SIGGRAPH evolving
I spent a few days at SIGGRAPH last week. The conference is evolving and trying out some new ideas in terms of redefining the attendee experience. Several large venues (Art Gallery, Studio, E-tech) were moved into a central location on the trade show floor. It created an interesting mash-up of activities together in one place.
The Art Gallery was divided into two shows, the first being a juried exhibit called Slow Art and the second a curated show featuring Design & Computation. Slow Art asked artists to address the concept of time within the context of four main catagories: Erosion, Hybrids, Rhythms, and Traversal. I really enjoyed JooYoun Paek’s Fold Loud work presented in Hybrids. Paek aims to interconnect ancient traditions and modern technology by combining origami, vocal sound and interactive techniques.
This was the first year for the Design & Computation exhibit which focused on analytical and generative methods for design together with digital fabrication technologies. They presented a beautiful sampling of textiles, furniture, sculpture and architectural spaces.
On the exhibit floor, I did see an interesting 3D monitor from a Berlin based company. It used two displays, the first one to calibrate the image to the viewers eyes, and the second to display the image in 3D. Once it had calibrated to your eyes, you could move your head side to side a little and have some depth and perspective. Cumbersome but interesting technology. Sorry I forgot the name of the company.
The Studio was reorganized this year into 3 focus groups; Acquire, Process and Produce. Each area featured the latest technology and offered attendees an opportunity to have a hands on experience with it. The Produce area featured all Roland printers and a vinyl cutter, which is a change from the years of running Epson printers. Attendees were able to have large format prints made on canvas or glossy paper, or the ability to make stickers using the vinyl cutter. Raleigh Southern was in the Acquire area with his Get Flipped Photoshop action, and as usual his table was busy with people wanting to learn more about lenticular prints. One of the coolest things in The Studio this year was the camera that captures 1000 frames per second. When the frames are replayed, the image animates in extreme slow motion.
As to be expected, there were some interesting innovations in the New Tech venue (formerly E-Tech). Each year is seems like the Japanese students bring the most interesting interactive technologies to this venue, and this year was no exception. The technology was presented in the form of interactive games, wearable interfaces, robots and more. It’s very cool to interact with these systems and imagine how they may one day be adapted into mainstream product technology.
Each year I look forward to the SIGGRAPH show. It allows me to keep a finger on the pulse of technology and specifically how it relates to art. Each year I return to my studio inspired by the amazing creative sharing that takes place there.
Tags: SIGGRAPH, Slow Art, The Studio
August 21st, 2008 at 6:08 pm
I am fascinated by the photo above, it reminds me of tin art crafted so well by Mexican artists…although this has a definite shimmer to it and plays with the colors. What type of medium is this?
I can understand how you are inspiried upon returning from SIGGRAPH.
August 21st, 2008 at 8:43 pm
Lyn, I can always count on you to report on SIGGRAPH and all the other great cutting edge stuff that’s going on in the world. I never saw lenticular prints before your show, and I love love love them! I look forward to seeing what you do with it in your future.
August 26th, 2008 at 12:14 pm
Regarding the photograph, this is what the artist has written at: http://www.siggraph.org/s2008/attendees/design/16.php
“The concepts of continuity and potential infinity have been central themes of Erwin Hauer’s opus from very early on in his career as a sculptor. In his native Vienna, he began to explore perforated modular structures that evolved into infinite continuous surfaces for architectural applications. Hauer derived the notion of continuous surface primarily from his studies of biomorphic form, an experience reinforced by his first encounters with the work of Henry Moore. Further reflection led Hauer to awareness of the so-called saddle surface, a type of mathematical surface that looks like the shape of historic horse saddles.
These surfaces influenced his sculptures and soon evolved into a repeat pattern because, as Hauer states: “the saddle surface refuses to permit the closure of form.” Hauer’s sculptural walls are intricately woven forms that create a visual sense of infinity.
The molding and casting processes applied since the 1950s were rather difficult and laborious. In partnership with Enrique Rosado, Hauer explores production of his Continua series using digital means, specifically design transformations, creation of custom tools, and CNC milling techniques. “