Artworks Data Table


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Title Artist Name Exhibition Creation Year Image Artist Statement Technical Info Process Info Collaborators Sponsors Category Medium Size Website Keywords
  • The Group Exercise
  • Jozef Jankovič and Imrich Bertok
  • SIGGRAPH 1986: A Retrospective
  • 1983
  • 2D & Wall-Hung
  • Serigraph
  • 26.5 x 33 in
  • The Place Above
  • Jozef Jankovič and Imrich Bertok
  • SIGGRAPH 1986: A Retrospective
  • 1979
  • Image Not Available
  • 2D & Wall-Hung
  • Serigraph
  • 32 x 21.5 in
  • Flame
  • Judith Artoux
  • SIGGRAPH 1994: Art and Design Show
  • 1993
  • 2D & Wall-Hung
  • Inkjet
  • 12.75 x 10 inches
  • Urban Spirits
  • Judith Darmont
  • SIGGRAPH Asia 2011: FANTAsia
  • Darmont: Urban Spirits
  • With Urban Spirits, Judith Darmont creates both digital street art and an interactive tool for citizens and urbanists. Digital street art is taking spontaneous art expression like graffiti into a new dimension. Using pico-LED or Laser projectors, screenings can happen anytime, any place. With HD Cam, Internet and social networks, you can easily find tracks from Urban Spirits. In many cities, Urban Spirits can be viewed with augmented reality by video artworks.
    Augmented reality is not dealing with 2D or 3D pictures but with real video. Also, for the city hall itself, it’s an innovative way to stream digital art and spirits from its own city, with a virtual interface. At the same time, Urban Spirits showcases how the digital world could be synonymous with zero pollution and environmental impact.

  • Interactive & Monitor-Based
  • Rosetta Stone
  • Judith Mayer
  • SIGGRAPH 1992: Art Show
  • 1992
  • Image Not Available
  • Artists in Chicago and at remote sites interact through ISDN technology in a number of cooperative experiments in real time, in the interactive telecommunicational space represented on a video wall at the conference site.

    The Rosetta Stone is an interactive telecommunications “white board” which enables artists from different locations to draw and create together as if they were in the same room working on the same canvas. Artists can send and receive text, graphics, drawings, video, and voice. This interactive space/image is alive, a medium of constantly evolving communication and collaboration. By breaking through the usual boundaries of language and geography, artists can share their histories, their art, and their personalities.

    Artists and programs from San Jose State University CADRE Institute (Computers in Art, Design, Research, and Education): Dr. Kathleen Cohen, Pat Coleman, Brian A. Kromrey, Hassan Ebrohimi Nuyken, Joel Slayton.

    Technical assistance, software, and hardware from Adobe Systems, Compression Labs Incorporated, fractal Design, 115 Technologies (a division of Bell Canada), Macromedia, Network Express Incorporated, Nippon Telegraph and Telephone Corporation, Pacific Bell Market Application Development Group, Pioneer, RosterOps, RGB Spectrum, Anthony Templer, Wacom Technology Corporation, Leonardo, the Journal of the International Society for the Arts, Sciences, and Technology.

  • Interactive & Monitor-Based
  • Leona Book I
  • Judith Yourman
  • SIGGRAPH 1995: Digital Gallery
  • 1995
  • 1995 Yourman Leona
  • My work explores life in this age of Court TV. It examines the blurred boundaries between news and entertainment, as well as our culture’s engagement with celebrity and scandal. It investigates the relationship of spectacle and voyeurism and the ways in which women are represented in the media. In this work I am concerned with cameras in the courtroom – with court trails as a form of popular entertainment in our culture.

    In the “Leona Helmsley Series” I examined the media coverage of the tax trail of Leona Helmsley, the self-styled queen of the Helmsley hotel chain. The work also examined my relationship to this spectacle as an artist/participant with a Super 8 camera.

    The “Leona Helmsley Series,” as my other recent projects, explores relationships between static and moving images, between traditional media and modern technologies. It includes digital photographs, artist books, and installations that combine video, animation, painting, digital prints, and sound.

  • Artist Book
  • Ink-jet prints
  • 8.75 x 10.5 inches
  • Space‡
  • Judson Rosebush
  • SIGGRAPH 1986: A Retrospective
  • 1974
  • Image Not Available
  • Animation & Video
  • 3 minutes
  • Oscillation
  • Jules Bister
  • SIGGRAPH 1994: Art and Design Show
  • 1994
  • 1994 Bister Oscillation
  • HARDWARE/SOFTWARE
    Silicon Graphics 4D35 and Indigo, SOFTIMAGE 4D Creative Environment

  • Animation & Video
  • Animation
  • 3:00 minutes
  • Webmachine
  • Juli Laczko
  • DAC Online Exhibition 2020: Digital Power: Activism, Advocacy and the Influence of Women Online
  • Laczko: Webmachine
  • Webmachine is the concept of an alternative new media machine, a piece that translates a binary text to visual code using the technology of punch card tablet weaving. Imaginary archaeology of the computer invented by female cultural tradition to replace ‘male machines’ that merges the logic of punch cards, weaving patterns and computing. To create the artwork, used a table loom as a starting point and modified its production method. Webmachine is concerned with the history of industrialized female labor, early computers and weaving. My main research questions revolved around the undercurrents of computer history, and the possibility to manifest them in the form of an interactive installation, namely, a reversed analog weaving computer. My doctoral dissertation, currently being prepared for publishing in English and Hungarian, briefly highlights the problem of gender stereotyping in the history of computing and hacker cultures, in a chapter titled ‘the boys and their toys’. Sadie Plant describes the continuity of low-wage repetitive labor to be assigned to women from weaving to computing. Weaving is nature coded by culture into a visual interface, where the methodology of coding is inherently cultural, not natural. The case is the same with computers, and culture reinforces stereotypes by the method of coding. My work aims to decode and recode cultural stereotyping by disassembling the machine interfaces that reinforce these codes, to speculate on possible parallel machine archaeology.

  • Animation & Video and Electronic/Robotic Object
  • Website
  • Kapitän Biopunk: Fermentation Madness
  • Julian Abraham
  • SIGGRAPH 2012: In Search of the Miraculous
  • 2012 Abraham Kapitan Biopunk
  • Kapitän Biopunk: Fermentation Madness is an artistic research project manifested via a series of workshops and an acoustic and performative installation. The project developed in response to the high number of poisonings and deaths of alcohol consumers after an increased excise tax was placed on alcoholic products in Indonesia. The project, using do-it-yourself and open-source technologies, strives to educate individuals on fermentation processes to produce safe and affordable alcoholic products, and a means to democratize the laboratory and liberate knowledge for a wider society.

  • Installation and Sound Art
  • Acoustic and Performative Installation
  • CC/400/P Series (3)
  • Julian Guest
  • SIGGRAPH 1986: A Retrospective
  • 1977
  • 2D & Wall-Hung
  • Plotter
  • 11 x 11 in
  • 25 – Birth and Decay
  • Julian Konczak
  • SIGGRAPH 2007: Global Eyes
  • 2007
  • Birth and Decay invites the audience to explore a time-sliced anatomy of landscape as it cycles through the inevitable rhythm of change. The vista is hidden, but the proximity and exploded imagery give us an intimate relationship with the environment. The birth-life-decay-death cycle is an inevitable performance that drives the movement of time on this planet. The images offer 25 instances of the same subject, the eye decoding multiplicity and diversity. My work orients itself around an examination of the visual world that surrounds us and the use of imaging technologies to explore our perceptions. I draw attention to the processes, textures, and rhythms that we take for granted and often overlook. Each work represents a personal journey either through physical space or a closer examination of the world that surrounds me. The composition of the raw material that I gather on field trips (video, stills, or sound samples) involves an evocation of an ambience, a reconstruction of the world. With a sense of simplicity and directness, I use my tools to visually re-create what I see with my eyes. Through montaging this raw material in video, interactive environments, and print, the elements of the image gain a new and distinctive meaning. The process involves working with an initial conceptual idea and then allowing the happenstance of image creation to define the content. The visual qualities of the image are paramount; the quality of light and tonal range become key factors in deciding when to press the shutter. When subject to the vagaries of weather, the works inevitably become driven by a subjective immersion within an environment. Whether creating work within walking distance of my studio, revisiting the same places throughout the seasons, or travelling across the globe, these lens-based observations are encounters with the unpredictable.

  • The work uses basic web technology to allow users to create their own visual fields, the emphasis of the work being to draw the audience into an exploded visual representation of a landscape. The tools are a Nikon digital camera, Adobe Photoshop CS2, and Macromedia Flash MX 2004.

  • Interactive & Monitor-Based
  • Time-sliced photographic representation of landscape created in Flash
  • VJ Fleet [redux]
  • Julie Andreyev
  • SIGGRAPH 2006: Electronically Mediated Performances
  • 2006
  • 2006 Andreyev VJ Fleet [redux]
  • VJ Fleet [redux] is informed by interactive media from popular culture (specifically custom car and club sub-cultures) and performance art, experimental music, video projection, and interactive installations. By combining the mobility of the car with audio, video and interac­tive components, that which is private (the interior space of the car) becomes public and a tool for visual commentary about the city and its use. Aspects of the host city’s specific car culture are highlighted through the choice of cars for the fleet, and by custom “styling” (vinyl labeling) on the car exteriors.

    The fleet drives through the city, recording, manipulating, and projecting video imagery of the route, which is loosely determined by local participants and drivers who have knowledge of the city’s highlights. The cars are set up with sensors and software that allow interaction between the car and driver to create live effects on the videos, which are projected on panoramic screens in the cars and made visible to people in the street.

    Audio aspects of the city, and from the engine and passenger areas of the cars, are recorded for use when the cars stop at determined locations. Here, the cars are arranged to display the video archive of the drive, and the audio is manipulated by software into a new musical soundscape that is played on the cars’ audio systems. In this performance, cars can be perceived as recalling the drive to the location through the narrative of the videos and the expression of the sound. Other cars in the immediate vicinity receive the broadcast on their stereos. The cars’ projected videos are synced into a new panoramic response to the music. The effect is a live vehicular performance of remixed audio and visualizations of the city and its publics, and the private (now social) spaces of the cars.

  • Three cars are each fitted with: sensors that read acceleration, braking, turning, and weight-shifting connected to an iCube and a laptop; a video camera that provides a view out the front or side windows; a contact microphone in the engine compartment and a lavalier microphone in the passenger area that sends inputs to a digital audio recorder; a video projector and screen on the rear windshield; and custom-cut removable vinyl decals to style the cars.

    Digital information about the driver’s actions is sent via icube to a Max/Jitter software patch that manipulates the video feed from the camera. This manipulated video is projected on the rear screen and recorded by the software patch. The audio of the passengers and crew talking, and of local music played over the car audio system, is recorded via the lavalier microphone. The audio of the car and of the outside environment is recorded via the engine compartment microphone.

    When the cars are stopped, the route’s recorded sensor data is read by a custom Max/MSP patch and applied to the recorded audio samples to create a new soundscape and played via FM broadcaster through the cars’ stereo systems. A custom Max/Jitter patch remixes the route’s recorded video to aspects of the sensor data and proj­ects a new panorama on the cars’ back screens.

  • Jordan Benwick, Sean Arden, Simon Overstall, Hyuma Frankowski, and Sandra Hanson
  • Performance
  • Mobile audio and video performance using cars
  • Wait
  • Julie Andreyev
  • SIGGRAPH 2011: Tracing Home in The Age of Networked Techniques
  • 2011
  • The human-companion species relationship is the starting point for the critique explored in Wait. Wait is part of the larger Animal Lover body of work, which is situated within a developing area of artistic practice referred to as “interspecies collaboration.” Contemporary cultures for the most part consider animals in terms of consumption: as food source, experimental subject, ecological resource, entertainment, etc. Critical to Animal Lover are questions and critiques addressing human relations with non-humans, particularly companion species. These works reconsider the animal as conscious, expressive, and creative, with complex states of being different from, but potentially as rich as, those of humans.

    In Wait, human and canine communication methods are brought to bear within an interactive video installation. The piece uses interactive technologies that track the physical presence and movement of visitors to the work, allowing for direct contribution to the creation of meaning. Taking cues from the movements of the visitor, the dog (as imaged in the video) points to the relationship of control. The dog appears to be waiting for direction – looking directly at the visitor, implying a state of suspended urgency. Visitors are compelled to ask questions about their relationship to the dog. In this way, the piece depicts the complex relationship between humans and companion species who share the domestic space. For the most part, companions such as dogs, cats, and birds are subject to conditions of human dwelling (home) and the systems and codes of power, space, and communication associated with it. Wait was produced in partnership with Banff New Media Institute, The Banff Centre, Banff, Canada.

  • Animation & Video and Installation
  • Video
  • https://vimeo.com/41577582
  • A Selfless Society
  • Julie Freeman
  • DAC Online Exhibition 2020: Digital Power: Activism, Advocacy and the Influence of Women Online
  • Freeman: A Selfless Society
  • A Selfless Society prompts us to think about the role of gender and gender expectations in society. In an era when population increase, climate change, and the ideal of the nuclear family are putting pressure on the environment, on the affordability of everyday life, and human well-being, do we need to actively evolve our social structures? Naked mole-rats are altruistic eusocial and are mammals with an arguably utopian lifestyle. Like other eusocial organisms such as honeybees or ants, naked mole-rats’ society is structured around a single breeding female. Other community members help to raise the young, provide food and protect the home. A Selfless Society is an abstract animation influenced by real-time data from a live naked mole-rat colony. It uses data as an art material–exploring how we can take a quantified measurement and turn it into an experience, a moment of contemplation. Creating work with real-time data from living systems can stimulate a connection to nature in unpredictable ways. The technologies open a communication channel from the animal to us so that what we hear, see and feel is dynamically agitated by these non-human agents. Technology is not neutral in this process, it is designed, sculpted and scripted; the data translated by the artists’ hand. However tightly controlled the process, there is a gap–space for the animals to fill and a place that cannot be synthesized. It is this gap that the naked mole-rats featured in A Selfless Society gnaw on to create a work with an edge of vulnerability. As we observe the colony’s activity patterns, we are invited to consider what we might stand to gain or lose were we to restructure human society in this way. We may question whether we, like naked mole-rats, could become eusocial, and consider how this would alter the expectations of our own gender identities, actions, or motivations.

    The work is a part of a collaborative project called Rodent Activity Transmission systems (http://RAT.systems), with Dr. Chris Faulkes, Marcin Ignac (variable.io), and Matt Jarvis.

  • Performance
  • Animation, Web Portal, and Website
  • http://rat.systems/colony/
  • The HeartBeats Watch
  • Julie Legault
  • SIGGRAPH 2012: In Search of the Miraculous
  • 2011
  • Stretching or shrinking hours at the beat of your heart, The HeartBeats Watch is a timepiece in which the duration of time is paced not by seconds but according to the wearer’s heartbeat. Through a heightened awareness of self, The HeartsBeats Watch brings together art and science to reveal emotional complexity of time and the human body. A poetic investigation of the physiology of emotions, health, immortality and control, the watch bridges the gap between society and medical science, invoking a broader cultural perception of life. Through the premise of accessories and jewelry as providers of “superpowers” and the idea of objects of comfort, Julie Legault explores the possible futures of accessories through technology, function, and fantasy, using the premise of technology as magic to combine materials and circuitry, creating wearable wonders. Her current research concerns the relationships that mentally and emotionally disabled individuals have with objects and accessories. Working from the outside in, she hopes not only to understand and improve these relationships and their impact on the individual’s social presence, but also to distill the essence of these relationships to benefit a wider audience, adding some missing magic along the way. To avoid the impending “under the skin” aspect of hybridization, Legault’s work also explores the ethics and obsolescence of consumer culture by providing insights and tools for self-awareness and wonder.

  • Design
  • Timepiece
  • O.S. form no. 1, 9 (respectively}
  • Julie Read
  • SIGGRAPH 2004: Synaesthesia
  • 2004
  • My art is based on ideas of existence, who we are and what makes us different to the next person, and how our characters and identities are formed and change over time. Construction of small contour drawings have evolved from the negative forms of 10 individuals’ navel casts. The delicate lines carefully follow the individuals’ birth chord, creating an image from this part of the body, which, from its cutting at birth, marks the beginning of a new individual taking its first breath and from this developing its self and identity. In this sense, these drawings can be seen to correspond to birthplaces, birthrights, and, more obviously, land mass. The images are digitally created and produced in a medium that can be seen as very cold and impersonal, immediately depersonalizing the viewer from the very intimate area of the body that is the subject of the drawings. The area is explored as transparent layers building up a three-dimensional form, using tones that would correspond to an ordnance survey ink used on maps. These marks are as individual as fingerprints yet have the potential to change over time, so they are quite fluid in structure.

  • The first part of the process is to take a cast from a person’s navel. This body imprint is then surveyed by pouring a black liquid around the form at varying levels. Each level is documented with a digital camera, and the images are then worked in two image-manipulating programmes to record the layers on top of each other. The lines are smoothed and filled with increasing transparency of ink, from dark
    brown to white. The final output is a digital print on paper. This contrast between the messy pouring of ink, casting and surveying with the digitized manipulation, and output provides a dynamic aesthetic and, for me, an image of intrigue and abstraction.

  • 2D & Wall-Hung
  • Digital prints
  • 56 centimeters x 52 centimeters each
  • O.S. form no. 2, 10 (respectively
  • Julie Read
  • SIGGRAPH 2004: Synaesthesia
  • 2004
  • My art is based on ideas of existence, who we are and what makes us different to the next person, and how our characters and identities are formed and change over time. Construction of small contour drawings have evolved from the negative forms of 10 individuals’ navel casts. The delicate lines carefully follow the individuals’ birth chord, creating an image from this part of the body, which, from its cutting at birth, marks the beginning of a new individual taking its first breath and from this developing its self and identity. In this sense, these drawings can be seen to correspond to birthplaces, birthrights, and, more obviously, land mass. The images are digitally created and produced in a medium that can be seen as very cold and impersonal, immediately depersonalizing the viewer from the very intimate area of the body that is the subject of the drawings. The area is explored as transparent layers building up a three-dimensional form, using tones that would correspond to an ordnance survey ink used on maps. These marks are as individual as fingerprints yet have the potential to change over time, so they are quite fluid in structure.

  • The first part of the process is to take a cast from a person’s navel. This body imprint is then surveyed by pouring a black liquid around the form at varying levels. Each level is documented with a digital camera, and the images are then worked in two image-manipulating programmes to record the layers on top of each other. The lines are smoothed and filled with increasing transparency of ink, from dark brown to white. The final output is a digital print on paper. This
    contrast between the messy pouring of ink, casting and surveying with the digitized manipulation, and output provides a dynamic aesthetic and, for me, an image of intrigue and abstraction.

  • 2D & Wall-Hung
  • Digital prints
  • 56 centimeters x 52 centimeters each
  • From Computer Art to Digital Art
  • Juliet Ann Martin
  • SIGGRAPH 2003: CG03: Computer Graphics 2003
  • 2003
  • 2003 Martin: From Computer Art to Digital Art
  • First of all, I need to make a distinction between computer art and art that is made by a computer. I’m going to call the latter digital art as opposed to the former, which I will call computer art. Computer art is focused on the digital process and the digital origins of the work. It separates body and soul by dissecting the process and the product. This is in contrast to the thoughts of multimedia and video artist Marina Abramovic. According to her, in art you must “keep body and soul together = remain alive.” I am introducing more of the human hand, more body and soul, into my art pieces. This “post-human” combination joins the process with the product, quite literally, the body and the soul. This will allow the references to nature and the body to come together in a literal, yet subtle, manner. I am creating cybornetic art. Although it may have binary beginnings, it has multiplicitous ends. The scale of the print gives it a relationship to the human. These creations contain the metaphor of the cyborg on paper. My pieces are about combining a machine and a body. The actual images are executed in a fashion that will mirror the concept of the work. I do this quite literally by scanning parts of my body and combining them with examples from nature using digital means in the computer. By taking scans of my body and nature, I am converting them into digital data. The computer is not used as a cut-and-paste collage tool. Effects that could not be obtained through methods of collage or non-digital printing techniques are used. This is a digital image that takes advantage of its medium. Other physical items I scan include textures from nature, such as bark and leaves. This provides the images with a true organic quality that could not be obtained otherwise. I also scan watercolor washes for a more relatable quality to the images.

  • 2D & Wall-Hung
  • 18 in x 18 in
  • human body, nature, and texture
  • Ocean and Stones
  • Juliet Ann Martin
  • SIGGRAPH 2004: Synaesthesia
  • 2004
  • When I started creating what can be called computer art, my product was very much focused on the digital process and digital origins of the work. Now I am trying to introduce more of the human hand, more of the real into the art pieces. I want to create the metaphor of the cyborg on paper. My pieces are about combining a machine and a body. I have done this quite literally by scanning parts of my body and combining them in the computer. I am creating cybornetic art. Although it may have binary beginnings, it has multiplicitous ends. I am doing this by researching the human body and its contours and how that works into composition. These are ideas I want to challenge and question through digital prints.

  • I used the computer to bring the physical and the digital together. I scanned my body, using technology to bring the real into the unreal. By placing my body on the scanner, I was flattening a three-dimensional object to two dimensions. It gives the impression of my body captured behind glass. The scanner was painting my flesh. I took digital photographs of the ocean, again capturing the physical into the digital. I also scanned watercolors and line drawings that allowed me to move the feeling of the hand into a digital format. With all of these pieces captured in digital format, I used Photoshop
    as an advanced collage tool. Its blending modes allowed me to
    create unique effects and integrate the effects of two very disparate layers. The use of masks allowed sharp selection and integration of various objects. By carefully choosing the opacity, I was able to create transitions from an object in one modality to an object in another. Being able to use the HSB color model allowed me to delicately manipulate artistic aspects of a piece’s color space. Modulating hue, saturation, and brightness brought a level of sensitivity, not just blind scanning, to the piece. The individual objects transition smoothly because of careful use of dithering and feathering.
    The layers allow one to easily blend sharp objects like photography and soft objects like watercolors into a single piece.

  • 2D & Wall-Hung
  • Inkjet print
  • 35 inches x 48 inches
  • Please Stay on the Line
  • Juliet Ann Martin
  • SIGGRAPH 1998: Touchware
  • Image Not Available
  • This artwork is an interactive art website. The given link is no longer active.

  • Internet Art
  • interactive and website
  • Altar-ations
  • Juliet Davis
  • SIGGRAPH 2006: Intersections
  • 2006 Davis Altar-ations
  • Altar-ations is a wedding planner gone awry. It questions who is really in control of a woman’s self-image and gender construction, while it also brings into focus illusions of choice and control that are commonly rendered through the internet interface itself. Choose your engagement ring, spin for your spouse, build a better baby, and manage your virginity-these options are all just a click away, or so it seems. The cybertales become “fractured” (deconstructed) as we navigate the satirical interface and trigger excerpts from serious interviews with young people who are contemplating sexuality, marriage, commercialism, and reproductive technologies.

    Each section of Altar-ations is based on feminist theory and political dialectics circulating around specific gender and ethnicity issues such as gay marriage, genetic engineering, and sexual consent. The project was designed to generate student dialogue about these issues as they engaged in the interviews and helped to produce the project. Students came from a wide range of back­grounds. For example, two students were from the Middle East, one of my students is from Sierra Leone (where the blood-diamond trade threatens the lives and limbs of villagers), one is a Catholic Italian-American, and another is gay and Christian. They brought invaluable perspectives to the project.

  • Altar-ations is a game created with Photoshop, Illustrator, Flash, and SoundForge. The goal was to create functionality and interactivity that would allow participants to engage with gender and ethnicity issues through multimedia experiences. A wedding planner seemed to be an ideal interface concept because it could simulate the dynamics of choice and control that brides seem to desire.

    The first step of the project was the brainstorming and experimenta­tion phase: creating rough storyboard sketches while researching is­sues and sources to be parodied (for example, bridal magazines and wedding-planner web sites, diamond and biotech companies, music and sound effects, scholarly articles and theories). We also experi­mented with how ideas get dramatized, and what technologies can be used in interactive play, to create dramatic tension and release (how those technologies channel desire). Then, I created an interface in Flash with the home page: bubbles, flowers, and rollovers. Finally, student interviews were recorded. They directed the rest of the proj­ect and determined the scenes. For example, excerpts about “virgin­ity” turned into “Virginity Management.” Students helped to produce the project; for example, Dana Corrigan created vector drawings for the babies section and passed them on to me to animate in Flash.

  • Interactive & Monitor-Based
  • Interactive media art
  • aesthetics
  • theRelativity
  • Jun Fujiki and Shigeru Owada
  • SIGGRAPH Asia 2008: Synthesis
  • Our impression of a scene changes depending on the aspect. theRelativity is an interactive art work that seamlessly reflects a third-person view of a structure into a first-person view.

  • Interactive & Monitor-Based
  • etheroid
  • Jun Fujiki
  • SIGGRAPH Asia 2017: Mind-Body Dualism
  • 2017 Fujiki: etheroid
  • An etheroid is a device that mediates an invisible “something” to exist in space. Each etheroid propagates this behavior to one of the surrounding etheroids repeatedly. From the movements of a whole etheroids, an invisible and movable “something” appears.

  • Installation
  • OLE Coordinate System
  • Jun Fujiki
  • SIGGRAPH 2007: Global Eyes
  • 2007
  • Optical illusions, which are not possible in the real world, are often used in still images and animation. With computers, I transform a static optical illusion into an interactive optical illusion and allow the character in the image to perform “impossible” movements in a virtual 3D world. The character moves automatically on the block and the stairs. Not only can the character move according to physical laws in the virtual 3D world, but he can also pass between separate blocks that seem to be connected. When the object is behind the falling character, he lands on the object even if the object is behind him in the 3D world. When a hole is not visible, the character ignores the hole as if it does not exist. When the character jumps, he is always in front of the objects. I hope that this work will release viewers from the preconceptions that surround us.

  • Installation
  • Image to Touch
  • Jun Kurumisawa
  • SIGGRAPH 1998: Touchware
  • 1998
  • 1998 Kurumisawa Image to Touch
  • This work is, precisely, a “picture to touch!” The print, which uses expressions of principal color constituents, is installed in a frame with sensors. When a person touches the print, the sensors perceive which location has been touched; make elements vibrate through data available on the hue, chroma, and value of the related elements; and give information to the fingertip of the person. The actual roughness of the unrefined paper and the vibration of the image data are mixed with the fingertip data, and the viewer experiences a remarkable fusion of sense through sight and sense of reality.

  • Haruo Noma, Kazuyuki Ebiaha, and Jun Ohya
  • Installation and Interactive & Monitor-Based
  • Interactive Installation
  • 40" x 40" x 32"
  • interactive installation
  • Lost Connection
  • Jun Kurumisawa
  • SIGGRAPH 1999: technOasis
  • 1997
  • In virtual space, shape primitives are produced and combined to create complex forms that can be broken up and returned to shape primitives. A virtual brush randomly generates shape primitives in virtual space. Brush pressure and paths are controlled by the artist.

    This work was created for Direct Manipulation Scene Creation in 30: Estimating Hand Postures from Multiple-Camera Images (SIGGRAPH 97 Electric Garden) by ATR Media Integration & Communications Research Labs.

  • 2D & Wall-Hung
  • Pictorico Original Digital Print on WARGMAN Clean Cut
  • 750mm x 950mm
  • abstract, digital print, and pictorico print
  • Non-Material Construction #1
  • Jun Kurumisawa
  • SIGGRAPH 1999: technOasis
  • 1998
  • Non-Material Construction combines artistic technique and colors that are not obtainable from traditional materials and gives birth to new forms and space that consists of individual forms. When computers create virtual worlds with unpredictable images and rearranged complex structures, and then affix these non-materials to paper, they take on new meaning and value as real-world materials.

  • 2D & Wall-Hung
  • Pictorico Original Digital Print on WARGMAN Clean Cut
  • 800mm x 1025mm
  • abstract, digital print, and pictorico print
  • TO BURY RECOLLECTION IN...
  • Jun Kurumisawa
  • SIGGRAPH 1998: Touchware
  • 1996
  • 1998 Kurumisawa To Bury Recollection In...
  • This work was created with a high-level coating technology. Important objectives were to achieve sufficient water-resistance, light-resistance, and coloring, and to obtain the multiplicative effect that is equivalent to that for the ground material. The work achieves an original representation that consists of not only the image but also integration of the real material and sensations of materials created by computers.

    The theme of this work is the relationship between layers of abstracted and accumulated memories, and shapes that are actually represented. This is the basic concept of the works I produce with computers, where abstracted memories and the individual (myself) influence each other, and represented memories and the society influence each other. I think artists should step forward and propose technologies that satisfy these conditions.

  • 2D & Wall-Hung
  • Pictorico original print on Wirgman clean cut paper
  • 23.5" x 39.5"
  • memory and pictorico print
  • Abracadabra
  • Jun Oh and Min Jeong Kang
  • SIGGRAPH 2006: Electronically Mediated Performances
  • 2006 Oh,Kang Abracadabra
  • The mystery and precious memory of viewing a simple “magic show” when we were young has been forgotten. The magic show was always an exciting event that captured our curiosity even though we suspected that it might not be real. Children were encouraged to stretch their imaginations and dream about how they could do magic in their own way.

    Based on these experiences, we present a magic show that makes it possible for anybody to participate. This project, rather than be­ing performed by a trained magician, uses performers randomly selected from the audience. For example, children could participate with simple movements such as snapping their fingers to illuminate a magical interactive world.

    Essentially, a performer shows various magic gestures, and, through motion capture and video tracking, the heightened visual effects are projected to produce an experience that could not normally be presented by a magician alone.

  • This performance-oriented piece is generated by MAX/MSP/Jitter. A video camera captures a performance or gesture and automatically saves it as a movie file. The file is then processed by Jitter and pro­jected on the screen behind the performer. Also, Jitter cross-fades both the pre-recorded videos and real-time visuals. With these visual effects, the audience can get a sense of the magical and interactive setting of the performance. Because the rear projection is divided in half, the audience experiences a mirror effect that at once delays the actions of the magician and ties the performance to the virtual world.

    The performer’s movement is also captured by a camera and pro­cessed into applied visual effects that are presented on the back­drop. Through motion tracking, the performer can add and subtract layers of other visual effects and enhance the overall experience of the performance.

  • Christian Croft
  • Performance
  • Performance art
  • Visual Genealogy
  • Jin Wan Park and June Seok Seo
  • SIGGRAPH 2007: Global Eyes
  • 2007
  • The family tree is a unique theme of study in information visualization. Korean family trees
    are collections of books that focus on theblood relation on the father’s side, records of the family status, and private records on ancestors’ behaviors, achievements, and epitaphs, a history book for the clan. Like traditional Chinese family trees, Korean family trees are not simple charts like those seen ordinarily in the West. The names of hundreds of thousands (sometimes several million) of people are recorded in the family trees, so in addition to their original purpose of promotion of family bonds and respect for ancestors, they are used as precious materials in examining history over several hundred years. This artwork presents the visual image of a family tree. It enables an intuitive glance at a mammoth dataset and presents a unique visual experience of the history of several hundred years during which the progenitor was multiplied to hundreds of thousands of descendants, who were again split into several branches. The innumerable names that I encountered while visualizing my origins gave
    me an opportunity to reflect on my existence. The people whose names do not appear in this family tree (for example, SIGGRAPH 2007 attendees) have similar family-tree patterns in
    their ancestries. I believe they will live more serious lives if they recognize this fact.

  • This artwork is one successful result of the various attempts to enable intuitive understanding of mammoth datasets. Though the Korean family tree is a huge dataset, visualizing it with a remarkably low degree of complexity is possible since only the blood relationship on the father’s side was recorded, and marriage between people who share the same ancestor (those who are listed in the same family tree book) was prohibited by tradition.

  • 2D & Wall-Hung
  • Print on traditional Korean-style paper
  • 4 feet x 4 feet x 1 inch
  • Nebula Go
  • Jungho Kim, Youngho Kim, and Taekyung Yoo
  • SIGGRAPH Asia 2020: Untitled & Untied
  • J. Kim, Y. Kim, Yoo: Nebula Go
  • Summary

    Through the act of playing Go, you can see the nebula and stars as they are born and lose, and glimpse the secrets in the universe. Also, whenever an actor releases a stone through an act, events occur, which create a microcosm and undergo a process of change.

    Abstract

    In Nebula Go, you can see many nebulae and stars being born and losing, and glimpse the secrets that arise in space. In this Nebula Go, the universe is expressed through Go, and since ancient times, Go was invented as a tool for observing and studying the movement of celestial bodies. In this work, the artist harmonizes the secrets that occur in the universe by using the act of placing a Go in a square space, various fights caused by it, domain creation, and movement of forces. Looking at Nebula Go, unlike Go, where victory or defeat is determined, you can observe the numerous planets visible in the universe when all actions have been completed and the changes caused by these planets. Also, by focusing on the birth origin of astronomical observation, actors can appreciate their own microcosm through their actions.

    Nebula Go contains the artist’s childhood. The artist dreamed of Go game as a child and learned Go, and thought that it resembled a part of life by seeing the events, power movements, and realms created every time a stone is placed in this board. Inspired by this, I wanted to express it in connection with the act of putting a stone, every event that occurred on the board, life, and the universe. Therefore, the areas, forces, and events that occur when playing Go are expressed as atypical particles, and when all actions are completed, the inner world is expressed as a universe. In addition, I wanted to share the feelings I felt as a child, and I made this process an interactive installation to allow other audiences to participate. The atypical particles in the work express the forces that occur on the board, and the magnitude of the force received varies depending on the forces of the enemy teammates next to the board. This means that different audiences can create different microcosms according to the location of the stones.

  • Using a real-time engine, the audience was able to participate in real time, and by using the GPU-based particle system to generate numerous particles, it was possible to express the forces generated on the board in detail. In addition, these large particles make it look like a large number of particles created in the universe when all actions have been completed. The audience participates in two people. Stones are placed on a virtual checkerboard placed in front of each audience, and events occurring within the checkerboard are visualized through a virtual hologram in the center. This virtual checkerboard and hologram is made through UDP communication and information is immediately transferred.

  • Interactive & Monitor-Based
  • Number in /-Ching
  • Junghoon Lim
  • SIGGRAPH 2004: Synaesthesia
  • 2004
  • This project studies the connection between Oriental philosophy and digital media. After an in-depth analysis of the underlying philosophy and logic of the I-Ching, the project sought to attach media factors (sound, shape, color, divination) to the I-Ching’s structure.

  • The literary production was studied in three phases. In the first phase, a demonstration model was produced to understand the algorithm and confirm whether the algorithm of I-Ching philosophy can be visualized. In the second phase, we developed an art algorithm based on the digital media and confirmed it by applying the algorithm of I-Ching philosophy and developing the various typed expressions. In the third phase, we developed and confirmed the iter­ ation of the I-Ching-based media presentation tool, through visualizing a boundless interrelationship among various media factors assigned to five primary substances by algorithm and producing a tool for users to control and express the media factors and the I-Ching algorithm simultaneously.

  • Interactive & Monitor-Based
  • Dreaming a Fingertip Conversation with You _ tactuaL [si:gak] series
  • Haemin Kim and Junghyun Ahn
  • SIGGRAPH 2007: Global Eyes
  • 2007
  • 시각 [si:gak]
    1. 視覺, the sense of sight; vision
    2. 視角, one’s viewpoint, a way of looking
    3. 始覺, through experience we escape ignorance and attain awareness (a Buddhist word)
    This project was inspired by the challenge of finding the meaning of extending human senses in the area of new media art. By utilizing the interactivity of digital media, it presents a new way to understand how the visually disabled perceive the world. This series is an art experiment that was created at the point where the boundaries that divide art from science and design disappear, due to technological development. We tried to go beyond traditional methods
    of visual information processing with a technique called physical computing. And we hope that the experiment extends beyond technology to present an aesthetically engaging experience.

  • This fundamental technology is a visual-touch communicating device that uses a touch sensor connected to Braille. Each artwork separates each type of visual information, creating a haptic interface. The input signal from the touch sensor senses the static electricity in fingertips and transforms it into LED power-control output signals or sound-output signals. The signals from the serial port also directly
    affect the elements of constituent change. This series uses the software that implements dynamic graphics on display panels and a hardware-control program called Wiring, located
    inside the I/O board.

  • Changkyoung Kim and Hyunsuk Jun
  • Installation
  • Mixed media installation, porcelain plate, unglazed, 1300’C, digital printing, LED display panel
  • LIFE : Can A Computer Have A Heart?
  • Jungmin Park and Kyoungmin Bang
  • SIGGRAPH Asia 2020: Untitled & Untied
  • Park, Bang: LIFE : Can A Computer Have A Heart?
  • Summary

    In this work, AI has a conversation with audiences. As the conversation is repeated, the expressions used by AI are gradually developed into those using emotional words resembling humans’ expressions.

    Abstract

    AI is essentially ‘intelligence’ programmed by humans. Although AI which can joke, communicate and tell a story resembles humans, can we continue to have a natural conversation with them, even though it is identified as AI? The current AI is only applied to a certain field, as it is at the step of ‘weak intelligence’. It is expected to be developed into ‘general or strong intelligence’ imitating humans’ whole intelligent activity in the future. This work allows us to indirectly experience to consider whether we would treat AI as we do humans, if it is developed into ‘strong intelligence’, through the conversation with AI which is able to learn emotional words.

  • Basically, Natural Language Processing(NLP) using Deep Learning is embodied to understand audience’s dialogue intention and find and analyze emotional words in entered sentences. It can acquire an ability to express emotions through AI’s dialogues. The initial dialogues using formal expressions are updated to use expressions including emotional words, and audiences may gradually feel emotions from the conversation with AI, as such a process is repeated.

    The entire software is developed based on a game engine, which can communicate with the online Chatbot server via Restful API and transforming responses into voices through Text to Speach(TTS).

  • Interactive & Monitor-Based
  • Touch the Invisibles
  • Junji Watanabe and Eisuke Kusachi
  • SIGGRAPH 2009: Information Aesthetics Showcase
  • 2009
  • This novel interface superimposes tactile information onto the images displayed on a computer monitor (see also Ando et al., SIGGRAPH 2002 Emerging Technologies). A small vibrator is attached to a user’s fingernail, and when a vibration is presented during a finger movement, the vibration can be perceived as the stimulus from a finger pad, instead of a stimulus from the nail. This illusory percept of tactile information is the basis of this interface technology.

    The vibrator is attached to user’s nail with double sticky tape. The timing and magnitude of the vibration are controlled based on the position of the finger measured with the touch sensor of an LCD panel. When the user rubs an image, tactile feedbacks is presented. With this interface technology, any kind of visual image can be displayed with real-time tactile feedback. We used it to produce an artwork on the subject of how humans perceive the real and digital worlds through the sense of touch.

    In Touch the Invisibles, invisible Lilliputians are muddling on the computer monitor. When the user’s finger encounters the invisible Lilliputians, vibrations are presented to the nail, and tactile information indicating an encounter is generated. The user cannot see the invisible Lilliputians but can touch them. On the other hand, the user cannot touch visible Lilliputians. The Lilliputians live in the area where modalities of human senses are partly separated. This artwork enables users to feel the association and dissociation of the two modalities, and demonstrates an application of haptic interfaces to art and entertainment.

  • Interactive & Monitor-Based
  • http://www.junji.org/invisibles/
  • Nichigraphs
  • Junko Hoshizawa Sedlak
  • SIGGRAPH 2004: Synaesthesia
  • 2004
  • Every language has beauty in its characters. This is what you see in the design of written Japanese, in its swishes, jumps, and stops. When people see their language, they naturally read meanings and perceive images at the same time. But please enjoy the design of these Japanese characters without meanings, reading, and think­ ing, as if you are a foreigner who wears a t-shirt that has Chinese characters on it

  • Animation & Video
  • Art & Design
  • Length 2:09
  • Tokyo Sign War
  • Junko Hoshizawa Sedlak
  • SIGGRAPH 2003: CG03: Computer Graphics 2003
  • 2003
  • 2003 Sedlak: Tokyo Sign War
  • In this two-minute motion-graphic video, signs are floating over Tokyo. They are yelling at each other silently and entering your brain unconsciously. The ending asks: “How much truth have you found?” Because signs often lie.

  • Animation & Video
  • location and motion graphics
  • Wallworks
  • Jurgen Faust
  • SIGGRAPH 2003: CG03: Computer Graphics 2003
  • 2003
  • 2003 Faust: Wallworks
  • “Imagination is more important than knowledge. Knowledge is limited. Imagination encircles the world.”
    -Albert Einstein (1879-1955)

    For more than 15 years, I have explored the phenomenon of time through an interdisciplinary body of works. We experience time on various levels, but we always perceive and imagine time as a change of form and shape, and the appearance of layers. We don’t perceive time as a phenomenon by itself, because we haven’t a distinct sense for it. In my view, we construct time, as we construct “what is out there” and which we call reality. The difference between a constructed image of the world and the construction of time is obvious for me. The construction of change, which is interwoven with the concept of time, requires a more intense level of presence. It requires that I am not only aware of the construction of the image, but also that I have to be aware of the construction of the change of the image. In space, time appears in layers, which we can see in the growth and decay of living substance or in the various layers of media. The surface carries the image; the light mediates the image; our vision sense mediates the image; and our brain mediates the retinal image. The various layers makes it clearer: a medium always contains another.

    I use a variety of material, images, digital stills, animation, video, space design, and installation work to communicate my ideas. The idea and concept drive the exploration of the media I apply, and my artwork starts where I need images to complete a circle, where I realize that scientific descriptions miss the point. The new communication technologies allow me to create a body of work that already includes the altered perception mediated through new media. The recent body of work (digital prints) is a tightrope walk between the abstract and the concrete. What appears as a 20th-century drawing is a digital print of a photographic image of a wall. The walls show aging aspects, a collection of incidental scratches, marks, rabbles, spots, stains, and objects we identify as drawings, as long as we don’t know the history and the context.

  • 2D & Wall-Hung
  • 64 in x 40 in
  • imagination, layers, and time
  • Big Dice
  • Jürgen Lit Fischer
  • SIGGRAPH 1985: Art Show
  • 1984
  • 1984 Jurgin Lit Fischer Big Dice
  • Hardware: Prime 9950/55-11, Benson 1222 Aristomat 8320, DIN AO
    Software: FORTRAN

  • 2D & Wall-Hung
  • Print
  • 39.5 x 39.5 in
  • Intervals / Intervalle
  • Jürgen Lit Fischer
  • SIGGRAPH 1986: A Retrospective
  • 1985
  • 2D & Wall-Hung
  • Serigraph
  • 19 x 19 in
  • Light-Piece / Laser-Peace
  • Jürgen Lit Fischer
  • SIGGRAPH 1986: A Retrospective
  • 1986
  • Image Not Available
  • 3D & Sculpture
  • Plexiglass
  • 40 x 40 x 0.8 in
  • Obertöne-spektral
  • Jürgen Lit Fischer
  • SIGGRAPH 1986: A Retrospective
  • 1984
  • 1984 Fischer Obertone-spektral
  • 2D & Wall-Hung
  • Serigraph
  • 40 x 40"
  • Overtones 45
  • Jürgen Lit Fischer
  • SIGGRAPH 1987: Art Show
  • 1987 Fischer Overtones 45
  • I entered virgin territory, with new tools and embarked on an adventure of discovery.

  • Hdw: Prime 9950/55-II/Benson 1222/Aristomat 8320/Harcus Laser
    Sftw: Fortran

  • 3D & Sculpture
  • Plexiglass Sculpture
  • 16" x 16" x 5"
  • Vibrant
  • Jürgen Lit Fischer
  • SIGGRAPH 1989: Art Show
  • 1987
  • 1987 Fischer Vibrant
  • 2D & Wall-Hung
  • serigraph
  • 39.33 x 70.75"
  • Random Generative Large Bowl
  • Justin Marshall
  • SIGGRAPH 2015: Hybrid Craft
  • 2015 Marshall, Random Generative Large Bowl
  • This copper-electroplated SLS nylon bowl is a digital one-off created with bespoke generative-design software. It was achieved by creating form-building software that combined user input with some limiting design parameters.

  • 2D & Wall-Hung and Design
  • CrossTalk
  • Justine Cassell, Sola Grantham, Erin Panttaja, and Kimiko Ryokai
  • SIGGRAPH 1999: technOasis
  • 1998
  • CrossTalk playfully mediates language and communication for two or more simultaneous users and their audience. Its two interlaced, over-sized keyboards, one made of mahogany keys, and one of maple, force users to negotiate shared space. As they type, the keys whisper words that appear to cascade onto a shared screen.

  • 3D & Sculpture
  • table, LED sign, screen, lights
  • communication and language
  • City at the end of Time
  • Ka-Sing Lee
  • SIGGRAPH 1995: Digital Gallery
  • 1995
  • 2D & Wall-Hung
  • Digital imaging
  • 24 x 20 inches
  • Fisherman's Café
  • Kaeko Murata and Eiji Yamauchi
  • SIGGRAPH 1999: technOasis
  • 1998
  • A new subconscious feeling is born when people drinking coffee at a table in a cafe see the visible aqua symbol representing the interval of sequence in their body language. A cup placed on the table leaves simulated circular water waves. At the same time, a small shadow fish appears and swims toward the other cups or, if it is alone, around the table and back. The movement of the shadow fish is affected by the number of participants and their activities. Up to four participants can experience both worlds, conscious and subconscious, simultaneously in the interactive installation.

  • Installation and Interactive & Monitor-Based
  • Interactive Installation
  • 4m x 5 -6m x 5m
  • mixed reality and subconscious
  • interactive space
  • Kai Strehlke
  • SIGGRAPH 2000: Art Gallery
  • 1999
  • This interactive sound and visual space allows navigation and interaction with a distorted wireframe structure by filling in planes that can be animated to generate different sounds, which creates a sound body.

  • Interactive & Monitor-Based
  • sound and virtual environment
  • Not To Scale At All
  • Kaisu Koski
  • DAC Online Exhibition 2015: Enhanced Vision - Digital Video
  • 2014
  • 2014 Koski: Not To Scale At All
  • The video explores medical students’ drawings of the female reproductive system, employing the anatomical drawings created by 63 first-year medical students in the Plymouth University Peninsula Schools of Medicine and Dentistry. It considers the drawings as part of a ritual of becoming a doctor, taboo-like topic related to sex, as well as self-portraits of the female students creating the images. The images are “diagnosed” in the voice-over from two different perspectives. The drawings are discussed with a medical doctor and an art historian. In these dialogues, the images gain an ambivalent status as a medical, cultural, or personal representation. Furthermore, the piece thus stages this (audiovisual) cultural-emotional analysis of the students’ drawings. In actuality, next to the drawings the video investigates the students behind them.

  • Software: Adobe PS, Camtasia, Adobe Pr / imac, HD cam, ZOOM audio recorder, Wacom XL

  • Animation & Video
  • Video
  • 10:10 min.
  • Jumping the Waves
  • Kami Griffiths
  • SIGGRAPH 1995: Digital Gallery
  • 1995
  • Kami Griffiths Jumping the Waves
  • Artist Book
  • Artist Book
  • 6 x 4 inches
  • Perception of Consequence
  • Kamil Nawratil
  • SIGGRAPH Asia 2013: Art Gallery
  • With Perception of Consequence Nawratil places two evolving forms in a reversible entropic system and simulates them to resemble evolving human states and emotions. The system itself evolves from organic form into chaos – an entropic equilibrium, but its cyclical nature pushes the system towards rebirth. Exploiting both your visual, auditory and touch sensory systems, Perception of Consequence will guide you through the experience of transformation and evolution.

  • Installation
  • Number Series
  • Kamran Moojedi
  • SIGGRAPH 1989: Art Show
  • 1989
  • 1989 Moojedi Number Series
  • 2D & Wall-Hung
  • stereolithograph
  • 60 x 12 x 1"
  • Stephen Hawking Portrait
  • Kamran Moojedi
  • SIGGRAPH 2003: CG03: Computer Graphics 2003
  • 2003
  • 2003 Moojedi: Stephen Hawking Portrait
  • For the past two decades, I have been exploring and developing a drawing style that could not be executed without the assistance of a computer. The main body of my work consists of portrait drawings. Each portrait is in reality an extended series of over a hundred drawings that are immensely complex but held together by a unique line style that fits the subjects and their personalities. The lines form an image that expresses one’s soul, the energy beyond the exterior mask, making the portraits both abstract and representational.

    My work thrives on duality; it is both expressive and conceptual. It includes cross pollination of traditional art media with the computer. While containing classical and futuristic elements, it is neither about the past nor the future, but a bridge between the two. The portrait series depicts cultural icons who have struggled with their own duality, reflecting the realities of our time.

  • 2D & Wall-Hung
  • 41 in x 52 in
  • digital portrait, line drawing, and representational
  • The Circle
  • Kamran Moojedi
  • SIGGRAPH 1990: Digital Image-Digital Cinema
  • 1989
  • 1989 Moojedi The Circle
  • 2D & Wall-Hung
  • prints
  • 22.5 x 30"
  • Geometries
  • Karen Guzak
  • SIGGRAPH 1995: Digital Gallery
  • 1995 Guzak: Geometries
  • 2D & Wall-Hung
  • Enamel on Steel
  • 61 x 91 inches
  • Red Ridge
  • Karen Guzak
  • SIGGRAPH 1989: Art Show
  • 1987
  • 1987 Guzak Red Ridge
  • Chuck Matson and Sheila Coppola
  • 2D & Wall-Hung
  • lithograph
  • 22 x 29"
  • Silver Shimmy
  • Karen Guzak
  • SIGGRAPH 1988: Art Show
  • 1987
  • 1988 Guzak Silver Shimmy
  • Hardware: FCG
    Software: Iris

  • 2D & Wall-Hung
  • lithograph
  • 29" x 22" in.
  • Bringing Samuel Home
  • Karen Hillier
  • SIGGRAPH 1989: Art Show
  • 1988
  • 1989 Hillier Bringing Samuel Home
  • 2D & Wall-Hung
  • photograph
  • 7.75 x 9.25"
  • Cardinal Points
  • Karen Hillier
  • SIGGRAPH 1992: Art Show
  • 1992
  • 1992 Hillier Cardinal Points
  • 2D & Wall-Hung
  • Backlighted black-and-white transparencies (detail)
  • 21 x 29"
  • Mud Shrine
  • Karen Hillier
  • SIGGRAPH 1989: Art Show
  • 1988
  • 1988 Hillier Mud Shrine
  • 2D & Wall-Hung
  • photograph
  • 10 x 9"
  • Shrine Quilt
  • Karen Hillier
  • SIGGRAPH 1989: Art Show
  • 1988
  • 1988 Hillier Shrine Quilt
  • 2D & Wall-Hung
  • photograph
  • 10 x 14"
  • You
  • Karen Hillier
  • SIGGRAPH 1990: Digital Image-Digital Cinema
  • 1990
  • 1990 Hillier You
  • 2D & Wall-Hung
  • 2-D paint environment/film recorded image/cibachrome print
  • 20 x 16"
  • Moonrise on Planet Z
  • Karen La Padula
  • SIGGRAPH 1987: Art Show
  • 1987 La Padula Moonrise On Planet Z
  • I wanted to invent a stark and vaguely alien landscape.

  • Hdw: Genigraphics SGI
    Sftw: Genigraphics

  • 2D & Wall-Hung
  • Photo
  • 11" x 14"
  • Anniversary
  • Karen McInnis
  • SIGGRAPH 1985: Art Show
  • 1985
  • Image Not Available
  • Hardware: Quantel DPB7000 Paintbox, Dunn film recorder
    Software: Quantel Operating System 3.1

  • 2D & Wall-Hung
  • Print
  • 16 x 20 in.
  • Cal and Cort Poolside
  • Karen McInnis
  • SIGGRAPH 1986: Painting in Light
  • 1985
  • Image Not Available
  • Installation
  • Photograph of raster image
  • Pep and Muggs
  • Karen McInnis
  • SIGGRAPH 1986: Painting in Light
  • 1985
  • Image Not Available
  • Installation
  • Photograph of raster image
  • Sea Shack
  • Karen McInnis
  • SIGGRAPH 1986: Painting in Light
  • 1985
  • Image Not Available
  • Installation
  • Photograph of raster image
  • Polymath
  • Karen Sideman and Robert Bowen
  • SIGGRAPH 1994: Art and Design Show
  • 1994
  • 1994 Sideman And Bowen Polymath
  • 2D & Wall-Hung
  • Cibachrome
  • 40 x 30 inches
  • Link
  • Karen White
  • SIGGRAPH 1995: Digital Gallery
  • 1995
  • 2D & Wall-Hung
  • Iris print
  • 6 x 24 inches
  • Dream Cycle IV
  • Karin Schminke
  • SIGGRAPH 1995: Digital Gallery
  • 1995
  • 1995 Schminke Dream
  • The images begin with elements of reality which are set into new contexts:

    Meanings change.
    Time and space collapse.
    Mysteries arise.
    The obvious is obscured.
    The obscure is clarified.

    The work develops through the integration of familiar organic forms with distinct geometric structures.

    In the dichotomy within, I look for inspiration.
    In the synergy arising, I capture energy.
    In the tension between, I create an uneasy balance.

    The common becomes unfamiliar, the mundane becomes consequential, the Essence is given form.

  • 2D & Wall-Hung
  • Iris print
  • 31.5 x 24 inches
  • Grid Frieze
  • Karin Schminke
  • SIGGRAPH 1987: Art Show
  • 1987 Schminke Grid Frieze
  • Hdw: Mindset/Diablo C150 Prtr
    Sftw: Lumena

  • 2D & Wall-Hung
  • Inkjet Print
  • 12.5" x 26"
  • Influence (Diptych)
  • Karin Schminke
  • SIGGRAPH 2003: CG03: Computer Graphics 2003
  • 2003
  • 2003 Schminke: Influence (Diptych)
  • The diptych Influence is based upon drawings inspired by seeing bullwhip-shaped kelp affect strong tidal currents at Deception Pass near Seattle. This diptych attempts to present a reflection of the human experience of nature while capturing the fleeting essence of the interaction between natural forces.

  • 2D & Wall-Hung
  • 37 in x 29 in each
  • nature and reflection
  • Mayne (Diptych)
  • Karin Schminke
  • SIGGRAPH 2003: CG03: Computer Graphics 2003
  • 2003
  • 2003 Schminke: Mayne (Diptych)
  • The act of creating a simple line drawing, pencil on paper, is still the most satisfying experience to me. Working digitally, I am able to enhance drawings to create a greater sense of drama. Adding form, colors, and textures opens a wide expressive vocabulary. In Mayne, simply rendered natural forms are further abstracted through the addition of color. The use of the somber golds and browns give this diptych its iconic feel. It is meant to raise the ordinary, everyday forms into a focus for contemplation and meditation.

    Experiencing nature provides a visual meditation on pattern and form that nourishes the mind and body. It provides the opportunity for contemplation of a vast array of intricate forms and an even wider assortment of complex visual relationships.

    Creating a microcosm of those forms and relationships is central to much of my art. The focus of the work is the grandeur in the small, the extraordinary in the common. It delves into relationships of form and pattern rather than realism. This expressive approach to the subject matter creates art that serves as a focal point for reflection. Like nature, the work invites contemplation as viewers overlay their own experiences in the interpretation of forms that border on the abstract.

    I begin with photographs and drawings of patterns and forms made on frequent hikes, road trips, and other travel. These source images focus on pattern and form rather than vista. This work is from a series, Reflections of Flow, which was initiated by an observation of the way in which the interaction between global, universal forces and local forms create intricate and beautiful patterns.

  • 2D & Wall-Hung
  • 29 in x 37 in each
  • abstract, nature, and pattern
  • Self-Portrait
  • Karin Schminke
  • SIGGRAPH 1992: Art Show
  • 1992
  • 1992 Schminke Self-Portrait
  • 2D & Wall-Hung
  • Ink-jet printout
  • 6.2 x 6.7"
  • Sound Waves
  • Karin Schminke
  • SIGGRAPH 2003: CG03: Computer Graphics 2003
  • 2003 Schminke: Sound Waves
  • The multiplicity of views inherent in the five-panel presentation of Sound Waves simultaneously draws parallels and contrasts. The rhythms and movements are a constant, while relationships and forms differ. The delicate and subtle variations resonate in discrete patterns to create five individual worlds. Yet the synergy of form and movement of the five views combined suggest a larger splendor and draw the viewer more forcefully into their grasp.

    Water holds a special attraction. Who can resist spending time at a shoreline with light reflecting off the surface, form in a continual state of flux, and rhythms that lull. The hypnotizing movement of light on water and the shifting relationships of waves are the inspirations for Sound Waves. The five square panels in the piece utilize lenticular technology to capture movement, transformation, and depth.

    Viewing this work is like watching waves roll onto the beach: mesmerizing, relaxing, captivating. The shapes used are primarily abstract. It is their placement within the three-dimensional space of the lenticular print, and their relationship to other forms there, that suggest context and meaning. Bright reflections of light appear momentarily as the viewer passes by, just as wave movements create hypnotizing flashes of sunlit sparkles at the beach.

  • 2D & Wall-Hung
  • Five 17.5 in x 17.5 in parts
  • movement, nature, and rhythm
  • Triple Cross
  • Karin Schminke
  • SIGGRAPH 1989: Art Show
  • 1988
  • Schminke: Triple Cross
  • 2D & Wall-Hung
  • Inkjet print on rice paper
  • 8 x 23 in
  • Xrossings: Tidal Pool
  • Karin Schminke
  • SIGGRAPH 2001: n-space
  • 2000
  • “Tidal Pool” endeavors to bring the viewer into an intimate experience of nature. Subtle textures and patterns are interwoven in a complex manner that is reminiscent of the natural world. The sense of discovery when coming upon a tidal pool is recreated by the dimensional shift encased in the lenticular center panel. Suddenly, the view beneath the surface is exposed for exploration. The illusion of real depth invites viewers to linger and explore, as their movements in front of the image effect their view of the image. The audience employs their own perspective in resolving the elements presented. In this way the work becomes a focus of contemplation and meditation, mirroring the role of nature in our lives.

  • 2D & Wall-Hung
  • Center panel: 3D lenticular; Outer panels: mixed media (acrylic paint, collage and digital print transfer)
  • 32 inches x 32 inches
  • mixed media, nature, texture, and pattern
  • Interactive Video Kaleidoscope
  • Karl Sims and John Watlington
  • SIGGRAPH 1988: Art Show
  • 1988
  • 1988 Sims Interactive Video Kaleidoscope
  • Hardware: Apple II, video colorizer
    Software: K. Sims

  • Installation and Interactive & Monitor-Based
  • Interactive Installation
  • Cowdance #2 (bovine(pie)ce)
  • Karl X. Hauser and Andy Rosen
  • SIGGRAPH 1988: Art Show
  • 1987
  • 1988 Hauser Rosen Cowdance 2
  • Hardware: Commodore 64, Midi mute, Midi interface, Custom
    Software: Supersequencer 64

  • 3D & Sculpture
  • computer controlled neon
  • 48" x 48" x 7" in.
  • wall-o-fish
  • Karl X. Hauser
  • SIGGRAPH 1989: Art Show
  • 1989
  • 1989 Hauser wall-o-fish
  • Animation & Video
  • computer-animated neon
  • 60 x 84"
  • Miroir/Mirror
  • Karleen Groupierre, Adrien Mazaud, and Sophie Daste
  • SIGGRAPH Asia 2011: FANTAsia
  • Groupierre, Mazaud, Daste: Miroir/Mirror
  • Miroir is an artistic installation using augmented reality technology. The visual decor and sound has been designed to immerse the viewer in a strange universe. The mirror is an object often linked to illusion. In Lewis Carroll’s Through the Looking-Glass, the mirror symbolizes the portal between the real world and a world that is strange. As a star attraction at carnivals, the hall of mirrors allows viewers to see images of themselves as multiplied and distorted. A curved mirror is also necessary to achieve the visual trompe l’oeil as anamorphosis. So it’s no coincidence that the mirror is at the heart of the installation – it is the open window to another world. The extraordinary feature here is the transformation of the face of the viewer into an animal face. The aesthetics are a blend of naturalistic paintings and Japanese print. The literary references associated with the anthropomorphic are many, ancient myths, Ovid’s Metamorphoses, Les Fables of La Fontaine, and Japanese Mythology. Anthropomorphism is a method used by cartoonists to denounce the atrocities of people by giving them the head of the animal to which it grants negative qualities. In addition to being caricaturist, Grandville is also known to have illustrated the first edition of Les Fables of La Fontaine. Once he has looked in the mirror, the viewer can interact with its double anthropomorphic, an augmented reality that allows the viewer to merge with the supernatural.

  • Installation
  • SymbiosisS
  • Kärt Ojavee and Eszter Ozsvald
  • SIGGRAPH 2012: In Search of the Miraculous
  • 2011
  • SymbiosisS is part of a collection of textile interfaces, SymbiosisO (“O” for objects), which behave as organic displays and react to definable impulses by showing pre-defined patterns that animate slowly over the surface. It welcomes viewers to sit and rest on soft-folded material that displays an active, slowly shifting pattern. When excited, the pattern starts forming, in a playful, curious way, around the place where the textile was touched. Once the disturbance is abated, the pattern continues its peaceful expansion. This vivacious interaction of a vibrant pattern is a demonstration of the potential for tangible textile interfaces. Ubiquitous computation –an active, programmable secondary skin to surround everyday objects – is an ambient, “noiseless,” and thus vigorous way to visualize information and form space. Production of SymbiosisS involves both handicraft and specialized digital fabrication. Electronics that activate a heat-sensitive coating layer are embedded in the soft structure. The substrate is felt, which has exceptional material properties (sound isolation, heat preservation, biodegradable, etc.). The geometry of the patterns is derived from Voronoi tessellation algorithms, which, in this case, intuitively suggest folding the material into a three-dimensional landscape. The general concept of the work is a tribute to the ultimate power of evolution, where not only human civilization affects the environment, but nature itself also reacts and adapts to these changes. Instead of criticizing civilization’s impact on the environment, the emphasis focuses on exploration of new types of mutant living beings.

  • Interactive & Monitor-Based
  • electronics, felt
  • Falling Down
  • Kate Chapman
  • SIGGRAPH 2005: Threading Time
  • 2005
  • My sculptures represent motion in static form. Using digital tools, the shapes are derived from various animations of a figure, with the arc of a body’s motion defining each form. Though the work may be compared to early Modernist paintings by Duchamp and Balla, they depict time as a continuum, rather than as a collection of discrete points. Falling Down was created with video, 3D animation software, rapid prototyping technology, and meticulous hand-finishing. I began by filming reference video of a woman falling down. With the reference footage, I rotoscoped (animated over video) a 3D-animated character of the woman. Next, I modeled a mesh over the trajectory of the character’s motion, filling the entire space of the action. The digital mesh was then output into physical form using a rapid prototyping machine (fused deposition modeling) and hand-finished with bronze resin and patina.While one might argue that this piece may have been created entirely by hand, the technology used was essential in visualizing the boundary of a woman falling through space, with many subtle fluctuations in shape. Animating the actions in 3D provided me with a much deeper level of analysis to create the work than I would have gotten from observing the action from a single vantage point.

  • 3D & Sculpture
  • Fused deposition modeling ABS (acrylonitrile butadiene styrene), bronze resin, patina
  • Approximately 8 inches x 8 inches x 7.5 inches
  • Between Thoughts
  • Kate Johnson
  • SIGGRAPH 2003: CG03: Computer Graphics 2003
  • 2003
  • 2003 Johnson: Between Thoughts
  • Between Thoughts is a multi-layered stream-of-consciousness exploration of the myriad of impressions that can course through us in the creative moment. While working in collaboration with celebrated Los Angeles choreographer Loretta Livingston, I became fascinated with the impulses and movements of dancers working in an improvisatory style. Watching them and their rapid movements created in an instant and then immediately evolving into other physical expressions and rhythms, I began to see relationships in time, the nature of what really thinks and creates, and how our mind constantly weaves glimpses of past, present, and future visions, dreams, fears, losses, whispers, and echoes while simultaneously wrapped in a present occupation. What resulted is a visual poem on art making that traces through sensual, natural landscapes, elements, disembodied movements, and surreal imagery keyed to a hypnotic pulse.

    I have always been deeply interested in ideas about perception and states of mind and have explored them through the marriage of nature and technology. In this work, I wanted to create textual layering, a meditation in which neural pathways fire before the mind realizes, and yet the metaphors in the imagery are slowed to the pace of a deep memory. The cycle of creation therefore begins before I first thought ends.

  • Animation & Video
  • consciousness, movement, and perception
  • Tracert
  • Kate Pemberton
  • SIGGRAPH 2005: Threading Time
  • 2005
  • My practice addresses the cultural effects that technology has on society by examining the influence of the machine and digital technologies. My work ranges from interactive electronic installations, computer animations, digital photography, and collaborative projects to canvas-based work and textiles. My current interest is in the status of craft objects in an age of electronic consumerist culture. I identify crossovers between computer graphics and craft techniques, and explore them by making tangible art objects. My latest projects suggest an emotive, quirky, humorous aspect of functional computer graphics and electronic devices by drawing parallels between their form and function, and the techniques and meanings embraced in traditional needle crafts. For example, I have recently completed a project that allows wallpaper designs to be sent to mobile phones via W AP technology. The designs can also be downloaded as patterns for cross-stitch samplers. I concern myself with the visual appeal of machines and electronics. I am interested in how they are considered as objects of desire, in terms of their fabrication and capabilities, and the status they give the individuals who own them. The catalogue section of endfile.com includes visual and written references to my individual projects. Tracert is an examination of how traditional craft ideas translate into the modern multimedia networked world. The sampler has been cross-stitched from a transposed graphic of a tracert DOS command. Tracert can be seen as a modern metaphor for the crafted tradition of creating cross-stitch samplers. Essentially samplers were a method of learning to stitch, and they were also used to express important details of your life in a pattern of simple icons and symbols that represented what you had accomplished, or endured. Samplers included icons for how many children you had and where you lived. and included symbols that suggested emotional events (for example marital infidelity – a duck – and luck – a horseshoe). The tracert DOS command is the command users enter into a DOS window to trace the network points that join them with another computer on the internet. Typing “tracert www.endfile.com” into DOS will print a numerical display of where a small packet of data travels between the computer where the command was entered and the computer that is www.endfile.com. In tracert, the IP address relates firstly to my computer in the UK, then the internal network in my house, then the local telecom exchange down my road, then the larger exchange, and so on until it reaches the www.endf i l e.com computer in America. As each point is reached, its time is relayed in milliseconds. These points have significance to me, as they contain personal, locative data in the journey to find my web site. These events, written in numbers that account for a journey through a network, are contrasted with the idea of traditional narrative samplers.

  • 2D & Wall-Hung
  • Cross stitch: grey embroidery silk, black aida
  • 30 inches x 18 inches (framed)
  • The Breathing Wall
  • Kate Pullinger, Stefan Schemat, and babel
  • SIGGRAPH 2005: Threading Time
  • 2005
  • The Breathing Wall tells the story of a girl, Lana, communicating with her boyfriend, Michael, through the wall of his prison cell. She is dead; he’s been falsely convicted of her murder. The story is told in parts, alternating between daydreams (which
    reside in Flash movies) and night dreams. The night dreams reside within the Hyper Trance Fiction Matrix (HTF), experimental software that allows the story to respond to the listener’s rate of breathing.To experience the piece (which resides on a CD, PC only), users need a headset that includes earphones and a microphone. When the microphone is positioned under the nose, the HTF sections respond to users’ breathing. The goal of these sections is to induce
    a hypnotic or meditative state so that users enter the dream. The Breathing Wall was funded by Arts Council England.

  • Interactive & Monitor-Based
  • Screen-based interactive program
  • Ambiguity: identity in the virtual space
  • Kateryna Borovschi
  • DAC Online Exhibition 2018: The Urgency of Reality in a Hyper-Connected World
  • 2018
  • The work Ambiguity: identity in the virtual space represents an artistic research into the phenomenon of virtual identity.

    The appearance of digital technologies led to the development of virtual social relationships thanks to the popularity of communication via social networking websites. This work investigate the influence it makes on the individual’s personality: where lies the line between real “me” and virtual “me”? And is it there at all? We can safely say that today the Internet has become a essential social laboratory for experimenting with the human personality, its reconstruction and development. According to research by Sherry Turkle, Professor of the Massachusetts Institute of Technology and author of the book “Life on the screen: identity in the Age of Internet”, the personality of contemporary man is formed by interaction with the machine, transformed by its personal language. Inside virtual reality, identity is characterized through the concepts as “multiple”, “fragmentation”, “flexibility” and some others. Thus, the task of this work is to present visually some of the above concepts. Its main intention is to create a series of an artworks under the digital photography, 3D graphics, 3D printing and animation.

  • 2D & Wall-Hung
  • https://www.katerynaborovschi.com/gallery/ambiguity/
  • The Flying Dream
  • Katherine Malloy
  • SIGGRAPH 1991: Art and Design Show
  • 1990
  • Hardware: Apple Macintosh llcx w/8 Mb RAM, Raster Ops 264 board & La Cie’s read/write CD storage, Barneyscan els 3535 Slide Scanner.
    Software: Adobe Photoshop.

  • 2D & Wall-Hung
  • Photographic print
  • 28 x 32
  • kitchen sensation
  • Kathi Stertzig
  • SIGGRAPH 2004: Synaesthesia
  • 2004
  • The purpose of design is to broaden the channels of sensation and communication to experience our realities more holistically, and to make us more receptive to the various sensual experiences. While we live in a world that has “virtual spaces” that are only based on sight and sound, we need to make sure that we do not lose “touch” with our realities. Synaesthesia teaches us that reality has no particular form, but does have content that can be experienced in many different ways. Multisensorial awareness has been lost from the consciousness of many people. Synaesthetes are consciously aware of their transmodal perceptions. My project is aimed to explore the possibilities of multisensorial perception in design – to give people the gift of synaesthesia. How does inner-multisensorial perception influence the outer shape? Your personal space is an expression of your identity. It is your personal interpretation of living. What do space and living environment mean for synesthetic people? Is the interaction of senses relevant for the perception of visual shapes? How do smell, taste, and sound influence form and design? As yet, research mostly has been two-dimensional. Synaesthetic people often paint their three-dimensional visions. But what can be learned about space while there is a difference between the written,the spoken and the three-dimensional representation of the word “table?” What happens in the kitchen, where the senses melt together? What is the sound of a pan like? Observed by several synaesthetic and non-synaesthetic volunteers, I explored the perception of frying, stories, associations, sounds, tastes, and feelings. The research resulted in a series of different customised pans with what I would call alienating and surreal features. The products’ use is not changed, only its common characteristic. The action of frying can be irritated by a slight change in the attributes of the product. Sit down and perceive your perception!

  • My work derives from:
    1 . A video explaining synaesthesia.
    2. A survey of synaesthetic women. Theme: “bakken, braten, baking”(printed book).
    3. The translation of their perception in different cast-iron frying pans.
    Each pan invites you to interact with your food in different ways:
    • “Biting smell” – a sharp-edged pan to chop your vegetables.
    • “Read the meat” – a middle-sized pan with engraved appetizing
    text.
    • “Closer touch” – a pan in between protection and coziness.
    • “Tickling hairs” – two connected gloves, to substitute for the pans’ missing handles. The inside evokes special tactile sensations (material: cotton and silicone).

  • 3D & Sculpture
  • Metal, textile, prints
  • 150 centimeters x 50 centimeters
  • Exclusion Zone
  • Kathleen Brandt
  • SIGGRAPH 2000: Art Gallery
  • 2000
  • Exclusion Zone is an interactive installation that explores the concept of toxic subjectivity. Three lab tables with microscopes reside on a map representing radioactive fallout from the 1986 Chernobyl nuclear plant explosion.

    The map is printed on a 17-foot x 12-foot laminated rubber floor surface. Each table contains a tray of glass, specimen slides containing miniature narratives about the artist’s thyroid cancer, and radiation treatments to be read through the microscopes.

  • Installation and Interactive & Monitor-Based
  • Interactive installation
  • 17 feet x 12 feet
  • history, interactive environment, and science
  • Hail Mary
  • Kathleen Chmelewski
  • SIGGRAPH 1994: Art and Design Show
  • 1992
  • 2D & Wall-Hung
  • Laserprints, collage
  • 9 x 12 inches
  • Lightening
  • Kathleen Chmelewski
  • SIGGRAPH 1994: Art and Design Show
  • 1993
  • 1993 Chmelewski Lightning
  • 2D & Wall-Hung
  • Laserprints, collage
  • 12 x 12 inches
  • Student 14
  • Kathleen Kirka
  • SIGGRAPH 1989: Art Show
  • 1989
  • 1989 Kirka Student 14
  • 2D & Wall-Hung
  • color thermal print (triptych)
  • each 8 x 10"
  • Wait/Weight (Triptych)
  • Kathleen Kirka
  • SIGGRAPH 1990: Digital Image-Digital Cinema
  • 1990
  • 1990 Kirka Wait/Weight (Triptych)
  • 2D & Wall-Hung
  • laser print
  • 5 x 5"
  • Tsunami
  • Kathleen La Salle
  • SIGGRAPH 1987: Art Show
  • 1987 La Salle Tsunami
  • This project was realized by using a computer in three different ways. The first was an image generated totally using the computer. Second, by using a paint program … , I was able to modify the image to better fit the design criteria. Third, … to do 2-D mock-ups of packages and layouts.

  • Hdw: Sony SMC-2000
    Sftw: Lumena/Custom Fractal Program by C.Simon

  • Installation
  • Poster, Package
  • Poster 9.4" x 18.5" , Package 4" x 4"
  • Sand Rattles
  • Kathleen La Salle
  • SIGGRAPH 1990: Digital Image-Digital Cinema
  • 1990
  • 1990 LaSalle Sand Rattles
  • Kevin Casey Simon
  • 3D & Sculpture
  • sculpture: computer chips, electronic components, fiber optics, PVC and acrylic resin
  • 14 x 7 x 3.5"
  • Gossamer
  • Kathleen M. Dolberg
  • SIGGRAPH 1985: Art Show
  • 1984
  • 1984 Kathleen M. Dolberg Gossamer
  • Hardware: Tektronix 4015/FR80 Camera
    Software: Mapper

  • 2D & Wall-Hung
  • Print
  • 16 x 20 in.
  • Shadows (LA UR85-2918)
  • Kathleen M. Dolberg
  • SIGGRAPH 1986: Universal Spheres
  • 1985
  • Image Not Available
  • 2D & Wall-Hung
  • Photograph of raster image
  • World of Plankton
  • Kathleen Ruiz, Christina Chiusano, Ian Stead, and Justin Cirigliano
  • DAC Online Exhibition 2016: Science of the Unseen: Digital Art Perspectives
  • 2014
  • 2016 Ruiz, Chiusano, Stead, Cirigliano: Plankton
  • The World of Plankton is an interactive virtual three-dimensional art and science world designed to viscerally engage the participant at the micro-scale of unseen phytoplankton and zooplankton in order to gain first-hand experience about the drama of underwater life and its potentials for environmental impact. One is given choices to envision what this aquatic world might look like if conditions were to change — coming face to face with an animated spiny water flea devouring beneficial zooplankton, or experiencing the unfolding events of a large algae bloom – all in a multidimensional world that enables a person to virtually snorkel through freshwater plankton. By using simulation technology to invert tiny plankton to human scale The World of Plankton experience connects “us” to “them” in formulating a sense of the freshwater world that is not an “it” that is “outside” us, but a vital part of us all.

    Starting with a flyover of a simulated model of Lake George created from bathymetric data, we then splashdown into the littoral area entering interactive underwater scenes where one can explore, experience and learn. The world view is scalable to fish, zooplankton and phytoplankton sizes. Our specially designed and programmed “examine cam” enables one to learn about and even experience what it may be like to be plankton. This project arises from my on-going scholarly and artistic research in creating interactive 3D simulation artworks that enable one to experience the world from multiple perspectives and explore capacities for empathy. Source materials include original lab and fieldwork observations that were recorded jointly with our science team of biologists and freshwater ecologists as well as original data. The project was programmed in C# in Unity 3D with AI, behaviors, underwater lighting and physics. 3D models created and rigged in Maya. Original music, Evan Gonzalez.

  • Media Used: Intensive study of freshwater ecology in the lab and in the field including microscopic and underwater explorations. The project was programmed in C# in Unity 3D with AI, behaviors, underwater lighting and physics. 3D models created and rigged in Maya.

  • Interactive & Monitor-Based
  • Separating With Pain
  • Kathleen Ruiz
  • SIGGRAPH 1991: Art and Design Show
  • 1991
  • Hardware: Apple Macintosh II.
    Software: Adobe Photoshop, Truvel Scanner, Iris Graphics Printer.

  • 2D & Wall-Hung
  • Ink jet printout
  • 24 x 47
  • Figures of Eight
  • Kathryn Foot
  • SIGGRAPH 1992: Art Show
  • 1992
  • 1992 Foot Figures of Eight
  • 2D & Wall-Hung
  • Photo etching
  • 12.5 x 10"
  • Seven Sisters
  • Kathy Beal
  • SIGGRAPH 2007: Global Eyes
  • 2007
  • Seven Sisters is a cross-cultural, photographically based piece dedicated to Quan Yin (she who hears the cries of the world), Goddess of compassion and a guiding spirit in my life. She is often found in my work as I continue to explore the connections between spirituality and creativity. In these seven transformations, I have merged various organic and spiritual elements across a template created by Chinese art students, creating mystical, multi-dimensional environments for the goddess, suggesting her many levels of existence and understanding. Like the great thangkas (deity paintings) of the Buddhist traditions, I hope these seven transformations, Seven Sisters, will awaken compassion in viewers’ hearts. Reverend Dr. Katherine O’Connell had this to say about my work: “The work of Kathy Beal is inspired in the true sense of the word. Her understanding of light and the magic that travels within its shafts and molecules is true celestial physics. This work is co-creative, groundbreaking, without boundaries, and multiplies exponentially in power and effect over time.”

  • Seven Sisters exists because of the digital processes available in the world today. The Quan
    Yin template was digitally created by two students at the Central Academy of Fine Art, (CAFA)
    Beijing, Wanxi, and Chendu, and transmitted to the SIGGRAPH 2004 Guerilla Studio via an
    FTP site. We (the Collaboration Area of the Guerilla Studio) communicated with CAFA (and
    fellow guerilla Lyn Bishop) via an Apple iSight camera and iChat software. The images used in
    the seven transformations of Quan Yin were obtained through digital camera capture. The final
    piece was produced in Adobe Photoshop and printed digitally with an Epson professional inkjet
    printer.

  • Artist Book
  • 2D print, folded, accordion-book style
  • 10 inches x 36 inches x 10 inches
  • Indefinable Moods
  • Kathy Smith
  • SIGGRAPH 2001: n-space
  • 2001
  • The direct physical expression of drawing and painting is still the most pure form for conveying the subconscious or dream world. I started to animate my images because I wanted to affect the senses of the viewer more strongly with the combination of image, movement, and sound.

    In this work, I am exploring symbols and landscapes in nature and linking these to the psychological hopes, fears, and desires that exist in every culture. My approach to 3D work is greatly influenced by Renaissance and French Romantic painting. Artists of these periods created magnificent oil paintings that alluded to the 3D world through light, perspective, the study of the physical world of nature, and a desire for movement (animation).

    Working with 3D software has allowed me to collapse, reconstruct, and journey through a landscape of symbolic narrative. This is similar to painting, where symbolic narrative is not represented in a linear cause and effect mode. The images are seen, passed by, and arrived at. It is the thought process that creates a static work, yet it incorporates the additional sense of sound with image movement and metamorphosis.

    The advent of digital technology has generated the “Renaissance” of animation internationally, and the information technology age greatly parallels what happened during the earlier Renaissance: the sense of discovery and perception of our world via new exciting media and science.

    Indefinable Moods was created using 2D oil-painted sequences mapped onto multiple planes and 3D forms. These were then further animated using Alias|Wavefront Maya. Additional software included Adobe Photoshop, Composer, and Chalice. Computer hardware was donated by Intel. Facilities and software generously provided by the Division of Animation & Digital Arts, School of Cinema-Television, University of Southern California. Musical sound FX composed and performed by Chris D. Halliwell. Soundtrack edited and mixed by Counterpoint Sound Sydney. Production Supervisor at USC: Mar Elepano.

  • Animation & Video
  • Animation
  • landscape, nature, and subconscious
  • Cry Fracking in Northern Colorado
  • Kathy T. Hettinga
  • DAC Online Exhibition 2015: Altered Books - Digital Interventions
  • 2014
  • Hettinga has long been interested in putting text and image together, from published photobooks to artist’s books. Hettinga states, “My love affair with the pixel is longstanding. 4 3 2 CRY brings together—satellite mapping, oil/gas mapping, digital photography, Wacom drawing, design, hand binding, and more to create the structural whole—an artist’s book.” 4 3 2 CRY mediates parallel narratives of personal and environmental loss, exposing the effects of hydraulic fracturing for oil and gas upon families, land, air and water. It is a lament and a goodbye for the material/physical place that Hettinga dearly loved in Northern Colorado.

    Media: Aluminum compliance sign riveted to cover; Arrestox cloth covered book boards; Cialux cloth covered spine; Archival ink on Mohawk Superfine, eggshell, 70 lb. text. Fonts: Helvetica, Helvetica Neue, and Arbitrary. Digital mapping, photography, scanning and drawing; Adobe Creative Cloud.

  • Artist Book
  • Aluminum compliance sign riveted to cover; Arrestox cloth covered book boards; Cialux cloth covered spine; Archival ink on Mohawk Superfine, eggshell
  • Mergence: The Narrative and Scientific Imaging
  • Kathy T. Hettinga
  • DAC Online Exhibition 2016: Science of the Unseen: Digital Art Perspectives
  • 2014
  • 2014 Hettinga: Mergence 1
  • I am interested in the mergence of the narrative and scientific imaging. Art creates the connection, the relationship of how story finds itself in a larger mapped landscape, such as seen in the diptych, Dairy Farm 1980 and 2014. Dairy Farm 1980 and 2014 use Google Maps dating back 30 years prior to the time of a tragic death on a Colorado dairy farm in Weld County. Aesthetic considerations along with Google’s computerization of date and time-of-day take the viewers back to a 5:30am sunrise just before the death of a young dairyman. The second large print, 4×5 ft., looks at the same location with recent mapping showing the now defunct dairy farm with roofless sheds and dried manure piled into cocoon mounds. The mapping is essential to depicting place. The artist transforms the mapping into specific human meaning, recreating an event in time, and bending the map into right angles to create a shallow stage. In the 2014 artwork, 3D mapping creates abstract shapes strewn across the ground—ghosts of the great B&W Holstein cows. This visual/literary artwork, mapping merged with story, creates a place where signs and symbols of ordinary life contain and point to larger truths. Clearly the two: narrative art and scientific imaging are stronger together than alone.

  • Media Used: Archival digital print on Moab Entrada Rag Natural 190 gsm. 52 x 44” Mapping, 3D mapping, Google, Photoshop, Epson Print on rag paper.

  • 2D & Wall-Hung
  • Print
  • 4 ft. x 5 ft. (x2)
  • Valley Petroglyphs II
  • Kathy T. Hettinga
  • SIGGRAPH 1994: Art and Design Show
  • 1992
  • 2D & Wall-Hung
  • Tektronics thermal wax print
  • 16.75 x 12 inches
  • Juicy Details from Embrasure Series
  • Kati Toivanen
  • SIGGRAPH 1998: Touchware
  • 1993
  • 1993 Toivanen Juicy Details from Embrasure Series
  • In these sensuous images, I embrace the body with curiosity as nightmarish visions, physical recollections, and fantasies inform the perception of myself. In close-up, my body emerges as mysterious and alien, yet familiar and intimate. Horror and pleasure, the fruits of my imagination, incessantly merge and dissolve.

    This series examines the possibilities and the uncomfortable qualities of female sexuality. The individual titles for the images emerged from names of cosmetic products such as lipstick and rouge, which publicly manifest our desire to be desired.

    Embrasure is an architectural term for the recess of an opening in a door or a window and refers to this space in-between. Much like the orifices in the human body, these vulnerable spaces represent neither the inside nor the outside. They are both public and private, as they simultaneously reveal and conceal.

  • 2D & Wall-Hung
  • Digital Ilfochrome Print
  • 19" x 22"
  • digital print and ilfochrome print
  • Precious Pink from Embrasure Series
  • Kati Toivanen
  • SIGGRAPH 1998: Touchware
  • 1993
  • 1993 Toivanen Precious Pink from Embrasure Series
  • In these sensuous images, I embrace the body with curiosity as nightmarish visions, physical recollections, and fantasies inform the perception of myself. In close-up, my body emerges as mysterious and alien, yet familiar and intimate. Horror and pleasure, the fruits of my imagination, incessantly merge and dissolve.

    This series examines the possibilities and the uncomfortable qualities of female sexuality. The individual titles for the images emerged from names of cosmetic products such as lipstick and rouge, which publicly manifest our desire to be desired.

    Embrasure is an architectural term for the recess of an opening in a door or a window and refers to this space in-between. Much like the orifices in the human body, these vulnerable spaces represent neither the inside nor the outside. They are both public and private, as they simultaneously reveal and conceal.

  • 2D & Wall-Hung
  • Digital Ilfochrome Print
  • 11" x 14"
  • digital print and ilfochrome print
  • Minecrafting
  • Katie Bunnell
  • SIGGRAPH 2015: Hybrid Craft
  • 2015
  • 2015 Bunnell, Minecrafting
  • A porcelain piece combines digital design and production methods with hand drawing, traditional slip casting, and hand-building processes for high-fired porcelain.

  • 3D & Sculpture
  • ceramics
  • Miniverse2
  • Katja Loher
  • SIGGRAPH Asia 2009: Adaptation
  • Loher: Miniverse2
  • Working in several different media with a number of collaborators around the world, New York-based Swiss artist Katja Loher explores language and visual form together in an assemblage of technologies and dramatic sculptures. She creates a powerful visual platform that pulls viewers out of their current perspectives and reveals a broader view of existential questions and present concerns in the world.
    Miniverse2 presents a bird’s-eye view of people in minimalist uniforms performing a structured choreography. The ball displays scenes in which workers become part of a synchronized movement as they perform tasks that must be done 24 hours a day to keep nature balanced and to allow humanity to survive on our planet in our current numbers. For example, one group of workers attends the work of bees to ensure that they pollinate the flowers.

  • Performance
  • Exuvia
  • Alessandro Capozzo and Katja Noppes
  • SIGGRAPH 2006: Intersections
  • 2006 Capozzo Noppes Exuvia
  • The collaboration between Alessandro Capozzo and Katja Noppes is based on the possibilities of merging different experiences in different media: coding as an expressive medium and painting as an analogue process. Exuvia is the first result of their method.

    The installation suggests a narrative flow, starting from a meta­morphosis – referring to an empty chrysalis (exuvia) as the printed memory of an absent object – until the spreading wings climax: vital, delicate and ephemeral as software could be. Interaction between an analogue medium and a digital one forms a synthesis of the properties of these two elements, transcending mere software objectification and material dynamization.

  • Exuvia is a mixed-media installation consisting of a semi-transparent synthetic-material mould of a desktop computer (and its peripher­als) and an LCD display with an epoxy-resin layer mounted on. A representation of dragonfly wings has been imprinted into the resin by several analogue processes. Semi-generative software (built with Processing) is visualized on the prepared LCD display: a set of attractors “drive” a cellular-automata flow through the wing’s lines of force.

    Custom software: (built with Processing).
    Screen: 30 x 36 centimeters. Epoxy resin on LCD display.
    Moult: 190 x 57 x 64 centimeters. Synthetic material with
    talcum powder.
    Various hardware, cables, and iron mongery.

  • Installation
  • Art installation, analog-digital mixed media
  • 75" x 22.5" x 25"
  • Last Seen...
  • Kaye Goldman Clarke
  • SIGGRAPH 2003: CG03: Computer Graphics 2003
  • 2003
  • 2003 Clarke: Jason D. Last Seen Circa 1969 Near Rexford and Olympic, Beverly Hills, CA
  • In Last Seen… I set out to document a period of my life for which no record exists. Although the work utilizes my personal history, it is not about nostalgia or an effort to retrieve memories. Rather, it explores the elusive nature of memory itself.

    The portraits are composites, created with the computer program, Faces, developed for forensic sketch artists. They were pieced together feature by feature, much as are the faces of criminal suspects from eyewitness accounts. The faithfulness of each portrait to its subject varies according to the limits of the program, the clarity of each particular memory, and the creative, often uncanny, ability of memory itself to play with “truth.”

    The photographs are the result of my recent revisitation of sites associated with the people depicted in the portraits: homes where we lived, or places we frequented. Again, due to changes in the physical landscape over time or the haziness of memory, some photos are visually “truer” than others: I found some buildings essentially unchanged, while some photographs use stand-ins in order to more accurately reflect my remembered “reality.” In others, I substituted what currently stands on the spot, although it might bear only a slight resemblance to its counterpart in the past.

    Thus, Last Seen… forays into territory where the present and the past impinge on one another, creating a curious mixture of the factual and fictive, the real and surreal, the realm of the memory.

  • 2D & Wall-Hung
  • memory and digital portrait
  • scan Gate
  • Kazuhiko Kobayashi
  • SIGGRAPH 2007: Global Eyes
  • 2007
  • An original photograph is an ordinary everyday scene. With a
    computer, I created a surreal world based on an original. Using this new imaging technique and digital technology, I want to widen the possibility of photographic expression.

  • I captured a square image with a digital camera, then output the image in a circle. The photograph was processed with Adobe
    After Effects and color-tuned with Adobe Photoshop. The finished image was printed by an Epson PX-9000.

  • 2D & Wall-Hung
  • 44 inches x 44 inches x 4 inches
  • Build
  • Kazuma Morino
  • SIGGRAPH 2003: CG03: Computer Graphics 2003
  • 2003
  • 2003 Morino: Build
  • Most of the built structures that populate our contemporary urban landscapes are concatenations of pre-fab parts and standardized dimensions. This film plays with different skeletal arrangements of those parts to create images reflective of contemporary building blocks.

  • Animation & Video
  • 3D animation and repetition
  • Color <-> Control: Flags
  • Kazuma Morino
  • SIGGRAPH 1994: Art and Design Show
  • 1994
  • 1994 Morino Color
  • HARDWARE/SOFTWARE
    Sony News 3870, 5000; original software

  • Yoshiyuki Usui, Satoshi Tsukamoto, Hidemoto Nokada, and Kenichi Kobayashi
  • Animation & Video
  • Animation
  • 1:25 minutes
  • Kazuma Morino Works
  • Kazuma Morino
  • SIGGRAPH Asia 2008: Synthesis
  • Kazuma Morino has received many awards in international competitions including SIGGRAPH and Ars Electronica. In his Build, exhibited in the SIGGRAPH 2003 Art Gallery, many of the built structures in our contemporary urban landscapes are concatenations of pre-fab parts and standardized dimensions.

    This film plays with different skeletal arrangements of those parts to create images reflective of contemporary building blocks. In Runners, figures (dolls) made up of geometric shapes rush around, intertwining with other objects. The work expresses the beauty of interacting objects over the course of time.

    Currently, he is collaborating with musicians such as Ken Ishii and Yosui Inoue on their music videos. He has also played an important role as a producer of the first floor of the SETO NIPPON KAN pavilion in EXPO 2005 in Aichi, Japan. For SIGGRAPH Asia 2008, he is a contributing artist for the Art Gallery and Emerging Technologies trailer.

  • Animation & Video
  • Line
  • Kazuma Morino
  • SIGGRAPH 2002: Art Gallery
  • 2002
  • 2002 Morino: Line
  • This film takes the bold yet graceful line of classical Japanese patterns and puts it into motion. Much of the rapid progression of intersections, warps, and rotations was left to a modeling program to decide; intentional human controls were purposefully kept to a minimum. The pseudocoincidences generated by the software create a serendipitous aesthetic similar to the cracks etched in Japanese ceramics by the firing kiln.

  • Animation & Video
  • Animation
  • motion and pattern
  • Ijiros
  • Kazushi Mukaiyama and Yujiro Kabutoya
  • SIGGRAPH Asia 2013: Art Gallery
  • Ijiros are robot brothers which express emotions reacting a user’s actions. They are not able to move itself because they don’t have any actuators. They, however, express emotions with face in the display and voices from the speaker like a baby. They have been made base on the concept to make the friendship with users. Today, we can see many robots in not only industrial factory but also our various dailylife situation. These are getting more quick and correct responses back recently. However robots which support us in daily-life has been required to make a natural relationship with us, because they need to work with us directly such as elderly care situation. To make a natural relationship, it is important for us to be able to recognize robots as artifacts which have mind. Therefore, we tried to realize ”emotional communication” between robots and human beings to think and share their feeling each other beyond simple responses of commands and signals.

    As you can see, emotional communication between man and machines is the key of these works. In our case, we refers to ”vitality affect” in infant developmental psychology. Such as a hugged baby communicates his/her mother laughing or irritating, Ijiros also express emotions with faces and voices reacting from strength, kind, frequency, direction of user’s actions.

    Thus, Ijiros have been developed to entertain people to keep it like physical pets. We hope you all enjoy touching them.

  • Electronic/Robotic Object
  • Network Communicate Kaleidoscope
  • Kazushi Mukaiyama
  • SIGGRAPH 2001: n-space
  • 2000
  • This is a virtual space system to chat. Participants can talk each other anytime, anywhere as particles. Yet, after disconnecting, particles leave and move independently based on their behavior. Finally, they will make kaleidoscope images like “clustering fireflies.” This is a project to explore “beauty.”

  • Internet Art
  • Web Site
  • communication and virtual space
  • Sky 15C
  • Kazuya Sakai
  • SIGGRAPH 1990: Digital Image-Digital Cinema
  • 1989
  • 1989 Sakai Sky 15C
  • 2D & Wall-Hung
  • print
  • 22 x 30"
  • Untitled / Family
  • Keay Edwards
  • SIGGRAPH 1995: Digital Gallery
  • 1995
  • 2D & Wall-Hung
  • Digital C-print
  • 30 x 44 inches
  • function Allegro Misterioso
  • Kees Van Prooijen
  • SIGGRAPH 1992: Art Show
  • n.d.
  • no date Prooijen function Allegro Miserioso
  • 2D & Wall-Hung
  • Photographic print
  • 30 x 40"
  • Augmented Reality Media to Express the Experience of Japanese Food Culture
  • Kei Kobayashi, Kazuma Nagata, and Junichi Hoshino
  • SIGGRAPH Asia 2020: Untitled & Untied
  • Kobayashi, Nagata, Hoshino: Augmented Reality Media to Express the Experience of Japanese Food Culture
  • Summary

    By combining interaction and visual expression with food, this work supplies changing image mapping content as users eat, expressing nature and the seasons which support Japanese cuisine, as well as the traditions which influence it.

    Abstract

    Japanese food was registered as a UNESCO intangible cultural heritage in 2013, praised as an embodiment of Japanese people’s respect for nature and social customs. However, actual meals are limited to ingredients, tableware, and plating information, so thoroughly understanding the distinctive features of Japanese food is difficult. To express Japanese food culture, this piece combines interaction with video expression and actual meals. As users eat, a projector is used for mapping images to the table to depict changes in the natural environment and the garnishes of the four seasons, creating a system that builds understanding of tradition. Garnishes refers to vegetables and flowers used as an accent to improve the appearance of dishes. The Japanese foods presented are one soup and three side dishes. One soup and three side dishes are said to be the foundation of Japanese cuisine, with meals often consisting of a staple food, soup, two side dishes, and a main dish. Their arrangement on the table is also predetermined. A few users were allowed to try out the system, and the concept of Japanese cuisine being supported by nature and seasons and affected by traditions was expressed to these users. In addition, by seeing the act of eating in a new light, users were able to reconfirm aspects of Japanese cuisine such as gratitude for the blessings of the natural world. At the art gallery, models are used to perform demonstrations.

  • The system consists of a PC, short-focus projector, and RGB-D camera. Infrared imaging from the camera was used for recognition of the tableware. Since the infrared imaging does not detect the projector’s image mapping, it enables the camera to capture only the tableware and food. This imaging was used to extract the contours of the tableware, and the size was used to judge the type, ensuring the proper garnish was projected onto each. The amount of food was recognized by measuring area on the color image, and image mapping was changed when the remaining area decreased. For this reason, the color of the tableware was set using HSV values, and the measurement of colors other than the interior color of each piece (the food) was used to determine this area. However, to determine timing for mapping garnishes to the tableware, images of the seasonal garnishes to be used were measured, and the area of the garnish was subtracted from the area which differed from the color of the interior of the tableware.

  • The artist has produced works related to the traditions of intangible culture up until now. Traditional culture includes its own unique values, and learning about them is important for enabling people from different nations and races to recognize cultural differences, build relationships of equality, and co-exist with one another. Technology has the role of expanding cultural experiences in the process of creating works. Focusing on behavior within cultures, works use cameras and sensors to detect behaviors and the changes they cause, applying them to creating interaction, enabling users to experience and take an interest in traditional culture. For example, this piece uses eating Japanese cuisine to achieve interaction, and as the meal progresses, projection mapping produces changes in the table and tableware. However, when introducing technology to traditional culture, attention must be paid to ensure the original cultural experience isn’t inhibited and anyone can participate and easily understand. Traditional culture should be respected, with technology used as a means to an end. In the case of this work, Japanese cuisine is a cultural heritage which is both praised and respected, and no changes were made to the utensils or food themselves in the process of adding interaction. The food quantity was monitored using the image from the camera. Partial projection mapping was used solely for the expression of seasonal garnishes, enabling the appeal of ceramic and wooden tableware to stand on its own. As for the ease of understanding the experience, since the images projected onto the tableware and the table itself change as the meal progresses, there is no need for any special gesture to produce these changes, and users can experience augmented culture by simply eating the food at their own pace.

  • Interactive & Monitor-Based and Animation & Video
  • Bolero
  • Keijo Tapanainen
  • SIGGRAPH 2003: CG03: Computer Graphics 2003
  • 2003
  • 2003 Tapanainen: Bolero
  • Small, subtle differences modify interpretation. These works are an intuitive attempt to capture the graceful gestures of body language. Refining and reducing the primary elements of form communicates the complexity of body language with elegant simplicity. Beginning with original sketches, I explore the interplay of carbon-paper drawings with found images and textures. This creates a synthesis of disparate elements in unique collages that, in the process of evolution, marry the virtual and the real worlds. Their final forms comprise a series of giclee prints, using archival inks and museum-quality paper.

  • 2D & Wall-Hung
  • collage, form, giclee print, and human body
  • Trickster
  • Keijo Tapanainen
  • SIGGRAPH 2003: CG03: Computer Graphics 2003
  • 2003
  • 2003 Tapanainen: Trickster
  • Small, subtle differences modify interpretation. These works are an intuitive attempt to capture the graceful gestures of body language. Refining and reducing the primary elements of form communicates the complexity of body language with elegant simplicity. Beginning with original sketches, I explore the interplay of carbon-paper drawings with found images and textures. This creates a synthesis of disparate elements in unique collages that, in the process of evolution, marry the virtual and the real worlds. Their final forms comprise a series of giclee prints, using archival inks and museum-quality paper.

  • 2D & Wall-Hung
  • collage, form, giclee print, and human body
  • Imaginary·Numbers
  • Keiko Kimoto
  • SIGGRAPH Asia 2008: Synthesis
  • In my creative process, I begin with a numerical formula as a universal language and then develop it into various media. As a result, I spend a great deal of time constituting the system. However, at this stage, there is hardly anything visual apart from small graphs.

    I can only imagine the visual result, and I have to depend on my own sense of the fluctuating structure when I constitute the system. Once I get to the stage of making a collection of graphs into an artwork, I try to take such factors as human physicality and memory into the work, which makes it more than just a visual image.

    I believe that art is not intended to be a gateway to understanding the artist’s system, but a method of activating the viewers’ psychological-motion systems (memory and physical sensation). These should be triggered by looking at the artwork. When viewers can realise their own feelings and memories, the artwork is truly completed. The systems activated in the mind of the viewer can be different, depending on the medium of the work. Even if the artist has created only one system in the computer, the image generated has to be properly selected.

    This series is supported by the Aihara Complexity Modeling Project at JST ERATO, and the artist is a member of the project.

  • 2D & Wall-Hung
  • Diorama Table
  • Keiko Takahashi
  • SIGGRAPH 2007: Global Eyes
  • 2007
  • Diorama Table explores a new way to merge interactive images into daily life. The invisible technology in the diorama adds humor, makes us comfortable, and stimulates the imagination of those who experience the piece. Interaction with the Diorama Table occurs in public, so it helps bridge gaps between people of different generations and encourages them to have fun together. It merges fine art into daily life and suggests a formerly unexplored method of interaction that ordinary people can enjoy. When participants place common objects such as cups, ropes, or candies on the table, paintings of houses, trees, or trains appear. These objects can be arranged as a town, which can grow and change as objects are added or removed. In this unique experience, physical objects and fantastic images interact.

  • The CCD camera captures objects of various shapes on the table. A computer generates images from the camera data and
    sends them to a projector. This system consists of two sections:
    • Image recognition, which recognizes physical objects on the table from an image captured by the CCD camera.
    • A computer-generated image (CGI) function, which generates CGI around the objects and sends images to a projector. The
    analyzed result of the image recognition process is sent to CGI recognition either via shared memory or the network itself.

  • Installation
  • GEO_01
  • Keith Brown
  • SIGGRAPH 2003: CG03: Computer Graphics 2003
  • 2003
  • 2003 Brown: GEO 01
  • The possibilities for computer-generated sculpture are obviously immense. As the computer gradually takes its place in the tool chest of the contemporary practitioner, we are inevitably seeing changes that challenge our traditional views and preconceptions about how sculpture is conceived, produced, and experienced. The computer and related technologies, for many, including myself, have become much more than simply a new set of design and production tools. They have presented us with completely new media to explore, and no doubt there will be many more to follow. If there is one single influence that will separate the art of this millennium from that of the past and constitute a paradigm shift of aesthetic and conceptual advancement, of equivalent cultural significance to the first “hand paintings” made in the caves of Paleolithic man, then my calculated guess is that it’s going to be, if it is not already, computer technology.

    My work embraces a wide range of digital activities, both virtual and actual. My main concern is with “real virtuality” or “cyber-realism” rather than “virtual reality,” reversing the order between the cyber and the real. These works present sculptural forms and images that could not be realized except in the digital and cyber environments, thus producing a new order of object, which is made physically manifest in 2D and 3D media. Using the computer in a direct way as the medium, my work is conceived while interacting with the cyber-modeling environment. The work includes 2D and 3D printing techniques.

    GEO_01 was designed in 3ds max and output via a 3D Systems thermojet wax printer and then cast into bronze using the lost-wax technique. The burnished finish produces surface reflections that give the form a certain ambiguity, or elusive physical properties, that reflect and deform the environment it is placed in.

  • 3D & Sculpture
  • abstract and technology
  • geo_04
  • Keith Brown
  • SIGGRAPH 2004: Synaesthesia
  • 2004
  • The possibilities for computer-generated sculpture are obviously immense. As the computer gradually takes its place in the tool chest of the contemporary practitioner, we are inevitably seeing changes that challenge our traditional views and preconceptions about how sculpture is conceived, produced, and experienced. The computer and related technologies, for many, including myself, have become much more than simply a new set of design and production tools. They have presented us with completely new media to explore, and no doubt there will be many more to follow. If there is one single influence that will separate the art of this millennium from that of the past, and constitute a paradigm shift of aesthetic and conceptual advancement, of equivalent cultural significance to the first “hand paintings” made in the caves of Paleolithic man, then my calculated guess is that it’s going to be, if it is not already, computer technology.

  • geo_04 was designed in 3ds max and output via the LOM
    technique. Using the computer, in a direct way, as the medium,
    my work is conceived while interacting with the cyber-modeling
    environment.

  • 3D & Sculpture
  • Rapid Prototype LOM
  • 35 centimeters x 38 centimeters x 40 centimeters
  • Journey through the centre_01
  • Keith Brown
  • SIGGRAPH Asia 2016: Mediated Aesthetics
  • 2016
  • My sculptures are born out of the direct, spontaneous, manipulation of geometry in a multi‐dimensional cyber space where material, as we understand it, does not exist. In the cyber environment 3D entities may be encouraged to behave in ways not achievable through physical means. These virtual sculptures, made manifest through 3D printing, act as a vehicle which transports us to this strange and wonderful “other place” — to an environment where physics, materiality and gravity, play no part, freeing form from material constraints, and transcending our given understanding of how objects behave in the world, presenting us with truly new aesthetic experiences.

  • 3D & Sculpture
  • 3D Print
  • Shoal_01
  • Keith Brown
  • SIGGRAPH 2004: Synaesthesia
  • 2004
  • My work embraces a wide range of digital activities, both virtual and actual. My main concern is with “real virtuality” or “cyberealism” rather than “virtual reality,” reversing the order between the cyber and the real. These works present sculptural forms and images that could otherwise not be realized except in the digital and cyber environments, thus producing a new order of object, which is made physically manifest in 20 and 30 media.2

  • Shoa/_01 was designed in 3ds max and output via a Stratasys FOM device using Waterworks. This work presents sculptural form that could otherwise not be realized except in the digital and cyber environments, thus producing a new order of object, which is made physically manifest in 30 media.

  • 3D & Sculpture
  • Rapid Prototype FDM (ABS) Plastic
  • 10.25 inches x 8 inches x 7.75 inches
  • Through
  • Keith Brown
  • SIGGRAPH 2006: Intersections
  • 2006 Brown Through
  • The computer is a necessary and essential aspect of my working process and is indispensable to the conception, content, and quality of the sculpture.

    The sculpture is conceived “directly” whilst interacting with generic primitives in the cyber environment. Deformations are applied to them, which affect the whole of the object and its constituent parts in such a way as to develop specific relationships between the interrelated elements. The new forms that are generated in the cyber medium could not be conceived of, or produced, by other means.

    The surface of the sculpture results from the articulation of complex internal geometries, which in turn generate emergent elements that emanate from the interior of the object, making visible, through form, the dynamics of the system that generated them. The extremities of the sculpture are established as a direct result of the internal workings of the mechanisms that produce them and are completely dependent upon the cyber environment where they were created.

    This unites and fuses the form of the sculpture. The medium becomes subject and is in fact inseparable from it. The subtle qualities and relationships between the elements within the sculpture could not be achieved with conventional materials and techniques. The result is a new order of object.

  • This bronze sculpture was modeled in 3ds Max and output as an STL file to a 30 Systems SLA device. The SLA was then cast into bronze using the ancient lost-wax technique and burnished to a mirror finish. The form of the object is developed in, and dependent upon, the cyber environment where objects and their surfaces offer no physical resistance and can be seen to pass through each other. The mirrored surfaces of the burnished bronze sculpture emulate this virtual quality by reflecting images of the form from within itself, thus generating an ambiguity between the virtual and the real.

  • 3D & Sculpture
  • 3ds Max model, rapid prototype SLA, lost-wax bronze cast, burnished bronze
  • 10.75" x 8.75" x 5.75"
  • Litt'l havoc
  • Keith Roberson
  • SIGGRAPH 1998: Touchware
  • 1998
  • 1998 Roberson Litt'l havoc
  • Participants use a computer interface to interact with Litt’l havoc by physically moving the shopping cart that contains it. Pushing the shopping cart propels the semi-nude artist as he pushes his own cart through absurd environments of old postcards, NASA space imagery, and historic street scenes of Florida.

    Interacting with Litt’l havoc, participants symbolically become the artist, transgressing cheesy landscapes of abandoned and fragmented memory. Constructed of found, borrowed, abandoned, and confiscated components, Litt’l havoc is a pathetic new breed of hack/junk/found interactive art.

  • 3D & Sculpture and Interactive & Monitor-Based
  • Interactive Sculpture
  • 4' x 4' x 2.5'
  • interactive and sculpture
  • VR Keith 2.0
  • Keith Roberson
  • SIGGRAPH 2001: n-space
  • 2000
  • “VR Keith 2.0” explores the interface between interaction, performance, and avatars. Using comedy, irony, and cheesy quotes from cultural theorists, etc., “VR Keith” interacts with the gallery audience in a direct fashion. “VR Keith” argues how much better virtual and robotic humans are than real ones.

  • Performance
  • Free-roving video sculpture
  • 3 feet x 3.5 feet x 3 feet
  • digital video, interface, and sculpture
  • Eiffel Tower
  • Keith Waters
  • SIGGRAPH 1986: Painting in Light
  • 1984
  • Image Not Available
  • Installation
  • Plotter
  • Los Hermanos de Destruccion Numero 6
  • Kelly McFadden
  • SIGGRAPH 2000: Art Gallery
  • 2000
  • Los Hermanos de Destruccion Numero 6, from the series collectively titled Los Hermanos de Destruccion, provides a pop-art take on the mythology of nature, using media to explore ancient themes of humanity’s relationship to nature’s destructive forces.

    Who is this mysterious figure, this menacing Paul Bunyan? She is influenced by Pecos Bill and other American folklore characters, spaghetti Western movies, and Jose Guadalupe Posada’s Day of the Dead cartoons, as well as recent news reports of various natural disasters.

    These giants suggest a 19th century version of the mythical Titans, unleashed in a 20th century apocalypse such as the San Francisco earthquake of 1906. The giants of the old myths had to fall to create our present universe, but they’ve always been with us. The earth was created from the body of Ymir in Norse mythology. Adam Kadmon of the Kabbala supposedly contained heaven and earth within his limbs. Prometheus was martyred by Zeus for giving Man fire. There are all these powerful earth forces. I’m sure every culture has some variation on the Titan story. This is my personal variation.

    All the artwork was created digitally, combining scanned images, images captured with a digital camera, and objects created with 3D modeling software.

  • 2D & Wall-Hung
  • Ink-jet on Val-Hues photo glossy paper
  • 21 inches x 13.5 inches
  • digital imagery, ink jet print, and nature
  • Interactive 3-D Grid
  • Ken Byers
  • SIGGRAPH Asia 2012: Echo
  • 2012 Byers Interactive 3D Grid
  • This interactive digital installation, in which human-machine interaction is aligned to ‘Agency’, ‘Situation’ and ‘Embodiment’. The control of the virtual world via body-joint movement, and tracked position, velocity, gestures are directly linked to archi-tectonic forms, distortion of space and perspective. It challenges unconscious associations with familiar, embodied habitual experiences of Cartesian-space. The expected reading and interpretation of body-movement, is translated into a reflexive aesthetic language that causes the participant to reanalyze their position and gesture in space.

  • Installation
  • Interactive digital installation
  • Ski Shoe
  • Nike, Inc. and Ken Geer
  • SIGGRAPH 1984: CAD Show
  • Image Not Available
  • Equipment:
    McAuto Unigraphics CAD System
    Data General MV 8000 Computer
    Bostomatic N/C Milling Machine

  • Design
  • Inter Caetera Divina
  • Ken Goldberg and Claudia Vera
  • SIGGRAPH 1992: Art Show
  • 1992 Goldenberg Vera Inter Caeter Divina
  • This installation explores the relationship between maps and technology. Maps are a product of civilization; their changing boundaries trace the lines of history and of the future. What is the role of information technology in bringing us closer together while defending and extending these conceptual lines?

    To emphasize the ethereal nature of the lines drawn and redrawn through history, we use on instrument of modern technologythe industrial robot armdrawing on a translucent paper. The combination of computer technology with traditional media creates a contrast of structural elements. In the background of this time­-processed theater, computer-manipulated images of birds and everyday objects are projected to represent the futility of lines drawn over nature. Robot courtesy of ABB Robotics.

  • Installation
  • Installation
  • Legal Tender
  • Ken Goldberg, Eric Paulos, John Canny, Judith Donath, and Mark Pauline
  • SIGGRAPH 1996: The Bridge
  • 1996
  • 1996 Goldberg Paulos Canny Donath Pauline Legal Tender
  • “Why there is any aesthetic difference between a deceptive forgery and an original work challenges a basic premise on which the very functions of collector, museum, and art historian depend.”

    Nelson Goodman,
    Art and Authenticity,
    Languages of Art, 1976

    As Goodman notes, authenti­city is central to the experience of art and intimately linked to monetary value. One example is the ongoing controversy over attribution of Rembrandt’s paintings. In turn, our denota­tions for monetary value, ban­knotes, are linked to the issue of authenticity through the his­tory of the counterfeit.

    New technologies of reproduc­tion introduce new questions about authenticity. For exam­ple, photography’s mechanical reproduction of images illumi­nated the subtle distinction between the reproduced image of the painting and the authentic, “original” painting that is unique in time and space (cf.Walter Benjamin, 1936). And the technology of xerography allows even the unskilled to participate in the counterfeiting of money.

    As the technologies of repro­duction evolve into the digital realm, the distinction between authentic and replica effect­ively vanishes (cf. William Mitchell, 1992). Yet human viewers and museum curators still crave evidence of authen­ticity in the corporeal experi­ence of original artifacts. The newest technology of reproduction, the Internet, combines digital representation with almost instantaneous remote access and raises new ques­tions about authenticity.

    Consider the dozens of Internet-accessible remote cameras that, upon request, generate a live image of a free­way, fishtank, or toilet stall. These “installations” go beyond prestored digital images because the viewer, by clicking on the WWW interface, com­mands the taking of a live snapshot co-located with something that is unique in time and space. Although this addresses the issue of authen­ticity, since the original object is required for each snapshot, it creates a new question: is the installation authentic (live) or is it merely a prestored frame from a videotape? Indeed, sev­eral purportedly “live” cameras on the Internet have been exposed as forgeries.

    WWW installations that allow the user to aim a tele-robotic camera and thereby direct the gaze are harder to counterfeit but not impossible: the effect can be achieved by indexing into an array of prestored images. Tele-robotic WWW installations that go one step further and allow users to view and manipulate a remote envi­ronment provoke users to apply basic corporeal instincts about physics and materials to validate the authenticity of the remote apparatus. Still, users can be fooled: the Rome Air Force Base offers a forgery that continues to masquerade as a tele-robotic site.

    Thus the process of deciding authenticity of a tele-robotic WWW site engages the corpo­real instincts of the human viewer. We choose to focus on the issue of authenticity at sev­eral levels by presenting the WWW installation titled: Legal Tender.

    Legal Tender incorporates tele­-robotic technology to allow viewers to remotely inspect two banknotes, labeled A and B (cf. the Turing Test). One is a genuine US $20 bill. The other is artificial: a counterfeit. Users can position the camera remotely to examine each bank note in detail and can perform active experiments. Afterward, observations can be posted to a public online log.

    In addition to the question of which note is genuine, the installation raises doubts as to whether or not the remote images are in fact live or pre­stored. Is the installation itself authentic? And if it is, since the physical presence of a counter­feit banknote is illegal, the installation may not be legal. Indeed, the authenticity of the installation hinges on the inau­thenticity of its contents.

    References
    J.S.G. Boggs
    Turing Test
    Nelson Goodman’s Text
    Rembrandt/Not Rembrandt at the Met
    The Rembrandt Project
    U.S Air Force Rome Lab
    “Snowball” Camera
    Paper Money Collections online
    History of Money
    Other Related Sites

  • Installation and Interactive & Monitor-Based
  • interactive installation and technology
  • The Data Mitt
  • Ken Goldberg and Richard S. Wallace
  • SIGGRAPH 1993: Machine Culture
  • “In all the arts there is a physical component.” – Paul Valery, Aesthetics, 1934

    “Reach out and touch someone.” -American Telegraph and Telephone, 1985

     

    The physical component has been almost totally neglected in “computer art,”which uses lasers, pen-plotters, and photo-offset techniques to produce purely 2D images lacking tactile quality. Cut off from the body, there is no trace of the “hand of the artist.” Hence, it is especially difficult to assess the value of an art object produced in this manner.

    There is a parallel void in digital communications: we can transmit and receive voice and coarse images, but we cannot reach out and touch anything. The current interest in virtual reality suggests that we can overcome this limitation through new technology. As these technical barriers begin to fall, more subtle barriers will emerge. The Data Mitt suggests one such barrier.

    The Data Mitt offers an elementary means of telecommunication. The user is invited to place their hand into an electromechanical device containing a binary sensor (a squeeze ball that allows the user to transmit one bit of information), and a binary actuator (a primitive direct-drive motor that allows the user to receive one bit of information). This information is transmitted via digital modem to a symmetric arrangement at the other end of an ordinary telephone line. In this way we introduce a physical component into digital telecommunication: two users can hold hands at a distance.

    The Data Mitt is a low-bandwidth version of the Data Glove. The Data Glove has become a virtual reality icon, which strives to incorporate the user’s body into the computer interface.With precursors like the Hawaiian Shirt and the Exoskeleton from the early days of tele-operation, to the Air Force’s Heads Up display from the 1980s, this effort has a long history. Getting the computer to provide realistic feedback in the form of pressure or tactile stimuli has proven elusive, partly due to the technical problem of time delays. Yet as technology closes the gap, we must ask, “What is at stake when a person wears such a device?”

    Historically, devices that require the insertion of the body have not, for the most part, been used to provide pleasure. Fictional examples include the apparatus in Kafka’s The Penal Colony and the Gorn Jabbar in Frank Herbert’s Dune. In Rome’s Piazza Bocca della Verita, there is a church built by Pope Hadrian in 772 A.D. In an alcove, the stone mask of a local, pagan river god is affixed to the mouth of a water conduit. According to legend, if a person lies and inserts his hand into the Bocca della Verita, the Bocca will bite off the offender’s hand.

    This legend suggests Freud’s Vagina Dentata. Rather than unpack nuances of this reference, we borrowed the Latin term for mask, persona, for our subtitle. In the contemporary world of computer-based art and telecommunications, this may be the last refuge for the hand of the artist.

  • Interactive & Monitor-Based
  • Finger Paint
  • Ken Goldberg
  • SIGGRAPH 1991: Art and Design Show
  • 1991
  • Hardware: IBM RT.
    Software: Drawing package for composition.

  • 2D & Wall-Hung
  • Painting on paper
  • 24 x 36
  • Bone-Grass Boy: The Secret Banks of the Conejos River
  • Ken Gonzales-Day
  • SIGGRAPH 1996: The Bridge
  • 1996
  • 1996 Day Bone -Grass Boy
  • Much of my childhood was spent with my grandparents in the New Mexico and southern Colorado region, so much of my work has been about the struggles and difficulties encountered by Latino and Native peoples. Generally speaking, I create mixed-media installations mimicking the ethnographic museums. Unlike a traditional museum of natural history, my installations attempt to offer positive and complex representations of my culture and beliefs.

    Bone-Gross Boy: The Secret Banks of the Conejos River is a literary trope of the frontier novel of the late 19th century. These novels often depicted Native and Latino inhabitants as ridiculous personages encountered on an otherwise naturalized conquest of the West. Bone-Grass Boy is their nemesis.

    Begun as a series of stories told to me by my grandfather, Bone-­Grass Boy has evolved from family genealogy, regional his­tories, and some historical material related to the Native American berdache tradition. The berdache (or transgen­dered spirit) dates back to pre­conquest America (North and South) and remains a prob­lematized position within the Latino/Chicano culture.

    The Bone-Grass story is set dur­ing the Mexican/American war (1846-48), a period that saw bitter struggles between cul­tures. American industrialism caused the economic collapse of the pre-industrial Southwest. Berdachism, greatly diminished under Spanish Christianity, fared even poorer under U. S. assimilationism. As a project, Bone-Grass Boy parallels the effects of industrialism with the effects of digital technology today, raising questions about cultural preservation and rein­vention, while strategizing a position within technologies of the future.

    My work frequently makes use of elaborate tableaux com­prised of painted backdrops, props, and realistic cast figures, and are presented along with digital photographs depicting the characters. The digital pho­tographs, printed as c-prints, also incorporate painted back­drops, props, and historical images.

    As for the characters, there is Ramoncita, the Native/Latina berdache (based on a true story) who is forced to kill the rancher to whom she has been sold, and Nepomacento, the New Mexican soldier who fights for Mexico, only to have to sneak back to his homeland, now America.

    I play all of the characters in each image, disguised, digitally modified, cast, carved, or paint­ed. The strategy draws in part on Donna Haraway’s essay, “A Cyborg Manifesto,” in which she heralds the coming of a hybrid of organism and machine. For Haraway, the cyborg represents a kind of idealized postgender positionality, but Bone-Grass Boy, with its inherent racial and cultural hybridization, adds a level of complexity to Haraway’s model. This, combined with the trappings of an ethnographic museum, allows us to consider Homi K. Bhabhas’ three-part strategy for the empowerment of the colonial subject, which demands a recoding of aborigi­nal or native cultures and begins to suggest something beyond Haraway’s utopic cyborg vision.

    It should be noted that while the work references a specific history, my goal is not simply to find these forgotten histo­ries and present them. It is to make their absence the subject, so that we can begin to look at some of the real issues in the debates surrounding the notion of cultural and racial representation. Like any good storyteller, Bone-Grass Boy raises difficult questions, and if we consider Judith Butler’s notion of a “pure dialectic,” then the tale begins to suggest the recuperative potential of technology, not simply by dis­rupting the status quo (the dark side of Modernism) but by strategically challenging how (and by whom) technology will be used in the future.

  • Installation
  • history, installation, and mixed media
  • Untitled #33, From the Museum of Broken Identities (After Goya's Black Paintings)
  • Ken Gonzales-Day
  • SIGGRAPH 1997: Ongoings
  • 1996
  • 1996 Gonzales-day Untitled #33
  • “The Museum of Broken Identities” takes Goya’s “Black Paintings” as a point of departure. The idea is to draw attention to the fact that artists have always been engaged within a social discourse, and it is only with the emergence of a global society that the artist’s role becomes increasingly unstable. This exhibition seeks to suggest a new potential for artists located within digital technology.

    The themes of the work are taken from specific paintings by Goya and reference his skepticism of the social and political milieu of his day. Using digital technologies, this fictitious museum directly addresses issues concerning the artist’s role in society, as well as in new technologies, and as such, enters into contemporary debates surrounding the historical instability of identity per se – an instability accentuated by the presumed “reality” of digital manipulation. Other manipulations included transformations of race and gender and occur as themes only through specific historical paintings. A fundamental subversion of this project can be found in the fact that I play all of the characters in all of the pieces. While they are not necessarily obvious at first glance, the viewer will become increasingly aware of the manipulations, which, once discovered, offer easy access into the playfulness and the historical implications of the imagery itself.

    All of the images are taken with a 4×5 large-format camera; scanned into the computer; combined with other photographic elements, digital scans, and digital images; output as 4×5 color negatives; and printed as C-prints.

  • 2D & Wall-Hung
  • C-print from digital negative
  • 40" X 30"
  • digital imagery and history
  • Untitled #35, From the Museum of Broken Identities (After Goya's Black Paintings)
  • Ken Gonzales-Day
  • SIGGRAPH 1997: Ongoings
  • 1996
  • 1996 Gonzales-day Untitled #35
  • “The Museum of Broken Identities” takes Goya’s “Black Paintings” as a point of departure. The idea is to draw attention to the fact that artists have always been engaged within a social discourse, and it is only with the emergence of a global society that the artist’s role becomes increasingly unstable. This exhibition seeks to suggest a new potential for artists located within digital technology.

    The themes of the work are taken from specific paintings by Goya and reference his skepticism of the social and political milieu of his day. Using digital technologies, this fictitious museum directly addresses issues concerning the artist’s role in society, as well as in new technologies, and as such, enters into contemporary debates surrounding the historical instability of identity per se – an instability accentuated by the presumed “reality” of digital manipulation. Other manipulations included transformations of race and gender and occur as themes only through specific historical paintings. A fundamental subversion of this project can be found in the fact that I play all of the characters in all of the pieces. While they are not necessarily obvious at first glance, the viewer will become increasingly aware of the manipulations, which, once discovered, offer easy access into the playfulness and the historical implications of the imagery itself.

    All of the images are taken with a 4×5 large-format camera; scanned into the computer; combined with other photographic elements, digital scans, and digital images; output as 4×5 color negatives; and printed as C-prints.

  • 2D & Wall-Hung
  • C-print from digital negative
  • 30" X 36"
  • digital imagery and history
  • Geometric Perspectives
  • Ken Loss-Cutler
  • SIGGRAPH 1986: A Retrospective
  • 1985
  • Image Not Available
  • Animation & Video
  • 5 minutes
  • Chips in Space
  • Ken O'Connell
  • SIGGRAPH 1998: Touchware
  • 1984
  • 1984 O'Connell Chips In Space
  • In 1978, I began to work with computers with David Foster, then head of the University of Oregon Art department. In 1980, Larry Cuba expanded my introduction to the new technology with his two-week workshop in Eugene. Gene Bressler and I organized and directed the 1st Pacific NW Computer Graphics Conference, and we were off and running.

    My animation and ceramics background helped me understand the process nature of the computer. Terry Beyer and I made Chips in Space in 1984, and since then computers have been a solid part of our fine arts program at the University of Oregon.

    The challenge for me has always been to explore ideas and concepts that can best be presented or explored through interactive computer graphics. I am working internationally on a number of multimedia projects and hope to make a contribution in this area. One of the products I helped developed is ALPHAPLANET, which is on sale in Japan.

  • 2D & Wall-Hung
  • 20" x 20"
  • computer art and computer graphics
  • From our Imagination
  • Ken O'Connell
  • SIGGRAPH 1998: Touchware
  • 1998
  • 1998 O'Connell From Our Imagination
  • In 1978, I began to work with computers with David Foster, then head of the University of Oregon Art department. In 1980, Larry Cuba expanded my introduction to the new technology with his two-week workshop in Eugene. Gene Bressler and I organized and directed the 1st Pacific NW Computer Graphics Conference, and we were off and running.

    My animation and ceramics background helped me understand the process nature of the computer. Terry Beyer and I made Chips in Space in 1984, and since then computers have been a solid part of our fine arts program at the University of Oregon.

    The challenge for me has always been to explore ideas and concepts that can best be presented or explored through interactive computer graphics. I am working internationally on a number of multimedia projects and hope to make a contribution in this area. One of the products I helped developed is ALPHAPLANET, which is on sale in Japan.

  • 2D & Wall-Hung
  • 8 1/2" x 7"
  • computer art and computer graphics
  • Composition Fukushima
  • Kenji Kojima
  • DAC Online Exhibition 2015: Enhanced Vision - Digital Video
  • 2011
  • 2011 Kojima: Composition Fukushima
  • The artists’response to the ongoing nuclear calamity. The nuclear accident is still contaminating the ocean and the soil. Online photographs from the international press related to Fukushima accident and the unfolding events to contain the radiation are accompanied by a soundtrack. But this is not ordinary soundtrack. The music is actually a compilation of musical sequences produced by the images themselves. The original art work is an artist programmed software. It downloads internet images from the international press sites and converts RGB (Red, Green and Blue) value of a photograph to a music. The program reads RGB value of pixels from the top left to the bottom right of an image. One pixel makes a harmony of three note of RGB value, and the length of note is determined by brightness of the pixel. RGB value 120 or 121 is the middle C, and RGB value 122 or 123 is added a half steps of the scale that is C#. Pure black that is R=0, G=0, B=0 is no sounds. It is not an impression of an image of a musical variation, and not an arbitrary process of artist’s feeling. It composes a score from an image directly.

  • Animation & Video
  • Video
  • 10:00 min.
  • 2000.12a and 2000.12b
  • Kenneth A. Huff
  • SIGGRAPH 2001: n-space
  • 2001
  • Inspired by the random, yet structured beauty and minute details of nature (flora, fauna, and mineral), it is common for my images to include many objects which are similar in form, yet always unique in their structural and surface details. Contrasts also are an important part of my work. For example, organic forms are often implemented using inorganic materials or the rigid structure of a grid may be contrasted with chaotic elements.

    In “2000.12a” and “2000.12b,” inversions are used to create much of the contrast. These inversions go well beyond the obvious use of color within each image and between the pair of images. The pointed objects come out of alternate sets of holes and point in opposite directions. Also, the length of the objects is inverted – where the objects are long in one image, they are short in the other.

  • 2D & Wall-Hung
  • Laser-exposed color photographic print paper
  • each panel 34 inches x 34 inches
  • abstract, nature, organic, and photographic print
  • 2002.7
  • Kenneth A. Huff
  • SIGGRAPH 2003: CG03: Computer Graphics 2003
  • 2003
  • 2003 Huff: 2002.7
  • The iridescence of a beetle; the twisting surfaces of a wilting leaf; the spiral forms and sutures of a fossilized mollusk shell; fissures growing in drying mud; the arches, loops, and whorls of a fingerprint – all are examples of the natural forms and patterns that inspire my images. I am intrigued with combining ideas from a number of sources and the contrast and ambiguity arising from those combinations.

    Often include many objects in my images – all similar in form, yet each unique in its details. Those details of color and texture mimic the level of physical detail fund m the natural world and create an illusion of reality even while the viewer is confronted with the practical knowledge that the objects illustrated do not exist.

    Recently met a scientist who is investigating the micro-structures formed by controlled sintering of ceramic powders. Sintering involves heating, but not melting, of materials to form a coherent mass. Electron micrographs of his research served as the initial inspiration for a series that incorporates numerous small plates, either entirely representing a surface or coating portions of a surface, while at the same time conforming to the contours of the surface.

    The major form in 2002.7 is based on an idealized mathematical knot. The gold forms were constructed using a custom tool that builds the forms, or plates, directly on a given surface. This image was completed during a working-artist residency at SIGGRAPH 2002.

  • 2D & Wall-Hung
  • 41 in x 41 in x 1 in
  • mathematics, nature, and texture
  • 2003.4a and 2003.4b
  • Kenneth A. Huff
  • SIGGRAPH 2004: Synaesthesia
  • 2004
  • The iridescence of a beetle; the twisting surfaces of a wilting leaf; the spiral forms and sutures of a fossilized mollusk shell; fissures growing in drying mud; the arches, loops and whorls of a fingerprint – all are examples of the natural forms and patterns that inspire my images. I am intrigued with combining ideas from a number of sources and the contrast and ambiguity arising from those combinations. I often include many objects in my works, all similar in form, yet each unique in its details. Those details of color and texture mimic the level of physical detail found in the natural world and create an illusion of reality even while the viewer is confronted with the practical knowledge that the objects illustrated do not exist, furthering the purposeful ambiguity of the work.

  • The works were created entirely in Alias Maya, augmented with custom software developed by the artist. Final renderings were completed in a single pass with no compositing. The prints were produced on a Cymbolic Sciences (now Oce) LightJet photographic plotter, which exposes color photographic print paper with a combination of red, green, and blue laser light.

  • 2D & Wall-Hung
  • Digital image on color photographic paper
  • 62 inches x 62 inches x 2 inches each
  • 2004.4
  • Kenneth A. Huff
  • SIGGRAPH 2005: Threading Time
  • 2005
  • discover: to make known or visible; to obtain sight or knowledge of for the first time.
    Miriam-Webster Online Dictionary, 2004
    From the first tracing of a finger along the spiral of a seashell, our lives are permeated with the joy of discovery. Forms, patterns, and experiences are layered in our memories and become part of the fundamental cognitive framework through which we identify and classify the world. Tapping into these primal connections, this work evokes a desire to understand and makes possible the thrill of discovering something new. At a distance, these almost familiar forms engage the mind, beginning
    a journey of examination and interaction. There is no reference of scale, and the viewer is drawn closer, searching for additional clues that might aid in identification. With each step, the structures trigger subliminal reactions based on past experiences. In the end, the viewer is left with undefinable organic connections suspended in
    the deliberate ambiguity of the work, an ambiguity not so abstract as to be without some connection to experience or nature. The creations are abstract, organic, three-dimensional constructions, and while the subject matter is entirely imagined, the works are executed in a highly detailed, photorealistic manner. Inspiration is drawn from a variety of natural patterns and forms, combining ideas from a
    number of sources rather than creating literal reconstructions. Overarching themes based on ideas from mathematics and the sciences also weave through the body of work. With a sense of true understanding
    placed just out of reach, the experience of the work is in a constant state of renewal and discovery.

  • 2D & Wall-Hung
  • Chromogenic print
  • 41 inches x 53 inches x 1 inch, framed
  • 2004.5
  • Kenneth A. Huff
  • SIGGRAPH 2005: Threading Time
  • 2005
  • discover: to make known or visible; to obtain sight or knowledge of for the first time.
    Miriam-Webster Online Dictionary, 2004
    From the first tracing of a finger along the spiral of a seashell, our lives are permeated with the joy of discovery. Forms, patterns, and experiences are layered in our memories and become part of the fundamental cognitive framework through which we identify and classify the world. Tapping into these primal connections, this work evokes a desire to understand and makes possible the thrill of discovering something new. At a distance, these almost familiar forms engage the mind, beginning
    a journey of examination and interaction. There is no reference of scale, and the viewer is drawn closer, searching for additional clues that might aid in identification. With each step, the structures trigger subliminal reactions based on past experiences. In the end, the viewer is left with undefinable organic connections suspended in
    the deliberate ambiguity of the work, an ambiguity not so abstract as to be without some connection to experience or nature. The creations are abstract, organic, three-dimensional constructions, and while the subject matter is entirely imagined, the works are executed in a highly detailed, photorealistic manner. Inspiration is drawn from a variety of natural patterns and forms, combining ideas from a
    number of sources rather than creating literal reconstructions. Overarching themes based on ideas from mathematics and the sciences also weave through the body of work. With a sense of true understanding
    placed just out of reach, the experience of the work is in a constant state of renewal and discovery.

  • 2D & Wall-Hung
  • Chromogenic print
  • 40 inches x 61 inches x 1 inch, framed
  • 2005.1
  • Kenneth A. Huff
  • SIGGRAPH 2005: Threading Time
  • 2005
  • discover: to make known or visible; to obtain sight or knowledge of for the first time.
    Miriam-Webster Online Dictionary, 2004

    From the first tracing of a finger along the spiral of a seashell, our lives are permeated with the joy of discovery. Forms, patterns, and experiences are layered in our memories and become part of the fundamental cognitive framework through which we identify and classify the world. Tapping into these primal connections, this work evokes a desire to understand and makes possible the thrill of discovering something new. At a distance, these almost familiar forms engage the mind, beginning a journey of examination and interaction. There is no reference of scale, and the viewer is drawn closer, searching for additional clues that might aid in identification. With each step, the structures trigger subliminal reactions based on past experiences. In the end, the viewer is left with undefinable organic connections suspended in the deliberate ambiguity of the work, an ambiguity not so abstract as to be without some connection to experience or nature. The creations are abstract, organic, three-dimensional constructions, and while the subject matter is entirely imagined, the works are executed in a highly detailed, photorealistic manner. Inspiration is drawn from a variety of natural patterns and forms, combining ideas from a number of sources rather than creating literal reconstructions. Overarching themes based on ideas from mathematics and the sciences also weave through the body of work. With a sense of true understanding placed just out of reach, the experience of the work is in a constant state of renewal and discovery.

  • 2D & Wall-Hung
  • Chromogenic print
  • 41 inches x 58 inches x 1 inch, framed
  • 2006.7 (Elemental Series)
  • Kenneth A. Huff
  • SIGGRAPH 2008: Slow Art
  • 2008
  • 2008 Kenneth Huff 2006.7 Elemental Series
  • There are many natural events I find fundamentally intriguing: for example, sparks flying from embers of a fire, waves of lightning rolling in a thunderstorm, or trees swaying in a breeze. With sustained observation of these events, I find myself in a meditative state, relaxed but also actively, mindfully engaged. I develop my work to explore similar ephemeral phenomena, to gently abstract their essences, and to create new contemplative experiences. I evoke many overlapping natural rhythms and time scales, from the darting of our eyes as we take in the world to the ever-changing rhythms of our breathing, from the breaking of waves to the changing of seasons. In this work inspired by underwater patterns of light, life, and movement, we are accompanied by a series of companions, one constant, others slowly passing as they emerge from the darkness. The exact subject matter is kept purposefully ambiguous, encouraging a broad range of associations.

  • Animation & Video
  • 960810_01
  • Kenneth A. Huff
  • SIGGRAPH 1998: Touchware
  • 1996
  • 1996 Huff 960810_01
  • My images recreate the surreal and abstract visions of my dreams, which, along with the minute details and grand expanses of nature, serve as inspiration for my work. While creating objects that defy the laws of physics, I maintain an organic quality by following the random, yet structured beauty of nature. The shapes I use are often simple, but through a deliberate and controlled use of texture, lighting, and color, I create a unified consistency of depth, dimension, and detail.

  • 2D & Wall-Hung
  • Iris Giclee Print on Somerset Velvet paper
  • 22" x 22"
  • abstract, giclee print, and iris print
  • 970717_03
  • Kenneth A. Huff
  • SIGGRAPH 1998: Touchware
  • 1997
  • 1997 Huff 970717_03
  • My images recreate the surreal and abstract visions of my dreams, which, along with the minute details and grand expanses of nature, serve as inspiration for my work. While creating objects that defy the laws of physics, I maintain an organic quality by following the random, yet structured beauty of nature. The shapes I use are often simple, but through a deliberate and controlled use of texture, lighting, and color, I create a unified consistency of depth, dimension, and detail.

  • 2D & Wall-Hung
  • Iris Giclee Print on Somerset Velvet paper
  • 22" x 22"
  • abstract, giclee print, and iris print
  • 98.13
  • Kenneth A. Huff
  • SIGGRAPH 1999: technOasis
  • 1998
  • The subtle patterns found in the orientation of the over two thousand blue objects were produced algorithmically by placing the objects under the influence of a number of invisible “control” objects. Those objects falling outside of the influence of the control objects have a random orientation. The orientation of the objects is accentuated by the two-tone coloring.

    While all of the objects are based on the same basic geometry, the slight randomization of size and the use of 3D procedural textures give each the appearance of being unique. This pattern of similar-yet-unique detail is found throughout the natural world, and is the inspiration for much of the artist’s work.

  • 2D & Wall-Hung
  • Laser-imaged Photographic Paper
  • 9 X 36
  • algorithm, geometric, and pattern
  • 98.3
  • Kenneth A. Huff
  • SIGGRAPH 1999: technOasis
  • 1998
  • In nature, patterns are commonly formed by groupings of many similar objects. A combination of procedural and static textures and colors with the random selection of basic geometry ensures that each object in this image is unique. The high level of detail imparts a level of realism, while the generally consistent direction of the flowing objects conveys a strong sense of motion. The shapes contain characteristics of vines, leaves, mushrooms, and seed pods.

  • 2D & Wall-Hung
  • Laser-imaged Photographic Paper
  • 11 X 33
  • geometric, pattern, and nature
  • 98.4
  • Kenneth A. Huff
  • SIGGRAPH 1999: technOasis
  • 1998
  • Recent advances in software have allowed the artist to create a level of geometric complexity that one would normally not have the patience to create. For example, each of the ornaments capping the ends of the horizontal and vertical lines in this image was applied algorithmically, whereas previously they would have had to have been placed individually, by hand.

    The combined use of procedural and static textures and colors allows detail which is discernable at the finest level and which does not contain noticeable repetition. This level of detail adds to the realism of the image and the artist’s work.

  • 2D & Wall-Hung
  • Laser imaged photographic paper
  • 33 X 22
  • algorithm and geometric
  • 98.9
  • Kenneth A. Huff
  • SIGGRAPH 1999: technOasis
  • 1998
  • Strong contrast was created in this image with the stark lighting. The lighting and shadows are also one source of symmetry in this image. As in much of the natural world, the symmetry in this image is imperfect. For example, each of the floral shapes is unique, both in general geometry and in fine detail, yet the overall structure has a level of symmetry.

  • 2D & Wall-Hung
  • Laser-imaged Photographic Paper
  • 34 X 25.5
  • geometric, nature, and symmetry
  • 99.8A
  • Kenneth A. Huff
  • SIGGRAPH 2000: Art Gallery
  • 2000
  • The penetration of the framing background objects by the stream of white forms and the subtle twisting of those forms adds to the sense of movement in this piece.

  • 2D & Wall-Hung
  • Laser-exposed color photographic print paper (Cymbolic Sciences LightJet)
  • 30 inches x 30 inches
  • abstract, movement, and photographic print
  • Contemplations: 2005.2
  • Kenneth A. Huff
  • SIGGRAPH 2006: Intersections
  • 2006 Huff Contemplations 2005.2
  • Today’s frenetic, rapid-cut popular media serve as foil to the intent of Contemplations, a series of animated works exploring patterns and forms inspired by the intricate complexities of nature. This work from the series shows slowly evolving solid and transparent forms. With no set beginning or end, the work allows the viewer to become lost in the complex, organically shifting details and provides an engaging,
    calming point of contemplation.

  • The work was animated in Alias Maya Unlimited and rendered with mental images mental ray. Post-rendering modifications were completed in Adobe After Effects. The final piece is a 40-minute continuous loop rendered at 1,920 x 1,080 pixels, 30 frames per second.

  • Animation & Video
  • Digital animation
  • High resolution 3-dimensional rendering for the 2-dimensional image
  • Kenneth A. Huff
  • SIGGRAPH 2002: Art Gallery
  • 2002
  • 2002 Huff: 2001.4b
  • The iridescence of a beetle; the twisting surfaces of a wilting leaf; the spiral forms and sutures of a fossilized mollusk shell; fissures growing in drying mud; the arches, loops, and whorls of a fingerprint: all are examples of the natural forms and patterns that inspire my images. While I draw on these natural sources for inspiration, I do not create literal translations of their patterns and forms. I am intrigued with combining ideas from a number of sources and the contrast and ambiguity that arise from those combinations.

    Even though I embrace technology in my process, I do not create the mechanical perfection of many human-made patterns made up of perfectly repeating identical elements. More intriguing are patterns found in the natural world in which elements repeat, but not necessarily with perfect symmetry and in which elements are similar, but not necessarily identical. Many of the patterns I create have both periodic and aperiodic aspects.

    Inspired by the random, yet structured beauty and minute details of nature (flora, fauna, and mineral), I often include many objects in my images-all similar in form, yet each unique in its details. Those details of color and texture mimic the level of physical detail found in the natural world and create an illusion of reality even as the viewer is confronted with the practical knowledge that the illustrated objects do not exist.

    One of the great joys of my process is that I can create an image with physical levels of detail and realism without the constraints of physical materials. The path from inspiration and idea to implementation and image is direct and unencumbered.

    I recently met a scientist who investigates the microstructures formed by the controlled sintering of ceramic powders. Sintering involves heating, but not melting, materials to form a coherent mass. Electronmicrographs of his research served as the initial inspiration for a series that incorporates numerous small plates, either entirely representing a surface or coating portions of a surface. The structured placement of the 16 spheres in each image is contrasted with the irregularities of the plates.

  • In general terms, the final images of my work are created entirely using digital tools. The images are high-resolution, 3D renderings, typically 6,000 by 6,000 pixels. All of the 3D modeling, texturing, lighting, and rendering is done using Alias I Wavefront Maya running on SGI and Apple Macintosh computers.

    There is no photography involved in my process, nor are physical objects or source materials used in the pieces. They are entirely virtual constructions.

    The patterns of color and texture on the surfaces within my work are developed almost exclusively using procedural, 3D textures that simulate solid materials. These textures produce unique values over the entire surface while maintaining an overall consistency. By modifying the attributes of these materials or having the attribute values determined by other materials, I build up the complex patterns of color and texture.

    The final renderings are always ray-traced. While the rendering may be broken into sections for efficiency, all renderings are completed in a single pass. The only compositing I do involves assembling the sections. I use MEL, Maya’s integrated programming language, extensively to automate repetitive tasks. An example of this would be an image that contains numerous objects, all of which are similar, but each of which is unique in its structural and textural details. I use MEL to create a tool which could produce the multitude of objects while including the variations which make each object unique. Those variations are often based on random values within a specified range.

    For the images included in the Art Gallery, I created a tool called “surfacePlater” which, given a 3D surface, will create a number of objects that conform to the contours of the surface. The general characteristics of the objects, such as the width, thickness, and density, are controlled by setting ranges or desired values in a graphical user interface. The exact placement of the objects on the surface is random and done in such a way that the objects do not overlap.

    Sketching on paper is a critical first step in my creative process. The sketches may include technical notes and comments on material, color, texture, and lighting. While some sketches are more fully formed and include the general composition of an image, others contain only elements that may be combined with elements from earlier sketches.

    Final prints of my images are produced on a Cymbolic Sciences LightJet 5000. The LightJet directly exposes the emulsion of a color photographic print paper using a combination of red, green, and blue laser light. Once exposed, the paper is developed in chemistry just as a photograph would be.

  • 2D & Wall-Hung
  • digital images on photographic paper
  • 34 x 34 inches
  • nature, pattern, and symmetry
  • Meditations Series, 2004.10a
  • Kenneth A. Huff
  • SIGGRAPH 2005: Threading Time
  • 2005
  • Today’s frenetic, rapid-cut popular media serve as foil to the intent of Meditations, a series of animated works that explores slowly evolving patterns and forms inspired by the intricate complexities of nature. The undulating concentric lines of the arches, loops, and whorls of fingerprints were the basis for the forms in this work. Similar patterns can be seen throughout the natural world, from the growth rings of trees to the merging ripples on a pond. The various changes and movements are based on time scales observable at a seashore, from the rapid crashing of waves to the slower ebb and flow of tides and the even slower changes of the shoreline through erosion. In the work, some changes are very slow, apparent only if one looks away for a period of time and then returns to find some aspect has transformed. Other changes are rapid and noticeably rhythmic, but, as with breathing, the rhythms are imbued with variation. With no set beginning or end, the works allow the viewer to become lost in the complex, organic details and provide engaging, calming points of meditation – inspirations for visual and mental exploration .

  • Animation & Video
  • Animation
  • 20:00 minutes
  • Six-Part Pattern Series: 2000.3; 2000.5; 2000.6
  • Kenneth A. Huff
  • SIGGRAPH 2001: n-space
  • 2000
  • Included in all of my work is a level of detail which mimics that found in the natural world and creates an illusion of reality even while the viewer is confronted with the practical knowledge that the objects shown physically do not exist.

    I not only look to the surface details of the physical world, but also to the forms and patterns which surround us. Patterns are not just sets of regularly repeating identical units, but also include groupings of units which are similar, but not necessarily identical and units which repeat, but not necessarily with a well-defined symmetry.

    The “Six-Part Pattern Series” is based on ideas of subdivision of space. A. large object is divided into six sections by one vertical and two horizontal breaks. Resulting objects are then divided by the same technique, recursively to a predetermined limit. The pattern of division is rotated 90 degrees for each horizontally or vertically adjacent section. The series was partially inspired by aerial views of agricultural land in the North Central Plains of the United States.

    In “2000.3,” the division process was taken to three levels throughout this image. Once at that third level, one section from each group of six was further divided a fourth time. In addition to the structural patterns, there is an order to the use of the solid and transparent materials. At each level of division, one section from each group was switched to the alternate material for the group.

    At the second level of division in “2000.5,” the outer perimeter of objects was removed from subsequent division processes. Surface depths and materials were varied at each level to further highlight the differences.

    “2000.6” contains a non-overlapping path of adjoining sections created by the use of the transparent material. The endpoints of the path are in the upper-left and upper-right corners. In this image, the division process was repeated five times.

  • 2D & Wall-Hung
  • Laser-exposed color photographic print paper
  • each panel 34 inches x 34 inches
  • illusion, pattern, and photographic print
  • American Gothic Pair
  • Kenneth C. Knowlton
  • SIGGRAPH 1986: A Retrospective
  • 1984
  • Image Not Available
  • 3D & Sculpture
  • Dominoes
  • 26 x 24 in
  • Daybreak
  • Kenneth C. Knowlton
  • SIGGRAPH 1986: A Retrospective
  • 1966
  • Image Not Available
  • 2D & Wall-Hung
  • Serigraph
  • 16 x 20 in.
  • Domino Portraits: Groucho
  • Kenneth C. Knowlton
  • SIGGRAPH 1982: Art Show '82
  • 1982
  • Hardware: Cromemco

  • 2D & Wall-Hung
  • 4 complete sets of uncut Brazilian double-9 dominoes
  • 26 x 24 in.
  • Life Form 1
  • Kenneth C. Knowlton
  • SIGGRAPH 1981: Computer Culture Art Show ’81
  • 1981
  • Image Not Available
  • 2D & Wall-Hung
  • Kodak
  • 30 x 40"
  • Nude (Study in Perception)
  • Kenneth C. Knowlton
  • SIGGRAPH 1998: Touchware
  • 1966
  • 1966 Knowlton Nude (Study in Perception)
  • Computer-Assisted Mosaics

    Many kinds of art (abstract, cubist, minimalist) demand serious effort from the viewer, first of all to “see” various things, then to find some personal or shared meanings. To me, mosaics and similarly fragmented pictures are superb examples. They offer a variety of visual games and need to be viewed in many ways so that the viewer, building on past and present experience, asks: “Why do I see what I think I see?” Perhaps at least this question will then carry over to life in general.

    It’s not always that grimly serious. If I portray a teapot, using pieces of a smashed teapot, it’s obviously an in-joke for a group who are looking back on, among other things, many years of teapot picture-making. But, as with all other art, there should be more to enjoy and think about than the first and most obvious interpretation.

    Exactly how and when (and even if) a computer was used is as irrelevant as the details of paint and glue. Except for performance art, which mine work is not, the finished works alone should convey whatever meaning there is. (Ideally, you would not want or need to read this.)

  • Leon Harmon
  • 2D & Wall-Hung
  • Alphanumeric Print
  • 60" x 144"
  • alphanumeric print, fragmentation, and mosaic
  • Pattern 1
  • Kenneth C. Knowlton
  • SIGGRAPH 1981: Computer Culture Art Show ’81
  • 1981
  • Image Not Available
  • 2D & Wall-Hung
  • Serigraph
  • 22 x 23"
  • Retrieved Icon
  • Kenneth C. Knowlton
  • SIGGRAPH 1998: Touchware
  • 1998
  • 1998 Knowlton Retrieved Icon
  • Computer-Assisted Mosaics

    Many kinds of art (abstract, cubist, minimalist) demand serious effort from the viewer, first of all to “see” various things, then to find some personal or shared meanings. To me, mosaics and similarly fragmented pictures are superb examples. They offer a variety of visual games and need to be viewed in many ways so that the viewer, building on past and present experience, asks: “Why do I see what I think I see?” Perhaps at least this question will then carry over to life in general.

    It’s not always that grimly serious. If I portray a teapot, using pieces of a smashed teapot, it’s obviously an in-joke for a group who are looking back on, among other things, many years of teapot picture-making. But, as with all other art, there should be more to enjoy and think about than the first and most obvious interpretation.

    Exactly how and when (and even if) a computer was used is as irrelevant as the details of paint and glue. Except for performance art, which mine work is not, the finished works alone should convey whatever meaning there is. (Ideally, you would not want or need to read this.)

  • 2D & Wall-Hung
  • 19" x 25"
  • fragmentation and mosaic
  • Statue of Liberty
  • Kenneth C. Knowlton
  • SIGGRAPH 1986: A Retrospective
  • 1986
  • 2D & Wall-Hung
  • Laserprint
  • 20 X 16"
  • Untitled (Blue and Green)
  • Kenneth C. Knowlton
  • SIGGRAPH 1986: Universal Spheres
  • 1979
  • Image Not Available
  • 2D & Wall-Hung
  • Photograph of raster image
  • The Flock
  • Kenneth E. Rinaldo and Mark S. Grossman
  • SIGGRAPH 1993: Machine Culture
  • The Flock is a group of cybernetic sound sculptures that exhibit behaviors analogous to flocking found in natural groups such as birds, fish, or bats. As a class of social interactions, flocking behaviors are particularly interesting because they demonstrate characteristics of supra-organization, of a series of animals or artificial life forms that act as one. Flocking behaviors are complex, interdependent interactions that require individual members to be aware of their position in relation to others.

    We are approaching the task of creating a sculptural and musical flock by designing and building three or more independent ruledriven systems that will interact to create one global behavior. The key concept is emergence, the coming together of systems with no central controller guiding their behavior. The global behavior is allowed to evolve naturally out of the local interactions among the systems. The results will be an illusive aesthetic that is complex, chaotic, nonlinear and often lifelike.

    When participants encounter The Flock, they are drawn into an acoustic, kinetic, and infrared network. By producing their own sounds and movements, the participants will act in concert with the arms. Thus the environment affects the form and the form modifies the environment, which then affects the form again, ad infinitum.

    Craig Reynolds has had much success with creating on-screen flocking behaviors with artificial organisms he calls “Boids.” These simulated birdlike entities have been able to display complex group motion while avoiding obstacles and generally displaying bonafide flocking.

    After setting out to create our own computer sculptures we discovered llhan lhnatowicz had taken a step in this direction in 1972. He built a creature called Senster (a computerized sculpture), which was able to dynamically sense its environment and, under software control, modify its behavior based on past experience and current environmental inputs.

    As Christopher Langton and other artificial life researchers have pointed out, a properly organized structure need not be living (or even physically embodied) to display life processes. By this token The Flock will exhibit life processes; and since it is a physical embodiment, it will be subject to a far richer set of environmental stimuli and constraints than would a pure “in silico” organism. This helps bring the system dynamics into the realm where they can be better apprehended.

    In The Flock, ceiling-mounted arms will detect sound with their microphone arrays and movements of the participants with their infrared eyes. The responses will depend on the personalities of the individual arms as they interact with the group (the other arms and the human participants).The software is designed to allow a wide range of learned and unpredictable responses, with an emphasis on cooperation to produce a group aesthetic.

    The artificial creatures of The Flock communicate among themselves with audible telephone tones. For instance, an arm can sing its position to all the other arms, allowing them to follow its lead. This tonal language will also permit the programming of various dominance submission behaviors. In addition, the arms sample sound fragments from the environment and can play them back through a speaker, providing a medium to communicate to the human participants additional cues as to the state of the “organism”. The infrared proximity sensing allows a vocabulary of attraction and repulsion motions in response to the triangulated positions and movements of participants.

    By seamlessly integrating electronic and organic elements, we are asserting the confluence and co-evolution of organic and technological cultures. The branching and joining of the physical forms echoes the temporal flow of interactions within The Flock. It is imperative that technological systems be modeled on the principles of general living systems, so that they will inherently fuse to permit an emergent, interdependent earth.

    We want to thank Joe Kennedy, Silicon Graphics engineer, for his invaluable contributions to this project.

  • 3D & Sculpture
  • Chain Bridge Bodies
  • Kenneth Snelson
  • SIGGRAPH 1991: Art and Design Show
  • 1990
  • Hardware: Silicon Graphics Personal Iris.
    Software: Wavefront Technologies.

  • 2D & Wall-Hung
  • Photographic print (stereo pair)
  • 40 x 50
  • Forest Devils' Moon Night
  • Kenneth Snelson
  • SIGGRAPH 1990: Digital Image-Digital Cinema
  • 1989
  • 1989 Snelson Forest Devils' Moon Night
  • 2D & Wall-Hung
  • one C-print and one stereo pair
  • 40 x 30"
  • Invasion
  • Kenneth Snelson
  • SIGGRAPH 1989: Art Show
  • 1989
  • 1989 Snelson Invasion
  • 2D & Wall-Hung
  • stereo slide pair
  • Polescape
  • Kenneth Snelson
  • SIGGRAPH 1988: Art Show
  • 1988
  • 1988 Snelson Polescape
  • Hardware: Silicon Graphics 3130
    Software: Wavefront

  • Installation
  • stereoscopic slides
  • Worlds
  • Kenneth Snelson
  • SIGGRAPH 1988: Art Show
  • 1988
  • 1988 Snelson Worlds
  • Hardware: Silicon Graphics 3130
    Software: Wavefront

  • Installation
  • stereoscopic slides
  • TRW Series
  • Kenny Mirman and Randy Roberts
  • SIGGRAPH 1986: A Retrospective
  • 1981-5
  • Image Not Available
  • Animation & Video
  • 2.5 minutes
  • Spook Experiment
  • Kenseth Armstead
  • SIGGRAPH Asia 2009: Adaptation
  • Armstead: Spook Experiment
  • In the summer of 1781, James Armistead Lafayette was the sneakiest man in America. As a slave who became a double agent for America’s first intelligence mastermind (George Washington), he succeeded in liberating our insurgent forefathers from the British Empire.
    Spook is a multimedia installation project based on James’ true story. Two of the installation components (scenes from Kenseth Armstead’s feature action/art film “Blowback (Spook 1781)” and video trailers from the 3D graphics video game Spook Digital Yorktown are displayed in the SIGGRAPH Asia 2009 Art Gallery.
    For the “Blowback (Spook 1781)” scenes, the artist used a new process he developed called “crowd source casting”, which allowed the general public to star in the HD video. Over six months, 100+ people enacted the true story of the double agent/slave-spy James Armistead Lafayette. Viewers are able to select a character: James or one of his two handlers, the Marquis Lafayette (General, US Conti-nental Army) and Lord Charles Cornwallis (General, British Army.) Spook Digital Yorktown was developed from the actual maps used in the American Revolution by Cornwallis and Lafayette and gives a fully realized custom view of the terrain James Armistead Lafayette successfully navigated enroute to ending the war.

  • Installation
  • Answers
  • Kent Manske
  • SIGGRAPH 1995: Digital Gallery
  • 1995
  • 1995 Manske Answers
  • Nanette Wylde
  • 3D & Sculpture
  • Iris print, acrylic, and wood
  • 13 x 17 x 1 inches
  • Isms, Otics, & Ologies
  • Kent Manske
  • SIGGRAPH 2003: CG03: Computer Graphics 2003
  • 2003
  • 2003 Manske: Isms, Otics, and Ologies
  • Introspection drives my need to create. Processing thoughts, ideas, and observations is the nature of my studio activity. Through the creation of images and objects, I explore my being and belongingness. This investigation helps me access my own truths and facilitates my understanding of the world in a broader context.

    I am an image maker who creates visual symbols as instruments to understand and communicate feelings and perceptions. The works function as conscious maps, providing visual routes for interpreting ideas and making meaning. Each mark metaphorically documents an experience, comments on a situation, or reveals a process of thinking.

    Printmaking processes (traditional and digital) serve the conceptual development of my images and satisfy my passion for working with materials. Completed works are realized as fine art prints, artists’ books, and objects. As form, the book provides order, structure, and sequence for communication and exchange. I use the efficiency of the codex for its fixed sequence and boundedness, and the boxed portfolio for its characteristics of containment and embodiment. Within these conceptual spaces, relationships emerge, narrative evolves, and meaning manifests.

    Isms, Otics & Ologies is a boxed portfolio of 12 digital prints. Individual prints are signed and numbered in an edition of 28.

  • 3D & Sculpture and Artist Book
  • Epson 2000P, Epson Archival Ink, Somerset Velvet 225 gsm
  • 19.5 in x 14 in x 1.5 in
  • communication, narrative, and perception
  • Pedestals
  • Kent Manske
  • SIGGRAPH 1995: Digital Gallery
  • 1995
  • Nanette Wylde
  • 3D & Sculpture
  • Iris print, acrylic, and wood
  • 13.5 x 18 x 3 inches
  • West Meets East: Artworks based on a journey to China
  • Kent Manske
  • SIGGRAPH 2007: Global Eyes
  • 2007
  • Introspection drives my need to create. Processing thoughts, ideas, and observations is the nature of my art practice. Through creation of images and objects, I explore my being and belongingness. This investigation helps me access my own truths and facilitates my understanding of the world in a broader context. In July 2005, I traveled to China. Upon returning, I mentally processed the trip by working with images I photographed. Thirteen new prints, in an edition of four, were created. Two sets of prints were bound as books. The images created reflect my feelings about the cultural, political, and natural landscape I explored.

    The title references my introduction to China’s mysterious and historically rich culture. The book’s logo presents East moving toward West, referencing both western culture’s influence on China and China’s emerging influence in global politics. My visual narratives function as conscious maps, providing visual routes for interpreting ideas and making meaning. Each mark metaphorically documents an experience, comments on a situation, or reveals a process of thinking. In this series, restroom signs acknowledge differences in everyday practice and customs between the West and East. The cultural icon of the fan becomes a dirty window addressing environmental issues. Chopsticks merge with forks to signify China’s adoption of American fast food. Chairman Mao meets the Buddha to symbolize the hybridization of the sacred and the popular. A self portrait explores spiritual practices researched on the trip. Several prints explore China’s pains as it adapts to modernization, capitalism, and colonialism. The works seek not closure but further inquiry.

  • Images were captured with a digital camera, imaged in Photoshop and printed on 285 gm2 Hahnemühle Torchon Watercolor Paper using an Epson 2000P inkjet printer. The artist books are hand bound by the artist using stab binding techniques common to Asian cultures. Prints are mounted and hinged on thick cotton canvas. Book covers are painted wood with screenprinted logos. The book includes a title page and colophon page. The books provide a functional and inhabitable space for the images, thoughts, and language of the artist to form. Each page provides a private space for contemplation. Within the conceptual space of the book form, relationships emerge, narrative evolves, and meaning manifests.

  • Artist Book
  • Archival pigment prints: mounted and hinged on canvas, Book covers are painted wood with screenprinted logo
  • Framed print installation, 44 inches x 84 inches x 3 inches, Artist’s book, 12 inches x 23 inches x 1.5 inches
  • Autumn's Egress
  • Kent Oberheu
  • SIGGRAPH 2004: Synaesthesia
  • 2004
  • This piece evokes a sense of the passing of the year into twilight and the coming of winter. The form is a study simulating a flock of birds.

  • Autumn’s Egress was created using Cinema4D and alpha plug-ins
    for a Cidertanks toolset test bed. The form is a series of splines generated from a simulation of a flock of particles. The splines were then lofted to create a NURBS surface. The composite was performed in Photoshop.

  • 2D & Wall-Hung
  • Giclee print
  • 41.5 inches x 30.687 inches
  • Blue Suspension
  • Kent Oberheu
  • SIGGRAPH 2001: n-space
  • 1998
  • “Detail 1” illustrates a sweeping 3D fractal rendered not by light but through transparency and depth.

    “Detail 2” shows the arc of the fractals travelling off into distance, revealing the subtlety of form inherent in the mathematical object

  • 2D & Wall-Hung
  • Framed Giclee Iris print on wmercolor paper
  • 12 inches x 8 inches
  • abstract, fractals, giclee print, and iris print
  • Erato's Lyre
  • Kent Oberheu
  • SIGGRAPH 2003: CG03: Computer Graphics 2003
  • 2003
  • 2003 Oberheu: Erato's Lyre
  • A curious shape awaits its muse. The shape was created using procedures on a rough polygonal model, then warping and using the resulting deformed mesh to define a subdivision surface.

  • Modeling and rendering: Maxon, Cinema 4D
    Compositing: Adobe Photoshop

  • 2D & Wall-Hung
  • 26 in x 27 in
  • 3D image and abstract
  • Frozen Etude
  • Kent Oberheu
  • SIGGRAPH 2002: Art Gallery
  • 2002
  • 2002 Oberheu: FrozenEtude
  • In this piece, I explore the potential diagrammatic and emotive qualities of a musical composition. An etude is a composition that is meant as a means to develop skill in performance. This is echoed in the work as a technical approach to breakdown of the composition into two dimensions.

  • I use the computer in this work as a means to create, investigate, and manipulate forms to convey the idea. The fluidity of the medium coupled with the ability to rework portions of a multilayered piece are particularly significant in my work.

  • I view the process as a series of elements coming together. The states depicted are significant milestones in the development of the piece. When working, I tend to develop ideas in the form of a branching grid. Only pieces that are relevant to the final work are illustrated in the final grid.

  • 2D & Wall-Hung
  • inkjet on watercolor paper
  • 17 x 9.5 inches
  • emotion, ink jet print, and music
  • Golgi Cisternae
  • Kent Oberheu
  • SIGGRAPH 2003: CG03: Computer Graphics 2003
  • 2003
  • 2003 Oberheu: Golgi Cisternae
  • Impressions of activity in the cycle of a golgi complex. The form was modeled as a low-resolution metaball object. The resulting mesh was used as a cage for a subdivision surface. The subdivision surface was rotated through a deformation field, in a loop of 1,800 frames. The animation was then reviewed by overlapping different states of the model to try different composition options. Three separate state/frames of the deformation were chosen and rendered at high resolution to be used in compositing the final image.

  • Modeling and animation: Maxon, Cinema 4D.
    Compositing: Adobe After Effects and Adobe Photoshop.

  • 2D & Wall-Hung
  • 26 in x 27 in
  • 3D image and abstract
  • Tentacular Continuum, Detail 3
  • Kent Oberheu
  • SIGGRAPH 2001: n-space
  • 1998
  • This detail illustrates a morphological study as a progression of form sweeping through space, taking on a new shape as it traverses the fourth dimension of time.

  • 2D & Wall-Hung
  • Framed Giclee Iris print on watercolor paper
  • 12 inches x 8 inches
  • abstract, giclee print, iris print, and time
  • Transmigratory Summation
  • Kent Oberheu
  • SIGGRAPH 2004: Synaesthesia
  • 2004
  • This form is a linear exploration of a sweeping, fluttering form, changing states from rest to flight and back again. Its motion superimposed upon itself, it takes on a new form of light and shadow.

  • Transmigratory Summation was created using Cinema4D and alpha plug-ins for Cidertank’s toolset testbed. The form is a series
    of splines generated from a simulation of a flock of particles. The particles were coaxed through space using a goal object in real time. The splines were then lofted to create a NURBS surface. The composite was performed in Photoshop with line work done in Illustrator.

  • 2D & Wall-Hung
  • Giclee print
  • 39.5 inches x 28.375 inches
  • Cyrene
  • Kent Rollins
  • SIGGRAPH 1990: Digital Image-Digital Cinema
  • n.d.
  • n.d. Rollins Cyrene
  • 2D & Wall-Hung
  • IRIS print on litho paper
  • 30 x 40"
  • Entern
  • Kent Rollins
  • SIGGRAPH 1992: Art Show
  • 1992
  • 1992 Rollins Entern
  • 2D & Wall-Hung
  • Photographic print
  • 10 x 8"
  • Imi & Vita
  • Kent Rollins
  • SIGGRAPH 1994: Art and Design Show
  • 1993
  • 2D & Wall-Hung
  • Cibachrome
  • 8 x 5 inches