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Flâneuse - Women Walk the City in Paris, New York, Tokyo, Venice and London

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Flâneuse - Women Walk the City in Paris, New York, Tokyo, Venice and London

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by Lauren Elkin

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The Invisible Flâneuse: Women and the Literature of Modernity

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The Invisible Flâneuse: Women and the Literature of Modernity

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includes essay by Janet Wolff

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by Jacqueline Harpman

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Built "world" vs. Natural "world" also, idea of "world"

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Recording each journey with photographs, sound recording, sketches, notes

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Speculating futures through a feminist, environmental and social lens.

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This process requires absolute images but there is a degree of speculation when creating a 3D model. The software needs to speculate what it cannot see through provided images

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Theory for the World to Come - Speculative Fiction and Apocalyptic Anthropology

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Theory for the World to Come - Speculative Fiction and Apocalyptic Anthropology

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by Matthew Wolf-Meyer

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Urban Composition - Developing Community through Design

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Urban Composition - Developing Community through Design

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by Mark C. Childs

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by Rebecca Solnit

"The brain is a landscape, walking helps us process the ideas meandering."

"what was once public space is designed to accommodate the privacy of automobiles; malls replace main streets; streets have no sidewalks; buildings are entered through their garages; city halls have no plazas; and everything have walls, bars, gates."

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Living Disability - Building Accessible Futures for Everybody

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Living Disability - Building Accessible Futures for Everybody

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by Emily Macrae

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Historical reference: Flaneuse/Flaneur

walk around Paris without a destination in mind. Take photos and sound recordings.

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Personal reference:

Pick a starting place and duration, but no destinations.

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Guitar Players' Girlfriends is more than just a band; it's a statement, a celebration, and a rebellion against the prevalent narratives that seek to diminish women. Our name is a playful paradox, a tongue-in-cheek nod to the pervasive tendency to define women by the accomplishments of their male counterparts. We reclaim the term "girlfriend" not as a secondary role, but as a symbol of our autonomy, strength, and individuality. But, also, our partners are all guitar players. They are our biggest supporters and we love them.

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Artist in Residence program TBD

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One Place After Another - Site-Specific Art and Locational Identity

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One Place After Another - Site-Specific Art and Locational Identity

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by Miwon Kwon

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January = Reading & thinking

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Use this class as experimental research in photogrammetry

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February = Walking, Recording, Photographing, Sketching, & Talking

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March (& April) = Creating sound, video, installation

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What I find interesting and enjoyable about the practice I am starting to develop is a methodology of walking, observing, and reflecting—with a theoretical framework in mind. I have enjoyed exploring themes of critical exploration of the built environment, its interconnectedness with the natural world, as well as its impact on our shared human experience. I have also been exploring themes of science-fiction, speculative fiction, and speculative futures and trying to find a way to connect them all—which is what I hope to achieve with my BFA project. I am starting with the concept of the Flâneuse, the feminist response to the French term Flâneur “a French term popularized in the 19th century for a type of urban male stroller, lounger, saunterer, or loafer" (Wikipedia.org). A Flâneuse is a woman who meanders and explores for leisure. “The Invisible Flâneuse: Women and the Literature of Modernity (1985), argues that the female figure of the flâneuse is absent in the literature of modernity, because public space had been gendered in modernity, leading, in turn, women's exclusion from public spaces to domestic spaces and suburbs” (Wikipedia.org). My methodology of walking will be somewhat site specific to my local experience in Edmonton, as well as through a “tourist lens” in Paris. With this comes a certain level of privilege; to be able to meander, to move freely, and to travel. I plan to walk without a specific destination but rather travel on foot intuitively and collect information along the way. The information will be in the form of sound, photographs, writing, and sketching. I like the idea of incorporating a historical reference, personal reference, and a social reference (Kerri-Lynn’s thought, I can’t remember the concept). Through these series’ of walks, my historical reference will be exploring Paris, which is where the Flâneur was conceived of, my personal reference will be my local context of Edmonton, and the social could be exploring these areas through group walks and observing how we all interact and connect with the public spaces and public art.

Speculation may appear through a lens of feminism, given the current political climate and a shift backwards, in terms of human rights and women’s rights, and through an environmental lens with climate change and “end of world” events, and how these concepts affect our urban spaces, leaning into a dystopic, sci-fi like approach. I’m still thinking about this connection…

I will be using my ARTE 316 Intermedia II studio class as a medium experiment in photogrammetry.

The intended outcome will be an economy of means; I plan to layer in soundscapes, photogrammetry, moving image (maybe some stop-motion), collage, and immersive installation. The process and body of work will become clearer as I go, especially through my initial research phase of reading my selected texts within my presentation.

I have indicated that the remainder of January will be for reading and thinking (which will likely continue throughout). February will be for walking, recording, photographing, sketching, writing, and talking. Allowing March and the beginning of April for the “making” of the body of work. Although, given the conversation from my presentation, I want to think more about this process being the body of work.

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The Densest City In The World Had a Strange Secret...

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https://issuu.com/tarp/docs/tarp_insidious_urbanism_web

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Master of Science in Urban Design (Post Professional)

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Focused on the multifaceted architectural approach that includes landscape and architectural strategies, you’ll learn to design for denser 21st-century cities while preserving cultural, economic, and ecological resources.

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Canadian Visual Artist

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Artax Lab – ARTAX LAB, 3D scan lab and photogrammetry survey.

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3d digital scan service, 3d graphic design, digital photogrammetry, 3d print and events coordination to promote artist and artisan.

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not just observing date -- invited into an experience

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The Artificial Museum, Francois Quevillon, Hito Steyerl’s Ephemer(e)ality Capture, Wonderland sculpture in Calgary, Memory Palace project by Gabriel Esteban Molina, Future Through Memory online exhibition

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Welcome to the website of the walking artists network. It's for everyone who defines themselves as a walking artist, and everyone who is interested in walking as a mode of art practice, as well as related fields including, but not limited to, architecture, archaeology, anthropology, cultural geography, history, spatial design, urban design and planning.
Events and news are on the blog, the pages above have more information about the network's background and development as well as a list of members. We also have a jisc-mail discussion list which you can subscribe to here: www.jiscmail.ac.uk/wan

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Welcome to the website of the walking artists network. It's for everyone who defines themselves as a walking artist, and everyone who is interested in walking as a mode of art practice, as well as related fields including, but not limited to, architecture, archaeology, anthropology, cultural geography, history, spatial design, urban design and planning.Events and news are on the blog, the pages above have more information about the network's background and development as well as a list of members.

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Photogrammetry struggles to capture certain objects and environments due to their optical nature. Transparent, repetitive, patterned, indistinct, plain, reflective,and ephemeral objects cause problems. As briefly explained above, photogrammetry works by using quantifiable data - such as shapes, textures, or colours - to plot key points ('cloud points') in multiple images in order to construct how source objects might have been situated three-dimensionally and make a 3D model from them. Since ephemeral qualities make it harder for the technology to do that, the photogrammetry technology has to make things up; it gets things wrong when it estimates the forms of the objects based on the information it has. This leads to glitches and errors , such as stretched images and warped textures, as well as phantom forms or holes and spikes in the 3D mesh.

I have developed a series of artworks using these processes to explore mimetic visuality in 3D capturing technologies and issues that unpick their representational nature as being heavily mediated. As a result, this research is an assessment of the use of photogrammetry and proposes a methodology to expose the mediation of the technologies - a mediation by algorithms, which make decisions about 3D space based on 2D images. Through a series of artworks, I detail practical techniques for exploring the errors generated by the technology's perceptions of space. The artworks become a critical investigation of visual capturing technologies by forcing them to visualise the invisible, temporal, and ephemeral. This is not meant in a metaphorical or figurative sense; the technology is literally being used to visualise objects that are transparent or that change during the process of recording them. The deliberate negation of technical instructions forces the technology to speculate, and from these speculations, we get a glimpse of the technology's decisions and how it constructs the images. This reveals how 3D media imagery is mediated and constructed using automation, although this is often disguised or unclear until the point of error. Errors become useful in understanding the workings of a technology that are otherwise inaccessible. Presented is a methodology that encourages a détournement of automation, exploring the agency of technology through errors in models of transparent, plain, reflective, and ephemeral objects and environments. The works probe at the limitations of algorithmic understanding and force the technology to visualise uncertainty. The research promotes self-reflexivity and critical reflection in users to deliberately side-step, avoid, or actively ignore prescribed workflows of digital tools through the use of a dynamic methodology.

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Ephemer(e)ality Capture: Glitching The Cloud through Photogrammetry by Tom Milnes

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Photogrammetry struggles to capture certain objects and environments due to their optical nature. Transparent, repetitive, patterned, indistinct, plain, reflective,and ephemeral objects cause problems. As briefly explained above, photogrammetry works by using quantifiable data - such as shapes, textures, or colours - to plot key points ('cloud points') in multiple images in order to construct how source objects might have been situated three-dimensionally and make a 3D model from them.