SIGGRAPH Mardi 9

Blog

QUOI : Siggraph 2011

OU : Vancouver

QUAND : Mardi 9 Août 2011

VU : Art papers + Computer Animation Festival Production Session : Pixar : La Luna + Course : Advances in New Interfaces for Musical Expression + CapDigital Party : Dégustation de Vin

Art Papers

Intervals: Media Time, Space, and Language

Présentation de différents articles de recherche sur le lien Art / Science :

Conserving Digital Art for Deep Time

De : Francis T. Marchese ; Pace university , New York  http://csis.pace.edu/~marchese

->Pour la conservation de l’art numérique la solution doit venir de l’artiste et du conservateur. Des moyens et collaborations sont à découvrir pour arriver à restaurer et reproduire ces œuvres qui utilisent leurs propres configurations de software et hardware.

« Displaying digital art in the late 20th and early 21st centuries can be challenging. Exhibiting this same art in the distant future may be impossible, unless today’s artists, conservators, and curators adopt new thinking and practices. Established software engineering methods for dealing with aging systems can provide a new model for conservation of digital art and a foundation for enhancement of art history scholarship. »

Shadow Awareness: Enhancing Theater Space Through the Mutual Projection of Images on a Connective Slit Screen

De : Yoshiyuki Miwa ; Waseda University et Tokyo University

->Dispositif permettant de connecter les ombres projetées et le corps. Un écran construit de plusieurs bandes amènent l’acteur et le spectateur à changer de place; une double boucle se forme alors entre l’audience, l’espace média de l’ombre et le perfomer.

« This study presents media technology that enables improvisational and continuous creation of performers’ physical expression as they are inspired by the imagery evoked from the audience. To realize this, the authors focus on « shadow media », a system that promotes continuous creation of imagery through « bodily awareness ». The system projects shadows of the performers, which are then transformed into various shapes and colors. The shadows are connected to the performers’ feet and projected on a « passable » slit screen set up between the stage and the audience. The result demonstrates that interactive and mutual creation of imagery from performers and audience can form an « empathetic » stage. To demonstrate its validity, the system was applied to a dance performance at Festival della Scienza in Genoa, Italy. »

Collaboration With the Future: An Infrastructure for Art + Technology at the San José International Airport

De : Matt gorbet, Susan LK Gorbet, Banny Banerjee

->Collaboration entre artistes et techniciens pour étudier comment s’approprier l’infrastructure d’un aéroport dans le but de faire vivre aux passagers des expériences artistiques.

www.sanjoseculture.org

« This paper summarizes development and implementation of a three-part infrastructure for the ongoing program of technology-based public artwork at Silicon Valley’s newly expanded airport. The physical, technological, and human infrastructure provides flexibility and opportunities for future artists and future technologies while providing a robust framework for ongoing maintenance and evolution of the program, and mediating between the needs of artists and the constraints of an airport. »

Art and Code: The Aesthetic Legacy of Aldo Giorgini

De : Esteban Garcia (garcia0@purdue)

->To document and explain the aesthetic of the code

« Working extensively as both artist and scientist, Aldo Giorgini was one of the first computer artists to combine software writing with early printing technologies. His innovative process consisted of producing pen-plotted drawings embellished by painting, drawing and screen-printing. In 1975, he developed a FORTRAN program called FIELDS, a numerical visual laboratory devoted entirely to art production.

This paper, the product of a multi-year study of Giorgini’s primary source materials provided by his estate, examines the methods he used during the 1970s to create computer-aided art. It is an attempt to ensure that future generations of digital artists, technologists, and scientists can learn about Giorgini’s aesthetic legacy and its contribution to the history of digital art. »

The Readers Project: Procedural Agents and Literary Vectors

De : Daniel Howe and John Cayley

->An aesthetically oriented system of soft entities designed to explorer the culture of human reading.

« The Readers Project is an aesthetically oriented system of software entities designed to explore the culture of human reading. These entities, or « readers », navigate texts according to specific reading strategies based on linguistic feature analysis and real-time probability models harvested from search engines. They function as autonomous text generators, writing machines that become visible within and beyond the typographic dimension of the texts on which they operate. The system has been deployed in a number of interactive art installations where the aggregate behavior of the readers can be viewed on a large screen, and viewers can subscribe, via mobile devices, to individual reader outputs. As the structures on which these readers operate are culturally and aesthetically implicated, they shed critical light on a range of institutional practices, particularly those of reading and writing, and explore what it means to engage with literary components in digital media. »

 

Computer Animation Festival Production Session : Pixar : La Luna

Explication de la création du film La Luna par l’équipe de Pixar :  croquis, techniques…

«  »La Luna » is the timeless fable of a young boy who is coming of age in the most peculiar of circumstances. Tonight is the very first time his Papa and Grandpa are taking him to work. In an old wooden boat, they row far out to sea, and with no land in sight, they stop and wait. A big surprise awaits the little boy as he discovers his family’s most unusual line of work. Should he follow the example of his Papa, or his Grandpa? Will he be able to find his own way in the midst of their conflicting opinions and timeworn traditions?

Following the Canadian premiere screening of « La Luna », its director, Enrico Casarosa discusses the journey that led him to create this very personal short and demonstrates the singularly artistic style by which the film was crafted. »

Exhibition

Beaucoup de stands comme chaque année présentent leurs sociétés et écoles dans le domaine du « computer graphic ». Goodies, présentations, show, attractions ,bandes démo se succèdent chez Pixar, CapDigital, Nvidia, Google…

« The world’s leading providers of software, hardware, and services for computer graphics and interactive techniques. »

 Course : Advances in New Interfaces for Musical Expression

Michael Lyons (Ritsumeikan University) et Sidney Fels (The University of British Columbia) ont présenté un état l’art de l’avancement des découvertes dans la création des NIME ainsi que leurs définitions  (New Interfaces for Musical Expression)

“Advances in digital audio technologies have led to computers playing a role in most music production and performance. Digital technologies offer unprecedented opportunities for creation and manipulation of sound, but the flexibilty of these new technologies provides an often confusing array of choices for composers and performers. A decade ago, the presenters of this course organized the first workshop on New Interfaces for Musical Expression (NIME), to clarify this situation by exploring connections with the better-established field of human-computer interaction.

The course summarizes what has been learned at NIME. Topics include the theory and practice of new musical-interface design, mapping from human action to musical output, control intimacy, tools for creating musical interfaces, sensors and microcontrollers, audio synthesis techniques, and communication protocols such as Open Sound Control (and MIDI). The course presents several case studies focused on the major broad themes of the NIME conference, including augmented and sensor-based instruments, mobile and networked music, and NIME pedagogy.”

Summary :

-creating a NIME is easy to do

-creating a good mapping is hard

-Playing it well takes practice to be a virtuoso

-without a piece, difficult to gain acceptance

-often audience doesn’t know what is going on

-many explorations trying different ways to make music

http://www.nime.org/

 

CapDigital Party : Dégustation de Vin

Publicités

Laisser un commentaire

Entrez vos coordonnées ci-dessous ou cliquez sur une icône pour vous connecter:

Logo WordPress.com

Vous commentez à l'aide de votre compte WordPress.com. Déconnexion / Changer )

Image Twitter

Vous commentez à l'aide de votre compte Twitter. Déconnexion / Changer )

Photo Facebook

Vous commentez à l'aide de votre compte Facebook. Déconnexion / Changer )

Photo Google+

Vous commentez à l'aide de votre compte Google+. Déconnexion / Changer )

Connexion à %s