Main.Keynotes History

Hide minor edits - Show changes to output

Tuesday, 14 June 2011 13:13:40 GMT by ChristianRichardt - typography
Changed line 13 from:
'''“Stylistic Approximations of Realism in DreamWorks' Animated Films”'''
to:
'''“Stylistic Approximations of Realism in DreamWorks’ Animated Films”'''
Changed line 15 from:
Computer animated films vary widely in their devotion to photorealism, however, even the most realistic films push stylization into the geometry, surfaces, animation, rendering and even dynamics. A movie's creative team strives towards believable, but artistically directed representations. This talk presents examples of where our mathematical models in computer graphics are left behind as we take sudden unexpected left turns into the magical non-photorealistic world of the film director.
to:
Computer animated films vary widely in their devotion to photorealism, however, even the most realistic films push stylization into the geometry, surfaces, animation, rendering and even dynamics. A movie’s creative team strives towards believable, but artistically directed representations. This talk presents examples of where our mathematical models in computer graphics are left behind as we take sudden unexpected left turns into the magical non-photorealistic world of the film director.
Tuesday, 14 June 2011 13:06:43 GMT by ChristianRichardt - +heading
Added lines 1-2:
! Keynotes
Saturday, 11 June 2011 17:52:23 GMT by ChristianRichardt -
Changed line 15 from:
''Andrew is Director of Research and Development at Dreamworks, where he works to develop software in support of upcoming animated features. For the past few years, he was at ESC Entertainment as Head of Production Tools for 5 feature films, most notably The Matrix sequels. Andrew started his career at Alias developing software for Maya, PowerAnimator and Studio.''
to:
''Andrew is Director of Research and Development at DreamWorks, where he works to develop software in support of upcoming animated features. For the past few years, he was at ESC Entertainment as Head of Production Tools for 5 feature films, most notably The Matrix sequels. Andrew started his career at Alias developing software for Maya, PowerAnimator and Studio.''
Saturday, 11 June 2011 12:26:17 GMT by ChristianRichardt - updated Andrew’s keynote
Changed lines 1-2 from:
The Joint Symposia will share three keynotes, which will be announced here as they are confirmed.
to:
The Joint Symposia will share the following three keynotes.

\\

!! '''Jeff Han''' (for SBIM)\\
''Title to be
confirmed''

\\
Changed line 11 from:
Director of Research & Development, PDI/Dreamworks
to:
'''“Stylistic Approximations of Realism in DreamWorks' Animated Films”'''
Changed lines 13-16 from:
''Andrew works to develop software in support of Dreamworks’ upcoming animated features. For the past few years, he was at ESC Entertainment as Head of Production Tools for 5 feature films, most notably The Matrix sequels. Andrew started his career at Alias developing software for Maya, PowerAnimator and Studio.''

!! '''Jeffrey Ventrella: “The Art of Code; the Code of Art”''' (for
CAe)
to:
Computer animated films vary widely in their devotion to photorealism, however, even the most realistic films push stylization into the geometry, surfaces, animation, rendering and even dynamics. A movie's creative team strives towards believable, but artistically directed representations. This talk presents examples of where our mathematical models in computer graphics are left behind as we take sudden unexpected left turns into the magical non-photorealistic world of the film director.

''Andrew is Director of Research and Development at Dreamworks, where he works to develop software in support of upcoming animated features. For the past few years, he was at ESC Entertainment as Head of Production Tools for 5 feature films, most notably The Matrix sequels. Andrew started his career at Alias developing software for Maya, PowerAnimator and Studio.''

\\

!! '''Jeffrey Ventrella''' (for
CAe)\\
'''“The Art of Code; the Code of Art”'''
Changed lines 28-30 from:
''Jeffrey Ventrella is an artist and a programmer. Throughout his career he has crossed boundaries – between academia and industry, and between art and science. Jeffrey has published papers and presented widely in North America and Europe. He got his first Master’s degree from Syracuse University and his second Master’s degree from the MIT Media Lab (the Visible Language Workshop). He co-founded the virtual world There.com, and is the inventor of “flexi-prims” for Second Life. Jeffrey is the creator of Gene Pool, an artificial life game, as well as many interactive playthings available on [[http://www.ventrella.com | Ventrella.com]]. Recently, he completed his first book: Virtual Body Language, which will be available through ETC Press in late summer, 2011.''

''Further keynotes to be confirmed
.''
to:
''Jeffrey Ventrella is an artist and a programmer. Throughout his career he has crossed boundaries – between academia and industry, and between art and science. Jeffrey has published papers and presented widely in North America and Europe. He got his first Master’s degree from Syracuse University and his second Master’s degree from the MIT Media Lab (the Visible Language Workshop). He co-founded the virtual world There.com, and is the inventor of “flexi-prims” for Second Life. Jeffrey is the creator of Gene Pool, an artificial life game, as well as many interactive playthings available on [[http://www.ventrella.com | Ventrella.com]]. Recently, he completed his first book: Virtual Body Language, which will be available through ETC Press in late summer, 2011.''
Monday, 30 May 2011 11:02:23 GMT by 128.232.1.129 - typography
Changed lines 8-9 from:
!! '''Jeffrey Ventrella: The Art of Code; the Code of Art''' (for CAe)
to:
!! '''Jeffrey Ventrella: “The Art of Code; the Code of Art”''' (for CAe)
Changed lines 12-16 from:
In this talk, I will give a brief overview of algorithmic art. I will also show a few examples of my own work: in one example, the underlying math/code is unrelated to the final experience; in another example, the underlying math is integral to the aesthetic experience. I will offer a look into the future of algorithmic/computational art, with considerations of new gestural interfaces, new artist-friendly programming environments, and the effect of Moore's Law on increasing depth in virtuality, simulation, and immersion.

Will software of the future become so complex that artists can no longer experience their code as "well-crafted poems that compile to generate sensory experience"? Will we cross a singularity in which the text becomes impenetrable … even to the artist? My prediction is that many artists will always want to have a human-readable, computable text as a counterpart to their artworks, either as an aspect of their own creative process, or as a component of the viewer/participant experience.

''Jeffrey Ventrella is an artist and a programmer. Throughout his career he has crossed boundaries – between academia and industry, and between art and science. Jeffrey has published papers and presented widely in North America and Europe. He got his first Master's degree from Syracuse University and his second Master's degree from the MIT Media Lab (the Visible Language Workshop). He co-founded the virtual world There.com, and is the inventor of "flexi-prims" for Second Life. Jeffrey is the creator of Gene Pool, an artificial life game, as well as many interactive playthings available on [[http://www.ventrella.com | Ventrella.com]]. Recently, he completed his first book: Virtual Body Language, which will be available through ETC Press in late summer, 2011.''
to:
In this talk, I will give a brief overview of algorithmic art. I will also show a few examples of my own work: in one example, the underlying math/code is unrelated to the final experience; in another example, the underlying math is integral to the aesthetic experience. I will offer a look into the future of algorithmic/computational art, with considerations of new gestural interfaces, new artist-friendly programming environments, and the effect of Moore’s Law on increasing depth in virtuality, simulation, and immersion.

Will software of the future become so complex that artists can no longer experience their code as “well-crafted poems that compile to generate sensory experience”? Will we cross a singularity in which the text becomes impenetrable … even to the artist? My prediction is that many artists will always want to have a human-readable, computable text as a counterpart to their artworks, either as an aspect of their own creative process, or as a component of the viewer/participant experience.

''Jeffrey Ventrella is an artist and a programmer. Throughout his career he has crossed boundaries – between academia and industry, and between art and science. Jeffrey has published papers and presented widely in North America and Europe. He got his first Master’s degree from Syracuse University and his second Master’s degree from the MIT Media Lab (the Visible Language Workshop). He co-founded the virtual world There.com, and is the inventor of “flexi-prims” for Second Life. Jeffrey is the creator of Gene Pool, an artificial life game, as well as many interactive playthings available on [[http://www.ventrella.com | Ventrella.com]]. Recently, he completed his first book: Virtual Body Language, which will be available through ETC Press in late summer, 2011.''
Monday, 30 May 2011 10:58:48 GMT by ChristianRichardt - +1 keynote
Changed lines 6-16 from:
Andrew works to develop software in support of Dreamworks’ upcoming animated features. For the past few years, he was at ESC Entertainment as Head of Production Tools for 5 feature films, most notably The Matrix sequels. Andrew started his career at Alias developing software for Maya, PowerAnimator and Studio.
to:
''Andrew works to develop software in support of Dreamworks’ upcoming animated features. For the past few years, he was at ESC Entertainment as Head of Production Tools for 5 feature films, most notably The Matrix sequels. Andrew started his career at Alias developing software for Maya, PowerAnimator and Studio.''

!! '''Jeffrey Ventrella: The Art of Code; the Code of Art''' (for CAe)

Software is part machine; part language. I am interested in the language part. Artists who write software for generating artworks necessarily engage in a linguistic activity. Even if the intended final experience is non-symbolic, subrational, and sensory, the artist must construct a computable text that enables – and to some degree, describes – the final experience. This creates a dual situation for the maker of computational art – more so than most artmaking processes. Some artists strive to fuse the textual with the sensory; some artists expose the mathematical and computational dynamics as part of the aesthetic experience. Others choose to keep the code as an invisible engine: a necessary text, but not part of the aesthetic experience.

In this talk, I will give a brief overview of algorithmic art. I will also show a few examples of my own work: in one example, the underlying math/code is unrelated to the final experience; in another example, the underlying math is integral to the aesthetic experience. I will offer a look into the future of algorithmic/computational art, with considerations of new gestural interfaces, new artist-friendly programming environments, and the effect of Moore's Law on increasing depth in virtuality, simulation, and immersion.

Will software of the future become so complex that artists can no longer experience their code as "well-crafted poems that compile to generate sensory experience"? Will we cross a singularity in which the text becomes impenetrable … even to the artist? My prediction is that many artists will always want to have a human-readable, computable text as a counterpart to their artworks, either as an aspect of their own creative process, or as a component of the viewer/participant experience.

''Jeffrey Ventrella is an artist and a programmer. Throughout his career he has crossed boundaries – between academia and industry, and between art and science. Jeffrey has published papers and presented widely in North America and Europe. He got his first Master's degree from Syracuse University and his second Master's degree from the MIT Media Lab (the Visible Language Workshop). He co-founded the virtual world There.com, and is the inventor of "flexi-prims" for Second Life. Jeffrey is the creator of Gene Pool, an artificial life game, as well as many interactive playthings available on [[http://www.ventrella.com | Ventrella.com]]. Recently, he completed his first book: Virtual Body Language, which will be available through ETC Press in late summer, 2011.''
Saturday, 28 May 2011 14:21:26 GMT by ChristianRichardt - typography
Changed line 6 from:
Andrew Pearce of PDI/Dreamworks works to develop software in support of Dreamworks upcoming animated features. For the past few years, he was at ESC Entertainment as Head of Production Tools for 5 feature films, most notably The Matrix sequels. Andrew started his career at Alias developing software for Maya, PowerAnimator and Studio.
to:
Andrew works to develop software in support of Dreamworks’ upcoming animated features. For the past few years, he was at ESC Entertainment as Head of Production Tools for 5 feature films, most notably The Matrix sequels. Andrew started his career at Alias developing software for Maya, PowerAnimator and Studio.
Saturday, 28 May 2011 14:12:05 GMT by ChristianRichardt - First keynote confirmed
Added lines 1-8:
The Joint Symposia will share three keynotes, which will be announced here as they are confirmed.

!! '''Andrew Pearce''' (for NPAR)\\
Director of Research & Development, PDI/Dreamworks

Andrew Pearce of PDI/Dreamworks works to develop software in support of Dreamworks upcoming animated features. For the past few years, he was at ESC Entertainment as Head of Production Tools for 5 feature films, most notably The Matrix sequels. Andrew started his career at Alias developing software for Maya, PowerAnimator and Studio.

''Further keynotes to be confirmed.''