Papers (sorted by Exhibition Year)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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