Instant Photography

Instant cameras, commonly referred to as ‘Polaroids’ thanks to the pioneering company, offer limited manual-automatic controls. These self-developing photographs present numerous analog imperfections, but additional aspects make them distinctive.

Polaroids do not document the world faithfully. They create a new version of it through their own lighting schemes, colours, and softness; a quality associated with past technologies. All these aspects enhance the transient nature of subjects, such as boy counting in during a game of hide-and-seek (see picture).

The process of capturing an image can also draw from ‘missed opportunities’. These are subjects one comes across but does not photograph due to not having a camera at hand, or for fear of intrusion. A line of people coming down a hill, or visitors waiting like purgatorial souls outside a derelict hospital—such images are captured in the mind and their essence might be transferred into other shots.

 

 

Having the image in hand within minutes does not necessarily make the medium of instant photography unique, for even the photos themselves can change hues and mood with time. What does make it unique is its unpredictability and the challenge it poses when it comes to materialising intentions within the limitations of the medium. This makes the effort worth pursuing.

An image illustrates the relationship between a subject and its viewer. It is a perspective on the world, be it a printed photograph, a digital file, or a memory.  

Find out more about Instants, published by Ede Books, here: http://bit.ly/2yCQLyV
Article and photographs by Charlo Pisani

A generation game

Sharing memories, ideas, and feelings is something we usually do with friends. What if you were asked to do it with a stranger? And what if that stranger was ‘from a different time’? Active Age – Intergenerational Dialogue project creator Charlotte Stafrace has the answers.

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Confrontation caricaturised

My work centres on the co-existence of dualities. It treads blurred borders and investigates uncertain divides between opposing poles. It synthesises extremities and acts as a seam that binds together disparate realities. 
Uncertain of its own actuality, it questions its own being.
Artist statement

Prof. Vince Briffa peels back the layers of his latest works to reveal his thoughts on duality, confrontation and caricaturisation and how he translates them into art.

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Are we ready for self driving cars?

Clint Galea

In 2016 a 40-year-old technology company owner called Joshua Brown was killed when his autopiloting Tesla Model S malfunctioned. Since then a number of other incidents have raised the problem of safety in and around autonomous cars. One potential solution is to connect cars together so that they can keep in constant touch, letting each other know exactly where they are and when to get out of the way. Another alternative is to have a human pilot the vehicle for part, or all, of the journey, reducing some of the fear associated with self-driving cars’ safety and giving rise to so-called remotely-piloted ground vehicles (RPGVs).

Because this idea needs a stable and constant Internet connection, I wanted to test if the current 4G network is fast enough for these cars to drive and function safely. Relying on a hefty amount of external data about pedestrians, other traffic, road layouts, and more makes things difficult.

At the Department of Communications and Computer Engineering, (Faculty of ICT, University of Malta [UM]), on a project led by Prof. Ing. Saviour Żammit, we created an RPGV by modifying a radio-controlled vehicle and used it to test the suitability and safety of 3G, 4G, and Wi-Fi networks.

Fast communication between driver and car is crucial for the safety of RPGVs. If information from the car takes too long to reach the driver, they won’t be able to react quickly enough to avoid obstacles and accidents.

On Wi-Fi networks, we found that when the connection moved from one base-station (the receiver-transmitter that serves as the hub of a local wireless network) to another, the handover took too long. This problem meant that whilst the connection was transferring, the video was lost, leaving the car blind. This is obviously dangerous and means that these networks are not safe enough for automated cars. 3G was not fast enough to transmit video in real-time.

The next step was to set up an outdoor racetrack to test the RPGV over the 4G network on UM grounds. We varied the networks’ signal delay and the camera’s range of view, then measured the lap times, distance travelled and road cones hit to calculate driving accuracy. Finally, we compared them to how accurate the drivers thought they were driving.

We concluded that 4G mobile networks allow adequate remote control of an RPGV, although the amount of delay left little room for error. A faster 5G network would be able to act quickly enough to avoid accidents, so self-driving cars will need to wait a bit longer before becoming a reality.

This research was carried out as part of the Masters of Science (Telecommunications) program, Faculty of ICT, UM, supported by GO plc and the Research Fund Committee of the UM.

Author: Clint Galea

Drawing with our eyes

Matthew Attard

Drawing can be defined as the active exploration of an individual’s mental imagery. John Berger described it as ‘an autobiographical record of one’s discovery of an event—seen, remembered, or imagined.’

The initial hunch for my research revolved around the idea of drawing with one’s eyes instead of hands by using an eye-tracker.

The approach intrigued me for three reasons. It allowed me to explore the notion that an artist’s skills are in his tools—his hands. The eye-tracker-based technique ‘levelled the playing field’ between artist and non-practitioner by removing hands from the equation. Secondly, through eye-drawing practice, I could also notice a shift in the drawing methods used. Normal drawing involves hand-eye coordination and a degree of intuitive eye movements. In ‘eye-drawing’, these movements have to be suppressed into following contours along the observed worldview, while also restraining the impulse to refer to the accustomed curvilinear hand motions. All this feeds into the fact that eye-drawing cannot be regarded through the same approach as ‘normal’ drawing. Eye-drawn objects have a direct representation tied to their place and time of execution and acquire a technological aesthetic.

I explored these concepts in several experiments. I ran communal ‘life’ eye-drawing classes with first year students reading for an MFA (Faculty of Media and Knowledge Sciences, University of Malta [UM]). Their resulting visuals were surprisingly individualistic, highlighting their characters, a quality I observed to be constant throughout all eye-drawings.

Using an eye-tracker to draw led to some exciting possibilities. I tested a preliminary algorithm, developed by my colleague Neil Mizzi, (Faculty of ICT, UM) that ‘corrected’ an eye-drawing by comparing it to a real-world picture. The technique could be applied in future eye-drawing devices designed to help physically impaired individuals to draw from real-world images using just their eyes.

It can be argued that art is a subjective experience, both in its creation and perception. Eye-drawing can exploit this subjectivity revealing ‘signature’ gestures through a new way of looking.

This research was carried out as part of a Masters by research at the Department of Digital Arts, Faculty of Media and Knowledge Sciences, University of Malta (UM).

Author: Matthew Attard

Usability – the frustrated user

Dr Conrad Attard

Today we can say ‘there is an app for everything.’ Android and iOS boast over 3.5 million and 2.2 million apps on their platforms respectively, each of them fulfilling a role, be it social, utilities, entertainment, gaming, productivity, commerce, and much more.

As users continuously feed personal and work-related information into their smartphones, from calendar entries to sign-ins at favourite restaurants, apps are becoming more personalised, learning more about their behaviour.

So what role does usability play in the digital world? The term usability is part of a broader term referred to as ‘user experience’. Usability assesses how easy it is for people to use interfaces. Developers are expected to create apps that people need, but they need to keep in mind that if that app is difficult to manoeuvre, their target audience will stop using it. From users’ perspective, too many apps these days are failing to add enough value, seeing adoption drop off quickly.

At the workplace, employees are expected to learn and use software applications. A lot of these are now available through mobile devices that need to be connected. However, studies conducted in different scenarios such as airport environments and healthcare show that people are struggling to adopt technology.

However, studies conducted in different scenarios such as airport environments and healthcare show that people are struggling to adopt technology.

Most people access apps related to public services on their smartphones and tablets so that they can submit e-forms and conduct work of that sort. Unlike with leisure apps and games, the choice in this field is limited to the apps provided by the public entities themselves. As a result, users or employees of companies become frustrated when apps are not designed effectively.

More usability experts are needed to improve the way apps are designed. Well-designed apps empower people, seeing them become more confident with technology they are unfamiliar with. Better apps contribute to addressing challenges people face when they can’t keep up with the swift advances of the digital world. The use of digital tools that are easy to learn and easy to remember allow users to create, understand, and communicate while continually developing their digital skills. Usability not only boosts digital literacy, it also bridges the gap between tech-savvy users and those we risk leaving behind.

Further reading:
C. Attard, G. Mountain, and D. Maria Romano; ‘Problem solving, confidence and frustration when carrying out familiar tasks on non-familiar mobile devices‘ 

Author: Dr Conrad Attard