Papers (sorted by Exhibition Year)
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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: 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: 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: 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: (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.
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