ACM SIGGRAPH Research Articles

The Making of “The Big 50: Celebrating 50 ACM SIGGRAPH Conferences”

The Making of “The Big 50: Celebrating 50 ACM SIGGRAPH Conferences”

Paint in the Tube: AI and the Future of Art

Abstract BCS' London offices recently held a retrospective exhibition of digital artist Paul Brown, winner of the ACM SIGGRAPH Distinguished Artist Award for Lifetime Achievement in Digital Art 2023 for his pioneering efforts in the fields of computational art, generative systems, and cellular automata. Georgia Smith took the opportunity to chat with him about his career, the CAS, and his thoughts on the future of AI and the digital arts.

The Ways that Digital Technologies Inform Visitor's Engagement with Cultural Heritage Sites: Informal Learning in the Digital Era

The Ways that Digital Technologies Inform Visitor's Engagement with Cultural Heritage Sites: Informal Learning in the Digital Era

ACM SIGGRAPH Distinguished Artist Award for Lifetime Achievement in Digital Art: Jeffrey Shaw

ACM SIGGRAPH Distinguished Artist Award for Lifetime Achievement in Digital Art: Jeffrey Shaw

ACM SIGGRAPH Distinguished Artist Award for Lifetime Achievement in Digital Art: Donna J. Cox

ACM SIGGRAPH Distinguished Artist Award for Lifetime Achievement in Digital Art: Donna J. Cox

ACM SIGGRAPH Distinguished Artist Award for Lifetime Achievement in Digital Art

ACM SIGGRAPH Distinguished Artist Award for Lifetime Achievement in Digital Art

News from the SIGs

In this issue of News from the SIGs, we introduce a new reporter, Ginger Alford, chair of the ACM SIGGRAPH Education Committee. Ginger's article introduces the ACM SIGGRAPH Education Committee, and challenges us to join in the quest for interdisciplinary learning. But first, we have a report from SIGCSE Chair, Amber Settle, with an overview of the SIGCSE conferences scheduled for the year.

ACM SIGGRAPH Distinguished Artist Award for Lifetime Achievement in Digital Art

August 01 2016 ACM SIGGRAPH Distinguished Artist Award for Lifetime Achievement in Digital Art Sue Gollifer Sue Gollifer Search for other works by this author on: This Site Google Scholar Author and Article Information Sue Gollifer Online Issn: 1530-9282 Print Issn: 0024-094X © 2016 Sue Gollifer2016 Leonardo (2016) 49 (4): 300–301. https://doi.org/10.1162/LEON_a_01281 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Sue Gollifer; ACM SIGGRAPH Distinguished Artist Award for Lifetime Achievement in Digital Art. Leonardo 2016; 49 (4): 300–301. doi: https://doi.org/10.1162/LEON_a_01281 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAll JournalsLeonardo Search Advanced Search This content is only available as a PDF. © 2016 Sue Gollifer2016 Article PDF first page preview Close Modal You do not currently have access to this content.

ACM SIGGRAPH Distinguished Artist Award for Lifetime Achievement in Digital Art

The 2016 ACM SIGGRAPH Distinguished Artist Award for Lifetime Achievement in Digital Art is awarded to Steina Vasulka, a major contributor to the development of an intellectual and institutional framework for video and installation art, which she has continued to nurture and promote in a variety of contexts.Vasulka’s unique vision owes much to her background in music. She studied violin and music theory, attended the State Music Conservatory in Prague, and played with the Icelandic Symphony Orchestra. After moving to New York City in 1965 she found herself part of the avant-garde “intermedia”—an intermingling of music, dance, theater, anlm communities. Steina says, “ere is no grander life than creative artistic life. It is the unknown, the exploration, and the fact of being your own person in your own time.”

ACM SIGGRAPH Conference on VRCAI 2016 and Special Issue of VRC in Learning with the Journal Interactive Learning Environments

"ACM SIGGRAPH Conference on VRCAI 2016 and Special Issue of VRC in Learning with the Journal Interactive Learning Environments." Interactive Learning Environments, 24(5), p. 1025

ACM SIGGRAPH Distinguished Artist Award for Lifetime Achievement in Digital Art

Through her ground-breaking work, Schwartz helped to establish computer art as a viable field of endeavor. She also contributed to the scientific research areas of visual and color perception and sound. Her efforts contributed toward the now widespread use of computing as an analytical and interpretation tool within the disciplines of philosophy and history of art. She devised databases to analyze the choices of artists such as Picasso and Matisse regarding color palettes, structures of paintings, sculptures, and graphics used, thus investigating the creative process itself.

디지털 시대: 디지털 캐릭터와 리얼리즘 -ACM 시그래프 아시아 출품작을 중심으로-

예술은 시대마다 새로운 표현 도구를 탄생시켜 온 과학기술과 밀접한 관계를 맺으며 예술 형식에 큰 변화를 가져왔다. 특히 애니메이션은 움직이는 이미지의 '환상성'을 내세우며 그 시작부터 과학 기술 시대를 배경으로 탄생한 영화와 유사한 영상 매체라는 점에서 기술적인 측면과 떼려야 뗄 수 없는 밀접성을 갖는 대표적인 예술 장르이다. 이런 이유로 애니메이션에 대한 미학적 접근은 기술매체 발전을 전제로 고찰되는 측면이 강하기도 하다. 지금의 컴퓨터 애니메이션의 모태가 된 컴퓨터 그래픽스 아트의 선구자인 존 휘트니는 기술적 실험을 통해 테크놀로지를 하나의 도구가 아닌 자신만의 예술 세계를 표현하기 위한 시도로 이어 나갔다. 이러한 새로운 매체의 등장은 단순히 표현을 위한 도구나 수단 뿐 아니라 예술을 바라보는 수용방식과 의식에도 큰 영향을 미치게 되었고, 1980년대를 전후로 애니메이션은 디지털 컴퓨터 기술과 본격적인 접목으로 기술적 완성도를 앞세워 새로운 영상미학을 열게 된다. 오늘날 디지털 기술의 발달은 애니메이션의 사실주의적 환영을 더욱 견고히 해나가기 위해 극사실주의적 디지털 캐릭터 구현 방식을 적극 수용하고 있다. 다른 한편으로는 애니메이션의 가장 대표적인 표현양식인 이미지의 왜곡이나 변형을 강조한 고전적 카툰 캐릭터 방식을 내세워 사실적 환영효과를 추구하기도 한다. 따라서 본 연구에서는 시그래프 아시아에 출품된 작품들을 토대로 디지털 기술의 발전과정 속에서 어떻게 새로운 애니메이션의 디지털 리얼리즘을 만들어 나가고 있는지 이 두 가지 서로 다른 디지털 캐릭터 스타일의 수용방식을 통해 기술 변화에 따른 아날로그와 디지털의 상호 보완적 가능성을 살펴보도록 한다. Art has evolved into remarkable changes in its art form maintaining a close link with the contemporary scientific technologies that gave birth to new tools of expression in each era. Animation is an art form in an inextricable connection with technological aspects because it was spawned by the technical background like movies. In this regard, animation is often viewed very strongly by technical advancements in terms of an aesthetic approach. John Whitney Sr., one of the pioneers in computer graphics arts, turned his attention to the new technology called computer graphics as a means to visualize images and movement. The advent of a new medium had a strong influence not only on tools and means for novel expression but also on the gradual shift in thinking about arts and even the audiences' taste. In the 1980s, animation was combined with computer technology and the rapid progress of computer graphic technology opened up the era of new visual aesthetics, Today, the development of digital technology presents a different dimension of realism, either advocating hyperrealism by digital actors or presenting new illusionism by classic cartoon characters emphasized in a distortion or metamorphosis from a real life in order to consolidate animation realism. Based on the two perspectives mentioned above, this study can identify methods of digital character appropriation focused on the works of the ACM SIGGRAPH Asia and find how the relationship between art and technology has changed the digital realism and evolved the digital character as the digital technology has developed.

The Hybrid Breeding of Nanomedia

The Hybrid Breeding of Nanomedia

ACM SIGGRAPH Distinguished Artist Award for Lifetime Achievement in Digital Art

The 2014 ACM SIGGRAPH Lifetime Achievement Award in Digital Art is awarded to Harold Cohen for his pioneering achievements in creating art through artificial intelligence and machine autonomy. Best known for his creation of the art-making system AARON, Cohen began his career as a painter after graduating from the Slade School of Fine Art in London in 1951. Exhibited widely in galleries and museums, Cohen’s work represented Great Britain in the Venice Biennale, Documenta 3, the Paris Biennale, and many other important international shows. In 1968, Cohen was invited to be a visiting lecturer at the University of California San Diego. Within two years, he became Professor and Chairman of the Visual Arts Department. During this time, his research interests turned to artificial intelligence, and in 1971 he was invited to be a visiting scholar at the Artificial Intelligence Laboratory at Stanford University. What grew out of this period of his life was AARON, a program that simulates the cognitive processes underlying the artist’s approach to drawing. The initial version of AARON produced autonomous black-and-white drawings and later incorporated color, an important element of Cohen’s creative research. In particular, he is interested in the cognitive processes behind representation that allow our vision to infer patterns and objects through line and color. His imagery is abstract, fluid, dense, and highly suggestive of natural forms. While mathematical in nature, his computer images are stylistically linked to his early paintings depicting figurative and plant elements as their subject matter. His creative practice continues to this day, and Cohen sees AARON as his creative partner, as evidenced by his recent exhibition Collaborations with My Other Self, at UC San Diego, 2011–2012. AARON has produced original autonomous drawings in museums and science centers in the US, Europe, and Asia, including the Tate Gallery and Victoria & Albert Museum in London, Documenta 6, Stedelijk Museum in Amsterdam, Los Angeles County Museum, San Francisco Museum of Modern Art, the IBM Gallery and the Brooklyn Museum in New York, among others. Science centers that have featured Cohen’s creative work with AARON include the Boston Science Museum, the Buhl Center in Pittsburgh, and the California Museum of Science and Technology. AARON is on permanent exhibit at the Computer Museum in Mountain View, California. Harold Cohen. Photograph courtesy of Tom Machnik, 2014.

Weavy: interactive card-weaving design and construction.

Card weaving is a simple, easy weaving method, but designing patterns is typically laborious and requires knowledge, experience, and skill. The Weavy system helps users design and weave original patterns with or without repeating elements. In the latter case, the system automatically considers constraints such as the number of yarn colors and the cards' rotation direction. Following Weavy's construction guide, users weave the pattern they've created. Researchers exhibited Weavy at the ACM Siggraph 2013 Studio and ran a small workshop for children in Japan. In both cases, the participants quickly learned how to use Weavy and enjoyed designing and weaving objects.

Guest Editor' Introduction: Special Issue on the ACM SIGGRAPH Symposium on Interactive 3D Graphics and Games 2013

The articles in this special were presented at the ACM Interactive 3D Graphics and Games (I3D) 2013 conference that was held March 21-23 in Orlando, FL.

ESLPV: enhanced subsurface light propagation volumes

In this paper, we present an enhanced subsurface light propagation volumes (ESLPV) method for real-time rendering of translucent materials. Our method is an extension of the subsurface light propagation volumes (SSLPV) (Proceedings of the ACM SIGGRAPH Symposium on High Performance Graphics, HPG ’11, pp 7–14 ACM 2011) technique. We improve the SSLPV by incorporating a single-scattering framework that uses the same spherical harmonics (SH) storage structure as the SSLPV. The new single-scattering technique deposits radiance as SH coefficients during a ray marching procedure. The final result is rendered using a ray tracer with importance sampling along the camera ray. This framework also enables the ESLPV to render refractive objects. In addition, we also propose a distance transform optimization that can remove the unnecessary computations during the propagation cycle of LPV (Proceedings of the 2010 ACM SIGGRAPH Symposium on Interactive 3D Graphics and Games, I3D ’10, pp 99–107 ACM 2010) based methods. A hierarchical propagation process is also proposed to render highly translucent materials. Similar to the SSLPV, our ESLPV method contains no precomputations, and has low storage requirements that are independent of the mesh size.

ACM The 40th International Conference and Exhibition on Computer Graphics and Interactive Techniques(ACM SIGGRAPH 2013)に参加して(国際会議の報告)

ACM The 40th International Conference and Exhibition on Computer Graphics and Interactive Techniques(ACM SIGGRAPH 2013)に参加して(国際会議の報告)

ACM The 6th International Conference and Exhibition on Computer Graphics and Interactive Techniques in Asia(ACM SIGGRAPH ASIA 2013)に参加して(国際会議の報告)

ACM The 6th International Conference and Exhibition on Computer Graphics and Interactive Techniques in Asia(ACM SIGGRAPH ASIA 2013)に参加して(国際会議の報告)

State of the Journal

IEEE Transactions on Visualization and Computer Graphics (TVCG) has published more papers in 2013 than in any previous year. TVCG continues to be in an excellent state. For the first time, the entire proceedings of IEEE VAST 2013 papers became part of the VIS special issue of TVCG. At the start of October 2013, TVCG had received more than 265 regular submissions, more than last year at the same time. This year we also observed a healthy number of 150 and 402 submissions to the IEEE VR Conference issue and the VIS conference issue that contains the Proceedings of the IEEE Information Visualization, Scientific Visualization, and Visual Analytics Science and Technology 2013 Conferences, respectively. We are expecting a total of nearly 900 submissions to TVCG by the end of 2013. A total of 137 articles were published in the first 10 regular issues with 1,769 printed pages, and the VR and VIS special issues containing 21 and 101 conference papers, respectively. All submissions in both special issues went through a rigorous two-round journalquality review process. Practically all the 2012 papers have also been decided. From the 293 regular submissions (including 20 extended versions of Best Papers from several top venues in graphics and visualization), 76 regular papers and all 20 special section papers were eventually accepted; 86 out of 333 SciVis plus InfoVis conference submissions were published in the VIS special issue. TVCG continues to offer authors a remarkably effi cient processing of submitted manuscripts: The average time from submission to fi rst decision is about three months and the average time from submission to publication as a preprint in the digital library is about seven months. Its 2012 impact factor is 1.895 with the largest number of total publications appeared two years prior. During 2013, the authors of TVCG regular papers were invited to give an oral presentation of their recent work at TVCG’s partner conferences. A total of 35 TVCG papers were presented at the IEEE Virtual Reality Conference, ACM SIGGRAPH Symposium on Interactive 3D Graphics and Games, ACM SIGGRAPH/Eurographics Symposium on Computer Animation, Pacifi c Graphics, and IEEE VIS 2013.