Author Archives: terencemquinn91

About terencemquinn91

Artist involved with Mixed Reality integrated with physical art installations. MA Fine Art Digital (Distinction), and Visiting Practitioner at UAL.

Towards hMoMA Research – Portable Volumetric Video Capture and Display Accomplished

Project Status – April 6 2020

I am delighted to report the completion of the contract I made with PlayLab.Z to update their fixed studio volumetric capture and display rig at Ravensbourne University London to a portable multi camera system using the latest immersive technology. This is a project I specified and funded.

PlayLa.bZ contract-2 2

Early testing GenieMo and GenieMo Flow at Ravensbourne University featuring myself with James Edward Marks and Prof David Crawford walking on the moon. Two Azure Kinect Rig.

At my request, in order to gain contract completion sign off, PlayLab.Z successfully set up and demonstrated the system at a UAL Digital Maker Collective (DMC) event at UAL Camberwell College of Arts on on 12 February 2020.

IMG_9834

UAL Digital Maker Collective demonstration of Portable Volumetric Video Capture Rig. 4 Azure Kinect System. I am second on the left.

A user manual with a Github link was provided shortly after.

PlayLabZ GenieMo Manual Alpha

PlayLab.Z was then invited to participate in UAL DMC Tate Exchange 2020, Tate Modern during week commencing 2 March 2020 and the system was formally launched as GenieMo (capture) and GenieMo Flow (display) at Jisc DigiFest Birmingham 2020 on 9/10 March 2020.

My wife Suzy Aitchison at UAL DMC 2020 Tate Exchange, Tate Modern. Two Azure Kinect camera system with Looking Glass Factory Display.

IMG_0683 2

PlayLab.Z team with Holotronica at Jisk DigiFest 2020. Myself with thumbs up and Lee Robinson on end saluting

The launch at Jisc DigiFest 2020 was co-produced with Holotronica. GenieMo deployed two Microsoft Azure Kinect cameras (although at UAL it was demonstrated with four), Intel NUC Microcomputers, and a high performance external graphics processor (NVIDIA GTX 2080). GenieMo Flow was demonstrated showing captures in real-time with Microsoft HoloLens 1, a Looking Glass Factory volumetric display screen, and on a giant Holotronica transparent screen in the exhibition auditorium.

I am the Genie in the lamp! Holotronica display at Jisc DigiFest 2020. Volumetric capture with two Azure Kinects

I participated in all the above events and at the time of writing this post I am now at home in self-isolation during the Covid 19 (Coronavirus) pandemic.

Observations

What has been achieved and demonstrated is a massive achievement, especially in the timescale and with limited resources. It provides considerably less expensive tools for students to experiment and learn about volumetric film-making and to make associated media art in their educational settings.

PlayLab.Z are now extending their involvement independently beyond education establishments using their software (and currently mostly my hardware -on loan) to promote multi dimensional art for social good.

However, in relation to my own research, more progress needs to be made before the technology meets the exacting installation ease and fidelity requirements of a museum or art institution. This is what I will report on next as I have an extensive collection of the latest research papers and information on emerging technology, which as far as possible I am acquiring and deploying in my practice based research. This is what I am targeting but as a portable system without a green screen and 4-8 cameras. All Kinds of Limbo was recorded at Dimension Studio Wimbledon using the Microsoft licenced Volumetric Capture System.

 

 

 

 

 

 

 

Towards hMoMA Research and PhD Update

It has been over a year since my last post and a lot has happened, so its time for an update. I will now post on a frequent basis as it will evidence work I am undertaking towards my PhD ‘Making the absent object present: Towards hMoMA, a holographic Museum of Modern Art’.

My Azure Kinect handheld volumetric filming rig developed at University of the Arts Digital Maker Collective

PhD update

In January 2019, after a term into my PhD at Kingston School of Art, Kingston University London my PhD supervisors and I concluded that the initial stage of my practice based research was heavily immersive technology focused and outside the competencies of the academic staff of the University. I agreed to suspend my PhD until this first phase was completed independently and I had a museum partner where the technology could be deployed.

I intend rejoining my PhD at Kingston in October 2020 or January 2021 when this research can be deployed in a major museum. Independent research can be submitted as Prior Learning for a PhD which shortens the time for its completion. This blog and my posts on Research Gate https://www.researchgate.net/profile/Terence_Quinn2 will document my practice based technology research and my art practice which incorporates this technology.

Independent Immersive Technology Research

Collaborating Universities and Institutions

University of the Arts London where I am now a visiting practitioner and working with the UAL Digital Maker Collective led by Chris Follows, Emerging Technologies Manager for UAL Camberwell, Chelsea & Wimbledon Colleges of Arts.

Ravensbourne University London (RAVE) where I am collaborating with their research department led by Research Director Dr Nick Lambert, and Senior Research Fellow Carl Smith.

PlayLab.Z an independent RAVE embedded immersive technology practice (formerly the development team for DoubleMe HoloPortal Lab) supported by Prof. David Crawford (also of Kent University and Director of Futures Zone at IBC Media, Entertainment and Technology Show, Amsterdam). PlayLab.Z is a Community Interest Company (CIC) with director/developers James Edward Marks, RAVE alumni Marius Matesan, Chris Szkoda and Phil Tidy, owner/executive producer of Squire Studio London. I am currently pioneering with PlayLab.Z to further develop the technology originally produced by them for DoubleMe. My role is systems architect and provider of the resources and equipment necessary for the development.

Original Outcomes

This practice based research is pioneering the development of immersive technology for deployment in education, museums and art institutions. It’s ultimate aim is to replace current in-house museum collection digitisation and display practice with portable technology that will:

  • Dramatically speed up the digitisation process. Currently collections of hundreds of thousands if not millions of artefacts take decades to volumetrically capture or photograph
  • Allow digital copies of collections to be viewed at original scale on demand in mixed or virtual reality as though they are physically present. Digital copies are currently viewed as small flat images on computer or hard copy documentation
  • Enable stored physical collections to be displayed as life-sized holograms in the museum. Currently 95%+ of collections in 55,000 major museums Worldwide are in storage and rarely if ever displayed. Exhibits in temporary exhibitions are mostly returned to contributors or imported from other national museums. Major museums seek to display their collections regionally rather than just nationally which is difficult if suitable locations have to be found and objects physically transported
  • Enable curators to be recorded as video holograms to provide real-time interpretation of combined digital and physical exhibits from around the world
  • Link volumetrically digitised collections to museum archives (archives hub). Researchers can then view artefacts on demand and as though physically present in the viewer’s real world environment. Currently, access to stored collections and archives is possible but in highly restrictive circumstances and very limited numbers
  • Create digital copies of a museum or art institution’s collection in their own dedicated archive in the Cloud. This will ensure the protection of an institution’s Intellectual Property Rights in their digitised collections as they are only available on the internet at the organisation’s sole discretion. This approach will require the deployment of 5G technology to speed upload and access

An early version for education is to be launched at Jisc DigiFest 2020 in Birmingham on 10/11th March 2020. The software branded GenieMo will be demonstrated each day by PlayLab.Z Ravensbourne University using a recently constructed portable volumetric video capture rig, and GenieMo Flow will display volumetric video in real time on Microsoft HoloLens.

https://www.jisc.ac.uk/digifest#

PlayLab.Z will deploy the code to Github which will be free for experimentation by educators and students. Future releases will work towards the described planned outcomes for museums and galleries.

My art practice continues in parallel and is concerned with immersive storytelling and current social issues. It makes use of the immersive technology now under development with my collaboration partnerships.

During last year 2019 I was fortunate to present and demonstrate my art installation ‘The Refugees’ Crisis’ at a number of prestigious venues including Somerset House, and for the Creative Conscience Awards 2019 for which it won Gold in the Experience category https://www.creative-conscience.org.uk/winners/terence-quinn/. This work combines a more traditional media installation (film and sculpture) with mixed reality (a holographic refugee was projected many times into the physical exhibit). This was combined with a binaurally recorded narrative in order to increase personal immersion in and empathy towards the Refugees’ Crisis, to hard hitting emotional effect.

The holographic representation of the refugee in this art installation is a work in progress towards the independent technology research I am currently undertaking.  I presented this in my presentation at the Computer Arts Society London organised EVA London 2019. This is an internationally recognised academic forum concerned with the Electronic Visualisation of the Arts. For example, Professor Oliver Grau, a World renowned academic in this field presented at an EVA conference in Germany in the same year.

 

 

Terence Quinn – PhD Personal Statement – Sept 2018

I am the first person in my extended family to stay at school past age 15. Despite having demonstrated a talent for art, given my early life circumstances, I did not consider art a viable employment option. Instead I pursued a long career in technology, including senior positions in IBM and selling my own software company, which allowed me to retrain and practice as a garden designer.

Whist designing gardens I also attended part-time courses and weekly studio practice in portrait and life drawing, first at Putney School of Art then at the Cheyne Drawing Studio based at the London Sketch Club. During this time, I exhibited at both venues and sold some of my life drawings at the Daggart Gallery, Notting Hill. I also experimented with professional digital photography using the iPhone, taking several part-time courses at Kensington & Chelsea College where a selection of my photographs were exhibited. These experiences kindled my desire to undertake a third career as an artist. I decided to join an art school where utilising my technology background, I could explore the intersection of art and technology. That led to my two-year practice led research MA in Fine Art Digital at UAL Camberwell School of Art and my recent staff appointment as a visiting practitioner. I now focus on storytelling, exploring a mixture of traditional art and the latest technologies.

My ability to add new knowledge in a practice led research PhD is evidenced by:

  • A Distinction in my MA. Transcripts include “Overall, your progress on the course has been incredible…Evidence of analysis which potentially contributes new ideas, processes or knowledge to the field or is ground breaking in a way that would be recognised as valid by experts in the field”.
  • My final MA Show exhibit, ‘The Refugees’ Crisis’ being the subject of a recent BBC Radio 4 iPM Programme. http://www.bbc.co.uk/programmes/p058pzvh .This artwork breaks fresh ground artistically by incorporating Mixed Reality (MR) into a physical installation. http://blogs.arts.ac.uk/pgcommunity/2017/09/27/the-refugees-crisis/. In February 2018, I exhibited this again and spoke at St. Hugh’s College, Oxford University.
  • My PhD research proposal following on directly from my MA research paper (Distinction grade A+), which explores the ‘digital gap’ in our cultural heritage resulting from unresolved issues with the conservation of born-digital art. https://terencemquinn91.org/2016/10/05/research-paper-digital-to-physical-made-to-last-will-functioning-digital-art-be-part-of-our-future-cultural-heritage/. One of the aims of my PhD research is to provide a possible solution.
  • Technical research for my PhD building on a long and deep experience in computer technology. Whilst waiting to start a PhD, my research has continued informally. I have exhibited at Tate Modern for Tate Exchange in 2017 and 2018, http://www.tate.org.uk/visit/tate-modern/tate-exchange and at Tate Lates March 2018.
  • Regular attendance of the monthly Augmented Reality Forum held at UCL and other events including VR World and Lumen Prize.
  • Membership of EVA London (Electronic Visualisation and the Arts) and Volumetric Filmmakers NYCU.
  • Consistent visits to art galleries and museums, including Venice Biennale 2017, and the Rijksmuseum and Van Gogh Museum Amsterdam in 2018. I am a friend of RA and Tate.My wife is a member of the Museums Association, and a volunteer in the Theatre and Performance archives of the V&A.
  • My own home office with advanced facilities including equipment for 3D scanning, volumetric filmmaking, virtual and mixed reality, binaural audio recording, IoT and photography.

 

My art practice is concerned with immersive storytelling and current social issues.

I use Mixed Reality (a form of VR allowing 3D virtual objects to be combined with my physical art installations) and binaural audio in order to increase empathic response from the audience. Physical art installations consist of digitally fabricated sculpture set amongst a video background projected on all surrounding walls. Visitors first see this, then use either headphones (with inbuilt audio players) or a Mixed Reality visor, currently the Microsoft HoloLens to experience added layers to the work. These devices allow the user to freely walk around the installation while experiencing actors performing alongside huge-scale 3D replicas of the sculptures, both appearing as part of the physical installation.

I have entered my art installation ‘The Refugees’ Crisis’ for the Aesthetica Art Prize 2018, which if successful would be exhibited in Spring 2019.

 

Academic and practice based research for my PhD at Kingston University

I plan to submit two papers to EVA London 2019, the first based on my MA research paper concerned with issues relating to the conservation of digital art, and the second a short introduction to my PhD research.

I will investigate the possibility of working with Kingston University Centre for Augmented and Virtual Reality (CAVE), a facility of the Faculty of Science, Engineering and Computing. In particular, I would like to set up a pilot for Volumetric Filmmaking using my own equipment, which if successful KU may wish to expand this to a full capability. This is part of my planned PhD practice based research as it is a portable facility to volumetrically record both static art (paintings and sculpture), as well as movement (art installations and performance) in a museum and art institution setting. This will contribute to an archive that will enable recorded art to be viewed as though it were physically present in a real world environment using Mixed Reality glasses, a glasses free holographic display, or AR projection mapping. Artworks in the collections of other institutions that have been captured in 3D could also be brought into this archive, and viewed in the same way.

I maintained a WordPress Blog for my MA, which I am continuing for my PhD. This can be viewed at www.terencemquinn.com .

I have already established a file of my PhD research on Evernote, with currently over 1300 items including research papers, articles, and books. I can provide access to all or part of this record to my PhD Supervisors if requested. I am in the process of building a detailed Mind Map for my PhD which can also be shared and discussed in order to agree an appropriate programme of research.

 

 

 

 

 

 

Terence Quinn – PhD Research Proposal – Sept 2018

Making the Absent Object Present: Towards a holographic Museum of Modern Art (hMoMA)

Practice Led Research: How artworks can be recorded and viewed in Mixed Reality to enable a holographic Museum of Modern Art (hMoMA).

Mixed Reality (MR) devices now allow 3D 360-degree holograms to appear physically present in the real world. Such devices enable a person to view and walk around a hologram as they would the original, but in their own home or educational environment. Although not the same as viewing the original, the MR hologram provides an alternative experience to the viewer that is very close to reality. My investigations will determine which categories of artwork can be recorded and viewed effectively in MR, and how this may be achieved in a museum or art institution setting.

The primary aim of this research is to enable art institutions to display, in a single gallery space, any recorded object in their collections, or from past temporary exhibitions. This will include artworks otherwise hidden from public view, such as the vast collections now in storage due to limited gallery space, or which are too fragile for public display, or which cannot be conserved for the long-term, such as digital art.

This research will therefore make important contributions to new knowledge for creating a holographic Museum of Modern Art. If implemented, hMoMA will enable present and future generations to experience more of their cultural heritage than is otherwise possible.

Proof of Concept 

Delft University in Holland use MR to enhance the visitor experience of a Rijksmuseum exhibit (Maltha, 2016).

 “Scan the World is an ambitious initiative whose mission is to archive the world’s sculptures, statues, artworks and any other objects of cultural significance using 3D scanning technologies to produce content suitable for 3D printing”. The British Museum and Tate are contributors to this initiative which currently provides open on-line access to 3D scans of almost 9000 sculptures (MyMiniFactory, 2014).

My research so far, extends these ideas and illustrates some first steps towards achieving hMoMA.

In April 2017, I took part in demonstrating to V&A academics my exhibit Making the absent object present. Wearing a Microsoft HoloLens headset, participants walked around a hologram of my 3D sculpture, displayed in exactly the same place as the removed original (also shown at Tate Exchange: Tate Modern, Kingston University and The Museum of Futures, London).

IMG_7034           20170410_073439_HoloLens (2)

The original sculpture     The holographic sculpture

In July 2017, my MA show exhibit The Refugees’ Crisis allowed participants to freely walk around several oversize holographic images as an integral part of a physical art installation, while listening to a binaural recorded narrative. This was the subject of a BBC Radio 4 iPM programme (BBC Radio4 iPM, 2017).

Screen Shot 2017-10-28 at 19.22.13

In February 2018, I spoke and exhibited this again at St. Hugh’s College, Oxford University.

The Refugees’ Crisis

Ravensbourne University HoloPortal lab, which is supported by Microsoft and a research organisation (DoubleMe, n.d), have offered the possibility for me to volumetrically re-record the short film in this installation. It will enable the speaking, moving characters to be seen in MR as though they were physically present in my exhibit. However, I first plan to set up and test my own portable Volumetric Filmmaking facility using six RealSense D415 depth sensing cameras, and Realsense SDK.

My PhD builds upon my MA research paper Digital to physical – made to last? Will functioning digital art be part of our future cultural heritage? (Quinn, 2016) which examined the issues involved with the conservation of digital art in the context of our future cultural legacy. Digital art in particular is transitory as most will eventually be lost forever due to decay or technical obsolescence.

The technologies used are expected to develop considerably over the timescale of a PhD, which will give me the opportunity to significantly extend my enquiry. This fast paced development is evidenced by a plethora of recent and expected announcements in the field of Virtual and Mixed Reality from Microsoft, Apple, Google, ODG, Meta and many other advanced technology companies worldwide.

Original Contribution to Knowledge

Most research in the area of VR/ MR is not directed towards artistic endeavor, but to commercial opportunity particularly for gaming or business application.

My research would provide the following contributions to new knowledge, as hMoMA will:

  • Make the absent object present and allow users to experience recorded artworks in a way that is very close to seeing the original.
  • Make an important new contribution towards providing a record of important artworks for our future cultural legacy.
  • Provide an additional advanced form of archival documentation.
  • Offer an alternative to conventional digital art conservation.

My research questions and provisional timetable

 Year 1              

  • What types of artwork can be captured to be viewed holographically? By what means? At what quality? To what extent is the authenticity of the original preserved in the outcome? Painting, sculpture, performance art, born-digital art, interactive art and exhibitions all have different requirements.
  • How can artworks be captured in their established setting? Artworks exhibited in a museum, in storage or outside have different demands.
  • How can captured artworks be experienced in various settings and by what means? In a museum? At home?
  • What is the reaction to hMoMA by all stakeholders? Artists, curators, the general public, lawyers, academics?
  • What will incentivise stakeholders to actively support or promote hMoMA in their organisation? To overcome potential resistance to change.
  • What other potential barriers exist to hMoMA, including cost and copyright law?
  • What other contributing developments and research exists in other universities and institutions?
  • Finalise my PhD practice based research proposal.

Year 2

  • What version(s) of hMoMA can be implemented now? Demonstrate what can be achieved using my own artwork(s).
  • Approach the V&A and Tate with a view to a research collaboration. Agree to develop metrics to judge results of an hMoMA prototype using an art installation in their collection. This will provide the basis for reflection and critical analysis of the project.
  • How does the practical implementation of hMoMA perform against agreed metrics? Carry out an external demonstration using both my own artwork and that of a collaborating institution.
  • What further research and development is needed? Determine how limitations and barriers to hMoMA might be overcome, and provide direction for further research, including what is needed for volume implementation.

Year 3/4  

  • Publish results as my PhD practice based dissertation.
  • Organise, or participate in, a public exhibition showing the best of what can be achieved with hMoMa.

 

Bibliography

 8i. (2015) 8i introduces fully volumetric 3D video. Available at: https://www.youtube.com/watch?v=aO3TAke7_MI [Accessed: 18 October 2017].

Amathys 3D. (2014) Augmented Reality Geneva Art & Museum History Museum Achille et Penthésilée Corps et Esprits. Available at:  https://www.youtube.com/watch?v=i0nL8gWblBM [Accessed: 12 October 2017]. 

Appleyard, B. (2017) The V&A’s History Man: Meet the new boss Tristram Hunt. London, UK. Sunday Times.

Baker, M (1982, revised 2007) The History of the Cast Courts. Available at:  http://www.vam.ac.uk/content/articles/t/the-cast-courts/ [Accessed: 30 March 2017].

Barreca, L. (2009) Conservation and documentation of new media art. Available at: https://academiccommons.columbia.edu/catalog/ac:174882 [Accessed: 26 September 2016].

BBC Radio4 iPM. (2017) The Refugees’ Crisis by Terence Quinn. Available at: http://www.bbc.co.uk/programmes/b08xcxh0  [Accessed: 30 July 2017].

Bhaskar, M. (2016) Curation: The power of selection in a world of excess. London, UK. Piaticus Publishing.

Brandi, C. (2010) Theory of Restoration. Available at: http://isites.harvard.edu/fs/docs/icb.topic822683.files/Brandi_Theory%20of%20Restoration%20I_sm.pdf [Accessed: 26 September 2016].

Cameron, F. and Kenderdine, S. (eds.) (2010) Theorising Digital Cultural Heritage: A Critical Discourse. Massachusetts, USA. The MIT Press.

Cameron, F. (2007) ‘Beyond the Cult of the Replicant: Museums and Historical Digital Objects – Traditional Concerns, New Discourses’ in Cameron, F. and Kenderdine, S. (eds.) Theorising Digital Cultural Heritage – A Critical Discourse. Massachusetts, USA. The MIT Press.

Cloonan, M. V. (ed.) (2013) Preserving our heritage. Perspectives from antiquity to the digital age. Chicago, USA. American Library Association.

Cunliffe, E. (2016) Can we 3D re-print the history we have destroyed? Ethics of Restoration. Available at: https://qz.com/656151/can-we-3d-re-print-the-history-weve-destroyed/ [Accessed: 15 April 2017].

Cyark. Digitally Preserving Heritage At-Risk. Available at: http://www.cyark.org/projects/ [Accessed: 20 April 2017].

Delve, J. and Anderson, D. (2014) Preserving complex digital objects. London, United Kingdom. Facet Publishing.

De Vries, J. (2016) HoloLens at the museum: Reflecting on the project. Available at: https://hololens2016.weblog.tudelft.nl/ [Accessed: 30 March 2017]

Digitization Program Office (n.d) Smithsonian X3D. Available at: https://3d.si.edu/ [Accessed: 30 March 2017].

DoubleMe. (n.d) Launch of World’s First HoloPortal at Ravensbourne. Available at: http://www.doubleme.me/#holoportal [Accessed: 23 January 2017].

Esparo, Y. (2016) New York City – Augmented reality art show. Available at: https://www.youtube.com/watch?v=NrzsZSnJGCM [Accessed: 18 October 2017].

Euclidean Holographics. (2017) World’s First Hologram Table. Available at: https://www.youtube.com/watch?v=GjPWk0UhKDQ [Accessed: 18 October 2017]

Factum Arte (2017) What is Factum Arte? Available at: http://www.factum-arte.com/aboutus/ [Accessed: 15 September 2016].

Gayford, M. (2012) Old media, digitized, make new forms. Computers are changing art in unexpected ways. Available at: https://www.technologyreview.com/s/429643/old-media-digitized-make-new-forms/ [Accessed: 26 September 2016].

Hazan, S. (2007) ‘A Crisis of Authority: New Lamps for Old’ in Cameron, F. and Kenderdine, S. (eds.) Theorising Digital Cultural Heritage – A Critical Discourse. Massachusetts, USA. The MIT Press.

Kipman, A. (TED 2016) A Futuristic Vision of the age of holograms. Available at:

https://www.ted.com/talks/alex_kipman_the_dawn_of_the_age_of_holograms [Accessed: 10 January 2017].

Lo, R. (2016) Microsoft Hololens Newest Competitor: Meta 2 (and it might be even better). Available at: https://www.youtube.com/watch?v=jHHa1BNCDcA [Accessed: 20 January 2017]

Lozano-Hemmer, R. (2015) Best practices for conservation of media art. Available at: https://github.com/antimodular/best-practices-for-conservation-of-media-art [Accessed: 26 September 2016].

Mackie, J. (2016) ODG 4K Augmented Reality Review: better than HoloLens? Available at: http://www.youtube.com/watch?v=xVhF3ai44Xo [Accessed: 20 January 2017].

Maltha, A. (2016) Demo HoloLens Temple Experience – TU Delft. Available at: https://vimeo.com/190609328 [Accessed: 12 January 2017].

MacLean, M. and Davis, B. (eds.) (2000) Time and bits: Managing digital continuity. Los Angeles, USA. Getty Research Institute.

Meyrick, M. (2013) BBC Frozen Planet Augmented Reality – created by INDE. Available at: https://www.youtube.com/watch?v=fv71Pe9kTU0 [Accessed 21 October 2017]

Microsoft. (2016) Hololens: Pushing the limits of storytelling. Available at: https://www.microsoft.com/microsoft-hololens/en-us [Accessed: 26 September 2016].

Microsoft. (2016) How Microsoft records Holographic video content for the HoloLens. Available at: https://www.youtube.com/watch?v=kZ-XZIV-o8s [Accessed: 10 August 2016].

Microsoft. (2016) Microsoft HoloLens: HoloTour. Available at:  https://www.youtube.com/watch?v=pLd9WPlaMpY [Accessed 12 February 2017].

Microsoft. (2015) How Microsoft records Holographic video content for the HoloLens. Available at: https://www.youtube.com/watch?v=kZ-XZIV-o8s [Accessed: 15 August 2016].

Mongeon, B. (2016) 3D Technology in Fine Art and Craft. New York, USA. Focal Press.

Michel, B. (2013) Digital Stereoscopy: Screen to Screen 3D Production Workflow. Sprimont, Belgium. Stereoscopy News.

MyMiniFactory. (2014) MyMiniFactory: Scan the World. Available at: https://www.myminifactory.com/scantheworld/ [Accessed: 18 August 2016].

Petrelli, D. (2016) Material Encounters with Digital Cultural Heritage. Available at: http://www.mesch-project.eu/outputs-3/ [Accessed: 30 April 2017].

Quinn, T. (2016) Digital to physical – made to last? Available at:  https://terencemquinn91.org/2016/10/05/research-paper-digital-to-physical-made-to-last-will-functioning-digital-art-be-part-of-our-future-cultural-heritage/ [Accessed: 20 October 2017].

Richardson, R. (2016) The Arch of Triumph of Palmyra is recreated in London – 1,800 years after it was built. Available at: http://www.telegraph.co.uk/news/2016/04/08/why-the-arch-of-triumph-of-palmyra-is-being-recreated-in-london/ [Accessed: 20 April 2017].

Rinehart, R. and Ippolito, J. (2014) Re-collection: Art, New Media, and Social Memory. Massachusetts, USA. The MIT Press.

Serexhe, B. (ed.) (2013) Digital art conservation. Preservation of digital art: Theory and practice. Germany. Ambra V and ZKM Centre for Art and Media.

Uzadi, S. (2016) Holoportation: Virtual 3D teleportation in real-time (Microsoft Research) Available at: https://www.youtube.com/watch?v=7d59O6cfaM0 [Accessed: 26 June 2016].

Witcomb, A. (2007) ‘The Materiality of Virtual Technologies: A New Approach to Thinking about the Impact of Multimedia in Museums’ in Cameron, F. and Kenderdine, S. (eds.) Theorising Digital Cultural Heritage – A Critical Discourse. Massachusetts, USA. The MIT Press.

PhD Research – EVA London

 

Images courtesy of EVA London

Electronic Visualisation and the Arts (EVA) hold international conferences annually. It is a community of academics and practitioners, which one of the organisers Emeritus Prof of Computing, London South Bank University, Jonathan Bowen has encouraged me to join and submit papers to present (if selected) at EVA London 2019. I plan to do this. Firstly with my MA research paper ‘Digital to Physical Built to Last: Will functioning digital art be part of our future cultural legacy’, and an introduction to my PhD project ‘Making the absent object present: Towards a holographic Museum of Modern Art (hMoMA)’.

It is indeed a small world. I was pleased to note that my MA Tutor Dr. Gareth Polmeer, now on the academic staff at the Royal College of Art, is one of the other people I know who is involved. Also Dr. Nick Lambert, Head of Research at Ravensbourne. I also noticed that Prof. Carla Gannis (Pratt Institute, New York) has presented in the past, who I met at the Lumen Prize, which is also promoted at the EVA conference, involving a fellow MA FAD graduate Jack Addis.

Conference themes

EVA London’s Conference themes include the use of new and emerging technologies in the following areas (to be broadly interpreted):

  • Digital Art
  • Data, Scientific and Creative Visualisation
  • Digitally Enhanced Reality and Everyware
  • 2D and 3D Imaging, Display and Printing
  • Mobile Applications
  • Museums and Collections
  • Music, Performing arts, and Technologies
  • Open Source and Technologies
  • Preservation of Digital Visual Culture
  • Virtual Cultural Heritage

I have highlighted my particular areas of interest for my PhD research.

This has been an important discovery for me, as Jonathan Bowen thinks it will be a supportive community for my PhD. Thank you Jonathan.

 

Starting my PhD at Kingston University

I am very excited to be starting my practice based PhD next month (Sept 2018) at Kingston University School of Art. It became real to me yesterday when I received a schedule of events for induction and workshops for the first year.

My research project is titled Making the Absent Object Present: Towards a holographic Museum of Modern Art (hMoMA). This builds upon my MA Fine Art Digital (Distinction) gained at the University of the Arts London in 2017, and my MA research paper Digital to Physical – Built to Last? Will functioning digital art be part of our future cultural heritage? An examination of built in obsolescence in digital art and implications for our cultural legacy (https://terencemquinn.com/2016/10/05/research-paper-digital-to-physical-made-to-last-will-functioning-digital-art-be-part-of-our-future-cultural-heritage/).

My PhD research supervisors at Kingston University are Associate Prof. Dr. Chris Horrocks, and Prof Felicity Colman professor of Film and Media Arts and Director of Research Programmes, and Development.

At the same time I continue in my role as Visiting Practitioner at University of the Arts London, in particular in support of MA Fine Art Digital at UAL Camberwell College of Art, and my involvement with UAL Digital Maker Collective and Tate Exchange. I am hoping that by starting my PhD part time it will allow me to be active at both UAL and Kingston Universities.

I plan to seek involvement in the recently formed UAL Institute of Creative Computing and with Kingston University’s Centre for Augmented and Virtual Reality Environments (CAVE). I am particularly interested in the application of Mixed Reality to my PhD research project and to engage and support other students in practice based research and making, using my extensive collection of 3D, VR, and MR development devices. These include headsets (HTC Vive, Vive Focus Developers Edition, Microsoft HoloLens Development Edition, and Occipital Bridge) and devices for volumetric capture (Depthkit and Occipital Structure Sensor), and later this year Lightform (AR Projection Mapping).

FullSizeRender 57

Mixed Reality Projection using Microsoft Hololens

Portfolio – 2019

My art practice is human interest storytelling combining mixed reality with more traditional art installations using sculpture, video, and binaural audio.

thumb_portfolioP0_1024

My MA Show art installation ‘The Refugees’ Crisis’ exhibited at UAL in July 2016, tells the true story of refugees fleeing to Europe by boat from Tunisia to Lampedusa which sank, the tragic result of which was discovered by a couple and a few of their friends when sailing on their own small craft – “I have never seen so many in the water”, “We cannot save them all”. This built on the experience of ‘Metamorphosis’, this time using the Veronica Scanner during an RA exhibition at Waddesdon Manor, to make a very detailed life-size 3D print of an actress in the role of Teresa, one of the rescuers. This contrasted with a haunting scan of an actor as a refugee, low morphed, so features were not clear, representing many of those in the sea, not just one person. These sculptures were mounted on clear plinths surrounded by a projected backdrop of the moving sea against the walls and floor, so that the figures appeared to be in the water. Visitors were invited to stand between them. A three-minute binaural recording of the characters’ narrative relating their experience of the same instance when the rescuer and the refugee first saw each other across the water, could be heard through headphones. Three huge holographic copies of the refugee sculpture could be seen against the physical art installation in the exhibition space, along with the binaural recording, using the Microsoft HoloLens mixed reality headset. The visitor could walk around these sculptures as though they were physically present. Many visitors cried including the author of ‘The Optician of Lampedusa’, Emma Jane Kirby, whose book was the inspiration for my work. Penguin donated many copies for visitors to take for an on-line donation to the Oxfam charity supporting refugees. The exhibit was well promoted by the University, which led to the BBC visiting and recording a radio documentary about it for iPM. The Vice Chancellor of UAL, Nigel Carrington bought smaller 3D printed replicas of rescuer and refugee, which are now on display in his office. On 26 February 2018, I will be presenting and exhibiting this installation again at St. Hugh’s College, Oxford University.

 

Screen Shot 2017-10-28 at 19.22.13

 

thumb_portfolioP1_1024

thumb_portfolioP1_1024

 

thumb_portfolioP3_1024

For the binaural effect please listen to the audio below using headphones.

 

thumb_portfolioP4_1024

thumb_portfolioP5_1024

There were many experimental steps along the way: A half size sculpture of Vanessa in pose, made of 250 laser cut slices of MDF; a touch narrative painting ‘Unrequited Love’ which held a conversation with the viewer as he/she touched different parts of the canvas. The viewer is the object of affection of the woman in the painting – “Why did you ignore me today”; large canvases of the 3D scans of Vanessa, morphed as a harlequin or as an intricate mesh which is projected and rotated.

thumb_portfolioP6_1024

thumb_portfolioP7_1024

thumb_portfolioP8_1024

thumb_portfolioP9_1024

thumb_portfolioP10_1024

 

My MA Display exhibit, ‘Metamorphosis’ builds upon my ‘Digital to Physical’ practice. I used 3D scanning, photogrammetry and 3D printing processes developed by Factum Arte, part of the Factum Foundation, which reconstructed demolished heritage such as the Arch at Palmyra destroyed by ISIS. With my own hand held scanner and the SLS 3D printer at Central Saint Martins I produced a one-third size scale sculpture of Vanessa Abreu, a life model I had previously drawn. I then used the 3D printed sculpture to make the mold from which I cast her upper body in bronze, leaving it with runners and riders exposed and unpolished to represent the stress experienced when she damaged her knee during a contemporary dance performance at Sadler’s Wells. The full body 3D print in smooth sandstone, in contrast represented her metamorphosis into a successful life model at the Royal Drawing School. I recorded Vanessa’s story in her own voice, and parts of her narrative are played randomly when the book ‘Metamorphosis’, displayed with both sculptures, is touched by a viewer – “I did not know whether I would ever dance again”. There is no evidence of the technology, and the book can be lifted off the plinth it rests on, with no wires attached. My aim is to gain an empathic response from the audience from the visual and audio cues alone, without intrusive evidence of the technology employed.

thumb_portfolioP11_1024

thumb_portfolio12_1024

 

thumb_portfolio13_1024

thumb_portfolioP14_1024

thumb_portfolioP15_1024

In April 2017, I took part in a demonstration to V&A academics of my exhibit Making the absent object present. Wearing a Microsoft HoloLens headset, participants walked around a hologram of my 3D sculpture, displayed in exactly the same place as the removed original (also shown at Tate Exchange: Tate Modern, Kingston University and The Museum of Futures, London).

thumb_portfolioP16_1024

Earlier this year I demonstrated and helped visitors experience these technologies, including Tilt Brush Virtual Reality and Mixed Reality, at Chelsea College of Arts, Camberwell College of Arts, and at several sessions of Tate Exchange at Tate Modern.