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This page contains all the SIGGRAPH Art Show writings and talks from 1980 to the present.

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Title: Algorithmic Analysis and Visualization of Motion in Cinema
Author(s):
Exhibition: SIGGRAPH Asia 2019: Deep Dreaming
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

This talk explores some of the possible applications of unsupervised machine learning methods in found footage cinema, a tradition of experimental art that re-edits excerpts from existing films. This artistic practice sometimes aims to reconfigure our experience of the moving image heritage. In this context, machine learning algorithms has the potential to capture aspects of the cinematic experience for which we lack critical concepts, and which are for this reason difficult to describe. One important example concerns cinematic motion. Established critical discourse often speaks of motion in film by reference to the movement of objects or the camera. Film scholars might describe a scene by noting, for instance, that a person is walking fast or that the camera is tilting upwards. What is missing in this kind of description is the visual texture of cinematic movement. The two-channel algorithmic installation Errant: The Kinetic Propensity of Images applies matrix factorization techniques to the analysis of optical flow in cinema, focusing on the work of Chinese director King Hu. This method produces a visual dictionary of basic motion patterns the represent what could be described as the “kinetic overtones” of image sequences. The results are then visualized using streaklines, a technique from fluid dynamics. This presentation will discuss the motivation and methodology used in the production of this work, in relation to other work by the speaker. Implications for cinema theory will also be briefly discussed.


Title: Anathema / Anatema
Author(s):
Exhibition: SIGGRAPH Asia 2019: Deep Dreaming
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

Anathema is the psychological study of Doug’s demons, nightmares and fantasies in a dream-like autoscopy that displays the strengths and vulnerabilities of a self-altered and self-made man in his 70’s. The piece was created with the Kinect volumetric sensor, with music by Mexican cyber-punk musician Cesar Cardenas aka Zoonosis.


Title: Art Talks Invited Speaker - Beyond Algorithmic Genericism
Author(s):
Exhibition: SIGGRAPH Asia 2019: Deep Dreaming
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

With the recent renewed interest in art generated by Artificial Intelligence (AI), it is timely to re-explore the body of knowledge and critique around art made by algorithms. Since computers were first adopted as art machines a number of enduring criticisms have reoccured over the decades, often with different names, but ultimately similar conceptual foundations. Essentially they relate to issues of authorship (who is the author when an “intelligent” machine is involved in the art making process?), autonomy (how much of the decision making and creative judgment is absolved to the machine?), authenticity (can creative acts or outputs made by machines ever be authentic?) and intention (is it right to think of machines as artists?). As AI technologies are increasingly fetishised by technologists and artists, a renewed debate around these criticisms has reemerged. In this talk I want to specifically address the issue of algorithmic genericism: how can algorithmic art practices escape the spectre of being generic to the algorithm itself? How can a practice be informed to recognise the issues of authorship, autonomy, authenticity and intention and move beyond algorithmic genericism?


Title: Art Talks Opening - Deep Dreaming
Exhibition: SIGGRAPH Asia 2019: Deep Dreaming
Writing Type: Sketch / Art Talk

Title: Artistic License: VR Sydney Cove circa 1800
Author(s):
Exhibition: SIGGRAPH Asia 2019: Deep Dreaming
Writing Type: Paper
Abstract/Summary/Introduction:

Heritage visualisations are works of the cultural imaginary and this paper examines the artwork Artistic License: VR Sydney Cove ca. 1800 which foregrounds the interpretive nature of heritage visualisation. It is a re-imagining in virtual reality of A View of Sydney Cove, New South Wales, 1804, a contemporaneous print of Sydney Cove. Existing in the liminal space between accuracy and authenticity it is both art object and heritage visualisation. The dual nature of this work supports engagement with wider audiences, fostering and broadening debate at individual, institutional, academic and societal levels about the nature and role of heritage.


Title: Bridging Knowledge between Craftsman and Learner in Chinese Intangible Cultural Heritage through WebAR
Author(s):
Exhibition: SIGGRAPH Asia 2019: Deep Dreaming
Writing Type: Paper
Abstract/Summary/Introduction:

The purpose of this paper is to explore new perspectives to learning Intangible Cultural Heritage (ICH) through embodied interaction with focus on learning and experience with traditional Cantonese Porcelain crafting. This research developed a WebAR application where various processes are presented through the tangible interaction of virtual porcelain represented by physical objects. The learner is able to directly interact with the plate that bridges the tangible materials and making processes of ICH utilizing WebAR. Empirical studies found that the WebAR and embodied interaction can enhance student’s tangible learning experience to transfer knowledge between craftsman and student.


Title: Captured by an Algorithm
Author(s):
Exhibition: SIGGRAPH Asia 2019: Deep Dreaming
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

Captured by an Algorithm is a commemorative plate series that looks at romance novels through the lens of the Amazon Kindle Popular Highlight algorithm. Each plate features one highlight and an algorithmically generated landscape. The highlights tell a story of the loneliness, grief, vulnerability, and discontent felt by the readers.


Title: CharActor
Author(s):
Exhibition: SIGGRAPH Asia 2019: Deep Dreaming
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

The personality of living things is beautiful. Is it possible to have a personality in the digital world? CharActor is a video work that produces animation by recognizing shader programs as genes and by changing the mathematical expression itself using evolutionary computation.


Title: Contact/Sense
Author(s):
Exhibition: SIGGRAPH Asia 2019: Deep Dreaming
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

When we feel and sense through machines, are we still ourselves? In a mixed reality where embodied actions and blinding visions are part woman/part machine, the tactile surface of plants is a portal that conjures augmented materialities into existence.


Title: Dream Clanger
Author(s):
Exhibition: SIGGRAPH Asia 2019: Deep Dreaming
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

Dream Clanger is a hybrid art/computer science project that re-imagines AFL Player GPS data and match video. Building on Baden Pailthorpe’s 2017 major exhibition ‘Clanger’, this work pushes the envelope further by integrating machine learning.


Title: Extraordinary Accident: an immersive metaphor of Hong Kong
Author(s):
Exhibition: SIGGRAPH Asia 2019: Deep Dreaming
Writing Type: Paper
Abstract/Summary/Introduction:

This paper presents Extraordinary Accident, an immersive experience exploring how different levels of abstraction can coexist and collaborate in a representation and recreation of urban space. Using Hong Kong as both inspiration and data source, the work attempts to liberate virtual reality compositions from their metaphorical ballast –that is, their recreational onus– and instead, with a temporal amalgamation of poetic representation at different scales, contribute to an alternative, potentially more intimate, understanding of the urban experience.


Title: gravityZERO, an installation work for virtual environment
Author(s):
Exhibition: SIGGRAPH Asia 2019: Deep Dreaming
Writing Type: Paper
Abstract/Summary/Introduction:

This paper reports the exposition of an artistic installation, gravityZERO, and its ongoing technical development. It consists of virtual sound, VR and robotic technologies in order to simulate the state of zero gravity. Audience members can experience a floating sensation within this virtual environment.


Title: Hybrid Animation production and the Dream of Flight.
Author(s):
Exhibition: SIGGRAPH Asia 2019: Deep Dreaming
Writing Type: Paper
Abstract/Summary/Introduction:

Through a detailed account of a recent practice-based research project – a short animation project called Jasper, this paper explores how a hybrid analogue/digital production approach can generate a unique and engaging visual style – one that sits between the tangible, handcrafted feel of miniatures and the cleanness, fluidity and flexibility of computer-generated animation. The author examines the new creative possibilities and challenges that a hybrid animation production approach presents and also outlines various technical platforms encountered during the production of Jasper, including motion-controlled camera systems, 3D printing, game engines, point cloud scans and augmented reality.


Title: Illusion: you can hear, but you can't see.
Author(s):
Exhibition: SIGGRAPH Asia 2019: Deep Dreaming
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

ILLUSION explores the relationship between the body, mind, and machine by taking advantage of the brain-computer interface. It detects whether your consciousness has visual stimuli to produces cadenced sound, an exterior manifestation of the performer’s internal state. When you close your eyes, you can see the world imaged by sounds.


Title: Instababy Generator
Author(s):
Exhibition: SIGGRAPH Asia 2019: Deep Dreaming
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

This artwork is an installation that expresses the future in which users can manufacture designer’s babies themselves. You can design, customize and manufacture your baby with your favorite gene on your laptop. A 3D printed child appears from the display, and the child’s face created based on the visitor’s face.


Title: LightWing II
Author(s):
Exhibition: SIGGRAPH Asia 2019: Deep Dreaming
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

LightWing II creates a mysterious sensation of tactile data. In this interactive installation, a kinetic construction is augmented with stereoscopic 3D projections and spatial sound. A light touch sets the delicate wing-like structure into a rotational oscillation and enables the visitor to navigate through holographic spaces and responsive narratives.


Title: Machine Hallucination - Latent Study II
Author(s):
Exhibition: SIGGRAPH Asia 2019: Deep Dreaming
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

Machine Hallucinations – Latent Study II is part of an ongoing synthetic reality collection that explores the relationship between memory and dreams, recognition and perception.


Title: Metascape: Villers Bretonneux
Author(s):
Exhibition: SIGGRAPH Asia 2019: Deep Dreaming
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

Metascape: Villers Bretonneux is an immersive, interactive memoryscape experienced in first-person perspective, that simulates 72 hours in real time of the 1918 First World War Second Battle of Villers Bretonneux. The work relies on multiple forms of spatial and memory reconstruction, both driven by algorithmic processes.


Title: Narrative's Impact on Quality of Experience in Digital Storytelling
Author(s):
Exhibition: SIGGRAPH Asia 2019: Deep Dreaming
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

Our ways of telling stories have evolved along with advances in technology. This has led to the emergence of digital storytelling, emphasizing multimodality and interactivity. This project explores narrative influences on Quality of Experience of users in digital stories. This is done by creating and implementing a location driven digital story presented to the user by an augmented reality application made in Unity on a mobile device. This narrative system has then been evaluated by 30 people who have participated in a subjective evaluation. The results show that the narrative setup results in a richer, livelier and more engaging experience.


Title: Numb
Author(s):
Exhibition: SIGGRAPH Asia 2019: Deep Dreaming
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

Numb, shaped as an exaggerated eyeball, follows you and reflects the blinks of yours. It makes you become aware of your own blinking and sensitive to your own sensation. Numb illustrates how we build relationship with technology through senses, and how we become sensitive to ourselves by and with technology.


Title: Political Crystals: Algorithmic Strategies for Data Visualization
Author(s):
Exhibition: SIGGRAPH Asia 2019: Deep Dreaming
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

Combining algorithmic modeling strategies for data visualization with digital fabrication, the work includes the generative design of a series of geometrically intricate crystals-like 3D models using as raw data Twitter APIs having as the search phrase hashtags related to Brazilian 2018 presidential elections twitted from defined geolocations.


Title: Smile
Author(s):
Exhibition: SIGGRAPH Asia 2019: Deep Dreaming
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

Smile is a mixed-media installation consisting of a screen in a black box, mounted on the wall. When an interactor smiles, drone-footage of the ruins of Gaza fades in. If the interactor stops smiling, the video stops. It only plays when the interactor widely smiles at it.


Title: SoS
Author(s):
Exhibition: SIGGRAPH Asia 2019: Deep Dreaming
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

SoS recreates the experiences of two Syrian asylum seekers as they lose sight of each other during a treacherous ocean voyage from Indonesia to Northern Australia.


Title: Tactile Microcosm of ALife
Author(s):
Exhibition: SIGGRAPH Asia 2019: Deep Dreaming
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

Tactile Microcosm of ALife offers interaction with artificial organisms, whereby the user can enjoy playing with fish-like organisms through aerial imaging and haptic feedback. The holographic organisms float in water in a petri dish, and the user can feel a forcefield of the vital of the organisms via force feedback.


Title: “Rebooting Memories”: Creating “Flow” and Inheriting Memories from Colorized Photographs
Author(s):
Exhibition: SIGGRAPH Asia 2019: Deep Dreaming
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

We explain the creation of “flow” in social media and real spaces using AI technology to colorize black-and-white stock photographs from digital archives and other locations. When visualizing the colors that the photographs should have had, the impressions of “freezing” in black-and-white photographs are “rebooted,” and viewers can more easily imagine the events depicted. This bridges the psychological gap between past events and modern daily life, sparking conversations. The “flow” generated here causes the emergence of lively communication and increases the value of information. This method can help to pass precious materials and memories of past events into the future.


Title: Aeolian Traces
Author(s):
Exhibition: SIGGRAPH 2019: Proliferating Possibilities: Speculative Futures in Art and Design
Writing Type: Paper
Abstract/Summary/Introduction:

Aeolian Traces is a multimedia artwork that collects human migration data to generate gusts of wind around the gallery space, closely synced to oral narratives triggered from a database of recordings. A work of data sonification and visualization, this project explores the aesthetics and socio-cultural possibilities in environmental data.


Title: Air Hugs: A Large-Scale Interactive Installation
Author(s):
Exhibition: SIGGRAPH 2019: Proliferating Possibilities: Speculative Futures in Art and Design
Writing Type: Paper
Abstract/Summary/Introduction:

The Air Hugs project is a large-scale interactive installation that transforms the space around the passerby using actuated inflatables and computer vision. The title of the installation draws from the hug as a discursive tool for describing variable space which is modified by the circulation of the public.


Title: Alt'ai — Designing Machine-to-Machine Interfaces for Automated Landscapes
Author(s):
Exhibition: SIGGRAPH 2019: Proliferating Possibilities: Speculative Futures in Art and Design
Writing Type: Paper
Abstract/Summary/Introduction:

Alt’ai is a simulation inspired by the rich aesthetics, landscapes, and cultural practices of a remote mountain region. As a self-generating repository of unique snapshots capturing instances of interaction among the simulation agents, it provides an instrumental reference for the development of future machine-to-machine authentication protocols.


Title: Artist Residencies for Innovation: Development of a Global Framework
Author(s):
Exhibition: SIGGRAPH 2019: Proliferating Possibilities: Speculative Futures in Art and Design
Writing Type: Paper
Abstract/Summary/Introduction:

The STARTS Residencies European program aims to involve artists in high-tech environments, establishing a global framework for residencies and 45 projects. We look at its impact, providing the first study on this large-scale action. The initiative’s methodology and tools will be released for companies and institutions in 2019.


Title: Awakened Silence: A Projected Performance
Author(s):
Exhibition: SIGGRAPH 2019: Proliferating Possibilities: Speculative Futures in Art and Design
Writing Type: Paper
Abstract/Summary/Introduction:

Awakened Silence is a projected performance that memorializes lives lost in recent mass shootings. It draws from the experience of first responders hearing the incessant sounds of phones after appearing on the scene.


Title: CAVE: Making Collective Virtual Narrative
Author(s):
Exhibition: SIGGRAPH 2019: Proliferating Possibilities: Speculative Futures in Art and Design
Writing Type: Paper
Abstract/Summary/Introduction:

CAVE is a shared narrative virtual reality experience. Thirty participants at a time each saw and heard the same narrative from their own unique location in the room, as they would when attending live theater. CAVE set out to disruptively change how audiences collectively experience immersive art and entertainment.


Title: Knowing Together
Author(s):
Exhibition: SIGGRAPH 2019: Proliferating Possibilities: Speculative Futures in Art and Design
Writing Type: Paper
Abstract/Summary/Introduction:

This project tested a novel approach to photogrammetry where a group of participants collectively gather images for 3D models. We tested this method in a workshop setting, with the resulting models yielding a set of seven resin 3D-printed sculptures suspended in acrylic domes, preserving visual artifacts of the creation process.

Don’t Miss: Knowing Together, a set of seven resin 3D-printed sculptures suspended in acrylic domes showing in the Art Gallery, South Hall K.


Title: Learning to See. You Are What You See.
Author(s):
Exhibition: SIGGRAPH 2019: Proliferating Possibilities: Speculative Futures in Art and Design
Writing Type: Paper
Abstract/Summary/Introduction:

The work utilizes a novel method in “performing” visual, animated content — with an almost photographic visual style — using deep learning. It demonstrates both the collaborative potential of AI, as well as the inherent biases reflected and amplified in artificial neural networks, and perhaps even our own neural networks.


Title: Making Visible the Invisible: A Data-Driven Media Artwork, in Continuous Operation for 14 Years
Author(s):
Exhibition: SIGGRAPH 2019: Proliferating Possibilities: Speculative Futures in Art and Design
Writing Type: Paper
Abstract/Summary/Introduction:

Making Visible the Invisible is a six-screen, dynamic data visualization artwork at the Seattle Public Library. It visualizes patrons’ library checkouts received by the hour through four different animations to give a sense of community interests. The artwork was activated in September 2005 for a 10-year operation and was extended.


Title: No in Disguise: Algorithmically Targeted Conversations About Sexual Consent in a Multimedia Art Installation
Author(s):
Exhibition: SIGGRAPH 2019: Proliferating Possibilities: Speculative Futures in Art and Design
Writing Type: Paper
Abstract/Summary/Introduction:

No in Disguise is a multimedia installation that explores how a popular dating app pre-structures sexual relationships through interviews with men algorithmically targeted by their views on sexual consent. This paper describes the collaborative artwork and discusses how digital expression of the self has direct consequences for offline experiences.


Title: Off-Lining to Tape Is Not Archiving: Why We Need Real Archiving to Support Media Archaeology and Ensure Our Visual Effects Legacy Thrives
Author(s):
Exhibition: SIGGRAPH 2019: Proliferating Possibilities: Speculative Futures in Art and Design
Writing Type: Paper
Abstract/Summary/Introduction:

This paper presents findings from a qualitative study into the archiving practices employed by professional VFX studios. The current practices are contrasted with best practices from the field of archiving, and suggestions for improvement are made.


Title: Secrets of Balanced Composition as Seen Through a Painter’s Window: Visual Analyses of Paintings Based on Subset Barycenter Patterns
Author(s):
Exhibition: SIGGRAPH 2019: Proliferating Possibilities: Speculative Futures in Art and Design
Writing Type: Paper
Abstract/Summary/Introduction:

In this paper, various paintings are analyzed using the subset barycenter pattern implemented by the author. An image’s or an image group’s subset may reveal genre and artist characteristics. The suggested barycenter pattern analysis can enrich the methods of art history and criticism.


Title: Terra Mars: When Earth Shines on Mars Through AI's Imagination
Author(s):
Exhibition: SIGGRAPH 2019: Proliferating Possibilities: Speculative Futures in Art and Design
Writing Type: Paper
Abstract/Summary/Introduction:

Terra Mars presents Mars in the visual style of Earth. An ANN was trained to learn the relation between topographical data and satellite imagery of Earth and was applied to topographical data of Mars to generate imaginary satellite images. This project suggests a new approach to creative applications of AI


Title: The Trained Particles Circus: Dealing With Attractors, Automatons, Ghosts, and Their Shadows
Author(s):
Exhibition: SIGGRAPH 2019: Proliferating Possibilities: Speculative Futures in Art and Design
Writing Type: Paper
Abstract/Summary/Introduction:

This paper identifies the nature of the circus as an ideal place to host a possible scientific-artistic-speculative symbiosis. In it, reality and fiction are found precariously, almost outsider, hardly exportable, halfway between the credible and the fake, amazement and extravagance, science and simulation.


Title: Weaving Objects: Spatial Design and Functionality of 3D Woven Textiles
Author(s):
Exhibition: SIGGRAPH 2019: Proliferating Possibilities: Speculative Futures in Art and Design
Writing Type: Paper
Abstract/Summary/Introduction:

Our interdisciplinary design research group demonstrates a novel methodology and new computational tools to access 3D weaving as a spatial and material design platform for innovative softgoods and accessory products. We develop a fully formed 3D woven shoe and document volumetric textile behavior and simulation technology for creative design.


Title: Advertising Positions: Data Portraiture as Aesthetic Critique
Author(s):
Exhibition: SIGGRAPH 2018: Original Narratives
Writing Type: Paper
Abstract/Summary/Introduction:

Advertising Positions integrates 3D scanning, motion capture, novel image mapping algorithms and custom animation to create data portraits from the advertisements served by online trackers. Project volunteers use bespoke software to harvest the ads they receive over months of browsing. When enough ads have been collected, the volunteer is interviewed, 3D scanned and motion captured. Each ad is then mapped to a single polygon on the textured skin of their virtual avatar. Outcomes have been displayed as 2D/3D images, animations and interactive installations.


Title: Alienating the Familiar with CGI: A Recipe for Making a Full CGI Art House Animated Feature
Author(s):
Exhibition: SIGGRAPH 2018: Original Narratives
Writing Type: Paper
Abstract/Summary/Introduction:

This paper is an exploration of the processes used and ideas behind an animated full CGI feature lm project that attempts to reach blockbuster production values, while retaining Art House sensibilities. It examines methods used to achieve these production values in an academic production environment and ways costs can be minimized while high quality levels are retained. It also examines the lm’s status as an Art House project, by comparing its narrative design and use of symbolism to existing works of Art House cinema.


Title: Augmented Fauna and Glass Mutations: A dialogue Between Material and Technique in Glassblowing and 3D Printing
Author(s):
Exhibition: SIGGRAPH 2018: Original Narratives
Writing Type: Paper
Abstract/Summary/Introduction:

3D printing allows unprecedented freedom in the design and manufacturing of even the most geometric complex forms—seemingly through a simple click of a button. In comparison, the making of glass is an analogue craftsmanship, coordinating an intricate interplay of individual tools and personal skills, giving shape to a material during the short time of its temperature-based plasticity. The two artworks discussed in this article, Augmented Fauna and Glass Mutations, were created during the artist’s residence at the Pilchuck Glass School and articulate a synthesis between digital work ows and traditional craft processes to establish a digital craftsmanship.


Title: CASTING: Site-Specific Projection Mapping Installation
Author(s):
Exhibition: SIGGRAPH 2018: Original Narratives
Writing Type: Paper
Abstract/Summary/Introduction:

This paper investigates CASTING, Yiyun Kang’s site-speci c projection mapping installation at the Victoria and Albert Museum in London, U.K., and the acquisition of the piece by the V&A in the following year. It identi es how CASTING developed distinctive properties in the eld of projected moving-image installation artworks and how these novel characteristics were re ected in the acquisition by the V&A.


Title: Cop to Conductor: Negotiating and Remapping Meaning in Existing Public Art
Author(s):
Exhibition: SIGGRAPH 2018: Original Narratives
Writing Type: Paper
Abstract/Summary/Introduction:

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


Title: Data Materialization: A Hybrid Process of Crafting a Teapot
Author(s):
Exhibition: SIGGRAPH 2018: Original Narratives
Writing Type: Paper
Abstract/Summary/Introduction:

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


Title: Diastrophisms: Visual and Sound Assembly in Remembrance of an Earthquake
Author(s):
Exhibition: SIGGRAPH 2018: Original Narratives
Writing Type: Paper
Abstract/Summary/Introduction:

Diastrophisms is a sound installation with a modular system that sends images through rhythmic patterns. It is built on a set of debris from the Alto Río building that was destroyed by the 27F earthquake in 2010 in Chile. Diastrophisms explores poetical, critical and political crossings between technology and matter in order to raise questions about the relationship between human beings and nature, to consider the construction of memory in a community by questioning the notion of monument, and to imagine new forms of communication in times of crisis.


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

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


Title: Entropy and FatFinger: Challenging the Compulsiveness of Code with Programmatic Anti-Styles
Author(s):
Exhibition: SIGGRAPH 2018: Original Narratives
Writing Type: Paper
Abstract/Summary/Introduction:

Coding, the translating of human intent into logical steps, reinforces a compulsive way of thinking, as described
in Joseph Weitzenbaum’s “Science and the Compulsive Programmer” (1976). Two projects by the author, Entropy (2010) and FatFinger (2017), challenge this by encouraging gestural approaches to code. In the Entropy programming language, data becomes slightly more approximate each time it is used, drifting from its original values, forcing programmers to be less precise. FatFinger, a Javascript dialect, allows the programmer to misspell code and interprets it as the closest runnable variation, strategically guessing at the programmer’s intent.


Title: Here and Now: Indigenous Canadian Perspectives and New Media in Works by Ruben Komangapik, Kent Monkman and Adrian Duke
Author(s):
Exhibition: SIGGRAPH 2018: Original Narratives
Writing Type: Paper
Abstract/Summary/Introduction:

Examining the use of new media in works by Ruben Komangapik, Kent Monkman and the Wikiup Indigenous Knowledge Network reveals the diverse ways in which technologies are used to disrupt linear time and Western visions of history. New media works challenge those misleading stories that have been told about Canada’s indigenous peoples and assert indigenous presence in both the digital and physical landscape. These artists employ QR codes, video and augmented reality to push artistic boundaries and create representations of the past and present.


Title: Holojam in Wonderland: Immersive Mixed Reality Theater
Author(s):
Exhibition: SIGGRAPH 2018: Original Narratives
Writing Type: Paper
Abstract/Summary/Introduction:

Holojam in Wonderland is a prototype of a new type of performance activity, “Immersive Mixed Reality Theater” (IMRT). With unique and novel properties possessed by neither cinema nor traditional theater, IMRT promises exciting new expressive possibilities for multi-user, participatory, immersive digital narratives. The authors describe the piece, the technology used to create it and some of the key aesthetic choices and takeaways.


Title: Inhabitat: An Imaginary Ecosystem in a Children’s Science Museum
Author(s):
Exhibition: SIGGRAPH 2018: Original Narratives
Writing Type: Paper
Abstract/Summary/Introduction:

Inhabitat is a mixed-reality artwork in which participants become part of an imaginary ecology through three simultaneous perspectives of scale and agency; three distinct ways to see with other eyes. This imaginary world was exhibited at a children’s science museum for ve months, using an interactive projection-augmented sculpture, a large screen and speaker array, and a virtual reality head-mounted display. This paper documents the work’s motivations and design contributions, along with accounts of visitors’ playful engagements and re ections within the complex interconnectivity of an arti cial nature.


Title: Robotype: Studies of Kinetic Typography by Robot Display for Expressing Letters, Time and Movement
Author(s):
Exhibition: SIGGRAPH 2018: Original Narratives
Writing Type: Paper
Abstract/Summary/Introduction:

Humans use letters, which are two-dimensional static symbols, for communication. Writing these letters requires body movement as well as spending a certain amount of time; therefore, it can be demonstrated that a letter is a trajectory of movement and time. Based on this notion, the author conducted studies regarding multidimensional kinetic typography, primarily using robots to display a letter and visualize its time and movement simultaneously. This paper describes
the project background and design of the three types of robotic displays that were developed and discusses possible expressions using robotic displays.


Title: (A)I Feel
Author(s):
Exhibition: SIGGRAPH Asia 2017: Mind-Body Dualism
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

Is it possible for machines to feel emotions? As we know for now, machines have no emotion. But if we humans teach them, will they be able to learn? (A)I FEEL is a project dedicated to find answers to our questions by creating a teaching & learning process between humans and a machine. To teach the machine, it asks each user to draw a picture which represents a specific emotion. Then, to demonstrate what the machine has learned, users can draw pictures to portray his/her emotion at the moment. Using Convolutional Neural Network (CNN), the machine will interpret user’s emotion into joy, sadness, anger, fear or disgust and colors the picture according to the emotion. The whole process will be visualized as an interactive installation which encourages people to participate in the project.


Title: 7x7
Author(s):
Exhibition: SIGGRAPH Asia 2017: Mind-Body Dualism
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

We live surrounded by displays such as TV, smartphone, computer. These bitmap displays consist of pixels arranged in a two-dimensional plane. 7×7 was created by re-arranging these pixels multidimensionally. This display consists of 49 pixels, and these pixels do not overlap in the front, at the back, up, down, left or right. Therefore, each pixel is able to represent all six directions. By using these 49 pixels, 7×7 expresses “Iroha,” which is an old Japanese pangram that expresses one of the aesthetics called “Mujo (impermanence and ever changing)”.


Title: Abstract Reality
Author(s):
Exhibition: SIGGRAPH Asia 2017: Mind-Body Dualism
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

Abstract Reality is an interactive installation that creates 3D geometric art as an abstract expression of physical human bodies. The application takes viewers physical features and their relation to the physical space as inputs to generate and place basic geometric forms in a virtual 3D space. Each geometric shape, virtual position and orientation, and color are affected by individual viewer’s physical positions, movements, and dominant colors. The overall structure of the geometric shapes is controlled by a modified Voronoi diagram, a computational geometric algorithm, to explore novel aesthetics.


Title: B/W Mind
Author(s):
Exhibition: SIGGRAPH Asia 2017: Mind-Body Dualism
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

We are in fact already cyborgs, replicating ourselves as avatar forms online. Our cellphones and computers act as extensions of our own neural networks, imparting a boundless knowledge of facts and figures. B/W MIND is an experiential piece designed to manifest the interconnection humans have with technology


Title: Embodisuit
Author(s):
Exhibition: SIGGRAPH Asia 2017: Mind-Body Dualism
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

A collaboration between Sophia Brueckner and Rachel Freire, the Embodisuit allows its wearer to map signals onto different places on their body. It both critiques and offers an alternative to current trends in wearable technology. Most wearables harvest data from their users to be sent and processed elsewhere. The Embodisuit flips this paradigm. Informed by embodied cognition, the suit instead receives signals from an IoT platform, and each signal controls a different haptic actuator on the body. Knowledge can be experienced ambiently without necessitating the interpretation of symbols by the conscious mind. The suit empowers wearers to reconfigure their boundaries strengthening their connection to the people, places, and things that are meaningful to them. Furthermore, we hypothesize that by changing the way people live with data, it will change the type of data that people create.


Title: Etheroid
Author(s):
Exhibition: SIGGRAPH Asia 2017: Mind-Body Dualism
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

An etheroid is a device that mediates an invisible “something” to exist in space. Each etheroid behaves autonomously, without any higher orders dictating how it is to behave. If you set a new etheroid near another one, the new etheroid will be added to the movements of the existing etheroids. Each propagates this behavior to one of the surrounding etheroids repeatedly. Thus, the movements of etheroids as a whole creates an invisible moving “something”. This concept is to create an atom of media for existence, which is invisible. The devices operate under a physical neural network. An infrared LED illuminates invisible lights within a certain range. Together with a general communication module called XBee, the etheroid uses XBee to send information from one to another. The information list corresponds to a temporary storage area. Since the list is constantly updated, operation will continue even if the number of etheroids increases or decreases.


Title: From This Side of Space to the Other Side of the Signal
Author(s):
Exhibition: SIGGRAPH Asia 2017: Mind-Body Dualism
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

“from this side of space to the other side of the signal” utilizes footage produced on unique analog equipment from the early history of
video during a residency at Signal Culture (a contemporary version of the original Experimental Television Center in Owego, NY), and emerges from a nod to Michael Snow’s iconic structural film La Région Centrale. Virtual landscapes pumped through the analog system become caught amidst sets of “meaningless” signs/barriers and violent signals. Computer generated bodies and body parts glistening with video material generated via this system perform actions that queer the line between digital, physical and analog, homoeroticism and violence––entangled in a fragmented high-modernist grid. A voice from the other side of the signal attempts to lure the viewer into some act of connection, of crossing over, only to be perpetually interrupted by barriers of interference. “from this side of space to the other side of the signal” is a two-channel piece that engages both the history of early video tools and contemporary forms of 2D and 3D animation. Using these analog tools as a way of addressing the historicity of the body, and as a way of defining the space of bodies (via their moving textures) in novel as a way of engaging our contemporary hybrid experience. Queering the distinctions between subject, object, transmission, physicality and the ephemeral larger questions about the nature of our technocultural existence rise to the surface.


Title: Hive
Author(s):
Exhibition: SIGGRAPH Asia 2017: Mind-Body Dualism
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

With HIVE, we intended to explore the idea of a sonic intelligence: learning, experiencing, reacting, and finally, “thinking” in sound. Can we model such a system? A system with a body whose morphology is based on picking up and sending sound signals, a system who can learn from its environment and evolve in its response, a pseudo ‘being’ that traces our sonic foot-print and projects our sonic reflection. Created via fusing aspects of sculptural form, spatial sound, interactive methods, and machine learning, HIVE is an art installation that explores the relationship between sound, space, body, and communication.


Title: I Touch You And You Touch Me
Author(s):
Exhibition: SIGGRAPH Asia 2017: Mind-Body Dualism
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

We interact with our computers constantly, touching them more than we touch any person in our lives, and grooming them inside and out. For a month, I recorded all interactions with my phone and fed them into a machine learning system, which then output new, learned gestures. These “hallucinated” movements are awkward yet eerily accurate swipes, taps, and typing based on what my computer has learned from my interactions with it. Presented as an interactive sculpture, the gestures are enacted by a small robotic arm on the visitor’s palm as they sit at a low, altar-like table. Notions of “you,” “me,” and “I” are doubled, enacting the understanding of the machine and at the same time a self-portrait of my interaction.


Title: Langjiao - Beinan Road
Author(s):
Exhibition: SIGGRAPH Asia 2017: Mind-Body Dualism
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

In Syuhai, where I grew up, there is an old trail that connects the “Puyuma to Longkiau”. My hometown and the area surrounding it is home to a large population of indigenous people, and their ancestral spirit is the hundred-pace pit viper. Therefore, I used a 360 degree camera to capture the the left and right sides of the trail, and converted the image to simulate a half-human, half-snake perspective. With these images, I invite viewers to put on the VR device, and together enter the imaginary world of a hundred-pace pit viper traversing this ancient trail. This work also discusses the human perspective, where we use our eyes to see the world in front of us, whereas the sounds we hear with our ears come from the two sides of us. In this work, viewers can switch from the human perspective to see the world from two sides through the eyes of the hundred-pace viper, and experience the wonder of the merging of your auditory and visual perception.

This psychological landscape created using the VR device not only takes us back along the path once taken by the ancestral spirit of the indigenous people, it also allows us to experience the blending of the real and virtual world.


Title: Mantra
Author(s):
Exhibition: SIGGRAPH Asia 2017: Mind-Body Dualism
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

Project Mantra is digital panorama video that represents hyper-realistic landscape with collapse of human interaction expressed through movement and code generated visual images. This videos deal with perception, especially with aesthetic Korean traditional dances and the way recreate the landscape through software and simulation. In reviving and re-contextualizing traditional into digital scenes and contemporaneity, to directly combine a culturally deeply embedded art form with the tools of digitalization, and dominates the contemporary culture leading to a new art form. A traditional dance called Seungmu, which performs a human desire to overcome his suffering, presents dynamic and yet delicate movements, and its encounter with computer codes creates randomly but meticulously calculated images – a beauty created by human and images made by machine. Inside of endless communication between them, a new experiential form of vision and sound will be developed and provided.


Title: Mind-Body Dualism
Author(s):
Exhibition: SIGGRAPH Asia 2017: Mind-Body Dualism
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

Mind-Body Dualism examines the topic of existence as a physical being and digital being simultaneously, adding nuance to the Cartesian idea of separation of mind and body and proposing yet a 3rd separation: The virtual body.


Title: Record One Message to The Person You Love!
Author(s):
Exhibition: SIGGRAPH Asia 2017: Mind-Body Dualism
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

The title, “Record One Message to The Person You Love!”, invite the audience to stand in front of the voice reception installation and say a few words to their loved ones. These messages will be processed by the processing computer program in real-time and converted into dynamic data images according to audience’s volume and frequencies of voices. The messages can also be immediately converted into 3D printing model files, which can then be printed into unique white vinyl disc-shaped objects engraved with each person’s own identity markings. In the end, each of the 3D printed objects will be displayed on the wall. Audience will be able to use the AR interface on the mobile device to replay the messages and videos corresponding to each of the 3D prints. Also expresses the feelings one has towards a lover through just a few words during interaction with the work.

Through this work, we discuss how in the digital age, all of our messages may someday become souvenirs to be stored, printed, and replayed records. Through exhibition in different countries and locations, and the collection of messages to their loved ones by a large number of people, this installation has the potential to become a big database. Gradually, with an ever increasing number of messages recorded, it might even become a museum for sound and memory. Also expresses the feelings one has towards a lover through just a few words during interaction with the work.


Title: Robosophy Philosophy: Übermensch and Magnanimous
Author(s):
Exhibition: SIGGRAPH Asia 2017: Mind-Body Dualism
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

In the project Robosophy Philosophy (Meeting Points: Übermensch and Magnanimous) robot are mixing words of Aristotle and Nietzsche (and their words are everybody words) based on calculations and algorithms. If grammar is the “metaphysics of the people,” as Nietzsche claimed, then discussions in the installation is “metaphysics of the machines” and as such ant-words or anarchistic grammar. It is a vision of transfer of knowledge in the future and present criticism of society and technoculture which is allowing brutal destruction of human context replaced with artificial and superficial. Key technical novelty presented in Installation Robosophy Philosophy is the combination of chatbot technologies and Recurrent Neural Network (RNN) models that will enable reinforcement learning in order to create artificial conversational agents who will achieve human level performance. The fact, that things can communicate with each other and with the humans enables unsupervised learning and reinforcement learning and knowledge multiplying opportunities.


Title: The Ghost in the Dandelion
Author(s):
Exhibition: SIGGRAPH Asia 2017: Mind-Body Dualism
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

Dandelion is a virtual creature used data visualization, generative design, and facial recognitiontechniques to build the dynamical patterns of the virtual life to interact with people’s emotional and physiological expression in a soothing way. The core algorithm of Dandelion graphic is inspired from the genetic code, to make dandelion patterns do self-generation, transform morphology like natural evolution. The embedded series parameters are set from the viewer’s specific facial features when stand in front of it, grasp viewer’s emotional and physiological express as the performance of dandelion’s growing behavior. It would demonstrates a novel symbiosis of data visualization that embedded into a mirror brings functional aesthetics, healthcare thinking into our future living.


Title: Wandering World
Author(s):
Exhibition: SIGGRAPH Asia 2017: Mind-Body Dualism
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

We imagine to use technology and reach from our senses and immediate surroundings. Wandering World represents an accumulation of attempts at connecting through physical and virtual activities. Over a one-year period and situated in different geographic (and predominantly political) locations (California and Indiana, USA), the artists simultaneously walked, connected to each other and world events through mobile technologies and using 360-degree, omnidirectional cameras to record images from their respective environments. Along with sounds, and extracted, amassed and whirling within concentric, virtual spheres, flowers compete for attention as subject matter – disorientating place, time, ideology, and thought process.


Title: Autoencoding Blade Runner: Reconstructing Films with Artificial Neural Networks
Author(s):
Exhibition: SIGGRAPH 2017: Unsettled Artifacts: Technological Speculations from Latin America
Writing Type: Paper
Abstract/Summary/Introduction:

In this paper, the authors explain how they created Blade Runner—Autoencoded, a film made by training an autoencoder—a type of generative neural network—to recreate frames from the film Blade Runner. The autoencoder is made to reinterpret every individual frame, reconstructing it based on its memory of the film. The result is a hazy, dreamlike version of the original film. The authors discuss how the project explores the aesthetic qualities of the disembodied gaze of the neural network and describe how the autoencoder is also capable of reinterpreting films it has not been trained on, transferring the visual style it has learned from watching Blade Runner (1982).


Title: Avoid Setup: Insights and Implications of Generative Cinema
Author(s):
Exhibition: SIGGRAPH 2017: Unsettled Artifacts: Technological Speculations from Latin America
Writing Type: Paper
Abstract/Summary/Introduction:

Generative artists engage the poetic and expressive potentials of film playfully and efficiently, with explicit or implicit critique of cinema in a broader cultural context. This paper looks at the incentives, insights, and implications of generative cinema, which significantly expands the creative realm for artists working with film, but also incites critical assessment of the business-oriented algorithmic strategies in the film industry. The poetic divergence, technical fluency, and conceptual cogency of generative cinema successfully demonstrate that authorship evolves toward ever more abstract reflection and cognition which equally treat existing creative achievements as inspirations, sources of knowledge, and tools.


Title: Introduction to Unsettled Artifacts
Author(s):
Exhibition: SIGGRAPH 2017: Unsettled Artifacts: Technological Speculations from Latin America
Writing Type: Essay
Abstract/Summary/Introduction:

The motivation for the 2017 Art Gallery was, in fact, not only to examine the current state of art, science, and technology, but also to return a sense of “agency” to these technological artifacts and to help us recognize that we all make the choices that create the future. Therefore, convinced of the power of the poetics of technological speculation, and with the intention of mapping the ground on which we can imagine alternative futures, the Art Gallery traveled south in order to exhibit works of art produced outside the traditional centers of industrial and technological development, by artists living and working in Latin America.


Title: Lenticular Waterwheels: Simultaneous Kinetic and Embedded Animation
Author(s):
Exhibition: SIGGRAPH 2017: Unsettled Artifacts: Technological Speculations from Latin America
Writing Type: Paper
Abstract/Summary/Introduction:

After decades as a novelty, lenticular technology has resurfaced in compelling large-scale projects. Without any required energy, the medium offers stereography without glasses and frame animation without electronics. A kinetic artwork installed in a remote river in the French mountains broke from the technology’s previous restrictions of static and flat display, recalculated the print mathematics for a curved surface, and explored narrative structures for a moving image on a moving display. This paper documents how the sculpture used custom steel fabrication, site-specific energy, and revised lens calculation to present a previously unexplored hybrid of animation.


Title: The Interactive Image: A Media Archaeology Approach
Author(s):
Exhibition: SIGGRAPH 2017: Unsettled Artifacts: Technological Speculations from Latin America
Writing Type: Paper
Abstract/Summary/Introduction:

This paper examines the history of the influential Interactive Image computer graphics showcase, which took place at museum and conference venues from 1987 to 1988. The authors present a preliminary exploration of the historical contexts that led to the creation of this exhibition by the Electronic Visualization Lab (EVL), which included the integrated efforts of both artists and computer scientists. In addition to providing historical details about this event, the authors introduce a media archaeology approach for examining the cultural and technological contexts in which this event is situated.


Title: Transforming the Commonplace through Machine Perception: Light Field Synthesis and Audio Feature Extraction in the Rover Project
Author(s):
Exhibition: SIGGRAPH 2017: Unsettled Artifacts: Technological Speculations from Latin America
Writing Type: Paper
Abstract/Summary/Introduction:

Rover is a mechatronic imaging device inserted into quotidian space, transforming the sights and sounds of the everyday through its peculiar modes of machine perception. Using computational light field photography and machine listening, it creates a kind of cinema following the logic of dreams: suspended but mobile, familiar yet infinitely variable in detail. Rover draws on diverse traditions of robotic exploration, landscape and still-life depiction, and audio field recording to create a hybrid form between photography
and cinema. This paper describes the mechatronic, machine perception, and audio-visual synthesis techniques developed for the piece.


Title: Agitato
Author(s):
Exhibition: SIGGRAPH Asia 2016: Mediated Aesthetics
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

Project Agitato attempts to represent the evolving music information within a single image frame, in the hope to capture the subjective and perceptual qualities of time expressed in music. The title of the project, named from the music term agitato, depicts the restless agitated style of the music. Each image in this series is generated based on a musical passage from Nicolas Scherzinger’s ‘inter-sax-tive’. For a given moment in time, its spectrum of frequencies is analyzed and used as the input to construct visual elements with various characteristics. As the music progress, the visual elements accumulate and are composed into a single image that reflects the music material within a defined duration of time, allowing viewers to perceive music passage from a single viewpoint, rather than as a linear experience of time


Title: Bodygraphe
Author(s):
Exhibition: SIGGRAPH Asia 2016: Mediated Aesthetics
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

Bodygraphe is an interactive, visual music application that unifies gestural computing with live performance art. Dancers become instruments and conductors that wholly generate graphics and sounds that correspond with their movements in real time. This video is the result of a process in computational aesthetics that explores the relationship between the body and form. Most specifically, we were inspired by visual art avant gardes that prioritized expressive geometry, such as the Neo-concrete movement of the 1950s. Through this project, we seek to make an aesthetic statement while also offering new implications for research regarding the interconnectivity between body and technology


Title: C. Bacon
Author(s):
Exhibition: SIGGRAPH Asia 2016: Mediated Aesthetics
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

C. Bacon is a set of interactive moving images based on a series of paintings on the theme of “Crucifixion” by Francis Bacon(1909-1992). Starting with the mysterious aesthetic language of Francis Bacon, this work attempts to build dialogues between the virtual and reality, postmodern
technology and contemporary authorship, and between machine and human


Title: Convolution by Wild System
Author(s):
Exhibition: SIGGRAPH Asia 2016: Mediated Aesthetics
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

A child-sized robot sits immersed in a full-room projection of an evolving audiovisual virtual environment. The robot ‘talks’ to the virtual environment, telling of its impressions and what it would like to see and hear. People come and go, talking with the robot about the virtual environment, and showing it pictures on their phones. The robot learns these impressions and talks of them to the virtual environment, which evolves in response. Convolution by Wild System is a unique artwork where a robot collaborates with humans to create an ever-evolving immersive audiovisual virtual environment. The resulting artwork dissolves the boundaries between computational and physical phenomena, displaying an aesthetic that is a real hybrid of the physical and the digital, of human and machine learning, of natural and artificial intelligence, and of real and synthetic


Title: Criss~Crossing The Divine/Interactive Spiral Vortex Paint Game
Author(s):
Exhibition: SIGGRAPH Asia 2016: Mediated Aesthetics
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

Criss~Crossing The Divine/Spiral Vortex Paint Game is an interactive game installation conceived to address the ever-expanding religious intolerance fueling global wars. Attendees use interactive wands to curate topic-words and assign more or less importance to each topic they select. The player receives color coded scripture perspectives parsed from the individual’s search. No search results are the same. Directed to a website, the player learns from which 46,000 scriptures within The Old Testament, The New Testament, The Hindu Rig Vedas, The Quran, and Buddhist Texts, their color-coded text results originated.


Title: Forces in Equilibrium
Author(s):
Exhibition: SIGGRAPH Asia 2016: Mediated Aesthetics
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

Forces in Equilibrium explores how equilibrium is formed out of chaos. The installation is comprised of two components. In the first component, a sensor is mounted under the top of a pedestal. When magnets are moved on the pedestal, images and sound on a nearby display become wild and unstable, as if the magnet has unusual powers. The second component is a seesaw controlled by a servomotor. When laser light lands on the seesaw, it tilts accordingly, as if the light has weight. The art works show both magnetic force and laser light as not merely ethereal but as entities capable of affecting images, sounds and movements.


Title: Homes
Author(s):
Exhibition: SIGGRAPH Asia 2016: Mediated Aesthetics
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

Homes presents the interior spaces where people from the fishing village of Tai O live. The installation includes the everyday objects with which they surround themselves. Two LCD monitors show virtual interiors of two village houses. Visitors to the installation can wander these virtual interior spaces by using trackballs attached to each screen. A large photo showing the street where the houses are located is on a facing wall.


Title: Ink Fall
Author(s):
Exhibition: SIGGRAPH Asia 2016: Mediated Aesthetics
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

Ink・Fall is a digital installation of ink painting of waterfall.
From ancient times, China has a traditional of using ink to draw waterfall paintings. And the core concept of mountain and water paintings is never about accuracy or beauty of a moment. It is about the flowing atmosphere that make Chinese paintings unique. This installation, uses thousands of lines and hundreds of thousands of ink particles, to paint ink paintings on screen. Though expression methods have also changed dramatically in this digital age, what I want to show and communicate is almost the same as the ancient artists do in this piece. When fingers
touch the painting(screen), ink streams will be separated by fingers, particles are also blasted, but the flow of ink continues. At the same time, the sound of koto rises and fused into the background music of birds and water flows harmoniously


Title: Journey through the centre_01
Author(s):
Exhibition: SIGGRAPH Asia 2016: Mediated Aesthetics
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

My digital sculptures are born out the direct 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, being located in an area that exists beyond the imagination and everyday experience. These virtual sculptures, made manifest through 3D printing technology, are grounded in a material form and act as a vehicle which transports us to this strange and wonderful “other place” where unpredictable and surprising events occur. It is as if modelling space with light, in an
environment where physics play no part, freeing form from material constraints, and transcending our given understanding of how objects behave in the world.


Title: Light Storm PLUS
Author(s):
Exhibition: SIGGRAPH Asia 2016: Mediated Aesthetics
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

In the analogue world, electronic signals are based on waveforms. Transmissions of sound waves, light waves, and water waves, all use waveforms to transmit vital information directly related to energy distribution, making waveforms an integral part of our daily lives. The art work Light Storm PLUS uses power generated by waveforms to control the motor of a high-speed rotation device transmitting electroluminescent (EL) cold light. The artwork replicates the shape of wave forms in the real world, thus the light waveforms fluctuate with same rhythm as they do in the analog world. Through interacting with the artwork, people sense that their bodies are key to the transmission of data, as they become active components in the feedback loop, but also become part of the mechanism of transmission.


Title: Luminescent Tentacles
Author(s):
Exhibition: SIGGRAPH Asia 2016: Mediated Aesthetics
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

The Luminescent Tentacles is an interactive art that is inspired by waving tentacles of sea anemones under the sea. The 256 shape-memory alloy actuators react to hand movement and the top of the actuator softly glows like a bioluminescent organism. Each actuator is actuated by three shape-memory alloy wires. The actuator can bend in six directions by the combination of three currents. The control application interacts with fluid dynamics to realize a kinetic representation like a water ripple. The sound reaction to hand movement creates music. The Luminescent Tentacles provides a comfortable interaction like interacting with sea anemones.


Title: Medallions
Author(s):
Exhibition: SIGGRAPH Asia 2016: Mediated Aesthetics
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

This work is a series of 3D-printed wall plaques featuring ornate shapes generated procedurally. The main purpose of this project is to sublimate a traditional beauty found in decorative ornaments into a modern algorithmic art by using a combination of procedural approach in Computer Generated Imagery (CGI) and 3D-printing technology which has been growing rapidly. Each medallion was generated by using metaballs which are a kind of modeling method in CGI. A drawing algorithm for metaballs was modified and optimized for generating ornate relief-like objects in this project. Also, regular-polygonal shapes were used for the process of density
calculation in drawing metaballs. Generated patterns were converted into 3D models, and the models were 3D-printed finally


Title: MovISee
Author(s):
Exhibition: SIGGRAPH Asia 2016: Mediated Aesthetics
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

MovISee is a digital software for people to create personal visual outputs. We use a depth camera to create mixed reality for people to explore the selected information and ultimately transform their understanding the ability of their body movement to create composite
customized visual outputs. In short, it is a system to recreate information and explore personal creativity. The results reveal the sedimentary relative movements through filming; time and space are deconstructed to the extent that meaning is shifted and interpretations become multifaceted; multi-layered images are created in which the fragility and instability of our reality is questioned.


Title: NARCISSUS
Author(s):
Exhibition: SIGGRAPH Asia 2016: Mediated Aesthetics
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

NARCISSUS is an experimental video and series of large format prints created using the Kinect sensor and Processing 2.0. The works explore the nature of love and tension in the line. The ambiguity of perspective in 3D imagery makes it appear as if the main character in the piece is both lover and loved at the same time, reinforcing the idea of a passionate need that cannot be fulfilled. This work is inspired by a 1976 drawing of Colombian artist Luis Caballero, who died of AIDS in 1995, whose work was a painfully ecstatic, homo-erotic portrait of a generation that was just coming out of the closet. Almost 40 years later, we find ourselves in a Lipovetskian era, where narcissism appears to counterbalance the erotic angst. The actor’s performance is altered due to the usage of technologies that question the traditional role of the video camera’s single point of view


Title: Notations
Author(s):
Exhibition: SIGGRAPH Asia 2016: Mediated Aesthetics
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

For the work, CYCLE, viewers can pluck the interactive kinetic instrument to instantly compose music and produce clefs on the projection screen. The clefs on the screen appropriate from the ancient clefs used in Gregorian Chants of the 15th century. Composed of these ancient clefs and tabs, each note is presented through squares, belonging to unaccompanied monophonic music clefs. The interactive mechanical instrument creates clefs using Arduino, Adafruit, Processing, Max/MSP, Bluetooth, LED, 3D printing, acrylic, and metal tubes, enabling viewers to instantly play the instrument on-site and create various clefs. The music generated is instantly converted into the correct clefs, which are projected onto the screen. When there are no viewers present, it will automatically play and present the sounds and clefs previously created by viewers, expressing the digital aesthetics of interactive technology art and collaborative creation, and imbuing digital kinetic instruments with more cultural and musical qualities.


Title: One-Stroke
Author(s):
Exhibition: SIGGRAPH Asia 2016: Mediated Aesthetics
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

A character is a two-dimensional symbol. Also, it is a static image. But we cannot write a character without moving our bodies and spending time. Thus, character potentially has a time axis. In order to reveal this time axis, the device called “Mojigen” was created. Mojigen writes alphabets in the air by the trajectory of the coil springs operated by eight robot arms. By
changing the point of view, we can notice that a character has a time axis with dynamic moves.


Title: Sympathist
Author(s):
Exhibition: SIGGRAPH Asia 2016: Mediated Aesthetics
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

Sympathist attempts to explore scenery as imagined by our brains. In the installation of this bizarre illusion, the unique data and variables of brain waves cause changes in illusions, where brain activity is visualized like cyberspace. The digital age has made cyberspace possible. We devote most of our time into cyberspace to exchange information and knowledge with other people. The prevalence of mobile devices and virtual reality headsets demonstrates that we are getting closer to this illusory space. These thoughts directly influence our brain waves. The civilization which we are so proud of has instead led humanity increasingly further away from the environment. Our five senses, originally meant to accept natural frequencies, have been allured by uncoordinated artificial and digital frequencies, to the extent that we are forgetting our original feelings. People have fallen into the endless loop of cyberspace without realizing it.


Title: The Unbearable Lightness and Heaviness of Being
Author(s):
Exhibition: SIGGRAPH Asia 2016: Mediated Aesthetics
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:

In the sculptural installation, “The Unbearable Lightness and Heaviness of Being”, rapid prototyping machines were used to print the 3D forms; these sculptures are installed in unique formations with other natural materials. This work contains conceptual and formal contradictions. Conceptually, it embodies an existence of opposing forces – depicting organisms in flight, but rooted. Structurally, the natural and synthetic are fused; fragile, intricate forms made of plastic and advanced digital technologies are juxtaposed with organic matter


Title: Time Machine
Author(s):
Exhibition: SIGGRAPH Asia 2016: Mediated Aesthetics
Abstract/Summary/Introduction:

Time Machine is a work constructed on the principles of zoetropes. Through the use of a 200 w motor to control speed and rotation, in combination with a pulsating strobe light, the artists create the optical illusion that 15 separate frames of an animation are actually connected. A small step motor added to the work references a number wheel, which spins separately from the animation, so that that the viewer understands the work as being about expanded time.


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

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


Title: Perceptual Cells: James Turrell’s Vision Machines Between Two Paracinemas
Author(s):
Exhibition: SIGGRAPH 2016: Data Materialities
Writing Type: Paper
Abstract/Summary/Introduction:

James Turrell’s perceptual cells incorporate the neurophysiological apparatus as an active participant not only in the reception of projected moving-images, but also in the very production and transmission of virtual moving-images. Combining two perceptual phenomena—the stroboscopic effect and the Ganzfeld Effect—Turrell’s perceptual cells integrate the architecture of projection with the architecture of organic vision to produce a single networked extra-sensory medium. This paper performs a phenomenological analysis of Turrell’s Light Reignfall (2011) perceptual cell, following its design, effects on the viewer, and cultural and material history. In the process, the paper situates the perceptual cell between the history of avant-garde cinema (what historians have called “paracinema”) and the history of perceptual psychology and parapsychology (what the author terms “para-cinema”). Between these two paracinemas, Turrell’s perceptual cells activate the aesthetic potential of what the author discusses as “edgeless projection.”


Title: Pulse Shape 22: Audiovisual Performance and Data Transmutation
Author(s):
Exhibition: SIGGRAPH 2016: Data Materialities
Writing Type: Paper
Abstract/Summary/Introduction:

Pulse Shape 22 is an improvisational audiovisual performance featuring shortwave radio transmissions as the sole source material for real-time audio processing alongside video of the sun projected through cast-glass lenses designed specifically for this piece. The structure of the piece is derived from metrics on energy accumulation over a period of 2.2 nanoseconds resulting from the targeting of 60 laser beams on a single tetrahedral hohlraum in weapons testing experiments as carried out by the Los Alamos Inertial Confinement Fusion unit, at the Omega Laser Facility at the University of Rochester. Pulse Shape 22 is an exploration of architectural space through the use of site- and time-specific information found in regions of the electromagnetic spectrum outside the reaches of the human
sensory apparatus. It is an attempt to alter the audience’s perceptions of their surroundings and create
a moment of rupture from hidden worlds found in our local environment.


Title: Raised On YouTube: Cultural Data Materialization Using Plants
Author(s):
Exhibition: SIGGRAPH 2016: Data Materialities
Writing Type: Paper
Abstract/Summary/Introduction:

Raised on YouTube is an installation and game that grows plants using only the light of projected video and makes ecology legible as a multiplayer game. The challenge of finding the most nurturing video is crowdsourced online. As players watch a webcam feed of the plants surrounded by two-way mirrors, their computer power is diverted to photosynthetic video analysis. The system calculates the photosynthetic score for each video using a basic botanical model. The resulting shape and density of the plant grow bed serves as a data visualization of the energy patterns in the cultural stream. The system provides opportunities to reflect on the effects of long-term exposure to contemporary media and to imagine ecological possibilities of participatory culture.


Title: Visual History with Choson Dynasty Annals
Author(s):
Exhibition: SIGGRAPH 2016: Data Materialities
Writing Type: Paper
Abstract/Summary/Introduction:

For this paper, the authors selected three historical events taken from the Annals of the Choson Dynasty that represent dramatic and tragic stories about parents and their sons for data visualization. By connecting names with entities indicating conductions from history books, they found interesting patterns that tell stories with embedded relations. The visualized images in this paper were mainly code-generated, based on the data of the Annals, with some graphic embellishment added.


Title: (Projection) Mapping The Brain: A Critical Cartographic Approach To The Artist's Use Of FMRI To Study The Contemplation Of Death.
Author(s):
Exhibition: SIGGRAPH Asia 2015: Life on Earth
Writing Type: Paper
Abstract/Summary/Introduction:

Production of life-sized self-portrait comprising digital animations and live action video projection-mapped onto a 3D print from MRI data gathered as the artist viewed memento mori paintings and meditated on death.


Title: Conceptual Superposition. The Aesthetics Of Quantum Simulation
Author(s):
Exhibition: SIGGRAPH Asia 2015: Life on Earth
Writing Type: Paper
Abstract/Summary/Introduction:

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


Title: Dear Human
Author(s):
Exhibition: SIGGRAPH Asia 2015: Life on Earth
Writing Type: Paper
Abstract/Summary/Introduction:

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


Title: HCI In Performance Arts And The Case Of Illimitable Space System's Multimodal Interaction And Visualization
Author(s):
Exhibition: SIGGRAPH Asia 2015: Life on Earth
Writing Type: Paper
Abstract/Summary/Introduction:

The paper describes the relevant in performance arts and HCI and showcases the Illimitable Space System–a configurable multimodal interactive system prototype for interactive documentaries, dance performance, and musical visualizations using gestures (Kinect) and speech processing for various modes of interaction.


Title: Life After Life
Author(s):
Exhibition: SIGGRAPH Asia 2015: Life on Earth
Writing Type: Paper
Abstract/Summary/Introduction:

The tension between biology and political economy brings the following questions: is an individual an owner of its own body? does owning constitute its property? and under which conditions? what are the methods for authorising and selling organs, cells or DNA? under which conditions can companies manage biological material?


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