Papers (sorted by Title)
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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: 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: Bonsai
Author(s):
Exhibition: SIGGRAPH 1991: Art and Design Show
Writing Type: Paper
Abstract/Summary/Introduction:
We are currently witnessing the end of an artistic world. Artists of tomorrow will no longer produce works but something yet to be named. They will no longer create objects but rather types of microuniverses in perpetual evolution.
These universes will be woven with uninterrupted changes, with mobile networks of lines, surfaces, forms, and forces in constant interaction, produced by the coupling of mathematics and calculators. From fractal dragons to cellular automata, from zooids to logic viruses, mathematical beings move and metamorphose in their symbolic spaces. They can change or alter the very laws by which they are constituted. They can provide the virtually autonomous substance of a new, intermediary art. The metaphor of the “symbolic bonsai” has been chosen to render the intermediary “life” of this intermediary art. Why intermediary art?
In an attempt to explain art using the words of language, even the greatest minds diverge to some extent. According to Plato, for example, art is the quest for “likelihood;” according to Hegel it aims to “reveal the truth.”Should art seek likelihood or truth? Is the artist a magician or a prophet? What, in fact, is truth? Plato said truth is a “divine vagabondage,” which undoubtedly is why it remains beyond the reach of art, why he contends we must be satisfied with a “likely” imitation.
Since we are not gods, we cannot “vagabond;” we need laws. And this need applies to art. Thus, art must also be a science. As a product of human activity, art must obey rules inherent to the techniques used to create it. But art is also sensible representations, and as such refuses the domination of abstraction and laws. The best way to resist laws is to change them—constantly. Art itself must therefore be change—perpetual change.
View Full Paper: [View PDF]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: 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: 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: CAVE: Making Collective Virtual Narrative
Author(s):
Exhibition: SIGGRAPH 2019: Proliferating Possibilities: Speculative Futures in Art and Design
Writing Type: Paper
Abstract/Summary/Introduction:
CAVE is a shared narrative virtual reality experience. Thirty participants at a time each saw and heard the same narrative from their own unique location in the room, as they would when attending live theater. CAVE set out to disruptively change how audiences collectively experience immersive art and entertainment.
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: 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: Collaboration with the Future: An Infrastructure for Art+Technology at the San José International Airport
Author(s):
Exhibition: SIGGRAPH 2011: Tracing Home in The Age of Networked Techniques
Writing Type: Paper
Abstract/Summary/Introduction:
This paper summarizes the development and implementation of a three-part infrastructure for the ongoing program of technology-based public artwork at Silicon Valley’s newly expanded airport. The physical, technological, and human infrastructure provides flexibility and opportunities for future artists and future technologies while providing a robust framework for the ongoing maintenance and evolution of the program and mediating between the needs of artists and the constraints of an airport.
Title: Computer Art in the Context of the Journal Leonardo
Author(s):
Exhibition: SIGGRAPH 1989: Art Show
Writing Type: Paper
Abstract/Summary/Introduction:
Since 1968, the journal Leonardo has published over 150 articles dealing with the uses of computers in the fine arts. Discussing the work of artists published in Leonardo, the author responds to a recent assertion by art theorist David Carrier that”… it is genuinely unclear to me whether any art using computers is truly significant”. It is argued that the significance of computer art must be viewed in a number of contexts. Within the context of the development of the computer itself, advances in computer graphics and animation have provided the artist with a powerful plastic medium under the artist’s control.
Most artworks produced, except in animation, either realise artistic ideas developed before the advent of the computer or are artistically equivalent to work produced in other media. The impact is significant in the context of the commercial and applied arts. Contemporary artists, as the colonisers of technology, are producing significant artworks as collaborators in Renaissance teams of artists, scientists and technologists. In the larger context of the history of art, however, the significance of contemporary computer art work is not yet clear. It is argued that artistic significance should be sought in works that could not have been made without the use of a computer.
Such works must involve the particular attributes of computers, such as their application in interactive situations, their capability for artificial intelligence, their function in networks with telecommunications media, and their ability to allow the synthesis of sound and vision in timebased art forms. The lack of adequate theoretical, historical and critical frameworks is currently the largest impediment in assessing the significance of computer art.
View Full Paper: [View PDF]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: Computer Graphics: Effects of Origins
Author(s):
Exhibition: SIGGRAPH 1990: Digital Image-Digital Cinema
Writing Type: Paper
Abstract/Summary/Introduction:
New forms of art and technology are frequently cast in the mode of old forms, just as other aspects of material and symbolic culture have been. Only when these new forms become available to the larger population can they affect cultural patterns of maintenance and change. The author traces the evolution from alphanumeric hard copy, static and dynamic screen images, through objects and events that are not screen-based, to dynamic, interactive, multi-sensory output. The effects of origins and prior practices in both technology and art on form, content, material, technique, meaning and purpose of computer graphics are explored. Speculation regarding possible and probable futures are raised.
View Full Paper: [View PDF]Title: Computer Imagery: Imitation and Representation of Realities
Author(s):
Exhibition: SIGGRAPH 1989: Art Show
Writing Type: Paper
Abstract/Summary/Introduction:
Contemporary theory in philosophy, aesthetics and cognitive/social sciences stresses the embedment of cultural and historical conventions in art and technology. Computer imagery for aesthetic/artistic or technical/scientific purposes have these conventions embedded in them and consequently reflect larger models of humanly constructed cultural reality. Careful analyses of the form, content and practice of computer graphics are proposed to reveal views of reality embedded in technology and in models generated by the technology.
View Full Paper: [View PDF]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.
View Full Paper: [View PDF]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: Conserving Digital Art for Deep Time
Author(s):
Exhibition: SIGGRAPH 2011: Tracing Home in The Age of Networked Techniques
Writing Type: Paper
Abstract/Summary/Introduction:
Displaying digital art in the late twentieth and early twenty-first centuries is already proving to be a challenge. Exhibiting this same art in the distant future will depend upon new thinking and practices developed today by artists, conservators, and curators. Established software engineering methods for dealing with aging systems can provide a new model for the conservation of digital art, and a foundation for the enhancement of art-historical scholarship. Artists with an interest in a more refined approach to the programming that underpins their work will also be interested in software engineering concepts.
Title: 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: 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: Cultural Viz: An Aesthetic Approach to Cultural Analytics
Author(s):
Exhibition: SIGGRAPH 2020: Think Beyond
Writing Type: Paper
Abstract/Summary/Introduction:
Cultural Analytics (C.A.) is an approach for analyzing media and digital culture using data methods and visual computing techniques. This paper explores the aesthetic value of C.A. by approaching cultural visualizations as digital artworks. Through a series of projects, authors discuss their experience in art exhibitions, workshops, and seminars.
Title: Dare to be Digital: Japan's Pioneering Contributions to Today's International Art and Technology Movement
Author(s):
Exhibition: SIGGRAPH 2005: Threading Time
Writing Type: Paper
Abstract/Summary/Introduction:
A number of pioneering artists began experimenting with the computer as a visual arts medium in the late 60s and early 70s when most fine-arts circles refused to recognize art made by computers as a viable product of human creativity. This was the era of computer punch cards, when the visual results of algorithmic input were nothing more than line drawings. Many of the forward-looking artists who were experimenting with this technology were not taken seriously by the established art venues, and were, in fact, often ostracized by their peers. More recently, the work of computer artists has begun to appear in general textbooks on the history of art, but each book fealures one or two completely different artists. The books are inconsistent in their documentation of this fairly new medium. There are a number of journals that have had special issues devoted to this topic, including the Art Journal, and there are also whole journals dedicated to the field, such as Leonardo. There are, however, very few books that do justice to the movement, and few that include artists of Japan. In other words, there is a great deal of activity in the field, but the documentation is neither thorough nor consistent.
View Full Paper: [View PDF]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: Data Portraits
Author(s):
Exhibition: SIGGRAPH 2010: TouchPoint: Haptic Exchange Between Digits
Writing Type: Paper
Abstract/Summary/Introduction:
Data portraits depict their subjects’ accumulated data rather than their faces. They can be visualizations of discussion contributions, browsing histories, social networks, travel patterns, etc. They are subjective renderings that mediate between the artist’s vision, the subject’s self-presentation, and the audience’s interest. Designed to evocatively depict an individual, a data portrait can be a decorative object or be used as an avatar, one’s information body for an online space.
Data portraits raise questions about privacy, control, aesthetics, and social cognition. These questions become increasingly important as more of our interactions occur online, where we exist as data, not bodies.
Title: 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.
View Full Paper: [View PDF]Title: Dear Human
Author(s):
Exhibition: SIGGRAPH Asia 2015: Life on Earth
Writing Type: Paper
Abstract/Summary/Introduction:
Inspired by the cruelty in intensive farming of animals, the aim of this installation is to remind people of the story behind their food, even if you did not kill the animal, eating is just same as killing them.
Title: 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: Dialogue with a Monologue: Voice Chips and the Products of Abstract Speech
Author(s):
Exhibition: SIGGRAPH 2001: n-space
Writing Type: Paper
Abstract/Summary/Introduction:
This paper argues that voice chips and speech recognition chips can be used as a unique analytic tool for understanding the complex techno-social interactions that define, imagine, and produce new products. Using these chips as an in situ instrument allows a focus on products in their actual context of use, capturing the multiple interpretations of new technologies, and a method to analyze their failures and successes in human machine interaction. It is the use of voice that is direct evidence of the interactive, particularized and social aspects of products that are traditionally underrepresented in the attempts to understand technological innovation, design, and deployment.
View Full Paper: [View PDF]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 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.
View Full Paper: [View PDF]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.
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