FOR IMMEDIATE RELEASE
23 June 2005
For further information:
Sheila Hoffmeyer or Brian Ban
SIGGRAPH 2005 Panels Discuss Future of Computer Graphics & Interactive Technology
(Chicago, IL) - ACM SIGGRAPH today announced the Panels program for SIGGRAPH 2005, the 32nd International Conference on Computer Graphics & Interactive Techniques, being held 31 July to 4 August 2005 in Los Angeles, California.
The Panels program is a blend of debate, argument, and discussion on vital topics in computer graphics and interactive techniques, and related fields. Experts and skeptics deliver opinions, insights, speculation, research, and summaries of recent groundbreaking work. The audience participates with questions, comments, and criticism. The result is new perspectives on key questions, issues, and current controversies.
"The Panels program is the place where industry members are able to discuss everything pertinent pertaining to computer graphics and interactive techniques," says Jill Smolin, SIGGRAPH 2005 Panels & Special Sessions Chair from The Gnomon Workshop. "Panels are the opportunity to hear divergent opinions and debate topics with some of today's and tomorrow's leaders. These conversations help forge new direction as well as enhance understanding - all in a cooperative, respectful, and positive environment."
Believable Characters: Are AI-Driven Characters Possible, and Where Will They Take Us?
Processing power is increasing as fast as player expectations, which raises far more questions than answers:
In this panel, industry experts, artists, character animators, and programmers share their insights and help us sift through the graphics-technology clutter to uncover some believable character gems and answer some fundamental questions.
- Where are we (and our characters) going with artificial intelligence?
- How is interactive entertainment changing in games for Playstation3, Xbox2, and massive multiplayer, online role-playing environments?
- How does AI affect development of emotionally believable characters?
- How can we prioritize and balance graphic techniques to support perceived realism in a character?
- Are there rules or guidelines we can distill from the more successful game characters?
- What are the subliminal tip-offs that spoil the illusion of credible characters?
Stephen Gray, Electronic Arts
Eric Armstrong, Electronic Arts Canada; Gregory Garvey, Quinnipiac University; Andrew Stern, InteractiveStory.net; Frank Vitz, Electronic Arts
From University Lab to Movie Screen and Back Again: How Does Research Change Production Tools, and How Do Production Needs Influence Academic Research?
How and when do academic research ideas make their way into feature animation and visual effects production facilities? What kinds of graphics research ideas have made good production tools, and how are they transformed by practical experience and needs? What pressing production issues should be considered in academic circles? To what extent is the industry using standardized tools, which might be slowing adoption of new techniques? How are intellectual property issues resolved? How could academia and industry work together more closely to bridge the gaps? Panelists from academia and production explore these and other issues in this vital relationship.
Daniel Goldman, University of Washington
Tony DeRose, Pixar Animation Studios; Andrew Hendrickson, PDI/DreamWorks;
Barbara Mones, University of Washington; Paul Salvini, Side Effects Software Inc.; Steve Sullivan, Industrial Light & Magic
International CG Collaboration: Good, Bad, or Just Impossible?
We live, work, and collaborate in a global economy. Some artists move overseas to find work. Some local supervisors hire artists and companies in other countries to produce work for local productions. Some local companies are creating entire subsidiaries in other countries for local productions. The implications are vast. Far beyond time and language differences, cultural differences are sometimes insurmountable, but global production brings income and untold opportunities to all kinds of artists and technologists throughout the world. In this panel, supervisors, producers, and artists from all over the globe convene to talk about the good, bad, and impossible of outsourcing creativity and production.
Frank Foster, Tigar Hare Studios
Carlos Arguello, StudioC; Evan Hirsch, Immaginare; Jai Natarajan and Bill Schultz, Taffy Entertainment/Mike Young Productions; Rajesh Turakhia, Maya Entertainment Ltd.
Networked Performance: How Does Art Affect Technology and Vice Versa?
An exploration of the worlds of performance, social collaboration, and play. Artists, technologists, educators, and scientists converse on all manner of computationally dependent cultural practices, including wireless culture, location technologies (GPS), grid computing, sensing, and reactive (sensor-based) interactivity. Mobile computing and network practice cut across all aspects of practice and research, engaging optimization, visualization, tool creation, hacking, etc.
Michelle Riel, California State University, Monterey Bay; Helen Thorington, turbulence.org
Julian Bleecker, University of Southern California; Susan Kozel, Simon Fraser University; Martin Rieser, Bath Spa University College; Andrea Zapp, Manchester Metropolitan University
The Open-Source Movement and the Graphics Community: How Can Open-Source, Third Party, and Proprietary Software Models Coexist?
In recent years, the open-source movement has increased dramatically. Harnessing the power of thousands of developers and testers has proven successful, to varying degrees, in developing operating systems, graphics applications, and web tools, including Linux, POV-Ray, Blender, Gimp, and Apache. In this session, developers of open-source software, in-house proprietary software, and commercial software, and practitioners who encounter all kinds of software discuss whether the open-source model is relevant and useful to the graphics community. Does the model of proprietary application research, development, and usage serve the industry better? Or will commercial facilities continue to primarily choose off-the-shelf solutions? Can all models work together?
Gil Irizarry, Conoa, Inc.
Florian Kainz, Industrial Light & Magic; James Mainard, DreamWorks Animation; Daniel Maskit, Digital Domain; Ton Roosendaal, Blender Foundation; William Schroeder, Kitware, Inc.
Ubiquitous Music: How Are Sharing, Copyright, and Really Cool Technology Changing the Roles of the Artist and the Audience?
Since the 1970s, when the Walkman liberated music, we've moved on to iPods and mobile phones, which define contemporary social music experiences. How will we listen to music tomorrow? Because music is often a technological harbinger (digital representation, workstation editing, and optical storage came to sound before its media counterparts), this panel looks beyond current debates on copyright and presents new forms of music creation, listening, and sharing. It sheds light on ubiquitous content and social-interaction models afforded by mobile technologies.
Panelists from all segments of this nascent industry discuss current and future systems; the technical, artistic, and legal ramifications of sharing; new paradigms; and the roles of artists and listeners in the creative process.
Lars Erik Holmquist, Viktoria Institute; Atau Tanaka, Sony CSL Paris
Akseli Anttila, Nokia Corporation; Arianna Bassoli, London School of Economics and Political Sciences; Gideon D'Arcangelo, New York University; Lalya Gaye, Viktoria Institute, Future Application Lab
The Ultimate Display: What Will It Be?
The invention of television radically shaped the 20th century. Today we view most of our visual entertainment on new and innovative displays. This panel examines future trends in display technology, ranging from stereoscopic and autostereoscopic techniques, holography, and 3DTV to projector-based concepts. Leading experts from science and industry discuss possibilities, developments, and limitations of tomorrow's displays; fundamental facts; and emerging trends and applications in entertainment, science, and education.
Oliver Bimber, Bauhaus-Universität Weimar
Neil Dodgson, University of Cambridge Computer Laboratory; Gregg Favalora, Actuality Systems, Inc.; David Luebke, University of Washington; Ramesh Raskar, Mitsubishi Electric Research Laboratories (MERL); Chris Slinger, QinetiQ
WWAI: How is the Web Growing? Into a Social Super-Organism or a Mass of Disconnected Information?
While the World Wide Web could become the nerve center for a social super-organism, it remains frustratingly rudimentary. Documents lack uniformity and integration; linking is unintelligent and unstable; interaction is limited, controlled by authors and browsers. However, things are changing. Advances in artificial intelligence could be applied to the WWW, transforming it to a globally distributed, massively parallel, wetware-oriented universe. Panelists from all areas of web development discuss this and other possibilities for the future of the web.
Robert Lisek, Fundamental Research Lab
Jonah Brucker-Cohen, Trinity College Dublin; Martha Carrer Cruz Gabriel, Universidade de São Paulo; Franco Birkut, 0100101110101101.ORG; Monika May, Colorado Technical University
SIGGRAPH 2005 Panels begin 1 August at 8:30 am and close 4 August at 3:30 pm.
Complete details on SIGGRAPH 2005 Panels
SIGGRAPH 2005 will bring nearly 30,000 computer graphics and interactive technology professionals from six continents to Los Angeles for the week-long conference, 31 July-4August. A comprehensive technical program and special events focusing on research, art, animation, games, interactivity, and the web are planned. SIGGRAPH 2005 includes a three-day exhibition of products and services for the computer graphics and interactive marketplace from 2-4 August 2005.
ACM SIGGRAPH, the leading professional society for computer graphics and interactive techniques, sponsors SIGGRAPH 2005.