cvgoo v.1.2 ©
the cacr atelier

the cacr atelier

The goal of the CACR Atelier is to produce a series of digital artwork which explores the immersive qualities of art fashioned to be displayed and experienced in large real and virtual environments. Our ultimate pragmatic goal is to create experiences best suited for virtual wireless environments which support multiple independent viewers.

In the process of creation, analysis, and archival of this art we expect to define new sets of constraints and freedoms afforded by the virtual media, in specific their relation to traditional studio media as well as more main stream or commercial 2D and 3D computer art. We describe following some of the topics we plan to explore and find creative, clean, and innovative solutions to.

Issues on the Creation Environment Creating art in an immersive virtual environment requires the artists to adopt a new mindset which embraces the new and medium its technology. Artists must learn to absorb the new 3D canvas as a new experience, and in turn shed old preconceptions from the 2D and 3D solid art world. As new types of 3D .brushes. and .brush strokes. are presented to the artist, she or he can then allow their imagination and creativity grow boundless building on the atomic elements she or he are presented to work with. As the creativity flows into thought-out/introspective pieces of work, it is then that the art can stand for itself, and can even be analyzed in contexts of 3D virtual art or within the context of art and human expression in general.

However, despite the self contained mechanisms and values of this new medium, the artist, as a perceptual human being, can still better understand and manipulate even a virtual world through cues and visual representations which she or he find familiar. This means that in spite of the need of the artist to find a new identity within this environment, initially it will always be easier to understand basic interactions as analogies to learnt behaviors, or though their similitude to learnt techniques from the 2D and 3D physical art world.

A specific instance of the studies that we intend to carry out, is defined by the exploration of the question of what is the most effective way for an artist, while working in a virtual environment, to change or peruse the set of available tools? One such answer can be explored through the concept of "wearable" active tools. This is can be implemented by having physical interfaces placed on the artist themselves, or virtually positioned on them and responding as part of the virtual world.

We must point out that there have been many proposals on ways to allow a user to .create. within a virtual environment. These include a vast array of interaction mechanisms programmed for the Cave environment. However, despite that methods of interaction are being researched, results tend to be scattered, and little has been done to find the common thread that truly .materializes. the effort of the artists as work pieces than can reach an intended audience.

Finally, we also propose to study these environments as capable of interacting with elements of the outside world to create richer experiences. This includes plays on light, space, size of image, multiple real reflections, physical visual obstacles (such as cords or large pillars just to name some), music or sound, etc.
Issues on Archival While we have seen a reach-out from technological centers to artists, inviting them to develop virtual images and 3D art, the handling and exposure mechanisms of the finished art pieces is still quite limited and problematic. Many artists (as well as scientists) are not necessarily versed in computing and information technology, so their ability to handle a portfolio of virtual art outside the realms of the environment it was created is enigma. Even simple solutions like creating web/internet interfaces for the posting and display of the created art, requires programming and developing of these sites, which cannot only be daunting but time consuming. On the other extreme, interactive display murals aggravate this same problem by many factors even though allowing the artist more control of the actual audience participation space.

These are not unlike the problems encountered by scientists modeling and simulating physical phenomena. After running their simulations through a series of high-end computer systems and computing farms, they end up with vast number of large and complex data sets which need to be tagged, cataloged, visualized, and then somehow made available to the rest of the research community for analysis and verification.

For the specific case of display through web sites, we propose to methods of delivery. One would comprise a Standard Site, in which we would present pages defined by a series of perceptually arranged thumbnails. These can offer enough information to convey the 3D structure of the art, while creating through linked large images or simple rollovers an online library of created art.

For a more complex environment, and requiring faster communications and display systems, a similar approach can be done using a VRML Site. Most created 3D can be easily reproduced as more compact 3D topologically equivalent representations with which a person can interact with. The experience of the created 3D art may go further than just allowing the audience to move the scene around for exploration. A series of predetermined paths and view points may interactively be saved for the viewer to experience. It may even lead to having the audience .tour. the 3D sites on a sort of rollercoaster track, with speed changes or even "jumps" tracks depending on how much control is still furnished to the audience.

From a more pragmatic point of view, as this digital art pieces can be published, compiled, or even precisely described through textual algorithms, upon creation and acceptance to the internal archive, all materials can be then registered to the Library of Congress for further life-span and audience reach. This includes not only the source code for each art piece to be registered, but any resulting images as well.

Finally, we can envision that particular libraries of 3D artists can create virtual communities or artists, students, and audience members whom choose to further explore this work.

santiago v lombeyda
jim barry
john mccorquodale

ronald jones' piece as a mockup on immersa desk
* mock-up of untitled (DNA) piece by ronald jones on immersa desk illustation

art from ephemeral
scientific moments

santiago lombeyda

santiago lombeyda
mathieu desbrun

santiago lombeyda
jim barry


the original goo caltech 1998 ©

3D Painting - Working in a semi-immersive 3D environment offers a large range of opportunities that a screen cannot. In this work, we tried to extend the notion of 2D sketch in space, to create a 3D painting. It appears that drawing in 3D is really easy, and everybody can, litterally within seconds, try to express themself with this medium.

Nevertheless, having a nice and intuitive user interface turns out to be difficult. We are currently using 3D panels as floating menus. A new, radically different approach is being explored these days, offering a very elegant surface drawing. The 3D painting demo (called, historically, Goo) was coded by Peter Schröder, John T. Reese, Mathieu Desbrun, and initially, Bradley D. Nelson. Artists involved: Kryshaundt "Cici" Koenig and Jim Barry

surface drawing by steven schkolne, caltech 2001 ©

Surface Drawing allows artists and designers to create 3D shapes comfortably and naturally with hand motions and physical tools. As you move your hand through space, the trail of its motion is recorded by the computer as a stroke. These strokes appear to float in the air, thanks to the head-tracked stereoscopic display environment of the responsive workbench. In analogy to traditional drawing, strokes are combined to make complex organic shapes.

This medium facilitates the early phases of creation that are not supported in traditional computer tools. The resulting shapes have an organic, physical quality. This technology is useful for many situations when people create 3D shapes, from architecture and industrial design to fine art and digital movies.

Glossary Cave: Room sized Virtual-Reality device.

Virutal Reality: [] .the use of computer modeling and simulation to enable a person to interact with an artificial three-dimensional visual or other sensory environment. VR applications immerse the user in a computer-generated environment that simulates reality through the use of interactive devices, which send and receive information and are worn as goggles, headsets, gloves, or body suits..
Links Jim Barry Gallery
[1] [2]
California based artists, who has exhibited work on virtual mediums as well as conventional mediums (watercolor, etching, acrylic, batik, etc). Teacher at the Polytechnic K-12 School in Pasadena, and at the California Institute of Technology.

The Electronic Visualization Laboratory
[3] [4] [5]
Graduate research laboratory at the University of Illinois at Chicago, specializing in virtual reality nd real-time interactive computer graphics.
[6] [7]
Interactive web based scientific gallery

The CACR Atelier
[8] [9]
Atelier project Page

Surface Drawing
[10] [11]
Interactive immersive hand/gesture driven surface drawing

[12] [13]
International Computer Art Festival

The Siggraph Art Show
[14] [15]
International works of art created with old and new graphics technologies that embody original ideas.

Industrial Design Program at the Art Center
[16] [17]
Program focused on investigating the creative process at its deepest level, integrating the thinking and practice of product, transportation, and environmental design, as well as digital media and architecture.

MIT Media Lab
[18] [19]
The MIT media laboratory aesthetics + computation group we work toward the design of advanced system architectures and thought processes to enable the creation of (as yet) unimaginable forms and spaces.

Cave Painting at Brown University [20] [21]
Artistic medium that uses a 3D analog of 2D brush strokes to create 3D works of art in an immersive virtual reality Cave environment.

Perceptual and Artistic Principles for Effective Computer Depiction
[22] [23]
Siggraph 2002 course presents connections between human visual perception and the art of picture production.