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This year’s SIGGRAPH Art Gallery Chair is
Bonnie Mitchell: an innovative award winning artist, as well as an
Associate Professor in Digital Arts (at Bowling Green State
University, Ohio). Bonnie sees art and artists through a fresh and
imaginative viewpoint, exploring and applying non-static and
untried variations of experimental art; then blending and combining
that art with traditional and CG art formats. Her works are not
only visual delights—they touch all the senses— which
makes Bonnie the perfect match for this year’s SIGGRAPH Art
Gallery Chair As a computer art trailblazer it is easy to see why you were appointed this year’s SIGGRAPH Art Gallery Chair. Would you please give our readers a brief explanation of your fascinating project, Experiential Extremism? Experiential
Extremism is a collaborative interactive installation artwork that
merges experimental audio and animation to create an immersive
environment that evokes the various phases one goes through when
undergoing extreme experiences such as bungi jumping. The
installation is divided into three physical areas, each
representing one aspect of an extreme experience. Phase One, the
“psych up†phase, mimics psychological and emotional
“states of being†prior to engaging in an extreme
event. Phase Two, the “event†phase, abstractly
portrays the event itself. Phase Three, the “cool downâ€
phase, represents post-experience reflection. Each phase evolves
over time, creating a unique, individualized experience with each
visit. Visual and sonic
events are triggered by stepping on electronic pressure sensors
placed throughout the installation. The sensors are connected to
MakingThings Inc.’s Teleo System, a modular input/output
circuit board. Three networked computers running Cycling
‘74’s Max/MSP/Jitter, a real-time processing
application, receive and manipulate information from the Teleo
System, creating the abstract experience. One
integral element of this installation work is precise integration
between the audio and visual elements to create an immersive visual
and sonic experience. Elainie Lillios’s electroacoustic sonic
events combined with Bonnie Mitchell’s digital animations
take participants on emotional and psychological journeys, creating
the sense of being immersed in an extreme activity. Gregory
Cornelius completes the group by providing the integral technical
and interactivity design/support necessary to realize the
project. The
user experience involves entering a large room with
semi-transparent rectangular monoliths placed throughout. By
walking throughout the room you trigger animations created using
particle systems, 3D animation and manipulated abstract video. The
visuals are projected onto and through the monoliths creating the
illusion of animated pillars. The sensors also trigger localized
audio from an 8-channel sound system with speakers placed
throughout the space. Overall the user is immersed in an
environment of abstract sound and visuals. Both Elainie Lillios and
myself used the elements and principles of music and art to create
the psychological experiences. The piece won the International Computer Music Association’s Commission Award and exhibited in 2003 in Miami. The piece has also been on display at numerous other venues.
As Art Gallery Chair, what are your main
functions?
The most important function is to select a team of
talented, reliable and hardworking volunteers with different
expertise to work with. The exhibition is a juried show and the
jury members were selected because they are internationally known
digital artists familiar with the SIGGRAPH art exhibition. Each one
represented a different facet of digital art, audio and
performance. The Art Papers chair, Paul Brown, is an
internationally renowned writer, artist and author. He selected the
reviewers for the theoretical papers, managed the review process,
and helped edit the content for publication. We have an onsite
committee that will take care of the installation and maintenance
of the work at the conference and oversee the performances and
presentations.
Most importantly, I selected the administrative
assistant, Anne Behrnes, who helps me with all aspects of the
exhibition. In spring 2004, most of the work involved developing
the vision of the show and preparing the Call for Participation. In
the fall, I worked with the electronic submission web master to
prepare the website for the submissions. In the early spring, Anne
and I prepared the submissions for the jury meeting. You can
imagine how challenging it was to review 1250 submissions over the
course of 4 days.
The rest of the spring was spent editing the artist
and technical statements for the catalog, dealing with logistics
such as the AV for performances and installation artworks, the
presentation and performance schedule, the jurying of the
animations and Sketches, the web documentation, the promotional
materials, soliciting donations, and planning the arrangement of
work in the gallery. It is a massive volunteer job but very
rewarding because you get to work with incredible artists from
around the world. The downfall is that you become very inspired by
the work you see but you are too busy to make art yourself.
How did this year’s entries to the juried art
show vary from past SIGGRAPH conferences? Was one theme (realism,
abstract, fantasy, landscapes) more prevalent than
another?
In general, there were far fewer images that dealt
with realism, landscapes, portraiture, and fantasy. Many of the
works submitted were abstract or stylized reality. A lot of people
submitted series of images, with up to 20 images in the series. I
was hoping to have more 3D still images, sculptures and artistic
web sites submitted. These areas were under-represented yet we were
still able to select some fabulous works to exhibit. There were
many interesting art installations submitted that seamlessly merged
electronics and video capture with natural and man-made elements.
Overall, with over a thousand submissions to review, the jury had
to make hard choices. There were plenty of pieces that were really
interesting but could not be included because of the limited size
of the gallery and budget.
In the Call for Participation, we included a new
category called, Electronically Mediated Performances therefore we
received a large number of proposals for musical, dance, theater,
magic, art and hybrid performances. We also incorporated
installation art back into the art gallery whereas in the past few
years it has been part of the Emerging Technologies venue.
Therefore we received submissions for a lot of really interesting
electronic installation artworks that used visuals, audio and
electronics in innovative ways. We received submissions for a large number of 2D images that were created using interesting technology or algorithms as well as digital paintings and image collages. There was a new category called 4D works (motion paintings or time-based wall hung work) therefore we received artworks that changed over time and was not meant to be seen in a theater setting. Web art that merged conceptual and technical innovation as well as sculptures using rapid prototyping techniques were also submitted.
Dreams in High Fidelity
© Scott Draves
We reviewed numerous art animations that pushed the boundaries of artistic expression using abstraction, narrative language and metaphor in creative ways. Many of the animations had a heavy focus on the relationship between audio and visual. And we received many submissions that crossed categories and merged media in unexpected ways. With such a large variety of diverse work to choose from, the jury had their work cut out for them. Overall, they selected works that used computer graphics and interactive techniques in creative ways and were conceptually, visually and/or technically really interesting.
Ray Tracings of the In Between: Tractor
Space © Shawn
Lawson
The art created using Voice over
Internet Protocol is intriguing, what is the concept behind
VoIP and how is it exhibited within this year’s
conference?
VoIP (Voice over Internet Protocol) changes an
analog voice to a digital signal that can be sent over the
Internet. If you are using a phone to receive the signal, it is
converted back to voice at the other end. We have a web art piece
in the SIGGRAPH 2006 Art Gallery called Voice Mosaic by
Martha Carrer Cruz Gabriel, from the Universidade de São
Paulo in Brazil, that uses VoIP. The piece allows users to call
into the website using the telephone and select a color tile for
their contribution to the mosaic. They can also leave a message
that becomes embedded into the artwork. The mosaic is built
collaboratively by participants from around the world as they phone
in to the site. What specific kinds of software and hardware are
involved in creating 3D sculptures?
The advances in rapid prototyping and production
technology have expanded tremendously over the past few years. Not
only is it becoming more affordable, but the process is beginning
to allow a more flexible choice of materials. The SIGGRAPH
artists’ sculptures are created and prepared for the rapid
production process using either custom built software, modo, 3ds
Max, Maya, Zbrush and/or Magic X for STL file manipulation.
A few of the artists used ProMetal’s Rapid
Production process which allows them to output the models directly
in aluminum, copper alloys, ductile iron, grey iron, or steel.
Other artists used rapid prototyping printers such as Zcorp’s
ZPrinter 310 Plus, 3D System’s SLA solid imaging system, then
cast the resulting model in bronze and the LOM (layered object
manufacturing) process, an old rapid-prototyping process that cuts
cross sections of the model on layers of glued papers with
lasers.
Mask of Whispers ©
Gil Bruvel
This year’s panels have an eclectic
range of discussions: generative art, interactive spaces, locative
media, and pioneering digital art. Can you give our readers a brief
synopsis of each?
The Generative and Genetic Art panel
consists of pioneers in the field such as Karl Sims, Yoichiro
Kawaguchi and William Latham as well as contemporary artists such
as Andy Lomas. They will be debating issues such as “chance
and creativity†and “can art be an equation?†The
use of generative systems has permeated our lives through video
games and embedded features in contemporary 3D modeling and imaging
systems. This panel will discuss both the historical and
contemporary issues involved.
The New Interactions: Communities and
Informationpanel consists of experts from Australia and the US
such as Ian Gwilt, Melinda Rackham, Paul Vanouse, Ernest Edmonds
and Ted Selker. They will be discussing a trend that focuses on
community building in information-rich art environments. The
panelists have each conducted extensive research on global
interaction and will share their experiences on how to use new
technologies to create culturally specific yet intimate
participatory experiences. Locative Media: Urban Landscapes and Pervasive Technology
Within Art will focus on location-aware technologies and their
potential for art. The concept of data always available regardless
of where you are opens up new avenues for artistic exploration.
Presented by contemporary artists and theoreticians, Michael
Salmond, Hasan Elahi, Mike Philips and Carlos Rosas, this panel
will discuss the shifting of power and the redistribution of media
control in the new world of locative media.
The Beyond Brush and Easel: The Computer Art of
Charles A. Csuri from 1963 to present panel is a rare
opportunity to hear the pioneering artist, Chuck Csuri speak about
his artwork. He will be accompanied by panelists Janice M. Glowski,
Margit Rosen, and Bruce Wands, each of which have conducted
extensive research on the development of Csuri’s work over
the years. This panel will reveal the important concepts and
techniques behind the work exhibited in the Beyond Boundaries
retrospective exhibition in the art gallery.
Jam'aa for Haile ©
Gil Weinberg
What exciting revelations will attendees experience
this year in the always captivating Art Gallery
Sketches?
All of the accepted Art Sketches reveal something
about the artwork that cannot be seen by viewing the work. For
instance, when you view Shawn Lawson’s Ray Tracing of the
In Between series, you would have no idea that he used a
hand-held laser pointer to create the rays that were traced by a
digital camera in a completely darkened room.
In Jeff Lieberman’s artwork Slink,
the viewers in the gallery will be asking, “How did he do
that?†Lieberman’s sketch presentation will reveal the
fact that he used a voice-coil actuator and twelve banks of 165
strobing LEDs each to create an unbelievable optical
illusion.
Nathan Selikoff will disclose that his image is
actually an entire evolution of a simulated population of stick
figures that have been captured using the concept of
“chronophotography†and a technique where by his OpenGL
program accumulates the thousands of frames into a single image.
These are only a few of the amazing presentations that will add a
deeper level of understanding to the work seen in the
gallery.
Biophilia ©
Mark Cypher There seems to be numerous non-traditional computer generated art featured in this year’s conference. Do you see this as a trend in computer graphics?
The phrase “non-traditional†has always
permeated the field of digital art. Over the past decade,
mainstream media and the traditional art world have begun to
embrace certain types of digital art such as digital imaging,
digital painting, and narrative 3D animation but still reject the
works that cannot be archived easily and have ethereal
non-permanent attributes.
The SIGGRAPH art jury and myself felt that SIGGRAPH
needed to look beyond mainstream accepted forms of art and seek out
works that pushed the boundaries and merged the technical with the
artistic in innovative and creative ways. I have always felt that
installation art, electronics and art, 3D imaging and algorithmic
art were art forms that could not exist if it were not for the
blatant integration of the technical component.
As graphic programs have become widely available and
easier to use, we are seeing less innovation in the field of
digital arts. It is important for SIGGRAPH to embrace and showcase
works that do not follow traditional paths and reveal new,
innovative approaches. We are all inspired by our visual
environment and experiences. If we are exposed to innovation, we
become inspired and strive to create unique approaches in our own
work. If we are only exposed to traditional main steam approaches
to creating art with computers, we are less likely to know that
alternatives are available and acceptable.
Each year the work in the SIGGRAPH Art Gallery is a
product of the vision of the SIGGRAPH Art Gallery chair, the
selections made by the jury and the artwork that is submitted. I
chose to seek out non-traditional works that merged concept,
technique and art and design principles in unique ways. It is hard
to say what the future of digital art nor the SIGGRAPH art gallery
will be, but I hope to always see artists striving to express
themselves by pushing boundaries and experimenting with new methods
of creating art.
shape.69c ©
Tim Borgmann
One of the highlights of the conference will be the body of works by the father of digital art, Charles Csuri. Will the artwork on display at the conference reflect his varied styles? Along with his images, will there be an explanation of how each image was created, and the use of AL software?
As well as showcasing the evolution of his work
chronologically as well as stylistically, the focus of the
exhibition will be educational and informative. Overall, in the
entire gallery, we will be including didactic boards with
information about the artworks. The Csuri works will be accompanied
by text that explains the process, concepts, as well as the
innovative and creative aspects of the works. Many of the
informational caption boards were written by the artist himself,
while others are reflections on the works by others.
The Csuri retrospective exhibition will be an
amazing display of work from his earliest transformations and
plotter drawings to his recent works on tile and his real-time
animations. Many of Csuri’s works are large-scale and very
colorful and thus will immerse you in the artistic worlds he
creates.
I think this is an extremely important exhibition as
it bridges the beginnings of digital art (struggling to demonstrate
artistic potential and significance in a mathematically and
commercially-driven field) with the future of artistic expression
using technology as a medium rather than just a tool. Charles Csuri
is an inspiration to many artists around the world. In 1963, he was
as obsessed with exploring the potential of computer graphics for
artistic expression as he is today. He is always looking at new
techniques, digital hardware and software yet never loosing sight
of the concepts that drive his work. With SIGGRAPH expanding its exhibitions and panels each
year, can you suggest a strategy for the average attendee to
organize their “can’t miss†list? Also, are there
unlimited seats open to specific sections, such as the Art
Papers’ sessions?
It is always a balancing act trying to see the
exhibits, attend sessions, visit with old friends and make new
connections all within the week. I would suggest that you visit the
Art Gallery and Emerging Technology area Sunday or Monday. There
will be less of a line if you wish to participate in the
installations and it is far less crowded. By Wednesday, there are
many exhibits and installations you will not be able to get close
to because of the crowd.
For the first time, the SIGGRAPH Art Gallery is
hosting an entire venue dedicated to electronically mediated
performances. There are some really amazing performances and
seating is limited. The Audio Ballerinas, Paul Sermon and his
telematic theater performance and Ben Vigoda’s improv
electronic jam session will only be performed on Sunday and
Monday.
If you love programming, you shouldn’t miss Ge
Wang’s On-the-fly Counterpoint on Tuesday and
Thursday—A performance where two programmers create music as
they type and project the code in real-time. The world famous
Addictive TV (UK) and Palindrome (Germany) will also be performing
during the week and should not be missed. Most of the performances
are performed twice throughout the week so if you miss one you can
try to catch the second performance. The performers will also
presenting a Sketch after their first performance to discuss the
concepts and technology involved in their work. Overall there are
13 different on-stage performances and 3 off-stage
performances.
The Art Gallery and Emerging Technologies venues
will be having a reception Sunday afternoon 3:00 to 5:30. This is a
great time to meet the artists and mingle with old friends. In the
evening, there will be the Kawaguchi Opening Barrel Ceremony at the
Marriott.
All presentations have limited seating. Last year I
was surprised to see the Sunday morning 8:30 session full with
people waiting outside the room to get in. Get there at least 10
minutes early if you really want to see something because chances
are, everyone else will want to see it too. If you are looking for
a place to escape the chaos, the art animation screening room in
the art gallery is a great place to relax and take in some of the
most creative and experimental artistic animations produced this
year.
Overall, my best advice is to look at the program
carefully and mark your calendar with the sessions and events that
you really want to see and try to stick with it. It is too easy to
get swept away by all the exciting things happening around you. At
the end of the week it is common to look back and realize you
missed many sessions you really wanted to see (of course you
probably saw tons of amazing things you had not planned to
see—it’s a trade off). Overall, you can’t go
wrong. SIGGRAPH is an awesome event with incredible people. You
will have tons of fun and come away inspired, motivated and
educated.
Driven 05/06/07/08 ©
Saritdikhun Somasa  We invite you to visit the following sites:
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