Program

November 5, 2017 | no responses | 2244

21 November 2017 (Tuesday), UNSW Art & Design, Room EG02

Time Talk
9:00 – 9:10 Opening and Welcome (Ross Harley, Liming Zhu, Tomasz Bednarz)
9:10 – 9:50 Keynote: The power of real-time graphics by Pol Jeremias (Co-founder @ Shadertoy and Senior Graphics Engineer @ Pixar)

What is real-time graphics and why is it so powerful? This session will take the audience through the evolution of real-time graphics in mediums such as gaming, film, and the web. You can learn how this technology continues to help create pipelines, products, and experiences that are more relevant to users. This presentation will highlight how real-time graphics can help a new generation of fast-growing mediums, like virtual and augmented reality.

9:50 – 10:10 DeepAesthetics and why we need artists’ eye on AI by Anna Munster (UNSW Art & Design)

While much recent research in to deep neural networks has been successful in training AIs to recognize, synthesise and classify images, an enduring problem for all deep learning research is understanding how networks actually compute. A specialized area of deep research has emerged devoted to visualizing how networks themselves learn to visualize. At the same time, neural networks are increasingly behaving in odd ways, predicting with confidence results that are ‘wrong’ or ‘mismatched’ to human visual perception. This paper takes this current state of play within deep learning and explores what artists working with ‘deep aesthetics’ bring to this situation. Rather than ‘solving’ the visualization of neural nets’ operations, I suggest that artists give us a ‘feel’ for what the sensibility of computation –completely other than human – might be like. This has enormous cultural and social value as we plunge in to a future where we attribute ‘autonomy’ to machines. Artists instead offer us ways of feeling our way in to different kinds of relations with computation and its behaviours.

10:10 – 10:30 Using the web to immerse yourself in visualisation by Rob Manson (awe.media)

“Immersive” is the key defining factor of the next wave of computing. With each computing revolution the distance between the user and the computing experience has shrunk – with today’s modern mobile devices making 3D visualisation “Pervasive”. This next step is truly user-centered and puts you right at the heart of a deeply “Immersive Experience” allowing you to see and explore information like never before. Now, the power of this revolution is available via the web browser in your pocket, or any other web enabled device you have available. Whether you look at it like a magic mirror, look through it like a magic window, or strap it to your head like magic glasses – the immersive web will change your view of reality. No app stores, downloads or installs. Just tap on a link and it works!

10:30 – 10:40 Liming Zhu (CSIRO Data61)
10:40 – 11:10 Break
11:10 – 11:40 Keynote 2: Leveraging Mobile and Web Technologies for Empathic Computing by Juan Miguel de Joya

Visual Analytics The strongest and most evocative work in mixed reality is driven by the greatest emotional resolution derived from the experiences. As such, truly immersive virtual reality includes agency, and can be utilized as tools for affect in digital space, and creating empathic computing systems is an opportunity to develop intelligent frameworks for recognizing context, perceptual semantics, and sharing emotions. The presentation discusses how these systems can be developed, the open challenges for creating these experiences, and how technologies such as mobile devices and the web can be utilized for a wider adoption of these experiences

11:40 – 12:05 Citizens breaking out of filter bubbles: Urban screens as civic media by Martin Tomitsch (University of Sydney and Marcus Foth (QUT)

Social media platforms risk polarising public opinions by employing proprietary algorithms that produce filter bubbles and echo chambers. As a result, the ability of citizens and communities to engage in robust debate in the public sphere is diminished. In response, this paper highlights the capacity of urban interfaces, such as pervasive displays, to counteract this trend by exposing citizens to the socio-cultural diversity of the city. Engagement with different ideas, networks and communities is crucial to both innovation and the functioning of democracy. We discuss examples of urban interfaces designed to play a key role in fostering this engagement. Based on an analysis of works empirically-grounded in field observations and design research, we call for a theoretical framework that positions pervasive displays and other urban interfaces as civic media. We argue that when designed for more than wayfinding, advertisement or television broadcasts, urban screens as civic media can rectify some of the pitfalls of social media by allowing the polarised user to break out of their filter bubble and embrace the cultural diversity and richness of the city.

12:05 – 12:25 Flight Pattern 2.0: the poetic / political potential of visual databases by Andrew Denton (Auckland University of Technology)

A contrail is the ice that forms from the water condensation that is left over from the expulsion of a jet engine – a trace in the sky of a plane passing by. It is an everyday modern thing, not human, nor animal, just a temporary fleeting object in a cool blue sky. Yet there is something affective, contemplative and evocative in that object and in other things in the world, having the potential to bring about a pause in quotidian lived experiences.

Flight Pattern, is a series of filmed passenger jet contrails, forming a composited database of a particular trace of human presence and movement. The work seeks to evoke a space of contemplation, uneasiness, and sadness by engaging with the residual and stratified signs of our collective impact on our environment. The contrail lines that rupture the clear blue skies are repetitions of the same act over and over rendered ever so slightly differently, bending its subject out of shape in order to think it or feel it differently.

This presentation draws upon Timothy Morton’s “Ecological Thought” and Jane Bennett’s “Vibrant Materialism” to frame a discussion on cinematic affect in a time of ecological emergency.

12:25 – 12:45 Cerebrovascular aneurysms flow simulation by Yi Qian / Itsu Sen (Macquarie University)

Management of cerebral aneurysms is currently done solely based on clinicians’ experience and knowledge. Computational fluid dynamics (CFD), a numerical method aims to provide data that will help in clinical decision making and in the treatment of cerebral aneurysms. A review of relevant research conducted till date was incorporated to delineate the current standing in our group of the various hemodynamic and morphologic parameters that might play a crucial role in the initiation, growth and rupture of cerebral aneurysms.
Computational fluid dynamics (CFD) is applied widely cerebrovascular aneurysm research. Various research groups around the world are now trying to understand the underlying mechanisms leading to aneurysm initiation, development and rupture along with trying to determine the efficacy of surgical intervention. A detailed investigation of various morphological and hemodynamic parameters analysis and visualization are necessary to understand the various factors that contribute to aneurysm risks.

12:45 12:55 Extended Reality for Teaching – A web based solution by Carlos Dominguez (UNSW)

Extended reality is the term used to describe all the immersive realities: virtual reality, augmented reality, mixed reality and diminished reality. A web based solution incorporates those realities into the web using different frameworks such as a-frame, ar.js, html5, argon.js and other javascript libraries and APIs.  Those objects then are incorporated into the academic curriculum resulting in Immersive Learning Objects (iLos). Our goal is to create iLos as auxiliary learning tools.

12:55 – 2:10 Lunch Break
2:10 – 2:40 Building Detailed Fractal Sets for “Guardians of the Galaxy Vol. 2″ by Miles Green (Animal Logic)

To capture the incredible details required for the environments in “Guardians of the Galaxy Vol. 2”, the FX and asset teams at Animal Logic built a fractal-generation pipeline that allowed them to quickly visualize, extract, and post-process fractals, along with an efficient delivery and render strategy.

2:40 – 2:50 Moving objects: augmenting museum collections through digital media by Michael Harvey (ANMM)

The paradigm of museums as being only about the objects is long gone. Film, video, physical interactives, data visualisations and immersive experiences are now a fundamental part of a museum experience – indeed they are expected by our audiences. Using recent examples from the Australian National Maritime Museum, and from other museums around the world, this session will briefly explore the interaction between people, stories, objects and media.

2:50 – 3:05 Quantitative Analysis and Visualisation of Micro-vasculature for Early Detection of Cancer by Dadong Wang (CSIRO Data61)

Quantification and visualisation of the micro-vasculature is important for the detection, analysis and validation of angiogenesis. We have developed new algorithms and brought new insights into the quantitative assessment of angiogenesis by quantitatively reporting the tree structures of micro-vasculature. By acquiring and analysing 3D synchrotron images of mouse brain and hepatic vasculatures, we have carried out experiments to detect and measure subtle proliferation of blood vessel networks, which is associated with the development of tumours. The experimental results show that our algorithms can significantly improve the accuracy of the quantitative analysis results for the angiogenesis, and our statistical parameters defined to characterise the vasculature are reliable and practical for the early detection and evaluation of angiogenesis. We have also developed a Virtual Reality (VR) based software for interactively visualising the 3D vasculature using Oculus Rift.

3:05 – 3:20 The Brain – Inside Out by Caroline Rae (Chair of Brain Sciences, UNSW and Director (Research) NeuRA Imaging)

The brain weighs on average one and a half kilograms but is capable of performing multiple tasks with synaptic connections that, with varying degrees of permanence, undertake activities totalling in the billions. In the brain sciences, the data we collect is correspondingly complex but the ways in which we visualize it are relatively primitive. In this talk we will look at the ways in which brain scientists struggle to visualize brain data and are trying to fight against the tendency to put the data back into a brain-like space. Can we even begin to use our brains to understand the brain or is that an impossibly circular piece of logic?

3:20 – 3:50  Break
3:50 – 4:05 Knit One Compute One by Kris Howard (YOW!)

Every beginning knitter learns that there are only two stitches – knit and purl. So knitting is inherently binary, and that opens up a world of possibilities for a coder.
Knitted fabric can be used to encode data in a number of ways, from QR code mittens to a fluffy red virus scarf. Patterns themselves become algorithms, and new syntax proposals allow for automated testing, compilers, and even visualisers. Crafters and programmers are working together in the burgeoning Maker scene to hack hardware, create innovative e-textiles, and push the computational limits of sticks and string.

4:05 – 4:20 Visualising paradoxical Quantum Data by Paul Thomas (UNSW Art & Design)

This talk focuses on the potential for art to visualise the paradoxical data of the invisible and unmeasurable quantum world. The video installation Quantum Consciousness is a visualisation of the co-emergence of thought-data (viewer) and quantum-data (electron). The work emerged from a collaboration with Professor Andrea Morello, whose scientific research looks at controlling the spin of electrons and nuclei for the development of the quantum computer processor. The experimental artwork makes visible and audible the spin of the superposition of a phosphorous electron, paradoxically occupying multiple positions in space simultaneously, but none specifically.
The scientific data for the artwork was generated from a microwave signal which transforms a reading of Richard Feynman’s (1982) paper on the birth of the quantum computer. The link between the quantum computer, consciousness and artistic expression is presented via an installation to visualise the co-emergence of thought and quantum conditions. Quantum Consciousness is thus an experiment, imaging and materialising “impossible” states of quantum matter and the co-emergence of human consciousness.

4:20 – 4:25 The immersive experience Parragirls Past, Present by Volker Kuchelmeister (UNSW Art & Design)

Introduction to the landmark 3D immersive experience Parragirls Past, Present, situated in the world’s highest resolution immersive 3D cinema, the EPICylinder. As a narrative cultural heritage project, it presents itself as a digital reconstructed reality where photographic veracity stands in contrast to the aesthetic properties of a point cloud representation. This aesthetic sets the tone and creates the atmosphere for a somber narrative that is meant to engage a viewer on a deep emotional level and to build presence and place in this virtual heritage landscape.

4:25 – 4:30 ON|OFF 100101010 by June Kim (UNSW Art & Design) and Ina Conradi (NTU)

Few words about the ON|OFF Exhibition

4:30 – 6:00 ON|OFF Art Exhibition at the EPICentre

Artists: Victoria Vesna, Alfred Vendl, Martina Froschl, Mark Chavez, Ina Conradi Chavez, Raven Kwok, YoungChu Suh, Andrew Danton, Jennifer Nikolai, Mateusz Marpi Marcinkowski, Elke Reinhuber, Benjamin Seide, Ross Adrian Williams, June Kim, Max Hattler

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VR Installation: Sensorland VR (UNSW Art & Design and CSIRO Data61)

By Amy Buchan, Lucy Ogden-Doyle. Supervisors: Daniel Filonik, Tomasz Bednarz.

Sensorland is a project in which viewers can experience the future of sensing technology in an immersive, engaging and gamified way. Users can experience a mine of the future, equipped with advanced sensing technology, and play a board game that explores the same kind of technology applied in the context of natural disaster detection and relief.
Sensorland is an attempt at exploring the strength of the VR platform in storytelling and expanding the user’s knowledge through a curated experience. It provides an alternative to graphs, tables and other inaccessible modes of data visualisation, and offers a more accessible way to consume information – through the immersive power of virtual reality.

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AR/VR Installation: Extended Reality for Teaching by Luis (Carlos) Dominguez (UNSW)

Extended reality is the term used to describe all the immersive realities: virtual reality, augmented reality, mixed reality and diminished reality. A web based solution incorporates those realities into the web using different frameworks such as a-frame, ar.js, html5, argon.js and other javascript libraries and APIs. Those objects then are incorporated into the academic curriculum resulting in Immersive Learning Objects (iLos). Our goal is to create iLos as auxiliary learning tools.

 6:30 – 8:30  Computer Animation Festival from SIGGRAPH 2017

 

 

22 November 2017 (Wednesday), UNSW Art & Design

Time Workshop
9:00am – 12:30pm

Room D103

Visual Analytics Workshop by Quang Vinh Nguyen

Visual Analytics is a new scientific domain that enables effective exploration of big data by synergizing both strengths of human (analytical reasoning and pattern recognition) and computer (automated data processing and visual generation). Understanding the multidisciplinary nature in interactive visualisations, analytical reasoning, human-computer interaction, visual perception with data mining, statistical analysis and machine learning, is critical for effective big data analytics. This workshop covers theoretical knowledge, applications, and tools to support visual analytics. The materials reflect the visual analytics advancement in various scientific domains. The workshop is designed for participants who would like to learn or explore the important state-of-the-art technologies, background and the underlined theories in visual analytics.

9:00am – 12:30pm

Room D104

State-of-the-Art WebGL 2.0 by Juan Miguel de Joya (Google)

WebGL 2.0 has landed, and future of web graphics is here. What are the current state-of-the-art web graphics rendering techniques? We will cover many new features, including geometry instancing, transform feedback, and 3D textures. Attendees will take away rendering and optimisation techniques with WebGL 2.0.

1:30pm – 5:00pm

Room D103

Creative Coding Audio for Raspberry Pi by Ollie Bown

This workshop introduces the new HappyBrackets toolkit for writing and deploying realtime Java programs to the Raspberry Pi over a network. The workshop will introduce the toolkit and will involve a creative design exercise to make your own musical instrument. HappyBrackets is an open source project supported by UNSW, UTS and the University of Sydney.

ParraGirls show at EPICentre on Wednesday, 2pm and 2:30pm.