Art & Art History
EVE4
Artists: (Art)n Artist Collaborations, Tom Coffin, John Edel, EVL artists, Robert Grzeszczuk, Milana Huang, Satoshi Koreki, Deb Lowman, Thomas Nawara, Kathryn T. O ’Keefe, Dave Pape, So Yon Park, Dana Plepys, Joe Reitzer, Anna Seeto, and Jonas Talandis, Maria Roussos, Trina Roy, Dan Sandin, Dave Swoboda, Marcus Thiebaux, Christina A. Vasilakis, Alan Verlo, Margaret Watson, and Ryan Christopher White
Curated by Christina Vasilakis and Tom Coffin, EVE4 is a group exhibition of virtual reality and interactive computer and electronic art created by the UIC Electronic Visualization Laboratory (EVL). The exhibition at Gallery 400, which includes interactive installations, prints, web-based galleries, and a video theatre, is accompanied by a series of screenings in the virtual reality CAVE at a separate location.
EVL advances research in computer graphics and interactive techniques through its unique interdisciplinary blend of engineering, science, and art. Its students receive MS, MFA, and PhD degrees through the UIC Electrical Engineering and Computer Science department and the UIC School of Art and Design. EVL ’s research emphasis is virtual reality; however, faculty and students are also involved in a number of related problems: multimedia; scientific visualization; new methodologies for informal science and engineering education; paradigms for information display; algorithm optimization for parallel computing; sonification; and abstract mathematical visualization.
EVL has a history of innovative contributions to the computer graphics field since its inception in 1973, as exemplified in its introduction of the CAVE virtual reality theatre in 1992. In the mid ’70s, EVL created Electronic Visualization Events (EVE), a series of public performances where images were computer generated and color processed in real time with musical accompaniment. Around the same time, EVL hardware and software were used to create the computer animation for the first Star Wars movie. In 1976, based on an idea by colleague Rich Sayre, EVL developed an inexpensive, lightweight glove to monitor hand movements; the Sayre Glove provided an effective method for multidimensional control, such as mimicking a set of sliders. Projects in the 1970s through mid-1980s center on videogame technology, real-time animation on microcomputers, and interactive multimedia installations.
In the late ’80s, the Lab began focusing on scientific visualization, developing and providing tools and techniques for research scientists and engineers. Continuing these efforts, EVL is now applying virtual environments to scientific computing. EVL promotes the use of these advanced technologies to academic, industrial, and government audiences, to make people aware that technology is key to America’s leadership role, through installations at museums and professional conferences. In recent years, EVL has received major funding for its collaboration and outreach activities from NSF, ARPA, and the U.S. Department of Energy. Throughout its history, EVL has been, and continues to be, a major influence on the advancement of electronic art and entertainment; EVL alumni and artists are internationally recognized for interactive art installations, performance art pieces, and entertainment productions.
EXHIBITION CHECKLIST
(Art)n Artist Collaborations
AZT-Total Electron Density, 1991
PHSCologramR, 20 x 24 in.
(Art)n Artists: Stephan Meyers, Ellen Sandor, and Janine Fron
In collaboration with Dr. T. J. O ’Donnell, O ’Donnell Associates, Chicago, IL
Special thanks to Dan Sanin, Tom DeFanti, and Maxine Brown
Double Scroll Attractor, 1993
PHSCologramR, 20 x 24 in.
(Art)n Artists: Stephan Meyers, Ellen Sandor, and Janine Fron
In collaboration with Randy Hudson, Electronic Visualization Lab, University of Illinois at Chicago
Special thanks to Dan Sandin, Tom DeFanti, and Maxine Brown
Manganese Superoxide Dismutase, 1991
PHSCologramR, 20 x 24 in.
(Art)n Artists: Stephan Meyers, Ellen Sandor, and Janine Fron
In collaboration with William Stallings, Dr. Henry Dayringer, Katerine Pattridge, James Fee, and Martha Ludwig, Monsanto Corporation
Strange Attractor, 1989
PHSCologramR, 20 x 24 in.
(Art)n Artists: Stephan Meyers and Ellen Sandor
In collaboration with Dan Sandin, Electronic Visualization Laboratory, University of Illinois at Chicago
Special thanks to Tom DeFanti and Maxine Brown
Tom Coffin
ECHO, 1995
Video, 1:14 min.
EYE*SPY, 1995
Digiprints and interactive video installation
EYE*SPY confronts the spectator as voyeur and questions issues of copyright on the internet using vibrant colors and multiple layering of images.
SOLDLIKEMEAT, 1995
Video, 1:00 min.
Video Demo, 1995
Video, 1:31 min.
John Edel
Arriving south-bound at 43rd Street, 1995
Digital inkjet print
CTA New Access Methods Project wheelchair accessibility to rapid transit from the platform we see the mezzanine, 1995
Digital inkjet print
Thanks to Skidmore, Owings & Merrill and Baker Engineering for initial modeling
Elevator to street, ramps up over track, 1995
Digital inkjet print
Looking East from California and Lake, 1995
Digital inkjet print
Ramp Access to CTA Station, 1995
Video, 4:07 min.
Through the glass doors, 1995
Digital inkjet print
EVL artists
Blur: EVE4 Compilation, 1995
Video, 3:24 min.
Blur contributors: Tom Coffin, Alan Cruz, John Edel, George Francis, Terry Franguiadakis, Jon Goldman, Roert Grzeszczuk, Joe Insley, Louis Kauffman, Jason Leigh, Deb Loman, Misha Lunchbox, Dave Pape, Dan Sandin, Marcus Thiebaux, and Ryan Christopher White
Video editing: Kathryn T. O ’Keefe and Misha Lunchbox Caylor
Video theater design consultant: Isabelle McGuire
Video theater builders: Tom Coffin, John Edel, Mitch Ferris, Monica Harman, Karen Indek, Joe Insley, Deb lowman, Selena Kegley, Joe Reitzer, and Anna Seeto
Video Program Design: Maria Roussos
Robert Grzeszczuk
Sphere Eversion, 1995
SGI Onyx, Graphics Library, and CAVE(tm) library and hardware
Contributors: Milana Huang and Lou Kauffman
The user enters the room of this application by walking through an obelisk with Esher ’s dragon print on it. Once Sphere Eversion is entered, the user sees the evolution of an everting sphereoa sphere that is trying to turn itself inside out without creating tears or creases but with possible self-intersections. Exploration of the everting sphere is possible by choosing menu items on the walls. One can change visual aspects of the sphere ’s surface as well as control the playback of the everting motion. The user leaves the room by navigating through the room ’s walls. Then they are once again faced with the dragon print on the obelisk that displays the paper dragon ’s frustration with its two-dimensionality forcing it to self-penetrate in order to bite its tail. The viewer can then contemplate a similar problem as faced by the everting sphere.
Milana Huang
Extremities, 1995
Video, 1:20 min.
Joe Insley
A place for pasta, 1995
SGI Onyx, graphics library, video projectors, tracking devices, and localized audio
A place for pasta is a brief, somewhat abstracted look into the world of pasta. As a part of the SCS-Artworld, it is one of many places that you may choose to visit. Should you decide to do so, you will be transported into a large room where several man-sized, pasta-like shapes are free to roam about. Once you ’ve gotten your fill of these brightly colored shells, you will be asked to choose two of them which you can then combine to create a new shape, and set afloat among the others. A place for pasta represents Joe Insley ’s first attempt at programming for the CAVE(tm) and the culmination of his first semester in the Electronic Visualization Program.
Curiosity killed the fish, 1995
Video, 1:20 min.
Jimb, 1995
Video, 0:34 min.
Satoshi Koreki
BRAIN MASSAGE AND ROBO-INSECTS, 1995
Video
In the future massage is not only for the body, but also for the brain.
Deb Lowman
The water song
Video, 4:45 min.
Thomas Nawara
Bottled up, 1995
Phosphors, bottle, metal, wire, and Fujix print
E[me], 1994
Phosphors
Protecto, 1995
Plastic, wood, wire, and Fujix print
Regression, 1994
Tin, copper wire, masking tape, packing paper, metal/plastic screen, and iris print
Kathryn T. O ’Keefe
Future Me, 1995
Video, 4:54 min.
Dave Pape
Ocean Planet, 1995
Video, 2:06 min.
So Yon Park
Transition, 1995
Digiprints
Dana Plepys, Joe Reitzer, Anna Seeto, and Jonas Talandis
Video Swirl, 1995
Installation
Maria Roussos
Celebrations of Death, 1995
Video, 7:57 min.
Trina Roy
Charlie ’s back
Photographic print
Chris ’ brow
Photographic print
Chris ’ face, detail
Photographic print
Chris ’ uncombed hair
Photographic print
Jim ’s head
Photographic print
Keith ’s tongue
Photographic print
Keith ’s hair
Photographic print
Maria ’s forehead
Photographic print
Milana ’s cheek
Photographic print
Dan Sandin
Air on the Dirac Strings, 1995
Video, 2:18 min.
Dave Swoboda
Dig, 1995
SGI Onyx, Graphics Library, and CAVE(tm) library and hardware
This application focuses on large volumetric spaces. CAVE(tm) users are encouraged to explore their surroundings. Everything in the application can be “Climbed.” Users start in a futuristic art museum and work their way toward more natural feeling spaces. Dave started his artist exploration at UIC ’s film and video department, where he took classes in “Computer Graphics.” Once a graduate student of the Electronic Visualization Laboratory, Dave began exploring the CAVE as an artistic medium. The Dig application was built on principles established in the first CAVE(tm) application written in 1994 for CAVEArt, the virtual “Cathedral.”
Contributors: Bob Iannaccone, John Hanses, Dave Paper, and Marcus Thiebaux
Marcus Thiebaux
Detour: Brain Deconstruction, 1995
Video, 1:25 min.
Christina A. Vasilakis
House of the Future, 1995
Computer graphics installation
The house of the future consists of a tour of a house with “intelligence.” As a tourist walks through the home, it talks to them, guiding them through the elements that serve the inhabitants; needs: light illuminate the path of the tourists at the appropriate moment, video walls and audio provide entertainment or provide atmostphere. It will even plan your meals for you. So, take a tour through the house of the future and enjoy.
Alan Verlo
Psycho Particles, 1995
SGI Onyx, Graphics Library, CAVE(tm), and Localized Audio
Contributors: Dana Plepys, Dave Swoboda
Psycho Particles is a short CAVE(tm) experience designed to make the user feel alternately all-powerful and completely intimidated. The particles are small particle systems that exhibit somewhat complex, user-influenced (and slightly paranoid) behaviors. When first approached, the particles disperse and avoid the user. When approached again, the particles protect their territory and begin to attack the user. In attacking the user, however, the particles self-destruct by exploding into many pieces on striking the user. Psycho Particles is currently installed in the multispace DIG project.
Margaret Watson
Artistic Transformation, 1995
Computer-manipulated silver print
Photograph: February, 1995, Chicago
Exit to Infinity, 1995
Computer-manipulated silver print
Photograph: March, 1993, Kissimmee, Florida
Fluid Infinity, 1995
CAVE(tm)
The viewer will experience a virtually animated sculpture made out of fluorescent paper pentagons. The fun in experiencing the piece is not only being able to view it from all angles. But also walking into the sculpture to create new 2D and 3D designs. The sculptural space is entered and exited via teleport. This is Watson ’s first CAVE(tm) application. She is a first-year student in the MFA program.
Forest of Surreal Memories, 1995
Computer-manipulated silver print
Photograph: March, 1993, Ocala National Forest, Florida
Reflective Arbor Rhythm, 1995
Computer-manipulated silver print
Photograph: March, 1993, Ocala National Forest, Florida
Serenity, 1995
Video, 8:56 min.
Shades of Organic Growth, 1995
Computer-manipulated silver print
Photograph: March, 1993, Ocala National Forest, Florida
Static Aqua Motion, 1995
Video & C Shell Script Programming
Special Thanks: Dave Swoboda
Web-based installations
EVL http://www.ncsa/uiuc.edu/EVL/docs/html/homepage.html
DVL http://bucky.aa.uic.edu/DVL
Net Can Cam!
Net Can Cam! is the final project of the Electronic Media Events AD409 Spring ’95 class. The class collaborated to create a state of the art Electronic Space to unify the different events of EVE4. To this goal, we have connected Gallery 400 with the virtual reality events at the National Center for Super Computing Applications. Argonne National Labs, Iowa State University, the Electronic Visualization Laboratory, and possibly a gallery in Germany using the MBONE Multicasting Internet Backbone to provide realtime video and audio communications over the Internet.
Ryan Christopher White
Culture Clash, 1995
Video, 2:56 min.
PRINT COLLATERAL
Postcard: EVE4
Program: EVE4
EXHIBITION SUPPORT
EVE4 is supported by the Andy Warhol Foundation for the Visual Arts, the College of Architecture and the Arts, University of Illinois at Chicago, and a grant from the Illinois Arts Council, a state agency.
The Electronic Visualization Laboratory receives additional support from the National Science Foundation, the Advanced Research Projects Agency, and the United States Department of Energy.
CURATORS BIOGRAPHIES
Tom Coffin is a media artist, technology researcher, and curator born in Lawrence, Kansas, in 1955. His work has been shown in solo exhibitions including Centerfocus and BIG ART (Venable Arts Center, 1992) and in group exhibitions such as FAXART (Gallery 400, 1990), SOLDLIKEMEAT (Atelier Sub Rosa, Chicago, 1994), and ChainReaction (Los Angeles Convention Center, 1995). Coffin studied at the Pennsylvania Academy of Fine Arts (Certificate, 1983) and the School of the Art Institute of Chicago (BFA, 1989). He is currently pursuing an MFA at the Electronic Visualization Lab at the University of Illinois at Chicago.
Christina Vasilakis works between art and virtual reality as a student of the Electronic Visualization Laboratory at the University of Illinois at Chicago. Vasilakis’s MFA work included chairing the planning committee for the
EVE4 collaborative art event and organizing the presentation of interactive projects by MFA students in the CAVE virtual reality environment.
MEDIA COVERAGE
Mauro, Lucia. “Art + Science = EVE4.” Pioneer Press (Chicago), May 3, 1995, B4.
EXHIBITION CHECKLIST
(Art)n Artist Collaborations
AZT-Total Electron Density, 1991
PHSCologramR, 20 x 24 in.
Double Scroll Attractor, 1993
PHSCologramR, 20 x 24 in.
Manganese Superoxide Dismutase, 1991
PHSCologramR, 20 x 24 in.
Strange Attractor,
1989
PHSCologramR, 20 x 24 in.
Tom Coffin
ECHO, 1995
Video, 1:14 min.
EYE*SPY, 1995
Digiprints and interactive video installation
SOLDLIKEMEAT, 1995
Video, 1:00 min.
Video Demo, 1995
Video, 1:31 min.
John Edel
Arriving south-bound at 43rd Street, 1995
Digital inkjet print
CTA New Access Methods Project wheelchair accessibility to rapid transit f
rom the platform we see the mezzanine, 1995
Digital inkjet print
Elevator to street, ramps up over track, 1995
Digital inkjet print
Looking East from California and Lake, 1995
Digital inkjet print
Ramp Access to CTA Station, 1995
Video, 4:07 min.
Through the glass doors, 1995
Digital inkjet print
EVL artists
Blur: EVE4 Compilation, 1995
Video, 3:24 min.
Robert Grzeszczuk
SphereEversion, 1995
SGI Onyx, Graphics Library, and CAVE library and hardware
Milana Huang
Extremities, 1995
Video, 1:20 min.
Joe Insley
A place for pasta, 1995
SGI Onyx, graphics library, video projectors, tracking devices, and localized audio
Curiosity killed the fish, 1995
Video, 1:20 min.
Jimb, 1995,
Video, 0:34 min.
Satoshi Koreki
BRAIN MASSAGE AND ROBO-INSECTS, 1995
Video
Deb Lowman
The water song, 1995
Video, 4:45 min.
Thomas Nawara
Bottled up, 1995
Phosphors, bottle, metal, wire, and Fujix print
E[me], 1994
Phosphors
Protecto, 1995
Plastic, wood, wire, and Fujix print
Regression, 1994
Tin, copper wire, masking tape, packing paper, metal/plastic screen, and iris print
Kathryn T. O ’Keefe
Future Me, 1995
Video, 4:54 min.
Dave Pape
Ocean Planet, 1995
Video, 2:06 min.
So Yon Park
Transition, 1995
Digiprints
Dana Plepys, Joe Reitzer, Anna Seeto, and Jonas Talandis
Video Swirl, 1995
Installation
Maria Roussos
Celebrations of Death, 1995
Video, 7:57 min.
Trina Roy
Charlie ’s back
Photographic print
Chris ’ brow
Photographic print
Chris ’ face, detail
Photographic print
Chris ’ uncombed hair
Photographic print
Jim ’s head
Photographic print
Keith ’s tongue
Photographic print
Keith ’s hair
Photographic print
Maria ’s forehead
Photographic print
Milana ’s cheekPhotographic print
Dan Sandin
Air on the Dirac Strings, 1995
Video, 2:18 min.
Dave Swoboda
Dig, 1995
SGI Onyx, Graphics Library, and CAVE(tm) library and hardware
Marcus Thiebaux
Detour: Brain Deconstruction, 1995
Video, 1:25 min.
Christina A. Vasilakis
House of the Future, 1995
Computer graphics installation
Alan Verlo
Psycho Particles, 1995
SGI Onyx, Graphics Library, CAVE(tm), and Localized Audio
Contributors: Dana Plepys and Dave Swoboda
Margaret Watson
Artistic Transformation, 1995
Computer-manipulated silver print
Exit to Infinity, 1995
Computer-manipulated silver print
Fluid Infinity, 1995
CAVE(tm)
Forest of Surreal Memories, 1995
Computer-manipulated silver print
Reflective Arbor Rhythm, 1995
Computer-manipulated silver print
Serenity, 1995
Video, 8:56 min.
Shades of Organic Growth,
1995
Computer-manipulated silver print
Static Aqua Motion,
1995
Video and C Shell Script Programming
Web-based installations
EVL http://www.ncsa/uiuc.edu/EVL/docs/html/homepage.html
DVL http://bucky.aa.uic.edu/DVL
Net Can Cam!
Ryan Christopher White
Culture Clash, 1995
Video, 2:56 min.