No 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.Felt movement. Experimental CGI animation. Artistic data visualisation. Relationality.
In this article, I consider some of the aesthetic and temporal forces that give us the opportunity to rethink the relationship between movement and perception in cinema and new media practice. Following Bergson and Deleuze, I offer an idea of the moving image that considers how we can move with the image’s movement. Through a discussion of my own media arts practice, I suggest a new approach to the creation of images that create movement, one where we feel rather than see imperceptibility. Considered in relation to other artistic and scientific deployments of imperceptibility revealed in the use of slow motion in contemporary moving images, this “feeling” of movement summons a kind of time that is neither atemporal nor a subdivision of time but rather a time of moving with images.
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