iARTA News

By Alicia Eggert This flashing neon sign cycles through the statements "all the light you see is from the past" and "all you see is past" before turning off completely. It speaks to the fact that light takes time to travel, so by the time it reaches your eyes, everything you are seeing is technically already in the past. Light from the moon left its surface 1.5 seconds ago; sunlight travels for 8 minutes and 19 seconds before it touches your skin. The farther out into space we look, the farther back in time we can see. This sign, perched atop a building that will soon be demolished, is an image of what was. What will be remains to be seen. Curated and photographed by Ryan Strand Greenberg. Supported by Mural Arts Philadelphia, MM Partners, Fairmount CDC, and Gazelle Signs. Special thanks to Basmah Sorathia, Jacob Raeder, Layla Mrozowski, James Bonney, Frank Ramano, Rachel and John Easlea, Evan Inatome, and Joseph Amsel.

Stout and Metcalf lead course at the Pilchuck Glass School

David Stout and Cory Metcalf (NoiseFold) lead a three week workshop intensive focused on the nature of digital transcoding techniques. Students created cinematic installations and performance pieces utilizing glass as an integral aesthetic element. Course activities included basic programming tutorials in MAX/MSP/Jitter, field recording, video and sound editing, projection experiments, hot-glass blowing, painting with enamels, and casting textural surfaces in combination with elements of performance design, staging and collaborative strategies for advancing new art forms that fuse emergent and traditional technologies.

David Stout & Cory Metcalf
Glass and Video Installation at Form & Concept Gallery, Santa Fe, NM

Transform Series no.1 is a set of glass sculptures created utilizing a blend of traditional hot glass blowing and generative digital visualization techniques. The visual forms in Series no.1 are derived from a mathematical process, whereby differential equations describing specific 3D geometric shapes are transformed, or morphed, over time from equation A to equation B. In this series, equation A is represented as a sphere and equation B as a double cone. The transformational process results in a fluid morphological evolution of one shape into another. The artists systematically selected key points along this evolving timeline and the chosen forms were then realized in the Pilchuck hot glass studios in northern Washington state.  The finished work consists of the set of glass objects and an accompanying video animation depicting the slow fluid organism-like transformation of these proto-vessels. This work was made possible by the generous support of the Pilchuck AiR program, with gaffers, Jason Christian and Daryl Smith, who were instrumental in the success of this project.


In Partial Visibility, Eggert considers time and language her primary sculptural materials. This body of work struggles to reconcile oppositional concepts of time - the linear and finite nature of human life within the context of a cyclical and seemingly infinite universe. Immaterial concepts are given tangible forms that are manipulated both physically and conceptually. Eggert coopts strategies and mediums associated with commercial signage and advertising, and employs them to encourage thoughtful introspection and reflection. The exhibition's title suggests the presence of something that we cannot quite see or understand and most likely never will. One of the pieces in the exhibition is Above and Beyond was created in collaboration with created in collaboration with Joshua Williams. This sculptural steel staircase is composed of the architectural terms that are used to describe its construction. The basic function of a staircase is to bridge a large vertical distance by dividing it into smaller vertical distances, or steps. Each step has a tread, a horizontal surface that is stepped on and which bears our weight, and a rise, the vertical distance traveled between steps. The words “rise” and “tread,” and the form they create in combination, embody the ideals and efforts necessary for social progress. It was created to inspire and empower the allies and advocates of gender equality, Black Lives Matter, and the LGBTQ+ community.

November 05, 2016

The North Texas Digital Fabrication Group will be hosting a Digital Fabrication Research Symposium at UNT Willis Library’s The Factory on Thursday, November 5, 2016. The group was formed to facilitate the free exchange of information amount members of the group. Group members are from North Texas area universities (University of North Texas, Texas Women's University, and University of Texas Dallas) and engaged in some aspect of digital fabrication.

Through the support of a faculty mentoring grant from UNT, the group has conected faculty of all academic levels to facilitate mentoring through shared research interests.

Virtual Reality Installation by David Stout, Cory Metcalf and Reilly Donovan
Premiered at 9e2 Festival, Seattle Washington

The Observer Effect is a virtual reality installation by Reilly Donovan, Cory Metcalf, and David Stout that takes place within the physical space of a second projected video installation titled, MELT. Viewers enter this “world within a world” encountering an abstract field or landscape populated by fluid geometric forms that generate their own sounds. Physics defines, the “observer effect” as an occurrence where changes are made to a phenomena as a result of the act of observation. This result is due largely to the instruments employed in observation and not the mind of a conscious observer; however the mind does play a powerful role in witnessing how tools influence what is under observation. In this work, the VR headset and trackers are the devices impacting the properties of the simulation. The VR apparatus frees each observer to wander and unfold a unique sonic-visual-somatic experience much like a visitor entering an extraterrestrial domain of ambiguous scale and dimension.

NoiseFold (David Stout and Cory Metcalf) were invited to the Pilchuck Glass School to transcode thier virtual sonic forms into glass.

The legacy of the artist-in-residence program dates back to the beginning of the school. Over the years, hundreds of notable artists from a wide range of artistic disciplines have come to Pilchuck to explore how glass can factor into their practice and visual vocabulary. Artists and collaborative groups are invited for each session and provided with their own artist assistant, who acts as a translator, giving technical guidance and assistance in the studio. Two craftspersons in residence (also known as gaffers), skilled glassblowers, help realize projects in hot glass.

NoiseFold (Cory Metcalf and David Stout)
Premiered at the John Donald Robb Composers' Symposium, University of New Mexico, Albuquerque, preview performance at Spectrum Concert Series at UNT, Denton, TX, performed Oregon Center for the Arts at Southern Oregon University with the Left Edge Collective.

"Tao gives birth to one,
One gives birth to two,
Two gives birth to three,
Three gives birth to ten thousand things …”

from chapter 42, Tao Te Ching

The Ten Thousand Things is an audio-visual performance project that explores the interplay between inertia, noise and force of attraction within the digital simulation of spinning particle fields. Stout and Metcalf have engaged in an ongoing expedition through these virtual fields to discover latent images, sounds and musical potentials that give rise to often arcane and archetypal emblematic forms. The composition exists as a coordinate map of locations, virtual locales where the performer is likely to find a confluence of intersecting energies that will generate a visual and/or auditory event or behavior. The performance thus takes form as an exploratory journey into a vast noise-field in search of resonant phenomenon. One obvious corollary is the search for extraterrestrial life.  Advancing this metaphor further, all of creation can be seen to exist as a vibratory nexus that is expressed through a near unending stream of structural phenomena that may or may not be perceivable to our augmented human perception. The spatial distance between these virtual nodes of aesthetic potential may be exceedingly far. When one arrives at the coordinate there may be a chimera of some shape or form, perhaps it is reminiscent of a vessel, fountain, field, blossom or undulating serpentine spire. The performer decides how to make these ephemeral structures “sing” with the distinct possibility that the moment may unfold into unexpected visual complexity, or be a fleeting encounter dependent on a very narrow window of existence.  

The Future is a data-driven sculpture by UNT Sculpture faculty member Alicia Eggert and Safwat Saleem that illuminates the overall state of peace or conflict around the world. The sculpture is composed of 206 light bulbs that collectively spell out the word “FUTURE,” with each individual light bulb representing one of the world's sovereign states. The base of each light bulb has been laser-engraved with the name of the sovereign state it represents, and the states are organized alphabetically from left to right. Bulbs representing states at peace are lit, while bulbs representing states in conflict are unlit. Determinations regarding the peace or conflict status of individual sovereign states are made on a weekly basis using data culled from various online sources, including the Institute for Economics and Peace (IEP) and warsintheworld.com.

The Future was commissioned by fineacts.co and has been exhibited at TED2015 in Vancouver and the Cartagena Data Festival in Colombia.

Click here to read an interview about the work on Medium

UNT Professors James Thurman (Digital Fabrication) and Dr. Jaehyung Ju collaborate on 3D-Printed Lattice Structures. Professor Thurman describes the project, 

"Since 2013, I have been working with Dr. Jaehyung Ju and his graduate students from UNT’s College of Engineering.  Doctoral student Jiwon Mun has been very involved in the hands-on aspects of the project.  Dr. Ju’s research involves the creation of lattice structures with a wide range of applications.  These lattice structures are 3D printed in wax from digital models and then we have been working together to analyze the lost wax casting of them.  Investing and casting has been especially challenging because most of the wax thicknesses are less than 1mm and many lattices include tubes.  Personally, I have been amazed at our success rate.  I look forward to continuing our experiments as we push the boundaries of what I thought possible with lost-wax casting."

Click here for more info