidean geometrical) framework. Here movement is conceived as series of discrete positions occupied by moving objects, connected through the sequential unfolding of time. Space, time and object then give rise to discrete data sets that can be analysed and visualized either separately or together through various techniques. However, this approach runs into many classic conceptual problems, such as how to account for movement between time instances, and how to represent collective movement heterogeneously as the differential of the relations across all this data. We argue that these problems pertain to questions of how to register the way movement moves (changes) and how data participates in such movement moving. We will explore approaches to moving data via our own artistic practice-based research developed in the audiovisual installation pull . Here we took x,y coordinate and timestamp data derived from a cinematographer’s movements while shooting underwater wave sequences over several hours. This data was re-animated using 3D visualization and fluid simulation techniques. We will also look at examples from choreographic visualization (William Forsythe’s Synchronous Objects, 2010). We will propose that by focusing on movement as a field of relations, artistic approaches to visualising movement data might enable a feeling of (data) moving to register.

            Content

            Author and article information

            Contributors
            Conference
            July 2018
            July 2018
            : 180-187
            Affiliations
            [0001]Faculty of Art and Design

            University of New South Wales

            P.O Box 259,

            Paddington

            NSW 2023

            Australia
            Article
            10.14236/ewic/EVA2018.35
            6c400868-6b97-4684-b549-1fcef583a487
            © Barker et al. Published by BCS Learning and Development Ltd. Proceedings of EVA London 2018, UK

            This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

            Electronic Visualisation and the Arts
            EVA
            London, UK
            9 - 13 July 2018
            Electronic Workshops in Computing (eWiC)
            Electronic Visualisation and the Arts
            History
            Product

            1477-9358 BCS Learning & Development

            Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/EVA2018.35
            Self URI (journal page): https://ewic.bcs.org/
            Categories
            Electronic Workshops in Computing

            Applied computer science,Computer science,Security & Cryptology,Graphics & Multimedia design,General computer science,Human-computer-interaction
            Felt movement,Experimental CGI animation,Artistic data visualisation,Relationality

            REFERENCES

            1. 2010 Statistical Counterpoint: Knowledge discovery of choreographic information using spatio-temporal analysis and visualization Applied Geography 30 548 560

            2. 2013 Visual Analytics of Movement Heidelberg and New York Springer

            3. , 2017 pull, audiovisual installation, exhibition. Documentation: http://experimenta.org/makesense/artists/barker-munster/ (retrieved 26 March 2018

            4. 2005 Matter and Memory. Trans. New York Zone Books

            5. 1960 Time and Free Will. Trans. New York Harper and Brothers

            6. 1946 The Creative Mind: An introduction to Metaphysics. Trans. New York Philosophical Library

            7. 2002 Nature 418 721 722

            8. 1986 Cinema One: The Movement Image. Trans. Minneapolis University of Minnesota Press

            9. 1989 Cinema Two: The Time Image. Trans. Minneapolis University of Minnesota Press

            10. 2016 Data from: Determining fine-scale migratory connectivity and habitat selection for a migratory songbird by using new GPS technology. Movebank Data Repository DOI: 10.5441/001/1.5q5gn84d

            11. 2010a Synchronous Objects http://www.synchronousobjects.org (retrieved 26 March 2018

            12. 2010b Synchronous Objects, Statistical Counterpoint http://www.synchronousobjects.org http://synchronousobjects.osu.edu/content.html-/StatisticalCounterpoint (retrieved 26 March 2018

            13. 2003 One Flat Thing Reproduced Dance film. YouTube. http://www.youtube.com/watch?v=cufauMezz_Q (retrieved March 19 2018

            14. 2009 Dance, Data, Objects Essays institutionOhio State University http://synchronousobjects.osu.edu/assets/objects/introduction/danceDataObjectEssays.pdf (retrieved 26 March 2018

            15. 2012 Always More than One Durham and London Duke University Press

            16. 2009 Propositions for the Verge: William Forsythe's Choreographic Objects Inflexions 2 http://www.inflexions.org/n2_manninghtml.html (retrieved March 18 2018

            17. 2015 Towards a History and Aesthetics of Reverse Motion (PhD Dissertation) http://etd.ohiolink.edu (retrieved 26 March 2018

            18. 2012–15 Moving Stories http://movingstories.ca/movingstories/ (retrieved 26 March 2018

            19. 1978 Process and Reality New York The Free Press

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