Media Arts and Technology
The paper will present "HIVE" (2016), a parametrically designed interactive sound sculpture with embedded multi-channel digital audio which explores the intersection of sculptural form and musical instrument design. We examine sculpture as an integral part of music composition and performance, expanding the definition of musical instrument to include the gestalt of loudspeakers, architectural spaces, and material form. After examining some related works, we frame HIVE as an interactive sculpture for musical expression. We then describe our design and production process, which hinges on the relationship between sound, space, and sculptural form. Finally, we discuss the installation and its implications.
Photo: Joseph Armario
NIME: New Interfaces for Musical Expression www.nime2017.org.
Serving as the programmatic kickoff of the BAI, this year's symposium brings together artists and scholars to discuss how experts from diverse fields have collaborated in ways to keep the environment in focus.
Photo: Matt Perko
The installation consists of a large 100-degree curved screen, 3D projectors and spatialized audio to display a simulation of the electrical fields of a hydrogen atom. People are able to interract with the simulation by adjusting parameters using touch screens and mobile devices. JoAnn Kuchera-Morin, the director of the AlloSphere Research Facility and professor of Media Arts and Technology, described the installation as an "immersive, interactive media composition and visual, aural, quantum synthesizer".
For more information, an article of the opening of the MOXI museum and the ARG's installation is published in UCSBs' news magazine "The Current":
Andrés Cabrera, JoAnn Kuchera-Morin, Curtis Roads. Computer Music Journal, Winter 2016, Vol. 40, No. 4, pages 47-61.
Spatial audio has been at the core of the multimodal experience at the AlloSphere, a unique instrument for data discovery and exploration through interactive immersive display, since its conception. The AlloSphere multichannel spatial audio design has direct roots in the history of electroacoustic spatial audio and is the result of previous activities in spatial audio at the University of California at Santa Barbara. A concise technical description of the AlloSphere, its architectural and acoustic features, its unique 3-D visual projection system, and the current 54.1 Meyer Sound audio infrastructure is presented, with details of the audio software architecture and the immersive sound capabilities it supports. As part of the process of realizing scientific and artistic projects for the AlloSphere, spatial audio research has been conducted, including the use of decorrelation of audio signals to supplement spatialization and tackling the thorny problem of interactive up-mixing through the Sound Element Spatializer and the Zirkonium Chords project. The latter uses the metaphor of geometric spatial chords as a high-level means of spatial up-mixing in performance. Other developments relating to spatial audio are presented, such as Ryan McGee's Spatial Modulation Synthesis, which simultaneously explores the synthesis of space and timbre.
By overlaying computer-generated information on the real world, augmented reality (AR) amplifies human perception and cognition in remarkable ways. Working in this fast-growing field requires knowledge of multiple disciplines, including computer vision, computer graphics, and human-computer interaction. Augmented Reality: Principles and Practice integrates all this knowledge into a single-source reference, presenting today’s most significant work with scrupulous accuracy. Pioneering researchers Dieter Schmalstieg and Tobias Höllerer carefully balance principles and practice, illuminating AR from technical, methodological, and user perspectives.
The title of the talk was "Oh Ambient Demons: Heuristics and Civilization", and the title of the workshop was "Oh Ambient Demons: Spatial Narratives/Narrative Spaces".
The Giga-Hertz Prize is sponsored by ZKM Karlsruhe (Das Zentrum für Kunst und Medien), and the SWR Experimental Studio, Baden-Baden, Germany. The awards ceremony will be held at the 2016 Giga-Hertz Preis Festival at ZMK Karlsruhe, November 24-27, 2016.
The talk will be presented in the section titled "Creating Immersive Experiences: Virtual Reality and the Brain".
The European Network for Contemporary Audiovisual Creation (ENCAC) is pleased to announce this year’s winners of their annual open call. Totalling 186 submitted projects from 34 countries, a wide range of approaches from developers, performers, visual artists, film makers, choreographers and musicians, composers and sound artists presented their particular visions of the potential for audiovisual creativity in cross-disciplinary fields.
Winning projects are: “ÆTEROFONER” by Christian Skjødt, "Embodied Gestures" by Enrique Tomás, "Manufactory" by Transforma, "Permafrost" by Adam Basanta and Gil Delindro, "Aeryon" by Maotic and "Soft Probe" by Matthew Biederman and Marko Peljhan. Each of the 6 winning artists will be awarded a residency at one of the following institutions: Avatar, Quebec, CTM Festival DISK, Berlin, hTh Montpellier, LABoral Centro de Arte y Creación Industrial, Gijón and Le Lieu Unique, Nantes.
The jury was formed by ENCAC’s curatorial committee:
Le Lieu Unique will host Matthew Biederman and Marko Peljhan for their project, "Soft Probe - the Edges of SDR (software-defined radio)". The artists propose to research and create a tactical environment using software-defined radios for insight into contemporary telecommunication paradigms. The jury is convinced that the artists’ political stance and artistic experience will produce an impact on research which underlines the fragility of contemporary telecommunication infrastructures. Biederman and Peljhan’s use of open source equipment and software, their focus on our current loss of privacy and their keen understanding of the shifts brought about by SDR technology will ensure that "Soft Probe" comes out as a live and autonomous electromagnetic spectrum probe that charts today’s machines, raising awareness of what we emit without knowing it.
The topics included "documentary and virtual reality", "ambiances in actual and virtual environments", "dance, movement, and emotion as computational interfaces", "advanced supercomputing and scientific visualization", "the exploration of the continuum between music and architecture through Xenakis", and "the rapidly evolving emerging possibilities of reinvigorated and expanding social VR".
Virtually There: Documentary Meets Virtual Reality Conference and Exhibition
May 6-7, 2016
MIT Open Documentary Lab
Movement and Emotion as Computational Interfaces Workshop and Speaker Series
June 6-12, 2016
York University • School of the Arts, Media, Performance, and Design • Toronto, Canada
From Xenakis to the Present: the Continuum in Music and Architecture
June 13-14, 2016
University of Cyprus, Department of Architecture
European University of Cyprus, Music Department
World16 International VR Symposium and 7th Summer Workshop
July 12-15, 2016
Cybermedia Center, Osaka University, Japan
RIKEN Advanced Institute for Computational Science, K Computer
Ambiances, Tomorrow: 3rd International Congress on Ambiances
September 21-24, 2016
University of Thessaly, Department of Architecture, Volos, Greece
International Ambiances Network (www.ambiances.net)
Scientific Thematic Network of the French Ministry for Culture and Communication, France
The award provides funding for an academic year, and is intended to assist recipients in acquiring and developing sophisticated research skills under faculty mentorship. Cecilia is working under the supervision of her graduate mentor Professor Curtis Roads.
"Early Days". Pictured: two of the three company founders, Ryan McGee (left) and Michael Hetrick (right).
Dates: September 8 - October 28
Curated by Lorraine Walsh, with Margaret Schedel and Joo Yun Lee
Featuring the work of Memo Akten, Sougwen Chung, Seth Cluett, Yoon Chung Han, Carsten Nicolai, Jess Rowland.
The exhibition is curated by MAT PhD candidate Yoon Chung Han, currently an assistant professor at California State University, Fullerton, and features works by Reza Ali, Juan Manuel Escalante, Yuan-Yi Fan, Haru Ji + Graham Wakefield, George Legrady, Ryan McGee, F. Myles Sciotto, with Camella DeEun Kim and Erick Oh both formerly from UCLA. The exhibition will take place at the Dongdaemun Design Plaza Museum (DDP), designed by Zaha Hadid Architects.
Also on display is work by Art student Miranda O'Mahoney titled "Manifest". The Glass Box Gallery is located in the Art Department building. Opening reception is Thursday, July 14 at 7pm.
Aaron was awarded one of three Best Paper awards at the 2016 ACM SIGGRAPH / Eurographics Symposium on Computer Animation in Zürich Switzerland. He received it for his paper, "Compressing Fluid Subspaces" which he co-authored with Professors Theodore Kim and Pradeep Sen of the MIRAGE lab at UCSB.
The new space will feature a 3D screen and spatialized audio to provide an "immersive" experience, that will showcase installations that are designed to provide insight into the fields of Science, Technology, Engineering, Arts and Mathematics (STEAM).
The MOXI Museum (the Wolf Museum of Exploration and Innovation) is scheduled to open in downtown Santa Barbara at the end of 2016, and will provide over 17,000 square feet of exhibits arranged in eight themed areas.
Mr. Shao was the lead author for a paper titled "Learning Constituent Parts of Touch Stimuli from Whole Hand Vibrations", and Ms. Chartier was the lead author of a paper titled "Toward a Wearable Tactile Sensory Amplification Device: Transfer Characteristics and Optimization". The lab also contributed a paper titled "Exploring Haptic Working Memory as a Capacity Limited Information Channel", which was also recognized as a finalist for the Best Paper Award. The latter was a collaboration with Rachel Lerch (lead student author), and Professor Chris Sims, both of Drexel University.
Symposium website: 2016.hapticssymposium.org
The Board of Trustees of the John Simon Guggenheim Memorial Foundation approved the awarding of 175 Guggenheim Fellowships to a diverse group of distinguished scholars, artists, and scientists. Appointed on the basis of prior achievement and exceptional promise, the successful candidates were chosen from a group of nearly 3,000 applicants in the Foundation’s ninety-second competition.
With his grant, Professor Legrady will create a research project and installation titled "Aesthetic Metavision", that builds on a recently realized series of projects, "Swarm Vision", "Exquisite Vision", and "AutoVision", developed with graduate students Danny Bazo, Marco Pinter, and Jieliang (Rodger) Luo in the Experimental Visualization Lab. The arts-engineering research focuses on questions concerned with training an autonomous multi-camera system to acquire aesthetics-defined behavior and agency.
Turing Machine, reconstructed by Mike Davey, image by Rocky Acosta
Today, the Turing machine is widely regarded as the best possible definition of computability, such that there are definitions of equivalent but not greater formal accuracy and power. But what is it? While references to the Turing machine abound in all academic fields, this question has not been answered, maybe not even asked properly, from the ontological perspective. To firstly understand what it implies, and, secondly, provide a preliminary discussion of possible answers, is what this paper is trying to achieve. Specifically, this paper posits that the rhetoric construction of the Turing machine by means of the simile "human <> machine" mirrors exactly its mathematical construction, as the rhetoric ambiguity created by the simile mirrors exactly the mathematic "ambiguity" that, following Robin Gandy’s "principles for mechanisms" is a necessary prerequisite to the formal construction of any machine. It argues that it is precisely a lack of information, a lack of precision, a lack of clarity that allows Turing to construct rhetorically first what then is developed mathematically.
Conference website: imagehe.re
Photo: Sonia Fernandez, UCSB
The paper sheds light on the surprisingly rich structure in signals felt by the hand when touching, grasping, or manipulating objects.
Date: Tuesday, March 22nd, 2pm.
Location: The Institute for Pure and Applied Mathematics, UCLA
The presentation will begin with an introduction to the "Making Visible the Invisible" installation at the Seattle Public Library, an artwork that maps on 6 large LCD screens, the activities of library checkouts received by the hour. Begun in September 2005, the installation may be the longest continuously running data visualization project.
The second half of the presentation focuses on student work created using the over 78 million datasets collected to-date by the Seattle Library Project. The data has been used in a Data Visualization Course for the past 8 years. Students acquire skillsets in a ten week period to analyze the data with MySQL and create various types of visualizations in 2D and 3D.
Propylaea, by David Gordon
Reception: Saturday March 19th, from 7pm - 10pm.
The HUD Gallery + Studios
1793 East Main St, Ventura, CA
From the press release:
Through merging images, David Gordon uncovers striking juxtapositions and unexpected parallels between distinct subjects or places. These images explore visual paradoxes and ambiguities through manipulation of scale, perspective, color, material and texture. This process abstracts each image from its spatial and temporal context. The resulting composites suggest dreamlike, alternative realities and examine the process by which meaning arises through association of memories with present experience. From where you stand to observe, a virtual window is created to separate you from your existence.
Diller Scofidio + Renfro: Hand holding a model for BAMPFA, 2012; digital photograph. Courtesy and © Diller Scofidio + Renfro.
Event Dates: January 31 – May 29, 2016
Architecture of Life, the inaugural exhibition in BAMPFA's landmark new building, explores the ways that architecture, as concept, metaphor, and practice, illuminates various aspects of life experience: the nature of the self and psyche, the fundamental structures of reality, and the power of the imagination to reshape our world. Occupying every gallery in the new building, designed by Diller Scofidio + Renfro, the exhibition comprises over two hundred works of art in a wide range of media, as well as scientific illustrations and architectural drawings and models, made over the past two thousand years. Boundary-breaking, innovative, and radically interdisciplinary, the exhibition presents visually exquisite, rarely seen works in ways that suggest new connections and meanings.
As digital technology ages, the conservation of digital art becomes an increasing challenge to museums and collections. Early digital artworks have aged to a degree that all of their technical context, all of the technical setup to make them work, has been lost to attrition. Two basic strategies of conservation have emerged in recent years: substitution, the simple replacement of broken with either new or used parts, and portation, the adaption of a work to an entirely new technical context. This paper proposes a new intermediate strategy of conservation that is intended to complement these existing strategies. Unlike these existing strategies, however, the strategy of conservation presented here explicitly acknowledges the fact that the computer - as the medium of digital art - is a symbolic machine that exists in the material and the symbolic realm alike. Based on this acknowledgement, it suggests to treat conservation as translation, and thus to treat digital artworks as objects that can be translated from the material into the symbolic realm, where they can be stored redundantly and indefinitely. Finally, it posits that by using standardized hardware description languages as the translation target, and programmable logic devices as the medium of a digital artwork’s resurrection in the material realm, a level of conservation can be achieved that is unattainable with substitution or portation alone.
Conference website: handson2016.wordpress.com
Symbols and Boundaries, installation by Yuan-Yi Fan.
Event Link: zkm.de/en/event/2015/11/globale-insonic2015
Dates: December 12 - January 23
Opening Reception: Saturday, December 12, 6-8pm
The exhibition features two panels of large lenticular images that juxtapose historical photographs from a personal family archive with contemporary landscape images. In addition, the exhibition features a large two screen animation titled "Anamorphic Fluid" that simulates the same photographs in the panels floating randomly in virtual space.
Custom software for this project was designed in collaboration with Donghao Ren and Jieliang Luo, Media Arts and Technology, UCSB.
This award is extremely competitive, with more than 100 eligible nominees from all of the academic departments across campus.
In it, Roads outlines a new theory of composition based on the toolkit of electronic music techniques. The theory consists of a framework of concepts and a vocabulary of terms describing musical materials, their transformation, and their organization. Central to this discourse is the notion of narrative structure in composition – how sounds are born, interact, transform, and die. It presents a guidebook: a tour of facts, history, commentary, opinions, and pointers to interesting ideas and new possibilities to consider and explore.
The idea of quantum simulation, first conceived by Richard Feynman in his influential 1982 lecture "Simulating Physics with Computers" introduced a peculiar new way of thinking about the relationship between the material and the symbolic. This paper examines the conceptual and aesthetic implications of quantum simulation by reading Feynman’s lecture with Theodor W. Adorno’s aesthetic theory. It argues that quantum simulation, as it requires nothing less than the simulated to become the fabric of the simulation, actively symbolizes the material – not by referencing it but by transforming it into an actual symbolic system that exists in the real world, like the electric charges that do not represent but are our thoughts in the realm of the material. The very notion of quantum simulation can thus be understood to be in a state of conceptual superposition – which is, at its core, an aesthetic principle.
The competition was organized by UCSB’s Schuller Lab and the Center for Science and Engineering Partnerships at the California NanoSystems Institute.The 10 images on exhibit were selected by a panel of judges, and by popular vote, based on their aesthetic excellence as well as scientific or technical interest.
The exchange program is sponsored by the Baden-Württemberg Foundation in Germany, lasting for three months. The participant will be working with the Spatial Audio Group at the Staatliche Hochschule für Gestaltung Karlsruhe (HfG).
The installation is a tribute to the Nobel Prize winning author Gabriel García Márquez's imaginary country "Macondo", as described in his book "One Hundred Years of Solitude". Users at the exhibit were able to upload digital photographs, and assign to it one of eight key concepts that captured essential themes related to the world of Macondo: love, violence, home, landscape, memory, celebration, food, and character. The photographs were then categorized and displayed on a large custom built curved screen.
An article describing the installation was published in the September/October edition of the IEEE Computer Graphics and Applications Journal: online.qmags.com/CGA0915#pg15&mode2.
MAT PhD student Juan Manuel Escalante contributed to the design of the interactive screens.
For more information go to: californiastudies.org/projects
The goal of this symposium is to survey a broad swath of ongoing music research at all the UC campuses and schools within each campus, ranging from studies examining the effects of music participation on learning and health, to brain imaging studies, to studies on music development and skill acquisition.
"AutoVision" is a self-contained, autonomous visual eco-system consisting of three tilt-swivel-zoom cameras that are mounted above the exhibition space, and project a full virtual representation of the gallery space on three projectors. Each camera is programmed to search for faces in the crowd, and negotiate with each other on which face to investigate collectively.
The goal of the workshop is to teach students the basic methods of creating data visualizations in Processing. The audience will consist of undergraduates and graduate students from the Digital Media Technology program. The grand finale of the workshop will be a large exhibition resulting from a collaboration of the instructors and students.
Kaplan was a long-time senior vice president of technology for Warner Bros. Records before helping start Live Nation Labs, a tech arm for the concert ticket giant. He spent the last seven months as the general manager of audio fingerprinting pioneer Gracenote.
Dr. Visell's research focuses on haptic engineering, robotics, and the mechanics and neuroscience of touch. His work is motivated by creative applications in haptic human-computer interaction, sensorimotor augmentation, and interaction in virtual reality.
During this time, Marco will develop "Symphonic Picnic", an interactive exhibit that uses computer vision technology to translate art into music. As part of the exhibition, visitors will be invited to create their own shapes in a variety of colors and work with Pinter to witness how subtleties in their design affect sound.
The image is a visualization of data from the Seattle Central Library, and was made during a data visualization course taught by professor George Legrady.
Professor George Legrady - We Are Stardust
Yoon Chung Han (Phd Student) - Digiti Sonus
Sterling Crispin (MAT alumnus) - Data-Masks
We Are Stardust is a two-screen projection installation that maps the sequence of the 45000 sky observations of the Spitzer Infrared telescope satellite mission from 2003 to 2009. The installation includes a military grade infrared camera by which visitors to the gallery are visually rendered according to their heat values. Software engineering by MAT alumni Javier Villegas and Andres Burbano.
Digiti Sonus is an interactive fingerprint sonification or interactive sound installation that transforms human's fingerprints into musical sound. The idea is to allow audience to explore their own identities through unique sound generated by their fingerprint patterns based on algorithmic computing and a physical device. The captured sound is looped and harmonized with other fingerprint sound so that the result is a real time experimental music as a representation of integrated human identities and societal communication.
Data-masks are face masks which were created by reverse engineering facial recognition and detection algorithms. These algorithms were used to guide an evolving system toward the production of human-like faces. These evolved faces were then 3D printed as masks, shadows of human beings as seen by the minds-eye of the machine-organism. This exposes the way the machine, and the surveillance state, view human identity and this makes aspects of these invisible power structures visible.
Recent PhD graduate Yuan-Yi "Danny" Fan is now working as a software engineer at the startup PULS in Hollywood.
Ensemble Feedback - by the CREATE Ensemble, directed by Matt Wright, with Fernando Estrada, Anis Haron, Charlie Roberts, Muhammad Hafiz Wan Rosli, Hannah Wolfe, Tim Wood and Karl Yerkes.
Blinky Gibberings - by Charlie Roberts.
Conducting Studies - by MAT alumni Marco Pinter and Ava Ansari.
Ensemble Feedback Instruments - Muhammad Hafiz Wan Rosli, Karl Yerkes, Matthew Wright, Timothy Wood, Hannah Wolfe, Charlie Roberts, Anis Haron and Fernando Rincon Estrada.
Beyond Editing: Extended Interaction with Textual Code Fragments - Charlie Roberts, Matthew Wright and JoAnn Kuchera-Morin.
Tibetan Singing Prayer Wheel: A Hybrid Musical-Spiritual Instrument Using Gestural Control - J. Cecilia Wu, Yoo Hsiu Yeh (Stanford University), Romain Michon (Stanford Universtiy), Nathan Weitzner, Jonathan Abel (Stanford University) and Matthew Wright.
The Bistable Resonator Cymbal: An Actuated Acoustic Instrument Displaying Physical Audio Effects - Andrew Piepenbrink (Santa Barbara City College) and Matthew Wright.
The International Conference on New Interfaces for Musical Expression gathers researchers and musicians from all over the world to share their knowledge and late-breaking work on new musical interface design.
The paper builds on the controversial debate around the notion of "liveness" in the context of performing arts, and examines the question, "What happens to liveness, when we substitute the live performer’s body with a virtual body on stage?".
Professor Peljhan and a team of UCSB scientists were able to make use of one of NASA's satellites, equiped with a high powered Airborne Visible/Infrared Imaging Spectrometer New Generation (AVIRIS-NG), that will be used to help predict the direction of flow of the oil.
Video by UC Santa Barbara's Office of Public Affairs and Communications
The installation is in three parts, with focal points at the Pardall Tunnel, the lawns spanning from the tunnel to the library, and selected trees near the library. The tunnel section consists of a permanent, motion-activated, interactive light installation that converts what was the darkest spot on campus into the brightest one. The middle section consists of 2100 solar powered "star-flowers," "planted" by volunteers on Wednesday, May 13th, on the lawns between the Davidson Library and the Pardall Tunnel. The final section transforms selected trees near the library.
The title for the overall piece is "Hesperus is Phosphorus", referencing the Greek morning and evening star being one and the same. The light tunnel is named "Uguisukangei", a Japanese reference to the nightingale floor. The light gardens are named "Ikimin Aqiwo Spe’y" (Chumash for "New Star Flowers" The last portion is called "Aloha ʻĀina", which literally means "love of the land", a central idea of ancient Hawaiian thought, cosmology and culture.
The theme of the conference is Computers | Art | Data. The conference will be hosted by the Glasgow School of Art and the City of Glasgow.
Date: Tuesday, April 21, 2015.
Location: Broida Hall, room 1640.
A handful of physics equations, backed by an arsenal of numerical algorithms, are used to generate many of the computer graphics images we see at the movies today. These include the Navier-Stokes equations, the non-linear oscillator, and a specialized form of radiative transfer that we call "the rendering equation". Our jobs would be very easy if we could use off-the-shelf computational physics algorithms to solve these equations, but unfortunately, this is usually not the case. In this talk, I will discuss how we arrived at these particular equations, our preferred methods for solving them, and why various alternatives were discarded.
Thanks to a generous grant from the Baden-Württemberg Foundation in Germany, qualified students from the Center for Research in Electronic Art Technology (CREATE) and the Media Arts and Technology (MAT) program at UCSB can study and realize spatial audio projects in the Spatial Audio Group at Karlsruhe University of Arts and Design (HfG), which is affiliated with the Zentrum für Kunst und Medientechnologie (ZKM). Students from Karlsruhe will also travel to Santa Barbara for similar purposes. As a conclusion to these activities, a conference on spatial audio titled InSonic is being held in Karlsruhe 26-28 November 2015, which will be attended by students and faculty from both places as well as other international participants.
Amir Abo-Shaeer, Director of DPEA
The initiative, sponsered by the Mosher Foundation, aims to incorporate art and design principles into the academys' core curriculum of physics, engineering and mathematics.
The talk gave an overview of the research currently underway at the UCSB MIRAGE Lab, which Professor Kim co-directs with Professor Pradeep Sen.