From Big Data to Big Displays: High-Performance Visualization at Blue Brain

Blue Brain has pushed high-performance visualization (HPV) to complement its HPC strategy since its inception in 2007. In 2011, this strategy has been accelerated to develop innovative visualization solutions through increased funding and strategic partnerships with other research institutions. We present the key elements of this HPV ecosystem, which integrates C++ visualization applications with novel collaborative display systems. We motivate how our strategy of transforming visualization engines into services enables a variety of use cases, not only for the integration with high-fidelity displays, but also to build service oriented architectures, to link into web applications and to provide remote services to Python applications.Comment: ISC 2017 Visualization at Scale worksho

Framework for the implementation of urban big screens in the public space

In the last decade, big urban screens have appeared in town squares and on building facades across the UK. The use of these screens brings new potentials and challenges for city regulators, artists, architects, urban designers, producers, broadcasters and advertisers. Dynamic moving images form new architectural material, affecting our perception and the experience of the space around us. A new form of urban space is emerging that is fundamentally different from what we have known, and it seems that we are ill-equipped to deal with and analyse it. We are just beginning to understand the opportunities for public information, art and community engagement. Most of screens at present serve mainly commercial purposes, they do not broadcast information aimed at sharing community content nor do they support public social interactions. We need to see more negotiation between commercial, public and cultural interests. The SCREAM project addresses these new challenges by looking at the physical urban spaces and the potential spaces created by the new technologies

The Interface is Obsolete

This paper proposes a critical framework for understanding the digital interface. Its aim is to dispel the instrumental, cybernetic “action, reaction” myth that surrounds the functions of the interface and that constitutes one of the main limitations in their conceptualization today. I argue that a rethinking of the digital interface in terms of its aesthetic and cultural properties is essential if we are to take digital interfaces seriously, and if we are to engage with them on a deeper level

Wearable performance

This is the post-print version of the article. The official published version can be accessed from the link below - Copyright @ 2009 Taylor & FrancisWearable computing devices worn on the body provide the potential for digital interaction in the world. A new stage of computing technology at the beginning of the 21st Century links the personal and the pervasive through mobile wearables. The convergence between the miniaturisation of microchips (nanotechnology), intelligent textile or interfacial materials production, advances in biotechnology and the growth of wireless, ubiquitous computing emphasises not only mobility but integration into clothing or the human body. In artistic contexts one expects such integrated wearable devices to have the two-way function of interface instruments (e.g. sensor data acquisition and exchange) worn for particular purposes, either for communication with the environment or various aesthetic and compositional expressions. 'Wearable performance' briefly surveys the context for wearables in the performance arts and distinguishes display and performative/interfacial garments. It then focuses on the authors' experiments with 'design in motion' and digital performance, examining prototyping at the DAP-Lab which involves transdisciplinary convergences between fashion and dance, interactive system architecture, electronic textiles, wearable technologies and digital animation. The concept of an 'evolving' garment design that is materialised (mobilised) in live performance between partners originates from DAP Lab's work with telepresence and distributed media addressing the 'connective tissues' and 'wearabilities' of projected bodies through a study of shared embodiment and perception/proprioception in the wearer (tactile sensory processing). Such notions of wearability are applied both to the immediate sensory processing on the performer's body and to the processing of the responsive, animate environment. Wearable computing devices worn on the body provide the potential for digital interaction in the world. A new stage of computing technology at the beginning of the 21st Century links the personal and the pervasive through mobile wearables. The convergence between the miniaturisation of microchips (nanotechnology), intelligent textile or interfacial materials production, advances in biotechnology and the growth of wireless, ubiquitous computing emphasises not only mobility but integration into clothing or the human body. In artistic contexts one expects such integrated wearable devices to have the two-way function of interface instruments (e.g. sensor data acquisition and exchange) worn for particular purposes, either for communication with the environment or various aesthetic and compositional expressions. 'Wearable performance' briefly surveys the context for wearables in the performance arts and distinguishes display and performative/interfacial garments. It then focuses on the authors' experiments with 'design in motion' and digital performance, examining prototyping at the DAP-Lab which involves transdisciplinary convergences between fashion and dance, interactive system architecture, electronic textiles, wearable technologies and digital animation. The concept of an 'evolving' garment design that is materialised (mobilised) in live performance between partners originates from DAP Lab's work with telepresence and distributed media addressing the 'connective tissues' and 'wearabilities' of projected bodies through a study of shared embodiment and perception/proprioception in the wearer (tactile sensory processing). Such notions of wearability are applied both to the immediate sensory processing on the performer's body and to the processing of the responsive, animate environment

Accenting agency: duets within interactive video installation

This PhD by Publication constitutes a research enquiry into creative agency within interactive video installations through reflection on six published works: Remote Dancing (2004-9), Doing (2008), Orbital (2010), Gravity Shift (2010), ByPasser (2010) and Weighting (2015). These installations have been documented and are presented on online. Key to the discussion, is the notion of agency arising through the intersections within intermedial environments (Scott & Barton, 2019). By viewing interactive video installations from this perspective, I examine how activity within works can be viewed as co-agential taking the form of a duet between participant and filmic content. Through the choreographic concept of a ‘relational net’ (Rubidge & Schiller, 2014) I recognise and place importance on spatial provision for the whole-body movement across both physical and filmic space to encourage greater agency within installations. To progress the analysis, I identify specific forms of encounter and engagement a participant experiences as they interact with installations, drawing on observations around dwelling (Giddens, 2019) and intimacy (Hill & Paris, 2014) as significant contributors to agential involvement. As practical ways to support the development of future work in the field, I articulate modulation and destabilisation as techniques to highlight and stimulate active participant involvement. These techniques blend in embodied film theory (Sobchack, 1982), highlighting how the intentionality of the camera emphasises each participant’s awareness of their physical engagement and subsequent agential action within interactive video installation

Status and projections of the NAS program

NASA's Numerical Aerodynamic Simulation (NAS) Program has completed development of the initial operating configuration of the NAS Processing System Network (NPSN). This is the first milestone in the continuing and pathfinding effort to provide state-of-the-art supercomputing for aeronautics research and development. The NPSN, available to a nation-wide community of remote users, provides a uniform UNIX environment over a network of host computers ranging from the Cray-2 supercomputer to advanced scientific workstations. This system, coupled with a vendor-independent base of common user interface and network software, presents a new paradigm for supercomputing environments. Background leading to the NAS program, its programmatic goals and strategies, technical goals and objectives, and the development activities leading to the current NPSN configuration are presented. Program status, near-term plans, and plans for the next major milestone, the extended operating configuration, are also discussed

Liberate your avatar; the revolution will be social networked

This paper brings together the practice-based creative research of artists Charlotte Gould and Paul Sermon, culminating in a collaborative interactive installation that investigates new forms of social and political narrative in multi-user virtual environments. The authors' artistic projects deal with the ironies and stereotypes that are found within Second Life in particular. Paul Sermon’s current creative practice looks specifically at the concepts of presence and performance within Second Life and 'first life', and attempts to bridge these two spaces through mixed reality techniques and interfaces. Charlotte Gould’s Ludic Second Life Narrative radically questions the way that users embody themselves in on-line virtual environments and identifies a counter-aesthetic that challenges the conventions of digital realism and consumerism. These research activities and outcomes come together within a collaborative site-specific public installation entitled Urban Intersections for ISEA09, focusing on contested virtual spaces that mirror the social and political history of Belfast. The authors' current collaborative practice critically investigates social, cultural and creative interactions in Second Life. Through these practice-based experiments the authors' argue that an enhanced social and cultural discourse within multi-user virtual environments will inevitably lead to growth, cohesion and public empowerment, and like all social networking platforms, contribute to greater social and political change in first life