By Randi Rost

In the Palazzo Vecchio in Florence, Italy, a feverish search occurs seemingly in slow motion. In order to make progress in the search, a team of researchers from the University of California, San Diego (UCSD), has been inventing a brand-new field of work called “art forensics.” Armed with innovative new portable sensing devices and Intel technology, they are searching for a lost masterpiece by Leonardo da Vinci called “The Battle of Anghiari.” This impressive painting, considered by some to be da Vinci’s greatest artistic accomplishment, was lost more than 450 years ago.

Imagine exploring Paris through a digital window in your living room, using a camera to capture a 3D blueprint of your house to plan your next remodel, or trying on clothing in a virtual dressing room that shows how fabrics flow with your every move. These are a few potential applications of visual computing, a fast-growing field of technology that combines photorealism, HD video and audio, interactivity and computational modeling to enable real-time, lifelike immersive experiences.

The demand for visual computing is accelerating in parallel with increasing computational power that enables the processing of complex visual data, the proliferation of mobile devices and the demand for improved user experiences. In the future, people will use their computing platforms to interact with the world in richer ways, letting them enjoy realistic simulated experiences that blur the line between the physical and virtual worlds.

 

 

The Creators Project, founded in part by Vice Media, was started to showcase innovative artists and enable them to realize new artwork. “The Creators Project celebrates the connection between art and technology,” says David Haroldsen, a creative director for the project. “We set out to give people who use computers every day a look at artistic experiences that are only possible because of technology.”

When The Creators Project launched in 2010, Vice used a variety of media -- including television, print, online and mobile outlets -- to document the work of more than 100 creators to date, hailing mostly from seven countries (Brazil, China, France, Germany, South Korea, United Kingdom and United States). “In 2011, we pushed that concept forward by showcasing their work at events around the world, and by getting involved with the creators, their future and their creative process,” says Simon. “But we wanted to go beyond telling their stories. We wanted to help them take their work to the next level.”

The Studio, an ongoing arts initiative supported by The Creators Project, was created to do just that. “Think of The Studio as an art foundation,” says Simon. “It offers creators the means to realize their artistic visions. We foster interdisciplinary collaborations and give them access to the latest technology. Then we disseminate the work using a number of media channels and an event series.”

 

 

By Brian Taylor

The World Solar Challenge is a 3,000 kilometer race across the Australian outback. That’s 3,000 kilometers of scrubland and blistering sunlight -- the kind of environment that’s not particularly welcoming to humans or technology, unless that technology happens to be solar-powered.

In late October 2011, for the eleventh race since 1987, a group of solar-powered cars designed by groups from around the world attempted to cross the continent, from Darwin to Adelaide, on solar power alone. Some cars made it; some had to resort to being towed on trailers part of the way by gasoline-powered vehicles. Members of one 70-person-strong team from Cambridge University designed, built and drove a car in the race.

 

 

Noted animation producer / director / technologist / multimedia guru / man of international mystery Christopher Panzner has launched a brand new bi-yearly digital magazine, LHOOQ (pronounced “Look”), a pluridisciplinary (pronounced “double-you tee eff”) look at mindstyle, lifestyle, arts, literature, anything, everything.  The first issue includes a great piece spotlighting three well-known Canadian (pronounced “Kun-ay-dee-yan”) animation-type folks, none other than Mike Fallows, Chris Robinson and L. Elliot Taylor

 

 

Recently, I had an opportunity to talk to Daisuke “Dice” Tsutsumi, whom many of you know as a driving force behind the Totoro Forest Project and most recently, the Sketchtravel charity art project.  An accomplished artist who spends his days applying his formidable skills as an art director at Pixar Animation Studios, Dice gave me an inside look at the unprecedented Sketchtravel sketch book, a historic collection of sketches being auctioned off this coming October 17^th.

 

 

The boundless energy and enthusiasm I brought to Singapore Monday morning has dissipated somewhat now this fine Wednesday evening, done in by the heat, humidity and non-stop pace of our media tour.  It’s late and still quite hot, a sticky hot that’s like summer in Texas, without the pickup trucks or shotguns.  Our hosts and organizers have done a terrific job, herding us from one site visit to the next as we journey back and forth across Singapore visiting many of the main animation, vfx, gaming and educational organizations on the island.  Much has been learned, gleaned from what’s been said and what’s not been said. The pleasant formalities of company presentations disrupted now and then by a barrage of pointed questions by the attending journalists. Mostly, we sound pretty intelligent, though as I listen to some of my tapes sometimes I think I sound like a 5 year old.

It will take a bit of time to properly synthesize, plus there are still 2 more full days of meetings to go.  So my coverage here actually begins with a pictorial spread of the first couple days, which includes visits to Lucasfilm Animation, Sunwoo, Southern Star, EON Reality, Sony Pictures Entertainment, Digipen and LASALLE College, as well Contact Singapore and the Singapore Economic Development Board.  Picture-smithing is much easier than word-smithing at 2 in the morning after an evening of spicy Indian food and a number of adult beverages.