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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?
Title: Meditative Process In New Media Art: An Affective Possibility Of Digital Media In The Art Making Process
Author(s):
Exhibition: SIGGRAPH Asia 2015: Life on Earth
Writing Type: Paper
Abstract/Summary/Introduction:
This paper explores the affective potentials in digital media as looking into the process of art making. Contemplating the unique experience of artists with technology, this paper suggests alternative ways of building a relationship between digital media and human bodies, considering the gap as an open space for a metaphysical freedom.
Title: Numerical Anamorphosis: An Artistic Exploration
Author(s):
Exhibition: SIGGRAPH Asia 2015: Life on Earth
Writing Type: Paper
Abstract/Summary/Introduction:
We show how raycasting techniques help finding new effective methods for building general anamorphoses, using arbitrary shaped mirrors and three dimensional anamorphic sculptures. This leads in turn to the achievement of 3D printed sculptures, validating the method.
Title: Super-Natural: Digital Life In Eastern Culture
Author(s):
Exhibition: SIGGRAPH Asia 2015: Life on Earth
Writing Type: Paper
Abstract/Summary/Introduction:
We examine how digital media technologies are predominantly framed through a cultural Western lens then advance the proposition that by framing digital media technologies through an Eastern lens we may better understand how digital media and digital systems can promote a sense or perception of “technology-being-with-us”.
Title: SyncDon II: Bio-Synchronical Communication
Author(s):
Exhibition: SIGGRAPH Asia 2015: Life on Earth
Writing Type: Paper
Abstract/Summary/Introduction:
“SyncDon II” aims to transfer emotion to others non-verbally by the heartbeat synchronization, which induced by the stimuli correlated with heartbeat rhythms. Emotions on the rhythms are passed to someone else through the gift-box. “SyncDon II” tries to enhance our communication with the physical synchronicity.
Title: Articulating Media Arts Activities in Art-Science Contexts
Author(s):
Exhibition: SIGGRAPH 2015: Hybrid Craft
Writing Type: Paper
Abstract/Summary/Introduction:
This paper discusses the conflicting expectations for media artists taking part in art-science collaborations. Despite the increasing opportunity to participate in these interdisciplinary projects, it can be unclear how media arts activities are best articulated, or even if they need to be defined at all. Additionally, this paper examines a methodological framework widely used in the visualization community for identifying different visualization tasks within research activities. Inspired by its success, this paper proposes a new methodological framework for media arts activities in art-science contexts. This framework splits media arts activities into overlapping areas: generation, augmentation, provocation and mediation, providing a useful way to articulate the broader importance of media arts in interdisciplinary collaboration.
Title: Ethics, Ecology, and the Future: Art and Design Face the Anthropocene
Author(s):
Exhibition: SIGGRAPH 2015: Hybrid Craft
Writing Type: Paper
Abstract/Summary/Introduction:
Art and design have become platforms for discussing the long-term implications of technology and modernity, most recently in relation to ecological crisis and the Anthropocene. While artists, designers and curators seek to raise awareness of the Anthropocene, it is important to remain critical of the narratives these practitioners develop. This paper provides a brief critique of how these issues are being addressed in the cultural sphere, suggesting that works of critical, conceptual and speculative design may be best suited to addressing the Anthropocene as they foster critical thinking about how we relate to technology and science, how we organize ourselves politically and socially, and how we define ourselves in the broader ecological assemblage. Artists and designers discussed include Marina Zurkow, Una Chaudhuri, Oliver Kellhammer, Fritz Ertl and Sarah Rothberg; Anthony Dunne and Fiona Raby; and Jae Rhim Lee.
Title: Light Pattern: Writing Code with Photographs
Author(s):
Exhibition: SIGGRAPH 2015: Hybrid Craft
Writing Type: Paper
Abstract/Summary/Introduction:
This paper explores the author’s Light Pattern project, a programming language where code is written with photographs rather than text. Light Pattern explores programming languages as the most direct conduit between human thinking and machine logic. It emphasizes the nuance, tone and personal style inherent in all code. It also creates an algorithmic photography structured by the programs one writes, but not ultimately computer-generated. The paper looks at connections to both hobbyist/hacker culture (specifically esolangs) and to art-historical impulses and movements such as Fluxus and Oulipo.
Title: The Bailey-Derek Grammar: Recording the Craft of Wire-Bending in the Trinidad Carnival
Author(s):
Exhibition: SIGGRAPH 2015: Hybrid Craft
Writing Type: Paper
Abstract/Summary/Introduction:
This paper presents work on the development of a shape grammar that records the dying, undocumented craft of wire-bending in the Trinidad Carnival. This craft is important for the building and continuation of cultural heritage and identity. Due to the lack of prior research in this non-Western design practice, the author conducted site visits, interviews and observations, and visually examined wire-bent artifacts in Trinidad to develop this grammar. This paper presents the materials, steps and shape rules that begin to synthesize the craft, as well as one design. This study and the resulting grammar have positive implications for design education and practice.
Title: The Dual Skins of a Media Façade: Explicit and Implicit Interactions
Author(s):
Exhibition: SIGGRAPH 2015: Hybrid Craft
Writing Type: Paper
Abstract/Summary/Introduction:
In the fall of 2013, Mégaphone, an architectural-scale interactive “Speakers’ Corner,” was deployed outdoors after dusk in downtown Montréal, Canada. This urban art installation included a monumental media façade designed to display a transcription of some of the words uttered into the microphone by end users. Driven by the system’s two temporal modalities—a performative “live mode” and an archival “sleep mode”—the video projections revealed the dual skins of a media façade that spanned almost an entire city block. This article examines how activists appropriated Mégaphone to transform an ordinary building into an urban mausoleum.
Title: Yturralde: Impossible Figure Generator
Author(s):
Exhibition: SIGGRAPH 2015: Hybrid Craft
Writing Type: Paper
Abstract/Summary/Introduction:
This research highlights José María Yturralde’s most significant involvement and contributions to early computer art from 1968 to 1973. Yturralde collaborated with artists and scientists to expand and redefine his understanding of shapes, and explored ways that the mainframe computer could be used as a tool for complementing his art practices. He is known for developing a mathematical model with which he was able to create a highly sophisticated program where Penrose geometries could be recombined algorithmically. However, there is limited evidence and access to the code of the actual software. The authors’ goal is to further understand Yturralde’s contribution by developing a re-significance of his model, which they have accomplished through a modern interpretation of manuscripts.
Title: A Piece of the Pie Chart: Feminist Robotics
Author(s):
Exhibition: SIGGRAPH 2014: Acting in Translation
Writing Type: Paper
Abstract/Summary/Introduction:
This paper analyzes the robotic gallery installation A Piece of the Pie Chart. The project addresses gender inequity in the tech world. It consists of a computer workstation and a food robot. The food robot puts pie charts onto edible, pre-baked pies. They depict the gender gap in technical environments. Visitors use the robot to create pies. Pictures of the pies are disseminated via Twitter, and the physical pies are mailed to the places where the data originated. In the following text, the author disassembles the machine in the context of feminist theory, feminist technology research, visualization, and political robotics.
Title: Aesthetics of Biocybernetic Designs: A Systems Approach to Biorobots and Its Implications for the Environment
Author(s):
Exhibition: SIGGRAPH 2014: Acting in Translation
Writing Type: Paper
Abstract/Summary/Introduction:
The authors identify some of the theoretical premises of biocybernetic art objects, with reference to the works of Nam June Paik, Edward Ihnawitz, Ulrike Gabriel, and most notably, Gilberto Esparza, the Mexican biocybernetic artist. Systems theory anticipates stochastic convergences in nature, defying the classic certitude of the teleological notion of form. Evidence for this paradigmatic shift is found in the biocybernetic creatures conceived by these roboticists. In much biocybernetic art, beauty emerges in the form of adaptive mechanisms, such as in robotic tetrapods or self-organizing artificial plants. Such structures provide a template for survival mechanisms in an increasingly entropic environment.
Title: Creature:Interactions: A Social Mixed-Reality Playspace
Author(s):
Exhibition: SIGGRAPH 2014: Acting in Translation
Writing Type: Paper
Abstract/Summary/Introduction:
This paper discusses Creature:Interactions (2015), a large-scale mixed-reality artwork created by the authors that incorporates immersive 360° stereoscopic visuals, interactive technology, and live actor facilitation. The work uses physical simulations to promote an expressive full-bodied interaction as children explore the landscapes and creatures of Ethel C. Pedley’s ecologically focused children’s novel, Dot and the Kangaroo. The immersive visuals provide a social playspace for up to 90 people and have produced “phantom” sensations of temperature and touch in certain participants.
Title: Malleable Environments and the Pursuit of Spatial Justice in the Bronx
Author(s):
Exhibition: SIGGRAPH 2014: Acting in Translation
Writing Type: Paper
Abstract/Summary/Introduction:
A design team in the Hunts Point neighborhood of the South Bronx used methodologies of performance and collaborative, location-based storytelling to contend with the effects of urban spatial injustice in the community. Ideation via a series of participatory performances led to creation of a mobile cinema application as the starting point for public, location-based cinema walks. The application accepts usergenerated content, acting as a new form of generative monument to the neighborhood as it evolves. The project exemplifies how installing situated technologies for an embodied form of participation can help translate local concerns to outside audiences, in this case using a metaphorical, locative media platform to discuss the evolving nature of environmental discrimination, over-incarceration, and urban spatial justice in New York City.
Title: Nervous Ether: Soft Aggregates, Interactive Skins
Author(s):
Exhibition: SIGGRAPH 2014: Acting in Translation
Writing Type: Paper
Abstract/Summary/Introduction:
This paper describes the authors’ exploration and experimentation with cellular pneumatic aggregates for kinetic, environmentally responsive envelope systems. The work is situated within the history and technology of pneumatic structures, biological paradigms, the agency and aesthetics of material, information translation, and the tension between performance and affect within responsive environments. The paper elaborates on the physical and computational development of novel pneumatic systems, experimentation with their interactive capabilities, and a recently completed installation, Nervous Ether, a pneumatic spatial envelope that operates as an instrument to register and communicate remote environmental information while also developing affective interaction with inhabitants.
Title: Object Intermediaries: How New Media Artists Translate the Language of Things
Author(s):
Exhibition: SIGGRAPH 2014: Acting in Translation
Writing Type: Paper
Abstract/Summary/Introduction:
This paper uses Walter Benjamin’s concept of translation between people and things as a focal point for analysis of the work of contemporary new-media artists Paula Gaetano Adi and Lindsey French, who utilize robotics and interactive technology to explore interspecies communication. Framed by materialist, poststructuralist, and posthumanist theory, along with recent discourse in object-oriented ontology, this paper poses the work of Gaetano Adi and French as potential models for visualizing object-oriented and vital materialist interactions. In the age of the Anthropocene, thinking beyond the human has become increasingly vital in both ethical and ecological terms, making the ability to envision less anthropocentric, more object-oriented worldviews both novel and timely.
Title: Posture Platform and The Drawing Room: Virtual Teleportation in Cyberspace
Author(s):
Exhibition: SIGGRAPH 2014: Acting in Translation
Writing Type: Paper
Abstract/Summary/Introduction:
Three-hundred-sixty-degree audio/visual immersion and the restoration of non-verbal communication cues are essential features for interfaces inviting the human body in cyberspace. The Posture Platform is a network of bases that offers access to a shared virtual environment. Each base is composed of an immersive 360-degree visual display, a surround-sound system, an array of image capture devices, a microphone, an omnidirectional controller/pointer, and a computer with wifi and an internet connection. The Drawing Room is the most recent virtual space developed for the platform. It invites participants to a blank shared space where they draw their own environment collaboratively. The platform, and the project it hosts, is an example of the art, design, and engineering challenges and opportunities associated with development of inhabitable cyberspace.
Title: The Aesthetics of Liminality: Augmentation as Artform
Author(s):
Exhibition: SIGGRAPH 2014: Acting in Translation
Writing Type: Paper
Abstract/Summary/Introduction:
From ARToolkit’s emergence in the 1990s to the emergence of augmented reality (AR) as an art medium in the 2010s, AR has developed as a number of evidential sites. As an extension of virtual media, it merges real-time pattern recognition with goggles (finally realizing William Gibson’s sci-fi fantasy) or handheld devices. This creates a welding of real-time media and virtual reality, or an optically registered simulation overlaid upon an actual spatial environment. Commercial applications are numerous, including entertainment, sales, and navigation. Even though ARbased works can be traced back to the late 1990s, AR work requires some understanding of coding and tethered imaging equipment. It was not until marker-based AR, affording lower entries to usage, as well as geo-locational AR-based media, using handheld devices and tablets, that augmented reality as an art medium would propagate. While one can argue that AR-based art is a convergence of handheld device art and virtual reality, there are intrinsic gestures specific to augmented reality that make it unique. The author looks at some historical examples of AR as well as critical issues of AR-based gestures such as compounding the gaze, problematizing the retinal, and the representational issues of informatic overlays. This generates four gestural vectors, analogous to those defined in “The Translation of Art in Virtual Worlds,” which is examined through case studies. From this, a visual theory of augmentation will be proposed.
Title: Transmission: A Telepresence Interface for Neural and Kinetic Interaction
Author(s):
Exhibition: SIGGRAPH 2014: Acting in Translation
Writing Type: Paper
Abstract/Summary/Introduction:
Transmission is both a telepresence performance and a research project. As a real-time visualization tool, Transmission creates alternate representations of neural activity through sound and vision, investigating the effect of interaction on human consciousness. As a sonification project, it creates an immersive experience for two users: a soundscape created by the human mind and the influence of kinetic interaction. An electroencephalographic (EEG) headset interprets a user’s neural activity. An Open Sound Control (OSC) script then translates this data into a real-time particle stream and sound environment at one end. A second user in a remote location modifies this stream in real time through body movement. Together they become a telematic musical interface—communicating through visual and sonic representation of their interactions.
Title: XEPA - Autonomous Intelligent Light and Sound Sculptures That Improvise Group Performances
Author(s):
Exhibition: SIGGRAPH 2014: Acting in Translation
Writing Type: Paper
Abstract/Summary/Introduction:
XEPA anticipates a future where machines form their own societies. Going beyond mere generative art, machines will exhibit artistic creativity with the addition of artistic judgment via computational aesthetic evaluation. In such a future our notions of aesthetics will undergo a radical translation. The XEPA intelligent sculptures create animated light and sound sequences. Each sculpture “watches” the others and modifies its own aesthetic behavior to create a collaborative, improvisational performance. No coordination information or commands are used. Each XEPA independently evaluates the aesthetics of the other sculptures, infers a theme or mood being attempted, and then modifies its own aesthetics to better reinforce that theme. Each performance is unique and widely varied. XEPA is an ever-evolving artwork, intended as a platform for ongoing experiments in computational aesthetic evaluation.
Title: 5 Story Building
Author(s):
Exhibition: SIGGRAPH Asia 2013: Art Gallery
Writing Type: Paper
Abstract/Summary/Introduction:
A mischievous Monster, a naive Sidekick, ten shallow Girls, a retired Villain, an apathetic Robot, and a Megalomaniac from outer space live under one roof in the “5 Story Building”. Five simultaneous stories tell the lives of the singular occupants of this confining building. These neighbors carry on with their own ambitions and inherited craziness without realizing that their stories are intertwined in this episodic interactive fiction.
Jean Paul Sartre and “Sleep No More” inspire this experience for digital tablets that explores the nuances and opportunities enabled by the introduction of interactivity in storytelling.
“5 Story Building” is intentionally crafted to show off things that traditional media cannot. This project explores the possibility of multiple simultaneous stories that are part of a bigger plot. These stories develop regardless if they are seen or not: the users’ decisions are not only about what they sees but also, and maybe most importantly, what they decide not to see.
Multiple readings are necessary and voyeurism is encouraged.
View Full Paper: [View PDF]Title: A-me: Augmented Memories
Author(s):
Exhibition: SIGGRAPH Asia 2013: Art Gallery
Writing Type: Paper
Abstract/Summary/Introduction:
A-me is a fictitious memory-evoking apparatus at the intersection of science, art and technology. The system enables users to experience other people’s memories as well as store their own by interacting with a volumetric representation (MR) of a human brain. The user retrieves or stores memories (audio traces) by pointing and clicking at precise voxels locations. Triggered by their exploratory action, a story is slowly revealed and recomposed in the form of whispering voices revealing intimate stories. A-me it’s a public receptacle for private memories, thus exploring the possibility of a collective physical brain.
The installation introduces an original optical see-through AR setup for neuronavigation capable of overlaying a volume rendered MR scan onto a physical dummy head. Implementing such a system also forced us to address technical questions on quality assessment of AR systems for brain visualization.
Title: Cerebral Interaction and Painting
Author(s):
Exhibition: SIGGRAPH Asia 2013: Art Gallery
Writing Type: Paper
Abstract/Summary/Introduction:
The research focuses on combination of novel technology and traditional art. In this paper, a novel interactive art installation (IAI) using user’s thought to interact with a digital Chinese ink painting is introduced. Meanwhile, the final purpose of this
research is to establish a link between novel technology and traditional arts and further to bring out traditional art philosophy by taking the advantages of novel technology. Finally, this research aims to help people understand not only the visual expression of an art, but also its philosophy and spirit through different kinds of interaction. Based on this, the theory research focuses on four parts: traditional art philosophy, artistic and cognitive psychology, traditional art, novel technology. Meanwhile, for practice, a Chinese style IAI experiment including brain waves control technology is introduced to help people better understand the purpose of this research.
Title: Generating Abstract Paintings in Kandinsky Style
Author(s):
Exhibition: SIGGRAPH Asia 2013: Art Gallery
Writing Type: Paper
Abstract/Summary/Introduction:
This paper presents a recent project on automatic generation of Kandinsky style of abstract paintings using the programming language Processing. It first offers an analysis of Kandinsky’s paintings based on his art theories and the author’s own understanding and observation. The generation process is described in details and sample generated images styled on four of Kandinsky’s paintings are also demonstrated and discussed. Our approach is highly scalable, limited only by the memory space set in Processing. Using random generation, every styled image generated can be unique. A selection of the images generated in the required resolution is also submitted and 70 images are made into a video companion.
View Full Paper: [View PDF]Title: Participating Interface
Author(s):
Exhibition: SIGGRAPH Asia 2013: Art Gallery
Writing Type: Paper
Abstract/Summary/Introduction:
This paper presents an artwork that is concerned with the interactions among people rather than the interaction between an audience and the artwork. We visualize the physical motion variations from the interactions among different participants using Kinect-based depth estimation and video tracking algorithms. The proposed work can visualize the affective experiences based on the physical distance between participants. We also provide experiences in which a participant becomes a part of the artwork in the form of both shape and interface. The body of a participant plays an important role in communicating and interacting with other participant and the artwork itself.
View Full Paper: [View PDF]Title: SwarmVision: Autonomous Aesthetic Multi-Camera Interaction
Author(s):
Exhibition: SIGGRAPH Asia 2013: Art Gallery
Writing Type: Paper
Abstract/Summary/Introduction:
A platform of exploratory networked robotic cameras was created, informing new directions in computer vision engineering and utilizing an aesthetic approach to experimentation. Initiated by research in autonomous swarm robotic camera behavior, SwarmVision is an installation consisting of multiple Pan-TiltZoom cameras on rails positioned above spectators in an exhibition space, where each camera behaves autonomously based on its own rules of computer vision and control. Each of the cameras is programmed to detect visual information of interest based on a different algorithm, and each negotiates with the other two, influencing what subject matter to study in a collective way. The emergent behaviors of the system suggest potential new approaches in scene reconstruction, video-based behavior analysis and other areas of vision and imaging research.
View Full Paper: [View PDF]Title: The Next Generation Poetic Experience
Author(s):
Exhibition: SIGGRAPH Asia 2013: Art Gallery
Writing Type: Paper
Abstract/Summary/Introduction:
This paper presents the motivation, background and implementation of The Muses of Poetry, an interactive installation that combines dynamically generated character animation, semantic analysis, natural voice interaction and affect in poetry. Inspired by the subjectivity and ethereal quality of this literary art, we wanted to enhance the act of reciting poetry by providing a set of characters the possibility to “understand” and manifest the emotional content of the poems through facial expressions and affective speech. We believe that this original installation will bring poetry closer to a wider audience, while creating a playful, interactive and surprising experience for the user.
Title: Topics on Aesthetic Data Visualization: Viewpoints, Interpretation, and Alternative Senses
Author(s):
Exhibition: SIGGRAPH Asia 2013: Art Gallery
Writing Type: Paper
Abstract/Summary/Introduction:
Aesthetic data visualization, which looks at complex data sets from an ingenious perspective, is difficult to empirically organize due to its insufficient records. Fortunately, insightful artists and curators have recently provided some notable interdisciplinary exhibitions and publications. This author was a recent participant at such an event; however, it is not easy to summarize the various projects into a single vision because each artist’s value, method, philosophy, and aesthetic preference are unique. This paper categorizes data visualization based on various topics. Aesthetic data visualization is similar to conventional data visualization in that it organizes ambiguous data into a database. Artists then tend to integrate the information into their art. In this regard, it might be possible to identify tendencies and examine data as contemporary iconology, as well as discover hidden possibilities of recent aesthetic data visualizations.
View Full Paper: [View PDF]Title: Topics on Bible Visualization: Content, Structure, Citation
Author(s):
Exhibition: SIGGRAPH Asia 2013: Art Gallery
Writing Type: Paper
Abstract/Summary/Introduction:
Text visualization begins with understanding text itself which is material of visual expression. To visualize any text first and the expressive approaches theoretical foundation about the about the approaches for text visualization by diverse examples of test visualization which are derived through the various characteristics of the text. To do this, we chose the “Bible” test which is well known globally and digital data of it can be accessed easily and thus diverse test visualizations examples exist and analyzed the example of the bible text visualization. We derived the unique characteristics of the text-content, structure, and quotation as criteria for analyzing and supported validity of analysis by adopting at least 2-3 examples for each criterion. In the result, we can comprehend that the goals and expressive approaches are decided depending on the unique characteristics of the Bible text. We expect to build theoretical method for choosing the materials and approaches by analyzing more diverse examples with various point of views on the basis of this research.
View Full Paper: [View PDF]Title: Early History of French CG
Author(s):
Exhibition: SIGGRAPH 2013: XYZN: Scale
Writing Type: Paper
Abstract/Summary/Introduction:
This paper provides an historical summary of the emergence of computer graphics research and creation in France between 1970 and 1990, a period of innovation that transformed artistic practice and French visual media. The paper shows the role of these developments in the history of art, the evolution of digital technology, and the expansion of animation and visual effects in the film industry.
Title: Hybrid Basketry: Interweaving Digital Practice Within Contemporary Craft
Author(s):
Exhibition: SIGGRAPH 2013: XYZN: Scale
Writing Type: Paper
Abstract/Summary/Introduction:
Contemporary 3D printing and traditional craft rarely meet in the same creation. They tend to live in different worlds. In this paper, the author argues for merging these two distinct traditions. To that end, he developed hybrid basketry, a medium where 3D-printed structures are shaped to allow the growth and development of hand-woven patterns. While the 3D-printed plastic elements contribute the aesthetics of the digital curvatures and manifolds, the hand-woven reed, jute, and canvas fibers infuse the baskets with a unique organic appeal. The author discusses his motivation, describes the making process, and presents four hybrid baskets, integrating a deeper discussion on the place of craft and tradition within our contemporary approach to design and fabrication.
Title: KIMA - A Holographic Telepresence Environment Based on Cymatic Principles
Author(s):
Exhibition: SIGGRAPH 2013: XYZN: Scale
Writing Type: Paper
Abstract/Summary/Introduction:
KIMA is a holographic surround-sound installation that visualizes telepresence as both a phonetic and a synaesthetic phenomenon. The performance piece is based on the physical conditions of cymatics-the study of physically visible sound wave patterns. Two environments, a quad surround and a holographic interface, build the framework of a telematic experience that illustrates communication as wave forms while focusing on the relationship between sound and matter.
Title: Null By Morse: Historical Optical Communication to Smartphones
Author(s):
Exhibition: SIGGRAPH 2013: XYZN: Scale
Writing Type: Paper
Abstract/Summary/Introduction:
Null By Morse is an installation artwork that incorporates a military signaling lamp and smartphones. A series of Morse messages is transmitted automatically by the signal lamp. The messages are drawn from the history of Morse and telegraphy. A custom app for iPhone and Android uses the phone’s camera to identify the changing light levels of the lamp and the associated timings. The app then decodes the Morse and displays the message on the screen on top of the camera image. This paper discusses the artwork in relation to the following theoretical aspects: It contextualizes the position of smartphones in the history of optical communication. It proposes an approach to smartphones in media art that moves away from futurist perspectives whose fundamental approach is to seek to creatively exploit the latest features. Lastly, it discusses the interaction with the phone in the exhibition context in terms of slow technology.
Title: The Electric "Now Indigo Blue": Synthetic Color and Video Synthesis Circa 1969
Author(s):
Exhibition: SIGGRAPH 2013: XYZN: Scale
Writing Type: Paper
Abstract/Summary/Introduction:
Circa 1969, a few talented electrical engineers and pioneering video artists built video synthesizers capable of generating luminous and abstract psychedelic colors that many believed to be cosmic and revolutionary, and in many ways they were. Drawing on archival materials from Boston’s WGBH archives and New York’s Electronics Arts Intermix, this paper analyzes this early history in the work of electronics engineer Eric Siegel and Nam June Paik’s and Shuya Abe’s Paik/Abe Video Synthesizer, built at WGBH in 1969. The images produced from these devices were, as Siegel puts it, akin to a “psychic healing medium” used to create “mass cosmic consciousness, awakening higher levels of the mind, [and] bringing awareness of the soul.” While such radical and cosmic unions have ultimately failed, these unique color technologies nonetheless laid the foundation for colorism in the history of electronic
computer art.
Title: The Emergence and Growth of Evolutionary Art - 1980-1993
Author(s):
Exhibition: SIGGRAPH 2013: XYZN: Scale
Writing Type: Paper
Abstract/Summary/Introduction:
One of the most interesting-if frustrating-aspects of charting the history of computer art is trying to understand the intersections of specific technologies and artistic experimentation. It is rarely as clear-cut as a simple linear influence of one to the other, partly because artists are able to envision all kinds of possibilities that technology might enable them to realize in some kind of form, but as they do so, the technology is itself shaped, especially in terms of how it is perceived by others. Do artists find a way to give technologies an aesthetic outlet, or do some technologies possess-or facilitate-a characteristic aesthetic that finds its expression through specific artists? Certainly, in the history of computer art it would seem that particular aesthetics, technologies, and artists are closely intertwined in certain periods. This intertwining of art, technology, and ideas stolen from the natural world has never been so arguably merged as the period in the history of computer art from 1980 to 1993. We take as the defining start of this period the initial work of Mandelbrot on fractals that became known as the Mandelbrot set and led to his famous illustrated art-science book The Fractal Geometry of Nature. In 1993, this first highly creative period in evolutionary computer art came to an end with major publications by pioneers Karl Sims, Stephen Todd, and William Latham.
Title: Ut Pictura Poesis: Drawing into Space
Author(s):
Exhibition: SIGGRAPH 2013: XYZN: Scale
Writing Type: Paper
Abstract/Summary/Introduction:
In 1735, Leonard Euler presented a solution to the practical problem of whether a route could be plotted to cross each of seven bridges in Konigsberg once. His negative solution used the simplest of mark-making strategies to resolve a conceptual problem. Euler did not actually cross the town’s bridges, but used them to resolve questions of connectivity, after which diagrammatic representations can be seen as the restructuring of logical problems to allow for inductive reasoning, for fruitful application beyond theory. But what if such a working graphic has as its target something that is simply incomprehensible? What are the upper limits of the denotational logic of such diagrams? This paper presents a drawing-research project that tests the cognitive advantages of technical graphics by directly engaging with things that cannot be made easier to understand through their use.
Title: Entr’acte
Author(s):
Exhibition: SIGGRAPH 2012: In Search of the Miraculous
Writing Type: Paper
Abstract/Summary/Introduction:
Looking at new public-space formations today, the roles of new technologies grow not only prominent but also noticeably time-sensitive. Due in part to the rapidly changing nature of communications media and the diverse stakeholders, the theatrical “entr’acte” appears to be an apt model for forms and durations of public space with diverse performers (both human and material elements) of different sorts: entr’acteurs. How is public space as physical construct changing with new embedded forms of computing? How is a public formed? What new material sensibilities emerge? And what role does their essentially fleeting or transitional character play?
Title: From Wunderkammern to Kinect – The Creation of Shadow Worlds
Author(s):
Exhibition: SIGGRAPH 2012: In Search of the Miraculous
Writing Type: Paper
Abstract/Summary/Introduction:
This paper focuses on two projects, Still Life No. 1 and Shadow Worlds | Writers’ Rooms [Brontë Parsonage], to reveal the creative approaches the authors take to site, technology, and the self in their production of shadow worlds as sites of wonder. Informed by the uncanny (re-animation and the double) and an interest in the limen (thresholds in the real and virtual realms), the projects explore white light and infrared digital 3D scanning technologies as tools for capture and transformation. The authors will discuss how they suture the past with the present and ways that light slips secretly between us, revealing other realms.
Title: Soundspheres: Resonant Chamber
Author(s):
Exhibition: SIGGRAPH 2012: In Search of the Miraculous
Writing Type: Paper
Abstract/Summary/Introduction:
This paper develops a brief historical account of the architectural development of auditory space and identifies the “soundsphere” as an acoustic project that connects the interrelationships between material, spatial form and sound. The instrumental design of the soundsphere has focused on three types of shells: hard, static, and inflexible; physically manipulable; and immaterial (or electroacoustic). This frames a disciplinary and historical context for Resonant Chamber, a prototype-based design research project that develops a kinetic and interactive interior envelope system aimed at transforming the acoustic environment through dynamic spatial, material, and electroacoustic technologies.
Title: Translation + Pendaphonics = Movement Modulated Media
Author(s):
Exhibition: SIGGRAPH 2012: In Search of the Miraculous
Writing Type: Paper
Abstract/Summary/Introduction:
Translation is a multimedia dance performed on a vertical wall filled with the projected image of a lunar surface. Pendaphonics is a low-cost, versatile, and robust motion-sensing hardware-software system integrated with the rigging of Translation to detect the dancers’ motion and provide real-time control of the virtual moonscape. Replacing remotely triggered manual cues with high-resolution, real-time control by the performers expands the expressive range and ensures synchronization of feedback with the performers’ movements. This project is the first application of an ongoing collaboration between the Motivational Environments Research Group at Arizona State University (ASU) and STREB Extreme Action Company.
Title: Within an Ocean of Light: Creating Volumetric Lightscapes
Author(s):
Exhibition: SIGGRAPH 2012: In Search of the Miraculous
Writing Type: Paper
Abstract/Summary/Introduction:
This paper documents explorations into an alternative platform for immersive and affective expression within spatial mixed reality installation experiences. It discusses and analyzes experiments that use an advanced LED cube to create immersive, interactive installations and environments where visitors and visuals share a common physical space. As a visual medium, the LED cube has very specific properties and affordances, and optimizing the potential for such systems to create meaningful experiences presents many interlinked challenges. Two artworks exploring these possibilities are discussed. Both have been exhibited internationally in a variety of settings. Together with this paper, the works shed some light on the design considerations and experiential possibilities afforded by LED cubes and arrays. They also suggest that LED grids have potential as an emerging medium for immersive volumetric visualizations that occupy physical space.
Title: Art and Code: The Aesthetic Legacy of Aldo Giorgini
Author(s):
Exhibition: SIGGRAPH 2011: Tracing Home in The Age of Networked Techniques
Writing Type: Paper
Abstract/Summary/Introduction:
In 1975 Aldo Giorgini developed a software program in FORTRAN called FIELDS, a numerical visual laboratory devoted entirely to art production. Working extensively as both artist and scientist, Giorgini was one of the first computer artists to combine software writing with early printing technologies, leaving an aesthetic legacy in the field of the digital arts. His individual process was innovative in that it consisted of producing pen-plotted drawings embellished by the artist’s hand with painting, drawing, and screen-printing. This paper is the product of a multi-year study of Giorgini’s primary source materials provided by his estate. The authors examine the methods used by Giorgini during the 1970s that allowed him to create computer-aided art, in the hope that publishing this work will ensure that future generations of digital artists, technologists and scientists can be educated in Giorgini’s contribution to the history of the digital arts.
Title: Collaboration with the Future: An Infrastructure for Art+Technology at the San José International Airport
Author(s):
Exhibition: SIGGRAPH 2011: Tracing Home in The Age of Networked Techniques
Writing Type: Paper
Abstract/Summary/Introduction:
This paper summarizes the development and implementation of a three-part infrastructure for the ongoing program of technology-based public artwork at Silicon Valley’s newly expanded airport. The physical, technological, and human infrastructure provides flexibility and opportunities for future artists and future technologies while providing a robust framework for the ongoing maintenance and evolution of the program and mediating between the needs of artists and the constraints of an airport.
Title: Conserving Digital Art for Deep Time
Author(s):
Exhibition: SIGGRAPH 2011: Tracing Home in The Age of Networked Techniques
Writing Type: Paper
Abstract/Summary/Introduction:
Displaying digital art in the late twentieth and early twenty-first centuries is already proving to be a challenge. Exhibiting this same art in the distant future will depend upon new thinking and practices developed today by artists, conservators, and curators. Established software engineering methods for dealing with aging systems can provide a new model for the conservation of digital art, and a foundation for the enhancement of art-historical scholarship. Artists with an interest in a more refined approach to the programming that underpins their work will also be interested in software engineering concepts.
Title: Shadow Awareness: Enhancing Theater Space Through the Mutual Projection of Images on a Connective Slit Screen
Author(s):
Exhibition: SIGGRAPH 2011: Tracing Home in The Age of Networked Techniques
Writing Type: Paper
Abstract/Summary/Introduction:
This study discusses media technology that enables the continuous creation of performers’ physical improvisation as inspired by the reflection of imagery evoked from the audience. To realize this, the authors have focused on “shadow media,” which promote the continuous creation of imagery through “bodily awareness.” The authors have developed a system that can project shadows of the performers in various ways, which are then transformed into various shapes and colors. The shadows are connected to the performers’ feet and projected on a “passable” slit screen set up between the stage and the audience. As a result, the interactive and mutual creation of imagery by performers and audience can form an “empathetic” stage. To demonstrate its validity, the authors applied the system to a dance performance at Festival della Scienza in Genoa, Italy.
Title: The Readers Project: Procedural Agents and Literary Vectors
Author(s):
Exhibition: SIGGRAPH 2011: Tracing Home in The Age of Networked Techniques
Writing Type: Paper
Abstract/Summary/Introduction:
The Readers Project is an aesthetically oriented system of software entities designed to explore the culture of human reading. These entities, or “readers,” navigate texts according to specific reading strategies based upon linguistic feature analysis and real-time probability models harvested from search engines. As such, they function as autonomous text generators, writing machines that become visible within and beyond the typographic dimension of the texts on which they operate. Thus far the authors have deployed the system in a number of interactive art installations at which audience members can view the aggregate behavior of the readers on a large screen display and also subscribe, via mobile device, to individual reader outputs. As the structures on which these readers operate are culturally and aesthetically implicated, they shed critical light on a range of institutional practices – particularly those of reading and writing – and explore what it means to engage with the literary in digital media.
Title: Data Portraits
Author(s):
Exhibition: SIGGRAPH 2010: TouchPoint: Haptic Exchange Between Digits
Writing Type: Paper
Abstract/Summary/Introduction:
Data portraits depict their subjects’ accumulated data rather than their faces. They can be visualizations of discussion contributions, browsing histories, social networks, travel patterns, etc. They are subjective renderings that mediate between the artist’s vision, the subject’s self-presentation, and the audience’s interest. Designed to evocatively depict an individual, a data portrait can be a decorative object or be used as an avatar, one’s information body for an online space.
Data portraits raise questions about privacy, control, aesthetics, and social cognition. These questions become increasingly important as more of our interactions occur online, where we exist as data, not bodies.
Title: Glowing Pathfinder Bugs: A Natural Haptic 3D Interface for Interacting Intuitively with Virtual Environments
Author(s):
Exhibition: SIGGRAPH 2010: TouchPoint: Haptic Exchange Between Digits
Writing Type: Paper
Abstract/Summary/Introduction:
Glowing Pathfinder Bugs is an interactive art project primarily aimed at children and created by the digital arts group Squidsoup. It uses projection to visualize virtual bugs on a real sandpit. The bugs are aware of their surroundings and respond to its form in their vicinity. By altering the topography of the sand, participants affect the bugs’ environment in real time, facilitating direct communication between them and computer-generated creatures.
This highly malleable and tactile physical environment lets us define and carve out the landscape in which the creatures exist in real time. Thus, virtual creatures and real people coexist and communicate through a shared tactile environment. Participants can use natural modes of play, kinesthetic intelligence, and their sense of tactility to collaboratively interact with creatures inhabiting a hybrid parallel world.
This paper describes the project and analyzes how children in particular respond to the experience; it looks at the types of physical formations that tend to be built and notes how children instinctively anthropomorphize the bugs, treating projected imagery as living creatures – though with a ludic twist.
Title: Learning from Weaving for Digital Fabrication in Architecture
Author(s):
Exhibition: SIGGRAPH 2010: TouchPoint: Haptic Exchange Between Digits
Writing Type: Paper
Abstract/Summary/Introduction:
This project restructures weaving performance in architecture by analyzing the tacit knowledge of traditional weavers through perceptual study and converting it into an explicit rule in computational design. Three implementations with different materials show the advantages of using computational weaving that combines traditional principles with today’s digital (CAD/CAM) tools to develop affordable fabrication techniques.
Title: The Immediacy of the Artist's Mark in Shape Computation
Author(s):
Exhibition: SIGGRAPH 2010: TouchPoint: Haptic Exchange Between Digits
Writing Type: Paper
Abstract/Summary/Introduction:
This paper contributes to the area of computation in the production of artistic form. The author-artist describes a computational system in the form of a curvilinear, parametric shape grammar. Based on an analysis of over 3,000 entries in her traditionally hand-drawn sketchbooks, she describes the grammar that synthesizes drawings in the design language of her evolving style and serves as a tool for selfunderstanding of her artistic process.
Title: Touching Space: Using Motion Capture and Stereo Projection to Create a "Virtual Haptics" of Dance
Author(s):
Exhibition: SIGGRAPH 2010: TouchPoint: Haptic Exchange Between Digits
Writing Type: Paper
Abstract/Summary/Introduction:
This paper describes the work of a group of artists in Australia who used real-time motion capture and 3D stereo projection to create a large-scale performance environment in which dancers seemed to “touch” the volume. This project re-versions Suzanne Langer’s 1950s philosophy of dance as “virtual force” to realize the idea of a “virtual haptics” of dance that extends the dancer’s physical agency literally across and through the surrounding spatial volume. The project presents a vision of interactive dance performance that “touches” space by visualizing kinematics as intentionality and agency. In doing so, we suggest the possibility of new kinds of human-computer interfaces that emphasize touch as embodied, nuanced agency that is mediated by the subtle qualities of whole-body movement, in addition to more goal-oriented, task-based gestures such as pointing or clicking.
Title: Visual Anecdote
Author(s):
Exhibition: SIGGRAPH 2010: TouchPoint: Haptic Exchange Between Digits
Writing Type: Paper
Abstract/Summary/Introduction:
The discourse on information visualization often remains limited to the exploratory function -its potential for discovering patterns in the data. However, visual representations also have a rhetorical function: they demonstrate, persuade, and facilitate communication.
In observing how visualization is used in presentations and discussions, I often notice the use of what could be called “visual anecdotes.” Small narratives are tied to individual data points in the visualization, giving human context to the data and rooting the abstract representation in personal experience. This paper argues that these narratives are more than just illustrations of the dataset; they constitute a central epistemological element of the visualization. By considering these narrative elements as parts of the visualization, its design and knowledge organization appear in a different light.
This paper investigates how the “story” of data representation is delivered. By means of ethnographic interviews and observations, the author highlights the different aspects of the visual anecdote, a specific point where the exploratory and the rhetorical functions of visualization meet.
Title: Curated Panel Discussion: The State of Aesthetic Computing or Info-Aesthetics
Author(s):
Exhibition: SIGGRAPH 2009: Information Aesthetics Showcase
Writing Type: Panel / Roundtable
Abstract/Summary/Introduction:
Aesthetic computing is one of several related new fields: info-aesthetics, database aesthetics, network aesthetics, and software aesthetics. What are their similarities and differences? What are the aesthetic issues driving them, and how are they linked to technological developments? And what exactly is the role of aesthetics is this context?
View Full Paper: [View PDF]Title: GreenLite Dartmouth: Unplug or the Polar Bear Gets It
Author(s):
Exhibition: SIGGRAPH 2009: Information Aesthetics Showcase
Writing Type: Panel / Roundtable
Abstract/Summary/Introduction:
GreenLite Dartmouth visualizes complex, real-time energy data using interactive animations to create an emotional relationship between energy use and its e ects. When electricity use is low, for example, a polar bear is happy and playful. As more energy is used, the bear becomes distressed, and his well-being is endangered.
Title: Synchronous Objects for One Flat Thing, reproduced
Author(s):
Exhibition: SIGGRAPH 2009: Information Aesthetics Showcase
Writing Type: Panel / Roundtable
Title: well-formed.eigenfactor: Consideration is Design and Data Analysis
Author(s):
Exhibition: SIGGRAPH 2009: Information Aesthetics Showcase
Writing Type: Panel / Roundtable
Abstract/Summary/Introduction:
This talk discusses the rationale, process, and mechanisms behind the interactive visualizations for the well-formed.eigenfactor project.
Title: A New System to Appreciate the Visual Characteristics of a Painting
Author(s):
Exhibition: SIGGRAPH 2009: BioLogic: A Natural History of Digital Life
Writing Type: Paper
Abstract/Summary/Introduction:
A painting-viewing system is proposed as a tool to help painting appreciation and to improve the museum experience. This system simultaneously highlights certain visual characteristics of multiple paintings, thus informing users of the links between paintings and the semantic elements that may appear superficially different, and also conveying the art-historical explanation of those characteristics. Through this system’s evaluation, the approach based on “the awareness of the visual characteristics” may be effective as a method of developing the user’s interest in the paintings. When this system is placed in museums and galleries as a mediation tool, it will be useful to a viewer’s preparation for the art-viewing experience. This paper presents the concepts behind the system’s development and the results of the first survey as a piece of a larger project to explore the improvement of painting appreciation as a museum experience.
Title: Experimental Interaction Unit: Commodities of Mass Destruction
Author(s):
Exhibition: SIGGRAPH 2009: BioLogic: A Natural History of Digital Life
Writing Type: Paper
Abstract/Summary/Introduction:
This paper describes several projects by the now-defunct Experimental Interaction Unit that use prod-uct design, software engineering, and digital networking to uncover collective behaviors that contribute to systems of social control. Biology and human behavioral studies are essential aspects of this critique. Experimental Interaction Unit’s projects from 1996 to 2001 represent subversive use of technology to reveal unrecognized aspects of human interaction with networks, such as how telematic distance psy-chologically absolves individuals from taking responsibility for their actions. The fear of vulnerability to terrorist actions, including biological warfare and electronic interference, is exploited in these works, in order to expose the ways in which security is promised in exchange for control.
Title: MobiSpray: Mobile Phone as Virtual Spray Can for Painting BIG Anytime Anywhere on Anything
Author(s):
Exhibition: SIGGRAPH 2009: BioLogic: A Natural History of Digital Life
Writing Type: Paper
Abstract/Summary/Introduction:
This paper presents MobiSpray, a novel interactive art tool for creating ubiquitous ephemeral digital art. The mobile phone is employed as a virtual spray can to spray dabs of digital paint onto the physical environment via large-scale projections. The gesture-based control of the mobile phone provides a natural pointing mechanism for the virtual spray can. Experiences from extensive field use around the world testify in favor of a successful design. Most importantly, MobiSpray liberates and empowers the artist to change the environment via large-scale artistic expressions.
Title: Re-Visioning the Interface: Technological Fashion as Critical Media
Author(s):
Exhibition: SIGGRAPH 2009: BioLogic: A Natural History of Digital Life
Writing Type: Paper
Abstract/Summary/Introduction:
This paper elucidates two positions (the positivist and the critical) that inform the creative design of technological fashion. On the one side is the instrumentalist trend toward the minimized or disappear-ing interface. On the other, some theorists and artists suggest that increased invisibility presents social and ethical concerns (such as invasiveness and control) when networking and communication devices are involved.
The positivist side has roots in modernist design. Positivist designers create responsive and control-lable fabrics using shape-changing polymers, e-textiles, and nano-scale electronics to resolve clumsy and prohibitive problems of hardware vs. body. The critical side draws upon archetypal ideas about technology and the body that are familiar from literature and science fiction, and includes writers and media artists who emphasize the intractable or mechanic nature of technological clothing to enhance, rather than erase, the body. The paper concludes that both positions must be considered as the field of technological fashion moves forward.
Title: Souvenirs du monde des montagnes
Author(s):
Exhibition: SIGGRAPH 2009: BioLogic: A Natural History of Digital Life
Writing Type: Paper
Abstract/Summary/Introduction:
This paper describes a particular book called Souvenirs du monde des montagnes, which draws its iconography from the history of a Swiss mountain family from 1910 to 1930. By simply dipping into the first few pages, the reader will be lost between real and virtual universes, wonder about the evolution of the images’ meanings, and question an object’s true content. This setup, developed using state-of-the-art computer vision technology, offers unprecedented freedom: we can make technological references disappear to place the user in fruitful turmoil between visible and hidden meanings. The shadow of a bird flies over the pages, foxes’ lanterns light up the text, paper mountains emerge. Once the last page has been turned, the reader will never look at books in the same way again.
Title: The 200 Year Continuum
Author(s):
Exhibition: SIGGRAPH 2009: BioLogic: A Natural History of Digital Life
Writing Type: Paper
Abstract/Summary/Introduction:
The 200 Year Continuum is the producer, recorder, and exhibitor in Christian Kerrigan’s advancing anthology of narratives. Central to Kerrigan’s practice is storytelling and mythmaking as a means of engaging his audience. Kerrigan uses drawing as his primary mode of research into these narratives, which are consequently offered in the form of live internet-feed installations acting as ecological sites, scientific experiments introducing new organic technologies, and digital images of worlds unseen. Each addition acts as a “middle story” within The 200 Year Continuum. In his narrative, The Amber Clock, a ship is grown in the yew forest of Kingley Vale over a period of 200 years. The narrative explores the possibilities of time in relationship to technology and the natural world. In his narrative, artificial and wild systems are choreographed, and the natural production of resin is harvested from the yew trees as a way of measuring time.
Title: Wearable Forest Clothing System: Beyond Human-Computer Interaction
Author(s):
Exhibition: SIGGRAPH 2009: BioLogic: A Natural History of Digital Life
Writing Type: Paper
Abstract/Summary/Introduction:
Wearable Forest is a garment that bioacoustically interacts with distant wildlife in a remote forest through a networked remote-controlled speaker and microphone. It expresses the unique bioacoustic beauty of nature and allows users to interact with a forest in real time through a network to acoustically experience a distant forest soundscape, thus merging humans and nature without great environmental impact. This novel interactive sound system can create a sense of unity between users and a remote soundscape, enabling users to feel a sense of belonging to nature even in the midst of a city. This paper describes the theory of interaction between the Human and the Biosphere through the design process of the Wearable Forest concept.
Title: Associative Audio Design
Author(s):
Exhibition: SIGGRAPH 2008: Slow Art
Writing Type: Sketch / Art Talk
Title: Meros
Author(s):
Exhibition: SIGGRAPH 2008: Slow Art
Writing Type: Sketch / Art Talk
Title: RealSnailMail [RSM]
Author(s):
Exhibition: SIGGRAPH 2008: Slow Art
Writing Type: Sketch / Art Talk
Title: Skorpions
Author(s):
Exhibition: SIGGRAPH 2008: Slow Art
Writing Type: Sketch / Art Talk
Abstract/Summary/Introduction:
SKORPIONS are a collection of kinetic electronic garments that use the shape-memory alloy Nitinol to move and change on the body in slow, organic motions. They have anthropomorphic qualities and can be imagined as parasites that inhabit the skin of the host. They breathe and pulse, controlled by their own internal programming. They are living behavioral kinetic sculptures that exploit characteristics such as control, anticipation, and unpredictability.
SKORPIONS integrate electronic fabrics, soft electronic circuits, specially designed circuit boards, Nitinol, mechanical actuators such as magnets, and traditional textile construction technique. The cut of the pattern, the seams, and other construction details become an important component of engineering design. SKORPIONS are not interactive: their programming does not respond to sensor data. SKORPIONS shift and modulate personal and social space by imposing physical constraints on the body. They alter behavior, by hiding or revealing hidden layers, inviting others inside the protective shells of fabric, by erecting breathable walls, or tearing themselves open to divulge hidden secrets.
Title: Spacequatica
Author(s):
Exhibition: SIGGRAPH 2008: Slow Art
Writing Type: Sketch / Art Talk
Title: The Life and Death of Energy-Autonomous Objects
Author(s):
Exhibition: SIGGRAPH 2008: Slow Art
Writing Type: Sketch / Art Talk
Title: Water Planet
Author(s):
Exhibition: SIGGRAPH 2008: Slow Art
Writing Type: Sketch / Art Talk
Title: Wonderland
Author(s):
Exhibition: SIGGRAPH 2008: Slow Art
Writing Type: Sketch / Art Talk
Title: Around the Antenna Tree: The Politics of Infrastructural Visibility
Author(s):
Exhibition: SIGGRAPH 2007: Global Eyes
Writing Type: Essay
Abstract/Summary/Introduction:
With the globalization of mobile telephony during the past two decades, cell towers have sprouted up across different parts of the world. The “unsightliness” of these towers has resulted in responses ranging from neighborhood protests to manufacturers’ concealment strategies. This essay explores the installation of towers in different locations from urban spaces to national parks and considers how their emergence relates to a set of concerns about technology, knowledge, and power.
In addition to examining cell towers in different environments, I describe various “concealment strategies,” including covering towers in tree camouflage, mosque minarets, flagpoles, birds’ nests, and other hiding places. I explore what is at stake in hiding infrastructure and how such practices end up trading technological awareness for a highly synthetic version of “nature.” By disguising infrastructure as part of the natural and/or built environment, such strategies keep citizens naïve and uninformed about the network technologies they subsidize and use. Finally, I consider whether it might be possible to develop modes of affective engagement with infrastructure sites such as cell towers by discussing the work of artists such as Robert Voit (Enchanted Wood), Marijetica Potrc (Permanently Unfinished House with Cell Phone Tree), and Olaf Nicolai (Antenna Tree).
Communication infrastructures are frequently visualized as flow diagrams designed to approximate the spatial relations of a network. As a result, there is a tendency to overlook the uniqueness of particular nodes in a network: their physical form, the stories of their development, or the practices that surround them once they are activated. The antenna tree, I want to suggest, represents the potential to develop a more nodecentric and materialist approach to the study of infrastructure. As a cell tower disguised as a tree, the antenna tree draws attention to the materiality of infrastructure in the very process of trying to conceal it. People often chuckle at these uncanny objects that have been designed to soften the severity of the steel tower with botanical plastics. This tower in disguise not only relays signals, but it is implicated in an array of industrial, legal, and socio-cultural relationships. Each antenna tree can be understood as a symptom of processes of fabrication and installation, state and local regulation, community deliberation, and urban transformation. Thinking around the antenna tree, then, involves considering the fields of negotiation that are produced as an effect of infrastructure development and placement.
In this essay, I describe the emergence of cell-tower concealment strategies and discuss art works by Robert Voit (Enchanted Wood) and Marijetica Potrc (Permanently Unfinished House with Cell Phone Tree) that integrate antenna trees and provoke discussions of infrastructural in/visibility. I explore what is at stake in hiding infrastructure and how such practices may end up trading technological awareness for a highly synthetic version of “nature.” By disguising infrastructure as part of the natural environment, concealment strategies keep citizens naïve and uninformed about the network technologies they subsidize and use each day. We describe ourselves as a “networked society,” yet most members of the public know very little about the infrastructures that support that designation in broadcasting, web, or wireless systems. This issue of infrastructure literacy becomes more prescient as we enter an era of ubiquitous computing in which many different kinds of objects and surfaces will be used as relay towers and/or web interfaces. Since infrastructure sites are becoming more pervasive and less invisible, the work of visual artists can be extremely important in drawing our attention to them and triggering conversations about their design, placement, and effects.
View Full Paper: [View PDF]Title: Building Possible Dreams
Author(s):
Exhibition: SIGGRAPH 2007: Global Eyes
Writing Type: Essay
Abstract/Summary/Introduction:
Never before have media had such a strong effect on life as in the 21st century. Looking at the history of moving images in the previous century – the visions and agendas of filmmakers, corporations, and governments – we find evidence of the potential for humanistic inclusion and exclusion. Do digital media increase our understanding of life and cultures? Is there the potential to know ourselves better by recreating life in an artificial environment? Is the fascination with artificial worlds proof of our limited understanding of the “analog” human experience? It is possible to control and destroy cultures. When it happens, human heritage is impoverished, and the world has less
diversity and less focus. The corporate digital media revolution is a kind of involution, a return to the type of destruction of colonial eras that exploited continents. With the current level of destruction at its highest level, our life experience is disconnected
from the physical world. Digital media can be a negative game, entertaining young people with virtual destruction, preparing them for analog wars and a multifaceted system of economic domination. Misinformation, decreased plurality of viewpoints, increased disconnection with life, and the spectacularization of human experience are only some of the symptoms of the strategies used by the corporate media world. Our analog lives need analog values connected to nature and respect for our planet and its fragile resources. These values must inform our digital world.
Title: Identifying New Myths for Convergence and Creative Collaboration in the Age of Digitalia
Author(s):
Exhibition: SIGGRAPH 2007: Global Eyes
Writing Type: Paper
Abstract/Summary/Introduction:
To assume that it is possible to predict the future of technology innovation beyond the next week, month, or year is sheer folly. To believe that our participation in endless think tanks, conferences, or seminars will shape a consensual vision, one that we all agree may be worth perpetuating, is merely an elitist group exercise in courage. I propose another scenario: that business, educational, and cultural institutions exist as the sum total of the myths they believe about themselves. In this context, myths are not only about who we are, they are essential to the development of all human understanding and belief systems. This practice is not to be confused with acquired situational narcissism, a self-bestowed sense of ingratiation, but a shared belief that the invention of new myths is an on-going design and discovery process unique to all sensing/feeling human beings. Such an enterprise evolves into creation of enlightened and expressive forms through continuous real-time simulation of living and learning in the stacking of moments. The challenge is to prepare individuals to adapt to rapid changes, ones we can’t even imagine, and to prepare to be comfortable living through one’s imagination, and to trust and embrace the inevitable transformations that will challenge future participatory energies.
View Full Paper: [View PDF]Title: Transdisciplinarity, Yesterday and Today
Author(s):
Exhibition: SIGGRAPH 2007: Global Eyes
Writing Type: Paper
Abstract/Summary/Introduction:
In the first part, this paper intends to show some reasons for the advent of transdisciplinarity as a strategy of knowledge in the 21st century. In the second part, it develops the basis for a transdisciplinary attitude required to solve complex and contemporary problems, and to promote a new articulation among science, art, technology, and culture.
View Full Paper: [View PDF]Title: Beyond Brush and Easel: The Computer Art of Charles A. Csuri from 1963 to present
Author(s):
Exhibition: SIGGRAPH 2006: Intersections
Writing Type: Panel / Roundtable
Abstract/Summary/Introduction:
This panel explores the computer art of Charles A. Csuri, an artist, recognized by Smithsonian Magazine as “the father of digital art and animation,” and includes discussion of his works from 1963 to the present. In this rare opportunity, we will also hear reflections from the pioneering artist himself, now Professor Emeritus and Artist in Residence at The Ohio State University. This art panel is presented in conjunction with the retrospective exhibition, Charles A. Csuri: Beyond Boundaries, 1963-present, which is shown for the first time at SIGGRAPH 2006.
Title: Drunk on Technology, Waiting for the Hangover: A Test Plot
Author(s):
Exhibition: SIGGRAPH 2006: Intersections
Writing Type: Paper
Abstract/Summary/Introduction:
No abstract available.
View Full Paper: [View PDF]Title: Flashimation: The Context and Culture of Web Animation
Author(s):
Exhibition: SIGGRAPH 2006: Intersections
Writing Type: Essay
Abstract/Summary/Introduction:
On October 15, 1997, the first-ever cartoon produced solely for the web made its premiere [Sullivan 1997]. Spumco, a Hollywood-based animation house formed by “Ren & Stimpy” creator John Kricfalusi, commonly known as John K., produced the first installment of The Goddamn George Liquor Program after experimentation with Marcomedia’s popular animation and interface-development program, Flash [Tanner 2001]. Although only eight one-minute episodes of the program were produced, the web cartoon launched a new style of animation, which has since earned an unofficial nickname: “Flashimation.” The purpose of this paper is to explore the origins and effects of this type of animation; examine the forces that turned animators towards the web, its visual style, and the meanings with which it is associated; and the effect Flashimation has had on modern animation and the current animation community. Several threads of thought explain the evolution and culturalization of the new-media phenomenon known as Flashimation. Television animation, increasing access to and preference for the internet, the technological restrictions of this new medium, and the availability of animation software itself have coalesced to produce a major change in the cultural reconceptualization and consumption of modern animation. Collectively, they explain a complex and layered transition from “kid-vid” cartoons to short and crude forms of sophomorically humorous animation produced specifically for an adult audience.
View Full Paper: [View PDF]Title: Generative and Genetic Art
Author(s):
Exhibition: SIGGRAPH 2006: Intersections
Writing Type: Panel / Roundtable
Abstract/Summary/Introduction:
This panel brings together leading experts of generative and genetic art from the past 25 years, all of whose work has been featured at the annual SIGGRAPH conferences during this period. The panelists examine a range of topics including: “chance and creativity,” “can art be an equation?” “the procedural and generative software toolbox,” “artist as god,” “the creative peaks and troughs of traveling through multidimensional parameter space,” and “genetic art into genetic engineering?” With the growth in multicore computer systems (including games consoles) that are well suited for procedural and generative processes, the panel explores avenues for these genres in 2006 and beyond.
Title: Living Laboratories: Making and Curating Interactive Art
Author(s):
Exhibition: SIGGRAPH 2006: Intersections
Writing Type: Essay
Abstract/Summary/Introduction:
This paper describes the development of laboratory concepts in the making and curating of interactive art, in which the exhibition becomes a site for collaboration between curators, artists, and audiences. It describes Beta_space, an experimental public venue that seeks to realise the concept of the exhibition as living laboratory
through the participatory qualities of interactive computer-based art. The paper places this initiative within an emerging phenomenon of hybrid production and exhibition spaces. It argues that the evolution of such concepts has been hampered by the continued distinctions,
within traditional cultural institutions, among art, science and technology, object and experience, creation and consumption.
Title: Locative Media: Urban Landscapes and Pervasive Technology Within Art
Author(s):
Exhibition: SIGGRAPH 2006: Intersections
Writing Type: Panel / Roundtable
Abstract/Summary/Introduction:
Locative media: the utilization of pervasive, portable, networked, location-aware computing devices that allow for user-defined mapping and artistic intervention within urban geographies, transmuting them into an experimental canvas. This panel examines the current or future state of locative media practice, establishing an artistic and theoretical discourse on pervasive computing. The advent of an always-on, always-accessible information sphere creates an enhanced reality space that enables connected artists to work within different spaces and geographies, creating work that is simultaneously global and local. Can we shift the balance of power, redistributing media control so as to create an open space where public art, social projects, and free expression can flourish?
Title: Marking Space: on Spatial Representation in Contemporary Visual Culture
Author(s):
Exhibition: SIGGRAPH 2006: Intersections
Writing Type: Essay
Abstract/Summary/Introduction:
The following paper looks at different ways that space is being dealt with in contemporary visual culture, and attempts to link these evolving modes of spatial representation to emerging technologies, particularly GPS, GIS, and openGL, as well as to suggest links between the depiction and thinking about space in the current moment with similar or related explorations from the history of late-twentieth century avant-garde artistic practice. While this paper is necessarily more suggestive than exhaustive, I’ve made an attempt to choose contemporary visual practices and practitioners that I felt could stand as representatives for larger tendencies in their respective domains. This paper originated as a somewhat personal document, an attempt to situate my recent art practice within a larger historical and cultural context. As such, at times the links between these divergent practices must be made through the sensibility of the author.
View Full Paper: [View PDF]Title: Meta-visual/media/space - algorithmic "intersection," the new aspect of media art exhibition
Author(s):
Exhibition: SIGGRAPH 2006: Intersections
Writing Type: Essay
Abstract/Summary/Introduction:
When we start to think about “vision,” imaging, and our ways of perceiving the outside world, we must be clear about what we mean. Even in Japan, where imaging technologies play a central role, there are misunderstandings about what “imaging” is and what comes under its umbrella. By “imaging,” I mean the creation of images through any medium that is not simply manual: those that can be traced, reflected, photographed, reproduced, and projected. The term is not restricted to animation, video, film, or other means of creating pictures in motion. “Imaging” encompasses shadow play, magic lantern, anamorphoses, and all the processes of visualization. Since the Tokyo Metropolitan Museum of Photography (TMMP) opened as a center for photography and other visual media, it has been important to discuss what “imaging” means.
View Full Paper: [View PDF]Title: New Interactions: Communities and Information
Author(s):
Exhibition: SIGGRAPH 2006: Intersections
Writing Type: Panel / Roundtable
Abstract/Summary/Introduction:
In coining the phrase “relational aesthetics,” the contemporary French art theorist and curator Nicolas Bourriaud attempted to define a trend in creative works that configures interactive scenarios in which everyday experiences are the catalyst for audience-driven participation. This panel explores how the tacit activities of urban living are being used to form the foundations for new types of interaction that exploit community life and information-rich environments. Topics include how “relational interaction” can be facilitated by the potential of new-media technologies to simultaneously create multi-layered datascapes and intimate, culturally specific participatory situations.
Title: New Media, New Craft?
Author(s):
Exhibition: SIGGRAPH 2006: Intersections
Writing Type: Essay
Abstract/Summary/Introduction:
This paper will examine the use of computer programming in relationship to the practice and approach of traditional crafts, paying specific attention to the ethos of the Arts and Crafts Movement as a model for assessing the use and status of computation in a creative context. In order to consider the role of programming in the context of traditional craft, it is important to provide a brief outline relating to the ethos and practice of craft. What is understood by the term craft, what are its characteristics and outcomes? After considering this, it will then be possible to apply this understanding to the role of programming and its engagement with digital material.
View Full Paper: [View PDF]Title: Painting in a Digital World: I Told You So
Author(s):
Exhibition: SIGGRAPH 2006: Intersections
Writing Type: Essay
Abstract/Summary/Introduction:
Over the past 10 years, the proportion of painters who use computers in their work has been rising, and rising dramatically. They may not all be expert users, and they probably know next to nothing about digital art or its origins, and nothing at all about its pioneer artists.
They will not have heard of SIGGRAPH. They read Frieze. They probably outnumber hardcore digital artists by a factor of 50 to one. So if we are to speak of the way things are going in “digital art,” they are part of the picture.
Title: A Transformational Object: Artistic Authorship and the Phenomenal Aesthetics of New Media
Author(s):
Exhibition: SIGGRAPH 2005: Threading Time
Writing Type: Paper
Abstract/Summary/Introduction:
If there is any metaphor that has come to act as a signpost of current developments in the realm of digital art and design, it is the blur. We have seen the blur as a building, the blur as the theme at conferences, and the blur as a means to describe the totality of the overlapping processes and intentions that all converge in what can be called interactive experiences. For shorthand, we call this convergence new media. Given the various aims and contexts from which the larger category of art objects arrives, the blur seems to best approximate a still undistinguished body of work and its cultural momentum.
View Full Paper: [View PDF]Title: Being Paintings
Author(s):
Exhibition: SIGGRAPH 2005: Threading Time
Writing Type: Paper
Abstract/Summary/Introduction:
This paper focuses on art created by new techniques such as cellular machines, L-Systems, genetic algorithms, neural networks … We propose here several methods of implementation combining the rules of construction of cellular machines and L-Systems with genetic, neuronal networks, couplings, translation of codes. These methods result in the morphogenesis of bodies, as well their structure (shape) and their functional aspect (neuronal networks with driving, sensory neurons, balance, etc.). It’s a part of what we can call “a new kind of art”, and we can see here how Beings Paintings emerge.
View Full Paper: [View PDF]Title: Dare to be Digital: Japan's Pioneering Contributions to Today's International Art and Technology Movement
Author(s):
Exhibition: SIGGRAPH 2005: Threading Time
Writing Type: Paper
Abstract/Summary/Introduction:
A number of pioneering artists began experimenting with the computer as a visual arts medium in the late 60s and early 70s when most fine-arts circles refused to recognize art made by computers as a viable product of human creativity. This was the era of computer punch cards, when the visual results of algorithmic input were nothing more than line drawings. Many of the forward-looking artists who were experimenting with this technology were not taken seriously by the established art venues, and were, in fact, often ostracized by their peers. More recently, the work of computer artists has begun to appear in general textbooks on the history of art, but each book fealures one or two completely different artists. The books are inconsistent in their documentation of this fairly new medium. There are a number of journals that have had special issues devoted to this topic, including the Art Journal, and there are also whole journals dedicated to the field, such as Leonardo. There are, however, very few books that do justice to the movement, and few that include artists of Japan. In other words, there is a great deal of activity in the field, but the documentation is neither thorough nor consistent.
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