ELECTRONIC ART & ANIMATION CATALOG ART GALLERY 151 Stanford University Stanford Chair Vibeke Sorensen University at Buffalo Associate Chair Lina Yamaguchi Art Gallery: Global Eyes Global Gallery: Art 152 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG Adamczyk Walt J. 170 Performance • Digital Beal Kathy 164 Books • Artist Bellini Vladimir 158 • Animation the to Introduction 156 &Committee Jury Gallery Art 154 Table ofContents Chuhan Kooj 174 Borissov Liubo Cerar, Maja 173 Clelland, Kent Cádiz, Mariela 172 Manske Kent 168 Jones Mallory Philip 167 Eber Elisabeth Dena 166 Bishop Lyn 165 Kazue Monno Takeshi, Nagata 162 University Northeastern 2007 161 Melkozernova Arina 160 Hayashi Shunsaku 159 Marathon Music Visual Exhale Real I’m If Not What Autopoiesis/Mimesis e*scapes 2007 Autocosm to China ajourney on based Artworks East: meets West HERE! LISSEN aPeople of Survival the and Jews American Get: Not Did Hitler that Jews Some are These Talk Could Dreams If Sisters Seven Pika” “Pika Project Doodle Lighting Festival Arts Media Japan Marathon Music Visual University 2007 Northeastern the from Works Selected Self-Transparency Ireva giraffe) the and crane (The jirafa yla grua La Lelong Denis Global Eyes Global
Exhibition
Berman Estel Harriete 188 • Installations Joreg 176 Garvey Gregory 198 Fujiki Jun 197 Simonian Mike Evers, Maaike 196 Purver Ed Efron, Ariel Croft, Christian 195 Chupa Anna 194 Brown Sheldon 192 Boeri Chiara 191 Berrigan Caitlin 190 Karre Ross Treviño, Jeffrey 186 Lei, Lihong Jin, Ping 185 Oliveros Pauline 184 Matoba Hiroshi 183 Masucci Michael 182 Mann Steve 180 Lee Min Hyung 179 Kawashima Takashi 178 Zhang Nan Sun, Xiaohua A Catholic Turing Test Turing A Catholic Machine: Confession Automatic The System Coordinate OLE Lounge Windowseat Perfect Future La Nou City Scalable The aCity for Belt aGreen Than More Boscometro: Confections Viral 2001-2004 Conversation, Consuming Catalogue +Metal Judgment Substitute Tang Dynasty the of A Rhyme Spaces Dynamic Generation Mobile Future the for Arts Performing TO KNOW RAGE Globaleyesation of Performance CyborGLOGGER Technology) Computer-Vision on Based (Theremin Bibigi Takashi’s Seasons imago
Goya Adrian 199 1 Scenocosme 216 Takahashi Keiko 221 Sueda Koh 220 Shepard Mark 219 Sears James 218 Richards Catherine 215 Poat Rudy 214 Horn Hugh Johnie Petrovich, Lucy 213 Morris Margaret 212 Marinho Francisco 211 Bilal Wafaa Lawson, Shawn 210 Lawson Shawn 209 Knipp Tammy 208 Ahn Junghyun Kim, Haemin 207 Kienzl Thomas 206 Khan Osman 205 Kawaguchi Yoichiro 204 Guo Qinglian 203 Günther Ingo 200 Diorama Table Diorama System Chang-tei Toolkit Garden Sound Tactical Orb The SphèrAléas joy of died have could to death/I scared I was Project Cinema Interactive Real-Time Dark: Deep Deaths Desert Views, Desert Health Heart Mobile Palavrador Bergère Folies the at A Bar Wu Wei &9983-B STUDY 9983 CASE You with Conversation aFingertip Dreaming form _zur Labor Our of –Fruits SEEN Ocean Hydrodynamics scenes snow watching for window A digital Rim) (Pacific Drive Topography Worldprocessor.com FACES
Takahashi Masato 222 Belkina Anya 228 Work • Monitor-Based Perez-Avila Alejandro 244 Meyer Pedro 242 McMahon Ellen 240 Maggos Ben 239 Lazaridou-Hatzigoga Fotini Toby Lee, 238 Konczak Julian 237 Jones Mallory Philip 236 Hershman Lynn 234 Giloth Frances Copper 233 Echeverry Santiago 232 Lab Innovation Game EA 231 Coover Roderick 230 Coles Devika 229 Chen Yu, Po-Kuang Ming-Yang 226 West G. Ruth 225 Tsoupikova Daria 224 Thiel Tamiko 223 Global Eyes Web Site Web Eyes Global ZoneZero.com from Selections México Sonora, in Project Conservation Wetlands Interdisciplinary ABi-National, NaturArte: Job? About What Nebraska Royal, Decay and 25 -Birth installation) Life (a Second SL &BYE BYE SWEET THE IN Squared Life Show Art 82 SIGGRAPH 25 Years: Back Looking WORLD Through Walk Journey: Night The Once Only Happened That Something Memory of Places Voices with Crowded eco-echo silico ATLAS in 2 Rutopia Horo Mariko of Travels The Aliens Instrumental bogs:
Barakate Mostafa 256 Work • Wall-Based Gilmore Joe Polli, Andrea 245 Hamon Matt 269 Giloth Frances Copper 268 Germen Murat 266 Evans Brian 264 DeLevie Brian 263 Dawson Paula 262 Chandler Max 260 Ceric Vlatko 258 Bowman Stan 257 Villacorta Alexander 254 J.P. Sniadecki 253 the from Works Selected 251 Editorial Matsuoka Seigow 250 Reich Johanna 248 rea 247 Rabie Joseph 246 Sherbert Cedar 252 Tosa Naoko Laboratory, Engineering Dog Years Dog Ville de d’Hôtel Portes aux Matin Dimanche Doors/ Hall City the at Morning Sunday reconstructed Kanyon loci –genius place the of soul (meliá) slice time (pipilo) sonata palimpsests digital Re-remembered, Presence Luminous Dancing Silent mirror Algorithmic RHODADALIA Revolution Influence of Spheres Songhua Sing) Don’t (I Down Gesture Hitch-Haiku Cuando Vez En De stick) (message maang Studies Psychogeographical N. Festival Arts Media Japan 10th
Hardie Peter 270 Nalven Joe 296 Nadtoka Nataliya 294 McGhee John 293 Man Chi-wah 292 Maloney Jessica 291 Lu Dan 290 Lomas Andy 288 Li Qian 287 Larson Grizzell Sally 286 Koen Viktor 284 Kobayashi Kazuhiko 282 Kidd Davida 281 Kenyon Matthew 280 Johnson Andrew 279 Inakage Masa 278 Hoffman Guy 276 Hemami Taraneh 274 Hayashi Shunsaku 272 World Identity Cards Identity World Revolution la Viva surface and structure Integrity: SelfPortrait06_Diptych Time and Place, Person, Intertwined: II Letters I, Letters 19 Flow 9 Flow air Core Steel and Oil Carbon, and Thread series the from 6, No. No.04 and No.02 Witness Gate scan Kolbasa and Guns Goya) (after Reason of Weight The Device Empathetic Improvised Herald Hacker, Hawker, Flow Latin Stata Study: Bracketing Time Wanted Most Do-Bu-Ro-Ku Perry’s water falling
Newcombe Marte 298 Walker Faure James 324 Verostko Roman 322 Ursyn Anna 320 Trempe Robert 318 Takano Masakazu 316 Sulic Susana 314 Stock Mark 312 Serra la de Alma 310 Rowland Chris 308 Relyea Don 306 Pyune Joohyun 305 Poindexter Dave 304 Bahl Sushma Tom Piper, 302 Seo Seok June Park, Wan Jin 301 Nowak Till 300 Dark Filament Dark Conclusus” “Hortus Learning: of Flowers Wires Act Water Clear Connections Transpacific Re-formation City Viral Cyvers Streamlines Green Dynamo Linkages Oak Royal HMS Project Drawing Particle –Hair Bush Hairy Big Faith Blue Arizona 66, Route Old on Observatory Crater Meteor Portfolio ADigital V9-U9 Genealogy Visual Salad There Here, Drought Robotman Empty on Running Landfill Nine Fifty Eleven Wong Mike 326 and Documentaries Database 349 Panels • Art Brandão Leite Antônio Carlos 334 Papers • Art Changed: Has Planet The I: ISAST 350 Media Digital and People Indigenous 350 Media Digital and Environment Global 349 Changed: Have Artists II: ISAST 351 Parks Lisa 345 Loveless L. Richard 341 Capuzzo Heitor 338 Zhou Jing 332 Zarzycki Andrzej 330 Zarina Solvita 329 Yeoh Hong Guan 328 Wright Michael 327 Networks Alternative 352 Art –Global Concerns Local 352 Preview Art Media Chinese 351 Science Interactive and Courseware, Constructivist Symphonies, Sustainable and Environment, Art, Development Visibility Infrastructural of Politics The Tree: Antenna the Around Digitalia of Age the in Collaboration Creative and Convergence for Myths New Identifying Dreams Possible Building Today and Yesterday Transdisciplinarity, Series) Mind Zen (Ch’an Mind, Eternity No.7 Reality of Texture -Fly -Buy See Super*Nature Cowboy #2 Elevation City Transnational Knowledge: Global Interaction Technology Science, Art,
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ART GALLERY ART ELECTRONIC ART & ANIMATION CATALOG ANIMATION & ART ELECTRONIC 154 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG Art GalleryJury&Committee California, USA California, University Stanford Yamaguchi Lina A USA York, New Buffalo at University Sorensen Vibeke A G rt G rt allery allery : G : G l l ob ob E al E al A yes C yes ss ha o i r c i ate C ha i r Manitoba, Canada Manitoba, Manitoba of University Epp Robert Brazil Gerais, Minas Gerais Minas de Federal Universidade Capuzzo Heitor A USA California, Diego San California, of University Yadegari Shahrokh USA Indiana, Calumet University Purdue Chair Subcommittee Technology Video Whittington Jana USA California, Diego San California, of University (NCMIR) Research Imaging and Microscopy for Center National West G. Ruth USA California, Barbara Santa California, of University Venegas Cristina USA Carolina, North University Duke Chair Subcommittee Technology Computer Szabo Victoria Brazil Gerais, Minas Gerais Minas de Federal Universidade Marinho Francisco Kingdom United Brighton, Brighton of University Gollifer Sue Brazil Gerais, Minas Gerais Minas de Federal Universidade Capuzzo Heitor A G rt G rt Commi allery Ju allery ry at S ttee I GGRAPH 2007 GGRAPH Gollifer Sue North Carolina, USA Carolina, North University Duke Szabo Victoria C USA California, Diego San California, of University Yadegari Shahrokh P USA California, Barbara Santa California, of University Venegas Cristina A USA California, Diego San California, of University Yadegari Shahrokh USA Indiana, Calumet University Purdue Whittington Jana USA California, Barbara Santa California, of University Venegas Cristina USA Carolina, North University Duke Szabo Victoria USA California, University Stanford Olivera Marilenis Brazil Gerais, Minas Gerais Minas de Federal Universidade Marinho Francisco Kingdom United Brighton, Brighton of University er P rt OM fo P Sub apers U r TER T TER m a n Sub ce ech c no ommi c l o ommi gy Sub C ttee C ttee c ha ommi i ha r i C ttee r ha i r in Computing and the Arts (CRCA) Arts the and Computing in Research for Center the and Cal-IT2 Brown Sheldon Division Diego San California, of University Cal-IT2 Director, Rao Ramesh Cal-IT2 Director, Smarr Larry Education Undergraduate for Provost Vice the of Office University Stanford facilities their of use generous the for Departments Linguistics and English the and Center Writing Stanford The University Stanford Olivera Marilenis Leonardo ISAST Malina Roger University State Arizona Baker Aaron institutions: and people following to the Thanks A USA Indiana, Calumet University Purdue Whittington Jana XSV Chaudhuri Goldie V I c DE know O TECH ledge NO
L m O e GY S n ts UB C OMMI TTEE CHA TTEE
I R s California, USA California, Arts the of College California Hemami Taraneh Australia Wales, South New Wales South New of University George Phillip USA Connecticut, University Quinnipiac Garvey Gregory Canada Manitoba, Manitoba of University Eyland Cliff USA Ohio, University State Green Bowling Elliott-Famularo Heather USA Pennsylvania, University Temple Drury Sarah USA Alabama, Alabama of University Dill Janeann USA California, Irvine California, of University Costa da Beatriz USA Arizona, Univesity State Arizona Clark Patricia Kingdom United Sussex of University Brown Paul Switzerland Zürich, USA; York, New AILAB Zürich Universität and Buffalo at University Böhlen Marc Kingdom United University Brunel Birringer Johannes O n l in e Ju ry Ohio, USA Ohio, University State Green Bowling Mitchell Bonnie USA Arizona, Technology and Art Connections: Global Loveless Richard USA York, New University Columbia Lewis George USA York, New Institute Polytechnic Rensselaer Lawson Shawn USA York, New Institute Pratt Lauro-Lazin Linda USA California, California Southern of University Kang Kristy USA Ohio, University Ohio Jones Mallory Philip USA California, Barbara Santa California, of University Jevbratt Lisa Japan University Keio Inakage Masa USA California, Angeles Los California, of University Huhtamo Erkki USA Illinois, University Northwestern Hertz Paul Services Consulting
Massachusetts, USA Massachusetts, 119 Gallery Wright Walter USA California, University State Francisco San Villanueva Eduardo USA California, Irvine California, of University Tomlinson Bill USA Jersey, New University Rutgers Tan LiQin Portugal Interior Beira of University Simó Agueda USA York, New Buffalo at University Shepard Mark USA Island, Rhode Design of School Island Rhode Seaman Bill USA California, Arts the of Institute California Scroggins Michael USA California, Studios Jetztzeit California, Southern of University Robbins Christiane Canada Ontario, Ottawa of University Richards Catherine Kingdom United USA; Washington, Canterbury of University and Washington of University Mones Barbara
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ART GALLERY ART ELECTRONIC ART & ANIMATION CATALOG ANIMATION & ART ELECTRONIC 156 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG media art. in art. media world, the mobile and around collaborative of forms new to diary collaborating travel the of are concept the extending who cases some artists as by well created as globes; books modified limited-edition illuminated 25 beautiful than more of series a Günther, Ingo by processor World 87,000 of beads; curtain handmade a Hemami, Taraneh by Wanted Most includes This sculpture, unto itself. that is unique books, artwork digital artist contemporary showcasing design, also while media, and mixed and handcraft approaches, fine-art as well as folk are we why welcoming is That life. of walks many in people for entry providing responsible, and more intelligent it making art, media digital of tak potential is creative and transformation language the and expands that transfer place ing A collective processes. our expand physical-digital and hybrid using preserve to heritage done human the being is outside work remains important knowledge However, their realm. of most digital media, material in culture and knowledge their 75-90% of and Because express by the technology, are earth’s still not digital people connected condition the diaspora. into the in people of insight greater gives that work com perform and immigrant Kingdom with United the work in migrants munities virtual and Chuhan Kooj anthropology. and video, digital Coover, Roderick art, addition, of interactive In at intersection the work Wailwan). / important Toby J.P. producing and are Lee, (Gamilaraay Sniadecki a e r and Ojibwe), / Cree (Plains Deiter Mexico, New México, Diego, (Kumeyaay), López Anthony (Zapoteco), Damián Castillo San Sherbert Cedar and including in Australia, working artists indigenous welcome to delighted are We animation, video, ethnography. and and performance, photography and art interactive digital between space the in developing area such multimedia one is ethnographic digital cultures, as well as directly fields across work activity whose transdisciplinary from artists inviting by process Growing this art. of digital areas in of many work emerging to whom theme, relates year’s this global augmented Committee Gallery Art The review. for work jury submitted the world Wearound from are that so happy artists many mature inclusive. and globally democratic more become to potential culture’s between visual digital availability limits which resource in populations, exist and nations still disparities enormous that fact the by only is mitigated participation greater this with delight Our indigenous internationally. and including regionally, world, locally, developing communities and developed extending the in in succeeded communities we new to work, scope our curatorial thoughtful Committee’s Gallery Art international and the Jury by Gallery reviews the Art and energetic rigorous Through conference. the at SIGGRAPH under-represented historically are that communities from inclusive artists as be welcoming to possible, as tried Romania, We USA. Zealand, the Belgium, New and Wales, México, Venezuela, Latvia, Turkey,Ukraine, Bangladesh, Taiwan, Korea, Russia, South Japan, Austria, Italy, Ireland, Iran, Australia, India, gary, Argentina, and countries Hun Kong, Hong Germany, France, including Many England, Egypt, Croatia, Colombia, China, world. Canada, Brazil, the represented, around are created art cultures digital to approaches transdisciplinary on transcultural focuses show and year’s This Gallery. Art 2007 the Eyes, Global to Welcome SIGGRAPH 2007ArtGallery:GlobalEyes - - - -
Global Eyes Chair Eyes Global Sorensen, Vibeke community. art digital global growing into our ideas and people new us welcome help and years the us through has inspired work whose artists participating other many and these us join in celebrating Please Giloth. Frances Copper by 1982 chair created archive electronic an exhibiting are we Show, Art 1982SIGGRAPH the of anniversary 25th the is 2007 as Finally, special a with chair, Gallery Art the by Leonardo. ISAST and Malina Roger curated from contribution were Panels field. and our on global with in perspectives theorists is and fresh writers together expertise brings She whose America. Latin in Venegas, particularly media, Cristina indigenous scholar media by curated were Papers Diego. San California, of University the at the Arts, the and of Computing in Research for facilities state-of-the-art the at and the (Cal-IT2) Center Technology August) and Information for Telecommunications (4-6 Institute California engagement weekend special a in medi place electronically innovative of areTheytaking artists. program international byleading installations exciting and site-specific an ated performances present to pleased especially are We Michael and Evers, Maaike Wright. Simonian, Mike Mallory-Jones, Philip Hamon, Matt Harriete Berman, Estel Artists-in-Residence: six of work the show to Studio Guerilla the with working are we year, this time first the for and And Hayashi. prints has Shunsaku digital artist, 14-year-old Festival talented including the show,by Arts animation recent most Media their from Japan work of The Miller. selection H. special a Dennis provided by curated (held Marathon University) Music Visual Northeastern 2007 the at from works 20 as well as Meyer, Pedro photographer acclaimed by directed ZoneZero.com, collection photography international online the from tion a selec to include We honored are exhibitions. special invited several year’s features show This form. cinematic What interactive, in work ideas these of many moving explores Job? that and About Maggos prescient the Ben ways. created honoring, humorous are and we playful memory in whose (1981–2005), contradictions and frailties human others our while us assumptions, show our question us make to meant are Some in daring. and location and beauty space, their time, language, of boundaries transcending categories, and challenge works definitions immersive and Online installation. interactive and robotics, performance, and organizing underlying reveal to dance images 3D animation, real-time of the body,abstract use visualization, mind, others nature; and principles work of mysteries form the the Artists take about Some doubts terms. existence. and and beliefs life philosophical of deepest their and externalize introspective, scientists with together personal, ing in and and extinction), problems, species environmental and social, political, and destruction faces on to(as our both environment nature, actively relationships human question comment gallery the in pieces Some
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158 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG A NIM Vlasvlasvlas, Argentina Produced by Eduardo Bellini Original music [email protected] Buenos Aires B1826FZPArgentina Cordero 328,Lanus Vladimir Bellini AT ION
INVITED WORK INVITED La gruaylajirafa(Thecraneandthegiraffe) hand-made. Dedicated to Spanish writer Gomez de la Serna’s greguerias. Serna’s la de Gomez writer to Spanish Dedicated hand-made. is This a and crane 100-percent a love a port about 2D story animation, cute lonely giraffe. digital Statement Artist www1.odn.ne.jp/~haya4hello [email protected] Shunsaku Hayashi Animation cover Ireva This work is based on watercolor drawings produced at the EVA animation school. EVAanimation the at produced drawings watercolor on based is work This Statement Technical well were 2006 2007.in in Tokyo published and book Imaging Osaka Color Epson the in in included is work his exhibitions and received, personal His Osaka. in student ninth-grade a is artist The Statement Artist
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160 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG A NIM [email protected] Tempe, Arizona85282USA 2620 SouthFairfield Arina Melkozernova AT ION
INVITED WORK INVITED 3D animationsoftware Self-Transparency create a metaphor of mutual influence of the of influence mutual of metaphor toa create structures interactive for looks audi She her ence. to condition emotional this impart to wants she art, her Through and self-reflection. otherness, of questions issues, identity displacement, to of sense medium personal a her express as rather but sake own its for wizardry in technological is not interested She movement. and contracting space, time, and extending surrealistic by and environments models symbolic create to her allows animation Three-dimensional self. her for quest the in connections spiritual and space mental visualizing in interested her is She to uses surrealists toanimation She make the become visible. invisible animation. 3D women of fascina medium the chosen her with applies tion Melkozernova Arina Statement Artist - - -
artwork from one of the country’s best and and artists. media best digital brightest country’s the digital of of one from example artwork premier a as leaders try by indus chosen been has Self-Transparency category. Animation/Student and in Graphic the Association Broadcasters National the by award Excellence Creative Individual 2004 a received and Seattle in Festival Film DAMAH 2003 the at film short best as nominated was film The experience. own that artist’s the to relate iconography surrealists’ the of aspects Varo,incorporates Remedios painter to cated dedi Self-Transparency, award-winning The University. State Arizona at video and tion anima 3D of teaching currently connections is She people. spiritual and actual space, outer and inner human world, virtual and real - - - software. Softimage with created was work This Statement Technical
Visual Musicarathon [email protected] USA Nathaniel Resnikoff Shoshanim Shel Erev [email protected] Belgium, Canada Michael Oesterle,music Jean Detheux,images 3 Sketch V Mechanics Daydream [email protected] England Mathew Adkins,music Mike Almond,images Cortex [email protected] Canada fleur, music Sandro ForteandSimonBelle Simon Goulet,images Cinepainting [email protected] USA Jami Sieber, music Betsy Kopmar, images Braidings Possible the All [email protected] USA Michaela Eremiasova, music Stephanie Maxwell,images Remains That All [email protected] USA Fritz Heede,music John Banks,images Afterlife [email protected] Austria Gerhard Daurer 5more add.value Artists &Works www.music.neu.edu/vmm Boston, Massachusetts02115USA 360 HuntingtonAvenue University Northeastern Dennis Miller, ArtisticDirector University 2007 Northeastern - Graveshift [email protected] United Kingdom Adam Stansbie,music Shah,images Vishal Assistance Seek [email protected] USA Pierce Warnecke Retz/distrans [email protected] USA Yan JunHua,music Rebecca RuigeXu,images Rain [email protected] USA music Suzie SilverandHilaryHarp, Suzie Silver, images Nebula [email protected] Ireland Fran Hartnett System Pearl the Navigating [email protected] [email protected] Hungary Kurtag Jr., music Gyorgy KurtagSr. andGyorgy Eva M.Toth, images Memory Lajka’s [email protected] USA Mike Winkelmann IV.6 [email protected] USA Per Bloland,music Arie Stavchansky, images
[email protected] USA Dennis H.Miller Noise White [email protected] Romania Liana Alexandra Variations from #4 Variation [email protected] USA James Lauer, music Kasumi, images Ugoku [email protected] USA Erik Satie,music Bum Lee,images Diversions and Sports [email protected], [email protected] USA Ken Field,music Karen Aqua,images Sensorium MusicMarathon UniversityVisual Northeastern tight synchrony with cues in the music. The common theme is that the music and images are are form. images some in and related closely music the that is theme common The music. the in cues with synchrony tight images the in edited which are visuals in the which in works pieces is or category third A versa). parameters vice (or music the sharing “interpret” by tied which in directly works are example, music for and approaches: images of the variety a using applied be years. can of concept poten hundreds The full its tial. back reach to genre this dating allowed roots century 20th the with in video and genre film of emergence artistic The interdisciplinary an is music Visual Statement Artist Selected Works from the2007
INVITED WORK WORK INVITED A NIM
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162 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG A NIM Monno Kazue [email protected] Nagata Takeshi AT ION
INVITED WORK INVITED
“Pika Pika” Lighting DoodleProject This communication naturally took form in the work, which received the Excellence Prize in the Anima another. the in Prize with Excellence the person received one which in work, linked the in form took doodles people naturally the to various communication This life met brought we that joy which and through surprise project The places. doodle various lighting a from created was animation This Statement Artist tion Division at the 10th Japanese Media Arts Festival. Festival. Arts Media 10th Japanese the at Division tion
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ELECTRONIC ART & ANIMATION CATALOG ART GALLERY 163 Art Gallery: Global Eyes Global Gallery: Art Artist Books Artist •
164 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG ARTIST BOOKS ing, without boundaries, and multiplies exponentially in power and effect over time.” over effect and power in exponentially multiplies and boundaries, without ing, travels that groundbreak co-creative, magic is work This the physics. and celestial light true is of molecules and shafts its understanding within Her word. the of sense is true Beal the Kathy of in work inspired “The work: my about say to this had O’Connell Katherine Dr. Reverend hearts. viewers’ in compassion awaken will Sisters, Seven mations, transfor seven these I hope traditions, Buddhist of the paintings) (deity thangkas great the Like understanding. and existence of levels many her suggesting goddess, the for environments multi-dimensional mystical, creating a bystudents, created template art Chinese across elements spiritual and organic various merged have I transformations, seven these In creativity. and spirituality between connections the to explore Icontinue as work my in found in my is She often life. spirit a and guiding of compassion of Goddess the world), the cries hears (she towho Yin Quan dedicated piece based photographically is a cross-cultural, Sisters Seven Statement Artist [email protected] Santa Fe,NewMexico87508USA Suite B7,#269 7 Avenida Grande Vista kathybeal.com Kathy Beal - - printer. inkjet professional an Epson with digitally printed and Photoshop in Adobe was produced piece final The capture. camera digital through obtained were Yin (and Quan of CAFA in transformations used seven the with images The software. communicated iChat and camera Studio) iSight Apple an Guerilla via Bishop) Lyn the guerilla of an fellow via Area Studio Collaboration Guerilla (the 2004 We site. SIGGRAPH the FTP to transmitted and Chendu, and Wanxi, (CAFA) Beijing, Art, Fine of Academy Central the Quan at The students today.two by world created the digitally in was template available Yin processes digital the of because exists Sisters Seven Statement Technical 2D print,folded,accordian-bookstyle 10 inchesx36 Seven Sisters until the work takes on its own personality. personality. own its on takes work the until collaborators the between communicated is that thought or feeling a artistic with The begins journey parts. its of becomes sum the imagery than more resulting the laborative, col and becomes work the singular when but is individual, process creative the Often Iencounter. that tion stimula visual of and elements human beauty the differing by intrigued the always am I define culture. human that and details unsophisticated, simple, organic the for look I that inspiration integral propels my the art. Traveling the throughout world, is journey The waking. upon fade quickly and that dreams impressions images of dissociated the concepts specifically the and at looks that proj ect collaborative a is Talk Could Dreams If Statement Artist lynbishop.com [email protected] USA94087 Sunnyvale, California, 928 MackenzieDrive Lyn Bishop - - -
never fully engage otherwise. otherwise. engage fully never may we that worlds see to us allows It ening. threat or enchanting, forbidden, sacred, be may that worlds to access grants art Making world. the in diversity the to speaks that work into way,this and experiences I weave images in technology and culture, art, combining By and all that it brings. the future and embracing traditions cultural honoring between balance My art reflectsmy desire to the preserve gentle diversity. cultural sacrificing of risk the run we in cal advancement our quest for globalization, technologi and economic toward race we As me take journey. muse creative the on further the letting element, diversity each the of explore and learn to continue I process. this in me drives what is personality and between similarities/differences, cultural interplay imagery, unexpected the Finding Accordion book,6inchesx1inch Pigment prints,20inchesx If Dreams CouldTalk
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166 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG ARTIST BOOKS [email protected] Bowling Green, Ohio43403USA Room 1000FineArtsCenter School ofArt Bowling Green StateUniversity Dena ElisabethEber experience, one that the can capture past and experience, shared contemporary a of part be to enough isrecent Holocaust The event. horrific tational represen one using hope and life celebrates People a of Survival the and Jews American Get: Not Did Hitler that Jews Some are These apeople. of celebration of is work such one series This ent audiences. differ reach that ways new in understanding ethnic and political provide shared, when ries, memo These and memories. recall cultural shape even to helping digital sense, of a in are, capabilities media to storage the ability and the edit, connectedness, of groups The entire people. society, of our identities the on especially impact are profound internet a the having and content media Digital Statement Artist Digital mixedmedia American JewsandtheSurvivalofaPeople These are SomeJewsthat HitlerDidNotGet:
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ers of information to the overall story. overall to the information of ers lay provide together that papers, hand-made custom and substrates hand to collage coated from media, mixed of elements various have works The forms. photographic of montages digital seamless and collage digital visible ing includ sources, numerous online were from works constructed from the of All came banks. storage past digital the from the of pictures Many present. past the from the imagery from with symbols by and imagery digitally fusing constructed were works These Statement Technical - - [email protected] Athens, Ohio45701USA Ohio University 235 PutnamHall Aesthetic Technologies Lab Philip MalloryJones eavesdropping on the grownups talking in the kitchen. kitchen. the in talking grownups the on eavesdropping while of lore, we heard then are for tothose If these not whom family our speak selves, can also retellings we the express audience, other can truly Ohio… rural Carolinas, the Kentucky, Delta, Mississippi the into reaches that neighborhood extended the and Side, South of the both we are lives, of our particularities the and gender, by a generation, separated Though perspective. and experience, language, shared to we the of truths know. our we do This equivocation, because could was simply, toand without in clearly, of intention each Our speak our cores. resonate that images and of play awords conversation, our isourselves, first The mind. in audiences several with composed was HERE! LISSEN that it, — of speech.” our is getting-to-the-heart pungent flow, the the cadence, tothe listening, stricken my of always race of a listening, of is It hands liberation. energies toward relentless galvanizing worked-out the steadily watching people, knotted, and back the standing of of lifetime a of nicknames; fruit the is family It lap. her provocative in of patiently of so lore; born folded is grandmother, It family else’s autobiographical. anybody anecdotal, and own, factual, is my It of womanhood. snatches black of remembered celebration a and history black of meld a as life began book “This wandering. off-key, and rough, way, the others leading and strong, sweet, some voices, of blending a discords, and harmonies nuanced of hymn a is It culture. and life African-American of evocation an is HERE! LISSEN Statement Artist 19 inchesx13 Giclée printportfoliobook,50pages,limitededition(100) LISSEN HERE! Dorothy Mallory Jones Mallory Dorothy
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168 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG ARTIST BOOKS China and China’s emerging influence in global politics. global in influence China’s emerging and China on influence culture’s western both referencing West, toward moving East presents logo book’s The culture. rich historically and mysterious China’sto introduction my references title The I explored. landscape natural and political, cultural, the about feelings my Two created. were sets four, of were prints as bound reflect created The books. images of edition an in photographed. prints, I new images Thirteen with working mentally by I trip returning, the Upon processed China. to traveled I 2005, July In context. a broader in world the of my understanding my access facilitates me and truths helps own investigation practice. This art being belongingness. my my explore and I of objects, and nature images of the creation Through is observations and ideas, thoughts, Processing create. to need my drives Introspection Statement Artist [email protected] Redwood City, 94063USA California 33 DexterAvenue PreNeo Press Kent Manske Artist’s book,12inchesx231.5 Framed printinstallation,44inchesx843 West toChina meetsEast:Artworks basedonajourney ernization, capitalism, and colonialism. The works seek not not seek works inquiry. further but The closure colonialism. and capitalism, ernization, mod to adapts it as the pains China’s on explore prints Several researched trip. practices spiritual explores portrait self A popular. the and sacred the of hybridization the symbolize to Buddha the meets Mao Chairman food. fast American of tion adop China’s signify to forks with merge Chopsticks issues. environmental addressing window icon dirty a cultural becomes fan The the of East. and West the between customs and practice everyday in differences acknowledge signs restroom series, this In thinking. of comments process a reveals or experience, situation, a on an documents metaphorically mark Each providing meaning. making maps, and ideas interpreting for routes conscious visual as function narratives visual My
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form, relationships emerge, narrative evolves, and meaning meaning and manifests. evolves, narrative emerge, space book the private relationships of form, a space conceptual provides the page Within Each contemplation. for form. to artist the of language and thoughts, images, the for space inhabitable and functional a provide books The page. colophon and page title a includes book The logos. are screenprinted with wood Prints painted cultures. stab are covers Asian Book canvas. using cotton thick on hinged toand mounted artist common the by techniques bound hand binding are books artist The printer. inkjet 2000P Epson an using Paper shop and printed on 285 gm2 Torchon Hahnemühle Watercolor Photo in imaged camera, a digital with captured were Images Statement Technical
painted woodwithscreenprintedlogo. Book covers:
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ELECTRONIC ART & ANIMATION CATALOG ART GALLERY 169 Art Gallery: Global Eyes Global Gallery: Art Digital PerformanceDigital • 170 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG PERFORMANCE DIGITAL [email protected] 91001USA Altadena, California 1300 Meadowbrook Road J. Walt Adamczyk INVITED WORK INVITED But don’t worry. The next one will be better. be will one next The don’t worry. But remains. memory a Only gone. are creation, of whole the beings, and The world I create is At only temporary. the of press a all button, objects Autocosm. in quest. iterative my on performer, world a the me, about it’s evolve And world. better a and making about It’s life. perform about It’s and create to attempt I desperation. and celebration between caught alife of It’s anact perfection. for quest aniterative in time, moment is a fleeting performance a for instancy, this depict to way fitting a is Performance generation. next the by starting death overcome only new the have by to the old, so the be so and new informed better. will we ends, Life can try we But old. the of go let to have we new, the for To make and destruction. room of creation process a continual without be can no evolution There erasure. It death. requires requires Evolution transformation. and life of evolution, and growth of aworld is it case, we the from world In all share. this apart world, personal a self-contained is “autocosm” An performances. live solo in worlds artificial create I which in project, Autocosm ongoing my of continuation a is piece This Statement Artist
simultaneously exploring it. exploring while simultaneously space a creating for allows It viewpoint. of changes continuous with of spaces creation and of objects placement integrates This technique device). other or joystick a (using space the around and through I Sometimes tablet. use I it times Other tomy draw in creations. puppeteer 3D moving while drawing a be to continues device input main My a on runs system The Python. box. Windows in written end front and the OpenGL with of top on DirectX, C++ in written is own core my The for performer. directly as use tailored I’ve which software, own my using form I per of interaction, the methods determines design software Because approach. “straight-ahead” a with scenes CG animate and to create ways developing I’ve been so production, CG to foreign which is live- improvisation gesture, But improvise. to me of captured allows utilize I domain so performer, the the and audience exploring the been I’ve for both fresh I years, want to animation. keep my performances performance few last the Over Statement Technical -
Autocosm 2007
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ART GALLERY ART CATALOG ANIMATION & ART ELECTRONIC • 172 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG PERFORMANCE DIGITAL The result is a feedback-driven, multi-sensorial exploration into future-stained natural habitats. natural is music. future-stained the into it exploration inspiring another, is multi-sensorial video one the afeedback-driven, is or result The with video the conjunction inspiring is in music the live if tell to performed possible longer being no are video and music both Since unex and forceful, mesmerizing, on thrives relationships. and pected mixing footage live their documentary qualities, nature of cinematic use its common exploring the deconstructing By flow. inspired musi cally real-time, a in them remix and process to context pedagogical and scientific their of out images the take and documentaries nature from excerpts use Lelong Denis and Cádiz Mariela fragile. potentially and ever-evolving, dynamic, is that journey music computer recombinant a create to techniques music electro-acoustic traditional with sounds and structures music dance contemporary combines LapCore) (aka Clelland Kent versa. vice and footage remixed to live music electronic live performs trio Cádiz/Clelland/Lelong the level, new a to cinema live Taking nature. of vision electronic an on reflects that performance audio/visual alive is e*scapes Statement Artist [email protected] 75005 Paris,France 4 rueRoyerCollard Denis Lelong Kent Clelland Mariela Cádiz
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the art of creating an entertaining performance on the fly. the on and performance technology entertaining an between creating of art the boundary the blurs cinema live real-time generate to order instru in ments respective their through interpret and onstage communicate to artists the of ability The each that natural ensuring and the unique. is to performance performers the among supplementary shared level being already feedback workstation feedback artistic musical sensory-reflex an the creating between workstation, shared visual are the signals and control performances, live trio’s the In to OSC and controllers. MIDI hardware and as computers coordinate such protocols as using and such Delay, software Spektral running and Reaktor, computers Max/MSP/Jitter, from constructed are stage on played instruments The live. created being also is which composition, musical the of development the “from” response direct in as well as “to” response direct in live remixed and edited, processed, are clips video research scientific and us. documentaries around nature from world Clips natural the create from materials artists source their the interpreting by feedback, as narratives audio/visual human-response this and to communication, refer intranet They controllers, ware techniques. real-time hard software, home-brew and commercial of both audio/visual collection a large Confusing a “confusion.” and perspectives, ideas, different together fusing of that technique collaborational their considers trio Cádiz/Clelland/Lelong The Statement Technical - -
http://2rem.net/projects/autopoiesis www.majacerar.com New York, NY10027USA Columbia University Mail code1813 621 DodgeHall Department ofMusic Liubo Borissov Maja Cerar
with electroluminescentwires,projectedlivevideoprocessing Live, amplifiedviolinwithelectronicmusicaccompaniment,choreographedmovementindarkness Autopoiesis/Mimesis the physical challenge of the material. the of challenge physical the in is tolight, full enacted make Mimesis palpable darkness, in complete performed is which Autopoiesis, to contrast In eternal. the of essence the into tap to irrational and rational both quest a in challenged is tion representa Two-dimensional mimicry. and art’s by reality furthered as form ideal imperfect between tension ancient the of exploration seri ous more a Mimesis, by complemented and followed is Autopoiesis performers. by the orchestrated is by in on created an which acting itself stage, force and illusion matter reality the as screen the on projected lines the see can One evolving. without change and move constantly them of both which in festation, mani (projected) virtual its and figure a physical between a in dialogue out played is and vacuum, and mass effect, and cause between ships relation to of limits comprehending and of degrees an exploration also is It oneself. of duplicate a with coping and time than single a more at in place one existing of idea the tackles It universe. the of beginning the about authors two the between discussions the of humor a document ous part, in is, and realities imagines that work a is Autopoiesis Statement Artist - - - - -
evokes daylight to the extent this is possible without obstructing the the obstructing projection. video without possible lighting is this general extent the the to and daylight illuminated evokes well is violinist the Mimesis, For violinist. the behind onstage located screen video alarge and loudspeakers via space performance the into back projected then are materials computer-generated These figure. her of image moving the and of the sound violin todata process location her uses computer As the she moves, movements. her tracks and a computer the violinist, wires in a dark space. A is camera on video electro-luminescent trained glowing of set designed uniquely a wears violinist the Autopoiesis, For Statement Technical INVITED WORK WORK INVITED
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ELECTRONIC ART & ANIMATION CATALOG ANIMATION & ART ELECTRONIC • • 174 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG PERFORMANCE DIGITAL ing alternative meanings for the same reality. reality. suggest same the for soundtrack, meanings alternative ing different a has work the of loop repeat the each and order, in world new asylum depict to installation devices the poetic uses dialogue, of absence the In of conflicts. current consequence inevitable an poses clusion con The games. military in lucrative engaging while par community and the land safe to access denies ent official anxious The child. a and parent, migrant a official, an triptych: lar a circu as arranged screens of three each on appear sea at rafts on figures masked Three Statement Artist Hafiza Mohamed Miselo Kunda Jilah Bakhshayesh Aidan Jolly Tang Lin Collaborators www.virtualmigrants.com [email protected] Manchester M328PTUnitedKingdom Stretford 56 KenwoodRoad virtual migrants Kooj Chuhan INVITED WORK INVITED - - - -
experience. experience. cultural broad a with connects that and erful, to pow brutally yet sensitive is that layers, many issues collectively social through a create that be work can understood and geographies, aesthetic discussed global wide- from ranging come who artists, the period, collaborating development two-year a During in the common China. by concept influenced equality-of-opposites strongly are residence) longer denying yet conflict land (allowing from water respite and death) and life both ing (symbolis blood of uses double-edged The What IfI’mNotReal - -
Logic. The music changes with each repeat repeat each with Apple changes music using The Logic. Jolly Aidan by produced were audio and music The work. audio the for landscape the posi establishes spatially This speakers. and tioned discretely on playback in four-channel resulting atmosphere, ambient acter of each of the three screens along char with an audio the represent to configured were tracks music The look. alienating and harsh, and give it a effects slightly rough, tonal colour and grading film create to keys and filters pus Cano with Effects After used and Premiere I Adobe photography. and video digital location using on footage rehearsed and scripted What If I’m Not Real involved carefully shooting Statement Technical - - -
below add to the washed-ashore feel. washed-ashore to the add below the economy. old The oping rocks TV beneath a is of still key the devel part stuff hand-made which in cultures of sense a – costumes the of feel provides hand-made simple, the and with continuity look rough-hewn a creates other. It each through seen be to screens the screens allows the it because look final for the to critical was batons bamboo suspended gauze between sharks-tooth of use The re-inter pretation. this to add perfomances music different live occasional four and narrative, create the of to impressions cycle visual the of - - retaining an intimacy between the personal and the epic. epic. the and personal the between intimacy an retaining while art, and imagination poetic with realism documentary and testimony colliding of personal/community ways at looks works these of many of methodology key the practice, collaborative and installation, music, audio, photography, multimedia, interactive video, image, moving Using ogres. or victims as people migrant of depictions sensational sometimes and patronising, dominant, the from away well steered and practices art established of boundaries various blurred we so, doing In world. post-9/11 globalised a in asylum of experiences varying and landscape polemical the structing recon on intent communities and artists UK with engaged migrants virtual 2001 From to 2006, . I’m If Real Not What of version remix audio interactive interviews. an and artist Local-Stranger and Piper’s Keith works: films interactive two short are of there DVD section, a DVD-ROM the In includes It migrants. in publication virtual migration by and electronic order, asylum world with an new engaging a is art This electronic and music, papers. video, of years bloodstained five covering waters, global streets, local Exhale: Statement Artist and others Hafiza Mohamed Miselo Kunda Jilah Bakhshayesh Aidan Jolly Tang Lin Keith Piper Collaborators Exhale -
and Director, but throughout the process, the aim was to avoid a sense of over-manipulation. of asense to avoid was aim the process, the throughout but Director, and SoundForge, Photoshop,Logic, Effects, After Premiere, included in the Thefinalwork. software through that comes at tor,the of stage acquisition an footage immediacy the maintain still works Direc in work interactive including lengthy, was phase post-production the though even Real”, and effects key If I’m“What Not the and collaborative simple as Piper’s such “Stranger” pieces with On hand, the other with video of use The from. some films allowed to fromtoconcept edit be final in completed justimagery layered few draw a days. works the which genres docu mentary the within common is that matter subject the with immediacy an maintain toprocess keen and was I approach in yet methodologies, technical differing use works Exhale various The Statement Technical
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ART GALLERY ART CATALOG ANIMATION & ART ELECTRONIC • 176 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG PERFORMANCE DIGITAL http://joreg.ath.cx [email protected] 4020 Linz,Austria Gesellenhausstrasse 15 www.org Joreg Michael Höpfel Michael Oeschler Lars Preyer Diane Modeling Joreg Animation and Programming Strohmann Michael Audio Bruckmayr Dietmar Performer Collaborators
loss of control. of loss is to say his which situation, actual the singer’s represent deformations the that suspicion the raising deformation, and changes undergo they accordance in of the music, the influence functioning Under of the with norms self-representation. cease They own. their of begin lives singer develop the of to is portraits digital The estrangement level. and visual the on reproduction, continued representation, of process This estrangement. enrich and and into manipulation turns ultimately expansion expression of ment the in vocalized purported authority the events, and acoustic creator the of the charge outwardly remains singer the Although the for sources sound digital singer. the and listener and analog between difference the dissolution of successive to leads machine and voice between tionship rela recursive The sounds. other with domain frequency in its it merge ultimately and voice his duplicate and transform, dismantle, machines Digital self-abnegation. of point the to himself relinquishes singer The him. of representations by three-dimensional right as a in triptych: the the middle, real head of and is left the flanked singer stylized and voice toand face representation is reduced singer The reproduction. multimedial and about vocalist solo a for piece a is Imago Statement Artist - - pose toolkit and graphical programming language for real-time video video synthesis. real-time for language multipur programming a graphical (vvvv.org), and toolkit vvvv pose called software custom our with done is Programming time. real in shapes the of any between to animate used different was then shader vertex A buffer. custom in vertex into large put one were head the targets morph all of performance, during targets flexibility maximum For morph shapes. 16 using done is Animation calculation. lighting during shader pixel a in used and generated were maps occlusion ambient and maps mal Nor together. stitched and head the around taken were texture, the photographs For mesh. scanned the of shape the to vertices the and align scratch from mesh a build to easier was it mesh, this cleaning of Instead mesh. buggy partly but high-resolution a produced ner,which For the the head animations, was performer’s using digitized a 3D scan max/msp. and like kyma software is using done programming Audio ing the audience. surround setup audio to a multichannel the spacialized and by voice singer’s transformed are that beats prepared from generated is sound the hand, other the On soundscape. live a from extracted parameters various and joystick a by controlled is animation The protagonist. real the of possible expressions the as abstract finally and realistic ways to extend find also as but be to wanted We time. real in gestures facial its animate and performer live a of head the duplicate to was task The Statement Technical - - - -
imago
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ART GALLERY ART CATALOG ANIMATION & ART ELECTRONIC • 178 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG PERFORMANCE DIGITAL interpreted through a Japanese cultural perspective. Through the presented vignettes, this this vignettes, presented experience. aunified as the them presenting memories, Through personal those back brings perspective. vividly piece cultural Japanese a through interpreted to tied seasons, the four are that strongly memories to evoke intends personal Rather, the piece This work not does intend to a foroffer of point andall cherish. common reflection tounderstand the night. Eve, winter Year’s New freezing the in On heard are bells temple of afternoon. chimes fall a of air cool the in glide smoothly Dragonflies evening. artist. academic (the spring Utsushi-e the in modern bags can be of on heard a cicadas a school hot summer in in Japan). April year performance begins The proud their by which with school to in performed back are walking seen performance are seasons Children four show/video the shadow-puppet interpreting live scenes various sequential a is Seasons Takashi’s two. the between developed interaction an and response, audience on built Artists images. painted and narration, manipulation, light art, of live a via mixture pictures” “motion created artists on a screen, images of pre-fabricated ing a series project merely of instead Utsushi-e, In century. mere a by them preceding movies, of ancestor close a considered be can It show. magic-lantern Western the and play shadow Asian ancient the of a hybrid of original an emergence Utsushi-e, as the known Japan 17th18th-century influenced in it the entertainment West, of of type the new half in invented second was the lantern during magic the Europe While in century. invented lantern,” “magic the called was what from developed instruments projection modern These or projections. screens as video in theaters movie large on pictures motion experience to ordinary become has it century, past the Over Statement Artist Yoshimasa Niwa Togo Kida Collaborators [email protected] Los Angeles,CA90095-1456USA Suite 2275Box951456 240 CharlesE.Young Dr. Broad ArtCenter UCLA Design|MediaArts Takashi Kawashima
Digital performance Takashi’s Seasons -
C and C#/.NETC and respectively. using ani programmed were video of microcontrollers The switch. the via puppets shadow the with mations synchronization allowing microcontroller, second on the based from effects commands sound and keyboard animations triggers Flash Macromedia in programmed Software commands. keyboard OS to Windows signals serial these translates microcontroller second The messages. tothem serial converting by switch, the generated signals toelectronic read is programmed and to switch the serial a via connected directly is connected turn microcontroller AVR first The in ceiling. the on are mounted to a computer that cable microcontrollers two to connected is switch custom A digitally of style. animation hybrid blending aunique The produced shadows projected and Expression. animation generated Effects After in programming and keyframing both using traditional Effects After Adobe in developed was animation The cutter. laser a to output were puppets the imagery, projected of the scale the match would shadows cast the so puppets the then paper, of scale the on adjusting After animation. video sketched and puppets physical into first divided were characters were characters and and props grid, pixel x a on 360 640 placed were props elements all After Illustrator. Adobe in created all performance, the creating In Statement Technical -
[email protected] Jae Young Kim [email protected] Woo RamSon Collaborators [email protected] Seoul, 156-743,SouthKorea 511 Sangdo-DongDongjak-Gu Soongsil University Hyung MinLee
Theremin Based on Computer-Vision Technology Computer-Vision on Based Theremin Bibigi mixes three sources with an interaction in one space. space. one in interaction an with sources three mixes that species different among conversation a is result The etc. biology, ogy by animal neurology, zoology, genetic science, analyzing behavioral psychol and behavior their understand to seeks and patients autistic among differences the recognizes It beings. human autistic and mals ani between similarities the about questions poses performance This images. of intensity and saturation, hue, the on based computed are loudness and timbre, Pitch, technologies. computer vision on based device sequencing and music-scoring a is Bibigi Statement Artist
- - of physical properties. properties. terms physical of in sound, and This color of intensity. analogy the by on based is controlled rule is conversion loudness and saturation, by mainly decided is timbre hue, by decided mainly is Pitch images. transformed the on based computed are loudness and timbre, Pitch, intensity. and saturation, hue, with model HIS the into transformed are images RGB Statement Technical
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ELECTRONIC ART & ANIMATION CATALOG ANIMATION & ART ELECTRONIC • • 180 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG PERFORMANCE DIGITAL and tranmission. Attendees take part in SOUSveillance and and SOUSveillance in capture part image take for Attendees norm tranmission. social and a work of This evolution Equiveillance. the balance: examines fair SURveillers, a and for need SOUSveillers a between creating tension a is There “rulers.” the and “ruled” the between relationship new a establish to communities, the indigenous in and world developing particularly communities, disenfranchised of traditionally dynamic power the alters SOUSveillance in situations. observed social being not only are are You upload. you observed. or alone, they watched are being you as what long so choose SOUSveillance, With people self- where selective supports representation, SOUSveillance SURveillance). rather than (SOUSveillance panoptic inverse the rather panoptic but traditional sense, the in not eyes, all-seeing results: sation a Globaleye new phones, of Eyes camera Global the Through people-to-computer. of instead “power-to-people,” or people-to-people, become has peer-to-peer, as known often P2P, others. of perspectives the of understanding greater for tool a is rather but knowledge, “computer-like” encyclopedic just than more become has connectivity mobile Constant tion. interac social for used are video and images phone Camera Statement Artist www.eyetap.org [email protected] Toronto, OntarioM5S3G4Canada 10 King’s CollegeRoad University ofToronto and ComputerEngineering Department ofElectrical Steve Mann Sadek Ali Mir AdnanAli Chris Aimone Raymond Lo James Fung Collaborators
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their messages to the world stage. world to the messages their micro-capitalism, by bringing many communities empowering and social-justice, environmentalism, in journalism applications has citizen for imaging mobile with connectivity Constant militia. media new transmitting of order the of the democratic about brings of and images live video capable accessibility technology The off-the-shelf Equiveillance. inexpensive of form perpetual a the propose in We stalemate ammunition. race new information the the images become and has race humanitarian arms promote The undermine to agendas. that efforts authorities’ environments civilian hostile existing in work often NGOs Equiveillance. equilibrium: of astate reaches community the how exploring conference, the of duration the throughout and desirable what images should be shared. The work evolves is capture image where and when phones, between negotiate,
domes are re-situated, and attendees are invited to mount mount to eyes. invited SOUSveillance to create bags are conference on them attendees and re-situated, are domes SURveillance Globe-shaped Equiveillance. perhaps of state a time, reaching over evolves process negotiation This further. or rejected. The chooses the community images that propagate to accepted be phones between wirelessly spread are Images that who is. apparent person not but image, an in is appar be someone may that it ent so clarity image of levels different provides binary Sight-licensing than legibility. to image set permission rather sight-license users. continuous a between uses system scheme the Moreover, “sight”-licensing upon agreed mutu a ally creates interaction group This image of sharing. process and the capture censor or stop can person one no so distributed, is interaction This images. share or take to stan dards community obey must Glogger programs, other Unlike it. prevent or images of sharing in to and engage the taking either attendees conference allows Glogger, called throughout program, phone camera SOUSveillence 2007.A SIGGRAPH cooperative of concepts explor the in ing participate to phones camera their use Attendees Statement Technical - - - -
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ART GALLERY ART CATALOG ANIMATION & ART ELECTRONIC • 182 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG PERFORMANCE DIGITAL the creative processes of art and science. and art of processes creative the between similarity the shows way a in and itself, in experimentation is collaboration very of The process itself. existence of nature the expres ponder and living reflect a to which create to upon art environment digital sionistic and dance modern through experiment an is project This world? the facing problems the socio-political and living day-to-day with intersect concepts these do How ponder? actually can few ideas to that artists reaction in do commentators How and translators both as spirituality. serve and and concepts space, these interpret time, of understanding theory, string humankind’s and bombarding mechanics are quantum including physics, contemporary in concepts Current digital and 3D, 2D, and sound, projection. video dancers, of consisting installation art living a is Know to Rage Statement Artist mmasucci (at)eztvmedia.com USA California, 18th Street ArtsCenter Michael Masucci Stephanie Reilly Stephanie Hazan Samantha Hederman Vincent Montano Alheli Dancers Live EZTV Johnson Kate Masucci Michael Artists Digital Sternberg Donna Choreographer Collaborators
RAGE TOKNOW - for SIGGRAPH 2007, features digital music created by Masucci, Johnson, and Sternberg. and Johnson, by Masucci, created music 2007, digital SIGGRAPH features for especially created performance, Butoh-like This surfaces. projection change the of size therefore and and shape the shape change which costumes/sets, fabric mesh of prototypes several in enclosed are who dancers, the to light used is projection video than other design lighting No Bethune. Zina pioneer dance multimedia technique, This surfaces. mid-1980sthe in with projection collaborations his since as evolving been has by Masucci, used LightCrane are called who dancers, four the with smoothly more systems that allow videoto projectors uses two camera-support EZTV follow modified and move landscape, contextual as serves which projector, tostatic one addition in performance, this For Statement Technical that predict innovative methods of interaction and play with mobile phones. mobile with play and interaction of methods innovative predict that art of performing works to realize projectors and panels display wireless use and ever-evolving phone the mobile on focus we research, our In function. projection video a include even might They display. video comfortable more much and larger much a have will phones mobile Future more. and more enhanced to be tinues con phones is these of phone performance and mobile quality the every and capability, almost display now, video with But display. equipped video to a hard was carry it could ago, long telephones so Not that lives. imagine our changing and evolving rapidly is phone mobile The Statement Artist [email protected] Hamamatsu, Shizuoka430-8533Japan 2-1-1 Chuou Shizuoka UniversityofArtandCulture Hiroshi Matoba Nanako Heisho Hiroyo Hattori Yasushi Matoba Co-authors Satomi Hori Yoshimi Horie Natsumi Tahara Collaborators Umika Obata Yuko Takeda - to quickly change the configuration from vertical to horizontal when the figure moves from a the from moves displays, figure the the when position. to alying horizontal position in to standing vertical person from configuration a the of change quickly to movements capricious the the They mayperson’s figure. display have whole to the panels continuously arrange follow performers they as example, For content. video the with synchronize that projectors of tion images The images. video as synchronized they by can move be the or the the and controlled panels change orienta arrange performers and collective create can performers cases, both In light its as LED with unit projector valve. light a its as DLP and uses source system This system. projector mobile wireless A • a with area frame. 17-inchdisplay a one-centimeter-wide has panel The LCD. on based panel display mobile wireless A • performance: kinds new two created artists The Statement Technical Performing ArtsfortheFuture MobileGeneration DIGITAL PERFORMANCE DIGITAL
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ELECTRONIC ART & ANIMATION CATALOG ANIMATION & ART ELECTRONIC • Dynamic Spaces A Rhyme of the Tang Dynasty Co-located performance, improvised contemporary music, visual arts • DIGITAL PERFORMANCE DIGITAL PERFORMANCE •
Pauline Oliveros Xiaohua Sun Rensselaer Polytechnic Institute Massachusetts Institute of Technology / 110 8th Street Clarkson University Troy, New York 12180 USA [email protected] [email protected] Ping Jin State University of New York at New Paltz [email protected] Collaborators Lihong Lei Curtis Bahn Capital Normal University, China Jonas Braasch [email protected] Chris Chafe Tomie Hahn Nan Zhang Soundwire Ensemble Smith College Tintinnabulate Ensemble [email protected] Dan Valente Bart Woodstrup ELECTRONIC ART & ANIMATIONELECTRONIC ART CATALOG
Artist Statement Artist Statement Technical Statement Musical performance usually takes place in a static, unchanging space. The acoustics of the The Tintinnabulate Ensemble performs improvised music with traditional and non-traditional The main idea for this work is to use the performance of the dancer, the dancer’s shadow, and interactive real-time-generated ELECTRONIC ART & ANIMATION CATALOG ELECTRONIC ART & ANIMATION space are coupled with the instruments and/or voices to create the sound of the music, which acoustic instruments. Live electronics play a central role in the concept of Tintinnabulate. The graphics as equally important components in the visual composition. This is exemplified in different sessions of the work. For
has always posed a challenge regardless of genre. For example, the right balance of reverbera- ensemble uses two software environments to create functional virtual acoustic spaces that are example, in the beginning section, two stripes are animated in imitation of dialogue with the movement of the water sleeves tion is needed to ensure both clarity of the performance and perceptual fusion of the musical projected by up to 24 loudspeaker channels. of the dancer. In the second section, graphics like smoke and waves are designed to express the essence of the dance in an instruments. abstract way. In the last section, the dancer “controls” her shadow to “dance” together with video captured from her dance Pauline Oliveros conceived of the Expanded Instrument System (EIS) in the 1960s as an interac- and her shadow. Special attention was given to show the styles, patterns, and sounds that are characteristic of the Tang This project explores the relationships within an acoustic and electronic performing ensemble tive electronic sound-processing environment designed for improvising musicians. ViMiC is a Dynasty (A.D. 618-907) of China.
for improvised music in virtual environments with deliberately varying characteristics. Varia- computer-generated concert space based on an array of virtual microphones, with adjustable tions in acoustics provide a new dynamic parameter of music in addition to harmony, melody, directivity patterns and axis orientations. The design allows creation of sound imagery similar
Technical Statement ART GALLERY and rhythm. The performance is enhanced by dynamic visual elements with interwoven artistic to that associated with standard sound-recording practice and goes beyond pure recreation of images and views of the performers in a shared virtual space. physical acoustic spaces. Various types of audio/visual interaction techniques are used to generate music and graphics for the performance. Through analysis of the scene captured by a digital video camera, the amount of movement and the position of the dancer are used In implementating a live, co-located music-performance space, a central question is: How can References as parameters to animate two stripes that echo the movement of the water sleeves of the dancer. Those parameters are also we capture the aura of a remote environment and bring it back to life during a concert? Although COMPUTER ANIMATION FESTIVAL COMPUTER ANIMATION 1. P. Oliveros. 1995. The Expanded Instrument System Acoustic and Virtual Space as a Dynamic Element used to generate abstract smoke and wave graphics and to adjust the music effects. Music and sound are used to affect the our work incorporates reproduction of recorded spaces as well as real-time creation of virtual of Music. Leonardo Music Journal Vol. 5. appearance of the wave graphics. A Wacom tablet is also used to generate graphics in accordance with the movement of
spaces, the concept of reanimating previously experienced venues goes well beyond the physi- 185 the dancer. cal reproduction of the space and enforces creation of an abstract but functional audio/visual 2. J. Braasch. 2005. Virtual Microphone Control: A loudspeaker-based 3D sound projection using environment. Virtual Microphone Control (ViMiC), Convention of the Audio Eng. Soc. 118. May 2005. Preprint 6430. 184 • 186 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG PERFORMANCE DIGITAL is represented graphically by a catalog of metal objects. objects. metal of by acatalog graphically represented is materials, of musical cells disjunct of seemingly four consisting structure, formal sectionalized A imagery. the of construction temporal the guides and Hyper-simultaneity Judgment. Substitute percussion live media, both of from the concept for is the derived video The concept of video. hybrid the piece new utilizes entirely that an create to is Catalog Metal of goal The in change trivial even priority. simple, apparently an by about come that interrupt changes profound pieces the on focuses different piece The other. four each which in composition one as compositions simple very four presents Judgment Substitute work. Treviño’sto response video synchronized a Catalogue, Metal created Karre Ross makers. decision as status Disease legal patients’ Alzheimer’s of ethics the into inquiries philosophical of readings his by inspired autono work, an multi-percussion as solo mous Judgment Substitute created Treviño art. of Jeffrey work balanced and unified a of of creation the for hybridization media and synchronization the explores piece This Statement Artist www.synchronismproject.com Ross Karre [email protected] 92116USA San Diego,California 4476 Texas Street, #3 SanDiego University ofCalifornia, Jeffrey Treviño Ross Karre Ross Performer
Music forsolomulti-percussionhybridizedwithsynchronized,integratedvideo Substitute Judgment+MetalCatalogue -
of the tam-tam and the fading imagery of the metal collage. metal the of imagery fading the and tam-tam the of resonance on the uneasily resting element, sonic final decisive the as remains bottle glass The made: is choice a Finally, als. materi previous these permute video and music The sight. of of memories as images evokes they by,pass quickly in bottles twisting and out glass of sound the while catalog the of pages the through quickly flips the audience block, wood penetrating the of entrance the At screen. the on unity single-layered a to transferred are images twisting the when section, next the in clarity more gain materials The photographs. the of pencil drawings colored fading and shifting with represented is groove drum of a mechanical introduction the surprise Next, tam-tam. the of resonance the to response in turned and perspec collage twisted is whose tive images moving overlaid a for backdrop First, a as manipulations. appears graphic of variety a through motion in images displays Catalog Metal equipment, farm metal of decaying photographs of still entirely Comprised - -
with the video. the with synchronization complete in composition the perform to able the is that track click In way,this to DVD’s Karre’sis Karre headphones. soundtrack, the audio, its sends laptop the multi-percussion setup; solo the into integrated screens small onto throws which projector, a to video its sends laptop The DVD. this plays is laptop Macintosh a soundtrack the performance, In track. which click this in DVD of a piece authored the then in He event music. audio every and each to exactly nizes synchro that video a create to able was score, musical the to reference with and, Pro Cut Final into file this imported Karre file. audio an as skeleton, metric composition’s repre musical the beat-by-beat of a sentation track, click the imported exported the and from file MIDI track click a create to ProTools used He audio. editing into and file mixing for this standard imported industry and the ProTools, file MIDI a as Sibelius from notated the score exported he Then program. notation music able avail commerically a Sibelius, in notated originally was music Treviño’s applications. solo multi-percussion industry-standard The chains various of between designed artists communication Statement Technical - - -
ELECTRONIC ART & ANIMATION CATALOG ART GALLERY 187 Installations Art Gallery: Global Eyes Global Gallery: Art •
188 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG INSTALLATIONS [email protected] 94403USA San Mateo,California 657 42ndAvenue Harriete EstelBerman artist
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studio description of the process. In reality, each construction step took months to figure out. Overall, it took four years to construct construct to years video. four companion took the it finish and Overall, cups 200 the out. figure to months took step construction each reality, In process. the of description a is simplified This balanced. precariously to rod appear brass manner. a concealed with random a arranged in permanently are cups rearranged or remaining The stacked be can they so magnets have cups 70 first The shape. the saucer-like a force to into press cans hydraulic tin a using formed are Saucers added. are Handles together. soldered carefully are pieces neighboring The with fit to parts. hand by bent then and press hydraulic a using cans tin the from punched are pieces metal The identity. product different a has cup finished every so product, consumer particular one of tins from cut pieces 10to 13 wedge-shaped from etc.). fabricated is women, cup Each sitting women, according standing studio crackers, candy, as her (such in subject stored image or to then color, pattern, flattened, and opened are that containers tin recycled from constructed is work Berman’s Statement Technical complacency. own their challenges and awareness viewers’ the participation their of transforms work this Hopefully, issues. political and social of spectrum a addresses and content of medium a source as packaging recycled of use the importantly, Most commodity. crafts disposable and another yet content, becoming creativity, are whether manship questions and work My models, craft. and styles, art of changing marketing the of pace influences even rapid-fire and the containers in merchandising, tin flourishes norm recycled cultural the a into the as mundane trash, the consumption revitalize as Conspicuous they material, destiny extraordinary. post-consumer their as from Beginning reassembled. Diverted and folded, society. cut, deconstructed, consumer are our reflects and of to responds cups conversation 200 of consuming edition variant the this on coffee, or tea of cups over friends with conversations recurring Like Statement Artist - rivets, magnetinsertedorbrassrod.Eachcupisunique.13feetx118.5 Pre-printed steelfromrecycledtincontainers,sterlingsilverandbrasshandles,gold Consuming Conversation,2001-2004
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190 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG INSTALLATIONS Ian Borelli with the Protein Data Bank. Data Protein the with Borelli Ian and Reddy S. Vijay to and prototype, rapid the providing for Group the Technology Arts about YorkNew the and University toGibbons Alex virus, information providing Biological for of University Purdue Department at the Sciences in Kuhn J. Richard to thanks Many chocolates the which representation. from molecular this into cast were prototype, rapid the from made then a using were illustration molds silicone Food-grade digital machine. Z-Corp its rapid-prototyping from directly printed was virus the of A model 3D it toform·Zand for plaster printing. prepare 3D software from the retrieved Protein online Data in Bank and Maya manipulated was virus the of structure protein the of micrograph cryo-electron A Statement Technical image? its of out survival own our construct can we be perhaps Or will vanity? own virus its by the seduced Perhaps based structure. image, protein its virus’s the in on created formally are objects whimsical it domestic offer These I exile, shelter. of Instead garments. handmade it offer I of deprivation, Instead it delicacies. I offer of starvation, Instead cus. cir and bread comfort, it by offering virus my untamed domesticate to wanted I illness, the describe to used fighting and war of rhetoric as and enemy and abuser. friend victim, of Weary simultaneously the is seen body one’s in which occupied can crisis identity virus to lead a certain incurable to virtually Attempts chronic, a in with Objects Living Virus. a Sentimental Befriend series: a of part is work This C. hepatitis with living are dis worldwide people million 200 under-reported Over ease. and prevalent extremely an about create and awareness discussion ignite to be way to proved approachable has and exciting dialectic an unnerving This virus. infectious the for repulsion a with mixed is chocolates enticing the eat to desire The virus. the to befriend attempt an in cocoa C. roasted hepatitis Belgian 72-percent from carry handmade not lovingly was do one Each truffles delicious These cast. were lates choco the which from virus, the of illustration 3D a from prototype rapid a as printed was virus the of model A virus. C hepatitis the of structure protein inventive the illustrate chocolates designer These Statement Artist [email protected] Cambridge, MA02139USA 265 MassachusettsAvenue, N51-328 ArtsProgramVisual Massachusetts InstituteofTechnology Caitlin Berrigan
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Politecnico ofTurin L. Verna G. Corino Politecnico ofMilan S. Stabilini Collaborators [email protected] Multiplicity.lab, Diap.,PolitecnicoofMilan Based onaproject byStefanoBoeri Studio Boeri Chiara Boeri
involving people in a very serious project. serious avery in people involving of way joyous a is it and value, ecological and social profound has tion installa This brighter. and cleaner looks city the multiply, trees the As Viewers smog. with covered from a trees and choose menu side area. drop them in and the Boscometro grey looks cities. city other chosen and the Turin, first, Milano, At of views On aerial see meanings. viewers deeper screen, its a and project the around reflection and sion discus of places creates that installation interactive an is Boscometro metropolis. of a flows vital the and relations social toward one’s attention direct and and building, of practice viewpoint polycentric a functional of the from perspective the city invert to a means at spaces look open To of project. nostalgic a not is This region. our of a memory collective leisure, enjoy to and place individual an in a immersion full and contemplation, also of silence, place but spaces, social and educational and playgrounds, belt, rivers, abbeys, green farms, a with This city: clearings by levels. the punctuated surrounding pollution area alarming wooded a with concerns city, project industrial grey, a is Milano Statement Artist and asimpleinterface 2D and3Dsoftware,integratingcartography, 3Dmodelsoftrees, Boscometro: More ThanaGreen BeltforaCity
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This project is in progress, sponsored by several Italian cities. Italian by several sponsored progress, in is project This web services). ArcIMS and framework web-development ADF (the applications web in embeddable also is It Solaris. and Linux, Windows, on ActiveX C++, Java, .NET, environments: programming major for all API support through Library ArcObjects the available makes Engine ESRI’sArcGIS uses. technical for mainly user appropriate them makes which designed interface, poorly a is applications GIS-based most of drawback general The DBMS. a with coupled engine graphic than general-purpose a rather environment GIS true a in fulfilled best are features These that views level. zooming produce to the the according can change it dynamically feature, so additional scale-dependent be an must As effect visual is maintained. (trees) and objects created 3D complex a interactively of time, same thousands the of At database region. urban geospatial high-definition, large with fairly a of interaction maps real-time multi-layer manages application The Statement Technical
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192 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG INSTALLATIONS [email protected] 92093USA La Jolla,California 9500 GilmanDrive CRCA, 0037 SanDiego University ofCalifornia, Sheldon Brown Daniel Tracy Joey Hammer Carl Burton Mike Caloud Erik Hill Alex Dragulescu Sheldon Brown, Developed withUCSDExperimentalGameLab:
Director speculation and anxiety. anxiety. and between speculation tensions produce moments transformative These decades. several for methods and forms digital to analog from transformation a undergoing been has Culture shortcomings. and virtues their express that artifacts with results their encode take processes All form. buzzwords physical on computer-concept of variety a City, Scalable The In structure. ersatz an into self-assemble to attempts it where air, the into flung is detritus As they navigatethis automobiles. road vortex, flying growsystems and of vortex a control users Interactive experience. spatial of script the as software of similar embrace the follow demonstrating forms each manifestation, of architectural paths and lots, Vehicles, patterns. spiral space-filling Oriental and evoca texts, illuminated are grates, iron nouveau forms of tive decorative resultant The analysis. computer-vision via located landscape, this into are “grown” systems road Space-filling structure. larger-scale its in decoratism of algorithmic level a high with but details its simple in naturalism a retains by that form new a transformed creating is process, form) algorithmic natural complex (a landscape the rede ployed of as being of I/O.elements the condition software urban For instance, before transformations algorithmic to subjected are real-world data which in process a by created each Vehicles, and Archi tecture, Lots, Roads, Landscape, components: five includes work The these of of artifacts choreography as the artifacts. design these urban inhabit is City we Scalable becomes The equation, world relationships. our this As by algorithms. and characterized data, users, of the from arising interaction condition cultural the extrapolates City Scalable The Statement Artist - - -
and the vortex can eventually redistribute the pieces back across the the landscape. across back pieces the redistribute eventually can vortex the and dissipate, eventually pieces kinematics these on forces a connective into The structure. connecting themselves, assemble to attempt they positions, road these from derived lots in land fragments house When environment, environment. the the into togrow roads of network a through cause move positions their users As fragment forces. these architectural to Each subject world. is to the in simulation elements physics the utilizes with that interact vortex a controls user The game. computer 3D a to similar form a in generative elements the these among for relationship platform the Cg. provides and ODE, environment OGRE, interactive MEL, The API, Maya librar OpenCV, External CGAL, C++. in include written ies programs of series a is software The process. this engage overtly landscape, the construct to mechanisms paste and copy, cut, image-processing the and roads, the form to spirals Archimedes and L-system of algorithms use The artifacts. overt with forms these that re-articulate of algorithms seed the are Image photogrammetry pipeline. on-the-ground and data-visualization satellites from a data via created is City Scalable The Statement Technical - Interactive 3Dcomputergameenvironment The ScalableCity
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194 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG INSTALLATIONS fringe traditions seen in Vodun altars. The waving fringe activates ashe, the sacred power to power sacred the ashe, activates transformations. healing fringe enable waving The altars. Vodun in seen traditions fringe and flag similar from borrows on the installation fringe Expedite-stamped and ribbon fabric, The to solutions prompt of saint problems. patron the is He 2006. weekend Joseph’s St. during evidence in organizations community-action many the for symbol apt an 1, is Number Cemetery Louis St. for the chapel famed the mortuary A of statue in originally the of St. church Expedite Guadalupe, the for Lucy). (St. protection poor and (Expedite), empowered least those of behalf on action (Obatala), chaos of midst the in calm children, for protection Dantor), (Oya, hurricanes against interces protection for invoke sion Dantor) Erzulie Lucy, St. Obatala, Oya, (Expedite, installation the in Montages Ward. Ninth the through passed Orleans to New Mobile from March Survivors Hurricane and Veterans the when of Iraq, of invasion the poor. the anniversary to third the marked food also day feast 2006 The distributing on focus and 19) open (March are day feast altars Joseph’s St. public on public These the to famine. a during intercession Joseph’s St. for gratitude ebrates cel It immigrants. Sicilian by Orleans New to brought was tradition altar Day Joseph’s St. The day. feast Joseph’s St. of celebration season. Italian-American the and documen hurricane Temple, Spiritual Voodoo 2005 Orleans with New Miriam’s the Priestess specifically Orleans after New months seven in shot traditions Ward The is of altar imagery based upon two Vodun transformations African Ninth traditions: in New religious Orleans, the two of photography from tary imagery combines La Nou Statement Artist Lehigh University Michael Chupa Collaborator [email protected] Bethlehem, PA 18015,USA 11 EastPackerAvenue Lehigh UniversityDesignArts Anna Chupa
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details are presented, and at other points, the monitor presents a wider-angle view. awider-angle only presents points, monitor the points, some other at and At presented, are screensaver. details a as organized is monitor the in images of and succession paper The matte on inches). two printed to flush (from wall the from are depths at varying images installation the in another Ninth one still overlap the remaining of The All correction). exposure installation. (cropping, manipulation Altar minimal with 1996 presented are shots Two the altar Orleans silk. New from the of most 10-millimeter and date shots Ward Habotai images on dyes saints’ acid with composite printed lenticu additional image Obatala and Lucy St. Expedite the St. and the prints include lar that montages as reinterpreted are altars The offerings. coded and food with combined are (spirits) loa the to specific symbols the with saints of Images here. fabric of use the hence draperies, fabric by other each from apart set are altars Vodun food. is altar Joseph St. of the medium primary The season. hurricane 2005 the following March in visit a from imagery with these of all recombines and period, 10-year a over taken altars Vodun four of 12 and photography St. Joseph’s Day altars, installation, 96 a SIGGRAPH references La Nou Statement Technical -
lation that visualizes the developers’ plans from many angles, many from plans developers’ the visualizes that lation instal an created we gap, information this fill to desire a With a in designs the presents light. positive that perspective drawn partisan necessarily a are from which renderings, architect’s the future are suggested this of available the images of only The suitability the proposal. about opinion informed an construct to and architecture of the proposed theenormity toficult envision dif is it neighborhood, controversial the around a Walking Brooklyn. currently in issue is development Yards Atlantic The altered. drastically be will neighborhood the of shape residential architectural The low-rise, businesses. local and of buildings primarily consists a in that constructed be neighborhood will it and arena, sports a and buildings 17 include high-rise will development this large-scale built, astonishingly is it If Brooklyn. of neighborhood Heights Prospect that installation the in Yards development Atlantic audio/video proposed the contemplates interactive an is Perfect Future Statement Artist [email protected] New York, USA New York University Interactive Telecommunications Program Ed Purver Ariel Efron Christian Croft
Future Perfect - -
critical document of this moment in Brooklyn’s history. Brooklyn’s in moment this of document critical a as serves installation way, archi the this In the present. the of with tecture futures different these contrast and compare well dynamically can as viewers space, width of installation the depth the as the exploring By room. the as through them move follows they and them of front in revealed interactively is future of architectural an layer a video installation, into the step are viewers When “futures” presence. physical someone’s by these revealed only both that in interactive is installation The future. this to shape power the had they if look would streets how these imagine to to visually have architecture) this with live will who people We (the schoolchildren piece. local the invited to also soundtrack audio the create that received calls we many the their of see Recordings to like developed. ideally neighborhood would they how about and opment, devel the about opinions personal with in phone to residents asking site, the surrounding area the over all fliers posted we voices, community of lack the Feeling reality. present the with future proposed the compare interactively to people allowing - - These slices fade away when a viewer leaves that position. that leaves aviewer when away fade slices These unmasks track above the video first. of “future” slices the second vertical software Max/MSP/Jitter with equipped computer a view, camera’s parallel the in axis appear viewers horizontal Where screen. a the to along camera a positions their projection, tracks video the above of front in move viewers As video’sscenes. first the of background the in composited is models 3D (which with footage same the second presents default) by the hidden and streets, neighborhood’s the taken from video digital shows track of first The tracks video. two of synchronized consists system video The online. available are publicly which plans, on the based architects’ and textured scale, to built environment, 3D Maya the in constructed were live- and image processing, internet models telephony. Architectural tracking, motion modeling, 3D combines Perfect Future Statement Technical
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196 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG INSTALLATIONS [email protected] Mike Simonian Maaike Evers artist from the mold, then upholstered. then mold, the from created was shell fiberglass A molds. the create a using CNC mill. The foam were masters used to the 3D from files milled were puter, masters foam and comfort, ergonomics, the Once was on design. design refined the com check to sections plywood laser-cut test with created were multiple prototypes process, 3D design the using During CAD. designed was Lounge Windowseat Statement Technical out. it block or environment the in take to degrees 360 control toyou pan allowing full perspective, framed the over provides base swiveling A a-room. room-within- sub-architectural a creates design wrap-around The environments. home busy airports, or lobbies, refuge of bustle and comfortable hustle the a from is spaces, Lounge private and Windowseat public both for Designed Statement Artist
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studio - Windowseat Lounge I hope that this work will release viewers from the the us. surround from that preconceptions viewers release will work this that hope I objects. the of front in always is he jumps, character the When exist. not does it if as hole the a ignores When character the visible, world. not is hole 3D the in him behind is object the if even object the on lands he character, falling the behind is object the When connected. be to seem that blocks separate between pass world, also can he 3D but move virtual the in character laws the physical to can according only Not block stairs. the the on and automatically moves character The world. 3D avirtual in movements “impossible” perform to image the in character allow the and illusion optical optical interactive static an a into illusion anima transform I and computers, images With still tion. in used often are real world, the in possible not are which illusions, Optical Statement Artist [email protected] Fukuoka, Japan Graduate SchoolofDesign,KyushuUniversity Jun Fujiki - OLE Coordinate System
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198 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG INSTALLATIONS appropriate penance as confirmation of the transaction. the of confirmation as receives penance user appropriate the and computed, is forgiveness pressed, is key Amen the When TenCommandments. the and sins deadly seven the of menu a from selections requires accounting Hypertalk/ spiritual available sinner’s A soon devices. mobile be many on will using and OSX under runs now developed and upgraded repeatedly Originally and SuperCard to converted been design. has it 8.6, OS under running Hypercard interface user original the of feel and look the 5.0.1retains Release ACM 1993, in deployed First Statement Technical for said be must Fathers Our and redemption. of Marys catechism Hail the many how determine that namely output: variables input all are salvation and shame, sin, guilt, where evil, and good of logic binary the by Manichean governed a system in forgiveness of ecstasy the experience can user/sinner the digital a make must Thus to in absolution. a the of of power belief and leap surrender silicon faith confessional automated this at kneeling Thomas ing doubt The convictions. of personal our sphere private most into the intrude to of of as a Rather, the technology faith. potential warning it serves religious inter of problem as against an attack not be should misunderstood simple artwork This face design. a becomes problem philosophical intractable an maneuver, this With game?” imitation the in do well would which computers replaced the question “Can machines think?” with “Are there imaginable digital In his the 1950 and essay of entitled “Computer Machinery Intelligence,” Alan Turing memories by inspired is Catholic of Sacrament and Confession the work Turing test This for intelligence. artificial (ATM). a machine is auto banking an Testmatic resemble to Turing fabricated and Catholic designed A confessional (ACM): computerized Machine Confession Automatic The Luther, – Martin brother.” any before privately confession, made has he when sins secret his from absolved is one every that but doubt no Ihave “Hence, in responses Weizenbaum ELIZA’s –Joseph plausibility.” of clothe vestments to much contribute will speaker human “The the to reduced say, Baudrillard to –Jean existence?” tois his attest which that signs simulated, be can himself God if what “But Statement Artist [email protected] Hamden, Connecticut06518USA 275 MountCarmelAvenue Quinnipiac University Gregory Garvey INVITED WORK INVITED The Babylonian Captivity of the Church, Church, the of Captivity Babylonian The
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96 inchesx3648 iMac, keypad,plexi-glass,wood,carpet,fluorescentlight,neonfauxleather The AutomaticConfessionMachine:ACatholicTuring Test Centro Nacional de las Artes, México DF, México México. Artes, las de Nacional Centro of by was this project made the Completion possible Multimedia, Centro Pd &GEM. in programmed FACES entirely was faces. new of ery the discov determine the and movements masks, viewers’ blurs motion of series a With masks. of series a by mirror-image reflected the inside contained are loops video projected The reflections. their inside pro jected are loops recorded viewers As previously mirror, delay. the of small front a in around move with and dimensions similar with reflection his over video-projected are images their own watch their mirror, viewers the in As reflections database. a in maintained is that loop small a into the and records the looking mirror viewer registers detection Motion Statement Technical ever-changing small, a lies image Otherness. Infinite the of sample reflected own viewer’s the Inside reflected viewer’s the a stranger. and them Other, the previously with face-to-face itself between encounters Self The image. mixed-up get that faces him, watching faces other discovers viewer the mirror, the into looking When experience. everyday that change briefly to tries installation This “Self.” the face, same the always it’s and mirror a in look day, we Every the all with face. Other’s the to know one relations requires relationship his Aneighbor to others. meaning gave neighbor as Other the with Other the relationship with his that considered also relationship He him. kill to face-to-face impossible it makes a in being that said Levinas or “us” be aface. with know, we could someone someone sufferers the deaf that forget ears We Other. mankind, the of of pain the tragedies to the ignoring people, of suffering the from ourselves Too distance we easily, chance. of product a merely are and anonymous an often being, distant is me inside carried so in a Other, humans way.between Differences The us. of one otherness each the in explores contained that installation video interactive an is FACES Statement Artist [email protected] México Adrian Goya - -
FACES
INSTALLATIONS
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200 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG INSTALLATIONS [email protected] New York, USA Ingo Günther invited
work comment on the human condition. human the on to comment me inspire to continues form globe the of power the Nevertheless, Columbus as year. obsolete, same that America “discovered” instantly almost became globe Behaim The China. to expedition Portuguese a in invest to traders German per to suade tool useful a was encyclopedia” “turning The existence. in still globe first very the completed Azores, the in based navigator German a Behaim, 1492, In though. Martin company, good in am I believe do I date.” this after exhibit/view not globes Do Viewer: to Worldprocessor “Note date: that expiration an believe need might to beginning am I fact, In ever. than faster data disseminate and collect group a as humans that the fact despite year, every increasing actually is which lag, time built-in a have and publication analysis, Data it collection, is moment completed. the outdated inherently is globe every and each because is This time. a race against also represents sphere At the time, same individual each and/or geopolitical the of condition. socio-cultural aspect specific a presents 300, over now are there and globe, individual Each interface. unusual, if instant, an as acts year, 19th its of in currently project, expansion Worldprocessor overall The informed. be to the ability our than and rate greater a at increasing knowledge clearly is in information change of speed The emotionally. establishing to and ultimately physically, of in our – sense the place world intellectually, critical become have tools navigational and symbols, interfaces, a As result, learning. of human a tofraction know hope only can individuals as 1716. we Today, in was of That body entire knowledge. the know available to man last the been have to said is Leibniz Statement Artist - datasets for this ongoing series, challenging as it is. it as challenging meaningful series, ongoing this therefore for datasets and comparable generate to best my do I tory. his statistical a have not do clearly thus, and, recently very until exist actually not did regions sometimes or countries indeed, some and, Additionally, regions. countries entire some for data of lack huge a ally toto year is from there are actu still, likely and, year worse vary Criteria well. as different is timeframe selected the frequently, and, country to country from vary sometimes methods statistical example, For lenge. chal a present do datasets incomparable and incompatible sources. However, established from and available publicly are data the of Most magazines. and newspapers, factbooks, governments, institutions, respected highly are data the for sources primary my and neutrality, journalistic by inspired is approach let to effort facts” “just This statement. conscious toa not personal make and a speak data the make I data. the rendering or representing, to choosing, comes it when lens artistic an impose not do consciously I very that is fact the true, be may that truth.”the While tells that lie “the as described been has art and truth, naked is no straight there Indeed, it. mented docu that medium the for reality specifically created be to because needed truth and documentaries, his in scene every arrange would he in 1921,Back Flaherty. Robert making, film documentary of father the and is selection, analogy A of worthwhile data necessary. is always regrouping almost reduction, visual Further aesthetics, relevance. and between symbolism, caught effects, me has degree that a require decision-making globes of these through address I topics the of Most hope... despair, flavor, love, temptation, elegance, as such concepts, quantify to impossible, somehow yet important, is it life, of the But, as an interpreter as possible. represent to appropriately and as data accurately language or code new a of invention requires Worldprocessor globe Each shapes. accepted and forms elegant commonly in data however, come don’t are sets quantifiable; that considered be can factors reality of and descriptors conditions the of Most Statement Technical - - - - -
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202 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG INSTALLATIONS [email protected] Stephen Oh Collaborator Cornaro, Viet Bang Pham, and Kasuken Kasuya. Kasuken and Pham, Bang Viet Cornaro, Markus Augustin, Xavier Franz Kumakura, Ito, Sumiko Shinobu of support: Acknowledgements www.hoian-horizon.org). at mented at 1:50,000 (docu coastline scale Vietnamese the entire It “captures” Vietnam. An Hoi in central of town coastal the in sculpture public permanent 120-foot-long a is work the marble, black in Etched viewpoint. Dateline International same the from coastline Vietnamese the depicts piece recent most The 2006. in Arts Fine for University National the Tokyo at shown was flyby the of rendering HD an and image landscape, moving a projectors, amoving 160-yard-long featuring version different very A yielding fashion, this in mapped 1:170,000. of was ascale at height) in (4 inches Rim Pacific entire the There 2005. in Triennale the Yokohama at exhibited was project the Topography of iteration first The distances. planetary-scale across see and distortions, atmospheric natural eliminate space, flatten could one if see would really one what on based fact, in is, artwork The points. data real very by underscored dream is but like that world our of view a – effects atmospheric eliminates and earth the flattens both that scene exploratory an in together landscapes night and day see you sun’s essence, In rays. emerge Japan of topography night-lit of you the of see the West topography Coast the the US eastward, lit by the looking the from ocean; see you westward, the Looking along southward Dateline. traveling are International We Islands. Aleutian the of south middle just the in Ocean, smack Pacific begins the of trip The meditation. conceptual a is it as real geographically as is exploration of route experience. the and seat, and driver’s time, imaginary an scale, in audience the distance, puts of Drive Topography themes conceptual engages work recent most My Statement Artist [email protected] New York, USA Ingo Günther invited
work Topography Drive(PacificRim) - -
rocket speeds, approximately 30 times faster than a jet airplane. ajet than faster times 30 approximately speeds, rocket to is equivalent speed This second. per of 4 miles speed at a it moves and scale deep, 4 inches and tall, 4 30 long, feet inches is almost the camera past that is moving object image actual The perspective. camera the past visibly but slowly moving is lightbox The alightbox. on mounted image, rendered a of camera video via captured image live a is It movie. a not is image this for the toWest day of The Coast. source from north scene represents south, the traveling American again perspective, Dateline International same the from also is which projection, opposing The long. hours three approximately is movie the so length, in (1,800 km miles) 3,000 mately approxi is Japan mph). (600 km/h 1,000 at Dateline International the along southward moves one as line horizon Japan’s depicts and projection wall-size large a of consists installation The the from rendered flat. were was itself line Earth the if as Dateline, horizon Rim’s International the of perspective Pacific the of image The mass. land of entire meters Earth’s 90 every taken measurements elevation represent Shuttle, Space US the on sensor by a recorded radar data (DEM). originally data, The model elevation digital uses installation This Statement Technical - Yiwei He Collaborator [email protected] Ishikawa, Japan Kanazawa InstituteofTechnology Qinglian Guo coordinates, and composed of semi-transparent polygons. Snowflake movement is controllable through parameters such as falling falling as such parameters through controllable is movement rotations. and vectors, Snowflake floating speed, polygons. semi-transparent of composed and calculated on coordinates, based modeled, 3D are them of All hexagons. four-dimensional or polyhedrons, alphabets, in formed be can Snowflakes C++.and Open3D with coding and by programming design on an original based was created of scenes snow of 3D animations A series Statement Technical again. cloudy becomes disap stroke glass the the and time, With pears, snowflakes. falling the see can people stroke, the Through glass. virtual the on appears stroke transparent a fingers, their move and panel the touch people When scene. snow the of front in it put and glass cloudy virtual a created I addition, In sense. particular and novel a in present shown was snowflakes houses) and wireframe floating trees, These snowflakes, wireframe. example, (for everything which in scene snow a made I Third, puzzle. word a solve even and alphabets the read could people so that speed falling Isetslow a alphabets. of inform the of snowflakes a scene I created Second, to three-dimensions. scene snow the projected and space, moveandinrotate them four-dimensional letting hexagons, in four-dimensional C++.and snowflakes I OpenGL created with programming by scenes snow of types three created I Next, devices. computer tohide Shoji Yukimi a like box covering a make Iwas did thing first the installation, this producing I started When time. way of spending enjoyable this with impressed I deeply am scenes. snow view can people so glass by transparent replaced is paper Syoji, aYukimi door. On paper means Syoji and scene, a snow watching means Yukimi houses. rural in used commonly screen Syoji Yukimi Japanese traditional by the inspired was work This Statement Artist A digitalwindowforwatchingsnowscenes
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204 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG INSTALLATIONS Shuhei Tsuruoka Takahiro Harada Collaborators [email protected] Tokyo Japan113-0033 7-3-1 HongoBunkyo-ku The UniversityofTokyo Yoichiro Kawaguchi
This work uses a real-time, particle-based hydrodynamic simulation: an algorithm implemented on GPUs. This is the first time that that time first the is faster. times of dozens is This speed animation the and GPUs. GPUs, of power on computational massive the exploit can implemented algorithm algorithm this required, is an processing CPU no and GPUs on done is simulation: computation the all Since GPUs. on realized been has hydrodynamic search neighbor-particle particle-based real-time, a uses work This Statement Technical storms. own their create even can They ocean. stormy a visiting are they if as beauty, scientific of experience an enjoy sky. the Viewers from of fall water Drops ocean. a calm from toward viewers roll waves big Ocean, In Hydrodynamics Statement Artist Real-time hydrodynamicssimulation Hydrodynamics Ocean
ZeroOne SanJoseFestival and partiallyfundedbythe This projectwascommissioned Matt Zinski Drura Parish Alice Ko Cesar Cedano Assistants es bu ter rjce hps n the and hopes projected their about citi unshared zens everyday of of mouths the variety from a principles broadcast Labor our to of looks Fruits – SEEN been Similarly, has city built. the which upon a values or of mes set moments historical carry sanctify that monuments sages traditional These squares. public populate that plaques, sculptures and obelisks, ubiquitous the of niscent remi device is a The monolith communication Jose San Park. the Chavez Cesar facing of Art, of Museum front in plaza public the installed in and festival Jose San ZeroOne the by It commissioned was citizenry. its between plaza communication of form alternative an public through a reinvigorates that interactive an installation is Labor our of Fruits – SEEN Statement Artist [email protected] University ofBuffalo Omar Khan [email protected] Pittsburgh, USA MellonUniversity Carnegie Osman Khan
- - - Infrared LED screen embedded in a black acrylic monolith Infrared LEDscreenembeddedinablackacrylic SEEN –FruitsofourLabor
consumed the consumed world over. on Their reliance the are products whose actor Jose. global a is San city The in labor they that disparate is these communities binds that relationship The etc.). DV-cams, cameras, digital cameras, phone (cell devices capture digital personal audience’s the through only visible is content whose screen LED infrared x 8-foot 4-foot a on displayed are responses Their labor? your of fruit the is What question: one workers) center call outsourced and workers, service requirements labor undocumented workers, tech Jose’sValley’s (Silicon San falsify that communities three of members asks project The globalization. of light in Dream American
their phonebooks. their in telematically others with experience viewing their and shared messages, discussed streaming view strangers, the their total with shared devices ing who interactions people, vibrant between in resulted project The response. their get to communities different these surveyed the project judging the do, people that work the of Not nature liberating. and exploitative both are results in The place. market engage global the to allowed population has unprecedented an globalization through labor of commodification The city. the in present even to of Some are this wealth not the contributors is obvious. less ing of engagement this mutual understand- their but clear, is economy city’s - personal way through this exchange. exchange. this through way personal in the complicit most cal They become device. of techni the through hidden revealed is fruits view their from previously the was What messages: labors. other’s these share photograph and to encouraged is read. audience be The can messages the that apparatus on appear digital the through only is It screen. user’s magically the messages its device, CCD any through viewed when However, on it. carved be to information for waiting face sur blank a is monolith the eye, Tonaked the Statement Technical INSTALLATIONS
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206 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG INSTALLATIONS it to be a fascinating interface that encourages a wide variety of people to engage with and and with engage to people of variety wide reality. a virtual manipulate encourages that interface showed MRI fascinating the a with be to experience it the Hands-on use framework. to way didactic a a as (MRI) developed we interface setups, tangible mixed-reality with experience Kienzl’s Thomas With also form.” into forms “bringing is into which information, of formulas meaning original the Transforming emphasizes project. this with others what for is This possible make idea. to an want grasp to we literally means understand) (to “begreifen” word the German In project. our of concept the for point starting the us for were and artists 20th-century and 19th- These numerous inspired distributed. later forms globally and Germany in produced were functions mathematical of models plaster 3D century, 19th the During abstract. less far be to equation differential underlying the reveals observation media visual since attractors, strange for fascination a share us of three All attractors. strange of ity the stabil concerning thesis Grond’s diploma from Florian It originates Engelhardt. and Gabriele Kienzl, Thomas Grond, Florian by installation media mixed-reality collaborative a is project This Statement Artist www.zurform.org [email protected] 8020 Graz,Austria Annenstrasse 57 KOMME Thomas Kienzl Peter Uray Peter Jozwiak Kamil Brosch Otti Marsche Ulf design interaction programming, 3D Collaborators Engelhardt Gabriele Photo Kienzl Thomas design production, Concept, Grond Florian production concept, Idea, ® Z
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usability that enables the user to manipulate the dynamic strange attractors in real time. time. real in attractors strange dynamic the to manipulate user the enables that usability high of interface an as serves 2007,MRI the SIGGRAPH At structure. topological curious their to used is and the from project attractors this fieldTheirofstrange forms dynamics. are nonlinear are throughthat calculated aalgorithm in accents particular forms mathematical technology The key forms. a mathematical is 3D the produce prototyping rapid MRI, the to addition In Statement Technical
www.tactualseries.info [email protected] Seoul, SouthKorea Ceramic art Graduate SchoolofSeoulNationalUniversity Junghyun Ahn [email protected] Seoul, SouthKorea CommunicationDesign Visual Graduate SchoolofSeoulNationalUniversity Haemin Kim Graduate SchoolofKoreaNationalUniversityArts Jun Hyunsuk Sound CommunicationDesign StudioX Kim Changkyoung support Technical Collaborators
to present an aesthetically engaging experience. engaging aesthetically an to present technology beyond extends experiment the that hope we And puting. com physical called technique a with processing information visual of methods traditional to Webeyond go tried development. technological to due disappear, design and science from art divide that boundaries the at where that was the created point experiment is an art series This world. the perceive disabled visually the how understand to way new a presents it media, digital of interactivity the utilizing By art. of media new of meaning area the in the senses human finding extending of challenge the by inspired was project This word) (a Buddhist ness 3. 2. 1. 시각 Statement Artist Mixed mediainstallation,porcelainplate,unglazed,1300’C,digitalprinting,LEDdisplaypanel Dreaming aFingertipConversation withYou _tactuaL[si:gak]series
視角 視覺 始覺 [si:gak] , one’s viewpoint, a way of looking of a way , one’s viewpoint, , the sense of sight; vision sight; of sense , the , through experience we escape ignorance and attain aware attain and ignorance escape we experience through , - - inside the I/O board. I/O the inside located Wiring, on called program graphics hardware-control a and dynamic panels display implements that software the uses series This change. constituent of elements the directly affect also port serial the from signals The signals signals. output sound-output power-control or LED electricity into it static the transforms and senses fingertips sensor in touch the from signal input The interface. ahaptic creating information, visual of type each separates artwork Each to Braille. connected sensor a touch uses that device communicating visual-touch a is technology fundamental This Statement Technical
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208 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG INSTALLATIONS motivate and entice voluntary participation and social-kinetic energy. social-kinetic and participation data voluntary may entice and that motivate stimuli the of types different from the and etc.) race, age, sex, commonalities example, and differences for in (for as and each each collected stimulus response reported category the investigate To 2. learner.” “haptic the for especially designer, cal and for information physical video/interactive the computer multimedia, influence fact in can The may data responses. collected provide both reality psychologi physiological virtual of perceptions whether observe and senses somesthetics and system nervous autonomic the To1.research objectives: two address will study pilot this from collected data The perceptual and experience. virtual to reactions subject’s voluntary the of recordings and polygraph facial depicting modules, and bio-feedback monitors video of is a display wall toSTUDY CASE 9983-B STUDY CASE 9983, Adjacent unexpected creating body, responses. and the stimuli physical of parts different massage to designed devices vibrating commercial-grade with concealed The is chair equipped chair. massage electric of an version a is modernized 9983 STUDY CASE risk. and danger virtual of an perception creates the addressing 9983-B merge, & experiences real and 9983 virtual which in STUDY environment CASE technology, of aid the With Statement Technical study. of areas multiple exemplify include to literacy studies visual of pilot interpretation the broadens these research science, and of as adiscipline art culture, art Inera theof techno-driven theories. scientific of fields the Bridging a provides interaction. cultural and venue social of observations exhibition clinical for The platform perception. of art the examining while experiences and real virtual investigate studies These media. of electronic as STUDIES installations) (CASE electronic projects models to experimental explore the pilot field video-kinetic inof thepsychophysiology context design interactive, I performance-like researcher, – and artist an As processes. bodily affect thoughts, and feelings as such events, how human mental with isconcerned of study field body. and This of brain, mind, the between interface intricate the correlation exploring domains, the physiological and psychological of study the is Psychophysiology Statement Artist [email protected] Florida, USA Florida AtlanticUniversity Tammy Knipp
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CASE STUDY9983&9983-B able repetition that may occur during the the during occur may experience. viewer’s that repetition notice able any diminishes This twice. is never same is the animation It demand. The on audio. generated randomly and regression visual or the of progression the determines then result The movement. and presence tor visi track to algorithm computer-vision a by used is bench, the above directly camera, A Statement Technical the silent. situations, become and out fade will work these of either In bench. the few a near standing anyone to or invest movements quick to to respond viewers not does It time. their of moments asks work This tion. the imperceptibly the anima accompany of the painting sounds almost and Additionally the horizon. navigate birds and the trees, from wind, water on laps the descend leaves rocks, to begin roll animate: with elements clouds the specific appeared, fully has it When appear. Consistent to the painting encourages gradually painting. attention this in Chinese viewer 16th-century the contem entice with meditation plative combined stillness Physical interactive This work the requires action.” viewer to act, acting. without “without principle Taoist meaning fundamental the is Wei Wu Statement Artist [email protected] New York, USA Rensselaer PolytechnicInstitute Shawn Lawson - - - -
Digital media Wu Wei
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210 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG INSTALLATIONS [email protected] Illinois, USA The SchooloftheArtInstituteChicago Wafaa Bilal [email protected] New York, USA Rensselaer PolytechnicInstitute Shawn Lawson
Digital media A BarattheFoliesBergère location of viewers, then updates the appropriate action for the barmaid. barmaid. the for action appropriate the updates real then viewers, of in location together composited and files the number determines movie the computer algorithms, and vision-tracking video, Through OpenGL. using time live images, static of comprised is work The Statement Technical space. the leaves else everyone when to return only leave, will she tired, or annoyed is already not barmaid the If if service. barmaid, offer to The refuses She life. to leaves. “alive,”comes corner, right upper the in seen patron, previous The painting. the of mirror the in reflected barmaid themselves the see notice Viewers may evening. the for viewers preparing and space, about the moving enter they When painting. the in characters the with to interact (1881-82) viewer the by Manet Bergère by enabling Folies the at A Bar revisits work This Statement Artist
Walisson Costa Tania Fraga Ricardo Takahashi Rafael CaciqueRodrigues Marilia Bergamo Marcelo Kraiser Lucas Junqueira Leonardo Souza Jalver Bethonico Gustavo Morais Aguiar Fernando Delaine Cafiero Daniel Poeira Cristiano Bickel Carlos AugustoPinheiro deSousa CoscarelliCarla Viana Alvaro AndradeGarcia Alckmar LuizdosSantos Collaborators [email protected] Belo Horizonte,Brazil Universidade FederaldeMinasGerais Francisco Marinho 32 inchesx4072 Interactive bookwithmultisensorialpages Palavrador Six flocks of meandering poems wander wander poems three-dimensional the meandering through autonomously of flocks Six actors. interactive as strength and acquiring features dimension, ornamental surpassing scenographic a achieve images graphic as constructed verses possi Poetic bilities. conceptual new unveil aesthetic and its structure in articulations new achieve intelligence to artificial and graphics computer using flies, writ Palavrador in by poetry the texts, ten imposed constraints the from Free discourse. poetic as deep as and pictures, motion as dynamic as interface, cyber that a as is a as interactive game interface world produce and conceive to together of worked science group computer and literature, arts, a by the in backgrounds with Authors researchers. contributed ideas activities of and assemblage collective a from synergetic implemented and conceived was It 3D. in built cyberworld poetic a is Palavrador Statement Artist - - -
n aardr I i a evrnet f multi- of poems. sensorial environment an is It responses Palavrador. in generating user by capture react and that actions sensors has printed page in Each as sound poems. tracks and circuits) electromechanical electrical (functional poems drawing as such “displays” poems, of that variety a multi-sensorial physical a is Palavrador and users between interface The avatars. by the occupied positions to the totime from according time change els, mod the the of makes faces the over and mapped poems, words the of actualization real-time through allows logic The systems. putational organized for com maps engineered logic poetic a procedural texture mathemati labyrinth receive the in by models The procedures. generated cal is architecture A agents. labyrinth locomotion of autonomous based on and behaviors the swarm behavior steering procedures artificial-intelligence with was logic implemented The movement space. - - -
located. is monitor LCD the where throw-out, one and pages regular two leaves: three with book a is it so and folds, user two has book sounds to The movements. real ways producing different by in interactions in react developed Pages programs C. control with which deals microcontroller, Arduino an by trolled con port serial a by fostered is pages book the and Data Palavrador labyrinth. between 3D communication a compose that poems to to as procedural structure in tems rules based behavior sys uses swarm also It poems. as autonomous create resources which AI Lingo, uses in programmed is Palavrador Statement Technical I nvited
work
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212 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG INSTALLATIONS Columbia University Ethan Gorenstein Richard Sloan Irvine University ofCalifornia, Larry Jamner Intel Corporation JM Vanthong Farzin Guilak Michael Labhard Dominic D’Andrea Bill DeLeeuw Stefanie Danhope-Smith Collaborators metaphors for autonomic imbalance and the subjective subjective the unlit an and from stages, fire of spectrum imbalance visual A anger. of central experience autonomic as for emerged dynamics metaphors a cooling and inspired Heating research therapies. mobile of secondary portfolio and framework, language, visual and design, Ethnography, device. participatory brief mobile a into with dialogues, interactions psychotherapy experiential heal as such interpersonal practices, translating ing was challenge design key A signals. indi stress by subjective and physiological determined viduals’ as needed, most are they when appear and into clinical the settings flowteaching of life.Thetherapies daily mobile rarefied from transferred mind are – yoga biofeedback, and therapy, fulness, behavioral cognitive as regulation such self – facilitate that Practices feedback. mobile conflict with and stress as such factors risk project This psychological targets prevention. to approaches innovative demands cardiology. preventive to of in the death cause U.S., the leading disease, feedback Cardiovascular mobile and biosensing applies project, research exploratory an Health, Heart Mobile Statement Artist [email protected] Beaverton, Oregon 97006USA AG1-102 20270 NWAmberglenCourt Digital HealthGroup Intel Corporation Margaret Morris I nvited
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back is in development for trials. trials. for development in is back US the feed in and therapeutic of monitoring platform full The and India. gathered been has feedback Concept selections. imagery and music mood-determined to tools reappraisal tive Mobile-therapy medicine. cogni and exercises breathing animated from range concepts Ayurvedic and mindfulness yoga, of prac meditation, approaches coping complementary healing and individualized disparate strategies, techniques, typically psychotherapeutic tices: integrates system This The resonance. cultural time. over cross- its for selected damaging also was are imagery fire-and-water-based that behaviors attraction and their states to acknowledge to people allow may these of elements appeal visual The reactions. physical and emotional their modulate and stress of signs early recognize to is, that – accordingly. flame” the before flicker the “catch people intervention to help is intent The therapeutic the tailor immedi and user’s state ate the represent aftermath, forest-fire to match displayed onmobilephones. Metaphorical representationsofemotionalandcardiovascularhealthstates Mobile HeartHealth
- - - - a smart phone. a smart on running personalized currently is system configurable, The protocols. highly mobile-therapy permits software Flexible therapies. determine mobile of toflow appropriate system and stress the of stage allows the methods. triggers these in experience-sampling Variability and applications, endaring cal location-sensing, by detected are stress with associated as such the scales “mood map.” of changes clinical Contextual adaptations touch-screen through occurs assessment jective ECG. from Sub an that baseline detects deviations individual’s Physi sensor cardiovascular by a is wireless indicated stress context. ological and self-assessment, subjective physiology, in variability moment-to-moment to respond therapies Mobile Statement Technical - - - University ofArizona,andVRCO,Inc. Center forNewMediaattheCollegeofFineArts, This projectwasmadepossiblebytheTreistman [email protected] Arizona, USA University ofArizona Johnie HughHorn Lucy Petrovich
assistance of technology. of assistance the with understanding and is collaboration human It to promote designed expression. serious for discourse critical encourages that nology tech using transactions cultural our is to affect project of this goal The journey. your through move you as you follow desert the of sounds along landscape, died surreal who the traversing those While way. the about information heat more find of you died follow caskets, you the have As border. who the crossing those while of dehydration and names exhaustion the see you caskets, size As you images. of enter the life desert - composed caskets overlapping translucent, see can you distance, the In crosses. of graveyard elusive you are in environment, of the you When middle enter an this immersive dehydration and exhaustion die. will more year, heat hundreds This border. the of crossing while die people of number year, record Every a months. 100- consecutive reach three than more temperatures for F. desert degrees 120 daytime summer, the In locations. away immigrants forced they the from routes have main in taken the topast has more remote desert crossings border of enforcement Strict border. US-México the crossing while Desert Sonoran the in dying for who are those memorial is an Deaths ongoing Desert Views, Desert Statement Artist DesertDeaths Desert Views, -
time. at same the work the up to to10allows experience system The people Performer. OpenGL SGI and Inc.’sVRCO, CAVE libraries includes Software device. and an interactive glasses, ers, stereoscopic 7-foot speak two x projectors, 5-foot lumens 2000 DLP stereoscopic two screen, passive rear-projection a an using with card computer graphics processor dual NVIDIA PC Linux a of CAVE consists one-wall It a system. on libraries CAVE using programmed environment virtual-reality interactive immersive, an is Deaths Desert Views, Desert Statement Technical INSTALLATIONS
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214 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG INSTALLATIONS and reExperienced in real time. real in reExperienced and reComposed, reDirected, reActed, be viewing can it passive original and and alive, is Content dynamic experience. the beyond real time in observed content and navigated film be can The itself engine. real-time a within content interactive fully and scenes film within shots completed both as functions work The Statement Technical feature. widescreen in a integrated and film to Output time. real in renders high-definition end-to-end, and composition, Creation, an process. real-time through computer- content fully generated producing Poat, Rudy and Gaeta John between A collaboration first-step Statement Artist [email protected] West Vancouver, BritishColumbiaV7S2V4Canada 4659 Woodgreen Drive Deep Dark Rudy Poat invited
work Deep Dark:Real-TimeInteractiveCinemaProject ewe te ue bcms ihy hre a te signals the as charged highly becomes tubes the between space empty The a beat, as the begins Finally, light if signaling. the follows stream energy contact. for plasma’s straining hand, the can and spectator tube, The a tubes. the touch in up flare gases plasma and agitated, become Electrons excite. brains the sensed, is tator spec The not inert. are These tubes. glass in brains human glass two tables, specimens: tobe stainless-steel appear that objects are two tables the On scale. are room darkened a In body? own our in to plug like it is for What is margins. “remote” it as centers urban in con true as is Global this that choice. increasingly means no nection have an now into We signals. plugged of sea always dense are We wired system, wireless. and electromagnetic ubiquitous an is media New Statement Artist [email protected] Ontario, Canada University ofOttawa Catherine Richards - -
have died of joy is a simultaneous seduction between two two between seduction fear. and simultaneous rapture extremes: a is joy could of I / died death have to scared was I the firing. in brain’s the “seen” of be patterns can Emotions me. fascinated that emotion and physiology, It electromagnetics, was between the slippage “entraining.” called aprocess through directly, quite be affected may computer!) body’s (the brain The else. inhabited something feeling by coin, same the of sides two as understood benign be and can emotions other. the tube for These rapture or one enlightenment for fear abject or haunting of states to correspond here used patterns firing The brain. human the of areas certain in pat firing of neurons to on timing be the claimed terns based is pulse electronic The attention. for compete I wasscared todeath/Icould havediedofjoy -
magnetic behavior. behavior. magnetic brain’selectro the on conducted are research scientific on patterns based pulsating The rhythm. the of timing the controls board computer A topulse. begin gases phosphorescent The plasma-path the of part circuit. become bodies as capacitive a ground as to act path which trapped hands, the the to touched, attracted are is plasma tubes glass phospho the create and When long) rescence. glass feet 4 evacuated x diameter in (5-inch captured in tubes gases These plasma electrodes. the excite excite turn high- voltages custom-designed, High up circuits. fires voltage tables, that the sensor on a tubes trigger glass they the approach spectators When Statement Technical INSTALLATIONS
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216 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG INSTALLATIONS La Région Rhône-Alpes Région La CNC-DICREAM, by Medias-Cité, possible made was project This www.scenocosme.com Lyon, France Gregory Lasserre &AnaismetdenAnext SCENOCOSME
The show is ever changing. ever is show The emotions. dom they and are by of flows ran cradled dialogue, complicity, up to sensitive this (creators) themselves for give Visitors opportunities face-to-face imaginations. ephemeral their offered open to and senses territories create their and awaken unexpected space that matrix interstices visual this and in sonorous engaged actively become Visitors endowed conversation. in objects microcosms subtle as and articulated are They life. with universes hosts dome-bubble The elements. vibratory luminous and loops, sound spinning shapes, visible of constel lation a center its in accommodates it performances; collective for ideal is space This shapes. sonorous and visual producing evolutionary for an device and structure half-spherical a of made is SphèrAléas performances. choreographic or expression, of forms multiple in they toinvite the the musical of spectator center participate collective With artwork. interactive and lutionary to evo create and architecture music, art, use interactive Scenocosme Statement Artist - - - infinite orchestrations. infinite with experimenting by work the of future the determines audience The swirls. hypnotic into disappear then overlap parts where polyphony, repetitive of processes particular create to system the appropriates visitor Each intervals. temporal subtle by animated tunes relationships rhythmic of sustained made create visitors materials, new position they as side- etc.Thus, pitch, order, harmonic rhythm, variables: speed, different overlapping, positioning, the by-side the with change playing by continuously structure can whole visitors sensors, the manipulating By shapes. 3D and tomoving it and visitors allows manipulate create, modify, observe, with the audience, relationship It reality. sensitive an creates interactive, software synthesis to with images a create a dialogue and abstract sounds It’s that manipulates images. 3D with to sound how draw on or reflection materialise a from arose and software/instrument, music original an interchange virtual Aléas, of daydreams. like feel that moments spaces in create them immerses to visitors allows SphèrAléas Statement Technical
Interactive /soundimageinstallation SphèrAléas
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218 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG INSTALLATIONS 100 kilometers per hour) at the equator. the at hour) per 100 kilometers (nearly hour per miles 60 over of just at a speed second) per tions revolu 28 (about 1700rpm approximately at revolves the as apparatus continuously repeats course process the This revolution. throughout next the each of element blue controlling and green, by red, illusion individual persistence-of-vision the to information maintain timing necessary the extrapolate to it allows This piece. the of rear the by pass responsible is it which for LEDs the as signal position a receives microcontroller each revolution, Once per animations. the for data bitmap the holds which memory, flash of MB 8 of stock independent own its from at reading MHz 40 clocked microcontroller PIC a by controlled is LEDs, RGB 16 of consisting ring, this of quadrant Each ring. diameter 12-inch a around spaced LEDs RGB 64 using imagery its creates Orb The Statement Technical itera scale. future its increase and allow display to the depth full to add both will tions efficiency This sources. light physical the of percent of one thousandth one than less with Geoscope of the able to of one about produce quarter one of percent the resolution is Orb The vision, of persistence of efficiencies the leveraging By Nations. United the of view full in River East the over suspended be to sources light computer-controlled lion 1962, 10 mil with covered in sphere 200-foot-diameter a for proposal called which Geoscope Fuller’s Buckminster of footsteps the in following significance, worldwide of issues on the perspective of and awareness viewers’ relevance increasing the for object spherical re-establishing as globe toward step a is Orb The sky. the in and see know we bodies the of many as well as planet home our of shape the as significance value, special held increased long has of sphere the be since would display spherical a of surface on the resolution higher a concentrating that felt I displays, persistence vision of cylindrical three-dimensional at attempts resolution low- rather seen Having display. for platform a as functions also that interest inherent of object beautiful a creating by design and of art worlds the to bridge attempt an is Orb The dimension, third into displays the by Inspired a to desire push persistence-of-vision Statement Artist [email protected] New York, USA NYU InteractiveTelecommunications Program James Sears
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The Orb Matthew Jording Aaron Flynt Ajeya Krishnamurthy Modi Viral Achint Thomas Fiona Murphy Collaborators borhood. In cities where wireless networks are ubiquitous, gardens could extend throughout throughout extend could gardens city. entire the ubiquitous, are networks wireless where cities neigh a In of scale borhood. the assume could gardens greater, is plantings of density node consist Where sidewalk. simply a along gardens minimal, is nodes 802.11 access of presence the Where city. the through move they as gardens sound virtual though drift WiFi-enabled a participants to device, connected headphones Wearing space. urban specific a onto soundscape constructed publicly a overlaying location, physical a of coordinates the onto mapped are ings plant These environment. audio a positional within by others) planted those (or “prune” sounds “plant” participants device, mobile a use. Using for WiFi-enabled public garden” “sound a virtual install to zones” “hot 802.11 (WiFi) dense within wireless living anyone enables Toolkit TSG The space. public urban contemporary in publicity and privacy of gradients mediated explores like the iPod, the project devices audio of the mobile impact technologically Addressing within environments. interactions in social and gardens” practices spatial “sound new for platform virtual tory cultivating for a participa to posit gardening platform community of urban culture the on It draws cities. software contemporary open-source an is project This Statement Artist [email protected] Buffalo, NewYork 14214USA 3435 MainStreet 302 HayesHall University atBuffalo Mark Shepard
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audio mix based on the position of the participant within the physical location. physical the listener within a participant the of position to the on based mix real-time a audio fed outputs then is which device, information mobile the on running positioning engine sound 3D This a within object participant. the of position calculate geographical triangulation, of the process a through and, signatures radiometric of database the with location given a within taken samples signal them compare stores devices and location Placelab-enabled database. a in specific a of limits geographical the over strengths signal node samples system WiFi The Seattle. Research, Intel by developed system location privacy-observant the builds project on an services, (www.placelab.org), Placelab For open-source, location-based to relationship protocol. parasitical wireless a in aspecific of that cast is gardens the of extent the networks, WiFi of the to propagation tied is infrastructure the of “owned” component be hardware not the As need system. the and deploying encrypted, those by or open be may participant a of location the to used determine points access WiFi infrastructure. locative ready-made, free, a as environments in urban points access WiFi of propagation the on feeds It technology. parasitic a is Toolkit TSG The Statement Technical INVITED WORK INVITED
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220 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG INSTALLATIONS [email protected] Tokyo, Japan Digital HollywoodUniversity Koh Sueda
chatting, participants enjoy grilled meat. grilled enjoy participants continuous chatting, Through Grill: Communication • fulfilling. more society IT toa way make as communication, into digital communication non-everyday introduces System The Chang-Tei lives. everyday busy our out balance to ceremonies and parties, festivals, like events non-everyday used always towards have We consideration others. of expression an communication as of pleasure exchange the restore information and beyond go is to there way Perhaps a places. all at in lives and daily times our all live we that important is It interactions. daily our meated per have efficiency and speed for Demands infrastructure. society’s becoming is gradually technology information global continues, and ization develops technology media As Statement Artist Chang-Tei System - - Stocker, Artistic Director, Director, Stocker, Artistic (Gerfried culture” of kind a as to understood have be machines “The is: work this in sage Japanese mes the important An machine? the with interact illuminates it humans should How to technology. approach how is this of aspects work interesting really the of One popcorn. get you and buffet, the at chatting through appli ance the Activate Buffet: Communication • water. of apot to boil chat and cafe net inter an at table a around sit people version, a can enjoy boil cup so of everyone tea. In the cafe water the making scroll, hanging the on projected is room tea the within those among Conversation House: Tea Communication • ARS Electronica ARS ). - - -
the feeling of sharing, eating, and chatting chatting and eating, drifts. sharing, of feeling the where space provides It space. real in stimulate action who users unknown between tion communica Chang-TeiThis supports System Statement Technical - Supported byNECDisplaySolutions,Ltd. Ubukata Saburo Sound Sada Shinji Mikami Takahide Taku Oizumi Programming Takahashi Keiko Direction Art http://www.th.jec.ac.jp/~keiko Tokyo Japan169-8522 1-25-4 Hyakunin-cho,Shinjuku-ku Japan Electronics College Keiko Takahashi analyzed result of the image recognition process is sent to CGI recognition either via shared memory or the network itself. itself. network the or memory shared via either recognition to CGI sent is process recognition image the of result analyzed to a The projector. images sends and objects the around CGI generates which function, (CGI) image • A computer-generated camera. CCD by the captured image an from table the on objects physical recognizes which recognition, • Image sections: two of consists system This to aprojector. and them data sends camera the from images generates computer A table. the on shapes various of objects captures camera CCD The Statement Technical this In removed. or added are objects interact. as images fantastic and change objects and physical grow experience, can unique which town, a as arranged be can objects trains or trees, These houses, appear. of paintings table, the on candies or ropes, cups, as such objects of common place people participants When between gaps bridge helps it enjoy. can so people ordinary that public, interaction of method plored in occurs Table unex a Diorama formerly andsuggests lifeto intothem daily who art have together. fine fun It merges and encourages the those generations of different with imagination the Interaction stimulates and piece. the comfortable, us makes experience humor, adds diorama the in technology invisible The life. daily into images interactive to way merge anew Table explores Diorama Statement Artist Diorama Table -
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222 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG INSTALLATIONS This project is supported by CREST, JST. supported is project This “voices.” in formant-synthesis variation the continuous in acomplex, generate and program variables in fill data Sensor Max/MSP. with works generation,” “voice for synthesis formant using system, processing audio An other. each with communicate directly they and computers, the to data audio real-time-composited to transmit technology use Bluetooth also Bogs to changes. these according activated is motor vibrating The movements. hand delicate monitors sensor acceleration and in air the pressure, internal two-axis changes detects sensor air-pressure The actuator. of type one and sensors of types two have Bogs Statement Technical world. the over all habitats their enlarge and places many into bogs to spread eager 21st We are the century. to in is creatures, and goal Our instruments between dream. this hybridization a aliens,” “new realizing develop in step a first the become are will bogs nature” of These reality. orchestra “the that dream our their is to It according environments. change others while instruments), musical are they if (as beings byhuman controlled are bogs Some bogs. of kinds several are There expressive. and dynamic more manipulations of range the makes interface This skins.” “prosthetic called als of are that made new materi interfaces haptic contain also They cords. vocal human by generated sounds the simulating by voices virtual generate Bogs instruments. musical into their “spirits” love inject to to aim tend we work, who this In musicians, instruments. of as true them especially is treat This and alive. are belongings they if their of care good take Japanese Typically, instruments. their with an familiar more become become musicians tohelp want has we artists, As sounds” issue. important ‘manipulate’ to “how work, recent in fact, this by puzzled be may researchers some Though of sounds. types all generate can thatFourier proved Transformation itbeen has music, of In computer the field Statement Artist and InformationStudies Keio University, FacultyofEnvironment Hiroya Tanaka Collaborator [email protected] Kanawaga, Japan Keio University, GraduateSchoolofMediaandGovernance Masato Takahashi
- bogs: InstrumentalAliens crossfire of our current “crusades”? current our of crossfire today to appear in caught those the How Christianity does fervor? with equal crosses beings and human burnt who preachers KKK or II, War World of during reality the internment and all,” for Japanese-American justice the and liberty with God, under nation “one of promise missionary? a American the as between Asia conflict the to Christianity, of side return darker the to with faith new his intending reconcile Bud he did and How from minister a convert becoming grandfather Christianity, to Japanese-American dhism my did Why Madonna. Christian Kannon, Mercy, the of as Goddess Buddhist the of images venerated secretly death, of pain on den forbid was Christianity while who, Japan in Christians” “hidden the reflects also Mariko’s vision Christian Byzantine by tankas. equally Tibetan and frescos inspired scenes, Judgment Last Mariko’s in echoes finds sion confu geographic “exotic.” This and “foreign” of epitome the West Far and East Far both for – Japan, fantasy imagine to pseudo-Chinese as a as far vague, only them take often trying could of imagination power the artists Western and West, the imagine to trying artists Japanese For imaginations. fertile own their with them had enhanced but They prints and books, universe. maps, afew only unknowable and exotic an as fantasy their in West the constructed world, outside to the closed was Japan while who, artists by Japanese inspired also was Horo Mariko a background. exotic over and vague superimposed culture own his of images sees reality in but cultures, new peoples, new lands, new todescribe means traveler The mirror. half-silvered a actuality in is but glass nifying mag a itself thinks gaze exoticizing The East. exotic the analyzing and categorizing, Man exploring, Western of symbol the Syndrome,” Polo “Marco the reverses Horo Mariko of Travels The Statement Artist http://www.mission-base.com/tamiko/mariko-horo/ [email protected] Munich, Germany Tamiko Thiel Dietmar Elflein Sound Effects Ping Jin Music
(technical sponsor) Bitmanagement Software GmbH. (CAVS) Studies MIT CenterforAdvancedVisual Kyoto ArtCenter Japan Foundation Sponsors: Yasushi Yoshida, PeterGraf Herbert Stocker, CecileMuller, XiaohuaSun, Holger Grahn,MelanieBeisswenger, Thanks alsoto:
- - - - Christian theology, even escaping hell to be reborn in the mortal world. of mortal the in structure reborn to be hell linear escaping even the theology, Christian subvert can users so cyclical, is however, Buddhism, hell. to or heaven to them sending rewarded, or punished are choices conscious users’ as determinism, and will free Christian on play a into decisions users’ turns world the and user the between Interactivity world. sensitive and and areactive through move angels users as of presence and clouds space of sense the with enhances sound realms these Three-dimensional damned. the of populate swarms to systems particle misuses program The can world real the in space sacred a cosmology. adifferent into entering us as transport way same the in realm, another into users transports program the time, real in off and on of geometry amounts large Switching presence. and tolures react their recognize system sensors proximity the where world, into in users key the virtual behaviour, locations exploratory common and curiosity human Engaging world. virtual who would never touch a to the computer explore even technophobes enables A joystick simple Statement Technical The Travels ofMarikoHoro
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224 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG INSTALLATIONS screens, they enter the connected environments. connected the enter they screens, and folk one When they art. through of move completely the their heads fairytales virtual Russian can users outside, the in found traditional of see imagery toconsisting of and each remote worlds see the screens through look window a through look can we as Just it. to connected ment the environ and remote the of view windows, a shows into window Each turn color. to monochrome screens from their changes grown, island fully are trees the all Once upward. and out expanding screens tree. rectangular rotating each and of flipping of proximity sequence the rapid a as within appears tree moving Each by world island the in trees three “grow” can Users network. public ubiquitous the of forms sculptural 3D into changing perpetually surfaces the and façades, architectural grids, tiled-display contemporary the of flatness static the through break to attempt an is trees tiled dynamic these of Animation environments. linked to as and in the serve portals the appear other main environment screens, dozens of rectangular of consisting each trees, sculptural of 3D A modular series community. network a create shared a together that as environments conceived virtual unique was other It several of matrix a to trees. linked environment sculptural virtual interactive with garden magic a presents project The simplified and colors, bright composition, styles. by these of inspired shapes principles outlines, generalized the on based aesthetic work’s is The Dymkovo. and Khokhloma, Palekh, of styles painting decorative toys, the sculpture, and wood as such crafts and aesthetics arts the folk Russian explores It traditional to system. relation in art reality virtual of virtual C-wall the for built project art an is 2 Rutopia Statement Artist USA University ofIllinoisatChicago School ofArtandDesign Electronic Laboratory Visualization Daria Tsoupikova
Virtual realitysystem Rutopia 2 - 3D objects. 3D the on applied and scanned, painted, exported then individually were and textures Other scene textures. 3D with models the as inside painted were ornamentation decorative the of details development The for software. Maya in the tool 3D the Paint using built were reference 3D models The as graph. of scene the served and layout space virtual and composition, palette, color and gouache watercolor. using They set upwere sketches hand-painted first the The storyboard world. other to the a view allows area window so the the that selected only windows outside the as areas a covering mask acts node This stencilBuffer. node Ygdrasil new the using made were trees of the windows The buttons. no and interface awand only by using objects the with interaction and of the movement the direction control tracker. Wanda hand and Participants glasses stereo the from tracked is user tracker.The Birds of Flock Ascension running toan PC 10.0 connected SUSE and Linux Intel an on operates It library. CAVE the and 3.2, Performer OpenGL server, sound Rutopia 2 the spatialized Bergen was techniques, built using Ygdrasil rendering advanced Statement Technical University ofCalifornia,SanDiego Electrical andComputerEngineering, Tom Cassey Jeffrey Lien University ofCalifornia,SanDiego cations andInformationTechnology CAMERA, CaliforniaInstituteforTelecommuni Kayo Arima Paul Gilna Weizhong Li University ofCalifornia,SanDiego and InformationTechnology, California InstituteforTelecommunications Immersive VisualizationLaboratory, Javier I.Girado Jurgen Schulze Research, UniversityofCalifornia,SanDiego National CenterforMicroscopyandImaging Rajvikram Singh University ofCalifornia,SanDiego Computer ScienceandEngineering, Tommy Chheng Iman Mostafavi Arts, UniversityofCalifornia,SanDiego Center forResearchinComputingandthe Todd Margolis Stanford ComputerGraphicsLaboratory JP Lewis Contributors [email protected] 92093USA La Jolla,California 9500 GilmanDrive,MailCode0046 SanDiego University ofCalifornia, and ImagingResearch National CenterforMicroscopy Ruth G.West
- ATLAS insilico ship between data and understanding, and between data about life life about data describes. it that life the between and and understanding, and data between relation the ship out calls it nature, representing for modalities alternative explore to order in viewpoint metagenomics impelled aesthetically Survey an of Ocean millions Global Eliciting atlas. the with visual immersive an within metadata, the associated its and encounter from aesthetic sequences discovered intimate recently an offers work This nature. comprehend intuitively and 21st the in to represent ability, century, to our challenge a fundamental pose data metagenomics abstract and vast fixity, of species concepts with associated nature of representations 19th-century to posed tion selec natural on work Darwin’s that to challenges parallel In of nature. view to a sequence-centric from an organism-centric shift the resultant and metagenomics of by life interrogating unity and origins, nature, the of understanding an for quest long-standing humanity’s to upon silico reflects lost in ATLAS initially re-attained. is are meaning broader self a and ultimately but data, organism the life, digitizes genomics As Statement Artist - - Imaging Research(NCMIR), and Electronic Visualization Laboratory, Laboratory, (EVL). Chicago at Visualization Illinois of University Electronic and Research(NCMIR), in Imaging Research and Microscopy for for Center National Center (CRCA), Arts the and Analysis), Computing and Research Ecology Advanced Microbial for Cyberinfrastructure (Community CAMERA Technol (Calit2), ogy Information and Telecommunications for Institute California from: support by generous possible made is silico in ATLAS system. (COVISE) Environment tion Simula and Visualization Collaborative distributed and extensible the is on built framework software The interaction of lions GOS sequences. mil representing forms three-dimensional luminous with system, interact they tracking motion the of view glasses of field stereo the within without moving by and environment 3D the experience Participants 100-megapixel motion- a tile, infrared 55 display. an auto-stereoscopic Varrier strip barrier the employs with installation together system, The tracking form. visual to data genomic maps that grammar shape a unique including code, graphics a from computer custom are constructed environment virtual and atlas Both the visual metadata. associated that reveals environment a virtual It within is the data from GOS situated database. of tion visualiza metagenomics multidimensional derived aesthetically an is atlas visual The Statement Technical INVITED WORK WORK INVITED INSTALLATIONS
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226 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG INSTALLATIONS Lim Giong Music Ming Ouhyoung Bing-Yu Chen Jack Hsieh Chien-Ling Tang Jen-Yuan Chiang Hsi Jichung Meng-Chieh Yu Yu-Jen Chen Collaborators [email protected] Taipei, Taiwan Shih ChienUniversity Po-Kuang Chen [email protected] Taipei, Taiwan National Taiwan University Ming-Yang Yu
“Heaven, earth, and I are born of one.” of born Iare and said: earth, “Heaven, Chuang-tzu as just is cycle endless This system. the from back spiritual power provides to in feed And the lead the changes receives ecosystem. viewer who producer a be also can viewer The world. real ers as the is media, viewer a of and world the both conductor the virtual ware” is the of element essential this process. Using sensors and speak “human byand software, hardware is composed the process Although world. virtual the in aplayer and of a the world real member character: a plays viewer double The world. the in the real the viewer’s feelings on and change this can sound, with screen displayed is behavior creatures’ The response. emotional er’s view the by controlled is virtual world virtual the in the behavior creatures’ the all In real. and example, For virtual develops. world how the determine beings human world, worlds, two contains simulation This simulation.” “ecosystem an developed we approach, amodern with thought Chinese traditional this To visualize repercussions. has activity human Every inseparable. are nature and humanity Taoism, about ing that all with think one his In at philosopher. Chinese am ancient I an Chuang-tzu, and said exists,” one, of born are I and earth, “Heaven, Statement Artist eco-echo - - - -
different sounds. sounds. different with emotion viewer’s the affect to feedback generates simulation the and simulation, the changes state emotional viewer’s The ecosystem. the and viewer the between bridge a as acts system feedback The 3. system. feedback the in parameter essential an as acts whch excitation, emotional viewer’s the of intensity the reveal 2. detect The the sensors rate viewer’s which heart and skin resistance, by controlled viewer. the filters various through creatures the shows that mation in an ani visualized are processes these and die, prey,and propagate, breed, They world. real the simulate of behaviors creature etc. All speed motion, requirements, food length, life parameters: own its has ture crea each world, virtual the In simulator. ecosystem an is core 1.The components: three includes system This Statement Technical - - ELECTRONIC ART & ANIMATION CATALOG ART GALLERY 227 Monitor-Based Work Monitor-Based Art Gallery: Global Eyes Global Gallery: Art •
228 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WORK MONITOR-BASED faiths in his lifetime and united them at his his at them united funeral. Rumi’s and message of love, tolerance, lifetime and his many in of faiths people to appealed which art, teachings and Rumi’s to piece tribute a The as year. intended is this celebrated is 800th birthday (1207-1273), whose Rumi Mowlana poet Jalaluddin mystic Sufi the of poetry by the inspired is Voices with Crowded Visually, natural a as media. treated traditional of extension is component techno logical The toolbox. the artist’s of part contemporary become recent have of that technologies exploration an with composition) (painting (instrumental art music and design) visual graphic and to approaches tra their ditional combine to and sought Lindroth Belkina Scott Anya Voices, with Crowded In Statement Artist [email protected] Durham, NorthCarolina 27707USA 1405 Forestview Street Duke University Anya Belkina
invited w or k - -
soprano saxophone accompanied by two two by accompanied saxophone a soprano by played are performance vocal the from phrases Melodic Ghalwash. Mustafa Raghib of Qur’anscriptions by a recitation magnificent tran on based are design sound and Music piece. the in used motifs visual other the of some are Ghalwash, by sung textual Qur’an the and al-Balad, from art fragments Islamic of characteristic ery imag patterned The universe. the in galaxies of the and in largest nature particles motion the smallest the with harmony in is motion ing revolv whose dervish whirling a of image an is of film the motif visual central The disasters. weap natural and terrorism, nuclear pandemics, global ons, connectivity, high-speed era of our in ever as relevant as is acceptance Crowded withVoices - - - -
spiritual and political issues of their time. their of issues political and spiritual Dolphy, Shepp, in urgent participated work whose and others) Coleman, (Coltrane, cians indexes other musi on inevitably a saxophone performance the also but speaking, properly “music,” only considered not recitation not Qu’ran a is mishearing: involve inevitably tions transcrip Such piano. a and percussionists - - percussionists, and digital sound played in in played computer. alaptop from time real sound digital and percussionists, ensemble two piano, saxophone, an soprano of consisting Zeitgeist, by performance tal instrumen live a of recording a is music The Adobe Effects. Maya, G5 Autodesk a Illustrator, and Photoshop, Adobe After Adobe on using created Macintosh were images Animated Statement Technical -
[email protected] Brooklyn, NewYork 11205USA 278 CarltonAvenue, #3 Devika Coles firsthand and through mainstream media sources. media mainstream through and firsthand both I experienced that event historical evolving ongoing, of an archive mem visual my is it essence, In economics, politics. race, and of resources, of allocations complexities the by divided still city a work within and ing through moving of experience psychological and physical a my both in represents composite viewer The image. composite the seamless giant, before unfold slowly process recovery the and math, community a within, Hurricane plays, video imbedded the As bydisaster. devastated simultaneously and from, removed inter I volunteer. relief a as process recovery the in participating and Hurricane watching experiences my of paradox psychological and emotional the recreates Memory of Places Statement Artist Hybrid digitalvideo Places ofMemory ory of the recovery process in New Orleans since Hurricane Hurricane since in New Orleans process of ory the recovery viewed W ard. Her words articulated my contradictory experience of being being of experience contradictory my articulated words Her ard. W angui angui K aniaru, a in Ninth the and aniaru, law volunteer Upper student K atrina through media reports reports media through atrina K atrina, its after its atrina, K atrina; an atrina; - - - -
video files were combined together using Adobe After Effects 6.5. Effects After Adobe using together combined were files video and sound, composite, The audio. the remix and extract to used was GarageBand and video edit to used was iMovie CS. Photoshop using photographs personal with combined and appropriated were Images weblogs). as (such sources media personal and independent, stream, main from images through visualized were process recovery the and to how research Hurricane an The provides opportunity internet construct to view of in New Orleans. happened what points new ways and remembering of seeing multiple use to seeks Memory of Places Statement Technical MONITOR-BASED WORK MONITOR-BASED K atrina atrina
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230 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WORK MONITOR-BASED [email protected] Philadelphia, Pennsylvania19122USA 2020 North13thStreet Film andMediaArtsDept,AH120 Temple University Roderick Coover
that follow the form of a Möbius strip to begin again after 21 minutes. after again panoramic to begin strip the aMöbius of form the of follow that loops two has authority version This the projection. for video challenging QuickTime another, loss-less a for as output and true animated was be work The may frame. opposite the first, the in begun was that loop move they And in a loop. second an action may be concluding single a character one while in motion: of set by the time the panoramic times independently several reappearing work, whole the than rates differing at move may orama pan revolving the of elements individual The time. in evolve that loops revolving slowly into animated are panoramas photographic The space. crowded the in interspersed provocateurs as serve who 12 actors following City, Mexico in Plaza Coyocán the of study a in taken photographs 1,000 over from composited and stitched are imagery of Layers Statement Technical aloneliness. alonging, –asearching, other and consciousness a or counterpart, temperament of male expression it’s an a Instead it. becomes never protagonist, but narrative female suggests that a manner a in follows characters work evocative The Moore. Michael Gilbert Jodi saxophonist singer-composer and by music to put and Unferth Olin Deb by interweaving written are image, that and word narratives between overlapping seven relationships formal subjectivity, explores about also questions panorama raise The to travel. flux and of moments displacement, in caught lives and presents imagery, work actors the of photographic of sounds, layers found actions and dynamic the Using songs, at afternoon. looks Saturday busy a work on plaza motion-media city a on panoramic recorded this non-actors City, Mexico Plaza, Coyocán in Recorded Statement Artist Time-based visualmediaandaudio Something ThatHappenedOnlyOnce - Scott Fisher Kira Perov Producers Executive Michael Sweet Jamie Antonisse Aimee Dozois Mike Rossmassler Richard Almodovar Andreas Kratky Kurosh ValaNejad Todd Fumanski Tracy Fullerton USC EAGameInnovationLab Game Design&Developmentbythe [email protected] Los Angeles,CA90089-7756 3131 SouthFigueroa Street Robert ZemeckisCenterforDigitalArts California University ofSouthern USC EAGameInnovationLab Bill Viola EA GameInnovationLab
A videogame/artprojectinprogress WalkThe NightJourney: Through game world at both a technical and creative level. creative and atechnical both at world game the into Viola’s work of Bill imagery the video,” integrating of “explorable sense the evoke that environment 3D the for techniques a set created has team of The post-processing custom mechanics. and content, design, visual its unique with may communicate experiences game of what boundaries the to stretch attempts it but technologies, videogame with developed being is game The Statement Technical enlightenment). of path a along trip (a destinations certain reaching than rather reflecting and act the is traveling of game the in mechanic core The ones. geographical land than poetic a qualities through spiritual and player a reflective more has takes that space a Journey scape, Night The through voyage A actions. and choices player’s the experience: game the of “mechanics” the through enlightenment of journey archetypal the of sense a mind player’s the in to evoke attempts design interactive The philosopher. 3rd-century the Plotinus, and poet; and mystic Spanish 16th-century the of Cross, St. the poet; John Buddhist Zen the 18th-century Ryokan, writ mystic; and and poet lives Islamic the from the Rumi, 13th-century comes including: figures inspiration historical great of Narrative ings Viola. Bill of work the from drawn is Journey Night The for inspiration Visual mystic’s toward enlightenment. of journey story an individual on based the universal project is a game/art Journey The Night video Statement Artist MONITOR-BASED WORK MONITOR-BASED
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232 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WORK MONITOR-BASED creations from the events that were surrounding me. I decided surrounding were that events the from creations for it me was to impossible my separate artistic circumstances, these Under homosexuality. my about open too being for life my threatening guerrillas communist and city, my of parts up killing blowing squads lords drug my relationships, death cursing HIV queens, drag wing right with society, dangerous a in art producing Colombia, Bogotá, in man gay a as up Growing scripted and sounds, videogames. animations, digital creating and tage, mon through information fragmenting with camcorders, reality experi of a monitor, capturing aspects hours stroboscopic the with spend menting I where computers, and video of hypo-allergenic world the into move to me forced paintings oil and to labs, films, used in allergic photography the Being chemicals time as added are by.goes elements more and dynamically, loaded are clips The composition. randomized and chaotic larger a of portions small into fragmented are souvenirs personal These resolution. low very in camera cell-phone a with captured ries W Statement Artist www.santi.tv/world [email protected] Tampa, Florida33606USA 401 W The UniversityofTampa Santiago Echeverry RD s n neatv dsly f ie ad ui memo audio and video of display interactive an is ORLD est KennedyBoulevard, Box104F
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Interactive videostreaming WORLD as reminders of the futility of our physical existence. physical our of futility the of reminders as of memory; pieces my mummified using own and andskinobjects blood short-term on media digital of effects the criticizing video interactive creates of project and the about love, life; projects fragility web friendship, sites The society. disposable a in memory of nature the with deals that Memories Discarded ing in Tampa, I on working Florida, a am called currently project for in fiveandliving Colombia After years, nowand living teach narration. interactive and photography, digital cyber-activism, it and in, video, with space to interactive the became perfect experiment working been had I media other the all integrate to a was media that I use the web could interactive I discovered experience. into life-changing transition the video, and ming program in background my of Because University. York New at to get my in Telecommunications Degree Interactive Masters York New to moved and Grant Fulbright a received I 1995, In radio. and TV like media institutional of mats for and languages the using view of point own my express to - - -
ing images and the hypnotic effect of low-frequency noises. low-frequency of effect hypnotic the and images ing mov pixelated the of beauty the places. exploring purpose, aesthetic other among an with magnified is audio Tampa,and video the of resolution low The and Istanbul, Bogotá, from Boston, sounds and Paris, images presenting world, the in of life the and a experiences artist’s narration chaotic becomes in the user’s group of mind. happen loops This memory de-contextualized associations mental possible the and chronization syn of concept The appearance. and movies content the their on change to click and over cursor a roll to needs user The the image and the that sound can so never be viewed at components the same time. audio and visual the separating load files, the and dynamically and retrieve to phone XML of use the cell allows screen. Flash computer a a on with randomly and interactively captured presented seconds) 15 (maximum W Statement Technical ORLD is an ongoing collection of videos and audio clips clips audio and videos of collection ongoing an is ORLD - -
www.people.umass.edu/sig82art [email protected] Amherst, Massachusetts01002USA 26 MountPleasant University ofMassachusettsAmherst Copper FrancesGiloth University ofMassachusetts,Amherst Zinj Guo Design Web Collaborator sachusetts Amherst (Zinj Guo, Dana Ramponi, Jen Zolga, Lindsay Lindsay Zolga, Jen Ramponi, Dana Guo, (Zinj Amherst sachusetts site and revise the existing content to make it a more complete resource. complete amore it to make content existing the revise and site W art. computer of history the to document need make to the the used of site confirmed making process tools the Thus very the of most dramatically. the and the from works show have changed technology the describing for vocabulary the both exhibition, this since years 25 the In exhibition. the documenting site aweb constructed and designed they information, this Using munity. to com the available them making for a strategy devise and them, organize and was to task inventory students’ The Mas of University the at materials. course design information her in students art senior five 2007, of this fall from the videotapes and In slides, exhibition. documents, the archived Giloth Copper Show, Art 82 SIGGRAPH the of chair As competition. 1982 the open to fund the organization SIGGRAPH convinced shows previous the of in popularity 1970s,The and Show. late Art the in 1981 SIGGRAPH place the curated taken had Gerbarg 1981, shows Darcy art informal several Show, Art 1982 the to Prior technologies. graph ics computer with experimenting scientists and artists by works time-based and interactive, three-dimensional, two-dimensional, experimental of exhibition public juried first its sponsored ago, SIGGRAPH ACM Twenty-fiveyears Statement Artist Looking Back25Years: SIGGRAPH82ArtShow ork on the site is ongoing. As we reach back to the innovations of to 1982, the to As back to we the innovations reach add new information on we the is site ork ongoing. continue W eber, and Vesna Vrankovic) reviewed these these reviewed Vrankovic) Vesna and eber, INVITED INVITED - - - W OR
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234 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WORK MONITOR-BASED vention in our sense of self? of self? sense our in vention and multiple presences? presences? multiple and media, did you ever know who you were? you who know ever you did media, and by of all our of technologies, manner sense goods, maintained self and documents, records of manner all through distributed today identities our with Indeed, was? what of experience the synthetic, real, – experience contemporary assisted. about technology mediated, questions of sorts all raises buildings It their goods. avatars, of and world prosthetic a world, online an in experience an is Squared Life Their recordings. sound question. in is to Lynn’s work of movies, body documents, as relationship, tapes, photographs, papers, University: an Stanford in lie at now work archive this of much of remains the of boxes Ninety presences. identities, and transformed corporealities, manipulated, translated, documented, surveilled, mediated, of world a in tolive is it what with dealt has work Hershman’s Lynn movies, and presences, web artifacts, agents, intelligence artificial installations, photography, in performance, decades, For over three Statement Artist Stanford HumanitiesLab Michael Shanks Henry Lowood Collaborators [email protected] Davis University ofCalifornia, Lynn Hershman INVITED INVITED W W hat about the prospect of even greater (bio-info-technological) inter (bio-info-technological) of greater even prospect the about hat OR W K ill your clone know you? you? know clone your ill W hat is it to recollect in this contemporary world of mediated mediated of world contemporary this in recollect to it is hat W ill your downloaded memories convey convey memories downloaded your ill - of self. of experience, of augmentation an prosthesis, a extension, an but all, at machine a with interface cans. trash files, documents, with desktop, a metaphor: a as presented commonly been has interface decades, human-computer of the couple a For interfaces. machine/user current of basis metaphoric the challenges that encounter archival this for a 3D interface we exploring are technically, and prosaically More encounters. enriched practices), memory are (as realities mixed –augmentations, power” to second “life the precisely are but worlds, not “virtual” are Life chat Second like forums and online rooms, games, worlds, digital that is argument our (under document), and self of memory of senses matter and this media” “new between relationship important this In play. game and scenarios, stories, and architectures, how they characters archives, around revolve and material that practices form to memory material and document, takes no Memory be particular documented? experience an is How museum? a by curated be to room hotel a in installation transient a Squared Life Statement Technical
is about building an experience in an online world. How is a work of art such as as such art of work a is How world. online an in experience an building about is W e are building instead a mixed reality, and it is arguably not an an not arguably is it and reality, mixed a instead building are e
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236 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WORK MONITOR-BASED [email protected] Athens, Ohio45701USA Ohio University 235 PutnamHall Aesthetic Technologies Lab Philip MalloryJones
animation, video, sound scapes, and text in the immersive, real-time, online environment of Second Life. Second of environment online real-time, immersive, the in text and scapes, sound video, animation, S THE IN Statement Technical mundane. the in qualities hidden releasing transformation, of acatalyst alchemy, is It worlds. unseen and of the seen interface as the membrane mask, of the ritual the function to serve is intended My work practice. of ritual secrets and the retained heritage, of and cultural family language from the It shared and intuitive. derives is My intentional process (memory). plane time the and depth), in layers (reading the text reading), Y (normal plane that plane the are XZ to be read in dimensions: three of compositions my narrative investigation S THE IN a and Developing installation gallery real-life a includes also that project book. larger portfolio a of limited-edition part is It terrains. temporal and technologies through S THE IN poet/novelist human with the collaborations in creative my deep and reside mother. my research, Jones, and that Mallory Dorothy art-making of allegories decades and four my lore, of continuation a is It African-American/Diaspora threads psyche. and anecdotes, themes, family practice, and cultural and personal creative from contemporary derived and traditional between dialogue a is It memoir. immersive S THE IN Statement Artist Immersive, interactiveSecondLifeenvironment IN THESWEETBYE&SL(aSecondLifeinstallation) W W W EET BYE & BYE SL (a Second Life installation) is a fusion of visual art, literature, and digital media that composes an an composes that media digital and literature, art, visual of fusion a is installation) Life (aSecond SL BYE & BYE EET EET BYE & BYE SL is a synthesis of 2D digital paintings and photo/image collage compositions, 3D digital models, models, digital 3D compositions, collage photo/image and paintings digital 2D of synthesis a is SL BYE & BYE EET EET BYE & BYE SL illuminates a process of migration, transformation, and convergence of concepts and designs designs and concepts of convergence and transformation, migration, of process a illuminates SL BYE & BYE EET W EET BYE & BYE as an immersive environment in Second Life marks a paradigm shift in vision. It begins begins It vision. in shift paradigm a marks Life Second in environment immersive an as BYE & BYE EET ronment. ronment. visual representation of a landscape. The tools are a Nikon digital camera, camera, digital Nikon a are tools 2004. MX Flash The Macromedia CS2, and Photoshop Adobe landscape. a of representation exploded an into visual audience the draw to being work the of emphasis visual the own fields, their create to users allow to technology web basic uses work The Statement Technical unpredictable. the with encounters are observations these lens-based globe, the across travelling or seasons, the throughout places same the envi an within immersion subjective a by driven become inevitably works the shutter. the to press when deciding in the of the image are quality light paramount; and key tonal become range factors of qualities visual The to content. the define of creation image the happenstance allowing then and idea conceptual initial an with working involves process The meaning. distinctive and anew gain image the of environments, elements the print, interactive and video, in material raw this montaging Through eyes. my with see I what re-create to visually tools my use I world. directness, the and of simplicity reconstruction a ambience, an of evocation an involves samples) sound or stills, (video, trips field on gather I that material raw the of composition The me. surrounds that world the of examination closer a or Each overlook. work a represents either journey through space physical personal often and granted for take we that rhythms and textures, processes, tothe tion I draw atten to our perceptions. explore us and the technologies use of imaging surrounds that world visual the of examination an around itself orients work My diversity. and multiplicity decoding eye the subject, same of the 25 offer instances of images The the time on movement this planet. drives that performance inevitable an is cycle birth-life-decay-death The environment. the with relationship us an intimate give imagery exploded and the proximity but hidden, is vista The change. of rhythm inevitable the through cycles it as scape land of anatomy time-sliced a explore to audience the invites Decay and Birth Statement Artist www.zerok.tv United Kingdom Southampton S043OYN JM 212EastParkTerrace Southampton SolentUniversity Julian Konczak W hether creating work within walking distance of my studio, revisiting revisiting studio, my of distance walking within work creating hether W hen subject to the vagaries of weather, weather, of vagaries to the subject hen W ith a sense of of sense a ith - - - Time-sliced photographicrepresentationoflandscapecreatedinFlash 25 –BirthandDecay
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238 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WORK MONITOR-BASED [email protected] Berlin, Germany Collaborations Program: InitiativeforArt+ Architectural Fotini Lazaridou-Hatzigoga [email protected] Harvard University Toby Lee INVITED INVITED W OR K
Category Royal, Nebraska Royal, Nebraska was recorded in July 2006 on standard digital video using a Panasonic HD-P2 camera. camera. HD-P2 Panasonic a using video digital standard on 2006 July in recorded was Nebraska Royal, Statement Technical time. of passage the and space, social memory, history, among relationships the about to think itself installation the of space physical the using installation, multi-channel a for town, the from material interview and footage additional with along Nebraska Royal, adapting currently are artists The process. inthat camera of the role the and socially, and spatially as aswell temporally, defined be can town small this in space public and place which in way the addresses play video the takes, experimental, long and framing Formally with time. ing and space between relationship the articulate can image moving the of is a medium also of of study how America a the town durational quiet Middle in portrait rural video short This Statement Artist All video was edited in Final Cut Pro, with sound design and mixing by Ernst K by Ernst mixing and design sound Pro, with Cut Final in edited was video All arel using Sound Track Pro. Sound using arel -
University of California, SanDiego University ofCalifornia, Ben Maggos n i
m a i r o m e m Shockwave was used to create an interface to dozens of interactive video streams. video interactive of to dozens interface an to create used was Shockwave Statement Technical questions. these into inquiry lived own our of extension an becomes form interactive The clear. become will free and evil, good, of questions with one’sreconciliation of own reflection a as activities daily of poignancy the piece, this From questions. its of unfold that ways in ideas the through to move vernacular viewer the obscure allows form the an its lexicon, developing extend from far but, qualities inventions, those syntactical so, own its doing through By cinema essay. interactive textual a in exist that those as questions. these stakes the with a same tool to of become inquiry cinema of interactive answer qualities the unique Instead, singular a provide doesn’t artwork The life. one’s of attitudes and the how qualities one’sshapes toThe work explores will. free own this dilemma response innate W Statement Artist What AboutJob? hat About Job? is akin to a Socratic dialogue on the fundamental philosophical question of of question philosophical fundamental the on dialogue Socratic a to akin is Job? About hat INVITED INVITED W
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240 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WORK MONITOR-BASED Kelly Leslie Ben Kirkby Collaborators [email protected] Tucson, Arizona85719USA 1144 NorthFirstAvenue University ofArizona,Tucson Ellen McMahon invited w or k students. her and Moore Erin member faculty architecture by kiosks interpretive student graduate by video documentary Ben and site web a Case; and Jeff Green Heather students graduate by Estuary and museum Bay virtual Cholla a for History, Cultural and Natural of Museum Cholla La Univer students, Buffington; Mike alumnus and school students, undergraduate high Arizona of sity Peñasco Puerto by Estuary Morua in and McMahon Ellen by faculty NaturArte for system identity a visual include: projects Other and CEDO-led for point estuary. the of tours self-guided starting informative and an plants as serve indigenous to illustrating animals, building, new the on mural a ated cre students of Arizona in University At CEDO’s Estuary. request, farmers Morua oyster of collective a Mujeres, de Única Cooperativea dad a build to was for area Socie and seating kitchen as toan indoor serve building small Greengrant, Global by funded projects, these of areas. One wetlands the in ecotourism and micro-businesses sustainable to is support development tourism environmentally-damaging from ies in One of estuary. each marina CEDO’sto the protect strategies estuar a and over units, 15,000 new rental courses, highway, golf nine unprece coastal an at growing is Peñasco rate. a dented Currently, there are airport, to plans an build international Puerto in industry tourism The ecotourism. and technology, ness, micro-busi planning, use land ecology, design, graphic architecture, art, together brings López, Castillo Alejandro by conservationist CEDO spearheaded project, conservation multifaceted This estuaries. major six Peñasco’s Puerto of use sustainable and (CEDO) conservation Oceans promote to and Deserts of Study the for Center Intercultural the Faculty and students from the of University Arizona have teamed up with Statement Artist K rb; n neatv DD by DVD interactive an irkby; K elly Leslie; a mural for a for mural a Leslie; elly K elly Leslie and Ben Ben and Leslie elly K ayak ecotour business business ecotour ayak K irkby; and and irkby; ------All of the painting was done by hand. done was painting the of All chalk. colored of bags with drawings the hitting by wall the to applied and wheel, pouncing a using hand by perforated plotter, large-format were a on 1:1 at images printed drawings scale, outline Color to black-and-white adjusted vectorized. were drawings the feature, live-trace Illustrator’s Adobe Using color. flat into converted and IX Painter Corel into and imported were scanned mural for the natural-history Drawings Mural wetlands. these of usage together sustainable work assuring toward they as students and faculty Arizona of conservationists, University and biologists, research farmers, oyster document and environment the of sounds and images the capture featurettes Video word. natural the to relationship our about perceptions in our of art role the and opment, devel information tourist of effects additional ecological the for history, area’snatural the reference about visual a provide estuaries the of maps Interactive estuaries. six the from clips audio and photography, in conditions still video, digital tidal high-definition features current project The of Sea the Cortez. on based itself draw dynamically to feeds RSS that uses project multimedia DVD is a interactive The Flash-based Statement Technical -
A Bi-National, Interdisciplinary WetlandsProjectinSonora,México A Bi-National,Interdisciplinary Conservation NaturArte
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242 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WORK MONITOR-BASED www.zonezero.com/exposiciones/fotografos/zhensheng/index.html Li Zhensheng Red ColorNewsSoldier www.zonezero.com/exposiciones/fotografos/wyatt/index.html Wyatt Gallery Katrina-Tsunami, RemnantsAftertheStorm www.zonezero.com/exposiciones/fotografos/ulanovsky/inicialeng.html Ines Ulanovsky Photos ofYou www.zonezero.com/exposiciones/fotografos/matafco/index.html Francisco MataRosas Mexico Tenochtitlan www.zonezero.com/exposiciones/fotografos/nesterov/index.html Uri Nesterov Ukraine www.zonezero.com/exposiciones/fotografos/fotografio/index.html Pedro Meyer I PhotographtoRemember www.zonezero.com/exposiciones/fotografos/machado/inter.html Daniel Machado The RodeluFamily www.zonezero.com/exposiciones/fotografos/chilau/index.html Pok ChiLau China 1979-2005Asian-Americans www.zonezero.com/exposiciones/fotografos/guzman/index.html Oscar Guzmán The CityofGalvez www.zonezero.com/exposiciones/fotografos/ghadirian/index.html Shadi Ghadirian 2 1andGallery Day(Gallery Qajar andLikeEvery www.zonezero.com/exposiciones/fotografos/caimi/index.html Jean Marc Caimi Kids www.zonezero.com/exposiciones/fotografos/shahidul/index.html Shahidul Alam Brahmaputra –AJourneytoOneofAsia’s GreatestRivers zonezero.com [email protected] México ZoneZero.com Pedro Meyer
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Although technology plays an important role in our exhibitions, we prefer the stories to speak for themselves. themselves. for to speak stories the prefer we exhibitions, our in role important an plays technology Although W Statement Technical empowerment. and joy great and pain, and disease life, family and everyday of love, of stories tell also They it). knew once we as world the of or ideals of perma stays work the since times all at of stories loss tell The (ofimages and afinds always anewonline audience. lovedone,available nently of land forwe which fought, stories, of collection a library, a sense a in are exhibitions ZoneZero London. and York, Paris, New as such centers cultural traditional outside has it and photography, teach that institutions for a photographers the of of work showcase creating photography, talented educational in role the a de-centralization played in crucial reference important an become has It section. Portfolio 1,500 the in than more and section Gallery the in 250 photographers than of more work the hosts ZoneZero Altogether, go to digital. that analog from images make to is it adventure the for metaphor a be to attempts name Its manifestation. artistic and cultural a as photography in interested are who world the throughout people and critics, art gener photographers, of has it community a ated online, been has it that 10years than more the During years. three last the in views 114page than million more with internet, the on sites photography visited most the of one is photography, to dedicated site web a ZoneZero, Statement Artist e have never believed that the technical aspect of photography is what matters, but the content of the story it tells. tells. it story the of content the but matters, what is photography of aspect technical the that believed never have e - -
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244 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WORK MONITOR-BASED Laboratory, NASAJohnsonSpaceCenter. Image ofearthcourtesytheScience&Analysis University ofArizona Lucy Petrovich Collaborator [email protected] Tucson, ArizonaUSA University ofArizona Alejandro Perez-Avila invited w or k Global EyesWeb Site The site was created with Flash ActionScript and HTML. and ActionScript Flash with created was site The voices, their bring Statement Technical to media digital use that boundaries. political world, transcending public, awider communities and the other to each cultures and around memories, indigenous people and creative connect native that networks including alternative highlights site web This Statement Artist
[email protected] New York, USA Hunter College,FilmandMedia Joe Gilmore Andrea Polli
the importance of the region to the global global the to region ecosystem. the of importance the environmental and addresses and of region remote this extremes isolation the expresses time, real in Pole North the examining by N., and Earth.” on place beauty imaginary last “the natural brutality, combining of fusion the opposites, of symbol a is year. Pole each North time The one just sets and rises the sun and South, points direction every where point A to zero, slows Earth of the north. spinning the where degrees 90 Pole. North The Shelley, forever.” –Mary consistent eccentricities seeming their render to voyage celestial this only thousand require that a nee observations regulate the may the and attracts dle discover which there power may I wondrous light? eternal of “ Statement Artist Computer projectionandsound N. W hat may not be expected in a country country a in expected be not may hat Frankenstein
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246 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WORK MONITOR-BASED psie pcao “vr h poorpe’ sole, the shoulder,” photographer’s the being “over of spectator Instead passive a observer. the within instigates relationship interactive an that dialogue poetic the via discourse, dynamic own its develop to picture a allows Programming picture expression. a (making photography me to enables a and explore of malleable) new multiple territory interactive of practice The and narrative, form, the conceals. place each orchestration the apprehend within emotion to sand) even writing, photography, (drawing, available are representation of means whatever used always have I landscapes. natural or urban on work psychogeographical for material raw and the is This character identity. their sites different of perception the give that attributes of or loci, the“sense profound place,” Genus defines work. printed static, a finality paradigm its as has new which photography, a film-based of realm the outside represents and algorithms, computer and photography digital between encounter the by possible made innovations interactive dynamic, the explores It scrutiny.” er’s behold the to sensitive also are but light, to sensitive only not are which inhabited of “photographs as technique defined of photography,” the “interactive uses loci” It landscapes. “genus natural the and cityscapes explores work ongoing This Statement Artist www.joetopia.org [email protected] Tournefeuille, France Joetopia Joseph Rabie
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Interactive, digitalphotography Psychogeographical Studies understanding of the genus loci and our relationship to it. relationship our and loci greater genus the of a understanding allow picture, single a a within “nows” confound of to succession routines algorithmic using tech play, The in put simultaneity. niques of armature an within conglomerate time and space photography, interactive way. Using particular con it in a single, illuminated Or artifact. be unique by a though single, occupied only may space: moment particular to any possibilities, applies infinite tains same The another? not has release, shutter of instant that “now,” photographic The mind. the of territory the to privy irrational toartifices permeable zone a becomes recording pho tographic objective initial, the where arbitrary, the absolute with The fraternizes reality. of the reproduction desta photographic that the with bilise permutations and accordance juxtapositions unexpected by in deconstructed, are reassembled of is transformed the picture meaning The space probing. observer’s and and time instants disordered, views, fragmentary sucessive the of recomposing by photo the scene: of nature graphed inert the challenge pictures Interactive picture. the of meaning and role content the within immersive active, an play to viewer the allows computer always represented a certain tyranny. tyranny. certain a represented always W hy this moment and and moment this hy - - - - -
individual component images. component individual the within exists which that transcending poetry, and meaning of dimension new a adds that with narrative procedural picture internal, an a construct to one allows Programming fly.” the “on processing image algorithmic dynamic the using user-impelled, for of of procedures capable originality engine, the display utilise a to as is computer work this of objective The what from before. came differ not does picture photographic printed projected or single a objective, final the Nonetheless, genre). col the lage of renewal example, (for possibilities quality, artistic and also but ease brings applications similar by and darkroom Photoshop the of replacement The ignored. is possibilities film, intellectual on conceptual, creative, for previously opportunity done enormous an been has what repli augments simply or photography cates represents digital if imagery But digital moment. and profound a computer the of arrival The Statement Technical - - [email protected] Sydney, NewSouthW Glebe PO Box645 The UniversityofNewSouthW r ea Peter Oldham Stephen Jones Gail Kelly Dr. ChristineNicholls Collaborators ales 2037Australia ales of Sydney at Botany Bay. Named after the French navigator who who navigator immense of French place a is the Pérouse La 1788, after January 26 on Named there landed Bay. Botany at Sydney of shore southern the on site coastal a Pérouse, La is setting inland The own home. her from away attention her directed has a e r maang, In 2007. –Turbulence Triennial Auckland the in shown was maang, triptych, video new Her Company. the Live-I in participate to York City for New to return to her Council allowed which Arts, Australia the the from Fellowship Arts Media New a received the from Col Arts) (Visual of Arts (2000); and Fine a Bachelor Canberra University, National Australian Arts) (Visual MA (2004); University York (CADA), New Applications Digital for Advanced the Centre from Design W Gamilaraay/ the from descendent a is She media, environments. creative and digital images, photography, moving in works who artist new-media a is a e r Statement Artist A three-channelvideowithsoundonDVDtriptych(10min-loop) maang (messagestick) lege of Fine Arts, University of New South South New of University Arts, Fine of lege ales, and now living in Sydney. She has a MSc in Digital Imaging and and Imaging Digital in a MSc has Sydney. in She living now and ales, W orkshops presented by Troika Ranch Contemporary Dance Dance by presented Troika orkshops Contemporary Ranch W ailwan people, born in Coonabarabran, New South South New Coonabarabran, in born people, ailwan W ales (1994). In 2006, she she 2006, (1994). In ales -
not learn to speak our language fluently.” did language our we to speak learn not generation my to languages. through own generation their grandparents’ my spoke From sides parents’ both from grandparents My great of to as a colonization. tongue my result access mother “I lost land, people, r eaobserves: As of culture. and language, regeneration and possi revitalization, the renaissance, about of also bility but colonization, following times and turbulent language, the and land of loss about only not is maang Importantly, languages. and destroying identities is which distorting still Australians, Indigenous on of impact colonization the tumultuous particularly concerns, deeper work’s the into way a to find lyricism poetic its and beauty visual sheer maang’s beneath probe to needs One cities. the to Australia regional from diaspora Indigenous of broader the part comprise of many whom population, Indigenous large a has today even that reserve Aboriginal In Australians. for 1855,Indigenous Lasignificance an became Pérouse INVITED INVITED W OR K
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248 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WORK MONITOR-BASED [email protected] 50825 Cologne,Germany Platenstrasse 24 Johanna Reich INVITED INVITED W OR K
coloured stains surface in conjuction with the sound: while the sound of beating is audible, the coloured stains appear on on appear stains coloured The the layers. audible, is edited woman’sbeating the face. of several sound the using while sound: arranged the is with video conjuction in coloured surface the of stains frame coloured Every appear end. video the in coloured the and let beginning masks the in Different stains monochrome. as and coloured images: of versions two of consists video The Statement Technical style and colors of manipulation perception. viewer’s This the mood. challenges particular a create to style film monochrome old-fashioned an with techni effects modern cal combined I fight. poetic A fight. invisible an of evidence spots, colored acquires image black-and-white Gradually, the change.” the doesn’t wind the saying both learned, I bit by are bit They change, doesn’t wind “The speaking. languages: woman different and in but man thing, a same and camera the toward boxing woman young a shows video My Statement Artist - Video, experimental De Vez EnCuando
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250 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WORK MONITOR-BASED classical Japanese poetic form of 5-7-5 characters including a seasonal word called “ called word seasonal a including characters 5-7-5 of form poetic Japanese classical written form for transmitting sensitive / emotional meaning. It has been expressed in many many cultural of in gap the expressed bridge differences. and been feelings transfer has to medium It common a be meaning. can it so emotional languages, / sensitive transmitting for form written condensed and a sophisticated as recognized been has Japan 17th-century in invented Haiku, language. the with unfamiliar those reach can book dedi of a Japanese databases essence the Therefore, several English. into it and translates then essay generation, an to Haiku cated of corpus the using by Haiku a generates system The hits million 200 approximately registers day! per site The origins. and generations, genres, many ning “1,000 called and Books 1000 Nights,” 1,000 and by introduces span books essay Matsuoka, Seigow Japanese famous a of chapter a from phrases and arbitrary phrase chooses a user A phrase. connects another it case, this In thing. another and thing one connect to means “Hitch” that stories are Haiku world. the in people. stories many shortest the Context, by generate the applauded Haiku, been have a into expressions book imaginative a Such of essence the condenses computing” “cultural of example This Statement Artist Special thankstoProfessorToru Ishida NICT LanguageGrid of BooksProject NICT Toshorium—The NavigativeCity Rohei Nakatsu Newton Fernando Gary JayCoffman Adrian Cheok Kazuya Fujioka Hideto Obara [email protected] Kyoto 606-8501Japan Nihonmatsu-cho, Yoshida, Sakyo-ku Kyoto University Naoko Tosa Tokyo 107-0052Japan 7-6-64, Akasaka,Minato-ku Engineering Laboratory Seigow MatsuokaEditorial
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inputs and the morphemes of the phrase modified, then learns their relativity. their learns then modified, phrase the of morphemes the and inputs user the between relationship the adds system The user. the by modified phrase the to related translation automatic the system. the in phrases new some using record and Haiku Haiku English the modify can they into generated, Haiku Grid,”the like at NICT.not do If users “Language Haiku service, Japanese translates system The K the from user chosen the phrase the from or inputs poem Haiku the of season the presumes and score highest the chooses with system phrase The the inputs. user to related closely most words and phrases the for searches system the databases, the From frame. case and thesaurus, of onomatopoeia, frame case rus, thesaurus, in the system: Haiku of databases types are six There “ called particle propositional noun of special a form adding by haiku a of basic a phrase a detects composes it and Then verb. or phrase each for analysis syntaxic a out carries system The Statement Technical K ireji,” which not only separates a Haiku into three phrases but also encourages imagination. encourages also but phrases three into aHaiku separates only not ireji,” which igo database. igo W e assume that the user inputs are closely closely are inputs user the that e assume K igo thesaurus, idiom thesau idiom thesaurus, igo -
Taiwan NG Cindy Boundary No others and Japan Miki Ogata PASARAN SERAN QUE Effects PAL After 4:3, SP Mac _cam Germany Designer) (Production Schoepe Maria (Director) Lang Christic Dazed So Quio: Japan K Shishido youth naked Shin Nagayama Composer: Japan Togowa K Song Rain K Shishido Composer: Japan Hikaru Yamakawa Magistral La Argentina Bellini Vladimir Jirafa yla Grua La Japan Yuichi Amano KEITAIMU(K-TIME) [email protected] Tokyo 150-0021Japan 1-11-2, Kyobashi,Chuo-ku Society CG-ARTS Japan MediaArtsFestivalSecretariat Office 10th JapanMediaArtsFestival Selected Works from the ei oujirou oujiro
Japan K Mai Yamashita Infinity K Yurikusa Composer: Japan Takuto Usami House Gilardi Francisco Japan K C++ Japan Noriko Inoue ZONE ANIMAL Japan Norihiro Yamamoto D.A.R obayashi Naoto obayashi uroyanagi Teppei uroyanagi imihiko Many of these works use digital composite techniques similar to those used for for used those to similar techniques composite view.of points personal unique, by digital inspired are works the but films, use commercial works these of Many Statement Technical and activity creative work. support creative of we range abroad present which in festival a also is It technologies. expressive latest the utilize that artworks media creative recognizes Festival Arts Media Japan The Statement Artist INVITED INVITED W OR K
MONITOR-BASED WORK MONITOR-BASED
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252 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WORK MONITOR-BASED Lois Welch, Producers Cedar Sherbert,ShermanAlexie, Howard DuyVu, Editor Timo Chen,OriginalScore Joe Dzuban,Re-Recording Mixer Josephy Tsai, SoundEditor RJ Lozada,Director ofPhotography Collaborators 1288 W Cedar Sherbert taken from Mr. from taken and edited using Final Cut Pro. Cut Final camera using edited and AG-DVX100 Panasonic a using “filmed” was short The Statement Technical shot. was Sing) Don’t (I Down Gesture where place the and home grandfather’s my is This México. California, Baja northern of community Indian Huerta La the from estranged me, and of for descendent a both am I as resonance deep of themes are These identity. and ing, 40 Seattle, in House Hugo Richard the Sherman filmmaker James to tribute and weekend-long a of part as Alexie author celebrated by commissioned James Blackfeet/ writer Ventre Gros late the by Guatemala” to Down “Gesture poem the of interpretation personal highly a is Sing) Don’t (I Down Gesture Statement Artist [email protected] USA 90007 California Angeles, Los . It is a stark, beautiful, first-person rumination on place, long place, on rumination first-person beautiful, stark, a is It . est 23rd Street, #7 Street, 23rd est W elch’s sole book of poetry, poetry, of book sole elch’s INVITED INVITED W W OR elch. It was one of seven short films films short seven of one was It elch. K
W ashington. The poem was was poem The ashington. Riding the Earthboy Earthboy the Riding W elch held at at held elch - A shortfilmscreenedonaloop Gesture Down(IDon’t Sing) [email protected] Cambridge, Massachusetts02138USA 407 ConantHall 36 Oxford Street Harvard University J.P. Sniadecki Songhua Lab. The final audio design was digitally mastered on Soundtrack Pro. Soundtrack on mastered digitally was design audio final The Lab. Anthropology Media Harvard the in system editing Pro Cut Final a on edited and camera video digital HD-P2 a Panasonic with video digital standard on recorded were sounds and images All Statement Technical environment. fragile yet apopular of space social the within unfold they as activities labor and leisure and presents work sound digital this cacophony, ambient of layers and participants, film of vignettes intimate long space, through public of Overall, takes research. ethnographic of form a as serve can sound and possibil image the that ity addresses also Songhua art, contemporary and anthropology between interface the engaging Through source. water main their and Harbin of people the between relationship complex the explores and sociality ephemeral of sphere in urban an River as China, Songhua Harbin, of the of city the banks sandy and promenade busy the depicts video non-fiction This Statement Artist - invited w or
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254 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WORK MONITOR-BASED Matt Peterson Joriz DeGuzman Emily Moxley Anne-Marie Hansen Jonathan Ventura Karl Grossner Alexander Villacorta Collaborators [email protected] 93117USA Goleta, California Place,#66 41 Dearborn SantaBarbara University ofCalifornia, Alex Villacorta present the general public with an immersive an with public general the present to is objective main The them. disseminating organizations the of locations the and reports of volumes on groups based stories, news language on place and regions, geographic countries, and different importance compares, the visualizes measures, project perspective, SOI in the difference this illuminate To one from another. significantly differ often people of How them. ever, to the that totopics one are class important important are that issues on reporting relevant and present to outlets news on time rely world the in of parts all from People space. continuously consumed and produced is which information, of class vital a is events, current describing images and tives of in the News, form news. narra world online of distribution and content the exhibit visualizes that information and art digital an is interactive project (SOI) Influence of Spheres The Statement Artist
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gation by means of users’ movement in the the space). exhibit in movement users’ of means by gation news (navi web installation interactive the of and reporting content the addressing in art and psychology, engineering, computer and electrical science, computer geography, tics, statis of fields the from researchers student seven of interests the reflect goals Our flow. information global of source data as valuable a maintained and captured are the installation of operation ongoing data this news from the obtained Finally, cultures. different to important topics the of a understanding gain better may they news, global of distribution the with interact spatially and visually can view ers when but view, of points ethnocentric in rooted often are sources media Traditional reports. the of properties spatial, semantic and temporal, global the of within coverage exploration news for allows that space Spheres ofInfluence - - - them. Because the system is modal, the the and modal, processed be is to needs that system information the Because them. between connections indicate that elements tions of the and graphic stories adds animated database, GIS the system loca maps the and source subject the of features enabled tially the spa Using the from internet. news reports cluster and collect data that scripts with automated by filled is database PostgresSQL A and quantity its content. both to as changes well as temporal reporting, of magnitude and tion distribu the including paths, possible several exploring and interest global of stories news into stepping literally space, the in moving by navigate Users code. of lines 6,000 over ing total OpenCV and OpenGL, Python, C++, in user movement. The system was implemented tracking cameras four with overhead monitors LCD widescreen side-by-side four of consists The physical layout of the SOI space installation Statement Technical - - - -
user experience. user seamless a create to installation the of tems subsys various the coordinating efficiently is of implementation this challenge The of users. on depends displayed the and position actions - ELECTRONIC ART & ANIMATION CATALOG ART GALLERY 255 Art Gallery: Global Eyes Global Gallery: Art Wall-Based Work Wall-Based •
256 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WALL-BASED WORK Painter, where I added hand work, colors, shadows, etc. shadows, to colors, work, image hand Iadded the Painter, where exported complete, and image was one into process channels the that grouped I When saturation. and hue, rotating, each on transforms, levels, textures, contrast, with filters, worked individually I channel Photoshop. Adobe with created was work This Statement Technical it. ignore others grow,it and make us of some but us, of all inside is art of sense The everything. by inspired is and world the sees artist good a how It’sabout fame. or money It’s about not exhibitions. and contests art several in work my showed also I time, that 2001),During (BA printmaking. in Alexandria specialized I and in arts fine of faculty the at printmaking and graphics, sculpture, painting, drawing, studied I Egypt. and Japan, Republic, in awards the Czech drawing and in Cairo Institute Goethe the by organized competition drawing a won 14,I was I When old. years nine about was I when life, in early artworks creating began I Statement Artist [email protected] Alexandria 21411Egypt 281 MostafaKamelStreet, Ghabrial Mostafa Barakate in v ited
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41 inchesx30 Computer graphicsonpaper Revolution side edges of these wood extensions in acrylic to match the flowers. the to match acrylic in extensions wood these of edges side I frame. wood downonto flowers canvas them.Finally, the then Iglued extended the basic painted the to attached were These edges. frame the of depth and flowers of the toshape the cut pieces wood I made these underneath so support, needed and edges shaped basic the of limits the beyond extended flowers second-layer these of layer. However,some first and the onto them groups, glued in or singly either out these cut flowers, top the of print canvas second a printed then I frame. wood shaped built specially a on it stretched and on canvas layer as a bottom image a giclée by work printing this I started Rhodadalia. afictitious to create together flowers two merge to Photoshop used also have I piece, this In layers. other below or above achievable either space into float seem often that not layers numerous ating is that light of cre image, an to assemble quality Photoshop Iuse processes. photo other special through a has image scanned a that detail finer found also have I image. achieve can camera a from I working to a opposed as on that scanning by found scanned have I initially are because piece scanner still flat-bed a in large use I objects organic the of Most Statement Technical experience. visual three-dimensional astronger is result The attention. more even attract to shape geometric the outside push objects floral Finally, itself. to of the as a It work an emphasis draws object character picture. rectangular expected and common more the beyond goes which one unique, is that line an out present also works of my current canvases shaped geometrically The repetition. without a presentation assume individual to completely ability their and textures, and colors, shapes, organic exciting their are most attention my grabs evolv what But ever forms. powerful yet changing, simple in ing, ever are They cycles. us life show of Flowers essence the intentional. clearly also most is images my in objects floral of use The and layers. these of intermingling dynamics the represents culture, work My human psyche. of human the layers of layers stratification, and earth of layers levels: several on ate oper that metaphors are these me, For images. in layers with intrigued am I Statement Artist [email protected] Ithaca, NewYork 14850USA 203 PineTree Road University Cornell Stan Bowman - - - - Giclée inkjetprintsoncanvas,stretchedawoodframe,withprotrudingpiecesattached 45 inchesx1.5 RHODADALIA
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258 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WALL-BASED WORK [email protected] 10000 Zagreb, Croatia Kennedyjev trg6 University ofZagreb Faculty ofBusinessandEconomics Vlatko Ceric
Another type of algorithmic transformation randomly repositions whole squares of pixels to different positions. to different pixels of squares whole repositions randomly transformation algorithmic of type Another a square). inside line vertical or horizontal whole the by in it repeating and a example, square in of pixels group (for vertical or a horizontal in techniques different via pixel a single or by choosing of square square, the center the through passing each axes or horizontal inside to vertical related pixels pixels mirroring manipulates transformation algorithmic of type One the of part corresponding a from pixels photograph. of matrix a by represented each squares, equal of matrix a into divided then was of area the entire photograph The pixels. into of individual a photograph on separation based all were used, mic techniques of of algorith a photograph a single manipulation face. human Different group of This was algorithmic using images created Statement Technical photo. manipulation original the with after to do nothing arise have that images new that believe to us for difficult it makes photo original the from palette color same a from transition a make can one that of However,viewface.of the thevery human theabstract presence fact toin a thephotograph completely the expression figurative mentioning: worth is manipulation image algorithmic of aspect more One familiar. so something in new completely something can we are faces, discovering we are that human image we understand however,in then even the manipulations; variations form algorithmic minor these that about even uneasy to feel pixels sometimes same sensitive are very we the Since ways. that fact unexpected in the to regrouped due or way, new transformed a in face the see to facial one human of technolo enables manipulation digital elements both Algorithmic to elements. due image with possible, dealing to before approach never was algorithmic the of that way ability a the and in gies viewed be can face human the era, digital the In faces. own their of views various shows that mirror acurious of front in standing face. of a human of a photograph groups pixel or pixels of individual by created manipulation digital transformations algorithmic various through obtained face, human the of view fresh a represent images These Statement Artist V iewers can imagine that they are are they that imagine can iewers - -
Digital printonpaper 18 x131 Algorithmic mirror
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260 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WALL-BASED WORK obvious and not-so-obvious ways. not-so-obvious and obvious in technology with engaged and science-informed is that art into aspects both tointegrate tool a as robots small focused, to very simple, tool use I today. lives our similar a and are a we who involve Using reflects art make and programming. and make-up controllers, their of electronics, part mechanics, as of combination computers small-to-large on depend devices Smart email? engines, search internet computer, notebook phone, cell devices: following the of more or one by changed not is life Whose well. as lives personal our in a have role devices Smart lives. work our to affecting is Technology limited no with 2.technology. longer engaged Most of us personally have become foolish. eternally certainly are but fashionable, con temporarily be the may science think of are I distrust and science. disrespect life through temporary knowledge 21st-century of refinement of and aspects discoveries continuing Two The 1. lives. common our reflects that inescapable: art make to wish I them brings that variation. behavior to natural closer random truly of capable also are They coordination. hand-eye with the torobots can than stay we instance, things much closer of growing the can lines actual living For alone. make cannot humans that marks make can that brush a super a as as – robots painting these for tool use I made. already has it marks the and canvas the of surface the see can that on and tosensors board have robots The a make computer marks. brushes small use paint and canvas the around walk to enough small are that robots mobile autonomous make I twist, a Walk.”for a a 21st-century ToLine “Taking idea this titled he give text a wrote short Klee Paul Statement Artist [email protected] Scottsdale, Arizona85251USA 8055 EastThomasRoad,G204 Max Chandler
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the line produced will have bumps, blotches, wiggles, etc., due to the disturbances. etc., to the due wiggles, blotches, bumps, have will produced line the math, the to robot’s true path the remains Although underlying behaviors variations. tonature-like normal produce their of disturbances randomized overriding have robots The shifting. phase with waves sine and arcs, fragments, spiral for formulas from lines generating and description, from avector stored filling and outlining shape detect, they shapes following and the canvas ing by observ following shape including behaviors, of painting of a number capable are robots The same. the remains programming core the but robot, individual each for change parameters one configuration by and Drivers made be programming. same the can has robot each paintings robots, more or the Although programming architecture. sophisticated subsumption very behavior-based use but and electronics and mechanics simple have robots The shapes. organic and rectangular of fills flat including robots, by the made was canvas the on brushstroke Every techniques. painting and brushes of paint “vocabulary” a use and large artist the for collaborator or tool a as work robots The variations. generated randomly and fragments spiral logarithmic that Java incorporate programs uses behavior-based art robot-generated This Statement Technical -
Robot-generated art, acrylic oncanvas Robot-generated art,acrylic 48 inchesx841.5 Silent Dancing
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262 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WALL-BASED WORK Vilnius, Lithuania Geola EUFacility Stanislovas Zacharovas and theTeam New DawnDesign Angus Blackburn IN3D Ltd Steven Smith Imladris Australia David Smith Graham Olsen Collaborators [email protected] Sydney, NewSouthWales 2026Australia Paddington 2021 P.O. Box259 University ofNewSouthWales Paula Dawson
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by Richard Jefferies. by Richard highly a lends toin The similar Dawn that described of sense darkness charged communication and holographic light my of animation Though static, are person. characters another holographic, of “real” presence the with autonomous synonymous now holo is of characters transparency graphic luminous of language visual the the in industry, film artists CG and special-effects talented direc and writers, imaginative to script tors, thanks that me look to to seems It designed are holograms! They real like people. real like look to intended hologram not my in are figures the Consequently, people. to real talk who influence angels and and ghosts as such light, by surrounded or from, made of and stories people legends of means depicting artistic ancient some and characters holographic represented have films fiction ence of the way elements sci In together I’mthis work, in bringing interested people. (virtual) holographic and real between For many I dialogue years toward have enabling working been Statement Artist Reflection hologram 44.5 inchesx66.25 Luminous Presence - - - Discovery funding scheme (project number DP0452144). number (project scheme funding Discovery Council’s Research Australian the under supported was research This plastic. was to black laminated and photofilm dried, The processed, chemically beams. laser pulsed RGB six with exposed were micro-holograms of hundreds sequence, animation this From dered. ren were frames Finally, 2,057 field. light dynamic a with figures static the surrounding space of the volume virtual towere tion used articulate to data scan size of andgive of orienta the the varying effects lined the Particles figures. to applied were shaders Procedural drawings. own my and mosaics gilded historic of images reference using Photoshop in textured then Borromini, from references architectural using Maya in modeled was scene The drawing. pastel and tessera aluminium 6-foot of an 18-foot x photographs and Hamilton) Lexie and Dawson (Georgie (Konica scans laser Minolta sources, real two from data incorporated scene CG The look. lens filmic a creative a mimic to scale in adjusted NOT individually were is scene render the in figures the of final each problem, the this around Towork choice. for used camera the eyes. Therefore, viewer’s the of which positions the from mimic must camera recorded is virtual scene the data, CG from hologram a create To Statement Technical V ivid 9i/ Raindrop Geomagic Studio software) of ivid Studio software) 9i/ Geomagic Raindrop human models
- - were printed on an Epson 9800 printer and stretched on specifically designed stretchers. designed specifically on stretched and printer 9800 Epson an on printed were Painter. Corel and Adobe Illustrator Photoshop, Adobe with footage video and photographic sampled and shot of mixture a with created were Images Statement Technical re-written. and written endearing, and troubling enduring, and fleeting around all and and re-remembered, minds is what our and of memory, remembered we what history call the act within works stability to us. These question deconstructed and constructed is images arbitrary and meaningful of array day,an Each to ability our actual. is what of depicts notion our with world the and re-rememberances of ourselves re-present landscape overall The replayed. and played memory of essence the is image to set the what has erase The within taken video and place. fixed our inability time, obstacles, represent and effects artifacts Digital and photographs. footage and personal of is in historical piece a each combination manipulated material The original a within re-emerges and recedes environment. rediscovery and media-saturated erasure partial whose perspectives personal and a memory, historical mixed of represent to merging video and imagery of layering a presents canvas each exploration, palimp this the for Using model a memory. as sest subjective and history recorded of exploration visual a is palimpsests digital Re-remembered, Statement Artist [email protected] Denver, Colorado80210USA 2060 SouthFranklin University ofColoradoatDenver Brian DeLevie V ideo footage was manipulated with Adobe After Effects and Apple Final Cut Pro. Final comps comps Pro. Cut Final Final Apple and Effects After Adobe with was manipulated footage ideo Giclée oncanvas,video,LCDmonitor 17 inchesx722.5 Re-remembered, digitalpalimpsests -
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264 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WALL-BASED WORK waiting to be sonified. to be waiting trace, the is left is What discarded. is mation ani The music. visual as The dimension. composed is score time the through animation abstract an slicing by created was image The Statement Technical eyes. your with listen silently can you or formance) per human a catalyze or synthesizer a drive can that numbers of (patterns image digital a is It ways. of variety a in be sonically can interpreted It bottom. to top and right to left ing read systems, in musical two score a graphic as developed is piece The heard. than seen rather is The development coda. and variation and thematic recapitulation, retransition, piece This sections. development, exposition, sections: five several shows has sonata A aperformer. of search in eyes, the for music is It form. allegro sonata classic a of rendition visual a score, musical graphic a is piece This Statement Artist [email protected] Tuscaloosa, Alabama35487USA 103 GarlandHall,Box870270 Art Department University ofAlabama Brian Evans
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266 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WALL-BASED WORK act as a “palimpsest” that can tell the story of aplace? of story the tell can that a“palimpsest” as act photography multi-layered Can soul? its therefore and place, particular a in life about clues, more insight, more us give time through accumulation visual Can indirectly? spirit and the capture beyond see to us allow “reality” of photography multiple will Can they conditions. light since different with place, differently place the same render that of appearance the drastically change may conditions place. seasonal and particular a climatic of various But condition single one capture only can it.” you for process, documentation photographic search traditional the With to willing are few latter where the while depth, seen, the easily in for is the and lies for surface truth, the find on to lies than mer error perceive to easier is “It Statement Artist [email protected] 34956 Istanbul,Turkey Orhanli, Tuzla Sabanci Üniversitesi,FASS Murat Germen
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268 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WALL-BASED WORK [email protected] Amherst, Massachusetts01002USA 26 MountPleasant University ofMassachusetts Copper FrancesGiloth
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2 Ibid. 1977), xi–xii. Mouton Hague: the (Paris, Nivernais en siècle XIXe au quotidien du histoire Thuillier, to Guy preface Leuilliot, 1 Paul image. composite the to build used is Command Sheet Contact Photoshop Adobe the stage, production final the In itself. is by mediated the images the final technology sends making of process or The images. related comments other back sends who else to someone sent immediately are that images cell-phone as start images the of Many gies. technolo digital with experience daily our of They are camera. digital the about intersection a with captured pictures as begins works My Statement Technical Pour une une Pour
- [email protected] Olympia, Washington 98502USA 2700 Evergreen ParkwayNW The Evergreen StateCollege Matt Hamon referential qualities of drawing. The unfolding unfolding The drawing. of qualities referential that the nebulous with in photography are inherent verisimilitude of qualities the combine I world. visual the of perceptions that belief allows me to ready-made transcend imag of a suspension creates manipulation ery. The photographic of perception indexical the with play to intended is photographs the of manipulation physical This negative. the ing tear and toning, sometimes scratching casual chemicals, with it altering would, painter a as paper as if it were a canvas, the creating image I the treat photographic In able. the darkroom, indefin and incomplete itself, in appears, that reality a represent to attempt an in rectangle strict a using avoid However, I space. defined that outside happens that all isolate and angle rect the fill to attempt you when narrative on has photography effect the in interested am I Statement Artist 16 inchesx202 Mixed mediaonuniquegelatinsilverprint Dog Years - - - -
rarely resemble my initial intent. I have learned I intent. have learned my initial resemble rarely the to that images reveal themselves ultimately me darkroom, the In error. and trial Often through them negative. pursue I the accidental. purely is printing result the am I as continues images even the of pursuit This rative. nar evolving the and images these of pursuit the revealing represents darkroom the in time My is narrative. process the extent, a To places. certain in-between the in is magic the me, For banal. viscerally and tranquil, otically cha specific, ambiguously is to that work make attempt I viewer. the for intrigue of sense the reinforce will hope I that fiction, and reality what and is what one imagined between sees, between hovering ambiguity the is It viewer. the by invented are that fiction of qualities ble mallea the in interested am I than representation. rather insinuation on based is narrative - - -
juxtapose. juxtapose. or meld to attempt I that drawing, in inherent generalities the and photography, of militude verisi inherent the is It photographed. house the of qualities specific the represents house a of photograph a whereas sense, in general a “house,” concept of the drawing represents a house a is, That quality. iconographic general a having as elements drawn the see I to respond surfaces. I pho their painting and the drawing by them finished, After are prints narrative. tographic the process revealing pho the is is extent, images certain a these To tography. for foundation The Statement Technical meta-narrative. of asort creating thus story, the into that weave subsequently and me to reveal images the what accept to I n v ited W ork WALL-BASED WORK
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270 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WALL-BASED WORK [email protected] Wareham, DorsetBH204ENUnitedKingdom Northmoor Park 6 Sherford Drive University Bournemouth Peter Hardie
Creating lighting to simulate the dappled light reaching the water surface. water the reaching light dappled the to simulate lighting Creating surface. water falling the to simulate particles the on blur motion Using flow. water the to control used were obstacles hidden of Anumber forces. natural and obstacles Creating versatility. and efficiency both for used was shader 2D particle basic The function. noise Perlin the of made was use noise). and shadowing, shade, mass, size, Particular (colour, transparency, characteristics its and type particle the Creating speed). and (rate, spread, settings its and emitter particle the Creating entails: the of workflow The XSI. making the in Softimage was used tool sequence primary directly The system. not are particle a models using simulated These is flows. waterfall water The colour. the in black which being over visible, structure rock underlying the of models of consists scene The Statement Technical to make. beginning are images the statements abstract strong the and variations, textural the white, and black the line, cal of the verti the image, the structure of to the falls developing studies reactive the initial from is evolving of images series This scene. the of dark and light the and pattern and movement water of the interaction onis the focus The structure. underlying the defines waterfall the because image, the in negated been has and water the with compared influence a secondary was trees and of rock environment changeable. The and weak is water the reaching light of play water. the The within colours strong any of lack the reflecting monochrome, primarily is image The structure. rock underlying the by defined passage the and water,water’s of shape, the patterns intertwining and movement the trees: and rock of environment dark a within enclosed evoked by white water The intent is towork tofast-moving is This the on sensations based a reaction waterfalls. realise visual Statement Artist -
Inkjet printonaluminium 40 inchesx33 falling water
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272 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WALL-BASED WORK Photoshop and merged with oil pastel and and pastel watercolour. oil with merged and Photoshop in coloured then scanned, was pen. drawing ball-point The a with drawn was work This Statement Technical book Imaging 2007. in Color published Epson is the work in his and included received, well was Tokyo 2006 and in Osaka in exhibition personal His Osaka. in student ninth-grade a is artist The class. history in event major this ing of my exhibition work. an At the time, I for was study Japan, in arrived Perry Admiral where Yokohama, in was I when picture this drew I Statement Artist http://www1.odn.ne.jp/~haya4hello [email protected] Osaka, Japan Shunsaku Hayashi
I n v ited W ork - 118 inchesx661.5 Perry’s Photoshop and merged with oil pastel and and pastel oil watercolour. with merged and in Photoshop coloured then scanned, pen. was drawing ball-point The a with drawn was work This Statement Technical fecture. the is Pre Do-Bu-Ro-Ku, Akita in sake unrefined local, of the name work, the of title The peninsula. Oga the on castle old an drew I as imagined I traditional which Namahage, are called folkways there Japan, northeastern In Statement Artist -
118 inchesx821.5 Do-Bu-Ro-Ku
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274 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WALL-BASED WORK [email protected] USA 1111 EighthStreet, SanFrancisco,CA94107-2247 5212 Broadway, Oakland,CA94618 CollegeoftheArts California Taraneh Hemami
the U.S. the in living descent Eastern Middle images of people distorted of to rise given have that xenopho bia and Islamophobia the and challenges people of group entire misrepre an of sentations stereotypical addresses Wanted Most foundation, this from off Taking century. 21st the in Enemy” “New the of image the ize character and it know we as terrorism define sense that traits these physical an overbearing is there information, visual Even minimal such with coverings. head wearing women facial hair, dark with men people skin, of darkish - majority pictured the on seen be can tics characteris general image, the of pixelation extreme the of because out made be cannot features individual up. Although the neck from pictured was suspect Each terrorists. national inter Wanted” “Most the of 70 over pictured that government US the by produced image across a online blurry, low-resolution comically came I 9/11attacks, the after months few A and image identity. between relationship the dering pon while created are people of perceptions stereotypical which in ways the contemplate government States United the by identified as terrorists most-wanted the of portrayals less the of of of a face new series enemy. Interpretations image the of construction examining while representation and recognition, ception, per of nature the investigates Wanted Most statement Artist ------are not our own. our not are that cultures of misunderstanding and typing to into stereo fall easy potential our questions project The anyone. images be could who abstracted people of these to bring or implicitly unconsciously viewing may U.S., a the in as audience we, that assumptions lenges chal and context of question the forth Wanted brings Most martyrs. considered those shrines for as well as Iran in bazaar any at avail able stories and symbols, about figures, and religious of memorabilia iconic produced and and rosaries mass- wall-hangings beaded common referencing contexts, different very into faces abstracted same these placing by generalize to tendency the I disrupt to attempt heritage, cultural Iranian my upon Drawing and conflating nations? with people we equating Are the lies. where actually of danger question the forth brings and unrecognizable completely them makes The tion people. informa facial concrete of reduction unknown absolute visual of simply are representations faces abstract blurry the background, cultural even or gender, without names, Yet, terrorism. global the of and enemy proponents the of faces the – brought justice and to apprehended be to need who individuals as positioned are coverings head and beards, skin, darkish with faces the list, terrorist Wanted” “Most government U.S. of the context specific the In seen. be can traits por in which contexts differing the and widely portraiture of idea the explores Wanted Most - - - - - help of many in May 2007. May in many of help the with gallery the in assembled and Foundation, Francisco San the by part in funded Arts, the for Intersection by commissioned was Wanted Most image. already-degraded the of version and further-abstracted a in resulting beaded curtain, large the create to individually together restrung were heads The a image. in pixel the representing each original beads, plastic faceted 6-millimeter, over 850,000 beading for follow color-coded, to pattern and a creating graphed was image 2001. 11, The September after immediately site down I poster web government States United a from loaded low-resolution a of exact replica an is curtain beaded handcrafted The Statement Technical
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9 feetx7 Hand-crafted beadedcurtain Most Wanted Shadi Yousefian Photo
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276 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WALL-BASED WORK [email protected] Cambridge, Massachusetts02139USA 20 AmesStreet, E15-468a MIT MediaLaboratory Guy Hoffman
ing a natural-seeming, yet physically impossible representation of the the subject. of representation retain impossible while physically yet elements, natural-seeming, static a ing and dynamic both of simultaneous for depiction provide faithful that photographs time-as-space results This unique scene. in changing the of scene’s study seamless the a create of to tools centrality the artist the by giving photography, restore time-as-space of realm to the subject to attempts Bracketing Time artwork. the of stagefront conceptual the at is subject, the not and In either case, the whether it’s or manipulation, distortion fragmentation, the of areas unchanging image. seemingly in choice result often necessary subject the static and a of space, to time from mapping procedural study, time, exposure the long Additionally, of illegible. elements resolution dynamic rendering spatial and temporal the subjects, by static commanded on as focus usually studies time-as-space term Longer elements. of scene moving distortion to an leading intentional subjects, static with dynamic contrast by usually employed photography, slit-scan those as traditional such mappings, Short-span space. and between are time mapping strict a applications follow they these as insofar of nature, in most procedural However, media. in time of the passing represent to employed been have techniques various past, the In custom using process. this for created specifically were written software images authoring The studies. these in shown as photography, architectural consider to way new a as intended also is Bracketing manipulation. Time time-as-space digital in technique over subject of role central the of restoration is motivations artistic main of its One fragmentation. visual or distortion spatial without image single in a or object space a time-varying depict to photographically intended technique compositing is time-as-space an Bracketing Time interactive Statement Artist -
ten in Objective-C using Apple Computer’s Core Image Frameworks. Image Core Computer’s Apple using Objective-C in ten writ software authoring new a with possible made is Bracketing Time subject’s the in geometry. own transition the disguising object, particular the to ping map the adapt can artist can the slice, each of photograph orientation the varying By the transition, spatial slices. image and color-distinct distinct temporally combine seamlessly the extending manually By area. spatial short a over time period time same long a span to the slices at small using while composition, the into elements dynamic incorpo to rate choose can artist the segments, large arbitrarily using By hand. at illumination and subject on the based to decision the left artist’s instead but are not procedural, the images between of transition direction and the length and of slices, orientation and size the of images, choice and number the Importantly, using by slices image superimposition. neighboring cross-dissolving to transitioned gradually is slice image each Inaddition, photograph. of final the slice trapezoid-shaped oriented arbitrarily and sized arbitrarily an covers image Each image. single a into point vantage similar or same the from taken subject a of images of set a combining by time-as-space studies Bracketing Time Statement Technical - - -
18 inchesx321.25 Time BracketingStudy:StataLatin
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278 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WALL-BASED WORK [email protected] Fujisawa 252-8520,Japan 5322 Endoh Masa Inakage
romantic evening. romantic a as expressed is emotion Romantic environment. a chaotic and somewhat swirls as expressed is emotion Troubled river. and forest quiet as is expressed emotion Calm states. emotional internal depicts series This material. crystal-quality its preserv and shading while three-dimensional the ing expression abstract produce to deformed recursively are models Three-dimensional expression. abstract and photo-realism of integration an realism: abstract of expression pursuing been have I Statement Artist 32 inchesx23 Flow - the inter-relationship between the objects. The images used for for used images quality. metallic The the create to tracing ray objects. by rendered are maps the reflection and textures between recursively inter-relationship by the show models to space 3D in 3D placed are models deforming These bending. and by twisting produced are works The Statement Technical
areas and depend on agriculture and related related and agriculture on depend and areas that finds rural in live people countries, 75%poorest world’s the of developing in poverty rural eradicating to the dedicated of Nations United agency specialized a (IFAD), opment Devel Agricultural for Fund International The munication. in com labor, challenges and to technology, of access issues addresses It neglect. this labour to the in not ones.” ing but bodies, coupling in body, erotic interest the a keen is There one. famished the not is it but immensely topic, an is fashionable body the culture, of dents stu “among that recognizes Eagleton Terry Statement Artist [email protected] Pittsburgh, Pennsylvania15237USA 14 SwanDrive MellonUniversity Carnegie Andrew Johnson akr Hce, Herald Hacker, Hawker, responds responds - - - -
Edwin Church, gives pictorial voice to the the to voice pictorial gives Frederic like Church, and Edwin sublime, American the landscapes of 19th-century dramatic of reality Herald Hacker, Hawker, economy. globalized increasingly an in workers of aspirations the and needs realities and practical these between gaps the on Herald Hacker, Hawker, men. by used be to are designed they always almost because especially inefficient, and few too often are tools Available productivity. to tools save time and and agricultural energy increase suitable need children, especially and workers, women agricultural that looked over often is It livelihoods. their for activities Three digitalcollages Hawker, Hacker, Herald is a visual meditation meditation visual a is aspires to the hyper- the to aspires -
gers of vengeance shall hew the horizon. the hew shall vengeance of gers harbin the producers, food real among rates mortality increase and on debt odious force that creation” “wealth of systems destabilizes duction than they earn. Until computer hacking pro for industrial more inputs on spend costly farmers tilling, their of futility Sisyphean the In economy. negative a become has production food that fact the in irony the acknowledges It era. our of issues cultural and social, political, - - layers in Photoshop. in layers of in hundreds manipulated digitally then were images These images. and experiences matic and clay, wings, eagle plastic pebbles, cauliflower, from constructed textures and Miniature surfaces and processes. lifes, still shoebox vivants, and tableaux dioramas, low- methods through tech created projections. was video imagery Source animation of consisting progress in from installation an for produced material source were collages digital These Statement Technical V sln wr fsind o rae cine create to fashioned were aseline WALL-BASED WORK
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280 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WALL-BASED WORK are silently relegated to small or no print. no or to small relegated silently are details and toll whose casualties, military US Middle the from pain the physical direct by creating in East, occurring violence and death to the presence physical and real to give aims project This brides. runaway and abductions child as such stories, spectacular and sonal per more by overshadowed often attention, little very given is atrocities these of coverage media the Overall, monitored. and reported is devices), explosive (improvised IEDs of the result are which of many casualties, US of ber num The unreported. times many and vague suffered The toll casualties. enormous on lives has is civilian Iraq in war US-led current The Statement Artist [email protected] State College,Pennsylvania16803USA 211 EasterlyParkway Pennsylvania StateUniversity Matthew Kenyon
- - war that is raging far away. far raging is that war Iraq the in died just has someone that reality to the attention immediate and blood drawing arm, wearer’s the sole into needle a electric drive to an noid triggers and then death, and of location cause rank, name, soldier’s each displays LCD The readout IED armband. on the to installed hardware custom wirelessly sent and extracted are data the detected, are deaths new When soldiers. US slain of details personal (icasualties.org) and continu accumulation site the updates web that application a monitors software ously custom A Telepresence, performance,wearabletechnology, datamining/datavisualization 22 inchesx1610 Improvised EmpatheticDevice - - alphanumeric pager. alphanumeric repurposed a to wirelessly sent then is sage name, mes This for location. and death, of fields cause age, specific into data casualty the new inserts and application an email open to scripts automated casualties. uses stage US second The new of details personal and number exact the determine to order in casualty data compares and reads program tom to a compile of database A US cus casualties. The firststage uses software PHP data-mining continually are server. stages adedicated on executed message These automated generation. and acquisition real-time of data consists mining data IED’s The Statement Technical - -
mately 1/8 of an inch into the user’s arm. user’s the into 1/8 inch an of mately approxi penetrates solenoid the of tip the at located needle sterile A solenoid. the triggers it then and LCDdisplay an via data, data the displays casualty new receives armband When the centers. population major with dance in are accor map placed of Iraq. Components by a circuit board on custom-built modeled the driven solenoid 12-volt a uses stage first The armband. IED data. the within entirely executed casualty are stages These of archiving automated and needle sterile a with armed solenoid a of tion The of IED’sconsists activa data actualization - - - was used to make additions, deletions, and subtle scale changes. Many Many changes. scale subtle image. an of making the in and used was negative one than more times, deletions, additions, make to used was Photoshop and resolution, high a at scanned medium-format were a Transparencies with camera. photographed and room the in staged were People paint. water-soluble in large writ then and methods, collage traditional and scans digital using manipulated and arranged meticulously and or drawn painted, collected, were walls studio the fill that images and texts toys.”The and frightening tales, fairy of strips, comic dolls’ mélange an houses, uncanny Shangri-La: of detritus the with references contemporary and historic merge “that images with painted was room concrete a years, two of span the Over Statement Technical Ilive. where Columbia, British of coast west the of toenvironment the urban are particular characters The to the environment. to respond them allowed collaboratively and room, the in neighbors, acquaintances and friends, staged I piece, this Photoshop. For condition. in human contemporary editing the of by ferocity and fragility the followed explore subtly that “types” staging personality create I elaborate combines work My psyche. human the on put been have strains new where age, digital new this in away, far particularly never is lence vio unpredictable where live, we which in world the of unease the to related directly is room the in unease of sense The other. each against jostle ences refer contemporary and humour. Historic ironic and playfulness, control, and and resistance and timidity, sexual aggression anxiety exuberance, ambiguity, and violence suppressed of transgression, of world a of warnings elements, dark with are covered in room a walls small concrete work, In my recent most Statement Artist [email protected] V #408-611 AlexanderStreet University CollegeoftheFraserV Davida Kidd ancouver, BritishColumbiaV6A1E1Canada alley
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Lightjet digitalprintonphotographicpaper 20 inchesx291inch The Weight ofReason(After Goya) Lightjet digitalprintonphotographicpaper 20 inchesx291inch Guns andKolbasa
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282 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WALL-BASED WORK The finished image was printed by an Epson PX-9000. Epson an by printed was image finished The Photoshop. Adobe with color-tuned and Effects Adobe After with processed was photograph The circle. a in image the output then camera, a with a image digital I square captured Statement Technical to want I expression. photographic of technology, possibility the widen digital and technique imaging new this Using original. an a on based With world surreal a scene. created I computer, everyday ordinary an is photograph original An Statement Artist [email protected] http://www.k-kobayashi.info Tohoku UniversityofArtandDesign Kazuhiko Kobayashi
44 inchesx4 scan Gate
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284 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WALL-BASED WORK [email protected] New York, NewYork 10010USA 310 East23rd Street, #10A Viktor Koen
traditional media outlets in all of their shapes and forms. and shapes their of all in criticize outlets media also traditional They politics. and technology, issues, environmental on “testify” They past. our as bleak as sometimes seems that present the also but species a as past traumatic our contemplate and review They incourt. submitted like exhibits just them, objectifies also but objective The have makes fact them that no the only numbers, names, witnesses of distant. how matter no effects elsewhere, happens what personal immediate the show to attempt an in witness the It and also deforms and brands perception. reality a between separator or his acts as of the limit length entire serves veil the covering images The digital vision. that rarely spots blind has but unfortunately see can but that cyclops all the like it reacts, the sees eye confronting one issues Their the “witness.” reflects darkness graphic Their their quality. for chosen symbolic photographs combines series Witness The ago. years few a easily just so unknown were that can we responsibilities When assume we find, burden. and search heavy a also but benefits of with slew comes a ability in new-found events This before. future ever than and arena past, broader a current, more witness to us allowed also not but facts, has present or This opinions that. express to us of just one each do allowed to only audience wide a with communicate to unable previously were who the world around from individuals and size digital of any of organizations independent allowed proliferation has proliferation media. rapid This the to due develop they as responsibility personal and civil of issues addressing 12 of prints series a is Witness Statement Artist
the process toward expressive and experimental directions. experimental and expressive toward process the pushes platform one on not) or (digital sources different to combine ity abil The of making. image any aspect and adjust change to constantly freedom the is digitally the working of for advantage main textures The and compositions. objects of photography capture easy allows it Digital because invaluable asset images. an be to proven has of believable, E-500) Olympus creation eight-megapixel (an the momentarily to yet essential incorpo are surreal, and that results materials photographic transparent-layered rates for allows computer The process). the of three- point any at used is software 3D (no enhance and dimensionality outdoors) and indoors conditions, light different equally under photographed were parts different the (since lighting the their retaining is others Most done from shadowing scratch in colors. toorder original and control artificially colored some files, multi-layered the on utilized are effects and filters software of set visu basic the Only als. seamless into sources new and old manipulate and connect to used 6.0 is Photoshop Adobe objects. and parts matching and mixing of hours or loose compositions and follows concepts determine images that the studies pencil creating of process on-screen digital, The Statement Technical - - -
Digital printonpaper 13 inchesx19 Witness No.02andNo.04
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286 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WALL-BASED WORK [email protected] Philadelphia, Pennsylvania19426USA 120 HopwoodRoad Sally GrizzellLarson
depending on which ideological filter we use we filter ideological which on beauty, depending raw or power inherent its of ception up to by measures rarely our the con camera, recorded and observed as world, natural The culture. any in the of spaces contested of one most the nature landscape, to sublime meant generally are the subvert sources image different [thread]). The embroidery flow by and represented [oil] as ers painting a in represented land as example, (for or nature of reproductions representations from solely made land scapes historically imaginary are and They processes. familiar rooted of assembled were fragments series from this in images The Statement Artist Lambda print 24 inchesx38 No. 6,from theseriesThread andCarbon,OilSteel - - -
culled from the artifacts of well-intentioned well-intentioned of delight. of merchants artifacts the possibility from of culled proposition fertile a rather but is not of world the lens, Their portray. they ries colorful histo the to and references mere are narratives characters, fantastic with ming brim though here, kingdoms imaginary The collective our ambitions. of worthy fictions detritus fabricate accumulating to our imitate through to sift instead to left it, are we fully to – failure it utter dominate our of face the in and – world this replicate truly to ability the lack we Because meaning. with image the endow to - -
tal file. tal used, and the areprints final madefrom adigi was No a of from camera range wide sources. come which Photoshop) images, the of parts (using various the integrate and (by capture scanning) to used was technology Digital Statement Technical - adding elements shot from a digital camera, and then layering and shaping these elements elements these shaping and layering then G5. aMacintosh and using Photoshop in camera, digital a from shot elements adding a into computer, paintings manipulation. the paper, scanning rice on computer painting and included process photography, complete The digital paint, with created were prints Large-scale Statement Technical beauty. and peace into with synonymous is breathing effortlessly which in aworld slips reproducing matter energy, where the realm a that into world metaphorically, physical the suggests, beyond reach that can medium environment an create images Digital energy. mytholo of ancient and gies contemporary between resonance conceptual the explore artworks My and art artist. in anew-media as work my for themes foundation the as These served have and composition philosophically. lyrical art and their visually study both to spirit, Tibet their and understand Dunhuang to to attempt traveled have I years, few past the During art. spirit the “expressing Buddhist of and researched philosophy I form.”Chinese through have with painting, studied principle Along the adopted have I painter, Chinese traditional a as Trained Statement Artist [email protected] Cleveland, Ohio44102USA 8205 FranklinBoulevard, #20 Qian Li Digital print 35 inchesx1inch Core -
Digital print 25 inchesx38.61inch air
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288 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WALL-BASED WORK the paths followed by particles before they deposit. deposit. they before by particles followed paths the processes: same the of side the other the show illustrate images these directly themselves, series structures deposited Aggregation the from images the Whereas conferences. SIGGRAPH at previous exhibited images of the Aggregation duals as the natural be seen can images These trajectories. of the points by end formed tone of gradients structured intricately simply boundaries, defined actual no are structures shadow-like There Subtle zone. enter. of the termination growth the to reflecting reach, able no longer trails that be areas in the form not will particles future that region growing a but images, final they create the deposit in time, as particles Over to be outlined ephemeral. effect this reveals forms inspection closer and shapes definite be to appear there glance, first At the that space negative of areas the in don’t reach. paths shadow and filigree of shapes complex to delicate combine form paths the however, Collectively, deposition. a reaches it when terminating trail the with process, random an independent, is essentially trajectory individual Eachof in fields forces. as flow they of particles by millions followed trajectories of layered are composed images These Statement Artist www.andylomas.com [email protected] London W1F8GHUnitedKingdom 9 NoelStreet Andy Lomas
form. All the software used to simulate the structures and render the final images was written written was images V in final artist by the the render and structures the simulate to small used that software the created All means form. finally the in This changes move. great produce can randomly growth for they conditions and as rules the to biases particles undeposited the to applied forces by small caused of deviations reinforcement system, produces aggregating on top deposited of the currently repeatedly process, the of nature growth-like The deposition. and motion particle aggrega for rules to the changes and diffusion-limited biases small on by introducing produced are variations structures are Different tion. forms the generate to used algorithms base The Statement Technical isual C++. isual - Algorithmic image 24 inchesx1inch Flow 9
Algorithmic image 24 inchesx1inch Flow 19
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290 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WALL-BASED WORK [email protected] Indianapolis, Indiana46240USA 8564 LakeClearwaterLane Digital Art Dan Lu
These images were created with Chinese handwriting calligraphy and digital software. digital and calligraphy handwriting Chinese with created were images These Statement Technical art calligraphy traditional the integrate to and way. adigital in shapes, meanings historic and and principles, colors, structures, textures, letters, procedural with built patterns of goal primary The vari a designs. through and strength and forms of a emotion evoke and ety to ability civilization, its of in painting history to the in comparable is It treasure culture. rare a Asian of is gem It unique handwriting. elegant making of art the is calligraphy Chinese Statement Artist 14 inchesx1.5 Letters I,II Letters is to affect this cognition through presentation of calligraphy calligraphy of presentation through cognition this affect to is - n trs cos h srae intersecting surface, the across twists turns map The and map. a of lines organic the and are field memory overlapping this with Yetentwined perhaps exhausting. and sive expan memory, of image perfect a is space wide-open theand in a field, exists house The time. in lost getting slowly are walls its out inside played once stories The history. fad into of ing process the in is but home, no a is longer structure this Clearly, in. elements the allowing exterior wooden its in holes gaping through woven the shown, is house is weathered A piece. spirit this the of journey The Statement Artist [email protected] Ashland, Ohio44805USA 1253 ColonialDrive Ashland University Jessica Maloney - -
of connections. of network underlying the and lives of overlapping our nature the emphasizing histories, ered lay with associations of these all blends work in map this The clarity. and travel, places, with maps associate normally We structure. its in holes more yet create to itself, house the with 2D printcollagedwithamap,foundtext,beeswax,andoilpastels 38 inchesx362 Intertwined: Person,Place,andTime - position is planned in advance, but most often but in most often advance, is planned position com her Sometimes right. feels it until image the of areas changes selectively ele and ments, rearranges scans, the Photoshop, manipulates In she image. the of creation begin to Photoshop Adobe in them opens to and use plans she that objects and images scans the all then She three. the of combination or a text, found objects, found taken, source has photographs she of consist collecting can by which material, begins She images. two-dimensional create to techniques tional tradi and digital with works Maloney Jessica Statement Technical - - -
manipulated with mixed media. mixed with manipulated further and printer large-format 5500 Packard Hewlett a using print archival an as printed is it is final, the work When on screen. the image on works she as itself resolves and evolves it
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292 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WALL-BASED WORK ing, growth, and wholeness of individuals. individuals. of wholeness and growth, ing, heal the promoting of way a is “Art” me, For cultures. and roundings sur ever-transforming the toward attitude my or as toa whole express separately be viewed inner related can that to a make diptych together structure, of hints some schemes, color different memories, motifs, of pieces mented frag put intentionally I thing. interconnected one than is rather reality components me, individual many For lives. our in phenomenon a becomes common “pluralism” technologies, information ever-expanding the of result a As Statement Artist [email protected] Hong Kong Tseung KwanO,Kln Flat F, 25/F, CentralHeights Chi-wah Man
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esne u n uiyn cne. t sounds It many center. with unifying no one but – of personae self making postmodern the new, to a an leads consciousness. phenomenon of comes This altering invention and expanding technological With self. integrated amore make ally and eventu conscious make the unconscious to is exploration of this to purpose The changes. strive I life. and discoveries my embrace and fears overcome – conditions my rience, expe my thoughts, my to feelings, my access examine me give and me of part inner the reflect they portraits: self my are works my All Archival inkjetoncanvas 26 inchesx34each(left&right) SelfPortrait06_Diptych - -
That is my goal in making art. making in goal my is That people. most of code genetic the into built be to seems self, integrated more a make to and themselves, and world the rela between species. the tionship understand exploring to ways an for Searching are beings Human integrity. and wholeness of power a higher us ourselves towithin discover invite and at ourselves closely more us to look seduce eventually will fragmentation and tion distrac for temptations such But ourselves. against divided true. We are all contradictions, is this degree toyet some a contradiction, like - - gate SelfPortraits. gate investi to technology digital use I reality. why That’s comprehending and seeing param for new eters establish through to works micro-electronics, art generating of ways new for search I consciousness. of transformation and exploration for space new creating world, the process we way the computer change and technologies time, the of spirit the thesize to syn languages own its generates era Each Statement Technical - - -
ongoing collaboration with the Department Department the an of with part collaboration as ongoing created were images These aesthetic. anew create to vision imaginative artistic and data medical scientific to that bridges image a create hybrid used were techniques visualisation computer 3D work, this In environment. clini scientific or a cal in specialist trained the of eye the to ever However, is diagnosis. restricted interpretation see to clinicians deeper into our body spaces for the allow purpose of resonance (MRI) magnetic imaging as such technologies Medical kidney. human the through blood of the flow the within particular in system, vascular in harmony human and interest own structure, my beauty, explore images These Statement Artist [email protected] Dundee DD14HTUnitedKingdom Perth Road College ofArt&Design Media Arts&Imaging,DuncanofJordanstone University ofDundee John McGhee
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penetrating the complexity of arterial disease. arterial of complexity the penetrating and also as structure, a human inner of means of beauty and nature the to closer patient the bring to attempt an in sensibility of degree a with image an produce to was goal My eye. the from human hidden otherwise space inner an highlighting anatomy, to quality jewel-like internal an suggest to was intention kid The ney. human the of fragility and the expose communicate to was images particular these behind reasoning The data. interpreta scan MRI of tion emotion-based of methods and of system the the vascular human visualisation Hospital, Ninewells Dundee, Scotland. My has artwork focused on at Radiology Clinical of 30 inchesx401inch Integrity: structure andsurface - - After it is cleaned up, the 3D geometry geometry 3D the up, cleaned is it extracted. is After surface ISO an and segmentation, thresholding of process a through and, Mimics) (Materialise package reconstruction 3D medical a into imported are data the files, DICOM the From procedure. scan the during system vascular the into injected being agent a scan involves contrast This diagnostic nosis. a known as ste condition vascular renal artery on dure a performed patient for being scanned cross-sectional These slices are acquired during an in angiogram proce Hospital. located scanner Ninewells MRI Avanto instance, Siemens a first the from exported In were data DICOM-image-slice data. MRI these of is creation images the for point starting The Statement Technical - -
anatomy is creatively interpreted with the the with rendering. and interpreted lighting, shaders, of addition creatively is the and 7,anatomy Maya AutoDesk into imported is
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294 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WALL-BASED WORK [email protected] Guildford GU27XHUnitedKingdom University ofSurrey CVSSP SEPS Nataliya Nadtoka
Czech beer, and eat American burgers. burgers. American eat beer, and Czech We them. go to of aware more become they as cultures other on of the of streets Kiev. are more tolerant People English speaking someone hear to more any unusual not It’s tourists. international to are open more in life ways. many nian Borders media Digital Ukrai changed and globalization ones. previous the than life abetter have will the born after revolution generations future changed significantly whether still but remains the Ukraine, question has 2005 January to 2004 November from place took that olution Rev and graduate. a The Orange school high an old lady, a of generations: girl, three graphs photo in Ukraine of future and present, past, the of continuum a presents work digital This Statement Artist V ietnamese restaurants, drink drink restaurants, ietnamese - - - - us hope for a better future. future. abetter for hope us capitalism to give children our but problems, communism many causes and from period, change transitional a a in still is Ukraine ture. litera our and art, folk our cuisine, traditional our heritage, Ukrainian rich same our keep we time, the At salaries. Ukrainian with Europe Western as prices same the have We China. in Made tag: the see you buy you everything almost On cameras. Japanese sell shops and cars, German of full are streets Our MT television. and CNN get We of world. rest the the as commercials same parents the my watch And nephew music. American My to listens program. computer designed specially a with alphabet the learns niece My via cable cable via V - taken with a Fujifilm camera. Images were were Images GIMP. with processed camera. digitally later Fujifilm a were with photographs taken The effects. filters, artistic image and blending, as such techniques imaging digital 2D with made was work This Statement Technical
9.3 x13.83 laRevolution Viva
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296 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WALL-BASED WORK [email protected] Poway, 92064USA California 14738 Shadowbrook Court Digital ArtGuild Joe Nalven
snapped every day, so what makes one one makes what so pictures day, of every millions are snapped am there I that level, mindful photographic the At condition. human this of quirkiness the extract to seek I confusion.” buzzing “blooming, this of sense make to how quesiton: a with artist the comes particular the and common the of mix Into this to and a media, of host particularities. access class, social cul peers, and different family tures, of influence the recognize we time, same the at Yet, another. one under standing for framework consistent a presents condition human the that assume might One composition. digital mixed-media a as and recomposited then and experimentation, explorations, tographic pho are research, ethnographic exemplars my from drawn These card. identity world the a be of may anonymity, to recognition opposed as public individual for need acknowledg the while ing identity, transnational a identity identified: evolving to step next The the be passports. or cards could of we part language, written of advent been the With condition. always human has Migration Statement Artist - - - -
So look, see, and enjoy. and see, look, So vision. that of shadow a but is text into lation trans The me. for and The itself for speaks tradition). image Hindu in Reality Ultimate (the art” thou “that the to seeking this liken might this One ineffable. of the portray goal to is intensification end The intensification. image into pathway my is substrates) new adds ist art the (and when adventure, three-fold a adventure times at two-fold in This saw moment. artist that the what of a sense into real” “more them “real” transforming seemingly and those photographs on commenting style their of perfecting are who artists, digital many of adventure second the is there Then capture, to image. quirkiness aphotorealistic as even much is There ture. pic the retake to permitting, opportunity and time and, dialogue camera the within edit to the ability an with images, captured and photographer readily between more the capture to moment opportunity an – things and people, events, of flow the of monitoring time real- permits photography my it? Digital taking of fact the beyond different picture particular - - - graphed and montaged into the evolving evolving the into Cards. photo Identity World montaged then and were graphed surfaces) metal the images (on resulting The sun. the in baked and of ing technique on aluminum patinas brushed a by controlled-splash using created painting Pollock-style Jackson layers a was the pieces these of in One aluminum. brushed onto laminated or here) (as plexiglass on mounted face- whether image, final the of presentation with I experimenting recently, More have been collage/ modes. in montage working when artist collage a as that I techniques used cut-and-paste included also Recompositing manipulation. modes, color layer and blending fil painting, with digital ters, intensification image from images resulted of array extensive An Photoshop. in them map and image, recomposited Mercatur a and photographs) current more are while others research, my during Colombia Cali, 1970s in the in taken imag were which of photographic (some of ery variety a photo imported a I with matter of In this images, series attentiveness. graphic subject processes, textures typical of multiple and capture in photographic work including frequently I Statement Technical - - - - -
Digital composition,montage,printedonarchivalpaperandface-mountedplexiglass 8 inchesx101/8inch World IdentityCards
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298 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WALL-BASED WORK regions were choosen to test the flow-field flow-field result. the artistic an achieve and system test to choosen were regions starting These storm. the around and out ing propogat effect then formation an tight a in starting of creating hurricane, the of discreet regions unusual, to constrained were tions posi starting the curves, the the as For into hurricane). up (such surface the effect from moves air desire particular how a scientist’s investigate a to on based are determined curve curves. each for the positions create starting to Usually used were data Wind-flow field mathemati equations. parametric generated using were cally curves the Some research. of on hurricane actual based from data simulation, hurricane volumetric scientist’s a from texture. generated were and curves The environment the both are as data used scientific the while narrative, the in own her adds act as which the protoganist sculptures, metal Newcombe artwork, the In function. systems planetary complex how about world the to educate of helping are data types these world. the of parts occur many in that typhoons) cyclones, (hurricanes, around phenomena of data collaborate scientific using globe the artist the and visualizer way,the this In projects. collaborative their to them adds she and Australia, in Newcombe to them sends and images test the saves he so collaboration, nine-year-long their in useful be would he that feels imagery interesting ters he encoun and creating testing visualizations, of in process the Often purposes. educational for results scientific explaining visuals create to data their Shirah and scientists with Newcombe. closely works Marte artist and Shirah Greg visualizer scientific NASA between tion collabora a by produced were works These Statement Artist Greg Shirah Contributing artist [email protected] Coburg, V 15 RoseStreet Marte Newcombe ictoria 3058Australia
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Digital printonarchivalwatercolorpaper 32 inchesx121inch Eleven FiftyNine Digital printonarchivalwatercolorpaper 41 inchesx101inch Landfill Digital Printonarchivalwatercolorpaper 42.5 inchesx10.81inch Running onEmpty Digital printonarchivalwatercolorpaper 27.5 inchesx13.31inch Robotman Digital printonarchivalwatercolorpaper 15 inchesx221inch Drought
Digital printonarchivalwatercolorpaper 21 inchesx261inch Here, There
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300 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WALL-BASED WORK [email protected] 55118 Mainz,Germany Illstrasse 14 Till Nowak
we ignore the fact that we also live in a world in which people die of of basis. die adaily on war and famine people through which bloodshed and in hunger world a in live also we that fact the ignore we that society awholesome of inhabitants as off well so We are clothing. sheep’s a in wolves like acting humans as this society our of in portrait ironic ourselves recognize can we Maybe creature. bloodthirsty a of role the in vegetables wholesome by reflected is it Here view. of point spectator’s the of inversion is work Nowak’s Till of aspect common A techniques. today’s digital with painting oil aclassical of of H.R. Giger. creatures the At components time, the it same combines surrealistic recent more the with Arcimboldo of Giuseppe creations ble vegeta 500-year-old the combines monster veggie The present. and past cultural our between connections twisted several contains Salad Statement Artist High-resolution renderingcreatedin3dsMaxandPhotoshop 70 inchesx825 Salad - and mental ray. mental and renderer, Scanline a Max, 3ds using occlusion, ambient and specular, assuch diffuse, passes, several wasimage done The byfinal rendering process. texturing the for used creature. were vegetables hungry fresh a of of Photographs shape the match to variations and sizes ferent dif in combined were models 3D The techniques. classical using polygon-modelling Max 3ds in vegetables digital 12 modelled Nowak Till Statement Technical - people are recorded in the family trees, so in in so trees, family the in of recorded are million) people several (sometimes thousands of of hundreds names in the West. The ordinarily seen those like charts simple not are trees ily Like fam Korean clan. trees, family the Chinese for traditional and book history a achievements, epitaphs, behaviors, on records ancestors’ private and status, records family side, the of father’s the the on on focus relation that blood books of collections are trees family Korean visualization. information in study of theme unique a is tree family The Statement Artist [email protected] Seoul 156-756SouthKorea 221 Heukseok-Dong,Dongjak-Gu GSAIM FMALab Chung-Ang University June SeokSeo Jin Wan Park
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descendants, who were again split into sev- into split again were who of descendants, thousands of hundreds to progenitor multiplied the was several which of during history years the hundred of experience unique visual a presents at and dataset glance mammoth intuitive a an enables It a tree. of image family visual the presents artwork This years. hundred several over history ining exam in ancestors, materials precious as for used are they respect and bonds family of of promotion purpose original to their addition Print ontraditionalKorean-stylepaper 4 feetx1inch Genealogy Visual -
their ancestries. I believe they will live more more fact. this live recognize they if lives serious will they believe I ancestries. their in patterns family-tree similar have attendees) in 2007 SIGGRAPH example, (for tree appear family this not do names whose people The existence. my on reflect to opportunity an me gave origins my visualizing while encountered I that names innumerable The branches. eral tor (those who are listed in the same family family by tradition. same prohibited was book) tree the in listed are who (those tor ances same the share who people between marriage and recorded, was side father’s the on is since only the possible blood relationship complexity of degree low remarkably a with it Korean family tree is the a huge Though dataset, visualizing under datasets. mammoth intuitive of standing enable to the attempts of result various successful one is artwork This Statement Technical WALL-BASED WORK
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302 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WALL-BASED WORK Manish Modi Dale Devereux Barker Ashok Ahuja Veer Munshi Sharma Vinnay Trupti Patel Tom Piper Annie GilesHobbs Sue Hunt Samit Das Chris Lloyd Kivita Nayar Richard Cox Molly Thomson Chris Orr Iwan Parry (Left torightinthecompilationimage) Collaborators [email protected] Cardiff, CF240SP, UnitedKingdom Howard Gardens Campus University ofWales Institute,Cardiff The Cardiff SchoolofArtandDesign Sushma Bahl Tom Piper
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artists proofs. artists plus 20 of each) than (no more numbers small in editioned are portfolio this in prints digital The inks. archival using paper art fine- coated on special printed size is actual work Each in Cardiff. studios in the printmaking machinery inkjet high-quality via The 18 project. and were proofed scanned the Then originals materials. portfolio traditional using were asked toartists “identity” about digital create collages the begin to way efficient and creative most the be to considered was original” “collage The Statement Technical value artists participating the which opportunities, important are greatly. images and ideas of exchange and sharing concerns, networking, project’s artistic The of project. this for created specially have they which prints, digital high-quality and collages For the Indian artists, the process of exchange and media. digital of development potential of art, artistic the computer-based the with exploring in interested were work experience they but no or is little had as Others media. important digital as in working the were artists resulting exhibition participating of the of Some their original Delhi). New Gallery, Alive Art of (Curator Anand Sunaina and India) Council, British the for Culture and of Arts Head (formerly Bahl Sushma partners, Indian our with meetings planning and organization ( PROOF by was initiated project The Cardiff. of Institute, Wales University and of Design, Art School at based the Cardiff project research Nine artists from Britain and nine artists from India, all with widely varied backgrounds and on experience, collaborated this digital Statement Artist V -6), the printmaking research group, during the spring of 2004. The first phase of the project was a series of series a was project the of phase first The 2004. of spring the during group, research printmaking the -6),
Sixteen 12-inchsquaresinacluster V9-U9 ADigitalPortfolio
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304 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WALL-BASED WORK Infinity Textured archival paper. archival Textured Infinity Pro with then an printed on 3800 Stylus Epson Arches were images The portfolio. series the for chosen was to of and image, applied copies each the solution best were strategies manipulation different several cases, most In adjustments. color and filters, image masks, multiple using pixel manipulated 3600 selectively x and 4500 resolution at a resolution, format 5 x with maximum 4 to at captured cropped then camera were XT series Digital this Canon in images The Statement Technical series. camera pinhole to the contrast a useful as serve hopefully that will sites of these manipulated interpretation subjective These different a provide to intended print. are images manipulated a with selectively communicated be best could felt I that ment environ and light of dynamics strong particularly had images these of Many time. that at site the of image were so that I transitory was not able to make a that pinhole situations captured camera digital of the with summer 2006 the during made I images the of Several of process the film. format large on photographs pinhole document making then and record sites to camera potential digital a using been have I years, several For camera. pinhole a with 66 Route of reality present-day the document to project on-going an of out grew images year. last the in These I began series 66 Route Old is along a new image Artifacts Roadside Statement Artist [email protected] Odessa, Texas 79762USA 4901 EastUniversityBoulevard, V University ofTexas ofthePermianBasin Dave Poindexter
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Digital imagecapture,selectivelyeditedandmanipulated,digitalprint 22 inchesx281.5 Meteor CraterObservatoryonOldRoute66,Arizona experimental heat transfer processes. transfer heat experimental repeated in created were images digital in these textures rich and unique The intervention. physical artist’s the by created unintentionally and intentionally are images final the whereas printers, and computers by manipulated less heat and via friendlier become images processed digital transfer, are they the present Since and image. capture print to used traditional is to making similar sublimation Dye Statement Technical level. aspiritual on soul deeper our sharing of but to way create another entertainment visual momentary make to not is artist an as lenge chal My uphill. pushing keeps Sisyphus that weight the like carry, we burdens the of some to contributing even thoughts, my share I ics, of graph With computer the flexibility amazing them. to among and connections galvanizing differences the the uncover modern, realize to to to me helps traditional Buddhism from from Existentialism, cultures, Eastern and Western of experience my Also, fabrics. mer gossa of layering the through me for quietly speak works my and melancholy, of feeling an inexplicable with into I contact come heart, us. By beyond the submerging of emotions the in of all that are multi-layered emotions human general the encompassing about is work My Statement Artist [email protected] Wayne, NewJersey07470USA 110 PointV Paramount Art Joohyun Pyune iew Parkway - - - -
Dye-sublimation printsonlayeredfabricsandrealbranchesinside 60 inchesx365 Blue Faith
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306 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WALL-BASED WORK [email protected] Dallas, Texas 75218USA 11307 LanewoodCircle donrelyea.com Don Relyea
cover up their unwanted hair? unwanted their up cover look like if they what would politicians did not is undesirable, which that for metaphor a as hair Using unattractive politicians. the of traits whitewash to desirable is it media, mass of proliferation the With off. it wax and it, shave up, it cover Wehair. leg and hair, pit arm hair, pubic hair” hair, back as “unwanted such called so up cover or hide to us ditioned con have industry advertising the and industry beauty The party. political either from politician career any with Bush replace to possible certainly is it but exercise, this for subject convenient a was Bush President dealing. back-door and compromise requires careers their of nature the not, or Intentional hide. they that unattractive something have politicians career all that my It is belief ous. humor and non-partisan be to intended is Bush Hairy Big aweekend. over grown was Bush President of time. over portrait grow to This continue will Hair erwise. oth overgrown get to would that is detail the This of some curl. preserve tighter a maintains and thicker and longer in grows areas hair growing In darker was general, required. curl erratic more tighter, a with hair application, Bush Hairy Big the For curls. loose with hair particles flowing and long the rendered development, of stages early the In hair. ing grow like behave to particles the altered I game ago. a time for some wrote I engine ParticleFX a around based is It project. ongoing larger a of intended component a originally is still was and be to project drawing particle hair The Statement Artist - - - - ager that it is done drawing. done is it that ager man particle the messages and itself of disposes it span, life its of end the or reached has grayer particle grow a When to kinky. more are them cause Mutators to particles span. the to life passed and opacity, direction, scale, growth including mutators, vectors of variety a maintaining itself, draw to begins it initialized, been has particle a Once them. initializes and area canvas the in locations to particles hair of group a on assigns it data, based table lookup the and table, lookup the references manager ticle was The par manager overloading. from to coded the prevent application particle A table. lookup a in val stored are color ues index grayscale and runtime, at application the by parsed is gif The reference. for application the by used and downloaded was of president the thumbnail gif A small Statement Technical - - -
Epson K3BWmatteprintonwatercolorpaperofalgorithmicimage 20 inchesx152.5 Big HairyBush–HairParticleDrawingProject
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308 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WALL-BASED WORK [email protected] Dundee DD14HTUnitedKingdom Perth Road DJCAD, TVI Media ArtsandImaging University ofDundee Chris Rowland
Martin Dean, and Mark Lawrence. Mark and Dean, Martin Rowland, Chris of: consists team ADUS The Scotland. Dundee, of sity Univer the at Imaging and Arts Media of School the at research my of is a result 3D The visualisation the wreck. from of tion munitions and oil extrac managing is which department, Salvage Marine (UK) Defence of by Ministry the commissioned was by ADUS survey multi-beam The UK. the in servicemen for ex- support that provide organisations Legion, and the British Royal com limited-edition, a as print to memorative reproduced raise funds for the Royal be Association Oak Survivors’ to intended is image This slowly sea the as them. deconstructs beautiful, serenely often monuments, as them ing by life, represent toof human loss memorials as tragic often in history, place their as well as environment the on impact potential and of their ness environmental their public, aware toraise attempts My work ignored. is often general significance historic the to visible the not around are shipwrecks world these of many that fact the to due However, envi ronment. marine local the affect adversely can that substances corrosive leak may or cargo explosive or toxic contain may They reasons. of ber for interest aon num the sea bed are of shipwrecks significant Historic by ADUS. 2006 in of wreck the a survey during sonar multi-beam high-resolution using gathered data point-cloud 3D from produced was Flow,image This Scapa Orkney. in bed sea the on lies Oak Royal HMS the of wreck The Statement Artist ------apply principles of digital cinematography to produce the final image. final the to produce and cinematography digital of particles) as principles apply (imported cloud point the to light of illusion colour the apply and to Maya for plug-in proprietary a use to is step final The minimised. is alignment of problem any that ensuring centimeter, one approximately of accuracy addi reveal can to an operates method Our pass add that topicture. the overall details tional Each shipwreck. complete the together of piece image to 3D data of a lines separate the align to is step next The software. animation into imported is dataset resulting the the and noise, from digital out generated filter to edited points are survey XYZ of millions The and wreck. back the travels over boat forth survey the as head sent sonar “pings” the to sonar returned the and accu from of derived millions heights” many “spot collecting positioned by rately floor sea the and wreck the of model a system builds three-dimensional sonar multi-beam The Reson Statement Technical - -
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310 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WALL-BASED WORK graphs by Alma de la Serra. Algorithmically layer. Algorithmically another add photo texts produced Serra. la digitized de Alma and by graphs flights, space NASA various from earth of Telescope, images Space high-resolution Hubble the from images Health, of Institute National US the of project images the sources: of embedded variety a are from planes and arcs of armature the Within series. Lucas related the and series Fibonacci the on based colors and with ter a circles play proportions of geometric quar and half with plane picture the dividing in exercise topological a combines Linkages Statement Artist alma.ignotus.com [email protected] Evanston, Illinois60201USA 1800 ShermanAvenue, Suite206 University Northwestern Alma delaSerra
V isible Human Human isible - - “product lines” very different from his own. his from different very lines” “product develop to and survive, to struggling and art their marketing artists of experiences the ody par and to critique opportunity an Hertz offer digital artists fictitious These and Hertz. Paul artist media Luce; Darrell painter Mage”; the “Ignotus as known also Pescador, Teodosio Juan fortune-teller dysfunctional artists: tious ficti other three to home cooperative artists’ an of and a the member Ignostudio, tographer pho turned teacher math school high former a is invented Hertz, Paul Serra, artist la flesh-and-blood the by de Alma artist Fictitious
- - - ence.” experi of our depth and tobreadth the speak have astonishment can understood, tools, that rightly found these my to and reason, and measure, number, through this understand to learned have I life. to belongs it in everything and knowledge, our than deeper is world the simple: are premises “My work: her of states She idiom. placing formal a in while departure of a issues point her for social looking engage is to she way of that out suggest not to is place it imagery, her of full a explanation provided yet not has Serra la de While - with an archival inkset on archival paper. archival on inkset archival an with printer inkjet high-resolution a on printed were was Linkages images Photoshop. in texts with and combined armatures for The armature an images. create to series Lucas and Fibonacci by regulated were arcs by square a of divisions topological Illustrator, Adobe In internet. the on sources obtained or public-domain from film analog from digitized were to the floor.Images perpendicular the squares of diagonals the configuration, with hung are any they provided into together fit can that modules square seven of consists Linkages Statement Technical
Multi-panel collageofdigitizedphotos,texts,andgeometry 17.0 inchesx45.25 Linkages
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312 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WALL-BASED WORK stimulate humankind’s desire for knowledge. for desire humankind’s stimulate and soothe both to mystery and predictability enough provided historically has of that system mass powerful and at of the and helium center our solar hydrogen chaotic the to age hom pays image This behavior. fluid complex amazingly in result forces intertwined These the effect. ods) sun within the creates dynamo meth computational same the to all amenable are conveniently, (which, convection and The rules. temperature, magnetism, of action combined interaction motivated physically with though particle, other every by affected flocking is a constantly particle every in which algorithm, like much very works Dynamo shapes in the created that code research The confined. yet uncontrollable and pervasive is that dynamism a depict to science putational was to com use of for Dynamo One my goals geography. and ture common, cul experiences bridge to language symbolic the allowing these makes have lived humans place every to law physical of applicability The and patterns. objects familiar so recreates ways, in and doing in predictable that world a manifests which of each laws, in physical obeys immersed are shapes we these because recognize We word. spoken or written the than context cultural on reliant less is that symbols of language these a as compose such things natural of shapes The technology. modern of reach the beyond ing liv cultures of or ancestors, your of those as sun? It is the likely that your are or thoughts the same cloud, a river, a mountain, a tree, a of think you when to mind come attributes What Statement Artist [email protected] Newton Center, MassachusettsUSA 115 LangleyRoad,Apartment2 Mark Stock
- - - - - sand pixels per inch. per pixels sand thou several of resolution a at paper light laser with photographic Lightjet exposes a which to printer, exported and print-optimized was image high-dynamic-range resulting The in rays image. the to create order light of numerically billions of hundreds Radiance followed scene. complex the physical throughout inter-reflection actual and transport light the approximate algorithm closely radiosity to hybrid a uses Radiance simulators. lighting validated scientifically few the of one Radiance, with created was image The to full-size passed software. the rendering was scene entire the set, fixtures lighting and designed was environment proper the Once vortexes. the moved that rules same and particles, to the according space through vortex curves traced the of all of and strengths locations the processed subprogram a initialized, was flowfield itera the and refined were tively parameters simulation the After dynamics. fluid of rules the to according ume of vol evolution spherical closed a within the particles vortex tracking involved cal culation This run. was computational simulation geom detailed a fluid-dynamics any defined, before was but etry created, every was the to Once idea Dynamo. of integral production of was aspect technology Digital Statement Technical - - - - -
Lightjet digitalprint 30 inchesx1inch Dynamo clever experimentalists. As a simulationist, simulationist, a job. easy the I have As by experimentalists. disentangled clever be to effortlessly, together them however, blends Nature, intractable. ally known computation the be would of phenomena or terms all because included that computers, simulation a with is This easy spaces. limited especially those in beauty for search and equations the in terms eliminate I language, scientists’ In parts. those of ration explo their subsequent the into and parts constituent phenomena physical complex of reduction the is work visual Streamlines my of much Green and in prevalent theme One beauty view. from their hidden remains sadly yet currents, ocean the they shape and clouds, the churn they fly, to birds humming allow They paths. fluttering rapidly invisible, these by moment every at rounded sur and water or air of oceans in swimming All of us fluidourturbulence. spend entirelives flowpathsthrough depicts Streamlines Green Statement Artist - - - -
sand pixels per inch. per pixels sand thou several of resolution a at paper light laser with photographic Lightjet exposes a which to printer, exported and print-optimized was image high-dynamic-range resulting The image. this create numerically Radiance to rays in of order light of tens billions followed scene. complex the throughout physical interreflection and actual transport light the approximate algorithm closely radiosity to hybrid a uses Radiance simulators. lighting validated scientifically few the of one Radiance, with created was was image scene entire the The to full-size passed software. the rendering and were designed, lighting and then environment proper The par ticles. vortex these of strengths and the locations processed software Custom space. the fill to created was rotation) constant roughly with fluid of parcels small (representing ticles par vortex random of collection a complete, Green and was design Dynamo the Once conceptual Streamlines. both of production of Digital Technology was integral to every aspect Statement Technical - - -
Lightjet digitalprint 30 inchesx1inch Green Streamlines
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314 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WALL-BASED WORK [email protected] 75019 Paris,France 49 rueduGénéralBrunet Susana Sulic
images are considered informational ecosystems; they are generated by the activity and movement of artificial entities. artificial of movement and activity by the generated are they ecosystems; informational considered are images In my to is work, to in the grammar, biotechnology. used byone a a similar of create My using grid objective kind generative Statement Technical works. environmental” “total to produce sounds create and investigate I also of theis image Thethe plasticity my poetry, content,andSince 1980s, concern. main technology. I scientific have integrated cosmology. poetic-scientific a reflect stories those Therefore, space. from the travels city. past in to melt and The pixels a spectator time and tothe from the hypothetical present present a virtual viruses generated: is images into changed are words the which in dynamic peculiar a base, the on text algebraic the From decontextualisation. scientific and apoetic produce and way a in phantasmagoric heighten unknown and dream of notions concept: poetic a becomes Science sensitivity. different a by questioned are plasticity and of technology values The eyes. our before life take one, invisible an and one a macroscopic Two worlds, new process. sequencial viral the in reversibility of concept the way, introduce we an metaphoric of a In projection algorithm. to an the translated is Like world global whole windows. The disintegrated. and cybernetic regenerated are through forms the universe, another expanded to space one from wander we flux, temporal a Following Statement Artist
Photography 0.40 metersx0.60 City Cyvers Viral
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316 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WALL-BASED WORK [email protected] Chiba-Ken 299-3217Japan Oamishirasato-Machi 346-40 Kisaki Masakazu Takano
characteristics in the assembled lights. assembled the in characteristics to organic used are create strata and as soils such objects of natural photographs The form. life a become to them for path a create to pixels those through constructed is structure basic The by hand. around moved source alight of photographs digital of mainly composed is image The Statement Technical it space, and extinction of colors. for darkness by searching the grows a In by energy. but upward its substances and future particular the for hope accumulating by strong necessarily not develops It process. its and fantasy biological imaginary by an regenerated form alife of idea my Iillustrate Re-formation, In their of reconstruction dynamic a for technology. future hoped beyond forms I garden. the in tree a with a in interacting water the and up pond stirring time spent I limited, was nature where environment, childhood my In Statement Artist 2D imagingandpainting 26 inchesx1inch Re-formation
22 inchesx381inch Transpacific and the text layer of alphabets and numbers was created in Illustrator, then mixed with the the with mixed then Illustrator, in created images. was ocean generated and numbers imagined and alphabets of layer text the Photoshop, in and images original the of out taken were shapes The undulation. of characteristics V Statement Technical screen. Japanese atraditional of sensibilities antique the with them convey and waves byocean carried andnumbers alphabets of as the a artificial a metaphor, landscape tois visualize, intent My culture. and vision new this up make that images and languages mixed and can realm. I withbe images in texts filled attempt to adiveinto multicultural of an exploration sotheworld that fragments itsandcatchwe around, flies information digital The of internet. the in Ocean theand data come go the of world Pacific across day,digital volumes Every enormous Statement Artist arious images were extracted from digital video of water waves and chosen to represent the the represent to chosen and waves water of video digital from extracted were images arious
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318 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WALL-BASED WORK [email protected] Philadelphia, Pennsylvania19122USA 1947 North12thStreet Temple University Robert Trempe
throughout the world. the throughout centers industrial and cities, capital cities, major dots represent lines. Simple of through gradient overlap a and producing another, over influence GDP the country’s and one GDP country’s a within change of gradients the both show to method a determining was exercise this to importance great Of (2000-2005). years five of course the over region or the of per in country product) chance GDP (gross domestic relationships maps work This a data. from is beauty generating construction of means qualitative powerful a into information quantitative Mapping Statement Artist sistency and transparency. and sistency con for Illustrator Adobe in post-processed then were curves NURBS resulting The increments. repetitive at surface each through cut were for GDP the of value plane to the ground parallel of contours A series or region. numerical country that the with accordance in (height) axis coun [in each for surface one using surfaces dimensions, x/y NURBS identical of with Rhino] series a with began data the of Construction Statement Technical try or region. The C The region. or try V s of each surface were then pulled about the Z the about pulled then were surface each of s - -
NURBS-based surfaces,printedonalargeformatprinter Vector linemappinggeneratedfromthecontoursectioningof 49 cmx69 Connections
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320 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WALL-BASED WORK [email protected] Greeley, Colorado80639USA School ofArt&Design Colorado University ofNorthern Anna Ursyn
Computer Output Microfilmer (COM) recorder, and Inkjet and Novajet printers/plotters. Novajet and Inkjet and recorder, (COM) Microfilmer Output Computer in were ways: obtained several white black-and plots from the Printouts markings. the with use of painterly creation for image are combined approaches these and camera, works. digital Scanners, a dimensional PC All image of provide manipulation. further and three- photo in both and they my are on and included paper; two-dimensional canvas prints silkscreen programs computer after photolithographs for departure of point a as serve grams pro The two-dimensional in to order composition. gain and effects moiré patterns grid applying intensity, light transforming combinations, color setting been have I perspective. changing and grams to repeat lines and and distort, transform, images by manipulate rotating, scaling, slanting, pro I create works, my two-dimensional For levels. different on computer the I use my work, In Statement Technical what demonstrate and science concepts. by scientific of understand they inspired artwork and create art to computer learn in students instruction my where support graphics, also processes texture Such visible ground. the the as and movement sky dynamic the in of them present to bird, a or man a of picture bolic sym a or horse rocking a as such object iconic an image, simple a into animal an of image an transform I images. my inspire technologies in events and nature in Processes sculptures. and of prints a series for of departure a point as serve explorations graphics of my computer Some easier. mining data makes and of datasets environment, big organization and their rhythm reflects affect metaphor how time, at a and the same city humans how and combine example, physical for both images, constructions, big-city The human with intellectual. nature of regularity the juxtapose to is task My common. in have worlds human and technological what of order, I examine aware Acutely ysis. and society human by determined some of toby related big anal datasets nature. network It some determined our worlds: understanding guides both of levels several infuses order Natural Statement Artist V ersatec plottercolor slides via slides the plottercolor ersatec - - - -
Computer print 24 inchesx36 Clear Water Act twenty yearsaftertheCleanWater Actsetupwaterqualitystandards? Can wefindmanyrivers,lakes,andbayssafeenoughforswimming,more than Does itfeelsafeormakeyouanxioustoseethewiressky? pattern Are weconnectedorare weentangledinglobalnetworkorlocalties? Computer print 24 inchesx361inch Wires
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322 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WALL-BASED WORK www.verostko.com/archive/spalding/spalding.html [email protected] Minneapolis, Minnesota55419USA 5535 ClintonAvenue South Pathway Studio Roman Verostko
ing/spalding.html at: are www.verostko.com/archive/spald available and translations The alphabet ideas. and communicating in preserving formats of information nature the us toponder invites format This forms. the cyberflower for creating toused those similar are alphabet this for creating Algorithms for project. this created forms in linear is clothed a letter characters the glyph-like of Each format. glyph-like a in columns three in spaces without arranged by text accompanied is form cyberflower Each Louisville, in Center Learning 2006. Academic October in each. Kentucky University’s 40 x Spalding at 30 mural framed measuring a as drawings installed plotter were drawings algorithmic original seven The of scans Cruse from scaled was model presentation The Statement Technical world. everyday our in bridge space a hyper of machines, biology to the emerging pointing a presence provides installation the form, permanent of generative garden As a of form. hyperspace into avast glimpse us a give procedures, generative with achieved cyberflowers, These life.” of view this of “grandeur the on Darwin Charles and earth, summer of riches the on sun,” Shakespeare the in rooted power greening noble most “the on hymn medieval Hildegarde’s children,” the all shelter to tree “flowering the of vision his on Elk Black ugliness, and beauty on Lao-tzu “dreamers,” and men” “practical both for need humanity’s on Curie Madame include Others bloodshed.’” ther fur without at once matter the settle and war aloud dreadful this voice ‘cease . of . Ithaca,’cried her ‘Men she pause “raised everyone made and who Minerva, quoting passage a selected we Homer, From cultures. diverse embrace texts The journey. our on us guide that – of the Learning” “Flowers at the university nurtured and culture of the ever world wide higher. reach learning It celebrates us to beckons that yet of we a fullness seek, place the place sisterhood, and of of a Eden, brotherhood utopia the Garden This pre-history. to back reach that cultures the of world: a and tranquility, peace paradise throughout in in gardens symbolized aspirations meanings embraces garden” “enclosed rich has gardens an enclosed conclusus,” of “hortus tradition a as The presented garden. are times enclosed and cultures diverse from quotations with cyberflowers colorful Seven Statement Artist - - -
Giclée print 78 inchesx182.5 “HortusConclusus” Flowers ofLearning:
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324 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WALL-BASED WORK [email protected] London E81NEUnitedKingdom 88 Greenwood Road University oftheArts,Camberwell James Faure Walker
was to facilitate the integration between physical and digital media to allow for structured but spontaneous improvisation. spontaneous but structured for to allow media digital and physical between point main integration the The to facilitate was used. also were Illustrator and Photoshop but IX, Painter in done were the of Most assembling and palettes. and painting, drawing, brushes of photographs and brushes, pattern customised using drawings digital watercolours, draws from a Each piece set prints. of common drawings, inkjet Epson sources: of large-scale consists series The Filament Statement Technical motifs. of role the in presented are paints and brushes pieces, some In juxtaposed. were drawing rapid and folk illustration, graffiti, botanical where motifs, format a developed series the digitally, re-assembled were which watercolours, and drawings graphed photo with Beginning prints. large-scale four to produce Studio Print London the from a as commission began series The Computer to Love the Learned Artist an How River: book my in addressed preoccupation a process, digital a into photography and painting, drawing, ing of project integrat my It continuing image. represents and the electronic material physical the play drawing, between digital of patterns by of and the spread the filigree threads paint brush liquid between to the alludes difference series Filament The tools. galaxies, distant forms, plant between of digital power the with scale visualized be of of might “nature” how question the shifts way at of It one approaching is marks. painted hinting and patterns, filigree uses that works of series useful a a is for bulbs, concept light incandescent and biology, botany, astronomy, in forms thread-like to refers that term a “Filament,” Statement Artist (Prentice Hall 2006). 2006). Hall (Prentice Painting the Digital Digital the Painting - -
Archival EpsonPrint 44 inchesx51 Dark Filament
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326 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WALL-BASED WORK dimension. dimension. in another perspective regular but in presents one dimension that the orthographic looks picture is example interesting One photography. traditional in unseen elements numerous offer images resulting The image. final the constructing for elements as frames video from digitally extracted were the trip, elevator whole and then fragments recorded image simpler. camera A video digital far but scanning toobject analogous is #2 Elevation in used process image-making digital The Statement Technical form. art the of elegance and simplicity the sacrificing without photography fixed-point-of-view regular of limits the to extend aims it while experience, of elevator the equivalent a as visual #2 serves Elevation information. piecewise of basis the on minds our in it of image complete a develop we so space, closed this understand to trip elevator the on rely We lated. the because artist the fascinated and encapsu invisible, as closed, a always onto a gate window that metal functions is space otherwise has elevators old inside traveling of experience The organizing and assembling of process space. or image- object an of picture cognitive mental acomplete into digital fragments everyday visual alternative the an by in inspired photography process, extend making and de-familiarize to aims #2 Elevation Statement Artist [email protected] Kowloon, HongKong Tat CheeAvenue City UniversityofHongKong School ofCreative Media Mike Wong
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13.5 metersx0.5 Elevation #2 not how it was created. was it how not ware. I toto like would people respond the image, soft and hardware the transcend will art the that sure making is images digital challenging creating of most aspect The artifacts. as are time represented over image the in one changes as The fast thinks. as almost appropri multi-dimensional, layered, ated, information, soft, deconstructed are that allows images create it and explore to one because tool/medium, post-modern perfect the is computer The world. the of views or eyes visual unique developing lifetime an entire with art starts visual the eye. A spends artist visual really a of question in perception, the sense that all and depth layered meaning in unexpected the work. I find don’t seek. to I find. It gives freedom is the which me idea, vague a be but to likely idea, most an it’s have usually low I “T culture. at our familiar meates imagery the video because with resolution work to choose I Statement Technical awe. that to reflect attempts work My things. of scheme universal the in place things one and us.”in a around state of awe I’m at our continually thousand “the Zen, in say they no as is in, Universal the math see to choose I binary coincidence. and Yang and Yin balance the The between it. nature, in of place humans’ and understanding universe, the to keys there are that believe I appearance. forces surface spiritual behind the represent to looks work My Statement Artist [email protected] 90021USA Los Angeles,California 1250 LongBeachAvenue, #221 and OtisCollegeofArt&Design M RagsdaleWright Studios Michael Wright artist
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328 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WALL-BASED WORK phy paper for display. for paper phy photogra uncoated on printed are images Final combination. balance colour the adjust to ware the soft into transfered digital in are scans into the Later, found scans. put then simply environment, are surrounding flowers and Plants Statement Technical thoughts. extension, and minds by peaceful their and, forms natural of expression the through travel to individuals allows It person. each to forms experiences organic connecting presenting philosophical by metaphorical manifests a and to level visual the transforms work The equilibrium. this this mirror that how experiences for and quest the and reflection to experiences, us lead can of essence kinds give can new simplicity us its how simple, can infinitely nature how be forms: natural simplic of purity the and of ity exploration an is Super*Nature Statement Artist [email protected] Wanganui, NewZealand 6 6BDurieStreet & Wanganui SchoolofDesign Hyperthesis V Guan HongYeoh isual Lab
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Digital scan,computer, andphotography 1189 milimetersx841 Super*Nature Adobe Photoshop. Adobe digital from with processed and produced by artist the taken photos was Fly – Buy – See Statement Technical stereo- impersonal, reality. typified been by has replaced life removed, subjective individuals’ which from domain the a see You within souvenirs. it of culture situating by private and between public intersection the depicts work This Statement Artist [email protected] L Raina Bulvaris29 University ofLatvia Solvita Zarina V –1459Riga,Latvia Digital art 17.3 inchesx24.40.8 See –BuyFly
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330 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WALL-BASED WORK [email protected] Belmont, Massachusetts02478USA 227 BrightonStreet Rhode IslandSchoolofDesign Andrzej Zarzycki
critical visual component for the image. the for component a visual as critical triangulation mesh the preserve to was properties shading surface Phong or final The smoothing without guides. as rendered NURBS spatial with surfaces loft of number a of made is model 4D. Cinema with 3D The and rendered form·Zwith was software created 3D modeling imagery This Statement Technical acquire image. can the of intent overall the and representation, composition overall to the them digital by linking in merit visual shortcomings as seen traditionally triangulations, individual surface main the of to faces for triangulation blocks the These image. of use overall them as building individual visual and within the visibility initial forms the hard preserved and soft intentionally of artist The appearance environments. the digital between relationship the surface on three-dimensional focused from that developed studies images of number a of one is No.7 Reality of Texture emerge uncertainty. can probabilistic of aproduct be can Stability certainty and states, components. chaotic of interactions from anonymous of collage a from emerge can individuality where within nature paradox is This and readings apparent deeper science, a revealing commentary, visual an to element. translate luxurious scale, asoft, larger properties: a opposite the on with can, object sharp) (being property distinct one with objects multiple of that an accumulation contradiction the It apparent captures opposites. visual juxtaposes study This Statement Artist
Computer graphics 20 inchesx1inch Texture ofRealityNo.7
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332 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG WALL-BASED WORK photography, painting, drawing, and natural textures. natural and drawing, painting, photography, printmaking, manipulation: digital before raw materials for were involved preparing media traditional Photoshop, Adobe in created were files digital final the Although Statement Technical human. “being” via nature true my expressing of process a is creation artistic words, other In forgetfulness. self- and self-unconsciousness, emptiness, artless-art, of reach to moments attain transcendence, to attempt an is art my of core the At me. enchanted has art making and of creating the process conceptions, and techniques various Beyond heritage. human splendid the explore and techniques, new learn new a me problems, gives visual solve which tome constantly challenged nature, also It has life. on true perspective my realize to me requires artwork Creating space. secondary adeep, into windows magical through and images my at look to color viewers my want birth I gave for images. the to that concepts spirit, the own visible my making for of and image, sake each in the arrangement for artworks expresses create that I language ideas, visual universal personal philoso a and art Developing of aware cultures. am both I from world, phy Western the in living artist Chinese a As emptiness. and existence variety, and one several ness transience, in and eternity interacts between are that dialogues These communication dialogues. visual collective a form images My reality. ulti the mate toward intuition and perception Ch’an, present my about expresses It Zen. experience as known spiritual my reflects series Mind Zen Mind, Ch’an The Statement Artist [email protected] West LongBranch,NewJersey07764USA 400 CedarAvenue Department ofArtandDesign Monmouth University Jing Zhou
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334 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG PAPERS ART [email protected] Belo Horizonte,Brazil da UniversidadeFederaldeMinasGerais Instituto deEstudosAvançados Transdisciplinares Carlos AntônioLeiteBrandão Transdisciplinarity, Yesterday andToday
1 auto-controlled machines with mathematical work inaugurated create work inaugurated to with mathematical machines meant auto-controlled research technical of union the from results as Lévi-Strauss which “cybernetics,” for anthropology; his structural he developed helpful was that and linguistics elabo for rated Jakobson that “structure” of of notion idea the the code;” establish “genetic to biology to lan migrated juridical which and guage, praxis social from proceeding “code,” and of “information” the notions biology; cellular promoted and tion organiza of physical the problem organism onto the biological who in Schrödinger, the 1950s the physicist projected raphers; geog by rejected initially was that of because and continent,” single a formed once America and Africa that impression the “had world-map, a at looking 1912while in who Wagner, gist meteorolo the field; the in expert an not was he though even Evolution of Theory the elaborated who coleopterons, of lover a Darwin, frogs; by observing electromagnetism who revolutionized Galvani, math physician the and Newton); and physicists (Galileo ematicians 17th-century the centuries; science, 16th and 15th the art, in Vesalio, and Vinci da between Leonardo in techniques and intercommunication the examples: specializa amplifying by countless proven be vertical, can closer. This them drew also it tion, made was movements: knowledge these while escape not could of Modernity narrowing and knowledge. amplification diastole, and systole by cre ated is that production a is It nature. fragmented and diverse their and unifying in place the same and knowledge disciplines those gathering other, the on and knowledge, and disciplines deepened and specialized developing and establishing hand, one the on movement: pendulum a Oxford, by characterized (Bologna, is Paris), Ages of Middle the of emergence end the the at since universities especially production, Knowledge Transdisciplinarity of Causes and 1. Symptoms articulation culture. and technology, new art, science, a among promote to and problems, and contemporary complex solve to required attitude transdisciplinary basis a the for develops it part, knowledge second the of In strategy century. 21st the a in as transdisciplinarity of advent the for reasons some show to intends paper this part, first the In Abstract ------metropolis and its expanded urbanization toward the country the toward the of tourbanization expanded its and violence rivers metropolis the of energy; for diversion demand as increasing an such satisfy Problems it. acad outside the as in much emy as proliferate and emerge that problems radical and complex are They century. new the in face we that challenges the of size sheer and characteristics the are today of ourselves. for diffusion 21st and by the century, required and knowledge production for problems, new its and world the for it, for meanings new forging are they for causes, recent to it, attributed we functions to need out of presently some point its more and repercussions the trandisciplinarity, tinguishes dis what delimiting before But 21stcentury. the that in ones proliferate the like com objects, face and to problems but contextualized plex holism, pseudo-scientific would as them, deny or destroy to not – closer them bring to internally plines disci inter- transfigures and Transdisciplinarity multi- approaches. in found disciplinary often not are principles which and methods disciplines, to of to and modifications knowledge, of profound structure in the result Contagions contagion. and interchange its in and another, in to one them, from between oscillation the space the but poles those of one in not is “method” and zation; between “exploration.” Transdisciplinarity pulveri from it toprevent unity it giving time same knowledge the at while deeper for longing between “generalist,” the and “expert” the outside between lies knowledge, what nonsystematic in and as them, disciplines between tensions the are symptoms Other transdisciplinarity. of symptoms are ciplines, by pushed beyond and something below those knowledge dis atrance.” in them to put as virulence such “with conveys disciplines through pass which view schematics, cognitive This different knowledge. and content existing at already looking of ways new to than inventions and discoveries less to owe reorganization and approximation this And society. and culture, accumula science, of their development the than produced that rather tion, knowledge, of principles the of Revolutions entific Laboratories. Bell at Weaver and Shannon by conceived theory information and anthropology; and istry, biochem psychoanalysis, by and Turing; Church 20th-century The main reasons for the existence of transdisciplinarity transdisciplinarity of existence the for reasons main The through pass which shock, and “trance,” virulence, This in demonstrates Khun Thomas As , it is that approximation and reorganization reorganization and approximation that is it , The Structure of Sci of Structure The 2
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In reaching reaching In universe. laboratorial, macrophysical sensible, and homogeneous, one-dimensional, its and physics with knowledge this replaces sover Modernity as knowledge. of worlds, forms eign medieval and Aristotelian the and hierarchic worlds, supra-lunar and sub- their metaphysics, theology, dethroned modernity summary, In systems. original their side by, out to realms be contaminated themselves allow and with, interact to forced and knowledge specialized and scientific of extremes the at situated are which of all complexity, of theory of theory general or in the theory, Varela’sand in autopoiesis Maturana systems, the in seen be can hyper-specialization of of the example limits Another over the parts. prevails the whole that notion the perception) recover to field of another of (say, borders the field reaches a of study sur Advanced that them. world the rounds and beings human between relationship the and perception of of problem the to schematic stick to corporal Merleau-Ponty, the or epistemology, Gestalt did Bachelardian as in us, reminding separate, or split to impossible are that layers and dimensions of different phenomena natural and social, human, In transitory find we territory, geneticists). unexplored this or astrophysicists, cinéastes, biochemistry, videographers, and mechatronics as (such disciplines and als profession new to creating physics-mathematics), in (as discipline another one from methods transferring communi channels, new cation creating knowledge, specialized of limits the knowledge. modern of fragmentation the of opposite totality, the a as symmetrically is body the of reconfiguration the like knowledge, reunify to desire The system. healthcare West’s the found in place a medicine Oriental problem, this of Because organism. total a as body the of understanding of lack a to of led areas body the of studies isolated where medicine in case the is as was object, own its of it loss the in culminates where knowledge of ization areas niche Hyper-special century. 18th the several since especially in fragmented, knowledge of ening sex inflatable as such partners. pleasures transitory with autonomy and freedom, connection, human substantive of replacement and Mars); on “exploration” of “Jurassic conditions simulated in and Park” dinosaurs of movements the in (as games puter com in simulation and prototypes devices; of verisimilitude communication increased powerful increasingly spaceships); and satellites, telescopes, huge robots, platforms, oil maritime appliances, resonance magnetic missiles, (namely tools sur gical to armaments from artifacts, more-technological ever of construction Wars; World Second and First the of since nature warfare changing the psycholinguistics, bioinformatics); and biochemistry, geo-processing, mechatronics, in (resulting technologies and approaches, information, conflicting often of overabundance the crisis; environmental the globalization; of effects economic and cultural the manipulation; genetic side; In its vertical dimension, hyper-specialization stretches stretches hyper-specialization dimension, vertical its In deep and development the to refers reason second A ------Pela Mão de Alice de Mão in Pela it puts more Boaventura as study here, of stake at is What objects appropriately. own their their by, renovate to contaminated be surroundings, themselves to let universities and for with, essential interact is it that recognition the is narity sea the them. of between vitality and exploration the to crucial is islands the in circulates that life the as just interdependent, are they since must live with the disciplinary, the The transdisciplinary islands. suppress transdisciplinary should we that mean not does the it them, between to sea lead that islands disciplinary creates knowledge of deepening the although However, applications. practical its and technology by imposed accen pressures by was tuated this knowledge; non-disciplinary and disciplines toother itself opening determinism, and reductionism modern was to forced away break science from universe, astrophysical the exploring further and levels subatomic and microphysical action with other scientific and extra-scientific fields. 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336 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG PAPERS ART assimilation of external culture and knowledge, and allowing by them. allowing contaminated to be itself and knowledge, and culture external of assimilation for conditions the create to as so structure its reviewing fore, problematic: academic-scientific between is also knowledge and cultural and extra-academic relationship knowledge The with and strain. partially only great absorbs academy and the art which of fields culture, the in notably most knowledge, disciplinary to non- human knowledge the disciplinary on opening and social, the and sciences, those between interaction is focus the Santos, Boaventura and Jantsch to sciences; disciplinary mal informal. and formal and unconscious, and conscious imagination, and rationality unknown, the and known the disorder, and order of the concepts hierarchical disciplines between frontiers global, of system no stable total, this to added Paul Patrick 2000, In a within those disciplines.” total between system, with no frontier stable connections those place would [Piaget] researches, specialized between reciprocities satisfied or Not interactions time. “finding with the at discussed being relations interdis ciplinary beyond go could which model, transdisciplinary the of in 1970. Nice proposed Piaget University At conference, this the at held Interdisciplinarity and Pluridisciplinarity on Seminar International First the in Piaget by Jean Vinci, coined was and recent da Leonardo however,is “transdisciplinarity,” in term The Goethe. and Alberti, Romanticism, in and found be can Renaissance It new. the not is attitude transdisciplinary The Culture and University, Transdisciplinarity, 2. Occident. the of regions marginal and periphery the in especially now, evident more is environment the and culture of hecatomb total the and of misery, destruction, presence The world. the of parts most reaches never that progress progress, of ideas with mixes that ideal civilized the nowadays: the of evidence against savagery, the contra-appeal transdisciplinarity. In the Science and Tradition Congress (UNESCO, Paris, Paris, (UNESCO, Congress Tradition and Science the In there implies, to the university transdisciplinarity Bringing institution. the of periphery the toward pushed more and more be will it whether or identity, its loses it whether consequently, and, knowledge of management the in rules present the to bends culture of field the be whether seen: that can already the more, to imbroglio reinforce and more tends, of life the university academic the daily organizes that agenda the Therefore, university. the within themes the cultural and arts the for losses inevitable with assimilate, can versity uni the of structure exactly bureaucratic are heavily the which fields with ones the scientific the with associated values the Well, for the between interaction the is focus the Piaget, For transdisciplinarity for reason last one here out point We
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- - - - discipline, culture, and practice selects to expose to the “con the to expose to selects practice and culture, discipline, each which that is translate to possible is What recognizable. make to bound are we that practices spaces and disciplines neglected those in and silences, lacunae, are there could although that translations translatable, inherently is broad everything Not them. recover entirely receiving from them prevent practices social-cultural and disciplines, reality, of levels the of diversity and multiplicity The theory. general a of impossibility the of theory the on consensus transcultural the is translation proprieties. emergent new the and tradition science, and art invisible, the and visible the between interchange, and change dialogue, of commerce, transport, and navigation of migration, of inter- translation, or semiotic inter-lingual of work a as transdisciplinarity consider general a theory or method a not is it Since achieved. not is “trans” the which without aggregation and articulation for possibilities the them, between pos operations hermeneutic and defining alliances sible potential, interactive disciplines the evaluate the to between needed is intelligibility mutual reciprocal, impossible. is This “translator” the opera of work the metaphoric which even without or tion semantic the and concepts the the meta-language, language, the third them, between the ligibility with intel proceed reciprocal the build to to where and how translation, of exercise relevance, disciplinary of lan guages and discourses the navigate, to which within islands the edge, we have to to keep explore, in sight which specializations knowl superficial and generalizing, holistic, globalizing, divine, universities. new-millennium our by extension,” proposed Santos for “inverted Boaventura these knowledge,” of “ecology the knowledge. example, for other imply, would and It knowledge, non-disciplined ciplines, dis those beyond is what toward knowledge, areas of non-scientific with dialog a on carrying by itself asserts trans disciplinarity” “strong Piaget, by proposed transdisciplinarity” “weak the and interdisciplinarity from Differing discipline). our ours to to and contrary truths and ideas the (to tolerance and able), unpredict and unexpected, unknown, opening the of detours), acceptance (for possible (against rigor three: are attitude” to “transdisciplinary which that for from bases The place cultures. other the privileged judge no is there transcultural that is sense the It in experience. spiritual arts, and humanities, poetry, with literature, sciences exact the reunite and surpasses and them, through passes what to all them open to but This laws.” disciplines, other and several the todominate logics try not does attitude different by ruled reality, of levels differ ent acknowledges “trandisciplinarity Portugal, Arrábida, held in In Transdisciplinarity, life. of of Congress World meaning First inherent the in the 1994, find and 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objects tosame the applied view a new in tofound be and is advent but, all, above freshness of informatics, the progress successive with succeed that those like instruments, or not of in lie does the new advent technologies that novelty And trans-view. of between concept the enriches problems new old to adaequatio a approach or problem as new a Creating understood reality. and truth representation the to contrary and describe, than latent more out, kept point and were indicate They that inoperative. visions and worlds emergent ent pres they as truths, produce function this following concepts of sense Greek the toIn life. come concepts, can discourse and meanings, new which lati within meanings, horizons, truths, and tudes, other unveil to stem they which from They exercise. concepts specific the mold to transdisciplinary beyond” “go trans-, dis while must, the the and from concepts resulting the in courses pursued be must that quality begins. knowledge disciplinary individual of ship the where from port the in than point arrival a common of horizon “guessed” the in more lie action transdisciplinary of fundamentals The point. starting the than more to arrive, want we is time where “liso us in departure that the anchors what suçuarão,” in suggests Rosa Guimarães writer Brazilian as and desert, the across going to risk necessary is It safety. ciplinary toon that is rely dis satisfied knowledge and challenge agitate dere other. the point with encounter tothe common itself togive which the from identify to intending field, disciplinary inal it. convey that liquids of plasma the to and talking of polyhedron , “stretch toward”, is the proper attitude for the trans-, to trans-, the for attitude proper the is toward”, “stretch , There is not a general methodology, but one that is is that one but methodology, general a not is There concepts and properties the fecundity, its to addition In the is knowledge” mold and fecundate to “capacity The than rather to forward view leans the orig The disciplinary aletheia Inten ------, 6. 5. 4. 3. 2. 1. Footnotes problem. given any to solve apt is that net general a not and disciplines, the between sea the from object the to conforms that net economic an it sider con we Finally, agenda. the in knowledge and problem the of resolution the direct and to material which available with on bridge a context build and problem specific a is There ences. Fenati, Ricardo. 2006. Cultura e Universidade: www.ufmg.br/dac eUniversidade: Cultura 2006. Ricardo. Fenati, UFMG. of Architecture of School the of Directory Academic the by promoted 2006, May 29 knowledge”, of arc “Architecture: UFMG in Architecture of Week 3rd the in session, summarized and oral an in exposed, were reasons Those cienciahoje.uol.com.br/48486 Babel: de Biblioteca ea Borges Luís Jorge humano, Ogenoma 2006. Sérgio. Pena, www.arq.ufmg.br/ia Arquitetura: Interpretar In: Eletrônica. Teoria Leite. Antônio Carlos Brandão, see biombo;” um de “a dobradiça as it conceiving and architecture in logic that on Working 49. 2002, Cortez, Paulo: São ensaios. outros e saberes sete os ecomplexidade: Educação Edgar. Morin, See theory. architecture and art, history, teaches and Horizonte Belo Gerais, Minas de Federal Universidade da Transdisciplinares Avançados Estudos de Instituto the of director-president is author The Brazil. CNPQ/ with partnership in developed Republic, and Humanism Architecture, project research the in work our of part is essay This
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338 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG PAPERS ART Belo Horizonte,Brazil Universidade FederaldeMinasGerais midia@rte Laboratory Professor andDirector Heitor Capuzzo Building PossibleDreams
and respect for our planet and its fragile resources. These These resources. fragile world. its digital our inform must and values planet our for respect and world. media strategies corporate by the the used of symptoms the of some only are human of experience spectacularization the and life, with increased domination. disconnection viewpoints, of economic plurality of decreased system analog Misinformation, for multifaceted them a and preparing wars destruction, virtual with people world. physical the from nected discon is experience life our level, highest at its level of destruction current the of With continents. destruction of exploited that type eras the tocolonial return a involution, of kind a is revolution media digital corporate The focus. less and diversity less has world the and impoverished, is heritage human pens, human “analog” the of understanding experience? limited our worlds of artificial with proof fascination the Is environment? an artificial in life recreating by better ourselves know to potential the Is there cultures? and of life understanding our increase media digital Do exclusion. and inclusion film- humanistic for of potential the agendas and of evidence find we – visions governments and the corporations, makers, – century previous the images moving in of history the at Looking as century. 21st life the on in effect strong a such had media have before Never Abstract Our analog lives need analog values connected to nature tonature connected values analog need lives analog Our young entertaining game, be a can negative media Digital it hap When cultures. toand destroy It control is possible - -
in which motion pictures were used to represent social utopia, utopia, social to represent used were pictures motion which in experience social large first the was cinema the for role central eye.” as This a “mechanical to camera the moving referred era, film avant-garde Soviet the during mentors Russian the of one Vertov, Dziga ideas. abstract visualizing by but vision, our enhanc ing by only not to space, and believed time was synthesize form, to way a art be important most the be to sidered system. corporate the and being human the of between the example dichotomy is loser. a Chaplin powerful a was character cinema famous most the that coincidence a in andhistory,itwas film unique is not audiences with empathy His system. the by be rejected always to was but hard socially tried accepted who outsider, an was social tramp and The life exclusion. modern about metaphor poetic and powerful a became tramp, particular the character, their Chaplin’s of Charles imprint worldview. the bore films their so works, their control to power the had artists film famous some course, Of concept. this transcend that examples many find we although Films idea were of made products, like entertainment. industrial to the connected was it where US, the in industry international cinema. documentary of classics considered today are films these of Some West. the in life urban from far people and countries about our knowledge expanding cultures, native films and filmmakers between These encounters multicultural documented civilizations. and places exotic to devoted travel exploratory diffuse and toinform instrument important an was medium visual The expeditions. those of some recorded films sponsored trips around the world, and pioneers of documentary perception. our of complexity the with to deal us helped and vision of field our expanded devices mechanical These ments. on their research and human move focused animal Muybridge and Marey sun. the across 1874transit Venus’ study and ter the with perceive to eye. human impossible were that view of points ing reconstruct by deeply tomore was phenomena Étienne-Jules natural goal understand their Initially, Jules-Janssen, Muybridge. Pierre Eadweard and Marey, as such by experiments with researchers labs scientific in began images Moving During Lenin’s era in Russia, the cinema, which was con was which cinema, the Russia, in Lenin’s era During powerful a became image moving the 1910s, the After societies geographic of century, the 20th In the beginning regis to revolver” “photographic his used Jules-Janssen - - - - - better yet, people with critical points of view. 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European countries countries European coup. military the with themselves allied governments foreign when destroyed were society a just more of dreams their but democracy, of enemies the against to fight volunteered army.the world around Youngthe Spanish people by d’étatorganized coup a by overthrown was majority, cratic by a demo elected government, democratic a left-wing where shock War, Civil first Spanish the in was The ideas these of organization. confrontation ing worker of manner all aligned against was agendas aggressive and age conservative new a radical of and Revolution, Russian the by traumatized Europe was communism. with synonymous were inclusion social society. equal a new and more of constructing process in rating the collective collabo where networks, in connected spaces be to need would new everybody were cities Modern way. affordable and organized an in home the in food having of miracle the handle how and to fishermen, of life daily the about processed office, post by the letter a of trajectory the about to telephone, how the workers use teaching narratives, didactic and careful ing present in succeeded Office Post General the at Grierson by inclusion. social for tool apowerful as used were media which in filmmaking, social and experimental of example rare this of to Cavalcanti be Alberto part son artist also avant-garde invited Grier international experience. new this of part as careers their best Len Lye,began and McLaren the Norman as of such filmmakers, Some experimental society. industrial into modern people working-class integrated mov productions workers Grierson’s docudramas, and country documentaries Mainly of cities. large into contingent ing huge film the using educate images, to moving for strategies different proposed structure. economic the in any changes fundamental of making kind without economy, with national deal the to of together reconstruction worked industry film the and ernment gov The of policies. these of of the popularization the symbols one was Capra Frank filmmaker of work The Christianity. and charity, tolerance, for com appealing films film feature major released and panies crises, social resulting to the workers control and help capital between contract new a for strategy controversial a Deal, New the proposed industry. Roosevelt major President a already was cinema the Depression, Great one. original the than convincing more appeared “clone,” who in actor.this believed Stalin a Gelovani, Audiences professional called they what of “counter-revolutionaries.” or full Russians,” “anti-patriotic secretly were the prisons on since only but screen, were, they United production. increased for Stalin’s requests to hard fulfill working and singing countryside in the communities happy presented films Stalinist-era control. social for tool powerful a were images moving people, cating But in the 1930s, words such as equality, collective, and and collective, equality, as such words 1930s, the in But supervised and produced films of cycle educational The Grierson John filmmaker England, in time same the At the to led 1929 of crash economic the when US, the In Mikhail by played was Stalin films these in Ironically, ------
sively cultivating fear and panic, and creating a permanent permanent a creating and panic, and fear aggres cultivating public, sively the misinforming propaganda, ideological of of tion the War.Cold transmitters In the US, became the media beyond was atrocities Nazi the comprehension. human of scale unbelievable The words. in described be cannot sequences of some effect. power The special or manipulation of kind any without presented Russian and edited, taken, were or images all that US certifying the governments either by signed document formal a with Both begin of films invasion Russia. the German during Soviets the about against atrocities Nazi screened the and camps were concentration Nazi documentaries two war where German of criminals, trials accepted Nürnberg the time in proof first the documentary as for were images moving rigorously, War. World Second the in experiences by their and traumatized atomized been had who people of millions of the citizenship rescuing process, inclusive an as media use to was goal his Again, Board. Film National the developing in leaders main of the one was Grierson John and cinema, for office a national strategies. by government controlled always was facts the could filter to Editing what shown. be not controlled could and rigorously war the in involved all nations reports, these of power the of Because conflict. the of ing understand a created virtual the and cine-news world, around years. horrible and indelible those during captured were time of our images repulsive most the of Some massacres. gas-chamber of victims of the reactions registered cameras research, scientific of justification the With the and Holocaust. propaganda, of racism, an instrument it, became media that supported corporations the international and government German the of hands the In people. innocent of millions of murder mass the possible made theater evil this and Riefenstahl, Leni as such filmmakers professionals of propaganda talent and cynical the of result the was “truth” The facts. the of spectacularization the for meticulously rehearsed propaganda. of minister his Goebbels, Joseph by controlled completely were media German the fall, the became Hitler in dictator history, most and powerful from 1933 Europe. until his down in starting was that conflict main lives. destroying and process democratic the disregarding was power economic way the international about warning as a rather but propaganda, as used not was film ple, exam In this rebels. Spanish the for funds raise and sympathy of communism. dangers perceived the and rebels the against fight military Spanish the helped quietly Russia even and Germany as such The The post-war would as period be the remembered escala information all controlling were governments Although create to decided that countries the of one was Canada World War II was on displayed of thousands movie screens and planned were Events era. new a entered thus Media the for rehearsal macabre a was War Civil Spanish The international generate to used were films Documentary ART PAPERS ART
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340 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG PAPERS ART and improved over several decades. Spectacularization Spectacularization decades. events, media several high-impact in interest an it with and over increased improved and dictatorships. the during production television for strategies media corporate as mainly Such developed were control. techniques social a overt as media of idea the with connection strong a had not has America Latin in cinema the history, this of Because absent. totally was democracy when time the for euphemism a years,” “black those in a survive and as resist to way strategies narrative metaphorical develop to filmmakers led censorship strong afterward, Soon sovereignty. for desire the 1959renewed in government revolutionary Cuba’snew of recognition to international way The murders. important political many so an resist became media independent that and during time, nations America Latin many governed tatorships dic Military countries. these in intervention US against made gun” machine films aAmerican toto Latin refer used as adjective political the was “Camera 1960s. the in weapon as device virtual a this to referred filmmakers Latin-American 1920s, Brazil. including countries, many in nationalist filmmakers the influencing approach, transcended that aesthetic an proposed ists, art talented other many so and Germi, Pietro Fellini, Federico Visconti, Luchino Sica, Filmmak De Vittorio identity. Rossellini, own Roberto like ers their reconstruct and understand to Italians helped Cinema era. Mussolini’s during production ture movement fea bourgeois of emptiness the neo-realist against reaction strong a was This view. of a from point life daily humanistic about strong films to life new giving phoenix, a like etc. battles, victories, show to how angles, camera best the on instruction providing filmmakers, to leftist a mentor was he and countries, these inside propaganda as used were per that films He shot sonally guidelines. Karmen’s of use and made Minh, Allende Chi Ho Salvador Castro, Fidel Tse-Tung, Mao as such ers revolutionary their lead national about material of the media present part A large leaders. best to how filmmakers local ing This Karmen. teach world the Roman around traveled mentor propaganda filmmaker Russian by mainly developed gies, giant as such Mars. from aliens red and monsters snatchers, body spiders, through terror and emotions ened height exploited films feature several US, the In 1950s. the to mid the from 1940s Ocean atomic in the Pacific out carried were tests 400 than more increased, campaign anti-communist the While desks. school beneath covering and ducking by ger dan this from protected be could they how schools, children teaching in screened were films pseudo-educational Several enemy. the by attack atomic eventual an “edu against to people cate” tried era that nuclear documentaries The ridiculous attacks. some produced external possible for alert of state Control of media products was consistently rehearsed rehearsed consistently was products media of Control the in eye” “camera expression the used Vertov Dziga If ashes the from reborn was cinema post-war the Italy, In strate parallel its had campaign media communist The
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Vietnam the during dynamic complex a had process this At time, the same to emotions. easy recourse and exploitation, But digital media could also be the synthesis of ideas of of ideas of synthesis the be also could media digital But corpo synthesize products mass-media of kinds These idea the on tocapitalize continue shows reality Television more is equipment resources, digital of advent the With of Control again. happen never could phenomenon This ------contribution ofthistranslatedessay. I wouldliketothankCristinaVenegas forthecareful reading andeditorial dream.” they when gods into turn and think, they corporations. for is dreamers. to be need Cynicism beings Human cynical. being than better is least at it naïve, is this If reliable. still is mankind that believe to better is It view. of points new from world our understand can Marey, Muybridge. Jannsen, and pioneers film by the started of invention celebration a collective is work Bergman’s devices. special out mechanical with see to unique impossible be a would what see to into us the helping eye, of turned geography camera The infinite the face. felt human we characters, his of ups products. rate corpo of monopoly the to resistance as mainly media, digital possibilities. of amultiplicity in but patterns, inside other,not each understanding in beauty tous find aspirations, helping and and dreams, our subjectivity, our understanding be a could for strategy images and life. nature with Virtual ence experi human and reconnect our senses, expand and people, destruction. of edge the on already is earth on life and is crisis, energy tools imminent the digital by of announced nature fragile The culture. mass temporary con our of lies big the of one is era digital the in impossible is vast nothing that to idea due The environment. maintained natural the be of longer destruction no can when life” Life “real Second first the as such environments conceptual oping devel are systems sophisticated time, same the At products. in these activity strategy. isThereficial room for little intellectual super by this reinforced is nature and beings human between environ narrative and disconnection The experience. daily from games, disconnected ments synthetic war of worlds, creation and fantasy: in characters mainly lies media digital of Friedrich Hölderlin, the poet, wrote: “Men are men when when men are “Men wrote: poet, the Hölderlin, Friedrich to It the rethink is idea of so necessary images, moving we close- us gave Bergman Ingmar filmmaker the When of development for opportunity fantastic a still is There Hybrid media present a powerful tool to connect languages potential the industry, film Hollywood the to According ------
[email protected] Arizona StateUniversity Professor Emeritus,Emeritus Collegeat Consulting Services President, GlobalConnections,ArtandTechnology Richard L.Loveless and Creative CollaborationintheAgeofDigitalia Identifying NewMythsforConvergence
the body, the analog tradition, to the use of meta-tools for the the for meta-tools of use the to tradition, analog the body, the is of it the limitations Yet on for tools extending a new.from reliance the shift or old technology, of absence or with presence do the to nothing has context the change to or myth new a beings human as andfindoften hard adjust to. tocomprehend, accept, we To invent that occurrence common a “change,” is word key The When changes. meaning always. the changes, not context but the fictitious, particu sometimes a in context, exist they larized that is common in have myths What or meaning. value their have lost myths old that not imply does the Toand true. the tried new myths me, inventing abandoning a of almost sense that context, dread a one is negative triggers “myth” term the others, for Yet acceptable. you quite find I that see will some connotations, many has it since “myth,” term of the use the to clarify important is it Todiscourse, this initiate Mythmaking for ACase I: Part energies. tory participa future challenge will that transformations inevitable the embrace and to trust and one’s imagination, through living to comfortable be to and prepare we imagine, can’t even ones The moments. changes, rapid of to adapt to stacking individuals prepare to the is in challenge learning and simula living real-time of tion continuous through forms expressive and human sensing/feeling of into all enlightened evolves creation an Such enterprise beings. to unique process design discovery on-going an and is myths new of invention the that belief situational a but shared of ingratiation, sense a acquired self-bestowed narcissism, with confused be to not is practice This systems. belief and understanding human all of development context, to the this essential are they we are, who In about only not are myths total themselves. sum about believe the they as myths the exist of institutions cultural and educational, that business, in exercise I scenario: courage. another propose group elitist an merely is perpetuating, worth be may agree all one that we vision, a shape consensual will or seminars ences, confer tanks, think endless in participation our that To believe folly. sheer is year or month, week, next the beyond innovation To of tothe that future it technology is predict assume possible Abstract
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Resurrection Blues Resurrection which in country the running general repressive the of cousin a is Henri character The a blessing. than rather a be curse can Blues play, Miller’s Arthur from excerpt following the In Feeling and Imagination of Nature the On II: Part growth. personal nourish that to practices leading behaviors, preferable and probable, possible, toimagine ability our with synonymous and to meaning of essential discovery are the feelings the that is Thus perpetuating everything. worth myth feel first to ability one’s is from it foremost appropriated and inherent is experience, one’s of Meaning nature mean. visceral the facts in the what on but facts, on based decisions make not do beings Human best. at minded simple- is seriously taken when implication Yetthe decisions. important making when facts ignore to not motive, their stood under I business, our tosolicit trying firm investment some for strategy marketing a was this that Recognizing feelings.” your in your the on investments based future the facts, not on based perpetuating?” worth Ifind that one myth, anew to invent enough daring or traditions, accepted from language received the on based concept/premise the “Is question: a of form the in put response, My initiative. research collaborative particular experience. of forms virtual or real either as outcomes the communicating and archiving, creating, for processes and procedures new inventing implies context this in Practice practices. new perpetuate myths new that follows It “imaginary.” the and “fanciful” the of celebration a as traditions representa mythical the toimply of “myth” term the use I tion. means digital through experiences human all redefine to potential the has that procedures new of invention pain becomes a song. The hall of the imagination is really where where really is imagination the of hall The song. a becomes pain of scream a and painting, a into turns example, for death, hall where great a is imagination The imagination. the of realm the into us deliver to than purpose other no has – walk a for going just or down dressing up, dressing movies, TV, opera, sports, – activity human most fed, getting from apart now, convinced am “I Henri: “Make stated: that mall local the in sign a saw recently I I I use toif what criteria asked am I often a decide fund will , he presents a dilemma: that for some, feeling everything , a he that for everything presents dilemma: some, feeling takes place. takes Resurrection Resurrection ART PAPERS ART
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342 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG PAPERS ART may be the first theory of everything: everything: of theory first the be may that structure explanatory coherent a form together taken ries that the He four suggests theo of and the computation. theory knowledge), of theory (a epistemology evolution, of theory the mechanics, quantum among relationships addresses Deutsch Implications its – And Universes Parallel book, his From Collaborations? Creative Into Morph Time, in That, Conversations Transdisciplinary Nourish Everything of aTheory Might How III: Part to consider. myth new useful the of may be a positing of everything as a theory the universes of multiple notion celebrated, is ideals and of ideas convergence disparate the where collaborations transdisciplinary participate to in choose who us of those For everything. assumptions about our challenge or contradict, validate, that ones images: perceptible into meanings shared integrate and alize, gener recognize, experience, to us challenges beings human peerless or unique be to ability Our one’sfacts. than assimilate to essential ability more, not if equally, is feeling human of nature the celebrating and about knowing that collaborations suggest would creative of context the in vision aesthetician’s feeling.” human of forms that are tell us expressed what we the know about and the nature imagination through senses the by and for created “art is that Arts” the in Processes “Creative on essays her from discover we Langer, Suzanne philosopher/esthetician, the of understand. don’t we what of much probably and understand, we everything – perhaps aesthetics and politics ethics, mathematics, and logic, not philosophy, of reaches far and the potentially here, also but science, in only experienced and unified being is that physics, in only not see shall we what for … subjects all but subject, ticular par a just not toilluminate tend automatically will idea new Every realm the to playwright the of sensibility the from Moving peace.” in us leave and him until face tokill No and down – him hunt better shame! up with the we shriveled in us stare would shallowness unfeeling dead our we turned, Wherever collapse, disintegrate! marriages and would disband, armies Governments spread! should life for of kind reverence that if … Imagine everything. feels really still he because saddest the crucified; and down be hunted must man this is why hearing … This song of died or battle, a about reading from a leg lost ever has one no – it of drained really is that but music anguish and mimic words and images with oneself surround its in stead and door the at sorrow real one’s leave must one hall that enter to – thing one for except right all is this and live, usually we
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------ily etched on an electronic chip, what we see with our eyes eyes our with see we what chip, electronic an on etched of ily sheet a temporar data by lit is pixels of array an destination or paper the light-sensitive Whether form. virtual a rience expe visually we can space that into introduced is object an when Only dark. to totally be the appear still would it through aperture, tiny void that into look could one if light, in box bathed sealed is this of interior the Once aperture. the enters light imagination. our of fruits the of enables mind, the light interior either the or is within, from light ourselves the of artificial: or outside natural from experience we light The Language Symbolic and Meta-Tools, Light, of Nature the on Tracings IV: Part collaboration. creative of secrets the redefine to opportunities greatest the with us presented has that tools for metaphors invent to systems language symbolic of dence interdepen the to reality to form give that tools on reliance a from shift gradual a this is it for that us contend would I with yet time, long been has digital to analog from transformation The “next.” what’s with tune in more and new the on focused to less be anyone to is offer, to happens it preparing whatever future, for the embrace challenge of The This, news! us. old with is die course, or grow create we and institutions individuals, the as thus die we or grow either we beings: human all for transformation and assimilation personal of process a is It body. one’s in living of reality the from detached mind another of or quality one of condition a not is creativity of The practice natural. quite find might we that reality artificial of form a may constitute ties of collaboration mind, new regarding myths quali other of myriad the or mind” “scientific or mind” “artistic con less.” and would less with more and more we do “to tinue that prediction Fuller’s which touch,” Buckminister less reflects tech, “low into morphed has touch” high tech, “high of notion once-credible The experience. visual and olfactory, sound, mediated all and Blackberry, your iPod, your If with you this myth, it’sdisagree time to your scrap cell phone, experience. of form human that it is not an unnatural recognize to important is it life,” than “other is that something imply may reality the artificial While is why? so, if and but having, worth “virtually,” experience or “viscerally” something experience to we is not want so whether much in to the new millennium living states: Deutsch A camera is a black box. Nothing is visible inside until until inside visible is Nothing box. black a is camera A of qualities in self-similarity of notion the accepts one If adjust we as asking be should we question the seems It and fiction. and art mathematics, imagination science, human experience, of external but computation, for only not basis the is It reality. of fabric the about fact important an is possible is reality virtual that fact The environments. physical of behavior the simulate computers in which is not a just technology reality Virtual 5
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the business of educating artists. Yet, in time, the nature of of nature the time, in Yet, in artists. institutions educating by of accepted business the initially not was of that form new practice a in art ushered along, all doing been have beings human what for metaphor a within, from light the and without the from light and containing capturing occurred: change digm craftsman. a para medium, a new as or introduced was photography sculptor, When painter, a as was light functioning natural to tools, of essential world analog the In digital? to log Dent. by Walter Photo MIT, 2002. Auditorium, Kresge Memorial, Kepes Gyorgy the for performance athree-minute from frame asingle is image The without. from light the and within from light the between point acrossing body: silhouetted his around spaces the articulates light blue the structure, the into moves he As back. to his parallel body, his from cast is light laser blue of Asheet “optic.” agiant as designed he setting architectural an utilizes Riskin Seth artist Performance, Light Blue In imagination. your of light the in next. The exists only and real image what seeing you anticipate seeing, currently are you what earlier, seconds few a saw you what variables: of set composite a forms but moment, that in on is images that screen text not lighted and/or dynamic frozen the of viewing the experience is may at that be beneficial: work factor Yetanother well-being. and have health on can effects that long-term intervention an radiation, to exposure minimal some charged, come may imprints those a With skin. your on itself but prints space, it see; only not you that neutral variables light of set a shifting dynamic, not is This environment. light artificial electron-charged an to exposed are we screen, imagination. our of fruits the brain: the in encoded etc.) is cones, and (rods So what are the implications regarding the shift from ana from shift the regarding implications the are So what computer a or monitor television a experience we When
- - is possible to have many such sonic spotlights in proximity to proximity in spotlights sonic such many have to possible it is Furthermore, space. limited discrete very a on focused is it when spotlight a of a beam the of through event transmission sound permits particular that device a spotlight: sonic a of invention the emerged has of there recently, More aspects research. some that in participate to fortunate was I light. white in sound transmitted and recorded first Davis Joe fellow artist MIT by 1980s late the in research Earlier holograms. to produce light white natural of use the to lasers of use the from shift the to analogous become has technologies sound-related of science and photography. art lensless to create together came between collaboration time, in point that At displacement. lateral of figure a form; light virtual dimensional to object as be a about a experienced three- information three-dimensional enabling beam, reference a and beam working a parts, two into light of beam a splitting by possible construction made was their metaphor: another introduced holography State University’s Institute for Studies in the Arts. 1994-95 Arts. the in Studies for Institute University’s Arizona State at Director ISA Loveless, Richard and University; State Arizona at James Scientist State Solid Mayer, University; Cornell at Zissovici John architect and Taft Stan artist visual were Collaborators experience. movement interactive their of history the archive that images visual record postcard-size as cameras video artifacts Robotic-controlled field. light invisible an within create that patterns experiences interference movement perform participants reflectography, infrared Utilizing to make visible. technology things using beings human of tradition analog the reverses Observation Field Bright For More recently, we have learned how the development development the how learned have we recently, More hs ol b oe f he ies wud noprt it a into incorporate would I ideas three of that one decided be I would space), this outer polluting sense, a were (in we that launching satellites of quantity the about concerned was who expert an by presentation major a to listening After ence. disparate meaning. about connect myths new create turn in to that experiences potential the have that dreams initiate to capacity the have one’s all we in that believed He embedded experience. past indicators to counterpoint a as dreams banker, former a Ott, I John with time, routinely that communicating was During D.C. Washington, in conference Society learning. experiential of forms new for applications of myriad a has that sound of experience transmission and the about myth new a created time, mind over have, scientific and artistic of qualities how of example prime a is This patterns. interference any experience without spaces sound multiple to unique a narrowcasting each other, each u lts o ak o h Wrds uue oit confer Society Future World’s the to back go let’s But Future World’s a attending was I ago, years 25 Some were limitations to the interpretation of of interpretation the to limitations were procedure there that believed The He simple. fairly was procedure. the devel oped remember can’t I name whose as doctor to medical A referred Dreaming.” “Creative process a in engaged imagined. was health and about the importance of natural light light natural of importance the about animals, myth new plants, a Thus beings. on human and effects its and light artificial of study the to essential as regarded highly be to scientists proven by and tested, duplicated, were of findings his time, In absent. spectrum were light full the of wavelengths light certain of absence the where sources artificial to exposure by excessive caused was hypothesized mal-illumination that in further foods Ott diets. certain their of absence the to due but is eat they what of it because not malnutrition, from when suffer say, people to is That “malnutrition.” to analogous be certainly could tion” “mal-illumina as to referred he what indeed, that, photography time-lapse of his use thorough clearly very strated demon had he mind, my in Yet folly. sheer be to many by theories considered were his training, by artist an nor a he Since was scientist neither health. the our on regarding light of artificial effects negative proponent eventually leading and a filmmaker, amateur During that same time, I was was I time, same that During ART PAPERS ART
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344 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG PAPERS ART nrpeera rsac ad eeomn ta die inno drives that development and research entrepreneurial real-world include should they institutions; educational to ited lim be should collaborations such that imply to want not do I everything. understanding for paradigms new of invention the toward collaboration creative of forms new in mind, engage of we that qualities different of convergence the of recognition there that wherever changes Tothere, get communicate. we way the in inevitable occur will those embracing and accepting for context personal a discover to imaginations, our through live to how gracefully more learn to is notion counter-intuitive The that is will mations occur for the an transfor in most part exercise futility. ultimate the and innovation technology of future the predicting that notion the examined have I essay, brief this In Summary reality. digital the in collaboration and convergence discovering for mythmaking of function the of example a primary provides to this me chips.” seems It con sili on electrons massive by relatively conveyed today are that ‘zeros’ and ‘ones’ digital the for substitute can light of Pulses of technologies. range a wide to revolutionize potential the has light universe, the in energy a of form existed fastest barely “The ago: that decade field a is light” “slow of field fast-paced the that say to on goes article The image.” harnessed an store to those pulses using and pace leisurely relatively a to light of lengths wave slowing of they goal that long-sought a say achieved have “Scientists 2007: January in Post Washington the in reported As light. with code binary the of limitations the break to emerged recently has light, the down slowing myth, a for new potential the Thus pathways. binary into multiple tion speed: on informa of bits concentrated increasing of movement the was to accelerate how research earlier most in effort the time, that on Labs, Reflecting network. Bell my in at was whom of scientists one some to reach beyond seemed that and achieve to how yet computers perhaps, myth drive new A would technologies. other electrons than day rather some that photons dream my described I other, each with sharing In ideas conference. another yet at meeting were who ists light!” with code binary the Break light! in everyone awakened with code I binary the “Break chanting: night by repeatedly house the the away of middle rooms the several In his. couch from a on sleeping night, that house friend’s a at staying be to happened I connected?” be health, our affecting body the through cycling light artificial of effects the about ideas Ott’s and computers, in microchips transis and tors, through cycling electrons of nature the I universe, the question The possible. around cycling of satellites were clutter the was: can “How repeated connections what head my inside silently in repeat and asleep to of the time falling close quietly bed lie to was practice The process. creative-dreaming Some years later, Some years in of a I network futur small participated is, I suggest that we develop new myths regarding our our regarding myths new develop we that suggest I is,
------5. 4. 3. 2. 1. Bibliography You Moon.” the Can’t See It’s Thundering When Come “How’s title: Her Harlem. in a girl eight-year-old an by film experienced I when this own learned our first I discover everything. of and theory myths, own our create connections, own our make to potential the have all we suggest I context,” shifting “the in is pudding the of proof the If spirit. of human the nexus the but identity professional particular a sole of the province not are mythmaking. imaginary to and fanciful attuned the that more know we Yet are procedures and cesses pro their that apparent seems it since collaborations, such in and agencies, not-for-profit etc. government, setting, corporate the in vation Inc. New York. New Inc. Group Publishing Doubleday Books, Bantam Mind, the and Light of History Entwined The Light: the Catching 1993. Arthur. Zajonc, 20,2007, 32. January Republic, Arizona reprint, syndicated Post, Washington benefits, technology holds light slowing in 2007. Rick. Advance Weiss, Blues. Resurrection Arthur. Miller, Division. College MacMillan 1957. Art, of K. Problems Suzanne Langer, Inc. Press Penguin The Lane Alan Implications. its –And Universes Parallel of Science The 1997. Reality: of David. Fabric The Deutsch, I fully admit to a bias of including qualities of artistic mind mind artistic of qualities including of bias a to admit fully I - [email protected] USA SantaBarbara University ofCalifornia Department ofFilmandMediaStudies Lisa Parks Around theAntennaTree: ThePoliticsofInfrastructuralVisibility
ntlain sae n lcl euain cmuiy delibera community regulation, local and state installation, and fabrication of processes of symptom a as understood be can tree antenna Each relationships. socio-cultural and legal, industrial, of array an in implicated is it but signals, relays only not disguise in tower This plastics. botanical with tower steel the of severity the soften to designed been have that objects uncanny these at chuckle often People it. conceal to trying of draws tree process very the in antenna infrastructure of the materiality to the tree, attention a as disguised tower cell a As infrastructure. of study the to approach materialist and centric node- more a develop to potential the represents suggest, to want I tree, antenna The activated. are they once them round form, the or of stories that the sur their development, practices physical their a network: in nodes of particular uniqueness the rela spatial overlook to tendency a is there the result, a As network. a of approximate tions to designed diagrams flow as Tree). (Antenna Potrˇc(Perma withHouseCell Phone Marijetica Tree),Unfinished nently andOlaf Nicolai Wood), (Enchanted Voit Robert as such the of work artists by towers as cell such discussing sites infrastructure with engagement affective of modes possible develop to be might it whether consider I Finally, subsi use. and they dize technologies network the about uninformed and naïve natural citizens keep the strategies of such environment, part built as and/or infrastructure disguising of By version “nature.” synthetic highly a for awareness trad technological up ing end practices such how and infrastructure hiding in flagpoles, is at stake what I minarets, explore places. hiding other and nests, birds’ mosque camouflage, tree in towers cover ing including strategies,” “concealment various describe I environments, different in towers cell examining to addition In and power. knowledge, technology, to about a set of relates concerns emergence their how considers and parks national to spaces the urban from locations explores different in essay towers of installation This strategies. manu concealment to protests facturers’ neighborhood from ranging responses in resulted has towers these of “unsightliness” The world. the of parts different across up sprouted have towers cell decades, two past the during telephony mobile of globalization the With Abstract Communication infrastructures are frequently visualized visualized frequently are infrastructures Communication ------installation without conducting trials to assess their effects effects installa their cell-tower that feared Others assess nearby. living to people on trials conducting tower without authorized installation government federal the since risks, health potential about also not but aesthetics, concern neighborhood expressed about only groups Such districts. residential in especially installation, tower protest to country the across ties communi in formed NIMBY’s (not my in backyard) groups nicknamed citizens up, sprouted towers cell As areas. suburban and urban of midst the in installed towers unsightly of disguising way a as marketed were known, be to came they as gies, strate concealment or coverings, These early country. the the across during US in cities infrastructure new the installed carriers 1990s, as wireless in began concealment Cell-tower Concealment and and placement, effects. them design, to their about attention conversations our triggering drawing in important be can extremely artists visual of work the invisible, less and pervasive more becoming are sites and/or towers infrastructure relay Since as interfaces. web used be will surfaces and objects of kinds different enter many which in we computing as ubiquitous of era an prescient more becomes literacy of issue infrastructure This systems. wireless or web, broadcasting, in tion designa that support that infrastructures the about little very know public the of members most as yet society,” ourselves “networked a describe We day. each use and subsidize they technologies network the about uninformed and naïve citizens keep strategies concealment as environment, natural the infrastructure of part disguising By “nature.” of version synthetic highly a for prac awareness such technological trading how up end may tices and infrastructure hiding in stake at is what I explore in/visibility. of infrastructural discussions provoke and trees Tree)antenna Phone Unfin integrate that Cell with House ished Potrˇc (Permanently Marijetica and Wood) (Enchanted Voit Robert by works art discuss and strategies concealment and placement. development infrastructure of effect that an as negotiation produced of are fields the considering involves then, antenna tree, the around Thinking transformation. urban and tion, In this essay, I describe the emergence of cell-tower cell-tower of emergence the describe I essay, this In ART PAPERS ART
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346 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG PAPERS ART crosses, and grain silos, among other things. One company company One things. other among silos, grain and crosses, minarets, mosque steeples, church flagpoles, ent tree species, differ like to look designed towers” “stealth so-called installed and sold have Towers Pinnacle and TeleStructures, escapes, Tre Castle, Crown Clearshot, SpectraSite, Air, the in Steel as such names with Larson companies other then, 1992. in tower” Since complaints. “tree first mitigate the devised to Arizona, in Tucson, based effort Camouflage, an in technology concealed the have owners and NIMBY Increasingly, resorted appease to groups. way a environmental carriers as camouflage wireless of use the and to manufacturers installation, of restructuring and communities. and lifestyles properties, public and private on ment equip new of installation resources, natural owned publicly of (re)allocation involves also it anywhere,” “anytime phone a on defined is have it, would to speak as advertisers as the capacity, not only infrastructure Wireless issues. environmental and economic, social, to relationship their and sites to infrastructure attention public draw they Such that in useful, neighborhood. are valued controversies a or forest protected a of sanctity nationally the violating as perceived was it when is, that – in when the installed attention public only gained “wrong place” the tower cell in The parks. or national or ground neighborhoods the in on spectrum, whether property, of control about Service. Park National the to revenue operating provide now carriers wireless private near sits. tower Faithful the Old which on land the lease to year each Service Park provide National $12,200 the topays Wireless Western instance, corporations For wireless lands. these leasing by and Service Park National the to funds well, as parks other in national occurred have installations tower Cell on lands. towers federal cell of construction authorized it Act, munications comment. public without done and installed illegally was it that stating Faithful, Old of thenear forremoval tower a petition filed Responsibility) PEER mental organization for (Public Employees Environmental environ the 2004, In distance. the in looming tower cell steel the seeing without geyser at the to look impossible was it tion, installa the After Faithful. Old Western geyser beloved the to 2001,close proximity in tower In cell 100-foot a Park. mounted Corporation National Wireless Yellowstone in installations controversial occurred most the of One areas. residential regulate to state. the Council throughout placement Siting cell-tower a created Connecticut and tricts, dis residential in installed towers of concealment mandating ordinances passed Washington) Redmond, as (such munities com Some installations. cell-tower protesting US the across communities in filed complaints formal 500 least at were there 2005, By values. property reduce would homes their near tion Given the controversies that emerged around cell-tower cell-tower around emerged that controversies the Given questions fundamental raises towers cell of Installation to limited not was placement cell-tower to Opposition
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dwell transient and unfinished of mode the and infrastructure wireless between relationship the is What homes? afford and to build citizens/workers some for is it tow than space urban in install ers to companies wireless for easier the it of is Why parts world? different in built are arrangements contradictory of kind What of, made exactly? environment urban the is What on electronic the tree. antenna transponders traverse that signals invisibly the or tower, cell the hide and/or house the struct to con used steel) whether and wood, plastic, – (brick, materials raw the globalization of age the in materiality of meanings values. property electromagnetic and geophysical of determination the in intersection increasing an a is itthathosts and of gainfor the landowner tree of symptom financial antenna the Thus desirable. or necessary as be not may income supplemental such neighborhoods, affluent more in while construction, and/or help ownership of to costs the home subsidize a to next right installations tower incen allow to strong tives be may there districts, housing context low-income the of In lands. their on towers operate and install they when owners property private compensate they Service, Park or land homeowner’s the not? 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Notes life. everyday of to cultures relation its and structure infra of study the to approaches critical new cultivating begin to possible is it perhaps tree, antenna the around thinking By life. daily of patterns of alteration and environments; rural and of suburban, urban, redefinition spectrum; the electromagnetic in of space allocation property; private and of public lease and pocket. our in vibrates or that in than rings and something our expansive elaborate purse more something as it understood we if technology the to tion rela different a have would certainly we but say, to difficult is It distribution? of signal architectures the about more we knew if change telephony of mobile day. experience each our Would phones mobile use us infrastructures of many the though even us, about surround that little so know to socialized are We 844f67beb552&r=200. 844f67beb552&r=200. com/cat/details.aspx?f=1&guid=5df351c0-98ea-4b8c-9a84- www.waymarking. at Waymarking.com of community towers Cell- Disguised the and www.fraudfrond.com, at FraudFond See com/bilder/serie1_new_trees/index.php?id=9. www.robertvoit. at available are Voit’s photos Robert of Some arc_news/031804.htm. www.nationaltrust.org/magazine/archives/ Online, Preservation Questioned, tower Cell Yellowstone of Height 2004. M. Foster, omega.twoday.net/20040427/. News, Omega 2004. Parks. National in Grow towers Cell as Silent Directors Service Park The emergence of wireless telephony has involved sale sale involved has telephony wireless of emergence The ART PAPERS ART
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ART GALLERY ART ELECTRONIC ART & ANIMATION CATALOG ANIMATION & ART ELECTRONIC • 348 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG Art Panels Art Gallery: Global Eyes School of Cinematic Arts, University of Southern California Southern of University Arts, Cinematic of School Project Labyrinth The Director, Creative Mahoy Scott California Southern of University Arts, Cinematic of School Arts &Digital Animation of Division the in Adjunct and Project Labyrinth The Director, Creative Kang H.A. Kristy California Southern of University Arts, Cinematic of School Project Labyrinth The Director, Creative Comella Rosemary Panelists California Southern of University Arts, Cinematic of School Studies Critical of Professor and Project Labyrinth The of Director Kinder Marsha Moderator courseware. constructivist Modernism, Russian and portrait; a contradictory California, in Project: Einstein symphony; Labyrinth city USC’s transnational a from Fiction, of Decay the Tracing documentaries database in practice and Theory Courseware, andInteractiveScience Transnational CitySymphonies,Constructivist Database DocumentariesandGlobalKnowledge:
University of California, San Diego San California, of University Dance and Theater of Professor Assistant Yadegari Shahrokh Buffalo at University Sorensen Vibeke Florida Central of University Moshell Michael Diego San California, of University Jeremijenko Natalie Gerais Minas de Federal Universidade –Cinema Titular Professor Capuzzo Heitor Diego San California, of University student PhD Practices Studies/Experimental Critical Brent William Panelists [email protected] Irvine California, of University Informatics of Professor Assistant Tomlinson Bill Moderator and Organizer global to issues. relating environmental art for technology interactive and graphical of use the explores media responsible and socially art, visualization, in of This panel interactive experts Global Environment andDigitalMedia
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350 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG PANELS ART Santa Ysabel Band, Kumeyaay Nation Kumeyaay Band, Ysabel Santa Filmmaker and Artist Sherbert Cedar Mexico New Fe, Santa Artist Deiter Anthony Australia Sydney, Wales South New of University The Artist r ea México Oaxaca, Activist Media and Filmmaker Castillo López Damián Panelists [email protected] Nation Kumeyaay Band, Ysabel Santa Filmmaker and Artist Sherbert Cedar Organizer intense of era this in globalization. also but contexts, post-colonial respective their in art, only their not through out played are land and sovereignty, cultural cultural/political respective sexuality, their Aboriginal identity, of issues how with and ones, new creating work esteemed while iconographies ancestral and simultaneously these to contemporary them globe, how allow discuss the artists technologies multimedia across and and from photographers, communi unique filmmakers, several groups Indigenous Representing in cultural intentions. media-making and varied issues, digital forms, of uses, role its ties: the of exploration An Indigenous PeopleandDigitalMedia
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University of Plymouth of University Phillips Mike College Hunter Arts, Media Integrated of Director Polli Andrea Technology and Sciences Arts, the for Society International The Leonardo, Malina Roger Panelists College Pomona Pinkel Sheila Moderator Forum Education Leonardo Leonardo/ISAST, Malina Roger Organizer ago. years 40 possible new-media were than and approaches different provide infrastructures technologies information-technology of planetary new The problems ways. new in engaging the is literate, technically and to scientifically green and artists, of related generation environmental new A the movements. within decades issues last the over issues these important in involved have been of artists Many change. climate and number change, environmental a development, sustainable face societies Human Art, Environment, andSustainableDevelopment ISAST I:ThePlanetHasChanged:
University of Northern Colorado Northern of University Ursyn Anna Design and Art of College Savannah Shanken Eddie University State Francisco San Wilson Stephen Technology and Sciences Arts, the for Society International The Leonardo, Malina Roger Panelists California Southern of University Naimark Michael Moderator Forum Education Leonardo Leonardo/ISAST, Malina Roger and artists Organizer of work the how on perspective directions. future and trends, new 40-year evolved has institutions a provides panel This future. the in addressed be will issues way these the altering radically now is literate, scientifically and digitally born artists, of generation new A ZKM. and Electronica, ARS Gallery, Art as the SIGGRAPH such new venues and Studies, of Visual Advanced for number Center MIT E.A.T.the the and as a such programs drove initiatives was technologies new to context science access in and trained contexts, theoretical were engineering the or artists Few ago, Snow. C.P. of debate years cultures” 40 “two the founded was Leonardo When Technology Interaction ISAST II:ArtistsHaveChanged:Art,Science,
highlighted and compared to media artists in China. China. in artists to media compared are and US highlighted the in artists media Chinese Finally, addressed. are creation art media modern Chinese with involved advancements technological and education, art media changes, form art 2000. issues, social since and cultural China as such in topics art addition, In since media of art development media of extensive the and predecessors 1990s the historical significant on focuses panel recognition. This international of capable and accomplished is that China in scene create have a reforms helped new art media and institutional economic Chinese Chinese MediaArtPreview Peking University University Peking Microelectronics and Software of School Arts, Digital of Department Chair, Associate Wang Robert University Rutgers Professor Associate Tan LiQin China of University Communication College Animation Dean, Associate Liao Zhong Xiang Panelists [email protected] University Rutgers Professor Associate Tan LiQin Organizer
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352 ART GALLERY ELECTRONIC ART & ANIMATION CATALOG PANELS ART University of California, San Diego San California, of University Dance and Theater of Professor Assistant Yadegari Shahrokh Diego San California, of University Lab Game Experimental Manager, Dragulescu Alex Diego San California, of University Arts Visual of Professor Assistant Dominquez Ricardo Diego San California, of University Arts Visual of Professor Brown Sheldon Panelists [email protected] Diego San California, of University Arts the and Computing in Research for Center Director, Arts Visual of Professor Brown Sheldon Organizer conceptual and political, aesthetic, large. at world art the in concern of particular to issues connected of conditions pres out artists grows several that panel, this work In ent from sensibility? insight artistic gain of work discourse the broad does a Or quo? service status the aesthetic in hegemonic culture a of of homogenization as such bemoan, globalization of critics local that forces of same the of some to victim fall particularities ideas these the Do by conditions? prompted are sensibilities when globalization. occurs economic What behind those with production comparable of are methods distribution immaterial and Its forum. global a to native is art Digital –GlobalArt Local Concerns
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new systems, relics of various stages of capitalism and/or socialism, they they and scales at various operate of earth, socialism, patches in different and are embedded They and/or old uses. and histories capitalism of different have of they and amalgams machines, and stages are are bodies both involve various They of infrastructures world. relics the and over systems, Networks new all same analyzed. the the disparities not and and world, certainly described variations the many be that in to convinced remain differences are panel “flattened” this of or members equalized in have contention technologies Friedman’s Thomas Despite Networks Alternative [email protected] Barbara Santa California, of University Studies Media and Film of Department Professor Associate Parks Lisa Organizer and “network” as such engage critical them. with ment and categories aesthetic of modes within new develop to and differences “infrastructure,” and of discussion variations provoke to is by the session them the of of goal appropriation The groups. tactical the disenfranchised and systems, different of visualization the They technologies, world. network of the effects of economic and cultural, parts social, the explore different in infrastructures and networks of alization on who work the visu and scholars by artists presentations features panel This populations. different serve and speeds, University of California, Santa Cruz Santa California, of University Media Digital and Film of Department Professor Associate Sack Warren Barbara Santa California, of University English of Department Professor Associate Raley Rita Barbara Santa California, of University Art of Department Professor Associate Jevbratt Lisa Panelists
h Wrd s Flat is World The University of California, Santa Barbara Santa California, of University Studies Media and Film of Department Professor Associate Parks Lisa Barbara Santa California, of University Studies Media and Film of Department Professor Associate Venegas Cristina that digital digital that
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