Questions

1. How does the creation of an artistic object imply performance, tools, and interface between agent. How do these semiotics vary?
2. What axes can artistic tools be characterized on? How do they vary by the amount of amplification they provide? precision?
3. What historical figures have theorized visual media with the word amplification?
4. How does time factor into the mechanics of various visual media? sculpture, painting, photography, video, digital still...
5. How do methods of visualizing other sense data engage with / condense time?
6. What methods of time-compression of video exist? What temporal perceptive frames do they induce?
7. Why is it more difficult to compress time from visual media?
8. How can a sense of preparation be explicated from visual scenes that are either apparently random or apparently clean. What distinguishes these? How have our conceptions of clean and random and natural been challenged in the past?
9. How does context affect the storied nature of an object: can environmental change imply different amounts of prior human attention?
10. How can the aging of digital objects be simulated?

Brief Proposal:

This thesis project aims to explore the temporal compression that allows an action through time to be condensed into an object that can either be reproduced or displayed. It asks what contextual knowledge individuals provide in order to create narrative settings for the material objects, signal transmissions, and people they encounter in daily life.

It asks how these assumptions can be co-opted to encourage false conclusions, and how the perceptive frame of interpretation of past events given current evidence can be precipitated by media exposure. It will present media to accomplish this end along with a presentation of the conceptual background.