ACM SIGGRAPH's DIGITAL ARTS COMMUNITY (DAC)
SPARKS - Immersion, Interactivity, and Altered Realities
Moderated by Derick Ostrenko and Victoria Szabo
26 February 2021 @ 21:00 GMT/16:00 EST via Zoom
Proposal Submissions for February: CLOSED - but sign up for future sessions here: http://bit.ly/3iWoDvG
Discussion Signup: SIGN UP FOR ZOOM LINK
The 2nd SPARKS online Zoom discussion, Immersion, Interactivity and Altered Realities, will feature 10 presenters who have responded to the topic of past & present trajectories of immersive media experiences & experiments, as well as the evolving influence of reality altering innovation on art and culture. We will offer a journey through artworks distinguished by totality at the interface of art and consciousness. Following the presentations of their lightning talks, the zoom audience is encouraged to engage in moderated discussion.
For Further Discussion
Frederick “Derick” Ostrenko is a media artist and Assistant Professor at Louisiana State University (LSU). He holds a joint-appointment in the Digital Art concentration at the School of Art and the Cultural Computing research group at the Center for Computation and Technology (CCT). Derick creates physical and virtual systems that examine the intersections of media, culture, and technology. He employs custom hardware and software that use various interfaces such as mobile applications, brain waves, generative visualizations, video processing, animation, and games. His research focuses on pushing art and technology to reveal hidden networks between people by creating structures for innovative forms of expression and discovery. Derick received his MFA in Digital+Media from the Rhode Island School of Design. Derick is a member of the ACM SIGGRAPH Digital Arts Community Committee.
Victoria Szabo is a Research Professor of Visual and Media Studies at Duke University. She is also graduate faculty in the Computational Media, Arts & Cultures PhD program, directs the MA in Digital Art History/Computational Media, the Information Science + Studies certificate and lab, the Digital Humanities Initiative at the John Hope Franklin Humanities Institute, and partners in the Wired Lab for Digital Art History & Visual Culture. She is a member of the international Visualizing Cities collaborative, and is a partner in the Psychasthenia Studio art collective. Her work focuses on digital archives, exhibitions, and immersive media, with special interests in augmented reality, digital storytelling, and games for cultural heritage and creative expression. She teaches courses in media history, digital places and spaces, digital humanities, and historical and cultural visualization. She has a PhD in English from the University of Rochester. Victoria is Chair of the ACM SIGGRAPH Digital Art Community Committee.
All presenters are asked to share a 3-5 minute lightning talk. Discussion and Q/A will take place after everyone has spoken.
Aesthetics of Immersion
Prefacing the presentations of AR and VR projects that will follow, I offer a framework for thinking about the aesthetics of immersive media. By drawing on a range of historical examples, I show how immersive aesthetics communicate specific assumptions not only about the goals of representation, but also about how we are already sensuously embedded within a world that exceeds our senses.
I Am Not A Virus
Making ‘Pandemic’ the Art Game that Confronts Xenophobia and Bigotry Online and in Reality.
Recorded Video of Gameplay: https://www.youtube.com/watch?v=dGCPKOiT3T0&list=UUcoVCi2fBQVFPR5qOs1BQmA&index=21&ab_channel=ChaneeC
My work intertwines themes of nature, culture and technology, with an eco-feminist slant. My work is about shifting consciousness; I use technology to visualize other ways of thinking, knowing, and understanding the world.
RhumbLine: Plectrohyla Exquisita
Portending a dystopic future in which acoustic ecology is encountered only through the mechanical reproduction of environmental sounds, the sounds of this installation are created by a chorus of robotic frogs—a recognition of the catastrophic global population declines amphibians are facing. The virtual environment the robotic frogs inhabit, divided into two web pages, invites visitors to become temporary members of this fragile ecosystem.
Journeys in VR
My virtual reality, now extended reality, makes use of AR, VR, 3D prototyping, and stereoscopic photography. I will show the CAVE as it was in the 90s and how it looks today, a transition from the playfulness of early computer graphics and immersive presence to the seriousness of high resolution photography and its technoecological entanglements.
Sedimental Journey (excerpt) c.2020 on Vimeo - https://vimeo.com/461626223
Sound Sculpture is an interactive sound and light instrument. 25 location-aware blocks comprise a massive, wireless midi controller. Each cube represents a note in spatial dimension and time, and the public’s interaction and placement of the cubes create musical structures.
How to Make Immersive Technologies More Equitable: Confronting the Medium’s Colonial Legacies
At the intersection of cultural storytelling and immersive technologies, my research addresses the medium’s limitations and explores its possibilities. What are the ways emerging media offers us new spaces for community healing and historical justice?
Portfolio Link: https://pasteapp.com/p/QJ3QbsTT6SL?view=7YfOJCwWeHk
Darcy’s Painting and Sculpture Garden in AltspaceVR
Creating Art that’s digital from end to end: real and virtual. New ways to create and experience Art. Participants are welcome to visit the AltspaceVR site as avatars.
All Her Bodies
All Her Bodies, an experimental VR experience, uses volumetric filmmaking and gaze interaction to immerse you in the stories of five women recounting intimate and powerful memories of violence.
Challenging Technocratic Power: Trespassing in the Parallel Digital Universe
Mariah is a site-specific augmented reality experience involving social justice and the law
She re-augments history with the truth and speculates possible futures
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