Ground
Works

This article describes a collaboration between a STEM-focused land grant university in Raleigh, North Carolina and the Town of Princeville, North Carolina. Princeville experienced severe flood damage in 2016 due to Hurricane Matthew. As an important community hub, Princeville Elementary School, a Title 1 school, was heavily impacted by the floodwaters. After renovations, the school was set to re-open in January 2020 but had to pivot to online learning in March 2020 due to the pandemic. The North Carolina State University (NCSU) Coastal Dynamics Design Lab, who had been working with the Town of Princeville on disaster recovery planning, conducted a survey with the school that revealed that the teachers at Princeville Elementary School needed outdoor learning opportunities during the COVID-19 pandemic. Teachers wanted to challenge traditional indoor learning settings and promote access to fresh air and tactile outdoor learning opportunities for their students. The Design + Build Studio at NCSU, in the department of landscape architecture and environmental planning, was invited to collaborate but the studio was not originally structured to operate as an off-campus model. The pandemic provided an opportunity for graduate students to continue the Design + Build program during the pandemic; yet the challenge was to adapt the traditional, hands-on studio to online instruction. Students faced design constraints but adapted to fabricating modular structures off-site and installing site furnishings for the outdoor learning environment during the summer of 2021 and 2022. The collaboration between the university and the Town of Princeville demonstrates the potential for such partnerships to make a positive impact in the community, even in the face of pandemic-era conditions and shifted modalities of shared creativity.

Watching and Dreaming is a body of work that enables the viewer to peer inside the “mind” of a machine to observe its perceptions, mind wanderings, and dreams. This is not a metaphorical representation of dreams, nor a technical exercise in AI such as DeepDream [1] but the realization of a computational model of dreaming informed by cognitive neuroscience. This level of description avoids biases towards Jungian and Freudian psychology that assume dreaming is exclusively human. Dreams should not be considered independently of the perceptual capacities of the dreamer, and thus comparing this model to human perceptual abilities is problematic. For the audience, these artworks function as entry-points to consider the constructed nature of perceptions and the continuity of waking, mind wandering, and dreaming. For the artist, the artworks are sites of knowledge-making; it is through the making of artistic works that the model (computational formalization) and theory (argument that situates the model in empirical knowledge) are developed. The research underlying these artworks integrates knowledge in multiple disciplinary dimensions: (a) The computational modeling of dreaming processes (Zhang 2009; Treur 2011), (b) generative and media artworks engaging with the concept of memory and dreaming (Franco 2007; Dörfelt 2011), and (c) the conception of dreaming as imagination (Nir and Tononi 2010). In this text, Watching and Dreaming (2001: A Space Odyssey) (2014) serves as an exemplar of the Watching and Dreaming body of work. The machine attempts to learn and predict Stanley Kubrick’s film 2001: A Space Odyssey through the construction of its own subjective perception that is the basis of dreaming. “Mental” images generated during perception, mind wandering, and dreaming are subjective constructions bound to the peculiarities of the machine’s way of seeing. The body of work constitutes various manifestations of the cognitive model, not attempts to communicate the model’s mechanisms.