Subsisting frequencies: the Intersection of media arts and architecture
Bibliographic record
Abstract
The facilities currently available for the creation of new media art are exclusively \nreserved for funded professional artists. This inaccessibility is problematic for young and \nemerging media artists that do not have the resources to develop their work in physical space. \nWithout the access to a proper facility, these emerging artists use projective equipment to \nexhibit their work onto large public surfaces hoping to be seen. The proliferation and growing \npopularity of projective art demonstrates a need to expose this work beyond the limitations \nof computer monitors, into the potential of an architectural context. This potential relationship \nbetween architecture and media arts offers an opportunity to create a building that prioritizes \npublic access to this art form rather than a strict professional use. \n The concepts of analog and digital pertaining to light and space are fundamental in \ndeveloping a methodology while working at the intersection of media art and architecture. The \nterm analog defines a signal represented by a continuously variable physical quantity, such as \nvoltage, spatial position, etc. Analog rhythms are found in waves, usually evidenced by natural \nphenomena with cyclical behavior. It can be argued that the sun is considered an analog \nsource of light and rhythm. Within an architectural context, for example, an array of window \nmullions can modulate sunlight into analog rhythms of shadow. Whether they realize it or not, \narchitects create these analog experiences. The work of Iannis Xenakis and Le Corbusier \nin La Tourette is exemplary in demonstrating the ability to create spatial experiences with \nanalog rhythms. Their work designing the Philips Pavilion demonstrates how architects can \ncreate spaces at the intersect of both analog and digital rhythms. \n The term digital describes attributes of computational language represented through \nbinary sequences of ones and zeros. Digital is precise and does not continuously fluctuate. \nWhile a flashing light controlled digitally with a microcontroller may appear to continuously \nchange in amplitude, it is doing so by a miniscule and imperceivable stepping pattern. This \nboundary is known as granularity, a phenomenon that is at the core of differentiating between \nanalog from digital. Unlike architects, new media artists work with a focus on digital experiences. \nAs this architectural thesis is heavily rooted in computational media, the intersection of analog \nand digital is a vital concept in exploring boundaries of both practices. The core question then \nis how can rhythms between analog and digital light act as a common foundation for media.arts and architecture? Spatial experimentation with analog and digital rhythms is essential in developing an \narchitectural project alongside media art. The window became a spatial interface between the \nsun and computer generated projections, conceptually provoking a dialogue between analog \nand digital light. This experimentation derived principles that could be applied to architectural \ndesign. Using a physical architectural model as the interface between analog and digital light \nis the methodology behind the design. The intention is for the architecture to embody the intersection of analog and digital. A public media art facility requires a site that suits the cultural mandate of its local community. Montreal is considered to be a leading capital in digital media, it is evident that this type of project would be valuable to this community. The Mile-end district of that city is a culturally unique location that would meet this expectation. Hosting numerous cultural events, the mile end is favorable for a project providing a space for social gathering. Situating this project in this district can take advantage of this neighborhood’s unique cultural life while challenging the traditional assumptions of what it means to create a public building.
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.000 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.000 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one teacher head, not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".