Techn. Universiẗat, Diss., 2005--Berlin.

This project explored a new work in the lighting and video area of the entertainment industry. This thesis archives the creative process of this specific new piece, resulting in a realized and finished work open to the public. The Box opened in the Oscar Brockett Theater on the University of Texas at Austin campus on March 19, 2012, and ran from 10 am to 7 pm for three days. The Box was an installation piece of art that told a story. This seemingly simple structure of a large black box contained a surprising inner life. The sculpture had an opening cut into its side, which upon entering transports the viewer into a space with a modified perspective. More than one person can view the piece at a time. Visitors entered the box and became immersed in a world of manipulated lighting, video, and sound. Characters existed in the form of animated light, color, and audio. These characters expressed elemental energies of air, fire, earth, and water that communicated primal emotions. The Box wove a narrative fabricated from lighting, animation, sound, and manipulation of perspective, without using traditional methods of storytelling such as actors or speech. While The Box was on display, viewers visited multiple times and interacted with the environment in different ways. Dancers danced in The Box, actors delivered monologues, and some viewers simply lay on the floor and became part of the art itself. / text

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Detta examensarbete har utförts på uppdrag av Midroc Electro AB i Stenungsund. Uppdraget var att projektera elinstallationen för en utökning av en ny anläggningsdel och ta fram ett kostnadsförslag för detta. Anläggningsdelen kommer innefatta sex nya kontor, ett konferensrum, förråd och teknikrum. Projekteringen är utförd enligt Elsäkerhetsverkets föreskrifter och svensk standard och uppfyller därmed kraven för god elsäkerhetsteknisk praxis. Belysningen i anläggningen är projekterad enligt de riktvärden arbetsmiljöverket har tagit fram då dålig belysning kan orsaka stress, trötthet och bländning. Styrning av belysningen kommer ske med hjälp av en kombination av två intelligenta styrsystem, KNX och DALI. I förrådet, korridorerna och teknikrummet kommer belysningen styras med närvarosensorer. I konferensrummet kommer belysningen styras med tryckknappar eller med fjärrkontroll. I kontoren kommer belysningen styras med en tryckknapp. I kontoren och konferensrummet kommer det installeras nätverksuttag. I korridorerna kommer det ovan undertaket installeras kraft- och nätverksuttag för trådlösa accesspunkter. Allmänuttag för kraft har fördelats enligt svensk standard. Installationsritningarna är utförda i datorprogrammet EasyEL och resulterade i belysning-, kanalisation-, kraft- och teleritningar. Dimensioneringsberäkningar och anläggningsdokumentation utfördes i datorprogrammet FEBDOK. / This thesis has been carried out on behalf of Midroc Electro AB in Stenungsund. The assignment was to design the electrical installation for an extension of new premises and come up with a cost estimate for this. The extension will include electrical installation in six new offices, a conference room, storage room and an equipment room. The project planning is carried out in accordance to Swedish national electrical safety board's regulations and Swedish standards thus meeting the requirement for good electrical safety practice. The lighting in the premises is designed according to the guidelines of the Swedish work environment authority, since poor lighting can cause stress, fatigue and glare. Control of lighting will be made using a combination of two intelligent control systems, KNX and DALI. In the storage room, corridors and technology room the lights will be controlled by motion sensors. In the conference room the lights can be controlled with push buttons or by remote control. In offices the lights will be controlled by a push button. In offices and the conference room network sockets will be installed. In the corridors there will be power- and network sockets above the ceiling for wireless access points. General sockets for power have been allocated according to Swedish standards. The Installation drawings are rendered in the computer program EasyEL and resulted in lighting-, ducting-, power- and telecommunication drawings. Sizing calculations and documentations of the electrical installations were carried out in the computer program FEBDOK.

Jaclyn Christine Rawls

My Master of Fine Arts research project focuses on installation and sculpture that embodies the themes of Buddhism and War. My artwork examines how the two themes interact and influence each other. Making art, for me, is an intensely personal process of rediscovering myself. The project is an attempt to create a visual conversation between my personal experiences, memories and imagination. In particular, I explore the collective memory of the people of Hue in relation to the immediate past, and the longer historical heritage of the city and the region. Chapter One provides a background to my personal experiences of growing up in Hue, Vietnam, during a time of war. This is a relevant starting point as these experiences have shaped my life and my art practice. This chapter begins with my childhood and charts my journey into art education. Visual art is the form and methodology by which I can best express my thoughts, dreams, and reflections. Through sculpture I can share my own vision and thoughts with people from different cultural backgrounds, ideally reaching beyond existing socio-cultural boundaries. It is a personal journey that has led me toward the path of re-discovering my inner world and awakening a forward-looking perspective. Chapter Two explores the influence Buddhist philosophy has on my art practice. This chapter also discusses the work of four contemporary artists who are primarily concerned with themes of Buddhism and war. Through this research I explore how the philosophy of Buddhism gave me a new perspective on how an artist can live completely in the present, while building a bridge between the past and the future through creative practice. Buddhism is a process of everyday transformation; in practice it is an attempt to forge new beginnings in every facet of daily life. Chapter Three discusses my earlier sculpture and installation artworks. I then examine how this led me to collaborate with other international contemporary artists who share a common aesthetic or theme. Chapter Four examines my current art practice and discuss how I see it shaping my future art practice.

Passing Through, an installation of photography, encourages the nature of memory through an engagement with the materiality of photographic images. Considering memory as an ephemeral phenomenon, I am interested in exploring the emotional and psychological affects that images have on the body and mind. Strategies of collecting and tracing are employed as a means of forming connections between people, places, materials, objects, and images. Recounting personal history, storytelling and participating in the immediate present, I actively seek out images as a means for re-experiencing memory. Triggers reveal themselves during the collection and deconstruction of both personal and found photographic material. Re-assembling this information produces an archive consisting of real and re-imagined fragments of spaces and narratives. Together, these processes produce a body of work that considers the image as an experiential entity that is inherently memory based; triggering memory to create an emotive response in the viewer.

The objective of my research is to create a visualization of a place based on personal experiences. My research addresses this issue through a case study: the visualization of a women’s political prison located in Punta de Rieles, Uruguay, during the Uruguayan dictatorship (1973-85). In June of 2002, I went to Uruguay and interviewed nine female former political prisoners. I asked them to tell me stories about what happened to them during their time in prison. My research aims at relating their experience of prison through a visualization of their stories. The challenge addressed by my research is the creation of a virtual reconstruction that can communicate the experience of prison through the integration of narrative, light modeling and sound. The proposed visualization is a video installation based on these women’s personal experiences of the solitary confinement cell (calabozo).

Passing Through, an installation of photography, encourages the nature of memory through an engagement with the materiality of photographic images. Considering memory as an ephemeral phenomenon, I am interested in exploring the emotional and psychological affects that images have on the body and mind. Strategies of collecting and tracing are employed as a means of forming connections between people, places, materials, objects, and images. Recounting personal history, storytelling and participating in the immediate present, I actively seek out images as a means for re-experiencing memory. Triggers reveal themselves during the collection and deconstruction of both personal and found photographic material. Re-assembling this information produces an archive consisting of real and re-imagined fragments of spaces and narratives. Together, these processes produce a body of work that considers the image as an experiential entity that is inherently memory based; triggering memory to create an emotive response in the viewer.

My Master of Fine Arts research project focuses on installation and sculpture that embodies the themes of Buddhism and War. My artwork examines how the two themes interact and influence each other. Making art, for me, is an intensely personal process of rediscovering myself. The project is an attempt to create a visual conversation between my personal experiences, memories and imagination. In particular, I explore the collective memory of the people of Hue in relation to the immediate past, and the longer historical heritage of the city and the region. Chapter One provides a background to my personal experiences of growing up in Hue, Vietnam, during a time of war. This is a relevant starting point as these experiences have shaped my life and my art practice. This chapter begins with my childhood and charts my journey into art education. Visual art is the form and methodology by which I can best express my thoughts, dreams, and reflections. Through sculpture I can share my own vision and thoughts with people from different cultural backgrounds, ideally reaching beyond existing socio-cultural boundaries. It is a personal journey that has led me toward the path of re-discovering my inner world and awakening a forward-looking perspective. Chapter Two explores the influence Buddhist philosophy has on my art practice. This chapter also discusses the work of four contemporary artists who are primarily concerned with themes of Buddhism and war. Through this research I explore how the philosophy of Buddhism gave me a new perspective on how an artist can live completely in the present, while building a bridge between the past and the future through creative practice. Buddhism is a process of everyday transformation; in practice it is an attempt to forge new beginnings in every facet of daily life. Chapter Three discusses my earlier sculpture and installation artworks. I then examine how this led me to collaborate with other international contemporary artists who share a common aesthetic or theme. Chapter Four examines my current art practice and discuss how I see it shaping my future art practice.