Susan Collins is one of the UK's leading artists working with digital media. Her recent works employ transmission, networking, and time as primary materials, often exploring the role of perception in their construction and interpretation. She exhibits internationally in public, gallery, and online spaces with works including In Conversation; Tate in Space commissioned for Tate online; Transporting Skies which transported sky live between Penzance and Sheffield; The Spectrascope, a live transmission from a haunted manor house; Underglow, a network of illuminated drains commissioned by the Corporation of London, and the Fenlandia/Glenlandia series, an ongoing exploration into time, technology and landscape. Collins is Head of The Slade Centre for Electronic Media (SCEMFA) at the Slade School of Fine Art, University College London.
Talk: Pixel Landscapes and the Aesthetics of Transmission
Abstract: Poised between the still and the moving image, the lens and the pixel, recent networked projects including Fenlandia, Glenlandia and The Spectrascope explore how images can be coded and decoded using both light and time. This presentation will explore issues raised by the work including the relationship between landscape, technology and time; abstraction in relation to representation, and reflects on what it means materially to record a digital image and transmit it across space and time.
Maureen C. Stone has been working in digital color, graphics, perception and the tools for information display for almost 30 years. As principle of StoneSoup Consulting, she assists both business and research clients on a wide range of color problems, as well as teaching. She is an adjunct professor at Simon Fraser University's School for Interactive Arts and Technology, and editor in chief of IEEE Computer Graphics & Applications. Her book, A Field Guide to Digital Color, was published by A.K. Peters in 2003. Prior to starting StoneSoup Consulting, she worked at the Xerox Palo Alto Research Center, on projects in digital color, graphics, and interaction.
Talk: Designing Colors for Data
Choosing colors for scatter plots, bar charts, and graphs may seem a straightforward, possibly even trivial, design task. But, doing so in a way that is both aesthetic and robust across different presentation styles, displays, and users is not easy. This talk will be a discussion of the perceptual, technical and aesthetic challenges of designing colors for data presentation, illustrated by the color and UI design work I did for Tableau Software.
Lance J. Williams has contributed major advancements to the area of computer graphics including mip-mapping and shadow maps. He studied at the University of Kansas and the University of Utah. He received a doctorate from the University of Utah in 2000 and holds an honorary degree from the Columbus College of Art and Design. He has worked at the New York Institute of Technology, the Advanced Technology Group at Apple, joined Dreamworks SKG in 1997, and became Chief Scientist at Walt Disney Feature Animation Studios in 2002. Currently he is at Google, working on Google Earth.
Talk: Computational Aesthetics, Synthetic Hallucination
Aesthetics and computation may interact in many ways. The particular goal of what has been termed, »computational aesthetics,« (as opposed to aesthetic computation or computer art) is specifying the process of appreciation, that is, devising automata capable of aesthetic judgment. At this point it is tempting to believe that such an achievement is, »AI complete,« that it is a goal that awaits machines of genuinely human capabilities, whatever that may turn out to mean. In the meantime, we can appeal to human aesthetics in the continued development and exploration of computation as a mediator of human desires and predilections. I have spent some years at the front lines of computation in the motion picture industry, where aesthetics plays a bread-and-butter role, and this symposium provides an opportunity to share with a wider circle the emerging issues and dilemmas arising from such enterprises. In the course of discussion, we will visit the measurement of meaning, aesthetics in the age of mechanical translation, rhetorical machines, and the recent light cast on computational aesthetics by synthetic and virtual hallucination.