Papers (sorted by Author)
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Title: Art in the Information Age: Technology and Conceptual Art
Author(s):
Exhibition: SIGGRAPH 2001: n-space
Writing Type: Paper
Abstract/Summary/Introduction:
By the mid-1960s, Marshall McLuhan prophesied that electronic media were creating an increasingly interconnected global village. Such pronouncements popularized the idea that the era of machine-age technology was drawing to a close, ushering in a new era of information technology. Sensing this shift, art historian and curator K.G. Pontus Hulten organized a simultaneously nostalgic and futuristic exhibition on art and mechanical technology at the Museum of Modern Art in New York in 1968. The Machine: As Seen at the End of the Mechanical Age included work ranging from Leonardo Da Vinci’s 16th-century drawings of flying machines to contemporary artist-engineer collaborations that won a competition organized by Experiments in Art and Technology, Inc. (EAT).¹
View Full Paper: [View PDF]Title: Beyond Computer Art
Author(s):
Exhibition: SIGGRAPH 1989: Art Show
Writing Type: Paper
Abstract/Summary/Introduction:
‘Computer art’ and its systems of production are criticized, and some suggestions given to make it better.
View Full Paper: [View PDF]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: Data Materialization: A Hybrid Process of Crafting a Teapot
Author(s):
Exhibition: SIGGRAPH 2018: Original Narratives
Writing Type: Paper
Abstract/Summary/Introduction:
Data materialization is a work ow developed to create 3D objects from data-informed designs. Building upon traditional metalwork and craft, and new technology’s data visualization with generative art, this work ow expresses conceptually relevant data through 3D forms which are fabricated in traditional media. The process allows for the subtle application of data in visual art, allowing the aesthetic allure of the art object or installation to inspire intellectual intrigue. This paper describes the technical and creative process of Modern Dowry, a silver-plated 3D-print teapot on view at the Museum of the City of New York, June 2017–June 2018.
Title: Body RemiXer: Extending Bodies to Stimulate Social Connection in an Immersive Installation
Author(s):
Exhibition: SIGGRAPH 2020: Think Beyond
Writing Type: Paper
Abstract/Summary/Introduction:
“Body RemiXer” is a mixed reality installation that connects immersants using a virtual reality headset, Kinect, and projections. It explores the potential of immersive technology to create co-present experiences that foster intercorporeality between immersants. Observations during public exhibitions revealed “Body RemiXer’s” capacity to disrupt social norms and stimulate new connections.
Title: Bridging Knowledge between Craftsman and Learner in Chinese Intangible Cultural Heritage through WebAR
Author(s):
Exhibition: SIGGRAPH Asia 2019: Deep Dreaming
Writing Type: Paper
Abstract/Summary/Introduction:
The purpose of this paper is to explore new perspectives to learning Intangible Cultural Heritage (ICH) through embodied interaction with focus on learning and experience with traditional Cantonese Porcelain crafting. This research developed a WebAR application where various processes are presented through the tangible interaction of virtual porcelain represented by physical objects. The learner is able to directly interact with the plate that bridges the tangible materials and making processes of ICH utilizing WebAR. Empirical studies found that the WebAR and embodied interaction can enhance student’s tangible learning experience to transfer knowledge between craftsman and student.
Title: Entropy and FatFinger: Challenging the Compulsiveness of Code with Programmatic Anti-Styles
Author(s):
Exhibition: SIGGRAPH 2018: Original Narratives
Writing Type: Paper
Abstract/Summary/Introduction:
Coding, the translating of human intent into logical steps, reinforces a compulsive way of thinking, as described in Joseph Weitzenbaum’s “Science and the Compulsive Programmer” (1976). Two projects by the author, Entropy (2010) and FatFinger (2017), challenge this by encouraging gestural approaches to code. In the Entropy programming language, data becomes slightly more approximate each time it is used, drifting from its original values, forcing programmers to be less precise. FatFinger, a Javascript dialect, allows the programmer to misspell code and interprets it as the closest runnable variation, strategically guessing at the programmer’s intent.
Title: 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 SF of Technoscience: The Politics of Simulation & A Challenge for New Media Art
Author(s):
Exhibition: SIGGRAPH 2000: Art Gallery
Writing Type: Paper
Abstract/Summary/Introduction:
“In fact, science fiction … is no longer anywhere, and it is everywhere, in the circulation of models, here and now, in the very principle of the surrounding simulation.”
— JEAN BAUDRILLARD
“Biology is becoming an information science … and it will take increasingly powerful computers and software to gather, store, analyze, model and distribute that information.”
— BEN ROSEN
Chairman, Compaq Computer Corporation
“The best way to predict the future is to invent it.”
— RICHARD FEYNMAN
One of the significant characteristics of the last decade, and the new millennium, is the way in which advancements in biotechnology and medicine have come to the attention of the public, through the media, as one of the primary areas in which the future is being vigorously imagined. What distinguishes biotechnology from other sciences is the way in which it is increasingly fusing genetic code with computer code, encapsulated in what Incyte Pharmaceuticals calls “point-and-click biology.”
View Full Paper: [View PDF]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: 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: 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: Notime: Identity and Collaboration
Author(s):
Exhibition: SIGGRAPH 2001: n-space
Writing Type: Paper
Abstract/Summary/Introduction:
Although communication networks offer the possibility of a distributed community that can collaborate and exchange vital information, there is little time for these collaborations and exchanges to occur. Ironically, the same technology that makes distributed community a possibility and promises to save us time prevents us from actually having time to build community. Distributed presence inevitably moves us towards group consciousness, which shifts our perception of time and even productivity. This essay uses a large collaborative networked art piece, “notime,” as an example of how the creative process shifts when working on the networks. The project attempts to rethink the idea of the avatar as a physical representation and compares it to that of energetic bodies carrying information and evolving with the time people devote to participating, onsite and online. “notime” is conceived to raise questions about our perception of time and identity as we extend our personal networks through technology.
View Full Paper: [View PDF]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: 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: Not-Art Digital Images: An Artist's Perspective
Author(s):
Exhibition: SIGGRAPH 1990: Digital Image-Digital Cinema
Writing Type: Paper
Abstract/Summary/Introduction:
Working with the New York State Police and the Nassau County Medical Examiners Office, a forensic anthropologist, a forensic medical photographer and an imaging systems artist attempted to reconstruct a face from the skull of a young woman. Facial feature components selected from police identification kits were digitized and manipulated to match control points and overlaid onto a digitized version of the skull. In this way a series of images was created that were called ‘not-art’ even though an artistic aspect was present.
View Full Paper: [View PDF]Title: Inhabitat: An Imaginary Ecosystem in a Children’s Science Museum
Author(s):
Exhibition: SIGGRAPH 2018: Original Narratives
Writing Type: Paper
Abstract/Summary/Introduction:
Inhabitat is a mixed-reality artwork in which participants become part of an imaginary ecology through three simultaneous perspectives of scale and agency; three distinct ways to see with other eyes. This imaginary world was exhibited at a children’s science museum for ve months, using an interactive projection-augmented sculpture, a large screen and speaker array, and a virtual reality head-mounted display. This paper documents the work’s motivations and design contributions, along with accounts of visitors’ playful engagements and re ections within the complex interconnectivity of an arti cial nature.
Title: Interactive Wallpaper
Author(s):
Exhibition: SIGGRAPH 2005: Threading Time
Writing Type: Paper
Abstract/Summary/Introduction:
Interactive Wallpaper represents a new category of digital art. Deeply embedded into our built surroundings, interactive wallpapers exhibit
the following characteristics, blurring the boundaries between decorative art and useful science:
1 . They operate in everyday life
2. They are open
3. They are spatial.
4. They are alive.
Interactive wallpapers combine these primitives into powerful “immaterial” building blocks for creation of future spaces, buildings, cities. In this paper, we present a series of interactive wallpaper prototypes in order to explore how the tectonic and psychological effect of our surroundings can be augmented, subverted, and estranged by animating wallpapers and introducing an interactive, possibly darker dimension into architecture. What happens when traditionally static and innocent wallpapers become alive, get a sense of memory, spatiality, connectivity and randomness, and become part of our everyday lives?
Title: Terra Mars: When Earth Shines on Mars Through AI's Imagination
Author(s):
Exhibition: SIGGRAPH 2019: Proliferating Possibilities: Speculative Futures in Art and Design
Writing Type: Paper
Abstract/Summary/Introduction:
Terra Mars presents Mars in the visual style of Earth. An ANN was trained to learn the relation between topographical data and satellite imagery of Earth and was applied to topographical data of Mars to generate imaginary satellite images. This project suggests a new approach to creative applications of AI
Title: 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: Information, Computers and Design
Author(s):
Exhibition: SIGGRAPH 1984: CAD Show
Writing Type: Paper
Abstract/Summary/Introduction:
The Dilemma of the Specific and the General
In the Yucatan peninsula, corn is planted by Indian farmers in the same way it was done hundreds of years ago. The farmer wears a sack filled with seed slung over one shoulder. As he walks the field’s rows, he uses a long stick to make holes in the ground into which he drops seeds. Although the stick is a simple tool, it is not naive. It has features that make it well-suited for its task: it is long enough so the farmer can make the hole without bending to the ground; and, the end of the stick is sharpened to a point to make the hole for the seed.
Title: Light and Dark Visions
Author(s):
Exhibition: SIGGRAPH 1993: Machine Culture
Writing Type: Paper
Abstract/Summary/Introduction:
Critical theory and cultural studies are increasingly being used to understand the function of the arts in contemporary technology-dominated, postmodern culture. This essay examines the relevance of these analyses to the work of artists who use emerging technologies. The first section reviews core concepts that are useful for understanding art/technology linkages from postmodernist, post-industrialist, and post-structuralist writers. Concepts discussed include the rejection of the modernist idea of a single dominant cultural stream, the demarginalization of diverse voices, the increasing importance of information and the impact of mediated image and representation on ideology and behavior, and the emphasis on deconstructing the language systems and meta-narratives that shape culture.
View Full Paper: [View PDF]Title: The Aesthetics and Practice of Designing Interactive Computer Events
Author(s):
Exhibition: SIGGRAPH 1994: Art and Design Show
Writing Type: Paper
Abstract/Summary/Introduction:
Much confusion and hyperbole surrounds discussions of the aesthetics of interactive computer events. This essay works to clarify some of this confusion by analyzing the differences between interactive and non-interactive events, reviewing the variety of forms included under the umbrella term “interactivity,” and investigating the theoretical rationales offered to support claims of interactivity’s superiority derived from psychological, political, art historical, and techno-historical sources. Building on this analysis, the essay suggests extensions to current GUI design canons that uniquely attend to interactivity as an aesthetic issue. It also investigates the challenging interactivity possibilities of emerging technologies.
View Full Paper: [View PDF]Title: The Unknown Person
Author(s):
Exhibition: SIGGRAPH 2020: Think Beyond
Writing Type: Paper
Abstract/Summary/Introduction:
“The Unknown Person” uses mythotechnesis as a fictioning method to re-live a brutal incident in the artist’s family history under colonial rule. Employing machine learning processes and facial recognition techniques, the artist interrogates surveillance and social control systems to explore the fiction of the self, data, and liminal spaces.
Title: Computer Graphics as Allegorical Knowledge: Electronic Imagery in the Sciences
Author(s):
Exhibition: SIGGRAPH 1990: Digital Image-Digital Cinema
Writing Type: Paper
Abstract/Summary/Introduction:
This informal paper studies the effects of the recent introduction of computer-generated imagery on the practice of science and its function in understanding the world. It intends to introduce the subject of computerized visualization for scientific purposes into a wider debate, to show the diversity of issues involved-scientific, cultural and philosophical-and to build a context in which they can be critiqued. The author seeks to show the variety of scientific imaging and its influences on scientific knowledge; as both experiments and results are increasingly expressed in terms of imagery, the image assumes an integrity of its own and the object to which it refers becomes obscured. This leads to a shift of focus away from abstract theory as the embodiment of knowledge to the ascension of an allegorical image-based science with computer graphics as its natural language.
View Full Paper: [View PDF]Title: Superanimism: The practice of formalised imagery
Author(s):
Exhibition: SIGGRAPH 1991: Art and Design Show
Writing Type: Paper
Abstract/Summary/Introduction:
This essay discusses the dichotomy between visual, animated images and the abstract computer program that generates them. This digital and numerical base adds an extra dimension to the animation, whereby the creative experience is divided into a number of different levels.
Digital images are informed by the status of their algorithmic source, creating in the viewer a kind of numerical perception, thereby introducing scientific knowledge into our understanding of the visual. But because of the computer’s formalism and arbitrariness, the relation between algorithmic source and the electronic visual effect is not stable. Imagery is of a different experiential type to logical structures, and this causes their disjuncture or alienation, although they are logically and deterministically connected. Thus synthetic images do not appear “human” or manmade but objective or “natural,” like photographs.
The underlying algorithm is so contingent that in terms of being an accessible entity it hardly exists at all without reference to its sensory manifestations. The actual substance of the animate is diffused into so many different levels at once, it loses its ontological identity. These effects lead to a description of a computer animation as an object able to vitalize both tangible and intangible spaces and become a super-animate.
View Full Paper: [View PDF]Title: The Image in Art and 'Computer Art'
Author(s):
Exhibition: SIGGRAPH 1989: Art Show
Writing Type: Paper
Abstract/Summary/Introduction:
In this essay the author takes a cursory look at the increasing range of applications of computers to art and design practice and questions some of the assumptions that have been made about their use. The proliferation of computer imagery in society as part of the video culture and its effects on our attitudes towards digital representation are emphasised. This leads to a redefinition of the intimacy of the relationship between artist and art object. Such issues contribute to the comparative study of digital media and physical/mechanical media and the computer’s impact on the creation and apprehension of imagery.
View Full Paper: [View PDF]Title: Enhanced Family Tree: Evolving Research and Expression
Author(s):
Exhibition: SIGGRAPH 2020: Think Beyond
Writing Type: Paper
Abstract/Summary/Introduction:
“Enhanced Family Tree” reimagines the possibilities of family trees with an evolving series of exhibits. Their new approach may reveal questionable relationships in genealogical records. Moreover, the authors’ use of an organic metaphor of a “tree” can be further extended, resulting in organic forms that stimulate the imagination.
Title: Cinema and the Code
Author(s):
Exhibition: SIGGRAPH 1989: Art Show
Writing Type: Paper
Abstract/Summary/Introduction:
The author and his colleagues suggest a criterion for evaluating artistic achievement in the medium of the digital moving image as distinct from other forms of cinema. This criterion is the extent to which the formal possibilities of digital imaging are employed as syntactical or linguistic elements, not simply as ‘special effects’. Four digital imaging techniques are discussed as possibilities for a new syntax and, hence, for the expansion of cinematic language.
View Full Paper: [View PDF]Title: Knowing Together
Author(s):
Exhibition: SIGGRAPH 2019: Proliferating Possibilities: Speculative Futures in Art and Design
Writing Type: Paper
Abstract/Summary/Introduction:
This project tested a novel approach to photogrammetry where a group of participants collectively gather images for 3D models. We tested this method in a workshop setting, with the resulting models yielding a set of seven resin 3D-printed sculptures suspended in acrylic domes, preserving visual artifacts of the creation process.
Don’t Miss: Knowing Together, a set of seven resin 3D-printed sculptures suspended in acrylic domes showing in the Art Gallery, South Hall K.
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