2010Leonardo Special Issue:SIGGRAPH 2010 Art Papers and TouchPoint Gallery


324 Conference Arts Director’s Statement Matthew Hollern
325 Guest EditorialLira Nikolovska
327 SIGGRAPH Distinguished Artist AwardYoichiro KawaguchiART Papers
328 Art Papers Jury
330 The Immediacy of the Artist’s Mark in Shape ComputationJacquelyn A. Martino
AbstractThis paper contributes to the area of computation in the production of artistic form. The author-artist describes a computational system in the form of a curvilinear, parametric shape grammar. Based on an analysis of over 3,000 entries in her traditionally hand-drawn sketchbooks, she describes the grammar that synthesizes drawings in the design language of her evolving style and serves as a tool for self-understanding of her artistic process.
340 Learning from Weaving for Digital Fabrication in ArchitectureRizal MusliminAbstractThis project restructures weaving performance in architecture by analyzing the tacit knowledge of traditional weavers through perceptual study and converting it into an explicit rule in computational design. Three implementations with different materials show the advantages of using computational weaving that combines traditional principles with today’s digital (CAD/CAM) tools to develop affordable fabrication techniques.
350 Glowing Pathfinder Bugs: A Natural Haptic 3DInterface for Interacting Intuitively with Virtual EnvironmentsAnthony RoweLiam Birtles AbstractGlowing Pathfinder Bugs is an interactive art project primarily aimed at children and created by the digital arts group Squidsoup. It uses projection to visualize virtual bugs on a real sandpit. The bugs are aware of their surroundings and respond to its form in their vicinity. By altering the topography of the sand, participants affect the bugs’ environment in real time, facilitating direct communication between them and computer-generated creatures. This highly malleable and tactile physical environment lets us define and carve out the landscape in which the creatures exist in real time. Thus, virtual creatures and real people coexist and communicate through a shared tactile environment. Participants can use natural modes of play, kinesthetic intel¬ligence, and their sense of tactility to collaboratively interact with creatures inhabiting a hybrid parallel world. This paper describes the project and analyzes how children in particular respond to the experience; it looks at the types of physical formations that tend to be built and notes how children instinctively an¬thropomorphize the bugs, treating projected imagery as living creatures – though with a ludic twist.
359 Touching Space: Using Motion Capture and Stereo Projection to Create a “Virtual Haptics” of DanceKim Vincs, John McCormickAbstractThis paper describes the work of a group of artists in Australia who used real-time motion capture and 3Dstereo projection to create a large-scale performance environment in which dancers seemed to “touch” the volume. This project re-versions Suzanne Langer’s 1950s philosophy of dance as “virtual force” to realize the idea of a “virtual haptics” of dance that extends the dancer’s physical agency literally across and through the surrounding spatial volume. The project presents a vision of interac¬tive dance performance that “touches” space by visualizing kinematics as intentionality and agency. In doing so, we suggest the possibility of new kinds of human-computer interfaces that emphasize touch as embodied, nuanced agency that is mediated by the subtle qualities of whole-body movement, in ad¬dition to more goal-oriented, task-based gestures such as pointing or clicking.
367 Visual Anecdote Dietmar Offenhuber
AbstractThe discourse on information visualization often remains limited to the exploratory function – its poten¬tial for discovering patterns in the data. However, visual representations also have a rhetorical function: they demonstrate, persuade, and facilitate communication.In observing how visualization is used in presentations and discussions, Ioften notice the use of what could be called “visual anecdotes.” Small narratives are tied to individual data points in the visualiza¬tion, giving human context to the data and rooting the abstract representation in personal experience. This paper argues that these narratives are more than just illustrations of the dataset; they constitute a central epistemological element of the visualization. By considering these narrative elements as parts of the visualization, its design and knowledge organization appear in a different light.This paper investigates how the “story” of data representation is delivered. By means of ethnographic interviews and observations, the author highlights the different aspects of the visual anecdote, a spe¬cific point where the exploratory and the rhetorical functions of visualization meet.
375 Data PortraitsJudith Donath, Alex Dragulescu, Aaron Zinman, Fernanda Viégas, Rebecca Xiong
Abstract ata portraits depict their subjects’ accumulated data rather than their faces. They can be visualiza¬tions of discussion contributions, browsing histories, social networks, travel patterns, etc. They are subjective renderings that mediate between the artist’s vision, the subject’s self-presentation, and the audience’s interest. Designed to evocatively depict an individual, a data portrait can be a decorative object or be used as an avatar, one’s information body for an online space. Data portraits raise questions about privacy, control, aesthetics, and social cognition. These questions become increasingly important as more of our interactions occur online, where we exist as data, not bodies. TouchPoint: Haptic Exchange Between Digits384 TouchPoint Art Gallery Jury
387 IntroductionRichard Elaver388 EchidnaTine Bech390 Strata-CasterJoseph Farbrook
392 Cursor Caressor EraserMichael Filimowicz
394 Final Wisdom IJohn Fillwalk
396 hanahanahanaYasuaki Kakehi, Motoshi Chikamori, Kyoko Kunoh
398 The Lightness of Your TouchHenry Kaufman
400 Tools for Improved Social InteractingLauren McCarthy
402 Dinner PartyHye Yeon Nam
404 samplingplongJoerg Niehage
406 Empire of Sleep: The BeachAlan Price
408 Lotus 7.0Daan Roosegaarde
410 In the Line of SIghtDaniel Sauter, Fabian Winkler
412 Glowing Pathfinder BugsSquidsoup
414 ADBNicholas Stedman
416 Leonardo Network NewsFront Cover Echidna is an interactive sculpture of tangled wires that produces sound when touched. Echidna was made by visual artist and researcher Tine Bech, partly in collaboration with PhD researcher Tom Frame from the Surrey Space Centre. Echidna was shown as part of Touchpoint: Haptic Exchange Between Digits at SIGGRAPH 2010. Echidna, © 2010 Tine Bech. Photo © Nicolai Amter.Back CoverDigital painting by artist and researcher Jacquelyn A. Martino illustrating the result of a computational system developed to aid in the production of artistic form, deepen understanding of the artist’s design language and advance stylistic maturation. © 2010 Jacquelyn A. Martino.

Leave a Reply