Papers



Title: Computer Imagery: Imitation and Representation of Realities
Author(s):
Exhibition: SIGGRAPH 1989: Art Show
Category: Paper

Abstract/Summary/Introduction:

Contemporary theory in philosophy, aesthetics and cognitive/social sciences stresses the embedment of cultural and historical conventions in art and technology. Computer imagery for aesthetic/artistic or technical/scientific purposes have these conventions embedded in them and consequently reflect larger models of humanly constructed cultural reality. Careful analyses of the form, content and practice of computer graphics are proposed to reveal views of reality embedded in technology and in models generated by the technology.

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Title: Conceptual Superposition. The Aesthetics Of Quantum Simulation
Author(s):
Exhibition: SIGGRAPH Asia 2015: Life on Earth
Category: Paper

Abstract/Summary/Introduction:

I examine the conceptual and aesthetic implications of quantum simulation by reading Richard Feynman’s lecture “Simulating Physics with Computers” with Theodor Adorno’s aesthetic theory; I argue that the very notion of quantum simulation is in a state of conceptual superposition – which is, at its core, an aesthetic principle.


Title: Conserving Digital Art for Deep Time
Author(s):
Exhibition: SIGGRAPH 2011: Tracing Home in The Age of Networked Techniques
Category: Paper

Abstract/Summary/Introduction:

Displaying digital art in the late twentieth and early twenty-first centuries is already proving to be a challenge. Exhibiting this same art in the distant future will depend upon new thinking and practices developed today by artists, conservators, and curators. Established software engineering methods for dealing with aging systems can provide a new model for the conservation of digital art, and a foundation for the enhancement of art-historical scholarship. Artists with an interest in a more r

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Title: Cop to Conductor: Negotiating and Remapping Meaning in Existing Public Art
Author(s):
Exhibition: SIGGRAPH 2018: Original Narratives
Category: Paper

Abstract/Summary/Introduction:

There is a crisis in our communities about the tributes to a shared civic life represented in existing public artwork and monuments. Culture wars are being waged herein and appear increasingly unreconcilable. This paper discusses this moment and describes the range of strategies artists and designers have used to remediate these works. It presents a project description of an interactive artwork that suggests innovative approaches in this realm. The author introduces a conceptual model which served as inspiration for the piece that may be useful when discussing and designing
such interventions.

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Title: Creature Interactions: A Social Mixed-Reality Playspace
Author(s):
Exhibition: SIGGRAPH 2014: Acting in Translation
Category: Paper

Abstract/Summary/Introduction:

This paper discusses Creature:Interactions (2015), a large-scale mixed-reality artwork created by the authors that incorporates immersive 360° stereoscopic visuals, interactive technology, and live actor facilitation. The work uses physical simulations to promote an expressive full-bodied interaction as children explore the landscapes and creatures of Ethel C. Pedley’s ecologically focused children’s novel, Dot and the Kangaroo. The immersive visuals provide a social playspace for up to 90 people and have produced “phantom” sensations of temperature and touch in certain participants.

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Title: Dare to be Digital: Japan's Pioneering Contributions to Today's International Art and Technology Movement
Author(s):
Exhibition: SIGGRAPH 2005: Threading Time
Category: Paper

Abstract/Summary/Introduction:

A number of pioneering artists began experimenting with the computer as a visual arts medium in the late 60s and early 70s when most fine-arts circles refused to recognize art made by computers as a viable product of human creativity. This was the era of computer punch cards, when the visual results of algorithmic input were nothing more than line drawings. Many of the forward-looking artists who were experimenting with this technology were not taken seriously by the established art venues, and were, in fact, often ostracized by their peers. More recently, the work of computer artists has begun to appear in general textbooks on the history of art, but each book fealures one or two completely different artists. The books are inconsistent in their documentation of this fairly new medium. There are a number of journals that have had special issues devoted to this topic, including the Art Journal, and there are also whole journals dedicated to the field, such as Leonardo. There are, however, very few books that do justice to the movement, and few that include artists of Japan. In other words, there is a great deal of activity in the field, but the documentation is neither thorough nor consistent.

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Title: Data Materialization: A Hybrid Process of Crafting a Teapot
Author(s):
Exhibition: SIGGRAPH 2018: Original Narratives
Category: Paper

Abstract/Summary/Introduction:

Data materialization is a work ow developed to create 3D objects from data-informed designs. Building upon traditional metalwork and craft, and new technology’s data visualization with generative art, this work ow expresses conceptually relevant data through 3D forms which are fabricated in traditional media. The process allows for the subtle application of data in visual art, allowing the aesthetic allure of the art object or installation to inspire intellectual intrigue. This paper describes the technical and creative process of Modern Dowry, a silver-plated 3D-print teapot on view at the Museum of the City of New York, June 2017–June 2018.

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Title: Data Portraits
Author(s):
Exhibition: SIGGRAPH 2010: TouchPoint: Haptic Exchange Between Digits
Category: Paper

Abstract/Summary/Introduction:

Data portraits depict their subjects’ accumulated data rather than their faces. They can be visualizations of discussion contributions, browsing histories, social networks, travel patterns, etc. They are subjective renderings that mediate between the artist’s vision, the subject’s self-presentation, and the audience’s interest. Designed to evocatively depict an individual, a data portrait can be a decorative object or be used as an avatar, one’s information body for an online space.

Data portraits raise questions about privacy, control, aesthetics, and social cognition. These questions become increasingly important as more of our interactions occur online, where we exist as data, not bodies.

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Title: Dataism
Author(s):
Exhibition: SIGGRAPH 1989: Art Show
Category: Paper

Abstract/Summary/Introduction:

Dataism is a term coined to designate computer art. In contrast to the iconoclasm of Modernism, in general, and Dadaism, in particular, Dataism restates traditional aesthetics through formal practices. Dataist works are not singular objets d’art, but algorithmic procedures and digital data bases that have a symbolic description. They can be perfectly duplicated and widely distributed. Dataist artworks can appear to exist in three dimensions and move in the time dimension, but they may be entirely synthesized, that is, a manifestation of imagination.

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Title: Dear Human
Author(s):
Exhibition: SIGGRAPH Asia 2015: Life on Earth
Category: Paper

Abstract/Summary/Introduction:

Inspired by the cruelty in intensive farming of animals, the aim of this installation is to remind people of the story behind their food, even if you did not kill the animal, eating is just same as killing them.


Title: Deletion Process_Only you can see my history: Investigating Digital Privacy, Digital Oblivion, and Control on Personal Data Through an Interactive Art Installation
Author(s):
Exhibition: SIGGRAPH 2016: Data Materialities
Category: Paper

Abstract/Summary/Introduction:

In light of recent controversies surrounding massive data collection by corporations and government agencies, digital privacy, the right to oblivion, and data ownership have become increasingly important concerns. This paper describes the author’s artwork, Deletion Process_Only you can see my history, an interactive art installation based on her eight-year personal search history in the Google search engine. While the personal search history maintains a sense of privacy, according to the company’s own declaration, the author reveals this archive to viewers in order to raise awareness and provoke reflection on the aforementioned subjects. The author discusses her motivation, describes the making process and the decisions made at each step of designing the installation, while integrating at the same time a deeper discussion on the place of digital privacy and oblivion within the contemporary approach to art and technology.

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Title: Dialogue with a Monologue: Voice Chips and the Products of Abstract Speech
Author(s):
Exhibition: SIGGRAPH 2001: n-space
Category: Paper

Abstract/Summary/Introduction:

This paper argues that voice chips and speech recognition chips can be used as a unique analytic tool for understanding the complex techno-social interactions that define, imagine, and produce new products. Using these chips as an in situ instrument allows a focus on products in their actual context of use, capturing the multiple interpretations of new technologies, and a method to analyze their failures and successes in human machine interaction. It is the use of voice that is direct evidence of the interactive, particularized and social aspects of products that are traditionally underrepresented in the attempts to understand technological innovation, design, and deployment.

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Title: Digital Dilemmas
Author(s):
Exhibition: SIGGRAPH 1990: Digital Image-Digital Cinema
Category: Paper

Abstract/Summary/Introduction:

Computer imagery is fraught with divers conundrums and paradoxes associated with the fact that it is both abstract and concrete. It confounds familiar ways of understanding appearance and reality. We can begin to resolve the perplexity by using the idea of recursion to contrast digital imaging with picturing. It is particularly useful to explore the concept of an interface and to study its role in the imaging system. Digital images cannot be understood outside the context of the complete interactive system in which they occur.

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Title: Digital Heritage: Bringing New Life to the Montreux Jazz Festival’s Audio-Visual Archives with Immersive Installations
Author(s):
Exhibition: SIGGRAPH 2018: Original Narratives
Category: Paper

Abstract/Summary/Introduction:

To revive the Montreux Jazz Festival’s archival live-concert footage, three immersive installations were designed using three di erent principles of augmentation, physicality and interaction. The primary aim was to engage the user in a new relationship with digitized heritage. Audience observations indicated a strong emotional connection to the content, the artist and the crowd, as well as the development of new social interactions. Experimentation showed close interaction between the three principles, while the three installations suggested methodologies for reviving audio-visual archives.

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Title: Digital Image-Digital Cinema: The Work of Art in the Age of Post-Mechanical Reproduction
Author(s):
Exhibition: SIGGRAPH 1990: Digital Image-Digital Cinema
Category: Paper

Abstract/Summary/Introduction:

Computers are transforming existing art forms and allowing new kinds of art forms to be developed. Because the computer is primarily a machine for processing information, not a machine for making objects, it provides a malleable medium that provides the artist with a large variety of tools for manipulating sense data. The work that contains the result of the artist’s creativity is the software and the data, not any particular image or output produced using that software. The ultimate goal of artmaking using computers, in this light, is not to create art objects but to create dynamic art subjects, to produce families of aesthetically interesting outputs, or art performances, which are as different from each other as possible within the constraints of the software. This situates computer art within a larger context of the study and development of artificial life. To create significant artworks of this type, it will be necessary to improve the computer’s capacity to be an autonomous artmaking subject; this will require the extension of the computer’s senses, the expansion of its capabilities, and means for the computer to provide sensory inputs to the human nervous system and to other computers.

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Title: Digital Image-Digital Photography
Author(s):
Exhibition: SIGGRAPH 1990: Digital Image-Digital Cinema
Category: Paper

Abstract/Summary/Introduction:

The SIGGRAPH 1990 Art Show Committee decided to sponsor an exhibition of works that concentrate on the interaction of photographic imagery and computer technology [1]. This exhibition came about because of one interesting aspect of computer-mediated artworks that has been developing over the last several years. As the curator of this exhibition, I chose to put together a group of works that investigate not only the technical combination of these media but also the conceptual basis for choosing such tools of investigation, collaboration and production.

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Title: Digital Ontologies: The Ideality of Form in/and Code Storage - or - Can Graphesis Challenge Mathesis?
Author(s):
Exhibition: SIGGRAPH 2000: Art Gallery
Category: Paper

Abstract/Summary/Introduction:

The attempt to understand the connections that link human thought to its representation through the act of formgiving (in language, image, or signs) is central to Western philosophy and aesthetics. In every generation, some version of this question has been posed: If it were possible to understand the logic of human thought, would there be a perfect representation of it in some unambiguous, diagrammatic symbol set of entities and dynamic relations among them? Informed by classical metaphysics and philosophy, this question also has a life not only in contemporary struggles that are carried on in the varied and very different domains of visual art, information design, and computer graphics, but also in cognitive science, with its legacy of symbolic logic, artificial intelligence debates, and a disposition towards the intersection of speculative and specifiable apprehensions of what constitutes thought.

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Title: doing interface ecology: the practice of metadisciplinary
Author(s):
Exhibition: SIGGRAPH 2005: Threading Time
Category: Paper

Abstract/Summary/Introduction:

The interface can be modeled as a an ecosystem: connected, dynamic, and characterized by relationships. The model is predicated on a process of working with the interface as a border zone between heterogeneous systems of representation. This paper uses sensation, embodiment, and semiotics to initiate this process, by addressing the range of systems of representation that are involved in its own production. This presence of the theorist is found to create a self-referential metastructure. As an alternative to the beneficial but ad hoc assemblages of multi-, inter, and trans-disciplinary approaches, the ecosystems approach establishes that meshing of systems of representation is an inherent property of interface phenomena. The meshing process causes elements from the involved representational systems to recombine, forming hybrids. Recombinant information is a structural formula for creating new knowledge, which can be invoked for that purpose, intentionally. Theorists are part of the environment that they theorize about. The products of theorizing are information artifacts that are also part of the environment. They themselves function as interfaces. The term “metadisciplinary” is developed to describe the inherent and self-referential nature of this structure. The structure of metadisciplinarity connects theory and practice. This stands in direct contrast with studies approaches, such as performance studies, which is separate from theater practice.

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Title: Drunk on Technology, Waiting for the Hangover: A Test Plot
Author(s):
Exhibition: SIGGRAPH 2006: Intersections
Category: Paper

Abstract/Summary/Introduction:

No abstract available.

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Title: Early History of French CG
Author(s):
Exhibition: SIGGRAPH 2013: XYZN: Scale
Category: Paper

Abstract/Summary/Introduction:

This paper provides an historical summary of the emergence of computer graphics research and creation in France between 1970 and 1990, a period of innovation that transformed artistic practice and French visual media. The paper shows the role of these developments in the history of art, the evolution of digital technology, and the expansion of animation and visual effects in the film industry.

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Title: Emergent Aesthetics - Aesthetic Issues in Computer Arts
Author(s):
Exhibition: SIGGRAPH 1989: Art Show
Category: Paper

Abstract/Summary/Introduction:

The production of art, as much as any other production, takes place in the context of human interaction-with others, with nature, with tools, with artifacts, and with ideas from times passed. Artistic work, more than any other, is probably a projection of the experiential structure of the act of producing artifacts (or events) with qualities socially acknowledged as artistic and values culturally celebrated as aesthetic. Throughout history, the patterns of human interaction have continuously changed, and so has art. Nonetheless, changes like the ones we experience today are unprecedented, requiring that we understand that the condition of art is probably more dependent than ever on the condition of humanity in general, and of science and technology in particular.

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Title: Entr’acte
Author(s):
Exhibition: SIGGRAPH 2012: In Search of the Miraculous
Category: Paper

Abstract/Summary/Introduction:

Looking at new public-space formations today, the roles of new technologies grow not only prominent but also noticeably time-sensitive. Due in part to the rapidly changing nature of communications media and the diverse stakeholders, the theatrical “entr’acte” appears to be an apt model for forms and durations of public space with diverse performers (both human and material elements) of different sorts: entr’acteurs. How is public space as physical construct changing with new embedded forms of computing? How is a public formed? What new material sensibilities emerge? And what role does their essentially fleeting or transitional character play?

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Title: Ethics, Ecology, and the Future: Art and Design Face the Anthropocene
Author(s):
Exhibition: SIGGRAPH 2015: Hybrid Craft
Category: Paper

Abstract/Summary/Introduction:

Art and design have become platforms for discussing the long-term implications of technology and modernity, most recently in relation to ecological crisis and the Anthropocene. While artists, designers and curators seek to raise awareness of the Anthropocene, it is important to remain critical of the narratives these practitioners develop. This paper provides a brief critique of how these issues are being addressed in the cultural sphere, suggesting that works of critical, conceptual and speculative design may be best suited to addressing the Anthropocene as they foster critical thinking about how we relate to technology and science, how we organize ourselves politically and socially, and how we define ourselves in the broader ecological assemblage. Artists and designers discussed include Marina Zurkow, Una Chaudhuri, Oliver Kellhammer, Fritz Ertl and Sarah Rothberg; Anthony Dunne and Fiona Raby; and Jae Rhim Lee.

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Title: Experimental Interaction Unit: Commodities of Mass Destruction
Author(s):
Exhibition: SIGGRAPH 2009: BioLogic: A Natural History of Digital Life
Category: Paper

Abstract/Summary/Introduction:

This paper describes several projects by the now-defunct Experimental Interaction Unit that use prod-uct design, software engineering, and digital networking to uncover collective behaviors that contribute to systems of social control. Biology and human behavioral studies are essential aspects of this critique. Experimental Interaction Unit’s projects from 1996 to 2001 represent subversive use of technology to reveal unrecognized aspects of human interaction with networks, such as how telematic distance psy-chologically absolves individuals from taking responsibility for their actions. The fear of vulnerability to terrorist actions, including biological warfare and electronic interference, is exploited in these works, in order to expose the ways in which security is promised in exchange for control.

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Title: Expressive AI
Author(s):
Exhibition: SIGGRAPH 2000: Art Gallery
Category: Paper

Abstract/Summary/Introduction:

The field of Artificial Intelligence (Al) has produced a rich set of technical practices and interpretive conventions for building machines whose behavior can be narrated as intelligent activity. Artists have begun to incorporate Al practices into cultural production – into the production of artifacts and experiences that function as art within the cultural field. In this paper, I describe my own practice of Al-based cultural production: expressive Al. I will attempt to provide a preliminary understanding of this practice by both situating expressive Al with respect to other discourses on Al and by working inductively from my own Al-based art work. I will first provide a brief description of three of my Al-based art pieces. These will serve as concrete examples to ground the rest of the discussion. I will then describe the expressive Al practice by first situating it with respect to the GOFAl/interactionist Al debate, then by describing the central organizing metaphors of authorial and interpretive affordance, and finally by providing a preliminary set of desiderata for expressive Al practice.

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Title: Feminist Transgressions? Object and Process in Transgenic/Genetic Works by Women
Author(s):
Exhibition: SIGGRAPH 2002: Art Gallery
Category: Paper

Abstract/Summary/Introduction:

Interest in new technologies has fostered a growing interdisciplinary exploration between artists, scientists, social scientists, and designers. Particular types of artwork have held attraction for the artist-scientist in the 20th and 21st centuries: artificial life, evolutionary art, and genetic art have been created by those with an interest in science and organic structures. Concerns inherent to these contemporary interests are centuries old; 1 the use of novel technologies to mimic or create life can be traced to the Ancient Greeks, Jewish, Chinese, and Egyptian cultures, in which stories of famous pneumatic automata and golem originated.

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Title: Film Theory for the Digital World: Connecting the Masters to the New Digital Cinema
Author(s):
Exhibition: SIGGRAPH 1990: Digital Image-Digital Cinema
Category: Paper

Abstract/Summary/Introduction:

This article examines the role that theories of photographic cinema play in the criticism of digital cinema. The theories of Georges Melies, Vachel Lindsay, Lev Kuleshov, Andre Bazin and Rudolf Arnheim-critics, theoreticians and filmmakers, the key-stones of this work-have proven pertinent to the advancing technology of other cinematic forms. Their ideas have applicability to specific aspects of digital cinema, including the manipulation of illusory space, discrete and explicit control of cinematic elements, the transformation of world spaces into screen space and the role of realistic imagery in determining the content of a cinematic work. Parallels can be drawn between the ideas of these theorists, most of whom wrote during the infancy of photographic cinema, on the developing state of film and that of current digital cinema.

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Title: Fractals and an Art for the Sake of Science
Author(s):
Exhibition: SIGGRAPH 1989: Art Show
Category: Paper

Abstract/Summary/Introduction:

A new form of art redefines the boundary between ‘invention’ and ‘discovery’, as understood in the sciences, and ‘creativity’, as understood in the plastic arts. Can pure geometry be perceived by the ‘man in the street’ as beautiful? To be more specific, can a shape that is defined by a simple equation or a simple rule of construction be perceived by people other than geometers as having aesthetic value – namely, as being at least surprisingly decorative – or perhaps even as being a work of art? When the geometric shape is a fractal, the answer is yes. Even when fractals are taken ‘raw’, they are attractive. They lend themselves to ‘painting by numbers’ that is surprisngly effective, even in the hands of the rank amateur. And the true artist’s sensibility finds them a novel and attractive support.

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Title: From Wunderkammern to Kinect – The Creation of Shadow Worlds
Author(s):
Exhibition: SIGGRAPH 2012: In Search of the Miraculous
Category: Paper

Abstract/Summary/Introduction:

This paper focuses on two projects, Still Life No. 1 and Shadow Worlds | Writers’ Rooms [Brontë Parsonage], to reveal the creative approaches the authors take to site, technology, and the self in their production of shadow worlds as sites of wonder. Informed by the uncanny (re-animation and the double) and an interest in the limen (thresholds in the real and virtual realms), the projects explore white light and infrared digital 3D scanning technologies as tools for capture and transformation. The authors will discuss how they suture the past with the present and ways that light slips secretly between us, revealing other realms.

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Title: Generating Abstract Paintings in Kandinsky Style
Author(s):
Exhibition: SIGGRAPH Asia 2013: Art Gallery
Category: Paper

Abstract/Summary/Introduction:

This paper presents a recent project on automatic generation of Kandinsky style of abstract paintings using the programming language Processing. It first offers an analysis of Kandinsky’s paintings based on his art theories and the author’s own understanding and observation. The generation process is described in details and sample generated images styled on four of Kandinsky’s paintings are also demonstrated and discussed. Our approach is highly scalable, limited only by the memory space set in Processing. Using random generation, every styled image generated can be unique. A selection of the images generated in the required resolution is also submitted and 70 images are made into a video companion.

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