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Network Ecologies Main Menu Coordinates Network Ecologies: Designing Scholarly Rigor in Innovative Digital Publication Environments Network Ecologies Introduction Archive Architectures Transmedial Publishing Interfaces for Open Learning Systems Displacement Paths Organisms in Reticula Letters From Distant Lands: Carolingian Intellectuals and Their Network(s) Living Network Ecologies: A Triptych on the Universe of Fernand Deligny A three-part introduction to Fernand Deligny from his English-language translator The Entity Mapper An Introduction to the Development and Application of the Open-source Software for Visual Data Analysis in Qualitative Research Journeying A Thousand Miles A Developmental Network Approach to Mentorship Networks, Abstraction, and Artificially Intelligent Network(ed) Systems A conversation with UNC RENCI's Dr. Reagan Moore and Dr. Arcot Rajasekar Architecture Networks: Interview with Turan Duda and Jeff Paine Exhibition: Network Ecologies Arts in the Edge Duke University Karin Denson & Shane Denson: Sculpting Data Karin Denson & Shane Denson: Making Mining Networking Rebecca Norton: The Edge Library Network Ecologies Symposium Contributors Author and Editor Biographies Imprint Franklin Humanities Institute

The Edge Library

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Exhibition: The Network Ecologies Arts in the Edge
curated by Amanda Starling Gould

The Network Ecologies Arts in the Edge exhibition brought together two collaborative collections. Combining machinic and human agencies in the form of generative sculpture, painting, and augmented reality (AR), the works by Karin and Shane Denson probe the material and virtual value of today's networked ecology in "Making Mining Networking," a body of work meditating on the creation and exploitation of value in digital environments. Rebecca Norton uses affine geometry to explore actions and intuitions of intermediacy – what she describes as a feeling of being suspended in the middle stages of a process. Works chosen for exhibition included paintings and digital interactive artworks made in collaboration with Eddie Elliot, and image stills from her video project "Wandering Through Childhood."

The Network Ecologies Arts in the Edge exhibition and event was co-sponsored by the FHI, the Duke PhD Lab in Digital Knowledge, and Duke Digital Scholarship Services.

More information about the work of the artists is available online:

Karin Denson: thenewkrass.wordpress.com
Shane Denson: medieninitiative.wordpress.com
Rebecca Norton: rebeccajnorton.com
Rebecca Norton: The Edge Library "The Edge Library" is a virtual tour of Amanda Starling Gould's curated exhibition "Network Ecologies Arts in the Edge," installed at The Edge: The Ruppert Commons for Research, Technology and Collaboration, Duke University.

The time-based works "Wandering Through Childhood" and "The Edge Library" piece together data gathered by an early version of the Structure IO mobile scanner. These scans capture dense geometry and use depth sensing to accurately capture dimensions of objects and environments. As a result of this process, the Structure IO's digital models present the real world as an assemblage of continuous surfaces (rather than simulating real world structures through architectonic compositions and constructive logic). My videos explore the simulated surfaces of a virtual environment by pairing the 3-dimensional model with spatial immersion techniques. Lights and paths guide a viewer through the digital replica, stimulating mood and leading narration. Shadows and perspectival distortion, inherent in the scans, intensify the expressive direction of the documentation.
Rebecca Norton: Wandering Through Childhood (2015) A child’s perspective has been the focus of Rebecca Norton's most recent project - an animated walk-through of her childhood home. "Wandering Through Childhood" is an experimental project using 3D room captures taken at Norton's father's house, before it was placed on the market and sold. Camera paths navigate the viewer through a digital documentation of an object manipulated by whims of artistic intervention.

Borrowing from Jean Piaget’s theories on children and spatial development, the home is appropriated as a “matrix” of Norton’s world. 3D models and scans of the interiors of the house are revisited as a virtual environment, wherein they can be resized, shaped and reordered. These structures represent the home as an object in affine, adapted as a site for ongoing study via interactivity, memories and magic.

The time-based works "Wandering Through Childhood" and "The Edge Library" - featured as experimental documentation of the The Network Ecologies Arts in the Edge Exhibition – piece together data gathered by an early version of the Structure IO mobile scanner. These scans capture dense geometry and use depth sensing to accurately capture dimensions of objects and environments. As a result of this process, the Structure IO's digital models present the real world as an assemblage of continuous surfaces (rather than simulating real world structures through architectonic compositions and constructive logic). Norton's videos explore the simulated surfaces of a virtual environment by pairing the 3-dimensional model with spatial immersion techniques. Lights and paths guide a viewer through the digital replica, stimulating mood and leading narration. Shadows and perspectival distortion, inherent in the scans, intensify the expressive direction of the documentation.