Leonardo 52:4, 2019
On the cover: NOISE AQUARIUM, interactive installation in the Deep Space 8K at Ars Electronica 2018, Linz, Austria, September 2018. (© Victoria Vesna. Photo: Glenn Bristol.)
ISSN: 
1071-4391

Leonardo, Volume 52, Issue 4

July 2019

Contents

Art Papers

  • Introducing the SIGGRAPH 2019 Art Papers
  • CAVE: Making Collective Virtual Narrative
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    CAVE is a shared narrative six degrees of freedom (6DoF) virtual reality experience. In 3.5 days, 1,927 people attended its premiere at SIGGRAPH 2018. Thirty participants at a time each saw and heard the same narrative from their own individual location in the room, as they would when attending live theater. CAVE set out to disruptively change how audiences collectively experience immersive art and entertainment. Inspired by the social gatherings of theater and cinema, CAVE resonated with viewers in powerful and meaningful ways. Its specific pairing of colocated audiences and physically shared immersive narrative suggests a possible future path for shared cinematic experiences.

  • Terra Mars: When Earth Shines on Mars through AI’s Imagination
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    Terra Mars presents artistic renderings of Mars with visual reference to our very own planet Earth. The author trained an artificial neural network with topographical data and satellite imagery of Earth so that it can learn the relation between them. The author then applied the trained model to topographical data of Mars to generate images that resemble satellite imagery of Earth. This project suggests a new approach to creative applications of artificial intelligence—using its capability of remapping to broaden the domain of artistic imagination.

  • Secrets of Balanced Composition as Seen through a Painter’s Window: Visual Analyses of Paintings Based on Subset Barycenter Patterns
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    In this paper, the author implements and uses a subset barycenter pattern to analyze various paintings. The suggested visualization and analysis tool is inspired by Gombrich’s theory of a painter’s window and Locher’s psychological research on computational balance. An image’s or an image group’s subset (set of cropped images) may reveal genre and artist characteristics. Moreover, it may also reveal forensic information about each artist’s individual style and its changes over time with barycenter dispersion patterns. The suggested barycenter pattern analysis can enrich the methods of art history and criticism.

  • Off-Lining to Tape Is Not Archiving: Why We Need Real Archiving to Support Media Archaeology and Ensure Our Visual Effects Legacy Thrives
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    This paper examines digital asset archiving and preservation practice in the visual effects (VFX) industry. The authors briefly summarize media archaeology theory and provide an overview of how VFX studios presently archive project assets and records, based on case study and interview research conducted with expert VFX practitioners from leading international studios. In addition, the authors propose that current practice could be improved by adopting archival science methods, including digital preservation practices. Doing so will support media archaeology studies of digital cultures over time and ensure that the legacy of VFX creative and technical production thrives for future generations.

  • Weaving Objects: Spatial Design and Functionality of 3D-Woven Textiles
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    3D weaving is an industrial process for creating volumetric material through organized multiaxis interlacing of yarns. The overall complexity and rarity of 3D weaving have limited its market to aerospace and military applications. Current textile design software does not address the ease of iterating through physical trialing so necessary for designers to access this medium. This paper describes the development of a series of volumetric textile samples culminating in the creation of a fully formed shoe and the collaboration with computer scientists to develop a visualization tool that addresses the consumer accessory design opportunities for this medium.

  • The Trained Particles Circus: Dealing with Attractors, Automatons, Ghosts and Their Shadows
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    The Trained Particles Circus proposes an improbable, precarious and potentially dangerous meeting place caged between the real and the virtual worlds. Embodied in the relationship between synthetic biomechanics and an automaton, it recreates the figure of the circus artist, the puppet with its own life or the fantastic animal; and it places us as spectators into a contemporary spectacle of hybrid and augmented subjects that conjugate light and shadow, fake and magic, virtual and physical reality, machine and organism.

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