Andrea Rassell
Biographic Data
| ID | 988696 |
|---|---|
| NAME | Andrea Rassell |
| GIVEN NAMES | Andrea |
| FAMILY NAME | Rassell |
| SIGNATURE | RASSELL A |
| AFFILIATIONS | Curtin University |
| ORCID | 0000-0002-5412-4143 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 2 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2022 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
Immersive cinematics
On Perceiving Molecular Time
The perception of time undergoes a radical shift between the human scale and the nanoscale. In an age of rapidly evolving media and scientific technologies, we need to understand how these impact human perception and visual culture. This essay explores computational molecular simulations through the lenses of temporal media theory and moving image practice. Emerging from a creative fellowship with a physical chemistry research group, I focus on t…
Trafficking | Transmission | Translation
Science art practices are often framed as science communication in a manner that overlooks the capacity of the arts to provide engagement opportunities beyond discourse. The authors perform a thematic analysis of audience interviews from scientific media art installations that depict complex, intangible, invisible, and ephemeral scientific phenomena, specifically focusing on medical nanotechnology. The analysis reveals that visitors recognize sen…
Pictures from the Atomic Force Microscope
Historically, artists and scientists predominantly created moving images of scientific phenomena using optical instrumentation such as cameras and light microscopes that enable direct observation of their subject. However, the perception and representation of nanoscale phenomena, which are too small to be detected by optical systems, rely upon complex technological mediation via layers of instrumentation, hardware and software. This mediation has…
Abstracts from the Spectra 2018 Symposium Part 8
Arts practices that engage with submolecular scales encounter issues of temporality, materiality and perceptibility. Consequently, these creative practices interrogate the instrumental processes that mediate our experience of the imperceptible, at times creating hybrid ArtScience techniques and processes. Nanoscience and nanotechnology influence artists practicing across sculpture, installation, painting, animation and media arts, including panel…
Nanoart and the Moving Image
Artists engaging with the nanoscale have a particular problem of representation: Humans are unable to directly perceive nanoscale phenomena. Even without sensory or temporal experience of these phenomena, nanoartists are exploring technological, interactive and audiovisual mediation techniques. The author discusses this “problematic perception,” describes a key piece of nanoscientific instrumentation and finds diverse nanoart practices that exhib…
Nanoart and the Moving Image
Artists engaging with the nanoscale have a particular problem of representation: Humans are unable to directly perceive nanoscale phenomena. Even without sensory or temporal experience of these phenomena, nanoartists are exploring technological, interactive and audiovisual mediation techniques. The author discusses this “problematic perception,” describes a key piece of nanoscientific instrumentation and finds diverse nanoart practices that exhib…
Abstracts from the Spectra 2018 Symposium Part 8
Arts practices that engage with submolecular scales encounter issues of temporality, materiality and perceptibility. Consequently, these creative practices interrogate the instrumental processes that mediate our experience of the imperceptible, at times creating hybrid ArtScience techniques and processes. Nanoscience and nanotechnology influence artists practicing across sculpture, installation, painting, animation and media arts, including panel…
Nanoart and the Moving Image
Artists engaging with the nanoscale have a particular problem of representation: Humans are unable to directly perceive nanoscale phenomena. Even without sensory or temporal experience of these phenomena, nanoartists are exploring technological, interactive and audiovisual mediation techniques. The author discusses this “problematic perception,” describes a key piece of nanoscientific instrumentation and finds diverse nanoart practices that exhib…
Pictures from the Atomic Force Microscope
Historically, artists and scientists predominantly created moving images of scientific phenomena using optical instrumentation such as cameras and light microscopes that enable direct observation of their subject. However, the perception and representation of nanoscale phenomena, which are too small to be detected by optical systems, rely upon complex technological mediation via layers of instrumentation, hardware and software. This mediation has…
On Perceiving Molecular Time
The perception of time undergoes a radical shift between the human scale and the nanoscale. In an age of rapidly evolving media and scientific technologies, we need to understand how these impact human perception and visual culture. This essay explores computational molecular simulations through the lenses of temporal media theory and moving image practice. Emerging from a creative fellowship with a physical chemistry research group, I focus on t…
Trafficking | Transmission | Translation
Science art practices are often framed as science communication in a manner that overlooks the capacity of the arts to provide engagement opportunities beyond discourse. The authors perform a thematic analysis of audience interviews from scientific media art installations that depict complex, intangible, invisible, and ephemeral scientific phenomena, specifically focusing on medical nanotechnology. The analysis reveals that visitors recognize sen…
Immersive cinematics
Computer Science (5 works) · Artificial Intelligence (3 works) · Human–computer interaction (3 works) · Perception (3 works) · Psychology (3 works) · Art (2 works) · Cognitive science (2 works) · Epistemology (2 works) · Mediation (2 works) · Sociology (2 works)