Electronic Visualisation and the Arts London 2011

The ways in which we both produce and consume content has been a constant state of technologyled evolution. However, the perceived speed of change is now greater, and with that speed comes disruption (as was the case with the music industry around a decade ago). This work will look at the "content economy" - where it has come from, where it is going, and whether the world of iPad-clutching consumers sipping on a Starbucks while browsing micro-paid content is the reality that we are moving to - and whether it is something that we innately desire.

CRUMB, the research centre CRUMB at the University of Sunderland in the UK, has a deep interest in how the 'behaviours' of new media art, such as connectivity, computivity and interaction, present opportunities and challenges for curators. One of the particular characteristics of new media is the connected network of issues concerning documentation, archiving, collecting and preserving works of new media art. Thinking of net art, for example, the same technologies might be involved in the production, distribution, interpretation, collection and preservation of the art, much to the confusion of tradition museum studies theories: as Howard Besser says, "collection management systems start to look like exhibition systems". The fact that these issues are connected is reflected in the kinds of events that CRUMB organizes: the symposium Commissioning & Collecting Variable Media, for example, acknowledged that the technical challenges of collecting new media had been largely addressed by useful case studies, leaving the conceptual challenges of policy concerning differentiating production, documentation and collection. As Lois Keidan pointed out at that event, the history of Live Art has much to offer concerning these issues.

Lucha Libre has played an important role in Mexican culture since the late 1950s. At its early stage, wrestling from the United States and the French "Catch as Catch Can" blended within popular Mexican culture absorbing its social, political and mythical idiosyncrasy evolving later into what it would be known as Lucha Libre. This sport has become famous mainly due to its masked wrestlers which embed their family traditions, beliefs and fears into the design of their masks, allowing them to transform a regular person into a fearless character.The objective of this project is to analyse and present how the visual elements within the masks are created and how they evolve through time. Utilising several visual communication methods I have been able to explore the ideas and processes behind the characters creation and its evolution inside the Lucha Libre media. This has been done through the implementation of diverse technologies which enables any user to be submerged into the world of Lucha Libre and witness that experience. Through the next interactive exhibitions, this project offers a mixture of visualisation, technology and social theory, looking to understand the anthropological complexity behind the design of the masks inside the Lucha Libre world.

Projection of 3D space onto a 2D surface relies on the computer graphics camera, which is designed like the camera obscura. The procedure follows the laws of perspective projection and does not explicitly consider the viewer of the rendered image. Our approach is to extend this camera model in order to involve human perception into the rendering of 3D scenes. The aim is to create a user-centred spatial impression by a 2D image. By integrating the user into this process, implicit interactions can be applied to provide interfaces for an efficient and coherent communication of information in virtual environments. This paper introduces user-specific and context-specific parameters that must be taken into account when designing presence-aware applications. To this end, we present a concept of an interactive exhibition based on implicit interaction and point out its applicability in information design of three-dimensional scenes.

Simon Elliott is creating an artwork which is part of the celebration of the 2012 Olympics, by video mapping the Royal Opera House he will 'MOVE' the building. He has worked with Carlos Acosta to create digitally projected sets for Carlos at the ENO.

Aerial photography has been the leading method for collecting and mapping information via remote sensing from the environments such as cities. Usually the qualitative analysis of the images is performed by human observation in a form of descriptive pattern recognition and manual spatial associations. These techniques for many years have created unique means of remote sensing whether through software analysis of photographic or satellite data, however, they have always been recorded from high-altitudes using predominantly airplane, helicopter or satellite information where the resulting graphical product such as Google map is disembodied and detached from the real visible qualities which are evident in human scale. These maps reduce the city spaces into densities and statistics (Penz 2010). The purpose of this study is to reuse this already established technology in a way to reintroduction visualisation techniques that can be useful in the perception of the city and its architectural spaces. Using cinematic mode of representation, particularly the use of moving image and still image to recognize their aesthetics, the density and other qualitative information from specifically a low level altitude where the images can be embodied revealing their sensory such as haptic and other modality qualities.

The authors present 3d reconstructions of the painted tombs of Cimmerian Bosporus, state, which existed in the North Black Sea area in VI century B.C. - V century A.D. Crypts, was found and investigated by Russian historians in second half of XIX - beginning of XX centuries. Reconstructions are executed on the basis the archive materials, which are stored in the Institute of Material Culture of Russian Academy of Sciences in St.-Petersburg. Crypts were lost because of political events at the beginning of XX century. Of special interest among available material, on basis of which was conducted computer reconstruction, are the aquarelles and gouaches of Russian artists XIX - XX of centuries The computer reconstructions of crypts are executed with the aid of the application 3Ds Max.

Along with the success of the second Spanish Industrial Revolution, it was established one of the most important ceramics factories in Europe specialized in high resistance and quality floor tile. The great Royal Families of the moment such as Amadeo de Saboya (king of Spain), Imperial Hohenzollern family, Romanov (Imperial Russian family) and general Prim, came around to its installations for decorating their palaces, as well for composing part of some emblematic buildings such as Moscow's underground or Gaudi's Casa Batllo. They even stayed at the house that the proprietor owned into the industrial complex: the Palauet Nolla.

Architectural historians can often be confronted with want seems to be insurmountable problems when examining buildings in cityscape or the cityscape itself, and often reconstructions of the cityscape can be problematic. Generally when reconstructing an ancient or lost cityscape it is very unlikely that there will be a detailed plan, let alone elevations or sections to assist in the reconstruction. Evidence of the cityscape can exist as recorded descriptions, illustrated landscapes, government records, street plans (which if old plans can sometime conflict with each other), photographs and directories that record the owners and the purpose of each building. From this rudimentary evidence architectural historians attempt to reconstruct changing cityscapes. Visualising architectural ideas and concepts through digital images is now an established architectural practice and with each new development in digital technology new research and design practices have also been developed. 2D drawing and graphic design programs such Corel Draw and Illustrator give architects a tool for simplifying corrections, editing plans and developing professional presentations. However, for the architectural historian these programs provided a unique research tool for historic research. The development of conventional 3D modelling programs such as ArchiCAD brought a new element into architectural historical research. ArchiCAD led to a greater understanding of the spatial arrangements and relationships of individual building. Augmented Reality (AR) system is a technology that can insert digital information into the designers' physical environment. AR appears in literature usually in conjunction with the virtual reality and is an environment where the additional information generated by a computer is inserted into the user's view of a real world scene. This paper examines whether this new technology can enhance studies into architectural history. What can Architectural Historians learn from AR technologies?

3D digital representations of an ancient Egyptian artefact were compared for their rendering of surface detail. Normals were generated by three methods: (1) point clouds from the Arius 3D colour scanner; (2) reflectance transform imaging (RTI); (3) photometric stereo. The latter two were constructed from sets of 64 digital images taken under directional lighting in a hemispherical dome. Analysis of the 3D surface normals of corresponding sections of each object indicated that the photometric stereo method produced the best resolution of spatial detail.

This paper is written as a response to feedback and discussion following a presentation by the author at the 2009 Future Places Festival in Porto. The synopsis of the presentation was: "Phil Taylor will discuss the integration of constantly evolving digital media practices and applications within the creative environments of higher education, specifically focusing on moving image and video. How this medium is taught, how it is employed, and how it is perceived by both tutor and student, underpinned by the main question of what are the broader cultural implications of using contemporary digital media within the curriculum?"

This paper builds on previous research into the development of the TMap3D system which allows for the creation of historical 3D spatiotemporal visualisations from natural language narratives [1]. This paper addresses the use of deductive 3D modelling techniques to generate the realism of the object behaviours, the environmental conditions and their interactions within the visualisation.