Papers (sorted by Title)

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• William Mitchell

What good is a computer to an architect? Palladio found pen and paper perfectly adequate, after all. And it is hard to imagine Frank Lloyd Wright at a keyboard. (It just doesn’t go with a cape and cane.) The most sophisticated piece of technology on most architects’ desks, even today, is an electric pencil sharpener.

• Anthony Rowe

This paper documents explorations into an alternative platform for immersive and affective expression within spatial mixed reality installation experiences. It discusses and analyzes experiments that use an advanced LED cube to create immersive, interactive installations and environments where visitors and visuals share a common physical space. As a visual medium, the LED cube has very specific properties and affordances, and optimizing the potential for such systems to create meaningful experiences presents many interlinked challenges. Two artworks exploring these possibilities are discussed. Both have been exhibited internationally in a variety of settings. Together with this paper, the works shed some light on the design considerations and experiential possibilities afforded by LED cubes and arrays. They also suggest that LED grids have potential as an emerging medium for immersive volumetric visualizations that occupy physical space.

• Philip Galanter

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.

• Esteban Garcia Bravo
• Jorge A. Garcia

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.