Can supervise: YES
With urban space under the ubiquitous scrutiny of digital visioning technologies, the city is now imaged by means of a pixel grid containing ephemeral, qualitative data presented as colour, brightness and shape. Unlike traditional analogue pictorial representational modes, the digital image is a highly transformable mechanism with an unstable distribution of data across its pixel array. As a consequence, representation in the form of spatial abstraction demands not only a new approach to the learning and implementation of traditional disciplinary drawing practice, but a rethinking of the alignment and cooperative nature of analogue and digital drawing models when applied to effective design development. In a pedagogical context, the transition of spatial representation between analogue and digital modes has profound implications for how the student connects seminal drawing and design processes to both the sensorial realm and the physical experience of lived space. This article therefore explores the enhancement of tertiary learning in digital and abstract literacy through new drawing techniques. Underpinned by a new relationship between representation and envisioned physical space, the techniques are applied within learning environments in parallel with existing analogue pictorial procedures. By building curriculum for foundational students that provides a framework of linked spatial experiences aligned across analogue and digital domains and coupled with tasks focused on the development of conceptual thinking, it proposes increased student success in future studios and professional practice.
Perin, G & Matthews, L 2019, 'Organizing Architectural Atmospheres: Reconfiguring Form and Space as Chromatic Data', International Journal of Creative Interfaces and Computer Graphics, vol. 10, no. 1, pp. 16-29.
Matthews, LM & Perin, G 2014, 'Reconfiguring space: the collective autonomy of digital technology', International Journal of Web Based Communities, vol. 10, no. 2, pp. 158-158.View/Download from: Publisher's site
The continued survival of political systems is contingent upon strategies that generate an image reinforcing the position of those in power. The associated conversion of the built environment into an agent of political propaganda operates either by underscoring this position, or by generating the representation of formal interventions that validate and promote the same. The emergence of information technologies demands a new approach to the generation of urban form. The global transmission of the city image by webcam networks means that their surveillant intent is overridden in favour of an operational space where the image's instrumentality is now contingent upon the interactive operation of video technology. This paper will discuss not only how these digital technologies can disrupt the exertion of political control by urban powerbrokers but, more importantly, it will reveal how they open a new collective, productive space for the individual that contests this hegemony of vision.
Digital technologies demand a transformation in the disciplinary ambitions guiding the architectural design process. The potential of these technologies lies in the almost endless capacity to translate hard materiality into fluid data flows. Yet, their architectural application is so wedded to the issue of form that colour remains a secondary design concern. The continuing relegation of colour to a secondary design issue perpetuates a longstanding theoretical paradox. On the one hand, digital architecture encourages formal investigations into the tectonics of the surface. On the other, by austerely rejecting colour, digital architecture implicitly perpe- tuates a prejudice against the appearance of that same surface. This paper aims to dissect this disciplinary prejudice in order to open the field to digital techniques that use colour as an integral part of the generative design process.
Webcam systems now function as the new privileged vantage points from which to view the city. This transformation of CCTV technology from surveillance to promotional tool is significant because its 'scopic regime' presents, back to the public, a new virtual 'site' that sits alongside its real-tiome counterpart. Significantly, this raw 'image' data can, in fact, be co-opted and processed so as to disrupt their original purpose. This paper will demonstrate this disruptive capacity through an architectural project. It will reveal how the adaption of the webcam image offers a technical springboard by which to initiate alternate urban form making decisions and subvert the disciplinary reliance on the 'flat' orthographic plan. In so doing. the paper will show how the 'digital material' exceeds the imagistic function of the image; shifting it from being a vehicle of signification to a site of affect.
The pervasiveness of CCTV systems throughout contemporary urban environments is merely the latest mechanism by which civil authorities attempt to control the spatial complexity of the city. Responding to an inability to observe illicit activity from a single vantage point, the distributed CCTV network acts as an important mechanism of socia l surveillance. Consequently, the scopic regime of the C(TV not only registers the anxiety of the dominant social power structures concern ing public space, it also reinforces an ongoing historical relationship with the occupation and control of the landscape. The significant difference between these systems and Jeremy Bentham's panopticon is that the technological transportability of the image allows captured 'content' to re-enter the public domain rather than remain the property of a privileged minority. The interactive and remote nature of these systems, when coupled with their digital conversion and transmission through a third party digital interface, the internet, delivers the very mechanism of control back into the hands of those who are surveyed.
Matthews, LM & Perin, GJ 2011, 'Digital Images: Interaction and Production', International Journal of Creative Interfaces and Computer Graphics, vol. 2, no. 1, pp. 27-41.View/Download from: Publisher's site
The valence of any visual paradigm and its accompanying technologies is subject to the contingencies of political regimes and cultural shifts. The instigation, implementation and even reconfiguring of any associated technological system effects a translation and adjustment to the structure and use of these supporting mechanisms that both re-defines the relationship between object and viewer and ultimately influences its translation into material form. The permeation of digital systems throughout contemporary urban space is typified by Internet Protocol webcam systems, instigated by civic authorities for surveillance and the imagistic promotion of iconic city form. This paper examines how this systems reception and subsequent translation of transmitted data signals into digital information not only presents new material to mediate peoples engagement with public space, but moreover, how it presents new opportunities for the designer to materialize its three-dimensional form within the spatial ambiguity of virtual and real-time environments.
This essay aims to demonstrate how the webcams capacity for reflexivity and manipulability extends the instrumentality of the digital image and offers an opportunity for adapting and mediating the visual experience and representation of urban environments. It will discuss how the disruption of the regulatory control of the webcam opens a space for productive engagement with the making of city images that refuses either to privilege sanctioned forms or to render stable representations of the urban landscape. With a specific focus on the link between material and program, it will demonstrate how the disciplinary logics of webcam `content can instigate alternative three-dimensional formal tactics by allowing the architect to analyze, adopt and adapt webcam `content and ultimately to convert it into qualitative and experiential form.
Matthews, L 2020, 'The Affective Surface' in Borlini, M, Amadori, C & Di Loreto, L (eds), Urban Corporis: The City and the Skin, IUVAS, Milan, pp. 152-163.
The production of the contemporary city image relies on a grid of pixel adjacencies of colour and brightness to delineate form rather than the linear coordinates of the Cartesian grid. This chapter investigates reciprocity between digital geometry, camera technology and the urban surface. Drawing on non-commercial open-source software to access, analyse and reconfigure digital images, it presents new representational techniques in which pixels are recomposed and grouped according to the ephemeral, qualitative urban patterns associated with colour and brightness. The chapter thus proposes a key emergent relationship between representation and materiality in which the contemporary city's material surfaces can be generatively linked to the interactive complexities of digital visioning systems across a temporal frame. It also suggests that these techniques reposition the disciplinary agency of the image.
Matthews, L 2020, 'The Qualitative Image: Urban Analytics, Hybridity and Digital Representation' in Biloria, N (ed), Data-Driven Multivalence in the Built Environment, Springer Nature, Cham, Switzerland, pp. 267-285.View/Download from: Publisher's site
High-precision analytical software, such as that used for medical imaging, can be also applied productively to the assessment of urban conditions such as pedestrian and vehicular flow. A prominent feature of this tool is its ability to offer a new and more abstract understanding of the material nature of the city. Drawing upon a range of scaled-up software procedures to illustrate capability, the chapter reveals how an analytical medical software tool can be adapted for use in alternative interdisciplinary contexts such as urban design. Using imagery captured from public domain webcams, it demonstrates how the upscaling and transferal of this digital tool from its original disciplinary role provides a new way of assessing the appropriateness of a proposed built intervention. It also reveals that the extension of this tool's fine-grain, image-based analysis capabilities into a broader, more complex urban scale allows the more ambiguous and often-disregarded properties of city life to form part of a comprehensive and wholistic data set. The chapter concludes with the proposal that the synthesis of quantitative and qualitative data facilitated by this analytical platform exceeds the capability of urban assessment tools currently used by the discipline.
Perin, G & Matthews, L 2020, 'Aberrant Patterns: Cataloguing the Visual Effects of Materialising the Hidden Patterns in Digital Imaging Systems' in Borlini, M, Amadori, C & Di Loreto, L (eds), Urban Corporis: The City and the Skin, IUVAS, Milan, pp. 164-173.
Perin, GJ & Matthews, LM 2016, 'Urban utopics: the politics of the digital city view' in Caldwell, GA, Smith, CH & Cairns, G (eds), Digital Futures and the City of Today: New Technologies and Physical Spaces, Intellect Ltd, Bristol, UK, pp. 105-121.
Matthews, L & Rice, C 2012, 'Designing (in) the PhD in architecture: Knowledge, discipline, pedagogy' in Lee, A & Danby, S (eds), Reshaping Doctoral Education: International Approaches and Pedagogies, Routledge, London, pp. 99-112.View/Download from: Publisher's site
Architecture, it should be clear, is all about the design of buildings. So what would it be to do a PhD in architecture? Do you design a building? Or do you reflect on the process of designing a building? Or perhaps the approach should be different. Given that architecture has all sorts of social, political and environmental in1pacts - effects beyond and outside the intentions of those who commission, design and produce architecture - perhaps a PhD should study those effects. While these might seem like equally valid possibilities, the former set of concerns has recently become more prominent in the discipline. Rather than produce PhDs abottt architecture, there is a move to consider what a PhD in architecture would be. And here design as both research method and form of outcome has entered the frame. If architectural knowledge is understood to be generated through the doing of architecture, then a PhD should be available as a structure to validate this formation of knowledge.
Donnelly, S & Matthews, L 2019, 'Synthesising analogue and digital:Abstraction as an integrated pedagogical tool', Unistars.org, STUDENTS TRANSITIONS ACHIEVEMENT RETENTION & SUCCESS, CROWN PROMENADE, MELBOURNE.
Perin, G & Matthews, L 2019, 'Slicing Perspective', Proceedings of the 9th International Conference on Digital and Interactive Arts, Braga: Grupo Portugues de Computacao Grafica and ARTECH International., ARTECH 2019: Proceedings of the 9th International Conference on Digital and Interactive Arts, Braga, Portugal.
Austin, M & Matthews, L 2018, 'Drawing Imprecision: The Digital Drawing as Bits and Pixels', Recalibration: On Imprecission and Infidelity, Annual Conference of the Association for Computer Aided Design in Architecture, Acadia Publishing Company, Mexico City, pp. 36-45.
This paper explores the consequences of digitizing the architectural drawing. It argues
that the fundamental unit of drawing has shifted from "the line" to an interactive partnership
between bits and pixels. It also reveals how the developmental focus of imaging
technology has been to synthesize and imitate the line using bits and pixels, rather than to
explore their innate productive value and aesthetic potential.
Referring to variations of the architectural drawing from a domestic typology, the paper
uses high-precision digital tools tailored to quantitative image analysis and digital tools that
sit outside the remit of architectural production, such as word processing, to present a
new range of drawing techniques. By applying a series of traditional analytical procedures
to the image, it reveals how these maneuvers can interrogate and dislocate any predetermined
The paper reveals that the interdisciplinary repurposing of precise digital toolsets
therefore has explicit disciplinary consequences. These arise as a direct result of the
recalibration of scale, the liberation of the bit's representational capacity, and the pixel's
properties of color and brightness. It concludes by proposing that deliberate instances
of translational imprecision are highly productive, because by liberating the fundamental
qualitative properties of the fundamental digital units, these techniques shift the disciplinary
agency of the architectural drawing.
Perin, G & Matthews, L 2018, 'Aberrant Patterns: Cataloguing the Visual Effects of Materialising the Hidden Patterns in Digital Imaging Systems', No, Smartness? Between discourse and practice, 15th Architectural Humanities Research Association, Eindhoven.
Matthews, L, Perin, G, Perry, S, Bone, D & Culpepper, J 2018, 'Novel Disruptive Methods: Pattern Adaptations for Military Structures', International Conference on Science and Innovation for Land Power 2018, Department of Defence, Australian Government, Adelaide, SA, Australia.
Recent research reveals that signature disruption strategies of detection delay and disguise can provide effective counter-surveillance techniques for contemporary low-altitude Uninhabited Aerial Vehicle (UAV) or drone detection platforms. As the first in a series of tiered tests, a virtual 3D model of selected 'scaled-up' HSV-based (Human Visual System based) algorithmic patterns and 3D biological nanostructures were found to disrupt a camera sensor when
mirrored in a physical surface. Further prototype and field tests will be conducted to corroborate these findings, with the ultimate aim of proposing an effective, controllable and disruptive mechanism to overhead UAV surveillance technology.
Matthews, L & Perin, G 2017, 'A productive ambiguity: Diffraction aberrations as a template for the architectural surface', CAADRIA 2017 - 22nd International Conference on Computer-Aided Architectural Design Research in Asia: Protocols, Flows and Glitches, International Conference of the Association for Computer-Aided Architectural Design Research in Asia, The Association for Computer-Aided Architectural Design Research in Asia, Suzhou, China, pp. 571-580.
© 2017, The Association for Computer-Aided Architectural Design Research in Asia (CAADRIA), Hong Kong. The hi-resolution imaging of public urban space for both promotional and surveillance purposes is now undertaken by a range of ubiquitous visioning technology such as Internet webcams, drones (UAV's) and high-altitude aircraft cameras. The ability to control and manipulate these types of images is a growing concern in an increasingly 'envisioned' environment. One approach is to disrupt or modify the 'emission signatures' of urban surfaces, which requires an understanding of the digital algorithms used to assemble and transmit image content into grids of visual data. Recent scaled tests show that Fraunhofer diffraction algorithms can interfere with the smooth transmission of image data. When these algorithmic patterns are physically constructed into a building façade, they create natural disruption glitches in the camera's successful transmission of visual data. The paper details how the quantum of visual aberration in the digital portrayal of the city can be determined by algorithm-based façade patterning.
Matthews, LM & Perin, GJ 2017, 'The hidden territories of the digital line', Quotation, Quotation: What Does History Have in Store for Architecture Today, 34th Annual Conference of the Society of Architectural Historians, Australia and New Zealand, SAHANZ, Canberra, Australia, pp. 377-387.
Perin, GJ & Matthews, LM 2017, 'Chromatic Cartography: [Re] Drawing Architecture in a Digital Paradigm', Proceedings of the 8th International Conference on Digital Arts, International Conference on Digital Arts, ACM, Macau, China, pp. 39-45.View/Download from: Publisher's site
This paper addresses the theoretical, procedural and formal implications of using image-based software as a new type of architectural drawing. Named chromatic cartography, this new category of digital production extends disciplinary knowledge of the drawing by redefining the representational and procedural repertoire of digital design practice. The representational and procedural differences of chromatic cartography rely on the ability of image-based software to capture and reconfigure real-world data. The pixel becomes central to this mode of mapping because it requires the map to represent form through color. In fact, the conversion of form into packets of visual data transforms the image's role in architectural practice, rupturing the longstanding practice of defining form through the line. The computational manipulability of visual data has significant procedural consequences for architectural production. It is not just that the image as visual data recasts the role images play in architectural production without violating digital discourse's core philosophical tenet of superseding semiotic meaning with meaningful production. Rather, computation circumvents past techniques of appropriation and reproduction that had transformed drawing into images of formal likeness and resemblance.
Perin, G & Matthews, LM 2016, 'The Digital Image as Topological Surface', Proceedings of the Digital Cultural Ecology and the Medium Sized City, Digital-Cultural Ecology & the Medium-Sized City, AMPS, The Arnolfini Centre for Contemporary Arts, Bristol, United Kingdom, pp. 56-65.
In the image economy the promotional image allows individuals and authorities to make various
claims for the control of urban and architectural form. However, apart from texts like Anna
Klingmann's Brandscapes: Architecture in the Experience Economy, there are few voices that directly
advocate architectural action in this arena. While impossible to succinctly explain this disciplinary
mistrust of the Image, the return to figurative intent risks prefiguring formal choices to the detriment
of architecture's performative responsibilities. Within digital design discourse, the diagrammatic
process is seen to circumvent the politics of Meaning that comes with the 'already figured'. Instead,
the procedural generation of form guarantees that Meaning occurs only after form emerges.i Thus the
politics of the branded architectural object lies outside the remit of digital discourse. Yet Klingmann's
position suggests that contemporary digital image creation and dissemination runs an uncanny parallel
to that traditional role where architecture communicates identity and prestige. Furthermore, as Trevor
Paglen's projects, 'Symbology' and 'The Other Night Sky' demonstrate ii, the dematerialisation of
power within the flows of global capital is countered by either the desire to re-present power through
covert emblems or in the residual traces left by the passage of data. In an age where the
dematerialization of power threat
Matthews, LM & Perin, G 2015, 'Transforming Pixel Hierarchies: The newMateriality of the City Image', Proceedings for Creating Digital E-Motions, International Conference on Digital Arts – Creating Digital e-Motions, Artech-International, Óbidos, Portugal, pp. 181-185.
The imaging of the contemporary
city is a reflection of proprietary and civic ambitions and
concerns. Referencing a series of tests that draw upon the
urban webcam's optical scan-order patterns, the paper
reveals how their incorporation within the architectural
surface can disrupt the camera's capacity to create either a
coherent, legible image or one that privileges selective
areas of content. As a result, the paper shows how the
numerical basis of the digital image establishes a direct
and predictable relationship with the city's viewed surface
such that any narrativist interpretation or representation
of urban space can be forestalled.
Perin, GJ & Matthews, LM 2014, 'The Return of Anamorphism: The Digital Oblique', Proceedings of the Society of Architectural Historians, Australia and New Zealand: 31, Translation, The Return of Anamorphism: The Digital Oblique, SAHANZ and Unitec ePress and Gold Coast, Queensland, Auckland, New Zealand, pp. 579-589.
Perin, GJ & Matthews, LM 2014, 'Urban utopics and the new digital view', The Mediated City Conference, THE MEDIATED CITY Part 2 LOS ANGELES, A JOURNAL OF ARCHITECTURE_MEDIA_POLITICS_SOCIETY, Burbank, Los Angeles, California.
Internet Webcam technology is a crucial nodal imaging device that delivers a plethora of new vantage points by which the visual experience of the city is now constructed. Delivered directly to the desktop, this distributed network extends the individual viewer beyond their physical limits.However, it also, remains a regulated system. Unlike sites like Flikr the representation of urban form and life is authored and thus locates the various promotional and proprietorial interests of those who own the view. More importantly, the figurative potency of the webcam image relies on its emblematic, descriptive form. Louis Marin, in 'Utopics' and 'On Representation' identifies
how the use of narrative and descriptive image forms in early city maps constructed differences in the representation of sovereign power. Referring to Gomboust's 1647 Map of Paris, Marin argues that the image, as a representational vehicle for the mediation of power, inevitably, constructs a gap or interval within any figurative continuity. Here the presence of competing intermediating referents undoes the map's figurative consistency. In this sense, representations of this kind rupture their own ambition for semantic coherence.Referencing Marin's observation that the representation of power establishes the basis of its own inevitable rupture, this paper will explore how the Internet webcam, simultaneously reveals the immanence of urban
powerbrokers and delineates the mechanism by which this power is disrupted. The paper will examine how pixel-based geometry and image as 'data' unravels the narrative of linear perspective representation by supplanting its Cartesian coordinates and instead privileging experiential conditions of colour and luminosity. In rejecting the delineation of form through the line, the city's image becomes a more affective, qualitative condition. Moreover, the ease by which this content can be repackaged and reassembled institutes a profound political shift in the image's agency...
Matthews, LM & Perin, GJ 2012, 'Image-mapping: open-source diversity', Proceedings of the 6th International Conference on Digital Arts - ARTECH 2012: Crossing Digital Boundaries, ARTECH Crossing Digital Boundaries, Grupo Portugues de Computacao Grafica and ARTECH International, Faro, Portugal, pp. 137-143.
The contemporary image-making process offers the designer the opportunity to transform the agency of the image from passive consumption to active production. This paper will reveal, through the deliberate application of open-source software, ImageJ, to both webcam and video footage, that image-based data can be extracted to inform design image-making. Through a series of procedures that reapply the criteria of medical imaging software to the city image, it will be shown this software can provide both an index of the city's performance and a palette of new generative formal techniques that profoundly influence our perception and experience of urban space.
Matthews, LM & Perin, GJ 2012, 'Materialising the Pixel: A Productive Synergy', Proceedings for Beyond codes and pixels: Proceedings of the 17th International Conference on Computer-Aided Architectural Design Research in Asia, Association for Computer-Aided Architectural Design Research in Asia (CAADRIA) annual conference, CAADRIA, Chennai, India, pp. 475-484.
The composite photoreceptive field of the human eye receives photons emitted from a source and converts this energy into image information within the brain. The internal mechanisms of the contemporary camera imaging technologies represent yet another in a long history of attempts to technically replicate this procedure. The critical difference between the capacity of the human eye to receive quanta events or photons and that of a camera transmitting to a digital display device, rests in how much of the original signal can be recovered. This paper aims to show how the 'information deficit' associated with this technological conversion can be enhanced by the deliberate exploitation and re-arrangement of the camera's image sensor mechanism. The paper will discuss how the mapping of pixel grid geometries and colour filter array patterns at the vastly increased scale of building faÃ§ades, imparts a materiality to urban form that modifies the visibility and performance of the corresponding virtual screen image. The exploration of the material adaptation of pixel geometries leads to a new technique that extends the working gamut of pixel-based RGB colour space and both establishes an index to develop material performance criteria and modifies the limitations of traditional viewing technologies.
Perin, GJ & Matthews, LM 2012, 'Digital Anamorphism', Proceedings of the 6th International Conference on Digital Arts - ARTECH 2012: Crossing Digital Boundaries,, ARTECH Crossing Digital Boundaries, Grupo Portugues de Computacao Grafica and ARTECH International, Faro, Portugal, pp. 107-113.
The experimental effects and affects of every scopic regime can, in part, be traced to its respective technologies of image creation and dissemination. This paper, with a specific focus on the link between the image and architectural form, offers a preliminary discussion of how digital technologies begin to modify the conventional viewing relationship of form, as established by linear perspective. Drawing on different techniques of anamorphic projection, the paper suggests that the new digital sites opened by the Internet in fact instigate a re-orientation of the view that offers new ways of addressing architectural issues of materiality, program and form.
Matthews, LM & Perin, GJ 2011, 'Exploiting Instability: reconfiguring digital systems', Circuit Bending, Breaking and Mending: The 16th International Conference on Computer-Aided Architectural Design Research in Asia (CAADRIA2011), Association for Computer-Aided Architectural Design Research in Asia (CAADRIA) annual conference, The Association for Computer-Aided Architectural Design Research in Asia, Newcastle, Australia, pp. 463-472.
The transmission technologies of digital environments propagated by the Internet, specifically the ubiquitous webcam system, present new material to mediate people's engagement with civic space and simultaneously offer new ways to materialize its three-dimensional form. Recent research shows that the technical functionality of the webcam can be extended through deliberate intervention within the performance of contemporary camera optics. This suggests the development of new techniques for design intervention that operate in direct relationship to the evolution of the very technologies they exploit. With specific focus on the optical and chromatic translational capacities of the camera, the paper will discuss how the manipulation of its colour receptor mechanism not only provides the designer with an opportunity to exceed the constraints of commonly available colour palettes, but also it will show how this digital disruption actively capitalises upon the discrepancies that govern design strategies applied to formal production within coexistent virtual and real-time space. Through the deployment of colour filter array patterns, this new technique is able to extend the working gamut of RGB colour space in a way that that allows chromatic selection for exterior and interior urban space to be linked to programmatic distribution across duplicate environments.
Matthews, LM & Perin, GJ 2010, 'Materializing Virtual Sites', Proceedings of 5th International Conference on Digital Arts, ARTECH 2010: Envisoning Digital Spaces, ARTECH 2010: Envisioning Digital Spaces, Artech-International (The International Association for Digital and Interactive Arts), GuimarÃ£es, Portugal, pp. 39-44.
The increasingly common deployment of webcam systems for the imagistic promotion of iconic city form not only presents new material to mediate people's engagement with this space, but also offers new ways to materialise its actual three-dimensional form. The interactive capacity of webcam content, both as a voyeuristic space and through its digital manipulation, paradoxically subverts the representative role expected of these systems to one that is qualitative and experiential. In doing so, it questions the making of civics space as a signifier or locus of idealized form and replaces any symbolic role for urban form with the affect of form. The paper, drawing on recently completed design-oriented research conducted at the University of Technology, Sydney, will discuss how an array of open-source digital softwares have been strategically recruited to process raw virtual qualitative data from webcam images to generate a formal response to civic space. This 'designerly' intervention back into three-dimensional space, through specific operational and technical properties associated with the digital manipulation of the two-dimensional webcam view, asks the designer to relinquish the images traditionally used to substantiate urban form. This unprecedented technique can be seen to offer a new paradigm for material intervention within both 'virtual' and urban space.
Perin, GJ & Matthews, LM 2010, 'New Imaging: transdisciplinary strategies for art beyond the new media', New Imaging:transdisciplinary strategies for art beyond the new media, International Conference on Transdisciplinary Imaging at the Intersections between Art, Science and Culture, Transdisciplinary Image Conference, Sydney, Australia, pp. 103-111.
If the eighteenth century Picturesque can be regarded as a proprietorial strategy for mediating the visual experience of landscape, then the proliferation and configuration of webcam networks to promote iconic city form can be seen as its contemporary counterpart. These digital systems, in their most voyeuristic and passive form as a new privileged vantage point for the 'remote' tourist to view the city, allow civic authorities to curate the visual experience of the contemporary urban landscape. Unlike the formal stability of the Picturesque view, the webcam's digital conversion of the real provides viewers with the opportunity to adapt and mediate their experience. Importantly, this digital conversion is able to offer the designer new ways to materialize three-dimensional form. This adaptive facility of webcam content paradoxically subverts the surveillant and the promotional uses of these systems and converts it into qualitative and experiential material. The paper will discuss how open-source digital software can be recruited to process and interpret virtual qualitative data from webcams to the point where it can generate a formal response to civic space. This digital manipulation of the two-dimensional webcam view, asks the designer to relinquish the images commonly used to substantiate urban form and to respond to duplicate virtual and real-time sites whose coexistence shifts the temporal framework traditionally used to guide formal intervention. The application of this unprecedented technique reveals an opportunity to reinterpret the paradigm both for our experience of 'virtual' and urban space and for material intervention within it.
Matthews, LM 2009, 'New techniques of adaptation and materialization', CD-ROM Professional, Sustainable theory/theorizing sustainability, Wellington, New Zealand, pp. 21-21.
Conference paper still awaiting peer review process. Expected publication in late 2009. Please note the paper was co-authored and was presented by myself.
Co-authored Conference Paper with Linda Matthews, a Ph.D candidate at UTS.
Matthews, LM 2014, 'Coast Totems', Sculpture by the Sea.
Stainless steel; printed acrylic image mat, plywood + concrete base
Matthews, LM 2012, 'Light Tower, Urban Lounge Popup', Bondi Complete Streets Project.
LED light tower with solar panel. The light tower incorporates reinterpreted digital images of the local Bondi context as translucent back-lit vertical
Lindquist, M & Pendergast, L, 'EMAGN2012 Exhibition - The Fringe Experience', Asia Pacific Design Library, State Library of Queensland.
Matthews, LM, 'ChromaCity', CHROMACITY, DAB LAB Research Gallery, The University of Technology, Sydney.
Matthews, LM, 'LuminoCity', LUMINOCITY, DAB LAB Research Gallery, The Universtiy of Technology, Sydney.
Manipulated video footage
Digital wall-mounted print
Variable LED theatre lamp and live webcam installation
Matthews, LM & Perin, GJ, 'New York Cuts', Virtually Pop PopCAANZ 6th Annual International Conference 29 June-1 July 2015 Massey University Campus, Wellington, New Zealand, University of New Zealand, College of Creative Arts, Massey University, College of Creative Arts, Massey University.
Video Installation Work exhibited at POPCAANZ 2015. Virtually POP is a curated (peer-reviewed) exhibition aligned with the
2015 POPCAANZ Conference ISBN 978-0-646-93725-0
Matthews, LM 2017, Digital Fabrication Scoping Report 2017.