Showing posts with label Art. Show all posts
Showing posts with label Art. Show all posts

21 January 2015

SIGGRAPH Keynote Speaker Joi Ito on the Intersections of Creativity



SIGGRAPH is honored to have MIT Media Lab Director (and TED speaker) Joichi "Joi" Ito as our SIGGRAPH 2015 keynote speaker.

Mirroring the 2015 theme of "Xroads of Discovery," Mr. Ito’s body of work and experience spans the science, academic and business worlds. He’s an activist, entrepreneur, venture capitalist, and advocate of emergent democracy, privacy, and Internet freedom.

Known for his willingness to dig deeply to find unorthodox solutions and connections, Mr. Ito is the perfect fit for SIGGRAPH’s thoughtful, innovative and curious community.

Joi Ito In His Own Words

Joi Ito - SIGGRAPH 2015 keynote speaker
SIGGRAPH 2015 Keynote Joi Ito
From Joi.Ito.com:

In his post “The Creativity Compass,” Ito looks at four different creative quadrants (Artist, Designer, Engineer, Scientist) and how they tend to become compartmentalized. Ito notes, “I think a lot of the most interesting and impactful creative works tend to require all the use of all four quadrants. Many of the faculty at the Media Lab work in the dead center of this grid - or as I like to call it, this compass - or perhaps they lean in one direction, but they're able to channel skills from all four quadrants.”

He goes on to add, “The tyranny of traditional disciplines and functionally segregated organizations fail to produce the type of people who can work with this creativity compass, but I believe that in a world where the rate of change increases exponentially, where disruption has become a norm instead of an anomaly, the challenge will be to think this way if we want to effectively solve the problems we face today, much less tomorrow.”

In a post entitled "Antidisciplinary," Ito writes:

"The Media Lab focuses on 'uniqueness, impact and magic.' What our students and faculty do should be unique. We shouldn't be doing something that someone else is doing. If someone else starts doing it, we should stop. Everything we do should have impact. Lastly, things should induce us to be passionate and should go beyond incremental thinking.

'Magic' means that we take on projects that inspire us. In the Lifelong Kindergarten group, researchers often describe the 'Four Ps of Creative Learning' as Projects, Peers, Passion and Play. Play is extremely important for creative learning. There is a great deal of research showing that rewards and pressure can motivate people to 'produce,' but creative learning and thinking requires the 'space' that play creates. Pressure and rewards can often diminish that space, and thus, squash creative thinking."

A true innovator, Joi Ito is changing the way we think about collaboration! We hope you join us at SIGGRAPH 2015 to discover more of his vision. 



25 July 2013

The Pixar walking teapots have been distributed at SIGGRAPH for 10 years. This popular tradition of the conference has attendees lining up early to collect one of only 1,000 teapots that are each of the three days of the SIGGRAPH Exhibition. Learn more from the designer of the teapots, Dylan Sisson.

24 July 2013

SIGGRAPH Day 3: More Sizzle Less Sleep

 Join the Scoop team as they take you on a brief recap of all the content, activities, and action at day 3 of SIGGRAPH 2013 in Anaheim. From morning to night, there is nothing like a full day at SIGGRAPH.

18 July 2013

Attendees Experience New Technologies at the SIGGRAPH 2013 Studio

Studio sessions at SIGGRAPH 2013 at the Anaheim Convention Center in California, offer a collaborative working environment and  give attendees a chance to come together to learn, experiment, and create.  Attendees can try out a wide range of new techniques and media in 3D printing, modeling, mobile devices, and animation software and get help from experienced hands.

“Studio is a stand-out program at SIGGRAPH year after year,” said Patricia Clark, SIGGRAPH 2013 Studio Chair from Arizona State University. “It’s an adult technology playground.  It’s more than just seeing the new technology and what it can produce, but attendees also have the chance to collaborate and work side-by-side with experienced professionals that they may not have ever had the chance to meet before.”

Below are a few highlights of each facet of SIGGRAPH 2013’s robust Studio sessions.

Studio Talks
Attendees get a behind-the-scenes look at Studio-related technologies, artwork, and concepts and have the chance to discuss the technologies with the presenters. Attendees can choose from a sampling of the offerings below or view the full list of Studio Talks here

Playing Audrey II: Creating a Digital Actor Through Game Technology
Monica Evans and Kathryn Evans, The University of Texas at Dallas

This talk discusses how a team of faculty and students used digital game technology, motion capture, and facial animation to create a fully realized digital actor (the man-eating plant Audrey II from the musical “Little Shop of Horrors”) that performed on-stage with live actors in November 2012.

The Bleeding Edge of 3D Printing and Digital Fabrication
Daniel Collins and Don Vance, Arizona State University; Robert Michael Smith, New York Institute of Technology; John William Penn, JWP Design

This presentation provides an overview of new directions in 3D printing and digital fabrication. It includes short video clips of a variety of different systems.

Red Ball - Performing With iPads
Marla Schweppe, Rochester Institute of Technology; Darren Stevenson, PUSH Physical Theatre

PUSH Physical Theatre, a Rochester-based group, added iPads to their traditional tools of magic, mime, and movement in the performance of Red Ball. They added five iPads to the mix, performing with graphics created by Marla Schweppe.

Studio Workshops
Attendees engage a series of in-depth, intimate workshops, taught by the best in the industry. Attendee highlights include the following, or see the full list of Studio Workshops here.

Make Mobile Apps Quickly
Gil Irizarry, Conoa, Inc.

Using a variety of free open-source tools, build mobile apps quickly and easily.

3D Scanning and Fine Tooning With FaceGen
Ketrina Yim, PhaseSpace, Inc.

Using high-resolution video capture and software from FaceGen, Autodesk MotionBuilder, and other vendors, Ketrina Yim works with attendees to create 3D characters from their own faces and animate them in real time with live expressions by building a facial rig inside MotionBuilder.

3D Data Capture
Daniel Collins, Aubrey Wigner, and Joseph Hudy,  Arizona State University; Dan Gustafson, NextEngine, Inc.; Denise Grauzinis-Bartels, 4D Dynamics Bvba; Chris Lane, 3dMD

A hands-on demonstration of the various 3D data capture devices in Studio 3D.

Studio Projects
Attendees get hands on experience with the following technologies.  See the full list of Studio Projects here.

Air Painting & More: Revolutionary New Ways to Paint!
Jeremy Sutton, Sutton Studios & Gallery

Experience air painting with the Leap Motion Controller and Corel Painter Freestyle, an exciting new digital-painting paradigm in which you control your brush strokes through finger movements in the air, plus the latest in photo painting with Corel Painter and painting on the iPad.

CUMOS+: Cubic Kaleidoscope Workshop
Minori Yamazaki, Keisuke Shuto,Junichi Kanebako, and Hiroko Uchiyama, Joshibi University of Art and Design

In this workshop for producing cubic kaleidoscopes, attendees draw pictures on a computer and use a cutting plotter to cut them into polycarbonate mirrors. Then they incorporate colorful light into the interior of the cubic kaleidoscope, using color-seal film and permanent-marker pens.

Pi Drums
Barry Moon, Hilary Harp, and Byron Lahey, Arizona State University; Miller Puckette, University of California, San Diego

PI Drums are ordinary drums transformed into programmable electronic instruments. Program your own interactive musical interfaces using the Pure Data graphical programming environment and Raspberry PI computers.

Romibo Robot Project
Aubrey Shick, Carnegie Mellon University

Social robot therapy is known to benefit individuals with autism, traumatic brain injury, dementia, and other social and emotional disabilities. The Romibo mobile robot allows attendees to enjoy participating in the evolution and development of this technology by contributing personal experiences and expertise through clever hacks.

Interactive Card-Weaving Design and Construction Yuki Igarashi
Jun Mitani, University of Tsukuba

An interactive system to assist design of original weaving patterns and their construction. Users can design the color of each warp yarn, the direction of four yarns passing through each card, and the direction and number of rotations of the cards.

10 April 2013

SIGGRAPH 2013 Conference Chair Mk Haley Previews the 40th SIGGRAPH Conference

Following is a brief conversation with Mk Haley (pictured below), SIGGRAPH 2013 Conference Chair from Disney Research Labs, who discusses the vision, goals, and team behind SIGGRAPH 2013.

Background on Mk:

Mk Haley, SIGGRAPH 2013 Chair
Photo credit: Jess Allen

Mk Haley is a Research Producer with the Disney Research Labs, having worked with Disney for 19 years across Imagineering, R&D, Television and other groups in a variety of creative, technical, and operations roles. SIGGRAPH 2013 is her 25th Conference as an attendee and volunteer, primarily contributing to student and educational based initiatives and Emerging Technologies.   Mk has also served as Communications Director on the ACM SIGGRAPH Executive Committee and as part of the Education Committee.
 
Having taught part-time at Cal State LA in the Design Dept, UCLA in the School of Theater Film and Television, and Carnegie Mellon University in their Master's of Entertainment Industry Management Program, Mk recently completed a three-year term as Full-time Faculty and The Associate Executive Producer of the Entertainment Technology Center at Carnegie Mellon University, and still serves as adjunct faculty to the program.  She has contributed to books on the creative process with Walt Disney Imagineering, and patented work in the area of user interface.

What is your vision for SIGGRAPH 2013?
For SIGGRAPH 2013 we’re focused on a high-quality experience across the board. Not only the content we present, but also the entire experience involving the conference:  from the submission and review process to the attendee experience.  

The key areas of focus we defined are Community, Service and Delight!  I have worked with the 2013 team of volunteers from the very beginning to consider how to best serve all of our communities. This includes our conference attendees as well as our submitters, jurors, operations teams, and volunteers.  Each of these communities has unique needs and priorities that contribute to SIGGRAPH’s success. Thus, we really focused on tending to as many as we could across the board during the entire process to allow each the best potential to thrive.

This easily leads into the "service' idea.  In what ways can we provide an experience with service as a focus?  If there were ever a question about a venue or creative idea, we could go back to "What best serves the community?" and it’s pretty easy to pick. 

The focus for "Delight" is somewhat difficult to define in words, but you sure know it when you see it.  How is our conference a must-see experience? What experiences or opportunities will you see on-site that just delight and amaze you?  What experiences will make you thrilled you are here?  From training our Student Volunteers with an experienced organizational development and leadership expert to providing the highest level of service to our attendees, and updating our servers to best handle our submission loads, the community will be provided the highest level of delightful service.

Over the past 25 years, you have held various volunteer positions as a SIGGRAPH volunteer, how does this experience as Conference Chair compare?
The Conference Chair experience has an interesting point of view into every single program. You are able to see so many working parts all chugging away at once. It is inspiring to say the least!  I was able to define and select my entire team, which was fun, but  there were so many great people interested in supporting the conference with such a nice range of good ideas that is was a tough choice.  We all bought into the vision right off the bat, so it’s great to see this giant machine headed in the same direction.  It’s also staggering to realize how much work each venue chair and their team has put into each program, and then multiply that by our entire scope.  Amazing!

I don't know if the general public realizes the scale of this entire venture.  That surely was a surprise.  The total number of talented people interested in supporting the conference, anyway they could, with thought provoking and new ideas was a delight!

Editorial note: For a full list of the committee, click here.

What can attendees expect this year?
Attendees can expect a real sense of focus for our venues this year.  Many had specific calls that encouraged a point of view to be expressed in the submission which will result in excellent bodies of work for the attendees to enjoy and get inspired by.  For example, the Emerging Technologies venue has always celebrated and explored a wide range of interactive technologies, from robotics and displays, to sensors and input devices.  This year Dylan Moore, our chair, has encouraged submissions with a focus on "Assistive Technologies". This has encouraged a lot of outreach and consideration to medical devices, educational tools, and other non-traditional communities of research for us.  I am excited to see the results.

Our Art Gallery chair, Victoria Szabo from Duke University, has challenged the submitters to consider scale in her call for the venue titled, XYZN:Scale.  Digital work has the unique opportunity to explore scale, perhaps more readily, and submitters are encouraged to develop and submit work that celebrates, questions, and explores these challenges and opportunities.


What is important to know about Anaheim, California as a host city?


Anaheim is only 30 miles south of downtown Los Angeles, so it is convenient for many of our attendees already located in Southern CA.  SIGGRAPH has not been to Anaheim since 1993, and wow has it changed! 

The convention center had a massive re-design and expansion, with both technology upgrades and thoughtful space design considerations that will really support our goals at the conference. They now have the largest exhibition show floor on the West Coast, and have a focus on easy access to meeting rooms.

There are fantastic meeting spaces, for formal and informal interaction, and gorgeous exterior spaces as well. The local area has also gone through some major expansion, with a second park, Disney's California Adventure, added to the Disneyland Resort, and an upscale dining and retail district developed as well.

All of our conference hotel selections are within walking distance to the convention center, and public ways are all lush and landscaped areas that you will enjoy strolling through.  The city has really collaborated between local services and attractions with their convention and meetings teams to support easy connections across work and play.

How is the SIGGRAPH conference trying to remain relevant?
With the addition and growth of our Mobile and Gaming focus areas, we are really connecting with all of the research, educational, and production areas that our industry is exploding in.  We will also welcome back the recently formed Business Symposium, a forum for the business leaders in our industry to connect and develop a community that supports not only their strategy directly, but also encourages the support of their team members participation in the conference.  With our demographic changing to include both senior leaders in the industry and more attendees who are just beginning their careers, we are actively engaging in social media and other formats that best speak to all of our attendees.


What are some of the things that will be happening at SIGGRAPH 2013 that you are personally most excited about?
 I am very excited about the SIGGRAPH University proposal that our Courses Chair Paul Strauss from Google, Inc., initiated. It has greatly taken off beyond this conference and into other organizational-related concepts.  Paul is working with contributors who are not only subject matter experts, but also have experience in online education. The goal is to present and share a few of our foundation level offerings this year, for free, online, to anyone after the fact. This will start a cycle of our conference extending far beyond the one week, in one particular place.  For example, next year's attendees can prepare themselves with introductory content, and then arrive onsite ready to hit the more advanced topics.

By sharing content our attendees have always shown a high interest in, especially in the forums they are familiar with (in this case our ACM SIGGRAPH YouTube Channel), we can extend our impact and develop relationships with the community that reflect the evolution of technology and educational models.

I am also very excited about the great juries our teams have pulled together, in particular the Computer Animation Festival, chaired by Jason R.M. Smith.  His world class collection of animation masters from around the globe (and each viewing the work from their own lens, simulation, anime, independent, large studios, etc.) will provide our attendees with the best of the best across the board, because there is such diversity in the process.

What changes (if any) should attendees expect this year?


I am thrilled to extend the interaction opportunities for our Exhibitors from the show floor and tech talks to the beloved SIGGRAPH Fast Forward model.  A staple of the technical papers community and a highlight of the conference every year, this fast and fun forum provides a high level sampling of each paper being presented that week.

By inviting our Exhibitors to feature their highlights in a similar forum, a few seconds per presenter, we are connecting our attendees very quickly with information that will help them direct their focus on the show floor and, we are allowing our Exhibitors the opportunity to have the  undivided attention of the attendees. We are also excited to integrate the feedback we received directly from our attendees last year into programs this year.

Our teams turned around the survey data quickly and we are focusing on what our attendees told us was of the highest priority to them, as well as of most interest.  In particular, our attendees will enjoy more hands-on training. Our Studio Chair, Patricia Clark from Arizona State University, is partnering with industry and her subcommittee to offer full slates of workshops that allow us to serve a larger percentage of our audience than we have in the past with directly transferable skill sets.

How do you define SIGGRAPH’s target audience?


Our audience are key stakeholders in the community, those driving research and business forward for the past 40 years.  The respect between our contributors and attendees is mutual, and a fluid relationship that has the target audience moving between attendee and content creator from year to year, or even minute to minute. For the 2013 conference, I am defining our target audience as one that is purposely engaged with each other. From our Educators and Artists, to Researchers, Students, Production Professionals and Business teams, our audiences do not live in silos, they actively engage across disciplines and the end result has been our staple for success from year to year.

What characteristics/backgrounds were you looking for when selecting your 2013 conference committee?
I was looking for a team that had very specific ideas about how they wanted their individual venues to develop  as well as a passion for the conference and organization as  whole. And then I stood back and let them do it!  The team is highly interested in not just their venue or year, but in laying the foundation for ideas that will take a while to fully develop.  They partnered really well with the years on either side of them, for a future bigger than just any one team could pull off.  I was also looking for a diverse set of volunteers who could all contribute from not just their area of subject matter expertise, but also from different communities, life experiences, and history with the conference itself.

Editorial note: to view the committee, click here.

What advice would you give someone who has never been to SIGGRAPH before? 


SIGGRAPH is a glorious amalgamation of high quality content across several slices of the computer graphics and interactive communities. It can be intimidating to try and sort through all the offerings we have.  A plan of action is always your friend.

We will continue to provide suggestions based upon a particular focus area, with our teams poring through all of the accepted content and preparing suggested sessions and content for gaming, animation, research, education, etc.   Often, the most rewarding experiences for our attendees are when they venture off their presumed path.

I highly encourage participation in offerings that may not directly align your areas of interest, these intersections are where our unique magic most often lives.  Also, plan a lot longer for walking from point A to point B than you presume you need, and be prepared to say "Hi!" to strangers.  The intersection of people is one of our highest values, and you want to be sure to allow these intersections and opportunities to thrive. You will be delighted at how easy barriers to conversation and ideation fall away during SIGGRAPH, especially if you go after it.

As an industry expert and long-time SIGGRAPH volunteer, what keeps you professionally motivated? 
I get to work with some really amazing people; smart, fun, inspiring, accomplished, mentors, mentees, from all over the world. It’s a uniquely collaborative culture that allows not just technologies to be shared, but also allows people to easily share their expertise and time with each other.  The thrill of these intersections makes every day motivating, different, and challenges me to give back as much as I have been given.


08 November 2012

SIGGRAPH 2013 Call for Submissions

                                            Left Brain or Right Brain ... which one are you?

Celebrating its 40th year, the SIGGRAPH conference is the premier international event on computer graphics and interactive techniques. SIGGRAPH 2013 invites you to showcase your expertise and unique technical and creative skills at the International Conference and Exhibition on Computer Graphics and Interactive Techniques, 21 - 25 July 2013 in Anaheim.

From students to studio executives, from scientists to artists, SIGGRAPH is home to the best and brightest minds in computer graphics. This year, bring your best work to SIGGRAPH 2013.

Every piece submitted to SIGGRAPH 2013 through the Call for Submissions is reviewed by a highly qualified jury composed of top practitioners in the relevant field. Because we want each jury to have the time to review each piece carefully, submission deadlines generally are several months ahead of the conference itself. All the submission deadlines are strictly enforced, so be sure to plan accordingly.

Important Submission Deadlines:

Be Sure to Plan Your Submission Process Accordingly!

8 January 2013*    Student Volunteer Team Leader Applications

17 January 2013    Technical Papers

22 January 2013     Art Papers and Art Gallery

5 February 2013    Student Volunteer Applications

12 February 2013  Courses, Emerging Technologies, Panels, Posters, Talks, Studio

5 March 2013        Computer Animation Festival and Real-Time Live!

2 April 2013           Dailies

1 May 2013           SIGGRAPH Mobile

7 May 2013           Late Breaking deadline for Posters

Submission Deadline Notes:
Unlike recent years, each SIGGRAPH 2013 program has only one deadline, except Posters.
There are no "Late Breaking" deadlines for Studio or Talks. Poster submissions can occur prior
to the 12 February "general submissions" deadline or the 7 May Late Breaking Poster deadline.
In both cases, Posters are reviewed using the same criteria and by the same jury. Authors
submitting prior to the early deadline will get decision notification in mid-April.

*All deadlines are 22:00 UTC/GMT. To determine what time that is where you are, you can use a converter such as The World Clock.

09 August 2012

SIGGRAPH 2012 Conference Chair Rebecca Strzelec's Vision Behind S2012

Hear from SIGGRAPH 2012 Conference Chair Rebecca Strzelec from Penn State Altoona who discusses her vision behind this year's conference and exhibition at the 2012 Media Briefing on Tuesday morning.

08 August 2012

SIGGRAPH 2012 Art Gallery Preview

Join Osman Khan, SIGGRAPH 2012 Art Gallery Chair, as he takes you on a wonderful tour of the miraculous in Los Angeles.

13 June 2012

SIGGRAPH 2012 Selects Jane McGonigal as Keynote Speaker

SIGGRAPH announces the selection of Jane McGonigal, director of game research and development at the Institute for the Future (IFTF), as keynote speaker at SIGGRAPH 2012, the 39th International Conference and Exhibition on Computer Graphics and Interactive Techniques, 5-9 August 2012 at the Los Angeles Convention Center. McGonigal’s research at IFTF focuses on how games are transforming the way we lead our real lives, and how they can be used to increase our resilience and well-being.

“Jane McGonigal is an ideal keynote for SIGGRAPH 2012 as the perfect illustration of this year’s conference theme,” said Rebecca Strzelec, SIGGRAPH 2012 Conference Chair from Penn State Altoona. “Her vision, vocation, and world-renowned accomplishments truly embody the collision, juxtaposition, and interaction of art and science.”


McGonigal is a visionary game designer and futurist, using alternate reality games to conduct research, build communities, connect with markets, and solve real-world problems from curing disease to addressing issues of poverty, hunger, and a world without petroleum. She has created and deployed award-winning games in more than 30 countries on six continents and directed the world’s first massively multiplayer forecasting game, Superstruct, which brought together more than 7,000 future forecasters from 90 countries. She currently serves as the Chief Creative Officer for SuperBetter Labs.

McGonigal’s New York Times bestselling book, Reality Is Broken: Why Games Make Us Better and How They Can Change the World, explores the power and future of gaming and reveals how its collaborative aspects are being used to solve some of the most difficult challenges facing humanity. Her personal goal is to see a game designer nominated for the Nobel Prize by 2023.

The New York Times featured McGonigal as one of 10 scientists with the best vision for what’s coming next; she earned Harvard Business Review honors for one of the Top 20 Breakthrough Ideas of 2008; BusinessWeek called her one of the Top 10 Innovators to Watch; and Fast Company named her one of the 100 Most Creative People in business.

Check out her appearance on The Colbert Report by clicking here.

07 June 2012

SIGGRAPH Unveils 2012 Art Gallery: In Search of the Miraculous

SIGGRAPH 2012 Art Gallery: In Search of the Miraculous presents exceptional digital and technologically mediated artworks that explore the existence of wonderment, mystery, and awe in today’s world of mediating technologies and abundant data. Of the nearly 400 submissions, 12 were hand-picked by a jury to be exhibited at SIGGRAPH 2012, 5-9 August at the Los Angeles Convention Center. The jury included a wide range of artists, designers, technologists, and critics hailing from academia, industry, and the independent art world.

Osman Khan, SIGGRAPH 2012 Art Gallery Chair
“The Art Gallery call for submissions was purposefully ambiguous, based not on any particular thematic premise but rather on sentiment—simply an open call for works that both inspire or are inspired by moments of awe, surprise, mystery, and wonder,” said Osman Khan, SIGGRAPH 2012 Juried Art Chair from the University of Michigan.

“Interestingly, in an ubiquitously digital world, many of this year’s submissions move toward the physical and analog, not in a turn toward ludditery [many projects are quite technically complex], but perhaps as a reflection of a pervasive ennui of the digital.”

Works exhibited in the Art Gallery are published in a special issue of Leonardo, the Journal of the International Society for the Arts, Sciences and Technology. Peer-reviewed SIGGRAPH 2012 Art Papers will also be published in this special issue, which coincides with SIGGRAPH 2012 in August.

SIGGRAPH 2012 Art Gallery highlights include:

A Planetary Order (Terrestrial Cloud Globe)
Martin John Callanan, Slade Centre for Electronic Media & Fine Art, University College London

A Planetary Order is a terrestrial globe depicting clouds from a single moment in time. The globe itself is a physical visualization of real-time scientific data.  To create the work, Callanan took one second of readings from all six cloud-monitoring satellites currently overseen by NASA and the European Space Agency and transformed the information physically into outlines and profiles of the clouds that were emerging at that moment across the surface of the Earth.  The shimmering white cloud globe freeze-frames the entire operation of the global atmospheric regime and highlights the fragility of the environmental (and informational) systems that operate across the world.

Art Gallery Chair feedback on this piece: "In what at first may look to be a common Earth globe, Callanan’s A Planetary Order makes a poetic statement by shifting our attention from the usual geographic information by voiding the usual terrestrial markings, and instead presents an immortalized ephemeral instant, eternalizing a fleeting moment shared by the global whole, giving us pause to reconsider what really matters in this world."

Julian Abraham, Independent Artist
Kapitän Biopunk: Fermentation Madness is an artistic research project manifested via a series of workshops and an acoustic and performative installation. The project developed in response to the high number of poisonings and deaths of alcohol consumers after an increased excise tax was placed on alcoholic products in Indonesia. The project, using do-it-yourself and open-source technologies, strives to educate individuals on fermentation processes to produce safe and affordable alcoholic products, and a means to democratize the laboratory and liberate knowledge for a wider society.

Art Gallery Chair feedback on this piece:  Abraham’s Kapitän Biopunk combines the aesthetics of a mad chemist’s lab with Dionysian song and (literal) spirit. Though the work uses a simple mediation (Putting microphones on the fermenting jars), the resulting cacophony of bubbling sounds, a by-product of the fermentation process, is both amazing and amusing to hear.

Alejandro Borsani, Rensselaer Polytechnic Institute
Alejandro Borsani’s 90° South provides a contemplative point of view that allows the viewer to witness and be immersed in the constant evolution of a growing landscape. The work utilizes an irrigation system in conjunction with a highly absorbent material (sodium polyacrylate) to produce a slowly emerging landscape. A thin layer of the white material is placed on top of a round surface. When water reaches the surface, the sodium polyacrylate expands 300 times, producing subtle undulations. The profiles of these miniature mountains are projected onto the walls of the gallery using a flashlight attached to a rotating mechanism.

Art Gallery Chair feedback on this piece:  Like Calvino’s fictional cities, Borsani’s 90° South presents an imagined landscape, replacing Calvino’s urban constructs of the Antarctic. As real as any dream and as much a fiction as any photograph, 90° South rekindles—especially in this heavy mediated and imaged world—the wonderment and magic found in the idea of imaginary places.

Kärt Ojavee, Eesti Kunstiakadeemia; Eszter Ozsvald, New York University
SymbiosisS is part of a collection of textile interfaces, SymbiosisO (“O” for objects), which behave as organic displays and react to definable impulses by showing pre-defined patterns that animate slowly over the surface. It welcomes viewers to sit and rest on soft-folded material that displays an active, slowly shifting pattern. When excited, the pattern starts forming, in a playful, curious way, around the place where the textile was touched. Once the disturbance is abated, the pattern continues its peaceful expansion. This vivacious interaction of a vibrant pattern is a demonstration of the potential for tangible textile interfaces. Ubiquitous computation—an active, programmable secondary skin to surround everyday objects—is an ambient, “noiseless,” and thus vigorous way to visualize information and form space.

Art Gallery Chair feedback on this piece:  In letting users leave traces of their hands and bodies via heat sensitive thermochromatic dyes, SymbiosisS mediates and amplifies the conditions of its own use.  Echoing our impulse to leave our mark, the handprints found at the Lascaux caves comes to mind, and in its network of conducting thread, a nod to social networking, interacting with SymbiosisS subtly aestheticizes unique temporal moments of individual and social interactions.

Julie Legault, V2_ Institute for the Unstable Media, Royal College of Art
Stretching or shrinking hours at the beat of your heart, The HeartBeats Watch is a timepiece in which the duration of time is paced not by seconds but according to the wearer's heartbeat.  Through a heightened awareness of self, The HeartsBeats Watch brings together art and science to reveal emotional complexity of time and the human body. A poetic investigation of the physiology of emotions, health, immortality, and control, the watch bridges the gap between society and medical science, invoking a broader cultural perception of life.

Art Gallery Chair feedback on this piece:  The work was inspired by love; in LeGault’s words “time slows when I’m with you, and time flies, and time stops with every heartbeat.” By relating our ticking mortality with the eternal mechanisms of time, LeGault allows for a profound reflection on our understanding of and connection to time.

Scott Hessels, City University of Hong Kong
The wind-powered Sustainable Cinema No. 4: Shadow Play is a kinetic public sculpture that harnesses sustainable energy to generate a moving image. By using natural power to re-create an early art form that led to the beginnings of cinema, the sculpture references the histories of both motion pictures and industrialization. It explores a possible future of environmentally responsible media; looking forward by looking back.

Art Gallery Chair feedback on this piece: Hessel’s Shadow Play, wrapped in a pre-cinematic nostalgia, ideas of sustainability and especially in context of the digital heavy SIGGRAPH conference, presents an alternative retro-futuristic version of the moving image. Go Windpunk!

Click here for the complete SIGGRAPH 2012 Art Gallery list of artists and works.

09 April 2012

Conference Chair Previews SIGGRAPH 2012

Following below is a brief conversation with Rebecca Strzelec (pictured below), SIGGRAPH 2012 Conference Chair from Penn State Altoona, on her inspirations, background, and what to expect at SIGGRAPH this year.

What made you agree to take on the volunteer position of conference chair in 2012?
Rebecca Strzelec - '12 Conference Chair
When I decided to apply for the position of conference chair in 2009, it seemed like a natural progression of my volunteer work for SIGGRAPH. I felt like I had a pretty good sampling of the various roles within the conference from being an attendee, contributor, sub-committee member, and program chair. I could not have been more proud to be selected to serve in this role. I said “yes” for many reasons, but the most important was because I thought it would be both challenging and fun to be a part of the conference planning at this level.


Given your art background, how will art play a role this year that is different from previous years?
SIGGRAPH has made more concerted efforts to support the art areas of the conference over the last five or so years. Art has always been one of our core areas, but we’ve launched some new projects, including our collaboration with MIT’s Leonardo, the Journal of the International Society of the Arts, Sciences and Technology that will continue to grow stronger and more significant with each year. So that changes the landscape a bit. Our Art Gallery and Art Papers areas continue to have high submission rates and extremely rigorous selection thresholds allowing for the very best art and research to be brought to the conference.

Official SIGGRAPH 2012 Conference T-Shirts
The look and feel of the overall conference does a great job of defining and highlighting a large percentage of our attendees who consider themselves to be linked to, or practicing art. A difficult choice for most of our constituency (including myself) is that they don’t categorize themselves into just one thing. For instance, I take turns alternating between my “I AM ART” and “I AM SCIENCE” t-shirts.

In general, what should attendees expect this year in LA?
LA Live is a fantastic addition to the SIGGRAPH experience
Attendees should expect excellence. From day one, I asked our planning committee to find and choose the very best content. At SIGGRAPH, content always takes precedent and this year will be no different and will go a long way to setting the bar for Anaheim in 2013. Also,  attendees who haven’t been to LA in a few years need to be aware that the convention center area has blossomed into quite the place to be. “LA Live” has really allowed SIGGRAPH to carry its happenings into the nearby restaurants and places that are wonderful for networking and making new contacts..

Is it too late for someone to submit content?
Not at all. The Late-Breaking submission deadline is May 1 and Talks and Posters can still be submitted there. For folks who missed the submission deadlines in other areas, my suggestion would be to attend the conference and check out the submissions that were accepted. It is a great way to get a lay of the land to see how best to prepare for 2013.

How has the conference managed to stay relevant given the overall trend of smaller and more targeted shows?
Believe it or not, SIGGRAPH has become more targeted as well. From the conference schedule you’d never think it…but for the last few years SIGGRAPH has worked incredibly hard to make sure that we are focusing on our key areas of content. We have found that we can add a couple of new things each year, but for the most part we focus on  what we are really good at and make sure the conference is filled with excellent content. In 2012, we are expanding to include the venue SIGGRAPH Mobile and also bringing back the extremely successful SIGGRAPH Business Symposium.

Editor's note: the SIGGRAPH Business Symposium was new in 2011 and sold out.  For more details on it this year, check the SIGGRAPH 2012 web site.


How are Exhibition numbers looking?
By the nature of our community’s density around LA, we typically have strong years there from both an attendee and an exhibitor perspective as well.  This year is no different.  We are already out-pacing last year’s numbers and once again we will have a very strong international presence on the floor.

What specifically are you looking forward to at the 2012 conference?
I can’t wait to see it all come together in person. When you work on something for so long—especially when it remains abstract or described in images or emails, it is amazing to actually see it installed, presented, and celebrated. I suppose that is what I most looking forward to: celebrating the SIGGRAPH 2012 Committee for all of their achievements. They are an outstanding group of people that made my job really fun and rewarding.


Any advice for someone new to the group?
Other than introduce yourself to someone not-so-new to the group? In all seriousness though, my first SIGGRAPH was in 2003 and I was at the conference because I had a piece in the Art Gallery. I had no idea what to expect and was instantaneously overwhelmed by the pace and scope of the conference. I wandered into the Studio that year and made some friends, and they helped me to take full advantage of all that the conference has to offer. By the second day, I was hooked and felt very much in the know. There truly is no other experience that comes close to SIGGRAPH in depth and quality.

On a personal level, what inspires you as an artist at SIGGRAPH?
Having attended other art-based conferences, the thing that inspires me most about SIGGRAPH is that not all of the attendees are making art. It is quite wonderful to strike up a conversation with a non-artist at the conference. I often find I come to SIGGRAPH with a dozen or so loose ideas for new work and through interaction with the content and people at SIGGRAPH, I turn to processes and solutions that I otherwise would never have considered, or didn’t know existed. I always come home with such rich and lasting material. That kind of energy exists at other conferences, but the form it takes at SIGGRAPH is unique and something I cherish.

Why is SIGGRAPH relevant in the art world?
SIGGRAPH exhibits and publishes some of the most exciting and groundbreaking art and art papers in the world in the context of computer graphics and interactive techniques. The international juries that select this work are major contributors to their fields—going to great lengths to choose work that adds to the dialogue of art and art research. And while the work seen in the Art Gallery and presented as part of Art Papers are proudly included in the annual special issue of MIT’s Leonardo the Journal of the International Society of the Arts, Sciences, their presence at the actual conference allows for a special kind of synergy.

In addition, SIGGRAPH continues to establish the Studio venue each year. This creative space is designed to allow attendees to learn new about new tools, processes, and materials as well as actually spend time making art of all kinds. This creative experimentation space is an unusual addition to most conferences, especially when you consider that there aren’t additional fees to use the space other than conference registration. It is these three key areas as well as the other amazing content that makes for a relevant, educational, and enriching art experience at SIGGRAPH.

How did this year's theme evolve and how would you explain it in your own words?
The theme of this year’s SIGGRAPH is a mirror reflecting back on the people that make SIGGRAPH the vibrant thriving community that it is. The theme is actually a multi-year endeavor. Starting with 2012’s “I AM ART” and “I AM SCIENCE” the conference is highlighting two of our major groups of people at the conference. The theme evolved from conversations with the committee and our design team. I really wanted to have art as part of the theme somehow, but SIGGRAPH is so many things it really isn’t right to choose one. It quickly became clear that it would take many conferences to describe and capture all that SIGGRAPH’s attendees do and create.

14 June 2011

Interview with SIGGRAPH 2011 Art Gallery Chair


Following below is a brief interview with Mona Kasra, SIGGRAPH 2011 Art Gallery Chair, who explains her vision and insights into this year's amazing Art Gallery - Tracing Home.

Kasra is a new media artist and educator currently pursuing a PhD at University of Texas at Dallas with a focus on emerging media and communication.


What was your vision behind this year’s Art Gallery?
Tracing Home actually came about as a result of blending SIGGRAPH 2011’s main conference theme “Make it Home” into my personal research interests around the effects of networked media on our culture and our existence. Home is a strong component in production of identities and can signify community and belonging while, on the other hand, can indicate a sense of displacement and isolation. As an Iranian-American, I have been personally fascinated by its personal, political, historical, or cultural definitions.

Given that our understanding of the word home is constantly being shaped and reshaped, I was eager to see how digital artists trace home in the age of networked technology where our sense of body, space, and time is rapidly dematerialized through non-physical hyper-connections. I was especially looking for artworks that critically addressed the current blurring boundaries between virtual and physical. So, Art Gallery’s Call for Submission (CFS) this year invited artists to submit their digitally mediated artworks that searched for, examined, or constructed different dimensions to the concept of home in the 21st century. I should mention that after the jury process, I was blown away by the variety of perspectives that the participating artists have embarked on - certainly beyond what I had imagined in the first place.

How did the community respond (number of submissions, etc)?
The response to SIGGRAPH Art Gallery’s CFS was quite impressive this year. We received over 300 high quality submissions from across the world in a broad range of mediums and disciplines. Submissions varied from those directly responding to the main theme of the exhibition… to those who drew attention to variety of sub-themes and for instance dealt with the ideas of nostalgia, spirituality, surveillance, privacy, control, etc.

All together, the level of breadth and creativity in many of the entries was incredible. The Selection Committee - which was composed of a group of artists, curators, and academic experts in the areas of art, science, and technology - had to go through a lengthy and difficult process of evaluation in order to identify and assemble the content of this year’s exhibition. The outcome of their careful selection is a fresh look at home in relation to its physicality as well as its emotional and sociopolitical aspects.

How will this year’s experience be different than the past?
Well, Art Gallery this year is thematically much more specific and narrowed down. We asked the artists: “where and what is home in the networked era?” and invited them to creatively engage in a more detailed exploration of a rather familiar concept. As a result, even though the selected artworks are very different in approach and technology, an invisible but unifying conceptual theme connects them all tightly. I certainly hope that such strong interconnection among the artworks would further engage the audience with the content of the works and the content of the overall exhibition.

This year, during the course of the conference, SIGGRAPH 2011 Art Gallery committee will provide the audience with educational opportunities such as guided “Daily Tours” and “Informal Art Talk” sessions. The goal of these programs is to expand on Tracing Home and expose the attendees to the various ways that artists use technology for artistic and conceptual expression.

Additionally, thanks to SIGGRAPH International Center, Art Gallery will be offering multilingual podcasts which will further explain artists’ thoughts and ideas behind their exhibited works. We hope that these podcasts facilitate self-guided tours of the gallery as attendees will be able to access the audio files on the spot just by scanning assigned QR codes using their smartphones. Podcasts will be accessible on the web closer to the conference and can also be downloaded prior to visiting the gallery.

You have been involved with the Art Gallery for several years now, what keeps you motivated to stay involved as a SIGGRAPH volunteer?
Simple… the ultimate opportunity to meet and work with some of the most inspiring artists and art lovers from around the world. The experience has been truly worthwhile.

What is the best advice you can give an artist interested in submitting to future SIGGRAPH conferences?

My advice is three-fold actually:

1- Read SIGGRAPH Art Gallery’s Call for Participation (CFP) carefully and thoroughly. CFPs vary every year. Submissions that do not relate or respond to Art Gallery’s CFP stand no chance of getting accepted to the show by the selection committee.

2- Spend substantial amount of time to review and follow the submission requirements. Incomplete or wrongly completed submissions will not be considered. Write a lucid description for your submission and provide a detailed Artist’s Statement. Explain your vision, intentions, and process in depth and especially address how your work relates to the CFP.

3- Keep an eye on the submission deadline. Every year, Art Gallery receives multiple requests from artists for late submissions, all of which regretfully get declined.

What do you hope attendees take away from this year’s Art Gallery?
First and foremost, I hope Tracing Home will be a memorable exhibition that inspires, informs, and engages the audience with its space and content; one that fosters dialog between attendees and participating artists. Secondly, in terms of our theme and our preoccupation with home in the networked age, I hope the selected works will collectively trigger the audience to re-examine and reflect on our new life trajectories especially in regards to hybrid realities of virtual and physical.

For complete details, visit the Art Gallery web page.

For the preview video, visit the video page.

08 June 2011

SIGGRAPH 2011 Preview Videos Posted

SIGGRAPH Preview Videos are now available for the content in the Art Gallery, Technical Papers, and Emerging Technologies.

Videos previewing Vancouver as well as its Gaming, VFX & Special Effects, Education & Technology Communities are also available on this page.

These videos are all found here. Check back to this Blog in the next few days for the Computer Animation Festival preview.

24 February 2011

Conference Chair Previews SIGGRAPH 2011 in Vancouver

The SIGGRAPH 2011 Marketing and Media team has created this blog to provide SIGGRAPH media with a central point for the latest information and announcements regarding the upcoming conference in Vancouver, Canada. Return to this blog for updates and important announcements.

Following below is a brief conversation with Peter Braccio (pictured below), SIGGRAPH 2011 Conference Chair from the Monterey Bay Aquarium Research Institute , on what to expect this year.

SIGGRAPH travels outside the United States for the first time in its history – what brought about this exciting change?

Vancouver was an obvious choice as a host city for SIGGRAPH as it has large and vibrant groups in all of our major SIGGRAPH communities: artists, academics, film production, gaming, VFX, research, and more. Plus, it is both an international and an inspirational city. As for being outside of the United States for the first time, this is merely an extension of the fact that SIGGRAPH is an international event.

That being said, I can’t think of a better city for SIGGRAPH’s initial foray outside of the United States’ border than Vancouver. And it offers relatively easy access for all the industry situated on the West Coast. Besides the concentration of our various communities here, we also have one of SIGGRAPH’s most active Professional Chapters based in Vancouver. So, in a real sense, we are actually coming home. It’s just to a place that we’ve never been before.


If someone has never visited Vancouver before what should they expect?

The first thing you’ll notice is that the area is just drop-dead beautiful. The way the mountains jut out of the bay reminds me a bit of the fjords of Norway. The second thing that you’ll learn quickly is that the Vancouver residents are just down-right friendly and helpful. This has made the long hours of conference planning a joy. And there’s something for everyone here outside of the conference – whether that be family activities, nightlife, outdoor activities, shopping, or dining. It is a major international city and should make this year’s conference extremely memorable.

How do you expect it to impact attendance or content?

That’s the $64,000 question, isn’t it? At least as far as attendance numbers it is. We believe that the attendance figures are going to be comparable to what they were at SIGGRAPH 2010. While we may have a few less United States attendees, we are likely to pick up more attendees from Asia and Europe due to the Canadian location. More importantly our focus isn’t on the number of bodies, but the quality experience we provide everyone who attends.

As for content, we’re seeing no decrease in submissions. In fact, our General Submissions deadline just passed and we saw a 47% increase in completed submissions over last year’s numbers. We saw significant increases in Technical Papers, Games Papers, Art, and Art Papers submissions as well. While numbers don’t directly correlate to quality, we feel very comfortable in saying that SIGGRAPH 2011 will be at least as good as past conferences in that regard.

What is the vision behind this year’s theme: “Make it Home”

The theme revolving around “Home” came out of a brainstorming meeting in 2010. A small group of us were discussing what the conference means in our lives and how we should use this as a way to reach out to our attendee groups. The fact that the word “groups” is plural is key to this discussion. SIGGRAPH does not have a homogeneous attendee base like most other conferences. This leads to conflicting interests at times. However, it always provides great opportunities because you have access to many points of view given the diverse audience.

The second step on the road to this theme concerned this being the first SIGGRAPH Conference outside of the United States. We talked about how we were going to have to educate our attendee and exhibitor base that it might not be more expensive to do X or harder to do Y, but that there just may be different roads that we would have to follow in order to accomplish what we did in the past. We also discussed that on a daily basis the world is getting smaller. We deal with, and affect, people around the globe constantly. The fact that the conference is not going to be in the United States could be inspirational and show the strength of our organization and its members.

At this point in the process, a planning group member stated that all of these discussions were reminding her of a postcard that she has tacked up in her house. It is a picture of the Earth taken from Apollo 17 (the famous Blue Marble photo). Directly under the photo was one word: Home. This idea resonated with the people in the room. It didn’t matter WHERE the conference was. It only mattered WHO made up the conference. We would be home no matter where we were.

Previously you served as the Guerrilla Studio chair (which is a daunting task in itself), what motivated you to take on the role of overall conference chair?

I’m still trying to answer this question to myself. Basically I felt that I owed it to the conference. I’ve learned a lot from my attendance at the SIGGRAPH conferences and have met some of my best friends here. In my household, the joy of attending the conference is not limited to me. My wife, Rachel, has been helping out in The Studio since the first time I ran that venue in 2000. In 2003, my children, Jacob and Sierra, began to come to the conference with us. So, in a very real sense, The Braccios have made SIGGRAPH "home" for a long time.

How is the SIGGRAPH conference trying to remain relevant?

This is a hard question because it deals with perception. As I’ve already pointed out, SIGGRAPH is made up of many different communities. What is relevant to one is maybe somewhat or totally irrelevant to another.

That said, I believe that we are making strides in addressing the needs of several communities that may have not felt as embraced at SIGGRAPH in recent years. For the people in the trenches in the Production Communities, we instituted the Dailies! Program in 2010. This is a program that applauds the craft of using the tools we have rather than the innovation of the tools themselves.

Another group that we are engaging is the people whose business is computer graphics. In 2011, we are launching The SIGGRAPH Symposium, the business think tank. This will be a day-long discussion concerning many of the thorniest issues facing a group actually trying to make money with computer graphics. Check back to conference website for details about this exciting new program.

What are some of the things that you are most excited about for the 2011 conference?

I think that the The SIGGRAPH Symposium is going to be a big deal that is going to spark conversations that take place well after the conference is over. This day-long event has the potential to change how a lot of people are doing business. And it will be an opportunity for executives and professionals from different backgrounds to network and engage each other in way that has never been experienced at SIGGRAPH. Plus, our exhibitors are responding to the venue change in a very positive fashion – as of today we are currently outpacing booth space sold, quantity of exhibitors, and international exhibitors from what we achieved in Los Angeles at this time last year.

What changes (if any) should attendees expect this year?

Besides The SIGGRAPH Symposium, the biggest change that long-time attendees will see is that we are planning on moving the Reception to Monday night. It will start a bit later in the evening as well and will be a dessert reception. There are a couple of pluses to doing it like this for 2011. The first is that, since the reception will be in the convention center where people will be able to interact with the Art Gallery, Emerging Technologies, and The Studio during the reception. (These venues will open for reception attendees.) The second plus is also logistical. The Reception will start shortly after the Monday night Electronic Theater lets out. Since the reception is one escalator ride away from the Electronic Theater, there should be no time conflicts this year.

Attendees should also expect to be fully engaged by the beauty of this city. You will be inspired by the content in the conference as well as by the amazing natural beauty you encounter literally just outside the convention center.

02 June 2010

SIGGRAPH 2010 Program Content Released, Early Registration Ends this Friday

(Chicago, IL) – SIGGRAPH 2010, held Sunday, 25 July through Thursday, 29 July 2010, will bring approximately 25,000 computer graphics and interactive technology professionals from around the world to Los Angeles. The SIGGRAPH 2010 Advance Program is now available online, announcing session content across Art Papers, Courses, Game Papers, Panels, Talks, Technical Papers, and more.

Two preview videos have also been released to highlight the Computer Animation Festival and Technical Papers.

“SIGGRAPH 2010 is the best place in the world to experience the ‘People Behind the Pixels’,” said Terrence Masson, SIGGRAPH 2010 Conference Chair from Northeastern University. “I highly encourage everyone to attend to meet the personalities, hear the stories, and learn the history behind the most unique and excellent content in CG and interactive techniques. Those wanting to maximize their savings should register by this Friday before the early bird discounts expire.”

Attendees are able to choose from a variety of registration categories that start as low as $45 per day. After Friday, 4 June, the cost of Full Conference Access, Full Conference One Day, and Basic Access passes increase dramatically.

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About SIGGRAPH 2010
SIGGRAPH 2010 will bring approximately 25,000 computer graphics and interactive technology professionals from six continents to Los Angeles, California, USA for the industry's most respected technical and creative programs focusing on research, science, art, animation, music, gaming, interactivity, education, and the web from Sunday, 25 July through Thursday, 29 July 2010 at the Los Angeles Convention Center. SIGGRAPH 2010 includes a three-day exhibition of products and services from the computer graphics and interactive marketplace from 27-29 July 2010. More than 200 international exhibiting companies are expected. More details are available at www.siggraph.org/s2010

About ACM SIGGRAPH
The ACM Special Interest Group on Computer Graphics and Interactive Techniques www.siggraph.org is an interdisciplinary community interested in research, technology, and applications in computer graphics and interactive techniques. Members include researchers, developers and users from the technical, academic, business, and art communities. ACM SIGGRAPH enriches the computer graphics and interactive techniques community year-round through its conferences, global network of professional and student chapters, publications, and educational activities.

About ACM
ACM, the Association for Computing Machinery www.acm.org is the world's largest educational and scientific computing society, uniting educators, researchers and professionals to inspire dialogue, share resources and address the field's challenges. ACM strengthens the computing profession's collective voice through strong leadership, promotion of the highest standards, and recognition of technical excellence. ACM supports the professional growth of its members by providing opportunities for life-long learning, career development, and professional networking.