Spring 2022 Sabbatical Leave Report, May 24 - June 23, 2022
Dale E. Parson, Ph.D.
Professor of Computer Science and Information Technology

Kutztown University of Pennsylvania


The sabbatical leave regulations state: "Upon completion of the sabbatical leave, a written evaluation of progress made in meeting the objective stated in the sabbatical leave plan shall be submitted in duplicate within six weeks of the completion of the leave to the Provost/Vice President for Academic Affairs." This report is available on-line at https://acad.kutztown.edu/~parson/reportSab2022/ with the duplicate paper copies to be mailed the final week of June. The call for proposals states, "Successful applicants may also include URLs in the Sabbatical Leave Reports that are to be submitted to the Provost/Vice President for Academic Affairs after they have completed their Sabbatical Leaves." Such URLs appear in the Reference section below with in-document links to those references.


From the sabbatical leave proposal: "The two primary objectives are to create two interactive media, and to create and exhibit artworks using these media." [1]

1a. Creating Interactive Media and Artworks

During the leave I continued creation of two interactive media from which I rendered digital videos. The media consist of a series of custom, interactive programs in the Java programming language using the Processing framework [2] to support generation of time-based graphical animation of photographs from which I rendered videos for 1080p (1920 X 1080 pixels) monitors.

I have been exhibiting generated video artwork in juried exhibitions since 2018. This work grows out of preparations for my courses CSC120CPVL Introduction to Creative Graphical Coding and CSC220 Object-Oriented Multimedia Programming. The leave proposal goes into detail on the courses, students, and previously exhibited work. This report concentrates on the months leading up to the sabbatical leave through the spring semester, May 2021 through May 2022.

My exhibited work comes from a perspective of perceptual art. Images and image sequences are things I perceive, some of which appear abstract when created and viewed but are nevertheless recordings and animations of concrete sensations and perceptions. This work avoids intentional concepts and messages, although compositions may derive from subconscious intent, and viewers are welcome to form their own ideas. "No ideas but in things." [3]

I have been working with interactive, generative computer graphics since using the Logo programming language [4] on my Apple II Plus computer in the early 1980s, and studied computer graphics in graduate coursework during my master's program at Lehigh University in 1983. I was a professional graphical programmer from 1988-1990 at Bell Laboratories in Allentown, working on the Schema interactive tool for capturing schematic diagrams of electronic circuits, and continued to use graphical representations of electronic circuits and systems throughout my industrial career until 2008 when I came to Kutztown University. I began teaching CSC020CPVL Computer Graphics, a general education introduction to raster and vector graphics in fall 2009 using  Adobe Photoshop and Illustrator. This course included my first student projects on the Kutztown University Planetarium dome). I added programming in creating CSC120CPVL and CSC220CPVL. These latter courses appear in the Computer Science, Information Technology, and Applied Digital Art majors. I also teach data visualization graphics in my advanced data science courses.

In previous years I informally studied the Dada, Surrealist, and several other European abstraction schools. During this leave I studied Abstract Expression in some depth, leading me to photographers and their work cited below. I also made a cursory study of French Impressionism because of its relation to perceptual art.

1a1. Software and rendered videos for the no thing compositions.

The no thing videos from May 2021 through March 2022 attempt to convey identity of subject and object, of perceiver and perceived, through interpenetration at the corporeal boundary. They relate to the Mahayana Buddhist notion of Śūnyatā (a.k.a. emptiness). "Sensation is emptiness, emptiness is not different from sensation, neither is sensation different from emptiness, indeed, emptiness is sensation. Also, perception is emptiness, emptiness is not different from perception, neither is perception different from emptiness, indeed, emptiness is perception." [5] Or, if you prefer Seinfeld, "a show about nothing." [6]

The no thing videos are impressionism with a little "i". They are impressions impinging on the cognitive system, in contrast to expressions of the cognitive system.

The catalyst for the no thing series was a hike-with-camera through the Nolde Forest in western Berks County, PA in May 2021, a forest in which I have taken day hikes since the 1980s [7]. Previously, I had been noticing multiple different images in a single visual frame while experimenting with small depth-of-field by focusing on consecutive focal planes, initially on the surface of water, both visually and photographically. Discovering a decaying spring house in an area of Nolde in which I had hiked for around 40 years was the trigger for this series. I integrated ripples on watery surfaces and frozen water into the eight (so far) compositions.

no thing I contains images taken primarily at Nolde in May 2021. [8]

no thing II follows with images taken on watery surfaces at French Creek State Park a few days after a father / son kayak outing on a lake there for Father's Day 2021. [9]

no thing III uses photos taken around Berks and Chester Counties in June 2021. [10]

no thing IV from July 2021 uses photos from the wetlands and woods behind my house in Rockland Township, Berks County. The time-series contribution of a water strider makes this one my favorite spring / summer no thing video. [11]

no thing V from January 2022 is the first no thing video to use photographs taken during the sabbatical leave and the first for winter imagery, using ice and snow photos from Daniel Boone Homestead, the Manatawny Creek in Oley Township, and my back yard in Berks County. [12]

no thing VI uses photos also taken from the sites for no thing V. [13]

no thing VII uses images photographed during cross-country skiing outings in February 2022 in fields and ridges near my home in Rockland Township south of Kutztown and also from my back yard and the woods below it. Our ridge usually gets a few inches of snow more per storm than the valley surrounding Kutztown, and while no big storms occurred this year, the strong winds blew a few inches of snow from the fields into 8 to 12 inch ski-worthy drifts at the interconnecting fence rows for each storm. [14]

no thing VIII of March 2022 is my favorite of the winter no thing videos. Its images and sequences came from my cross-country skiing excursions afforded by the sabbatical leave. [15]

I terms of compositional media, I created the Processing program (by convention called a Processing sketch) noThingJune2021 after my hike through Nolde, deriving it from earlier PImageSelf series of sketches used in my compositions and courses, for capturing live screen shots as photos layered atop underlying image sequences. I used it to create no thing I, no thing II, and no thing III. The main code addition was the use of fade-out for the previous image and fade-in of the next image via pixel translucency, along with a slight 3D offset, placing the fading image below the arriving image in the projection space, in order to avoid distracting pixel mingling between two images. Both the photographic images themselves and the interference patterns between two interacting images contribute to the visually attractive artifacts of the resulting videos.

Then I stripped out the screen shot features of PImageSelf that I was not using in the no thing videos and otherwise simplified the sketch, resulting in noThingJuly2021 for the creation of no thing IV, the last and most mature video of the summer series.

Sketch noThingV_Jan2022 consists of some maintenance code changes for multiple monitor resolutions and display speeds from noThingJuly2021. I used it to create no thing V through no thing VIII. An additional sketch, noThingVIII_Mar2022, is a substantial enhancement to noThingV_Jan2022 intended for use with long time-series sequences of photographs across seasons and years. It is in an experimental state and I am still capturing photographs for use with it in 2022 and 2023. I also coded a quick-edit sketch noThingMiles_Feb2022 for creating a 30-second TikTok video tribute to the history of Miles Davis' music for Kutztown's Frederick Douglas Institute's Black History Month virtual event which won an honorable mention from the Institute [16].

There is no intent of nature photography in my work. I eschew the dualism of natural versus artificial. Humans are part of the evolving biosphere. I do find the non-human, fractal geometries of trees and other plants compelling [17, 18], and enjoy walking, skiing, and kayaking through them, but I have also used more linear "virtual architecture" in my work with students and in several exhibited video pieces. My work aims to integrate concrete and abstract art by displaying concrete phenomena that likely appear abstract to viewers. Some time after I adopted this approach I read that Claude Monet wrote about his later, underappreciated work, "The interpreters of my painting think that, in connection with reality, I have achieved the highest degree of abstraction and imagination. I would prefer it if they recognized in this the abandonment of my self." [19].

Books from Kutztown's Rohrbach Library on Abstract Expressionism led me to discover the works of three twentieth-century photographers loosely associated with that artistic movement, Harry Callahan being the first [20, 21]. Compare Callahan's "Weeds in Snow" [21, p. 22, from 1943], which I discovered after creating my no thing videos, to two frames from no Thing VIII captured while skiing in February 2022. Right clicking on the images below to open them in a new tab and then zooming in is useful for viewing details.

Weeds in Snow

Weeds in Snow, Harry Callahan, 1943

Frame 8 from no
        thing VIII

Frame 8 from no thing VIII, Dale Parson, 2022

Frame 9 from no
        thing VIII

Frame 9 from no thing VIII, Dale Parson, 2022

The multiple-focal-plane intent of frames 8 to 9 is to refocus the viewer's attention on the corkscrew-shaped twig at the lower left, reflecting visual search while exploring the fields near my house. Weeds in Snow is monochrome and more minimal in its treatment. Both emphasize growth and residual structure. Frames 8 and 9 are from the edge of a cultivated field and thus relate to human activity.

Minor White is the second American photographer I examined after creating the no thing videos [22, 23]. His textured work and several frames from no thing IV uncover abstraction in concrete phenomena. Frosted Window appears in [22, p. 13].

Frosted Window

Frosted Window, Rochester, NY, Minor White, 1952

        10 from no thing IV

Frame 10 from no thing IV, Dale Parson, 2021

        11 from no thing IV

Frame 11 from no thing IV, Dale Parson, 2021

Frosted Window again is monochrome and more minimal in its treatment. Frames 10 and 11 show more context in decaying leaves and twigs from a puddle in the woods behind my house, connecting concrete and abstract interpretations. The light portion at the upper right of frame 11 is an out-of-focus reflection of treetops. Being of necessity a wearer of progressive bifocals, reading glasses, computer glasses, and polarizing sun glasses, I consider out-of-focus artifacts to be very much parts of everyday concrete reality.

Paul Caponigro is the third photographer I studied during this leave [24], photo from page 9.

Caponigro Redding Ct 1968

From the series Redding, Connecticut, Paul Caponigro, 1968.

Frame 11
        from no thing VI,

Frame 11 from no thing VI, Dale Parson, 2022, Daniel Boone Homestead

Frame 13
        from no thing VI

Frame 13 from no thing VI, Dale Parson, 2022, Daniel Boone Homestead

While these no thing VI frames appear monochrome, they actually exhibit all the color content of that site that day of January 18, 2022. Frames 11 through 13 contribute a gradual shift in focal plane / attention as discussed for the no thing use of multiple focal planes of a single visual frame.

Finally, a quotation in one of the Callahan books [21] led me to examine some photographic works of László Moholy-Nagy, a Hungarian artist associated with Dada and Constructivism who did some very early work with art photography [25]. Moholy-Nagy promoted: "abstract seeing by means of light, especially the photogram; exact seeing or reportage; rapid seeing or snapshots and stroboscopic photography; slow seeing by time exposure; intensified seeing by microphotography or filters; penetrative seeing by x-rays; simultaneous seeing by superimpositions or multiple exposures; and distorted seeing through prisms and mirrors or mechanical and chemical manipulations of the negative or print." [21, p. 37] Moholy-Nagy's classification system comes from the early days of art photography and video. The no thing cross-faded multiple focal planes of a single frame constitute an example of simultaneous seeing, and upcoming no thing videos using multiple focal planes X multiple seasons, with photography in progress, constitute an example of simultaneous seeing X slow seeing. Discontinuous Perception II with Sound discussed in the next section uses what I later learned are rapid seeing, intensified seeing, and distorted seeing.

1a2. Software and rendered videos for the Discontinuous Perception with Sound compositions.

Where the no thing videos of the previous section concentrate mainly on "impressionism" with a little "i", the Discontinuous Perception with Sound videos of the present section add "expressionism" with a little "e". This work fuses previously learned geometric structures and dynamics with incoming photographic impressions and expresses them as animated photo-paintbrushes.

The illustration below is from my 1990 Ph.D. dissertation A Real-time Computational Substrate for Embedded Intelligent Systems [26] in which I modeled habit acquisition and utilization (technically automatic processing using cognitive psychology's terminology) in my custom PRIOPS software system, an acronym for Prioritized Production System. Reactive automatic processing responds to incoming impressions in real time, depositing them in short-term sensory memory buffers and reacting to them via motor-system effectors. Automatic processing also responds to recent deposits in short-term memory buffers. Perception, cognition, and reaction use electrical and chemical processes and pathways that are not instantaneous. There are feedback paths within the automatic partition that loop through sensory memory, and feedback paths through the surrounding physical environment, back to input sensors. We get impressions from our senses, from our recently acquired sensory memories, from habitual processing structures built through repeated interaction with a consistent environment, and from our short-term modifications to the physical environment. We express both the impressions and our immediate reactions to them.
D. Parson, from A Real-time Computational Substrate for Embedded Intelligent Systems, 1990

The ideas for Discontinuous Perception I with Sound [27] came about after experimenting with the Movie library class in Processing. Movie loosely couples a live camera input or a prerecorded video to a standard Processing sketch structure. As a study for using Movie I asked my wife Linda to drive me down my daily dog-walking back road while I recorded a video with a Nikon D850 DSLR camera shooting autumn leaves that were beginning to fade in November out the passenger window as we drove by. This initial study worked so well that I wrote the DiscontinuousPerceptionI Processing sketch in December 2021 and captured the video. Improvisation of music or video is a form of sensory -> perceptual -> memory + physical environment -> sensory processing feedback activity, and the DiscontinuousPerceptionI sketch has many features for interactive improvisation. It differs from the no thing sketches that were plan-based with essentially no code-time improvisation.

DP I early frame

Early frame of Discontinuous Perception I with moving video interlaced with screen captures

DP I second frame

Later frame of Discontinuous Perception I with forward video interlaced with backward video

Run-time sketch improvisation supplied varying types (vertical, horizontal, both), resolution (degrees of coarse-to-fine), speeds, and direction (still, forward, or backward in time) of video interlacing. Some ideas of no thing carried over, such as multiple focal plane still photos interfaced with video. The camera recorded sound, speeding up and slowing down per video replay improvisation. This first Discontinuous Perception video has very much an "impressionism" with a little "i" feel.

Discontinuous Perception II with Sound [28] was initially spurred by a goal to change from side-window to front-windshield shooting on roads through fields, covered bridges, and cemeteries where my wife and I grew up in the Oley Valley. I wanted perspective and a vanishing point that you cannot get shooting out the side window of a moving car. I used Processing's Movie class and wrote a heavily enhanced DiscontinuousPerceptionII Processing sketch, modified from DiscontinuousPerceptionI, in January 2022 during the sabbatical leave. It adds multiple interactive, improvisational effects, such as taking screen shots on the fly and nesting them to create a virtual vanishing point in some places within the video. Sounds are created by applying run-time digital audio effects to our speaking during the recording and to the car sounds. Both the video and processed sounds lift rendered images and sounds away from conventional experience.

DP II early

Discontinuous Perception II with erode filter

As mentioned at the end of the previous section, Discontinuous Perception II with Sound uses what I later learned are Moholy-Nagy's rapid seeing, intensified seeing, and distorted seeing. The above frame uses an intensifying and distorting Erode filter in Processing to accentuate the winter tree structure at the entrance to a cemetery across the street from where my wife grew up. Note the intentionally-captured reflections from the hood of the car. When passing the tree I switched to a Dilate filter to simulate a tree stripped of leaves or a dead tree. The above video passage moved very slowly.

DP II Cemetery

Discontinuous Perception II with fine-grain nested copies of the current video frame

The above image occurs several seconds later in the video when exiting the cemetery. Instead of Processing filters I used fine-grain nested copies of the current video frame, emphasizing the virtual vanishing point, which I could move left, right, up, or down during improvisation.


Discontinuous Perception II with coarse-grain nested copies of the current video frame

The above image of the inside of a covered bridge just down the road shows use of coarse-grain nesting in conjunction with a structure having an inherent vanishing point. Note the windshield reflections of the far open end of the bridge.

In the next set of videos I stopped using prerecorded Movie videos and switched to generative graphical improvisations using photographs from the last 3 or 4 years as paintbrushes. Discontinuous Perception III with Sound [29], coded in February 2022, served as a study for what became Discontinuous Perception IV with Sound [30], also coded in February. The former sketch used rectangular images with their original aspect ratios and minimal photo etching ability. The latter sketch etched photos into round paintbrushes with internal sections that could be etched away during improvisation to better accommodate symmetric painting leading to the vanishing point. Rectangular images tended to overlap in unappealing ways. Discontinuous Perception IV with Sound is the first video in this series where I used prerecorded music to drive my video improvisation. I used processed music that I had composed and performed in a practice session for the 2014 Electro-Music electro-acoustic music festival in Huguenot, NY.


Discontinuous Perception IV with
circular nested copies of the current video frame


Discontinuous Perception IV with an emergent octagon caused by 8 3D columns of photos


Discontinuous Perception IV with paintbrush rotation and an etched tree photo

All of the paintbrushes in Discontinuous Perception IV are 2D (two-dimensional) photos cropped into circles that have traveled down and then up in a virtual 3D space that reaches a vanishing point at the furthest 3D distance. The vanishing point is why they converge at the center of the image. This Processing sketch does not erase the previous frames so that the edges of the circular photos that are moving in and out of the frame act as paintbrushes.

For the final sketch of this series, Discontinuous Perception V [31], I wanted to mix 2D and 3D shapes textured using photographs, 2D and 3D shapes textured by black & white photographs rendered via a threshold filter, and 2D and 3D shapes outlined with plain colors. I also added the ability to have these paintbrushes descend and ascend via distinct columns with distinct vanishing points. Discontinuous Perception V with Sound also used prerecorded music to drive my video improvisation. I used processed music that I had composed and improvised at the 2011 Electro-Music electro-acoustic music festival in Huguenot, NY.

DP V a

Discontinuous Perception V using black & white fill in the opening sequence

DP V b

Discontinuous Perception V using single-color fill on photos & geometric shapes

DP V c

Discontinuous Perception V using single-color fill on thin & thick branch photos

DP V d

Discontinuous Perception V with six distinct vertical columns & vanishing points

The screen shots of this section give some idea of the complexity of the Discontinuous Perception with Sound videos. Getting the full effect requires viewing and listening to the complete videos on at least a 1080p (1920 X 1080 pixels) display for which they were rendered.

1b. Exhibiting Artwork

One disappointment for 2022 is the fact that the juried international digital art workshop at which I exhibited annually from its inception in 2018 through 2021 is not being held this year. My video work was accepted for the premiere workshop attached to the 2018 European Conference on Computer Vision with an opening in Munich [32], the second workshop attached to the 2019 International Conference on Computer Vision with an opening in Seoul [33], the third workshop as part of the on-line 2020 International Neural Information Processing Conference [34], and the fourth workshop as part of the on-line 2021 International Conference on Computer Vision and Pattern Recognition [35]. I attended the first two remotely due to work load. I especially liked this workshop because it is managed by younger digital artists and I felt welcome being included. In 2022 the organizers have called for papers only, and while I have some ideas, I am holding off on more writing until next year. Furthermore, the 215 | 610 CONTEMPORARY Juried Exhibition [36] for emerging artists in our region has not issued a call for submissions in 2022. I exhibited the following still piece virtually in the spring 2021 exhibition.

SGL 106

State Game Lands Number 106 at the 215 | 610 CONTEMPORARY Juried Exhibition

I have found other venues. In 2019 I exhibited the video Flaming Beauty inspired by feedback in visual memory in the juried Art of the State exhibition at the PA State Museum in Harrisburg from June through September [37]. In 2020 Art of the State moved to a new submission vendor with restrictive video file size limits so I did not submit for 2020 or 2021. During the current sabbatical leave I spent time working on a way to reduce submission file size by reducing pixel resolution and increasing image compression without sacrificing reviewing quality. In fact, the submission website has distinct submission versus display quality requirements. In late March 2022 I submitted four videos discussed above, no thing II [9], no thing IV [11], no thing VI [13], and no thing VIII [15]. Curator Amy Hammond emailed me on April 1, 2022, "Thank you for contacting me about Café video uploads. I am glad to hear that Café has a solution to the problem. You are still the only video artist to be featured in Art of the State.  We have not had any since your installation." I have spent about a week of the sabbatical leave updating my approach to using a Raspberry Pi embedded computer (about the size of a deck of cards or a Roku box) and a computer monitor to display my videos. If no thing videos are accepted the installation must run from September 2022 through January 2023 with no maintenance requirements for the museum staff.

Update: On June 23, 2022 I received email from Amy Hammond stating, "It is with regret that I inform you that your work was not selected for this year’s exhibition...This year’s show was especially competitive. We received 1,850 works for consideration. Following a very challenging jury process, 92 were chosen." Given the fact that my 2019 artwork is the only video ever accepted at Art of the State -- other PA video artists including Kutztown faculty have never had work accepted -- I will focus future efforts on more digital-friendly venues.

I also worked with Rohrbach Library Professor Sylvia Pham and Administrative Assistant Jennifer Tanzos to install the juried video [De]fragmenting Architecture [32] on a TV monitor outside the library coffee shop from February 25 through May 13. The piece is inspired by the fact that the human visual system assembles disparate pieces of perception into a coherent whole at the end. We have plans to install my juried video Flaming Beauty [37] in fall 2022, inspired by the workings of short-term visual memory, to be followed by a collection of student teamwork from the fall's two sections of CSC220CPVL Object-Oriented Multimedia Programming. This student work will display in spring 2023.

[De]fragmenting Architecture in Rohrbach Library spring 2022

2. Other Projects during the Sabbatical Leave

2a. Photographs in Spring 2022

Between late December and late May I have captured around 2955 photographs with two DSLR (digital single lens reflex) cameras and my cell phone. I have several video compositions in progress that will use some of these photos.


Back yard snow from March 12, 2022


Front yard snow from March 12, 2022


Nomi after climbing icy trails to Pulpit Rock in February 2022


Piddly snows drift into ski-worthy networks at the fence rows


Looking north from the south / bottom end of Hawk Mountain's River of Rocks on May 9.
There are two similar boulder fields in adjacent valleys to the south.
I am planning a video of rock building ruins and boulder fields to complete end of 2022.


Petroglyph National Monument west of Albuquerque late April 2022

macro shardow

One of a set of macro photos on the way to above River of Rocks May 9


Another of a set of macro photos on the way to above River of Rocks May 9


Closeup of the previous photograph of tree bark

I have noticed that some of the texture photographs of Callahan, White, and Caponigro tend towards "abstract" in the sense of being unrecognizable as concrete images. I prefer to maintain just enough context in my texture images to present a bridge between concrete and seemingly abstract. For example, the first of the two bark photos above carries more visual context.

I am working on several long-term time-series videos using seasonal change photographs.

2b. Ephemeral Artwork

These quick-and-dirty pieces and their captions as posted on social media speak for themselves.


Last night I dreamed that I was filling in cells in a spreadsheet, something I do in my job.
45 years ago I dreamed I was filling in shelves in a warehouse, something I did in my job.
"In Surrealism the dream is considered a central realm of human existence,
in which mental life acts in a way that is free from the limitations and censorship
of wakefulness, thus providing a new ambit, a greater density and depth to life."
Suck on that, Dr. Freud.



First Sign of Spring 2022


Time for the traditional Sabbatical Leave Archeological Dig of opening access
to the septic tank for pumping. Life in the outback.





I read Photography at the Bauhaus [38] in May and June after a thorough search of Rohrbach Library's catalog for holdings related to my work.

2c. Hawk Mountain Data Analysis

On January 10 I submitted the grant proposal "Relating Climate Changes to Raptor Observation Changes at Hawk Mountain Sanctuary 1965-2021" to the Kutztown University Research Committee and it was approved and funded on April 7, 2022. It will fund my analysis of Hawk Mountain raptor observation data during summer 2022, two graduate students doing additional analysis and two undergraduates doing web-based raptor flight visualization during the 2022-2023 academic year. I have started what I intended to be scripting for data cleaning and formatting during this sabbatical semester, but I have detected data mismatches between a Hawk Mountain data drop of January 2020 and the current drop of January 2022. I am working with Dr. Laurie Goodrich of Hawk Mountain to verify the veracity of their data drops, and plan to extend my data cleaning scripts into audits that I can hand off to them for future use. I will use this data and my analyses in CSC458 Data Mining and Predictive Analytics I in fall 2022, CSC523 Scripting for Data Science in fall 2022, and in CSC558 Data Mining and Predictive Analytics II in spring 2023.

I am mentoring one master's thesis student completing initial analysis of Hawk Mountain data during spring and summer 2022.

2d. Administrative Duties

I continued to advise students in our 12-credit Graduate Data Analytics Certificate program during the sabbatical leave and to assist students planning for my courses in the fall.

I wrote the final report for my 2019-2020 PASSHE FPDC (Faculty Professional Development Committee) grant that extended though December 2021 because of pandemic disruptions. The grant funded four undergraduates and one graduate student instead of the planned three undergraduates because travel funds converted to student payroll due to pandemic-cancelled face-to-face conference attendance. All students were from gender identities underrepresented in our field, four female and one transgender male. I also reviewed proposals for two 2022 FPDC grants for PASSHE. I reviewed the data mining textbook used in CSC458 and CSC558 at the publisher's request.

I served as second reader for one CSC master's thesis and attended a second thesis presentation. I worked with two students who successfully removed grades of Incomplete from previous semesters.


1. D. Parson, "One-Semester Sabbatical Leave Application for the 2021-2022 Academic Year," December 29, 2019.

2. Processing, https://processing.org/, 2001-2022.

3. Williams Carlos Williams, Paterson, 1927.

4. MIT Media Lab, Logo Programming Language, 1967-2022, https://el.media.mit.edu/logo-foundation/what_is_logo/history.html.

5. Maha-Prajna-Paramita-Hridaya (The Heart Sutra), A Buddhist Bible, edited by Dwight Goddard, E. P. Dutton & Co., 1938.

6. "George and Jerry Pitch their Nothing Show - Seinfeld", https://youtu.be/dvnA8Vtf3rA, 1992.

7. "Nolde Forest Environmental Education Center", https://www.dcnr.pa.gov/StateParks/FindAPark/NoldeForestEnvironmentalEducationCenter/Pages/default.aspx, May 2022.

8. D. Parson, no thing I, 5:24 minutes, https://youtu.be/Nz9BgT6QoBk, May - June 2021.

9. D. Parson, no thing II, 5:31 minutes, https://youtu.be/_VRSvflA7-4, June 2021.

10. D. Parson, no thing III, 5:28 minutes, https://youtu.be/eL0QplbUoKg, June 2021.

11. D. Parson, no thing IV, 5:25 minutes, https://youtu.be/fKJp-ypmWco, July 2021.

12. D. Parson, no thing V, 5:22 minutes, https://youtu.be/nuFi1aAaabw, January 2022.

13. D. Parson, no thing VI, 5:26 minutes, https://youtu.be/eI9QR6AI7fU, January 2022.

14. D. Parson, no thing VII, 5:22 minutes, https://youtu.be/ZIvcfLcGHpo, February 2022.

15. D. Parson, no thing VIII, 6:52 minutes, https://youtu.be/s3d6Nikigvo, March 2022.

16. D., Parson, Video tribute to Miles Davis for the Frederick Douglas Institute exhibit on TikTok, 30 seconds, https://drive.google.com/file/d/1XsMwv7J9IRJEoJs5gEh8ONkXPrR9wEZv/view?usp=sharing, February 2022.

17. B. Mandelbrot, The Fractal Geometry of Nature, w. H. Freeman & Co., 1977.

18. P. Prusinkiewicz & A. Lindenmayer, The Algorithmic Beauty of Plants, Springer-Verlag, 1990.

19. Claude Monet, cited in Monet and Modernism, edited by K. Sagner-Düchting, Prestel Publications, p. 29, 2002.

20. Harry Callahan, Photographs in color/the years 1946-1978 / exhibition curated by Sally Stein and Terence R. Pitts, Center for Creative Photography, University of Arizona, 1980.

21. Harry Callahan, National Gallery of Art, curated by Susan Greenough, Bulfinch Press, 1996.

22. Minor White, Rites and Passages, composition by D. E. Seham Associates, The Minor White Archives, Princeton University, Rapoport Printing, 1978.

23. Minor White, Life is Like a Cinema of Stills, organized by the Civic Gallery of Modena, The Minor White Archives, Princeton University, 2000

24. Paul Caponigro, Photography: 25 Years, The Photography Gallery, Philadelphia, PA, 1981.

25. Photography of Moholy-Nagy, collection of William Larson, edited by L. Rice and D. Steadman, Pomona College, 1975.

26. D. Parson, A Real-time Computational Substrate for Embedded Intelligent Systems, Ph.D Dissertation, Lehigh University, 1990.

27. D. Parson, Discontinuous Perception I with Sound, 4:34 minutes, https://youtu.be/hO-psAnNjh0, November - December 2021.

28. D. Parson, Discontinuous Perception II with Sound, 14:36 minutes, https://youtu.be/IUmzARyQGrs, December 2021 - January 2022.

29. D. Parson, Discontinuous Perception III with Sound, 10:22 minutes, https://youtu.be/lGNRoOxHg1w, February 2022.

30. D. Parson, Discontinuous Perception IV with Sound, 13:03 minutes, https://youtu.be/ztVFWqwlIko, February 2022. Music composed and performed in a practice session for the Electro-Music 2014 festival in Huguenot, NY.

31. D. Parson, Discontinuous Perception V with Sound, 7:45 minutes, https://youtu.be/MTFCgdXHddY, March - April 2022. Music composed, improvised, and performed at Electro-Music 2011 festival in Huguenot, NY at midnight on 9/11.

32. D. Parson, [De]fragmenting Architecture, 10-minute processed video artwork debuted at the First Workshop on Computer Vision For Fashion, Art and Design as part of the 2018 European Conference on Computer Vision, Munich, September 14, 2018.

33. D. Parson, The Eyes of a Fly, 8.3-minute processed video artwork debuted at the Second Workshop on Computer Vision for Fashion, Art and Design as part of the 2019 International Conference on Computer Vision, Seoul, November 2, 2019.

34. D. Parson, Photosynthesis, 4:52 minute processed video artwork debuted at the juried AI Art Gallery, Workshop on Machine Learning in Creativity and Design of the International Neural Information Processing Conference, December 12, 2020.

35. D. Parson, Observer Participant I, 8:28-minute processed video artwork debuted at the juried Third Computer Art Gallery as part of the 2021on-line International Conference on Computer Vision and Pattern Recognition, June 19, 2021.

36. Delaware County Community College, 215 | 610 CONTEMPORARY Juried Exhibition, https://www.dccc.edu/campus-life/arts/art-gallery/610215.

37. D. Parson, Flaming Beauty, 4.5-minute processed video artwork debuted at the 2019 Art of the State Exhibition at the PA State Museum in Harrisburg, PA, June 23, 2019.

38. J. Fiedler, editor, Photography at the Bauhaus, MIT Press, 1990.