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Arctic Adventurer: We Feel Fine

Arctic Adventurer: We Feel Fine,
originally uploaded by ocean.flynn.

DRAFT
Photos of Iqaluit cemetery taken October 2002; Uploaded to Flickr, Trawled by wefeelfine, Linked to wordpress, wefeelfine.org

American artist, Jonathan Harris describes his work on his website:

“I make (mostly) online projects that reimagine how we relate to our machines and to each other. I use computer science, statistics, storytelling, and visual art as tools. I believe in technology, but I think we need to make it more human. I believe that the Internet is becoming a planetary meta-organism, but that it is up to us to guide its evolution, and to shape it into a space we actually want to inhabit—one that can understand and honor both the individual human and the human collective, just like real life does (Harris).”

“Sep Kamvar is a consulting professor of Computational Mathematics at Stanford University. His research focuses on data mining and information retrieval in large-scale networks. He also is interested in using large amounts of data and accessible media in the study of human nature through art. [Among his other areas of interest he includes] probabilistic models for classification where there is little labeled data (Sep Kamvar’s blog profile).”

Glossary of Terms

Nonlinearity: “At the beginning of Chapter 5 in Kurt Vonnegut’s Slaughterhouse-Five, Billy Pilgrim finds himself in jail on the planet of Tralfamadore. Billys captors give him some Tralfamadorian books to pass the time, and while Billy can’t read Tralfamadorian, he does notice that the books are laid out in brief clumps of text, separated by stars. “Each clump of symbols is a brief, urgent message — discribing a situation, a scene,” explained one of his captors. “We Tralfamadorians read them all at once, not one after the other. There isn’t any relationship between all the mssages, except that the author has chosen then carefully, so that, when seen all at once, they produce an image of life that is beautiful and surprising and deep. There is no beginning, no middle, no end, no suspense, no moral, no causes, no effects. What we love in our books are the depths of many marvelous moments seen all at one time.” Harris and Kamvar aimed to write Almanac of Human Emotions in the telegraphic, schizophrenic manner of tales from Tralfamadore, where the flying saucers are.”

Open Platforms: “The power of open platforms in enabling the easy generation of consumable content has been demonstrated repeatedly on the internet, not only with the web itself, but also with sub-platforms like Facebook, Flickr, Google Gadgets, among others. I am interested in platforms that easily enable high-quality content creation for developers and provide a straightforward content consumption and navigation experience for users.”

Open Sub-platforms Open Sub-platforms like Facebook, Flickr, Google Gadgets, among others, facilitate the generation-creation of high-quality consumable content while providing easier access and consumption for users.

Timeline

Webliography and Bibliography

http://wp.me/p1TTs-j6


Flynn-Burhoe. 2008. Holomorphic forms on blue teapot Flickr

I was first introduced to the work of Xianfeng David Gu’s mesmerizing Escher-like visualizations of Computational Conformal Geometry on the jacket design of Spiro, George G. Spiro’s inspiring publication entitled Poincare’s Prize: The Hundred-Year Quest to Solve One of Math’s Greatest Puzzles (2007). It was his visualization of holomorphic (differentials) forms on the surface of a teapot that immediately caught my attention. (I had borrowed the book from the public library because of my fascination with Perelman’s story). Distort Spherize

My interest in surface reflections hidden in larger paintings developed into renditions of the reflections, particularly on spherical surfaces, encouraged in part by M. C. Escher’s iconic self-portrait.

In 1999 I began a series entitled Blue teapot where I emphasized the white visual noise/pattern on the highly reflective sephrical surface of a shiny (blue) sphere. Intuitively using laws of perspective I sought the diverse and elusive vanishing points of the spaces behind me, above me and below me as well as the more obvious space defined by Renaissance linear perspective in front of me. I was conscious of the inability of the author/artist/subject to eliminate the presence of the embodied self from the centre of these spheres.

I’ve incorporated this into different paintings since then sometimes creating a self-reflexive miniaturized mise-en-abyme effect.

Webliography and Bibliography

Gu, Xianfeng David. 2006. “Riemann Uniformization using Ricci Flow Method.” http://www.cise.ufl.edu/~gu/tutorial/Ricci_Report.pdf

Gu, Xianfeng David. 2006. “Computational Conformal Geometry Lecture Notes: Topology, Differential Geometry, Complex Analysis” http://www.cise.ufl.edu/~gu/tutorial/ComputationalConformalGeometry.pdf

Gu, Xianfeng David. 2006. “Isothermal Coordinates.” in PowerPoint “Computational Conformal Geometry Lecture Notes: Topology, Differential Geometry, Complex Analysis” http://www.cise.ufl.edu/~gu/tutorial/ComputationalConformalGeometry.pdf

Gu, Xianfeng David. 2006. “Figure 19: Holomorphic 1-forms on surfaces.” in PowerPoint “Computational Conformal Geometry Lecture Notes: Topology, Differential Geometry, Complex Analysis” http://www.cise.ufl.edu/~gu/tutorial/ComputationalConformalGeometry.pdf

Spiro, George G. 2007. Poincare’s Prize: The Hundred-Year Quest to Solve One of Math’s Greatest Puzzles. New York: Dutton/Penguin.