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Art Gallery: Data Materialities
We are constantly surrounded by networks, information, and data. Whether they consist of electromagnetic frequencies or physical wired connections, networks are everywhere, consuming and permeating our offices, homes, schools, and public indoor and outdoor spaces. The SIGGRAPH 2016 Art Gallery exposes this plethora of data and transforms it to incarnations of tangibility that not only showcase their complexity, but also allow us to relate to them on a human scale. By injecting humor and kinetic energy to their exposition, the gallery makes light of these data platforms and presents them on a grand scale to reveal their ubiquity.
Artwork and artists for the SIGGRAPH 2016 Art Gallery are selected by the Art Gallery Chair and not by a jury.
Art Papers
Art Papers investigate the roles of artists and the methods of art-making in an increasingly global, networked, and technologically mediated world. Art Papers contribute to our understanding of the history of art, inform contemporary artistic and critical practices, and anticipate and stimulate future trajectories.
Authors present Art Papers in 20-minute sessions with five minutes of Q&A. The papers are published in a special issue of Leonardo, The Journal of the International Society of the Arts, Sciences and Technology. The issue also includes visual documentation of the works exhibited in the Art Gallery. This publication coincides with SIGGRAPH 2016 and will mark the eighth year of collaboration between SIGGRAPH and Leonardo.
Proceeding Downloads
Perceptual cells: James Turrell's vision machines between two paracinemas
James Turrell's perceptual cells incorporate the neurophysiological apparatus as an active participant not only in the reception of projected moving-images, but also in the very production and transmission of virtual moving-images. Combining two ...
Pulse Shape 22: audiovisual performance and data transmutation
Pulse Shape 22 is an improvisational audiovisual performance featuring shortwave radio transmissions as the sole source material for real-time audio processing alongside video of the sun projected through cast-glass lenses designed specifically for this ...
Deletion process_only you can see my history: investigating digital privacy, digital oblivion, and control on personal data through an interactive art installation
In light of recent controversies surrounding massive data collection by corporations and government agencies, digital privacy, the right to oblivion, and data ownership have become increasingly important concerns. This paper describes the author's ...
Visual history with choson dynasty annals
For this paper, the authors selected three historical events taken from the Annals of the Choson Dynasty that represent dramatic and tragic stories about parents and their sons for data visualization. By connecting names with entities indicating ...
Raised on YouTube: cultural data materialization using plants
Raised on YouTube is an installation and game that grows plants using only the light of projected video and makes ecology legible as a multiplayer game. The challenge of finding the most nurturing video is crowdsourced online. As players watch a webcam ...
The kinetic story teller 2016
Social engagement in public space can be an awkward, challenging, and often difficult experience for people unfamiliar with each other or their surroundings. The need for an impartial mediator to connect people is something that artists have been ...
Submergence 2013
In a media landscape filled with touchscreens, flat displays, projections, and virtual reality goggles, immersion in a data landscape is a fairly common experience. Simply put on a headset with some form of VR software, and magically be transported to a ...
Plinko Poetry 2012
With the plethora of real-time information and news coming from both commercial news sources and individual broadcasters using the internet and Twitter to get their messages across, we seem to have arrived at a backlog of data chaos that is clamoring ...
Grafikdemo 2004
Virtual spaces and 3D-rendered objects can both be manipulated in on-screen environments and modified by designers in real time. We are now so accustomed to our ability to "fly through" these rendered spaces with computer mice or handheld controllers ...
Flower 2014
Although Viktor Jan's Flower may seem like an interloper among the many data sculptures and media representations appearing in this exhibition, it provides a contrast from the other works by focusing on how data can spur the creation and loss of natural ...
Metaphase sound machine 2015
Russian artist Dmitry Morozov's Metaphase Sound Machine plays off of our increasing dependence on the information and electronic noise that permeates our everyday lives. The project is based on the ideas of American physicist Nick Herbert, who created ...
Pixelbots 2014
In today's digital media landscape, we are constantly surrounded by displays, from the LCDs found on the phones in our pockets to the ubiquitous screens that greet us whenever we enter a store, airport, taxicab, doctor's office, or educational ...
Crime scene: installation for two computers 2003
The internet has enabled us to accomplish so many things. The universal appeal and power of the internet to change and augment our daily lives is both undeniable and inevitable. Every day we go online and consume endless amounts of media---audio, video, ...
Doors 2015
In indoor physical spaces, the door is the main obstacle to entering and exiting rooms and hallways. From a usability perspective, Donald Norman is celebrated for wondering how "such a simple thing as a door" can be "so confusing" [7]. The door as ...
Facebook demetricator 2012-present
Networks---especially social networks and news aggregators on the internet, such as Facebook, Vine, Twitter, YouTube, DIGG, and others---rely on numbers to rank and catalog content and status. People interacting online are now using these numbers as a ...
- ACM SIGGRAPH 2016 Art Gallery
Recommendations
Acceptance Rates
Year | Submitted | Accepted | Rate |
---|---|---|---|
SIGGRAPH '11 | 432 | 82 | 19% |
SIGGRAPH '10 | 390 | 103 | 26% |
SIGGRAPH '09 | 439 | 78 | 18% |
SIGGRAPH '08 | 518 | 90 | 17% |
SIGGRAPH '07 | 455 | 108 | 24% |
SIGGRAPH '06 | 474 | 86 | 18% |
SIGGRAPH '05 | 461 | 98 | 21% |
SIGGRAPH '04 | 478 | 83 | 17% |
SIGGRAPH '03 | 424 | 81 | 19% |
SIGGRAPH '02 | 358 | 67 | 19% |
SIGGRAPH '01 | 300 | 65 | 22% |
SIGGRAPH '00 | 304 | 59 | 19% |
SIGGRAPH '99 | 320 | 52 | 16% |
SIGGRAPH '98 | 303 | 45 | 15% |
SIGGRAPH '97 | 265 | 48 | 18% |
SIGGRAPH '96 | 247 | 52 | 21% |
SIGGRAPH '95 | 257 | 56 | 22% |
SIGGRAPH '94 | 242 | 57 | 24% |
SIGGRAPH '93 | 225 | 46 | 20% |
SIGGRAPH '92 | 213 | 45 | 21% |
SIGGRAPH '90 | 210 | 43 | 20% |
SIGGRAPH '89 | 190 | 38 | 20% |
SIGGRAPH '88 | 161 | 34 | 21% |
SIGGRAPH '87 | 140 | 33 | 24% |
SIGGRAPH '85 | 175 | 35 | 20% |
SIGGRAPH '84 | 118 | 41 | 35% |
SIGGRAPH '81 | 132 | 38 | 29% |
SIGGRAPH '80 | 140 | 52 | 37% |
SIGGRAPH '79 | 110 | 43 | 39% |
SIGGRAPH '78 | 120 | 64 | 53% |
Overall | 8,601 | 1,822 | 21% |