Papers (sorted by Author)

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

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


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

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


Title: 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: Language and the Early Cinema
Author(s):
Exhibition: SIGGRAPH 1990: Digital Image-Digital Cinema
Writing Type: Paper
Abstract/Summary/Introduction:

The following short excerpt from Film [1] is all but unknown to the readers of the English version of the book as well as to those of the other translations. The edition of 1957, titled Film As Art [2], on which all these translations are based, was prepared by the author in the conviction that only the essential sections, dealing with the nature of the visual medium, were still relevant whereas much of what had been observed in the infancy days of the sound film was no longer worth saying. A complete English version of the German original of 1932 had been published in 1933 by Faber and Faber in London in a translation by L. M. Sieveking and Ian F. D. Morrow but has vanished of course long ago even from most libraries. The following few pages, slightly retouched by the author, will give today’s readers a taste of the principles that governed discussions of the media in those early days.

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Title: Pixel of Matter: New Ways of Seeing With an Active Volumetric Filmmaking System
Author(s):
Exhibition: SIGGRAPH 2020: Think Beyond
Writing Type: Paper
Abstract/Summary/Introduction:

We introduce an installation art project using the active volumetric filmmaking technology to investigate its possibilities in art practice. To do that, we developed a system to film volumetric video in real time, thereby allowing its users to capture large environments and objects without fixed placement or preinstallation of cameras.


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

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


Title: Film Theory for the Digital World: Connecting the Masters to the New Digital Cinema
Author(s):
Exhibition: SIGGRAPH 1990: Digital Image-Digital Cinema
Writing Type: Paper
Abstract/Summary/Introduction:

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

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Title: Memory Rich Garments: Body-Based Displays
Author(s):
Exhibition: SIGGRAPH 2005: Threading Time
Writing Type: Paper
Abstract/Summary/Introduction:

This paper describes conceptual and technical prototypes of reactive body-worn artifacts that display their history of use and communicate
physical (or embodied) memory. This work concentrates on garments that reflect more subtle, playful, or poetic aspects of our identity and
history. The pieces described here are part of a larger research project called Memory Rich Clothing. A variety of input and output methodologies are explored to sense and display traces of physical memory, raising the question: What exactly do we want to remember?

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Title: Digital Dilemmas
Author(s):
Exhibition: SIGGRAPH 1990: Digital Image-Digital Cinema
Writing Type: Paper
Abstract/Summary/Introduction:

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

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Title: The Wizard of Ethereal Pictures and Virtual Places
Author(s):
Exhibition: SIGGRAPH 1989: Art Show
Writing Type: Paper
Abstract/Summary/Introduction:

Renaissance artists constructed pictorial space using algorithms based on Euclidean geometry. Computer artists use algorithms based on the analytic geometry of Descartes to compute pictures as well as the subjects in them. An examination of the workings of these two different types of algorithm reveals that the computer offers a radical new approach to making art, which is not yet well understood. Postmodern algorithms for picturemaking are more evanescent than their Renaissance counterparts because computers process information conceptually instead of storing it physically. The computer is neither a passive medium nor a pliant tool, but an active creative partner.

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

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


Title: 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.

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Title: Art and the Information Revolution
Author(s):
Exhibition: SIGGRAPH 1989: Art Show
Writing Type: Paper
Abstract/Summary/Introduction:

The author expresses his opinion that new imagemaking technology is providing an interdisciplinary language and creating a requirement for generalists rather than specialists. This new technology is also initiating a paradigm shift in those disciplines that make use of it. Lack of acknowledgment of such effects, particularly in the area of higher education, could lead to significant problems that, in the longer term, could affect manufacturing industry and national economic performance. One solution is to involve practitioners of non-applied disciplines (such as fine arts and pure science and mathematics) that have already adapted to a similar paradigm change and whose perception of the new tools and techniques is likely to be less parochial and more flexible.

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Title: Reality Versus Imagination
Author(s):
Exhibition: SIGGRAPH 1992: Art Show
Writing Type: Paper
Abstract/Summary/Introduction:

Fifteen years ago I exhibited some work that explored unusual perturbations in otherwise consistent color interpolation. The gallery was a part of University College, London and several scientists saw the show. One, a Polish mathematician and physicist called Andre Lissowski, chased me up. He was interested in the work I had done and wondered if it bore any relationship to other contemporary research into what ore now called non-linear phenomena-port of the field fashionably dubbed Chaos. Chaos studies were still an underground activity at that time and Andre took me along to small back rooms at the Royal Institution and ancient London Colleges where mostly young scientists along with the occasional Nobel laureate discussed the fantastic new ideas that were emerging worldwide.

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Title: Cacophonic Choir
Author(s):
Exhibition: SIGGRAPH 2020: Think Beyond
Writing Type: Paper
Abstract/Summary/Introduction:

“Cacophonic Choir,” an interactive art installation, addresses the ways that sexual assault survivors’ experiences are distorted by digital and mass media and its effect. The installation is composed of distributed agents in space that individually respond by becoming visually bright, semantically coherent, and sonically clear, revealing original testimonies of survivors.


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: 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: Computer-Aided Industrial Design
Author(s):
Exhibition: SIGGRAPH 1984: CAD Show
Writing Type: Paper
Abstract/Summary/Introduction:

Computer-Aided Design (CAD) is destined to become the standard industrial design medium, for the same reasons it is revolutionizing other design and engineering fields. And many industrial designers are eager now to adopt it. Yet, only a fraction of CAD technology’s potential has found its way into the industrial design studio. High costs are partly to blame, but even as costs decline, a more fundamental reason accounts for the slow adoption: the industrial designers’ needs are so disparate that no single CAD system available today, has scope enough to fulfill them all.

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

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


Title: 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 Tao of Postmodernism: Computer Art, Scientific Visualization and Other Paradoxes
Author(s):
Exhibition: SIGGRAPH 1989: Art Show
Writing Type: Paper
Abstract/Summary/Introduction:

The author suggests that a paradigm shift must occur in art criticism to assimilate the nonlinear branching of aesthetic activities in our era. These activities include computer art and scientific visualization, and they reflect many issues addressed in postmodern dialogue such as our image-synthetic, “simulacrum” society. Postmodernism unexpectedly informs most disciplines, including the natural sciences, and is a cultural systemic norm that relates to our electronic information age. The Taoist concept of oneness is used as a metaphor for the interrelatedness of electronic-mediated societies, and this social connectedness explains the enfolding and complex nature of contemporary aesthetic activity. A cybernetic paradigm might provide a better model for criticism than modernism or postmodernism, since this paradigm presents a holistic view that concentrates on creativity and the organization of interrelated systems. The convergence of art with science is assumed as a logical interdisciplinary outgrowth of this electronic oneness.

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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: Artistic License in Heritage Visualisation: VR Sydney Cove Circa 1800
Author(s):
Exhibition: SIGGRAPH 2020: Think Beyond
Writing Type: Paper
Abstract/Summary/Introduction:

This work provokes and broadens debate about heritage at individual, institutional, academic, and societal levels. It foregrounds the assumptions that underlie heritage visualizations, and it offers a novel interpretation model for museum settings that engages with different audiences and encourages debate as to the nature and uses of heritage.


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

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


Title: Dataism
Author(s):
Exhibition: SIGGRAPH 1989: Art Show
Writing Type: Paper
Abstract/Summary/Introduction:

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

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

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


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