UNIVERSITY OF CALIFORNIA
SANTA BARBARA


     
APRIL   9

  9 * Faculty Candidate Talk
         
      11 * Faculty Candidate Talk
           
    13 * Faculty Candidate Talk
         
    16
    16 * Faculty Candidate Talk
         
    30
         
MAY   7
           
    21

 

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ABOUT · LOCATION · PREVIOUS YEARS ARCHIVE  

  The Benefits of Being a Brat: Irreverence in style and substance
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MONDAY. APRIL.9TH. 2018 · 1PM · ROOM 1601 (California NanoSystems Institute CNSI)

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Visual and conceptual richness, pleasure and open curiosity, layered meaning that enjoys absurdity, nuance, odd leaps, perverse symbology. Two examples in lieu of an abstract generalization (though Abstraction is great, necessary and under appreciated IRL!): 1. Derived from the empathy-eliciting body gestures of classic clowns, typographic-like characters (mutant offspring of international logotypes and street writing), present as gesturing fools and speculative vowels to encourage messy behavior in the face of scary times that may otherwise prompt reserve (‘New Fools’, pre-trump). 2. Resembling the aliens at Stonehenge, timeless yet specific Stonewall revelers share the dance floor with the human-size tools of their rebellion. All action takes place in a/your navel ('It’s Stonewall in My Navel’).

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Nurturing eccentric positions and spaces, privileging uncertainty and humor over conventional narrative approaches; I’m particularly interested in themes concerning affect, including those at the crossroads of consciousness + social conditions, meta-physics + science, perceptual phenomena + stage/screen space. My video and public projects often enlist commercial, neglected, and civic spaces in efforts to contribute meaningfully to the cultural landscape. My projects have screened in festivals, public spaces, museums and galleries throughout the world in over 30 countries including the USA, Peru, Canada, Italy, Palestine, France, Australia, India, Brazil, Switzerland, China, Iran, Spain, and the Netherlands. I'm a professor of Art, emphasis in Experimental Video/Animation and Public Practices, at the University of California Santa Barbara, USA.

A recent lengthy interview, at Women CineMakers, Special Edition, vol 6, can be found here - https://issuu.com/women.cinemakers/docs/viedition/26

 

 

 

Hybrid Body Craft: Convergence of Function, Culture, and Aesthetics on the Skin Surface
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MONDAY. APRIL.9TH. 2018 ·3PM · ROOM 1601 (California NanoSystems Institute CNSI)

* Faculty Candidate Talk


 

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Sensor device miniaturization and breakthroughs in novel materials are allowing for the placement of technology increasingly close to our physical bodies. However, unlike all other locations for technological deployment, the human body is not simply another surface for enhancement—it is the substance of life, one that encompasses the complexity of individual and social identity. Yet, technologies for placement on the body have often been developed separately from these considerations, with a dominant emphasis on engineering breakthroughs. My research involves opportunities for cultural interventions in the development of technologies that move beyond clothing and textiles, and that are purposefully designed to be placed directly on the skin.

In my research, body craft is defined as existing cultural, historical, and fashion-driven practices and rituals associated with body decoration, ornamentation, and modification. As its name implies, hybrid body craft (HBC) is an attempt to hybridize technology with body craft materials, form factors, and application rituals, with the intention of integrating new technological functions having no prior relationships with the human body with existing cultural practices. With this grounding, HBC can support the generation of future techno customs in which technology is integrated into culturally meaningful body adornments.

Example artifacts of the HBC framework and engineering approach include DuoSkin, an on-skin interface fabrication process grounded in metallic temporary tattoo practices, and NailO, a fingernail mounted track-pad that doubles as a nail art sticker. Hybrid in design, these artifacts concomitantly serve as technological devices and body art. While they encompass the functionality of on-body technologies, they can be applied, worn, and experienced as body crafts. By incorporating cultural considerations into the design of on-body technologies, I explore opportunities for extending their lifetimes and purposes beyond mere novelty and into the realms of cultural customs and traditions. The technology of today is soon obsolete, yet cultural customs are passed on, and carried on, throughout generations.

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Cindy Hsin-Liu Kao is a Taiwanese born engineer and artist, currently a PhD candidate at the MIT Media Lab. She is advised by Chris Schmandt in the Living Mobile group. Her research practice, themed Hybrid Body Craft, blends aesthetic and cultural perspectives into the design of on-body interfaces. She also creates novel processes for crafting technology close to the body. Her research has been presented at various conferences and magazines (ACM CHI, UbiComp/ISWC, TEI, UIST, ACM Interactions), while receiving media coverage by CNN, TIME and Forbes. Her work has been exhibited and shown internationally at The Boston Museum of Fine Art, Ars Electronica, Dutch Design Week, and New York Fashion Week. She has worked at Microsoft Research developing cosmetics-inspired wearables, and is a recipient of the Google Anita Borg Scholarship. Among her awards are a honorable mention/best paper award at ACM CHI and UIST, the A'Design Award, the Fast Company Innovation by Design Award Finalist, an Ars Electronica STARTS Prize Nomination, and the SXSW Interactive Innovation Award.

http://www.cindykao.com

 

 

 

Interactive Fabrication and Fabrication for Interaction
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WEDNESDAY. APRIL.11TH. 2018 · NOON · ROOM 1601

* Faculty Candidate Talk


 

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3D printing technology has been widely applied to produce well-designed objects. There is a hope to make both the modeling process and printing outputs more interactive, so that designers can get in-situ tangible feedback to fabricate objects with rich functionalities. To date, however, knowledge accumulated to realize this hope remains limited. In this talk, I will present two lines of research. The first line of work aims at facilitating an interactive process of fabrication. I demonstrate novel interactive fabrication systems that allow the designer to create 3D models in AR with a robotic arm to print the model in real time and on-site. The second line of work concerns the fabrication of 3D printed objects that are interactive. I report new techniques for 3D printing with novel materials such as fabric sheet, and how to print one-off functional objects such as sensor and motor. I will conclude the talk by outlining future research directions built upon my current work.

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Huaishu Peng is a Ph.D. candidate in the Information Science department at Cornell University. His multi-disciplinary research interests range from human-computer interaction design, robotic fabrication to material innovation. He builds software systems and machine prototypes that make the design and fabrication of 3D models interactive. He also looks into new techniques that can fabricate 3D interactive objects. His work has been published in CHI, UIST and SIGGRAPH and won Best Paper Nominee. His work has also been featured in media such as Wired, MIT Technology Review, Techcrunch, and Gizmodo. In addition, he is serving on the UIST organizing committees as the poster co-chair and on the CHI program committees as an associate chair.

 

 

 

Designing Expressive Tools, Languages, and Software for Computational Creativity
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FRIDAY. APRIL.13TH. 2018 ·ESB (Engineering Sciences Building) Room 2003 · 1PM

* Faculty Candidate Talk


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Computation offers enormous creative potential; however, human creative production is complex, multifaceted, and people are creative in vastly different ways. Different creative practices are elusive to define, difficult to measure, and challenging to embody in technological systems. In this talk, I describe my efforts to support professional creative practitioners who work in domains that are traditionally separate from programming by building computational systems that align with their existing skills and practices. I present efforts to support computational creation in three interconnected areas: systems for bridging procedural and manual practice, meta-tools tools for creative production, and creative collaboration as research inquiry. Collectively, these efforts demonstrate how integrating creative practice and systems research can produce approachable, expressive computational systems that foster confidence and agency among new groups of practitioners, improve understanding of different creative communities, and inform the development of diverse computational systems.

 


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Jennifer Jacobs is a Brown Institute Postdoctoral Fellow at Stanford University, working in the Computer Science Department. Her research examines ways to diversify participation and practice in computational creation by building new tools, software, and programming languages that integrate emerging and established forms of production. Jennifer received her PhD from the MIT Media Lab in the Lifelong Kindergarten Research Group. She completed a MS in the Media Lab’s High-Low Tech Group and an MFA in Integrated Media Art at Hunter College. Her work has been presented at international venues including Ars Electronica, SIGGRAPH, and CHI, where she has received multiple best-paper awards.

  Engineering Haptic Illusions
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MONDAY. APRIL.16TH. 2018 · 1PM · ROOM 1601

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Haptic (touch) feedback can play myriad roles in enhancing human performance and safety in skilled tasks. In teleoperated surgical robotics, force feedback improves the ability of a human operator to effectively manipulate and explore patient tissues that are remote in distance and scale. In virtual and augmented reality, wearable and touchable devices use combinations of kinesthetic (force) and cutaneous (tactile) feedback to make rich, immersive haptic feedback both more compelling and practical. In this talk, I will present a collection of novel haptic devices, control algorithms, and user performance studies that demonstrate a wide range of effective design approaches and promising real-world applications for haptic feedback.

 

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Allison M. Okamura received the BS degree from the University of California at Berkeley in 1994, and the MS and PhD degrees from Stanford University in 1996 and 2000, respectively, all in mechanical engineering. She is currently Professor in the mechanical engineering department at Stanford University, with a courtesy appointment in computer science. She was previously Professor and Vice Chair of mechanical engineering at Johns Hopkins University. She has been an associate editor of the IEEE Transactions on Haptics, editor-in-chief of the IEEE International Conference on Robotics and Automation Conference Editorial Board, an editor of the International Journal of Robotics Research, and co-chair of the IEEE Haptics Symposium. Her awards include the 2016 Duca Family University Fellow in Undergraduate Education, 2009 IEEE Technical Committee on Haptics Early Career Award, 2005 IEEE Robotics and Automation Society Early Academic Career Award, and 2004 NSF CAREER Award. She is an IEEE Fellow. Her academic interests include haptics, teleoperation, virtual environments and simulators, medical robotics, neuromechanics and rehabilitation, prosthetics, and engineering education. Outside academia, she enjoys spending time with her husband and two children, running, and playing ice hockey.

 
 

 

 

Programming Multicellular Patterns: Synthetic Cell-Cell Adhesion and Interactive Biotechnology
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MONDAY. APRIL.16TH. 2018 · 3PM · ROOM 1601

* Faculty Candidate Talk


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We currently witness a revolution in life-science technology and discovery. I will share my vision that microbiological systems should be as constructible, interactive, programmable, accessible, and useful as our personal electronic devices. Biological processes transcend electronic computation in many ways, e.g., they synthesize chemicals, generate active physical forms, and self-replicate - thereby promising entirely new applications to foster the human condition.
My lab’s research focuses on dynamic multicell assemblies, and we take a combined bottom-up / top-down approach:

(1) We utilize synthetic biology and biophysics approaches to facilitate the engineering and understanding of multicell assemblies. I will demonstrate an orthogonal library of genetically encoded heterophilic cell-cell adhesion pairs that enables self-assembled patterns of bacteria at the 5 μm scale, furthermore the optogenetic control of homophilic cell-cell adhesion that enables the programming of biofilm patterns at the 25 μm scale (‘Biofilm Lithography’).

(2) We pioneered ‘Interactive Biotechnology’ that enables humans to directly interact with living multicell assemblies in real-time. I will provide the rational for this interactivity, conceptualize biotic processing unit (BPUs), and demonstrate multiple platforms based on phototactic Euglena cells, e.g., tangible museum exhibits, scalable biology cloud experimentation labs, biotic video games, and swarm programming languages.

Applications of our work aim to advance microbiology research, smart-materials science, STEM education, the scientific method, and the arts.

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Ingmar H. Riedel-Kruse is an Assistant Professor of Bioengineering at Stanford University.
His research seeks to make it easier to engineer and program multicellular biological systems, circuits, and devices in order to foster the human condition. It is his vision that micro-biological systems are as constructible, interactive, programmable, accessible, and useful as current electronic devices. He runs an interdisciplinary lab integrating diverse areas like synthetic biology, biophysics, human-computer interaction design, embedded cyber-physical systems, modeling, education, and games.
He received his Diploma in theoretical solid-state physics at the Technical University Dresden, did his PhD in experimental biophysics at the Max Planck Institute of Molecular Cell Biology and Genetics, followed by a postdoc at the California Institute of Technology.


https://web.stanford.edu/group/riedel-kruse/

  %20STORY_OF_NET.ART/
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MONDAY. APRIL.30. 2018 · 1PM · ROOM 1601
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JODI or www.jodi.org is a collective of two artists JOan and DIrk since the mid-1990s they started to create original artworks for the World Wide Web. A few years later they also turned to ...
https://www.harvardartmuseums.org/article/games-in-the-gallery
https://aiai.icaboston.org/works_list/www_jodi_org
id=849mAAAAcAAJ, 1700 ... when y0u open him) into a small Pot or Kettle then take fweet Marjoram Thyme and Parsley cfeach half a Handful a ffig of Rosemary and another of Savory bind them into 2 or 3 small bundles and put them to your Corp with 4 or 5 whole Onions 2o pickled Oysters and 3 Anchovies. Then pour upon your Garp os much ...
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https://news.ycombinator.com/item?id=7413106
collyw on Mar 17 [-] You class this as good art? I just thought it was a bit of a weird site.

https://creators.vice.com/en_us/article/8qmy73/digart-jodi-makes-art-online-but-don't-call-them-net-artists
There used to be a page on jodi.org that would crash your browser by constantly opening up new popup windows, without stopping. Ahh high school pranks in the computer lab.
https://www.youtube.com/results?search_query=jodi.org

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It's difficult to know where art stops and personality begins with JODI. The internet art duo pioneered the medium by messing with their viewers, creating websites that look more like the work of a deranged graphic designer trapped in a cubicle for too long intentionally inserting glitches into iconic video games and collecting YouTube videos of ordinary consumers physically abusing high-end technology products. Given this body of work it wasn't entirely surprising when at a recent conversation at New York City's Electronic Arts Intermix Foundation the pair of artists who make up JODI were seen intentionally knocking over water glasses and interfering with their PowerPoint presentation to extremely distracting effect. Dec 27, 2017 - limit my search to r/wwwwwwwDotJodiDotOrg. use the following search parameters to narrow your results: subreddit:subreddit: find submissions in "subreddit" author:username: find submissions by "username" site:example.com: find submissions from "example.com" url:text: search for "text" in url ...http://www.e-flux.com/journal/74/59810/jodi-s-infrastructure/
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  Interactivity and Innovation in 3D: Are Academics Ready?
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MONDAY. MAY.7. 2018 · 1PM · ROOM 1601
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Sure, it’s cool, but is it scholarship? Media hype for 3D and VR worlds is impossible to avoid, and digital technologies are increasingly pushing the boundaries of academic knowledge production with methods that are decidedly challenging to the old-school standards of our more traditional disciplines. In this presentation, I will briefly describe the architectural reconstruction process using my real-time simulation model of the World’s Columbian Exposition of 1893 as a case study, and then explore the roadblocks to transitioning this type of scholarship and technology into an accepted vehicle for research, pedagogy, and publication.

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Lisa is OIT’s Director of Campus Research Initiatives, Acting Director of the Research Technology Group (RTG), and Manger of GIS, Visualization, and Modeling Group within the RTG. Through these roles, Lisa is responsible for providing institutional leadership and support to coordinate and build campus capacity for innovative research and pedagogy through institutional coordination, alignment, and development of IT system requirements related to research computing and research data management. She also works to facilitate broad-based, campus-wide collaboration and coordination with all academic departments, administrative and academic support units, campus computing facilities, and media/communications offices to align research and research computing with institutional direction.

Lisa has a Master of Architectural History from the University of Virginia and a Ph.D. in Architecture from UCLA. Her primary research is on pedagogical applications for interactive computer models of historic urban environments. She developed the reconstruction model of the Herodian Temple Mount installed in 2001 at the Davidson Center in Jerusalem, and expanded the project in 2007 with a reconstruction of the early Islamic structures on the site during the eighth century. Lisa has also worked extensively on a reconstruction model of the 1893 World’s Columbian Exposition that is shown intermittently at Chicago’s Museum of Science and Industry.

Currently, with funding from the National Endowment for the Humanities, Lisa is leading a team to develop VSim, a software interface that provides users with the ability to craft narratives in three-dimensional space as well as the ability to embed annotations and links to primary and secondary resources and web content from within the modeled environments (HD-50958-10 and HK-50164-14). In 2017, Lisa and Elaine Sullivan (UCSC) published “Digital Karnak: An Experiment in Publication and Peer Review of Interactive, Three-Dimensional Content,” in the Journal of the Society of Architectural Historians, which used a 3-D reconstruction of the ancient Egyptian temple complex as the basis for a publication prototype that uses VSim to embed academic argument and annotations within the 3-D reconstruction.

Snyder was also co-PI on “Advanced Challenges in Theory and Practice in 3D Modeling of Cultural Heritage Sites,” an NEH Summer Institute that was hosted at UMass Amherst in June 2015 with a follow-up symposium at UCLA in June 2016 (HT-50091-14). She is an Associate Editor of Digital Studies / Le Champ Numérique and was a senior member of the Urban Simulation Team at UCLA from 1996 to 2013.

 
 

 

  Digital to Traditional: An Illustrative Process.
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MONDAY. MAY.21ST. 2018 · 1PM · ROOM 1601

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Be careful what you say to your children. Watching Ray Harryhausen’s Jason and the Argonaughts with his father, four year old Chuck Grieb asked how the skeletons “came alive”. His father’s answer, “They got skinny actors” led the boy to a quest for the truth and a lifelong love for the fantastic.

Having earned his MFA in Film Production form USC, Chuck landed in the animation industry, where he has worked as a storyboard artist, animation director, animator, character designer, development artist, etc. for studios including Disney and Nickelodeon. Also a teacher, Chuck coordinates the animation program and teaches animation at Cal State University, Fullerton.

Chuck’s work in animation has encompassed the use of traditional, 2D Digital, and 3D Digital technology. Chuck’s award winning animated short films (Roland’s Trouble, Exact Change Only, and Oliver’s Treasure) have screened in over 90 festivals all around the world

Chuck continues to create art and animation, pursuing his love for storytelling and the magic he felt when first seeing Ray Harryhausen’s skeletons come alive. A member of Society of Illustrators Los Angeles and SCBWI , Chuck has been exploring illustrative art, his work having been featured in esteemed publications including Spectrum: The Best in Contemporary Fantastic Art, Imagine FX, Infected By Art, and Exposé.

Chuck is represented by the Jill Corcoran Literary Agency.

 

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Professor Chuck Grieb discusses his process in creating a story telling illustration, from concept, through completion, addressing the thinking and tools employed. A discussion of process from concept, visualization, employing digital and traditional media, Prof. Grieb begins with the connection of character and story and on to the development of an illustrative image. Utilizing the iPad and Apple Pencil, Prof. Grieb begins his exploration with the most contemporary of tools but ultimately realizes the finished images with Casein, one of the oldest paint mediums known to man.

 

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ABOUT

LOCATION

Since 1998, the Media Arts and Technology graduate program hosts a periodic seminar series. The transdisciplinary nature of our program is also reflected in the diverse range of fields our speakers come from: engineering, electronic music, art and science.

They are all free and open to the public.

> Archive 2015-2016
> Archive 2016-2017

Most of our seminar talks take place at Elings Hall (CNSI. California NanoSystems Institute), room 1601 & 1605. See each talk's information for the final location.

> UCSB Interactive Campus Map
> UCSB Parking

   

 

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CREDITS

JM ESCALANTE
Documentation, visual identity, original web design, video footage
& post-production, logistics and contact administrator

LENA MATHEW
Curator 2017-2018 / Fall 2017 Logistics

RODGER (JIELIANG) LUO
Fall 2017 Video footage and Fall 2017 Video post-production

KRIS LISTOE · SWAPNA MADINENI
Logistics, financial and technical coordination

PROF. MARKO PELJHAN
MAT Chair



 

 



THE MAT SEMINAR SERIES
University of California Santa Barbara
M M X V I I - M M X V I I I


The 2017/2018 Seminar Series is supported by the generous support of the Media Arts and Technology Program at the University of California, Santa Barbara, the Chair's Fund at MAT,  Prof. Yon Vissel, The Systemics Lecture Series, The UCSB College of Engineering, The UCSB College of Humanities and Fine Arts.