User:Lisacalabro92/sandbox

Annotated Bibliography

 * 1) https://books.google.com/books?hl=en&lr=&id=4-9TBAAAQBAJ&oi=fnd&pg=PP1&dq=%22The+Hypercube:+Projections+and+Slicing%22+&ots=hbjQIGWvKF&sig=Ev6Q1jyWzTelXtlDx5sdSdCDdZc#v=onepage&q=%22The%20Hypercube%3A%20Projections%20and%20Slicing%22&f=false

Or

Carusi, Annamaria, et al. Visualization in the Age of Computerization. Routledge, 2015,

https://books.google.com/books?hl=en&lr=&id=4-9TBAAAQBAJ&oi=fnd&pg=PP1&dq= "The Hypercube: Projections and Slicing"

&ots=hbjQIGWvKF&sig=Ev6Q1jyWzTelXtlDx5sdSdCDdZc#v=onepage&q="The Hypercube: Projections and Slicing"&f=false.

The book Visualization in the Age of Computerization is a crucial book to cite, because it mentions the "The Hypercube: Projections and Slicing" by Banchoff and Strauss. This relates to Allen, because in a prior book already cited in the Wikipedia page it mentions how she fulfilled a master at brown after she saw this film. This is just to add a corrective citing to the claim I made prior about the work and function as a reliable source in describing what that work is. It can be used in the section of her “ biography” and will be imperative to the article because it annotates what work influenced Allen to become a designer. Nevertheless when looking at which sources or claims would fit into the article; I feel this piece would function as a better citation for Banchoff and Strauss’ work.

2.         https://people.southwestern.edu/~bucheles/ICAST_OLPC_Paper.pdf

This citation is useful for Rebecca Allen’s Wikipedia article because it is a peer reviewed journal of which discusses the OLPC XO laptop. This would be useful as a second source in describing what the laptop is, and what it functions as. This relates to Allen, since the laptop was one of her more recent works that should be cited onto her page. Also, this piece relates to the original source pulled, since it delves into what the laptop functions as, and for the purpose of this Wikipedia article, what I mention or further editors may mention, it delivers some knowledge on the actual piece itself. Moreover, this piece is imperative to use and consider since it highlights exactly what the OLPC laptop is.

3.         https://books.google.com/books?id=W66CAfMMoogC&pg=PA240&lpg=PA240&dq=Century+of+the+Child:+Growing+by+Design+rebecca+allen&source=bl&ots=gu0zpdgJki&sig=ACfU3U12frnw9ajRsUkVODu97ilXEvENxg&hl=en&sa=X&ved=2ahUKEwiy0_vk49_lAhWBo1kKHdJ9CIwQ6AEwAnoECAUQAQ#v=onepage&q=Century%20of%20the%20Child%3A%20Growing%20by%20Design%20rebecca%20allen&f=false

The piece Century of the Child: Growing by Design, 1900-2000 written by Juliet Kinchin and Aidan O'Connor serves as an important piece to cite for Rebecca Allen’s work. This piece specifically highlights the OLPC laptop that Allen had worked on, and also highlights more information regarding that piece. This would be useful to use as a citation in discussing peace in the works section. Moreover, when looking at this book it gives insightful background to the OLPC laptop that Allen worked on.

4.         http://emergence.design.ucla.edu./

This source documenting Allen’s piece Emergence  is worth using because it is a piece that Rebecca Allen has worked on. It is critical to use this especially under the section of “work” because it properly displays  the art and helps users and readers understand what work she has compiled or composed in the past. Also, aside from stating exactly what piece she completed (Emergence) it gives a neutral perspective on describing the piece that does not shine Allen (the artist) in a negative or positive light. Moreover, when considering which sources would assist me in completing this article, using a source like this is critical because it is both considered reliable and also factual in documenting her works.

5.         http://myartguides.com/exhibitions/rebecca-allen-life-without-matter/

This source is imperative to use in the construction of the Rebecca Allen Wikipedia page because it credits two factors that are useful. It credits one of her projects that she was noted for, and also it credits an exhibition Allen has done. This source discusses her piece life without done and delivers a short description of the project relating to Allen. Also, it credits her in partaking in the Zabludowicz Collection in a London based exhibition. When using this in terms of structuring her Wikipedia, I would both cite it in the works page discussing the numerous ways that this exhibition used media in showcasing her work. When discussing the exhibition, I would use this page in noting when it was, and where. Nevertheless, when deciding in what ways this source could be useful, this source seems to hit into two sections of the Wikipedia article in which that describes her work and art exhibits.

6.         https://gazelliarthouse.com/artist/rebecca-allen/artwork/ra_insidebraincavefaces4/

This art archive gives credibility to Allen’s art installation at the Gazelli art house. It is a documentation of an art exhibition there entitled INSIDE and gives information as to what this exhibition entailed in terms of documenting a picture of a piece and giving exact information as to what the piece was. It provides a picture of a video that Allen produced, and tells the reader what it actually was and what tools helped showcase the works. This is useful, since it demonstrates an art exhibit in 2016 that Allen did and would be helpful when trying to document her more recent works. This source is also reliable since it came from the art house specifically, and not a secondary source reviewing the piece. Nevertheless, when considering what sources deemed reliable for her Wikipedia page, this  art documentation is perfect in generating that information.

7.         https://books.google.com/books?id=ZBJbIP0fMr0C&pg=PA265&dq=rebecca+allen+graphic+designer&hl=en&sa=X&ved=2ahUKEwicucPV25blAhXumeAKHbSOD-0Q6AEwBHoECAUQAg#v=onepage&q=rebecca%20allen%20graphic%20designer&f=false

The book Entangled: Technology and the Transformation of Performance written by Chris Salter is an imperative citation for Rebecca Allen’s Wikipedia page. This book specifically notes her work with Twyla Tharp in creating The Catherine wheel. It notes her as someone that Tharp worked alongside. This is imperative to consider, because this leads into more information in her biography for works she was featured in. Also, this piece is important since it delves into what the price was actually, allowing people who view the Wikipedia page to understand what type of piece Allen worked alongside in creating. Moreover, when considering pieces to add to Allen’s Wikipedia page, this piece is considerably important since it mentions what works that Allen did when working alongside other graphic designers.

8.         https://ebookcentral.proquest.com/lib/csicuny/reader.action?docID=282999&query=%2522Rebecca%2BAllen%2522%2B%2522Designer%2522

Or

Ascott, Roy. Art, Technology, Consciousness : Mind@large, Intellect Books Ltd, 2000.

ProQuest Ebook Central, https://ebookcentral.proquest.com/lib/csicuny/detail.action?docID=282999.

In the book entitled  Art, Technology, Consciousness : Mind@large, Roy Ascott delves into many artists work. In specific, on page 42 he describes the work of Rebecca Allen. On this page he goes into describing her work Emergence, and what it consists of in terms of what senses it plays with and gives us more detailed information of this work. This is a crucial citation because when noting this piece in her works section, this would be a reliable source in depicting what the piece is and serves as an accurate way of describing it. Nevertheless, when constructing the wiki page for Allen, this source is seen as one that may be reliable since it discusses her work on Emergence more thoroughly and in a neutral tone.

9.         https://books.google.com/books?id=SQcdDMRkvAAC&pg=PT258&dq=rebecca+allen+graphic+designer&hl=en&sa=X&ved=2ahUKEwiavrf2k5LlAhWsV98KHVzfD0EQ6AEwAnoECAEQAg#v=onepage&q=Virgin%20Interactive&f=false

Although the book Women, Art, and Technology written by Sean Cubitt and Roger F. Malina is already cited in the Wikipedia page regarding Rebecca Allen, one thing that is ignored in the article is an interview she has where she mentions her working for Virgin Interactive (interface) Entertainment. This mention of a workplace should be included in the biography of her work, since she did spend approximately two years at this location. This is an important notation, since it describes how the video game industry was not a proper fit for her. This is crucial to her biography as well because it allows readers to understand in what field specifically she later worked for in UCLAS. Moreover, when considering which articles would best articulate Rebecca artist as a graphic designer, and also fit towards her Wikipedia page, this interview passage is crucial since it notes her working history.

10.       http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.400.9242&rep=rep1&type=pdf

This chapter entry entitled Getting Girls into the Game: Toward a “Virtuous Cycle”  written by Tracy Fullerton, Janine Fron, Celia Pearce, and Jacki Morie (Ludica) is imperative to examine because again it discusses her work at Virgin Interactive Entertainment (citing the original book Women in technology). Although, this entry is imperative to examine since it highlights that after trying to pursue a career as a game developer, she then worked in the UCLA university. This example is important because it leads into where she did end up working and serves as an important  citation because it backs the claim that she did indeed work at Virgin Interactive Entertainment. Nevertheless, when trying to create a new section detailing Rebecca Allen’s workplaces in her Wikipedia article, this is a crucial source to back up a neutral claim.

11.       https://ocula.com/art-galleries/gazelli-art-house/artworks/rebecca-allen/figure-waiting-part-of-the-figures-in-motion-/

This piece is an artist documentary of Rebecca Allen’s piece Figure Waiting (part of the Figures in Motion series), that occurred in the Gazelli Art House from years 2002- 2013. This would be imperative to examine since it gives a valid claim on her work documentation and works in purpose of citing where her work was used. This would specifically be used in her works section, by just stating the name and years it was in the gallery. Moreover, when looking at works that Allen completed, this piece was crucial to consider since it is a more modern piece that  is not already included within Allen’s Wikipedia page.

12.       https://gazelliarthouse.com/artist/walter-zoniel/artwork/

This page is crucial because it describes a piece that Allen did entitled The Tangle of Mind and Matter. It describes what the art installation is and provides images as to what the piece looks like. Also, alongside from adding this into her works section, it allows for a mention in her biography for her working with the musician Lenord Choen, because this page describes that this is what the piece was used for. Moreover, this piece is critical to add into her Wikipedia page because it displays an important and recent piece that Allen has completed.

13.      https://digitalartarchive.siggraph.org/artwork/rebecca-allen-catherine-wheel/

This art achieve is important for the Rebecca Allen Wikipedia page because it shows a formatted documentation of Rebecca Allen’s and Twyla Tharp’s piece Catherine Wheel. This page gives details of the date it was published, and the format used for the piece. This will be used when putting her works with noting in her biography that it was a piece done both by her and Tharp. Moreover, this is an important piece to insert into Allen’s Wikipedia page because it proves to be an academically peer reviewed documentation of Aliens work.

14.    https://digitalartarchive.siggraph.org/artwork/rebecca-allen-robert-mcdermott-kick/

This is another piece done by Allen and Robert McDermott entitled “ Kick” it is a polaroid that was created n 1981 and is an important piece to add to her page since it was an early onset piece that she had worked on. This piece though is crucial because it also displays her work with McDermott and allows the readers to see a gallery of her most important works. Nevertheless, this art citation should be used in her Wikipedia page because it properly cites her work “ Kick” and allows me as the writer to give a basic understanding of what that peice is.

15.      https://dam-gallery.de/news-12-2-3-2-2-2-3-2/

This article is critical to explore since it discusses a permanent visual art expedition entitled “Very Real - Permanent Virtual Reality Installation” by Rebecca Allen Banz & Bowinkel, Manuel Rossner This can go under her art exhibitions and performances section because it is a permanent exhibition in  the DAM gallery. This is noted to be a reliable source because it comes off of the German art gallery’s webpage itself. This is an important citation because it speaks on Allen’s VR Work. Nevertheless when composing Allen’s Wikipedia page, this seems to be a crucial and legitimate source to include in her page.


 * this is great work. --Theredproject (talk) 03:29, 17 November 2019 (UTC)

Wiki page that i am working on edits:

= Rebecca Allen (artist) = Rebecca Allen (born 1954) is an American designer, artist, pioneer, researcher, and educator, known for her research in the field of digital art. Starting in the 1970's, Allen started to compose works for computer imaging. This included still graphics, animation, television logos, music videos, video games, large-scale performance work, artificial life systems, and interactive installations. Her work addresses humanizing technology.

Biography
Allen began her practice with design while working toward a B.F.A. degree at Rhode Island School of Design (RISD) in 1975. She received her master (M.S.) degree from the Architecture Machine Group (predecessor to the MIT Media Lab) from Massachusetts Institute of Technology in 1980.

After advancing her academic career, Allen spent two years working at Virgin Interactive Entertainment as a video game designer. Allen eventually left due to working conditions that didn’t allow her to experience new growth, as stated in an interview with Erriki Hutamo. She then accepted an offer for the the chair position at UCLA, serving as the chair of the Department of Design Media Arts at University of California, Los Angeles (UCLA), retiring in 2019. Allen spent two terms in this position (1996–2000 and 2014–2016). Alongside her working as the chair of this department, she was also a professor at UCLA, teaching within the same department. Allen spent time working in the Computer Graphics Laboratory at the New York Institute of Technology.

Aside from practicing within the academic field, Allen also was a director at Nokia’s research labs which grew her interest in research within interactive design and new technology. She later completed many works such as The Brain Stripped Bare, Coexistence, The Bush Soul#1, #1, #3.

Fast Company named Allen one of the Most Creative People in Business for 2010. She helped pioneer digital computer art by creating one of the first music videos to use 3D graphics, for the 1986 Musique Non-Stop by Kraftwerk. Her artwork is part of the permanent museum collection the Museum of Modern Art (MoMA).

Work
This is a list of selected work by Allen.

One Laptop per Child (OLPC) project
"OLPC XO" (2005) was an inexpensive computer project built in the MIT Media lab for children who live in the developing world. This initiative was composed by researchers Rebecca Allen, Nicholas Negroponte, Mary Lou Jepsen, Mark Foster, Michail Bletsas, V. Michael Bove, and many other artists. This project functioned as a tool to help children from these countries connect to the internet and learn. The OLPC laptop was usable because it was recyclable, drop proof, splash proof, and dust proof. The laptop was also the size of a textbook, but lighter than a lunchbox. It had features like a rubber keyboard, a handle, and had soft edges. Several hundreds of thousands of these laptops have been distributed to schools all over the world. Some distributed countries include: Argentina, Brazil, Cambodia, China, Ethiopia, Libya, Mexico, Mongolia, Nigeria, Pakistan, Paraguay, Peru, Romania, Rwanda, Thailand, and Uruguay.

The Brain Stripped Bare (2002)
The Brain Stripped Bare was an installation and performance by Allen where she considers a future where we live simultaneously in multiple realities, where the boundaries between physical and virtual reality are blurred and thoughts are expressed telepathically. The technology she created provided an enhanced life experience. With this in mind though, Allen created sophisticated forms of surveillance that track our behaviors, our movements and our identity. This piece was Commissioned as part of the rhein.tanzmedia.net-Prize Partially funded by the Intel Research Council. This work was also presented in the Duisburger Akzente: ICHS Festival in 2003.

Coexistence (2001)
Coexistence was an interactive art installation that blurs the boundaries between physical and virtual realities. People experience a shared world of mixed reality through a unique sensory interface using breathing and haptics. Funded by IDII Interaction Design Institute Ivrea, Italy. This piece is built with the use of two personal computers (PC) computers, also utilizing two head mounted displays. The piece also used head tracking and attached digital cameras, being supplemented by two prototype interface devices. Each prototype interface device contains a breath sensor and modified force feedback to the original game pad. The software for this art installation or piece is built on the real-time video and real-time 3D animation; Emergence.

The Bush Soul (#3) (1999)
"Bush Soul (#3)" is the third and final art installation the Bush Soul series. "Bush Soul #3" was built off of the similar concepts Allen envisioned and practiced in "The Bush Soul #2" and "The Bush Soul #1". Allen continued to work with generating a world based around artificial life, the interaction on human behavior, tactile interfaces and 3D virtual environment, similar to the prior projects. This final addition to the three piece installation functions by having A haptic, force-feedback joystick. This provides the user with both navigation and tactile sensations. These aspects, when combined connect one's physical body and virtual sou l. Also, it got its software program from the same software used in "Bush Soul #2" called Emergence. This piece was also worked on and funded by the Stephen Petronio Dance Company. Also, it received funding in part by Intel Research Council. This piece also was featured in several Exhibitions, such as Women in Science (Genomically Yours) in 2003, ACM Siggraph festival in 2001, and more (see 'Art Exhibitions and Performances' section below).

The Bush Soul (#2) (1998)
The "Bush Soul (#2)" is the second piece of a three art installation from the same title by Rebecca Allen, falling back on the concepts from its predecessor, ("The Bush Soul #1") building on the ideas of artificial life, behavior, tactile interfaces and 3D virtual environment. This is Allen's second piece of work to be created with the "Emergence" software. The medium that it falls under, and the method of which it was presented was by the use of a Panorama picture. The piece was later noted for being included in the Exhibition Art and Aesthetics of Artificial Life in the year 1998, as well as being featured in the art exhibition in the museum Centro Culturale Claudio Trevi in 1999.

The Bush Soul (#1) (1997)
The first piece of a series of three interactive art installations which involve artificial life, behavior, tactile interfaces and 3D virtual environment. This piece is set on a 4 inch by 8 inch digital screen and allows for people to role play and become avatars in an artificial world. The Bush soul is a concept based off of a West African belief that a person can have more than one soul, and plays with that idea in order to involve people in role playing into their avatar. The software that was used in this installation was one that Allen created, entitled Emergence. The art installation was also featured in the SIGGRAPH Touchware Art show in the year of 1998.

Emergence (1997-2001) [software used for The Bush Soul, Coexistence]
This PC-based software system was generated by Allen with the intent to design a piece that enabled interactive art. The system contains three dimensional computer generated environments and autonomous animated characters. Alongside generating this virtual reality another aspect that highlights this piece is that these figures are displayed in real-time. By having these avatars interact in real time it allowed users to become avatars in the piece. There are also music, voices, and other accompanying sounds that help connect people to the virtual world. which allowed people to use forms of communication that rely on gestures, movements and behaviors.

The Catherine Wheel (1982)
"The Catherine Wheel "is a two and a half minute video that Allen created animation for. She composed this piece when she still worked at the New York Institute of Technology Computer Graphics Laboratory. With generating this piece, Allen worked alongside the choreographer Twyla Tharp. Tharp later used the animation for this video in her PBS video film of the same title. Allen produced the animation of St. Catherine by placing a mathematically derived wireframe around the performer which allowed every stride made by the performer. A keyframe was captured allowed for the illusion of a continuous movement of the dancer.

Steps (1982)
"Steps" is a video performance that Rebecca Allen animated with the goal of creating a human in a virtual space. The video itself showcases a series of digitally animated people walking up a staircase on a looped motion. This piece was displayed in the 1986 exhibition entitled A Retrospective, showcased by SIGGRAPH.

Swimmer (1981)
"Swimmer" is a looping video animation. This is a piece Rebecca Allen curated to show human animation using technology. It was displayed on the exhibition entitled A Retrospective in 1986., which was hosted by SIGGRAPH.

Art Exhibitions and Performances

 * 2016- Inside virtual reality art installation, Gazelli Art House, London, United Kingdom.
 * 2012-13- Architecture and Design Galleries (Born out of Necessity) Museum of Modern Art, New York, New York.
 * 2003- Women in Science (Genomically Yours) (The Bush Soul #3) Universal Concepts Unlimited Gallery, New York, New York.
 * 2003- Sound & Vision - The Music Video (Musique Non-Stop) Tokyo Metropolitan Museum of Photography, Curator: Tomoe Moriyama, December 2002-February 2003, Tokyo, Japan.
 * 2003- The Brain Stripped Bare Installation and Performance. Tanzhaus NRW, Düsseldorf, Germany.
 * 2001- "The Bush Soul (#3)", Ground Zero Exhibition, The Tech Museum of Innovation, San Jose.
 * 2000- "The Bush Soul (#3)", Shift-CTRL: Computers, Games and Art exhibition, Beall Center for Art and Technology University of California Irvine, Irvine.
 * 2000- "The Bush Soul (#3)" Internet As Cyborg exhibition, Artfutura festival, Barcelona.
 * 2001- "The Bush Soul (#3)" SIGGRAPH 2001 festival, ACM Siggraph, Orlando, Florida.
 * 2001- "The Bush Soul (#3)", Mixed Realities Exhibition, (Coexistence) Interaction Design Institute Ivrea Gallery, Ivrea, Italy.
 * 1999- "The Bush Soul (#3)", SIGGRAPH 1999, ACM Siggraph, Orlando, Florida.
 * 1999- "The Bush Soul (#3)", Ars Electronica 1999: Lifescience, Ars Electronica Linz, Linz.
 * 1999- "The Bush Soul (#3)", Interactive Frictions exhibition, University of Southern California, Los Angeles.
 * 1999- "The Bush Soul (#2)",The Material - Immaterial exhibition, Centro Culturale Claudio Trevi, Bolzano BZ, Italy.
 * 1998- "The Bush Soul (#2)",Art and Aesthetics of Artificial Life exhibition, University of California, Los Angeles.
 * 1998- "Bush Soul (#2)", July 19th-24th, 1998: SIGGRAPH 1998: Touchware, Orlando, Florida.
 * 1986- "Steps", SIGGRAPH 1986: A Retrospective,Dallas, Texas.
 * 1986- "Swimmer", SIGGRAPH 1986: A Retrospective,Dallas, Texas.

Awards

 * 1981–1982 – Emmy for outstanding achievement in design for the title sequence for CBS Walter Cronkite's Universe.