Rencontres choregraphiques internationales de Seine-Saint-Denis 7eme edition Du mardi 23 au samedi 27 mai 2000 MC 93 Bobigny Laureats des Rencontres Du 23 au 27 mai -21 hOO Locations 01 41 60 72 72 1 ooFnOF*/50F**/une soiree 160F/130F**/cinq soirees Tomas Aragay Espagne Lluis Ayet France Tatiana Baganova Russie Caroline de Corniere & Guilherme Botelho Suisse Daniele Desnoyers Canada Jeannette Ginslov Afrique du Sud Saskio Helbling Autriche Tommi Kitti Finlande Jenny Mezile & Adiotou Mossidi Cote d'Ivoire Robyn Orlin Afrique du Sud Carlota Portello Bresil Johanne Saunier Belgique Tsuyoshi Shirai Jopon Emmanuelle Vo-Dinh Fronce Action/Replay Videos d'artistes plasticiens M.t~.~ [theatre gerard philipe] HUHIGNY de saint-denis Theatre Gerard Philipe Saint-Denis Solos& Duos Les 24, 25, 26 mai -18h45 Le 27 mai -17h00 Locations 01 48 13 70 00 50F/une soiree 11 OF/quatre soirees Christion Bourigoult France Mabel Dai Chee Chang Argentine Saskia Helbling & David Subal Autriche Kinkaleri ltolie Amanda Miller Atlemogne Nathalie Pernette & Andreas Schmid Fronce Tom Plischke Allemagne Navette en tramway gratuite entre le Theatre Gerard Philipe de Saint-Denis et la MC93 Bo_bigny Programme complet sur simple demande au 01 55 82 08 04 Centre International de Bagnolet pour les CEuvres Choregraphiques Seine-Saint-Denis I MAIR/Ł 0Ł BAGNOLŁT Departement de la Seine-Saint-Denis CONSEIL GENERAL ~ e RATP l•NDAI 4iĄ''·' Socitt~ des Aufcuri •i~FTB ~ etCmripasi1c11r10rr1111oliq11e1 Tarifs reduits: * -25ans, Carte VermeH, ch6meurs, groupes. **Habitants de Seine-Saint-Denis, carte Priorite Jeunesse, scolaires. Rencontres Choregraphiques lnternationales de Seine-Saint-Denis 7eme edition Du mardi 23 au samedi 27 mai 2000 MC93 Bobigny Laureats des Rencontres Du 23 au 27 mai -21 hOO Action/Replay Videos d'artistes plasticiens Theatre Gerard Philipe Saint-Denis Solos & Duos Les 24, 25, 26 mai -18h45 Le 27 mai -17h00 Centre International de Bagnolet pour les CEuvres Choregraphiques Seine-Saint-Denis 96 bis, rue Sadi Carnot 93177 Bagnolet cedex 01 T 01 55 82 08 08 F 01 43 63 81 71 E ciboc@wanadoo.fr Le Centre International de Bagnalet pour les CEuvres Choregraphiques Seine-Saint-Denis a ete cree a!'initiative de la Ville de Bagnolet et du Conseil general de la Seine-Saint-Denis, avec le soutlen de la direction regionale des affaires culturelles d'lle-de-France -Ministere de la culture et de la communication. Concerto grosso pour corps et surface metallique Daniele Desnoyers Canada Une scene recouverte de plaques de metal constitue la scenographie particuliere de "Concerto grosso ... ", choregraphie ou son et mouvement sont etroitement lies. Par le biais d'une manipulation electroacoustique, les interpretes, chausses de souliers ferres, accentuent la sonorite de leurs mouvements. La partition ainsi produite va du chuchotement aun vertigineux orage sonore et devient une extension (et non plus une amplification) du mouvement. Duree 30 mn Compagnie Le Carre des Lombes Choregraphie, costumes et scenographie Daniele Desnoyers Donseurs Stephane Deligny, Sophie Corriveau, Jacques Moisan, Catherine Tardif, Sioned Watkins Musique Morton Feldman et Alfred Schnittke Creation/design sonore Nancy Tobin Lumieres Marc Parent Repetitrice France Roy Directeur de production/consultant alo scenographie Martin Boisjoly Moquilloges Angelo Barsetti Production Le Carre des Lombes ovec le soutien de Lo Rolande Centre Choregraphique (Quebec), L'Agoro de lo donse (Montreal), le Theatre du Bic (Bic) et le Groupe Lob de donse (Ottawa). Le Corre des Lambes rec;:oit le soutien du Conseil des arts et des lettres du Quebec, du Conseil des arts du Canada, du Conseil des arts de lo Communoute Urboine de Montreal. lch bin (dir) mlide Lluis Ayet France Fragment inacheve et transition entre deux pieces, "lch bin (dir) mOde" decrit une forme sans la termer, active l'espace en le laissant ouvert, pour mettre en jeu des etats de corps qui fragilisent les rapports avec la danse (la fatigue, le doute, l'erreur). Une danse depouillee de tout artifice avec des moyens dont la simplicite dement toute volonte spectaculaire. Duree30 mn Compagnie et Lluis Ayet Choregraphie Lluis Ayet Donseurs Sofia Asencio, Rita Quaglia, Frederic Brignon, Lluis Ayet Musique Frank Zappa Dispositif sonore Lluis Ayet Texte Peter Handke "Essoi sur lo fatigue" Lumieres Eric Wurtz Costumes les interpretes Scenographie Rita Quaglia et Lluis Ayet Regisseur son Denis Gambiez Coproduction Centre Choregraphique national Rennes Bretagne, DRAC Languedoc-Roussillon Avec le soutien de Lo Fonderie du Mons. Daddy, I've seen this piece six times before and I still don't know why they're hurting each other Robyn Orlin Afrique du Sud Surnommee "l'irritation constante" dons son pays, Robyn Orlin traite avec derision de sujets graves. Nee de son travail sur les notions de pouvoir, d'identite ou de relation, "Daddy ..." est une recherche sur "la politique de l'espace". Espace de la scene et de ses interpretes, de la salle et de son public mais aussi espace exterieur, celui des rues de Johannesburg, ses emotions, ses odeurs, ses gouts ... Un Johannesburg que peu de personnes souhaitent decouvrir, rempli de tensions anciennes et presentes ... Et en filigrane, une question "comment avancer et faire bouger les choses". Duree 30 mn Compagnie City Theatre & Dance Group Choregrophie, scenogrophie, lumieres, son, decor, costumes Robyn Orlin lnterpretes Gerard Bester, Nelisiwe Xaba, Toni Morkel, Dudu Yende, Sello Pesa, Nico Moremi City Theatre & Dance Group est subventionnee par FNB Vita, Dance Umbrella, The French Institute, Keith Kirstens, BASA, NAC. Delos huesos de p6jaro Mabel Dai Chee Chang Argentine "Je commenQai am'asphyxier entre des murs visqueux, moi toute seule, a moi-meme." Alejandra Pizarnik 1 Duree 30 mn Compagnie Amica Choregraphie, interpretation et scenographie Mabel Dai Chee Chang Musique lgnatz Lucas Rousseaux Lumieres Leandra Rodriguez Assistantes Valeria Fidel, Laura Veiga Remerciements Institute Culture lberoamerican Lo Compognie Amica rei;:oit le soutien d'Antorchas Foundation (Argentine). Latex Maren Strack Allemagne Le travail de Maren Strack se situe quelque part entre la sculpture et La danse. Elle se confronte adifferents materiaux, interroge Leur resistance et en extrait une substance choregraphique. Dans sa derniere creation, La danseuse met a L'epreuve La resistance et les capacites de torsion d'une robe en Latex fixee au sol. Duree20 mn Performance Maren Strack Effets speciaux Johan Lorbeer. Written in blood Jeannette Ginslov Afrique du Sud "En tant que Sud-Africains, notre histoire et nos vies sont "ecrites dans le sang". Ce travail est base sur une histoire vraie, revelee par la presse en 1998. Les danseurs la racontent de differentes manieres et de differents points de vue. lls utilisent La danse, le corps, le geste, le son, le mime, la voix, l'ecriture, La technologie, la lumiere et l'ombre, pour en exprimer l'horreur. "Written in blood" deconstruit cette histoire et invite le spectateur a en ressentir les differents aspects. La raconter de nouveau interroge les limites du langage et de la danse en tant que moyen de communication et de transmission." Duree 30 mn State Theatre Dance Company Choregrophie, scenogrophie, lumieres et texte Jeannette Ginslov Donseurs Tiziana Fracchiolla, Tanyo Futter, Charene Griggs, Sipho Manashe, Melody Putu, Douglas Sekete Musique John Cage, Peter Gabriel, OHM Costumes Trien Wessels et Jeannette Ginslov Written in blood a ete loureot en 1998 du South African National Choregraphic Competition et finaliste en 1999 a Madagascar d'Afrique en creation. John Kovach, state of emergency Tomas Aragay Espagne Cette piece est le fruit de la rencontre entre John Kovach et Tomas Aragay, lors d'une soiree d'improvisations au Dance Space a New York. John, qui n'est pourtant pas danseur, y presentait un solo, portant sur le monde un regard ingenu et depourvu de prejuges, celui de l'enfance. Tomas Aragay fut seduit par cet univers empreint de fantaisie et de na·ivete et lui proposa de participer a son prochain spectacle dont il devint le protagoniste. Les quatre danseurs qui accompagnent John Kovach durent effectuer un voyage a rebours, laissant derriere eux leur experience pour retrouver cet esprit de l'enfance. Duree 30 mn Compagnie General Electrica Choregrophie Tomas Aragay Creation et interpretation ldurre Azkue, Sonia Gomez, Iva Horvat, Andres Waksman, John Kovach Musique Joan Saura Lumieres Manu Martinez Costumes Canibal et General Electrica Assistonte choregrophe Viviane Calvitti Coproduction Festival d'Estiu de Barcelona Grec'99, General Electrica Avec lo collaboration du Theatre Zona Nord. General Electrica est subventionnee par Ajuntoment de Barcelona -ICUB, Ministerio de Culture -INAEM. Do your desires still burn Saskia Helbling Autriche Saskia Helbling s'interroge sur la motivation qui pousse a agir. Dans "Do your desires still burn", des sequences OU transparaissent doucement les rapports humains sur la musique de Bach, sont opposees a d'autres OU les danseurs s'oublient dons des moments d'intimite, fragments de vie dans le silence ou sur la musique de Simon Diaz. Mais cette nette opposition finit par se diluer: sons dissonants et desagreables, irritations, convulsions de corps ... Et ce qui reste a la fin c'est un sol sillonne et des etres humains dans Leur seule presence. Duree 30 mn Compagnie Dans.Kias Choregrophie Saskia Holbling Donseurs Heide Kinzelhofer, Max Steiner, Andrea Stotter, David Subal, Susi Wisiak Musique JS. Bach, Simon Diaz, Danny Rivera Lumieres Andrea Korosec Costumes Dans. Kias Scenogrophie David Subal Dans.Kies est subventionnee par Die theater artists in residence, Wien Kultur, Kunst Bundeskanzleramt. Sur/Sous Expose Christian Bourigault France lei, L'espace theatral rejoint la galerie d'art comme Lieu d'exposition pour confronter un corps aun environnement Lumineux et sonore particulier. En effet, ce solo met en jeu des etats de danse nes de L'exploration d'un materiou video/lumiere diffuse sur scene par un video projecteur (il constitue l'unique source de Lumiere) et d'un materiau sonore qui s'etend de l'infra-basse au sur-aigu. Ces materiaux ont ete elabores en reference aux notions de sur-exposition et de sous-exposition qui renvoient ici ace que L'on devoile et ce que L'on cache de soi. Duree 24 mn Compagnie de I' Alambic Choregraphie et interpretation Christian Bourigault Musique Francine Ferrer Lumieres, video Sylvie Garot Costumes Compagnie de I'Alambic Production Compagnie de I'Alambic Coproduction Complexe culture! de Florac et ADDMD 48, Accueil studio CCN de Tours. Esso Kinkaleri ltalie ... Un DJ, un gar9on et une fille dansent atour de role puis ~ enchalnent ensemble une serie d'improvisations, moments de complicite et de dialogue atrois. , Duree25 mn Choregraphie, interpretation, musique, DJ, lumieres, costumes, scenographie Kinkaleri. Texture/Composite Emmanuelle Vo-Dinh France "Texture/Composite" est ne d'un sejour de 2 mois a L'H6pital Universitaire d'lowa City, dons Le departement de neurologie du professeur Damasio. Apartir de L'observation de patients presentant des deficits emotionnels et d'un apprentissage succinct des bases neurologiques sur Les processus de L'emotion, Emmanuelle Vo-Dinh a travaille sur Les notions d'attraction/repulsion, desir/ degoOt. .. Elle en a decortique Le processus emotionnel a partir d'une echelle plaisir­douleur qu'elle a souhaite explorer dons ses extremes. Duree30 mn Compagnie Sui Generis Choregraphie Emmanuelle Vo-Dinh Danseurs Marcel Bassachs Birosta, Emmanuelle Facquet, Franck Picart, Emmanuelle Vo-Dinh Musique Zeena Parkins Lumieres Fran~olse Michel Scenographie Arnaud Jammet Coproduction Iles de danses lDans le cadre du programme Initiatives d'artistes en danse contemporalne -Fonds pour la danse de la Fondation de France. La compagnie Sui Generis est subventionnee par l'aide ala creation -DRAG Haute-Normandie, la Region Haute-Normondie et lo ville du Havre. Avec le soutien de l'ADAMI, du Centre Choregraphique National du Havre Haute­Normandie Herve Robbe et du Volcan -Le Havre. Grito Carlota Portella Bresil Nelson Rodrigues, auteur de L'une des plus riches galeries de portraits de La fiction bresilienne, aimait a repeter que son oeuvre etait une meditation sur L'amour et La mort. A travers Les quatre mouvements de "Grito ", Carlota Portello (qui considere Nelson Rodrigues comme Le plus grand dramaturge bresilien) traduit quelques uns des principaux themes qu'il aborda dons ses differentes pieces: Le denouement tragique, L'amour des deux femmes pour Le meme homme, La frustration et La solitude. Duree 25 mn Compagnie Carlota Portello Vacilou Dan~ou Choregraphie Carlota Portello Donseurs Alex Neoral, Alex Sena, Andrea Phaedra, Carolina Calmon, Clebio de Oliveira, Danielle Rodrigues, Marcellus Ferreira, Patricia Nunes Musique Arvo Part, Astor Piazzolla, Michael Nyman, Zbigniew Preisner Lumieres Binho Schaefer Costumes Mauro Leite Scenogrophie Penha Lima et Andrea Vieira Coproduction Ministere de la culture bresilienne, Municipalite de Rio de Janeiro -secretariat a la culture, Rioarte. De beaux restes Guilherme Botelho et Caroline de Corniere Suisse Un restaurant modeste: des tables, une femme, un couple, Le barman et l'odeur de cuisine. C'est le plat du jour, la carte des vins et la fin de journee ­la fatigue du travail, la joie de se retrouver, la solitude d'un seul couvert. lls se regardent, s'ignorent la bouche pleine, une table entre leurs corps ... "De beaux restes" pousse la realite d'un lieu commun jusqu'a une certaine absurdite poetique et presente la complexite des relations humaines a travers un acte quotidien et social: manger au restaurant. Duree 33 mn Alias Compagnie Choregraphie Guilherme Botelho et Caroline de Corniere Danseurs Kylie Walters, Joseph Trefeli, Mike Winter, Nicolas Cantillon, Barbara Caillieu Mixage musique Andres Garcia Lumieres Jean-Marc Serre Costumes Caroline de Corniere Scenographie Gilles Lambert Coproduction Opera de Lausanne. Alias est subventionnee par Departement de !'Instruction publique du Canton de Geneve, Deportement des affaires culturelles de la Ville de Geneve, Pro Helvetia -Fondation suisse pour la culture, Corodis, Loterie Romande, Stanley Thomas Johnson Stiftung. Demgegeniiber Borniertheit Tom Plischke Allemagne Quatre fois, le meme mouvement sera repete aussi exactement que possible. Quatre fois, le costume et la matiere sonore changeront. Premier solo cree par Tom Plischke pour un autre danseur que lui, "Demgegenuber Borniertheit" ("A l'oppose, l'entetement") joue sur nos facultes de perception et notre capacite de memorisation. Duree 30mn Compagnie B.D.C.!Tom Plischke Choregrophie Tom Plischke Interpretation et video Alice Chauchat Musique samples de "Water to drink" par AC. Jobim Lumieres Geni Diez Coproduction Tom Plischke, P.A.R.T.SJBruxelles, Mousonturm/Franctort-sur-le-Moin. Fleur (Anemone) Tom Plischke Allemagne Talent prometteur de la scene choregraphique allemande, Tom Plischke alterne dons "Fleur (Anemone)" des gestes brusques au tempo rapide avec des mouvements d'une inquietante lenteur qu'il reproduira en les epurant. Construit sur la repetition et la distorsion, le solo Ele Tom Plischke interroge la normalite du comportement. Duree 30mn Compagnie B.D.C.!Tom Plischke Choregrophie et interpretation Tom Plischke Musique Anne Clark, Gherasim Luca, Dimitri Chostakovitch Lumieres Geni Diez Coproduction Tom Plischke, P.A.R.T.SJBruxelles. Living Room Still life for four dancers Nous -the room of sand ­ Tommi Kitti Jenny Mezile Tsuyoshi Shirai Finlande et Adiatou Massidi Japon Cote d'Ivoire VEN Le travail de Tsuyoshi Shirai se concentre sur Le binome suivant: ''voir" et "montrer", qu'il considere comme etant Les bases de toute representation dons L'art vivant. "Living Room ... " osciLLe entre reel et representation du reel. Les danseurs evoluent autour du plateau. En fond de scene, un ecran et des moniteurs. Durant Le temps de La representation, spectacle vivant et images projetees se meleront et s'influenceront reciproquement, Lies par La relation qu'ils entretiennent entre La realite et La fiction. Duree 30 mn Compagnie Study of Live works Baneto Choregraphie et video Tsuyoshi Shirai Donseurs Hirohisa Ota, Norlo Kobayashi, Akiko Sasaki, Tsuyoshl Shirai, Takako Tamura, Morishita Maki Musique Yusuke Awadu Lumieres Chiho Asada Technicien video Kazuhiro Furukawa. J "La tache initiale est j teLLement simple: avoir quatre danseurs sur scene ... Mais est-ce vraiment tout? ll semble de plus en plus impossible de trouver une bonne, ou ne serait-ce que satisfaisante, solution. Les options sont innombrables." Duree 26 mn Compagnie Tommi Kitti & Co Choregraphie et costumes Tommi Kitti Danseurs Vlrpi Junttl, Tommi Kitti, Jenni Laukkonen, lnka Tiitinen Musique Dolna Klezmer ensemble Compositeur Sampo Lasslla Lumieres Harri Peltonen Coproduction Dance on the riverside, Association for dance. "Comme un reve. Reve de tous ceux qui vivent avec La conscience qu'il ya quelque part, a cote, un autre blesse dons so chair, brULe, meurtri et qui se meurt. Pour toi, pour vous, pour nous. Le sang rouge, le sang blanc ... Sang!" Duree 30 mn Compagnie N'Soleh Choregraphie Jenny Mezlle et Adlatou Massidi Danseurs Jenny Mezlle, Adiatou Massldl, Monbohl Doh Achille, Moguiba Marius, Gnahore Leopold, Karamoko Mamadou, Ahou Boua Victor Texte Jenny Mezlle Lumieres Sari Jean Paul Costumes Nlanzou Herve Scenographie Adiatou Massldl Coproduction Air Afrique, P.S.l.C. (Union europeenne), N'Soleh production. Le Sacre du Printemps Nathalie Pernette et Andreas Schmid France Nathalie Pernette et Andreas Schmid s'attaquent a un mythe, celui du "Sacre du Printemps" d'lgor Stravinski, dons une version reduite pour piano a quatre mains. Au milieu d'un cercle entoure de grains de ble, en presence des musiciens, ils mettent en scene rupture et retrouvailles, violente confrontation de deux etres passionnes qui liberent Leur energie jusqu'a L'epuisement. Duree 35 mn Compagnie Schmid Pernette Choregraphie et interpretation Nathalie Pernette et Andreas Schmid Musique Igor Stravinski "Le Sacre du Printemps" Piano Gerald Budzinski et Wandrille Decaens Lumieres Philippe Vincent Assistant ala mise en scene et costumes Laurent Lefevre Scenographie collective. Coproduction AN-NA, Centre Choregraphique National de Franche-Comte a Belfort dons le cadre des Accueils studio/ Ministere de la Culture et de la Communication Ce spectacle rentre dons le cadre des Creatures associees du Centre Choregraphique National de Tours. La compagnie Schmid Pernette est subventionnee par le Ministere de la Culture et de la Communication D.R.A.C. Franche-Comte, le Conseil regional de Franche-Comte et la ville de Besanyon. Distance. Two. Near Saskia Helbling et David Subal Autriche Un homme et une femme evoluent en parallele, a La fois separes mais proches, seuls et pourtant ensemble. lls s'adonnent a un sordide jeu de chaise musicale, sur fond de paroles qui pourraient tout autant etre un dialogue que deux monologues distincts. Quand L'une s'asseoit, L'autre se Leve. Une fois reunis, Les deux danseurs se completent plus qu'ils ne se fondent dons cette piece ou La detresse, L'attente et Les elans soudains sont teintes d'humour. Duree 20 mn Compagnie Dans.Klas Choregraphie et interpretation Saskla Helbling et David Subal Lumieres Andrea Korosec Costumes Dans.Klas Scenographie David Subal Dans.Kias est subventionnee par Die theater artists in resid.ence Wien Kultur, Kunst Bundeskanzleramt. Demonstration Amanda Miller Allemagne "Demonstration" est un hommage a La musique des dessins animes qui a toujours ete en avance sur son temps. Le spectacle commence par un duo suivi de projections. Puis L'une danse brillamment dons Le silence, montre comment s'y prendre; L'autre L'imite ... Le duo tinit par tourner en un duel Larve entre deux divas. Spontanee comme peuvent L'etre des repetitions avant qu'un spectacle ne trouve so forme definitive, La choregraphie d'Amanda Miller est pleine de fralcheur, d'intelligence et d'autoderision. "A muscle is a mind. So is a bone. The democracy of the body is at the heart of what I am doing now". Duree 24 mn Compagnle Ballett Freiburg Pretty Ugly Choregraphie et costumes Amanda Miller Interpretation Rebecca Jefferson, Miriam Parker Musique Carl Stalling, Jahn Zorn, Fred Frith Lumieres Amanda Miller, Seth Tillett Scenographie et video Seth Tillett Avec la collaboration du Goethe lnstltut. Noces (Svadebka) Tatiana Baganova Aussie En composant "Noces" en 1923, Igor Stravinski souhaitait presenter un mariage paysan russe, dont le ceremonial plonge ses racines dons la tradition slave. Tatiana Baganova est restee au plus pres de l'reuvre de Stravinski, basee sur un ancien rituel des tribus slaves du nord quand le marie devait couper de ses propres mains la natte de la mariee -symbole de la beaute feminine. En presentant les.differentes etapes de la noce, Tatiana Baganova fait se succeder les emotions contrastees qui se bousculent au seuil d'une nouvelle vie. Duree30 mn Compagnle Theatre "Provincial Dances" Choregraphie et scenographie Tatiana Baganova Donseurs Marla Kozeva, Ravll Gallmov, Renat Khasbatov, Tatiana Baganova, Olga Sevostlanova, Margarita Volfovltch, Alexandre Tchervlnskl Musique Igor Stravinski "Noces" Lumieres Andrei Plechakov Costumes Victoria Mozgovala Remerciements ou Centre d'Etat Sverdlovsk de creation folklorique. Final Scene Johanne Saunier Belgique "Final Scene" emprunte son materiel gestuel, so bande son ainsi que so structure aun film de 1963 de Kobayashi, "Harakiri", sorte de confession-accusation qu'un samoura·i dechu raconte au milieu de ses ennemis. La piece, qui n'est pourtant pas narrative, est une recherche sur la superposition de plusieurs etats, un travail sur la peripherie des choses, sur la tentative de constituer des zones de dialogues, de latence, sur le desir de penser les contraires dons un espace qui rendrait possible leur articulation. Duree 30 mn Compagnle Jojl Inc. Choregraphie et costumes Johanne Saunier Mise en scene Johanne Saunier et Jim Clayburgh Danseurs Florence Augendre, Cella Hope Simpson, Johanne Saunier Scenographie et lumieres Jim Clayburgh Costumes Jojl Inc. realises par Carole Lefort Son Jojl Inc et extrait d'Aka Moon Coproduction Monty, Jojl Inc. Avec le soutien de la SACO, Summer studios Bruxelles. John Kovach, state of emergency Choregraphie Tomas Aragay Photos Eva Fem~s Les Rencontres Choregrophiques lnternotionoles de Seine-Saint-Denis portenoires de lo prochoine creation de William Forsythe Endless House Du mercredi 14 au lundi 19 juin 2000 Portie 1 20h30 MC93 Bobigny 1, boulevard Lenine 93000 Bobigny Portie 2 22h45 (horaire sous reserve) Grande Holle de lo Villette 211, avenue Jean Jaures 75019 Paris I nformotions/reservotions MC 93 Bobigny 01 41 60 72 72 Grande Holle de lo Villette 014003 75 75 Production Ballett Frankfurt Coreolisotion MC 93 Bobigny/ Etablissement public du Pare et de la Grande Halle de la Villette. Avec lo participation des Rencontres Choregraphiques lnternationales de Seine-Saint-Denis. Monifestotion du programme 2000 en France. Living Room Choregraphie Tsuyoshi Shirai Photos Chihiro Kawamukai/Yoichi Tsukada Moyens d'acces Theatre Gerard Philipe Saint-Denis 59, boulevard Jules Guesde 93200 Saint-Denis En metro Ligne 13 station Saint-Denis Basilique En RER Ligne D station Saint-Denis En autobus Lignes 255 et 256 En tramway Ligne Bobigny/Saint-Denis En voiture A 1 (Lille) ala Porte de la Chapelle, sortie 2 Saint-Denis. N1 ala Porte de la Chapelle, direction Saint-Denis centre ville. N410 ala Porte de Clichy, direction Saint-Denis centre ville. La RATP met ala disposition des spectateurs des Rencontres 2 navettes gratuites par le tramway tousles soirs entre le TGP et la MC93. MC93 Bobigny 1, boulevard Lenine 93000 Bobigny En metro Ligne 5 station Bobigny Pablo-Picasso En autobus Lignes 134, 143, 146, 148, 234,251,303,322,346,347 En tramway Ligne Saint-Denis/Bobigny En voiture A86 Saint-Denis ou Creteil, sortie Bobigny centre ville, direction Maison de la Culture. Autoroute A3 Porte de Bagnolet OU A1 Roissy, sortie Bobigny centre ville puis N186 Direction centre ville, direction Maison de la Culture. N3 Porte de Pontin, direction Bobigny, centre ville. Parking Paul Eluard gratuit et surveille. Renseignements pratiques Theatre Gerard Philipe Saint-Denis 59, boulevard Jules Guesde 93200 Saint-Denis Locations 0148137000 Du lundi au samedi de 11 hOO a19h00 Tarifs SOF une soiree 11 OF forfait 4 soirees MC93 Bobigny 1, boulevard Lenine 93000 Bobigny Locations 01 41 60 72 72 Du lundi au samedi de 11 hOO a19h00 Plein tarif 1OOF une soiree 160F forfait 5 soirees Tarifs reduits 70F une soiree -25ans, carte vermeil, chomeur, groupe apartir de 1 O personnes 50F une soiree Habitants Seine-Saint-Denis, carte Priorite Jeunesse, scolaires 130F forfait 5 soirees Texture/Composite Choregraphie Emmanuelle Vo-Dinh Photo Elizabeth Delestre Remerciements Al'equlpe du Centre International de Bagnolet pour les CEuvres Choregraphiques Seine-Saint-Denis et ason President, Guy Ruaud. Aux organisateurs des plates-formes: Aulnay-sous-Bois: Muriel AuberVChristophe Ubelmann, Espace Jacques Prevert (France); Austin: Sondra Lomax/Yacav Sharir, Department of Theatre and Dance, University of Texas (Etats-Unis); Bagnolet: Katia Puertas, Service Culture! de la ville de Bagnolet (France); Belfort: Odile Duboc/Noel Claude, Centre Choregraphique National de Franche-Comte (France); Bilbao: Laura Extebarria, La Fundicion (Espagne); Blanc-Mesnil: Xavier Graci, Le Forum Culture! (France); Brest: Nadege Lair/Jacques Blanc, Le Quartz (France); Buenos-Aires: Noemi Ana Deutch (Argentine); Coen: Karine Saporta/Sophie Renaud, Centre Choregraphique Notional de Caen/Basse-Normandie (France); Ekaterinbourg: Lev Shulman, Ekaterinburg Contemporary Arts Centre (Russie); Florence: Angela Torriani Evangelisti, Associazione Culturale Versiliadanza (ltalie); Hambourg: Sabine Gehm, Kampnagel (Allemagne); Helsinki: Iris Autio et Arja Petterson, The Information Centre for Dance (Finlande); Johannesburg: Suzette Le Sueur, The Dance Factory (Afrique du Sud); Lisbanne: Maria de Assis Swinnerton, Fundayoa Calouste Gulbenkian CAM/Acarte (Portugal); Los Angeles: Jordan Peimer, Dance Kaleidoscope Foundation (Etats-Unis); Lucerne: Walter Heun, Luzerntanz am Luzernertheater/Claude Ratze, ADC de Geneve (Suisse); Lund: Claus Lynge (Suede); Marseille: Josette Pisani, Marseille Objectif Dense (France); Montreal: Francine Bernier/Louise Duchesne, L'Agora de la Dense (Canada); New York: Laurie Uprichard, Danspace ProjecVMartin Wechsler, The Joyce SoHo (Etats-Unis); Newcastle: Janet Archer, Dance City (Grande-Bretagne); Noisy-le-Grand: Veronique Lecluse/Max Serveau, Espace Michel Simon (France); Rio de Janeiro: Giselle T6pias, Centro de lnformayc'io e Culture Internacional T6pias (Bresil); Rotterdam: Theo Ruyter, Theatre LantarenNenster (Pays-Bas); Seoul: Wansoon Yock, The Modern Dance Promotion of Korea (Goree du Sud); Tallinn: Priit Raud, Evolutsioon'OO (Estonie); Tel Aviv: Vair Verdi, The Suzanne Dellal Center For Dance & Theatre (Israel); Tremblay-en-France: Josette Joubier/Benedik Picot, Centre culture! Aragon (France); Vancouver: Mirna Zagar, The Dance Centre (Canada); Volgograd: Margarita Moijes/Constantin Golovatchev, Centre de Choregraphie Contemporaine (Russie); Yokohama: Seiji Takawa (Aoyama Theatre, Tokyo)/Makoto lshikawa/Fumiyo Katsumata, Yokohama Culture Foundation (Japan). Aux theatres et aleurs equipes administratives et techniques. Al'agence On s'en occupe. theAtre gerard philipe] •-tn+.w Societe des Auleurs [ de saint-denis el ComposiJ,eurs Dramatique. RATP Q) MAI MAIRIE DE BAGNOLET Departement de la ~M Seine-Saint-Denis I ™L:}lt) coNSEIL GENERAL TETAPTH 23/5 nEMnTH 24/5 nAPAIKEYH 25/5 IABBATO 26/5 KYPIAKH 27/5 IE nAoimo KOBopa TIEipOµOTIKO 9 KOAAITEXVEI Ba E~EpEuvrjaouv vtEI !YMM., Kwv0Tavrivo1 Prjyo1-xopoypaipo1. Mapia AvOuµi6ou-xopoypaqia1. AAt\av6pa11PuxaUAq1-E1KOOT1Ko1. Kw0Tavrivo1 Moaxo1-auvOtrq1, Sophia Lycauris-xapoypa1po1, Christian Ziegler-multimedia designer, Jenny Marketou-netartist, John McCormick-xopoypa1po1. 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Convention Center New Orleans, Louisiana USA 25 27 July ("I -24 y TUESDAY 25 JULY WEDNESDAY 26 JULY THURSDAY 27 JULY FRIDAY 28 JULY 0 SATURDAY 22 JULY SUNDAY 23 JULY MONDAY JUL ..,., z ..., c m r-,.. 8 AM -5 PM 8 AM -5 PM 8 AM -5 PM 8 AM -5 PM 8 -11 AM m ;o 6-8 PM 11AM-6PM )< m ("\ :! z 0 ("\ z ~ ..,., m 8 AM -5 PM 8AM -5 PM 8 AM -5 PM 8 -11 AM6-8 PM 11 AM -6 PM 8 AM -5 PM -t m Vl Vl ;o m 'll r m ,.. m z 8 AM -6 PM 8 AM -6 PM 8AM -6 PM c ("\ ("\ 6-8 PM 11 AM -6 PM 8 AM -6 PM 8 AM -3 PM Vl -t m 10 AM -6 PM 10 AM -6 PM 10 AM -5 PM 1 -5:15 PM 8:30AM -5 PM 8:30 AM -5 PM 10:15 AM -6 PM 8:30 AM -6 PM 8:30 AM -6 PM 10:15 AM -6 PM 8:30 AM -6 PM 8:30 AM -6 PM 10:15 AM -6 PM 8:30 AM -6 PM 8:30 AM -6 PM 10:30 AM -4:30 PM 9 AM -4:30 PM 9 AM -2:30 PM 1 -6 PM 9 AM -6 PM 9 AM -6 PM 9 AM -6 PM 9 AM -6 PM 9 AM -5:30 PM 4-7PM 9 AM -6 PM 9 AM -6 PM 9 AM -6 PM 9 AM -6 PM 9 AM -3 PM NOON -1 PM NOON -1 PM 7-9 PM 7-9 PM 7-9 PM 7-9 PM 10 PM -MIDNIGHT 2 -4 PM 4-7 PM 9 AM -6 PM 9 AM -6 PM 9 AM -6 PM 9 AM -6 PM 9 AM -3 PM 4-7PM 9 AM -6 PM 9 AM -6 PM 9 AM -6 PM 9 AM -6 PM 9 AM-3 PM 5 -6:30 PM 6 -7:30 PM 12:30 -1:45 PM 7:30 -9 PM 4:30 -6 PM 1 -6 PM 9 AM -6 PM 9 AM -6 PM 9 AM -9 PM 9 AM -6 PM 9 AM -3 PM THROUGHOUT THE WEEK 6-8 PM 11AM-6PM 8 AM -6 PM 8 AM -6 PM 8 AM -6 PM 8 AM -6 PM 8 AM -3 PM 10 AM -NOON, 10 AM -NOON, 10 AM -NOON, 1-3 PM, 4-6 PM 1-3 PM, 4-6 PM 1-3 PM 2 -5 PM 6-8 PM 11 AM -7 PM 8 AM -6 PM 8 AM -6 PM 8 AM -6 PM 8 AM -6 PM 8 AM -5:30 PM 11 AM -7 PM 8 AM -6 PM 8 AM -6 PM 8 AM -6 PM 8 AM -6 PM 8 AM -5:30 PM 8 AM -5 PM 8:15 -9:45 AM 12:15 -1 PM 4-8PM 11 AM -7 PM 8 AM -6 PM 8 AM -6 PM 8 AM -5 PM 8 AM -5 PM 10 -10:20 AM 10 -10:20 AM 10 -10:20 AM 10 -10:20 AM 10-10:20AM 2 -2:20 PM 2 -2:20 PM 2 -2:20 PM 2 -2:20 PM 12:15 -1:30 PM 8 -11 PM 8 -11 PM CHECK THE SIGGRAPEl 2000 Wl'.B ST C>R PDA"rED r TFORMATION FOR TIIIS YFA A. I) f VEN I S . WWW. gr Conference eoo The Human-Machine Merger: Why We Will Spend Most of our Time in Virtual Reality in the 21st Century m Ray Kurzweil, author of "The Age of Spiritual Machines: When Computers Exceed Human Intelligence" (Penguin, 1999) and recipient of a 1999 National Medal of Technology, delivers the SIGGRAPH 2000 keynote address. Kurzweil has worked at the leading edge of artificial intelligence for more than 30 years, with firsts in speech and character recognition, optical scanning systems, music and speech synthesis, and automated investment decisions. His most recent work explores the potential of human-machine hybrids. Immediately before the keynote address, SIGGRAPH presents the 2000 Computer Graphics Achievement Award and the SIGGRAPH Outstanding Service Award. e FULL CONFERENCE 0 CONFERENCE SELECT 0 EXHIBITS PLUS For information on what is included with each registration category, refer to page 55. 13:13 imation &Special Eff ru El rt mil me Development & lnte ct ve Techniques m rt Real tv m b 1i hnology REGISTER OL LI~ f, AT www.siggraph.org/ s2 • Courses Learn the what, why, and how of computer graphics and interactive techniques in the annual educational program that explains current practice and explores new paradigms. For a complete list of Courses, see page 16. • Papers Academic and corporate research results from the world's leading • computer graphics scientists and engineers. Papers are selected by an international jury of the community's most respected researchers for presentation in three categories: research, system, and alternate. For a complete list r l. of Papers, see page 32. • Panels Hear the experts discuss, debate, and reveal how computer graphics and interactive techniques are applied in communication, • production, aesthetic exploration, and advanced visualization. Add your insights and questions during audience participation. For a complete list of Panels, see page 32. OO/reg"stration/ eo Sketches & App ications Sketches: works in progress, tentative breakthroughs, and new process paradigms. Applications: how new and traditional tools are used to produce practical, proven results. Three days of multimedia presentations in three categories: • Technical • Art, design, and multimedia ·Animation For a complete list of Sketches & Applications, see the SIGGRAPH 2000 Web site after 28 April. www.siggraph.org/s2000/ conference/skapps/ eo Educators Program The latest uses of computer graphics and interactive techniques in an educational context. Papers, panels, and tutorials deliver knowledge, desire, inspiration, and tools. Educators actively explore, discover, and learn about pedagogically sound courses and techniques that create rich, interdisciplinary scenarios for learning. For a complete list of the Educators Program, see page 40. cc:::. e ..• :-,. eo ,...,ca!:_. Creative Applications Lab Hands-on, up-close interaction with the people and techniques presented in Courses, Sketches & Applications, and Educators Program. Apply your new knowledge and skills, share insights and inter­ests with other attendees, and talk with speakers and presenters in informal breakout sessions. CHECK THE SIGGRAPI-I 2000 eoo Art Gallery The best digital work being created, produced, and performed at the beginning of the millennium by artists who think, feel, and view everyday experiences through new eyes, beyond ordinary bandwidth. Inspiring, provocative, engaging explorations of the interplay between bodies and technologies. See Special Sessions (page 7) for two events that focus on art-related issues: Fiction 2001 and Art & Culture Papers. Art Gallery Talks I & 11 Artists talk with attendees and each other Monday and Tuesday, noon -l pm in the Art Gallery. Their presen­tations lead to a panel discussion, No ArtJargon! (open to Full Conference registrants), Wednesday, 26 July, 4:15 -6 pm. eoo Computer Animation Festival A rigorously juried compilation of the year's best computer-generated works, both in-progress and completed, in several categories: entertainment, visualization, education, art, non-narrative and experimental works, and student-produced works. Selected films and videos are presented in the daily Animation Theaters, the Electronic Theater matinee or evening shows, and special events. eoo Emerging Technologies: Point of Departure A Point of Departure into the technology of the new millennium. Visionary, creative, and provocative installations and experiences that illuminate the path to a new era in technology. The future in human­ computer interfaces, display technologies, workgroup computing, multi-user applications, smart environ­ ments, information visualization, and robotics. For a complete list of Emerging Technologies projects, see page 43. WEB SITE oF~rE.. T _FOR UPDATED INFQRMA"rroN on scheaules, sp_eak.ers, organizers, creators, and producers FOR 1'HIS YEAR'S PROGRAMS AND EVENTS. au www.siggraph.org/s2000/ eo The Studio Use today's advanced technologies to imagine and produce your own 2D and 3D creations. The Studio features a full array of high-end, large format printers, 3D rapid prototyping machines, and 3D scanners. The Studio hosts an open house for all attendees on Wednesday, 26 July, 2-9 pm. eoo Exhibition Explore and experience the latest computer graphics and interactive techniques hardware, software, and services. Over 300 exhibitors from five continents present high­tech, hands-on displays and demos. Small, first-time exhibitors introduce their technologies in Startup Park. eoo ONew! Exhibitor Forums Seminars on new features of the latest products. Instructional sessions on advanced techniques. Reviews of where and how technology is evolving. These educational sessions, organized by SIGGRAPH 2000 exhibitors, are available without charge to all attendees. See page II. eoo Turing Award Lecture Frederick P. Brooks, Jr., recipient of the 1999 A.M. Turing Award "for landmark contributions to computer architecture, operating systems, and software engineering," delivers his lecture on "The Design of Design". I2:I5 -I pm, Tuesday, 25July. eoo International Resources Join the worldwide computer graphics community in the International Center, where the multi-lingual SIGGRAPH 2000 International Committee provides information, assistance, and translation services. See page 45. eoo Pathfinders Is this your first SIGGRAPH conference? Or maybe your second or third? Pathfinders 2000 is here to help you make the most ofyour experience: one-on-one assis­ tance and mentoring sessions led by SIGGRAPH veterans on a first-come, first-served basis. Iftime is an issue, take a look at our Trail Map board at the conference. For more information on Pathfinders, see the SIGGRAPH 2000 Web site at www.siggraph.org/s2000/conference/path/ eoo SI-GRAPH TV Live 20-minute, twice-daily reports from the SIGGRAPH TV studio. Interviews, reviews of activities and events, technology updates, and the latest conference buzz distributed to viewing lounges throughout the convention center. eoo Fundamentals Seminar An essential, accessible introduction to computer graphics jargon, concepts, techniques, and technologies. The perfect orientation for novices on the fast track. PRESENTERS: Mike Bailey, University of California at San Diego and San Diego Supercomputer Center Wayne Carlson, The Ohio State University Warren N. Waggenspack, Jr., Sandia National Laboratories eoo Birds of a Feather Attendees who think and work in similar technologies and environments can pre-schedule Birds of a Feather sessions by sending email to: bofs@siggraph.org. At the conference, impromptu gatherings can be organized through the Birds of a Feather schedule board. eoo Career Center SIGGRAPH 2ooo's employment headquarters, where attendees post resumes and consult with career mentors, and companies post job openings and schedule employment interviews. The SIGGRAPH 2000 Career Center features more industry mentors and expanded mentoring hours. See page 49. eoo Joe FAIR In this full-day event, job seekers and employers discuss opportunities, review qualifications and experience, roll demo reels, and explore career options. See page 49. • Receptions When the crescent moon rises along the levees above the mighty Mississippi, SIGGRAPH 2000 attendees gather for New Orleans cuisine, liquid refreshment, and informal fun. Contemporary Arts Center T he A quarium of the Americas eoo Ar lture Paper El Artists, writers, and critics present and expand on the papers and critical essays published in the Electronic Art &Animation Catalog. 0 E TORS Diane Gromala Georgia Institute ofTechnology Noah Wardrip-Fruin New York University eoo Industrial Light + Magic: The Making of "The Perfect Storm"mt These panelists played key roles in production of ground-breaking digital effects for the feature film, "The Perfect Storm". Each presen­ter delivers a IO-15 minute overview that focuses on one of the unique challenges involved in simulating realistic ocean waters and the drama that subsequently unfolds. 0 GANIZER Stefen Fangmeier Industrial Light+ Magic Im Imation & Special Effects El rt mD ame Development & lnteractiv Techniqu s •e m irtual Reality m eb Technology eo Fiction 20 m In a sequel to last year's provocative session, software designers, writers, and artists imagine the future of fiction in the emerging realms of networked computers. 0 GA llE S/MODERATORS Diane Gromala Georgia Institute ofTechnology Noah Wardrip-Fruin New York University eoo Web3D RoundUP m The high-speed, high-tech shoot-out where top 3D content developers and tool providers demonstrate the latest Web3D technology and applications in a fast-paced, exciting format. MASTER OF CEREMONIES Timothy Childs EyeMatic Inc. ORGANIZER Don Brutzman Naval Postgraduate School eoo Pl tt's History of Animati Im Phil Tippett, Oscar-winning founder of Tippett Studio and creator of visual effects for "Jurassic Park", "The Haunting", "Komodo", and other feature films, surveys the history of animation, from stop-motion techniques to computer-generated imagery. PRESENTER Phil Tippett Tippett Studio For a complete list of Special Session speakers, see the SIGGRAPH 2000 Web site. www.siggraph.org/ s2000 I • The international computer graphics industry displays its hardware, software, and services at SIGGRAPH 2 O O O. All the systems and synergies that empower graphic and interactive breakthroughs. All the companies that invent, produce, and distribute them. All the new ventures that are developing tomorrow's technologies. And you. L'industrie internationale de l'infographie SIGGRAPH 2000 -c· ~~-6-00 (7) ::i / t: .:i -9 · 77 presente son materiel, ses logiciels et ses services 7 -{ '/ 7 ~ff._ tJ<, I\ -r r'-J I 7 >AY,.26_lULY, 4 -6 PM Side Effects Software Procedural Animation Workshop Procedural (non-linear) animation is one of the hottest industry trends, and Houdini technology is the leading procedural animation tool. Ray Corbett, Education and Training Manager at Side Effects Software presents a Houdini 4.0 workshop that demonstrates the advantages of procedural animation for creating stunning effects, detailed environments, and complex characters. Specific topics include: procedural workflow, procedural particle systems, and non-destructive motion editing. THURSDAY..2.1--JULY, 10 AM=.NcuOUJQN,.___ blaxxun interactive, Inc. 3D Multi-User Communities Learn about the tools you need to create your own instant multi-user community in 3D. blaxxun interactive, Inc. also shows compelling examples of multi-user applications built on its technology platform, including Simsala Grimm and Advopolis. Topics include: creation of virtual worlds, creating 3D online communities, e-commerce, and 3D applications. www.siggraph.org/ s2000/ SIGGRAPH 2000 programs capture five broad areas of interest. In this publication, symbols identify which Courses, Papers, Panels, and Educators Program sessions are associated with these areas of interest. Sketches &Applications also include area of interest content. See the Program & Buyer's Guide and the SIGGRAPH 2000 Web site after 30 May. AREAS OF IN~EREST ftn Animation & Special Effects Producing and using rnrr-puter graphics techniques for animation, special effects, and other entertainment applications. nArt New technologies and techniques for art and examples of artistic expression using computer graphics. ~ Game Development & Interactive Techniques Design, implementation, and application of game development and intuitive human-computer communication. l'JI Virtual Reality Creation of and immersive interaction with virtual environments. l':'I Web Technologies ues1g'11ng a 1u ueuvering content over ttir Weo. COJRSES I The Art and Technology of Disney's "Dinosaur" 14 "Stuart Little": A Tale of Fur, Costumes, Performances, and Integration: Breathing Real Life Into a Digital Character 23 Subdivision for Modeling and Animation 24 Smart Animated Agents 26 Motion Editing: Principles, Practice, and Promise 33 Animating Humans by Combining Simulation and Motion Capture 10 A Survey of Color for Computer Graphics 21 Color Science and Color Management for CGI and Film 37 Drawing on the Right Side of the Brain 2 Physically Based Parametric Sound Synthesis and Control 6 Developing Efficient Graphics Software 24 Smart Animated Agents 27 Approaches for Procedural Shading on Graphics Hardware 36 3D User Interface Design: Fundamental Techniques, Theory, and Practice 39 Games Research: The Science of Interactive Entertainment 43 Aggressive Performance Optimizations for 3D Graphics 2 Physically Based Parametric Sound Synthesis and Control 5 Eye-Based Interaction in Graphical Systems: Theory & Practice 6 Developing Efficient Graphics Software 9 Visualizing Quaternions 18 Interactive Walkthroughs of Large Geometric Datasets 27 Approaches for Procedural Shading on Graphics Hardware 35 Image-Based Modeling, Rendering, and Lighting 36 3D User Interface Design: Fundamental Techniques, Theory, and Practice 42 Developing Shared Virtual Environments 43 Aggressive Performance Optimizations for 3D Graphics 28 lnternetworked 3D Computer Graphics: Overcoming Bottlenecks and Supporting Collaboration 34 The Convergence of Scientific Visualization Methods With the World Wide Web PAPCR SESS ONS PANE~S EDLCATORS PROGRAM • Earth, Wind, Fire, and Water • Digital Cel Animation in Japan • Using 3D Animation in Teaching Introductory • Shape and Style • James Brown: Putting a New Face on Electromagnetism • Model Acquisition the Godfather of Soul • A Collaborative and Interdisciplinary Computer • Non-Photorealistic Rendering • Special Session: Industrial Light+ Magic: The Animation Course • Efficient Rendering Making of "The Perfect Storm" • The Design and Implementation of Successful Team­ • Animation • Special Session: Phil Tippett's History Oriented Educational Environments for Computer Animators of Animation • Enhancing Teaching and Learning With Animation • Earth, Wind, Fire, and Water • Interactive Storytelling: New Genres • Crash Course in Creative Digital Media for • Texturing and Directions the Community • Non-Photorealistic Rendering • Exploring New Roles for Interactive • techArts: Urban Girls Get a Handle on Virtual Characters Computer Graphics • No Art Jargon! • Painting Together Across the World: • Special Session: Art & Culture Papers Collaborative Net, Painting Between High School Students & a Professional Artist • Teaching Computer Graphics in Brazil: Social Commitment, Creativity and Passion -Against All Odds! • Animation • Interactive Storytelling: New Genres and • Seeing the Big Picture • Model Acquisition Directions • Shape and Style • The Actual Reality of Virtual Reality Software • Texturing • Emotional Simulator • Interactive Techniques • Computer and Video Games: The Next Generation • The Healing Powers of Virtual Reality • Light Fields • The Actual Reality of Virtual Reality Software • QuickWorlds: Teacher Driven VR Worlds in • Keynote Address: The Human­• The Healing Powers of Virtual Reality an Elementary School Curriculum Machine Merger: Why We Will • Emotional Simulator • Interaction in an IVR Museum of Color Spend Most of our Time in Virtual • Understanding the Past: Computer Graphics Reality in the 21st Century and Archaeology • Designing for Convergence in the • Achieving Balance: The Challenges of Developing • Subdivision Entertainment Industry Web-based Courseware • Rich Media for the Web • Special Session: Web3D RoundUP • Special Session: Fiction 2001 www.siggraph.org/ s2000 I --37~---~. 4 5 6 7 PM 5•~~~~_j~~~---="~~~-=:.~~--=~=-~~~~~~~~ Courses/Full Day 8:30 am -5 pm 14 "Stuart Little": A Tale of Fur, Costumes, Performances, and Integration mi:! 15 Migrating to an Object-Oriented Graphics API 16 Image-Based Surface Details 17 An Interactive Introduction to OpenGL Programming 18 Interactive Walkthroughs of Large Geometric Datasets 1!J3 19 3D Photography 20 Modeling for Medical Applications 21 Color Science and Color Management for CG\ and Film El 2 2 Introduction to Computer Graphics 2 3 Subd ivision for Modeling and Animation mi:! 24 Smart Animated Agents mD mi:! 2 5 Simulating Nature: From Theory to Practice 2 6 Motion Editing: Principles, Practice, and Promise mi:! 27 Approaches for Procedural Shading on Graphics Hardware 1!J3 mIJ 28 lnternetworked 3D Computer Graphics: Overcoming Bottlenecks and Supporting Collaboration C!J Special Session: Industrial Light+ Magic: The Making of "The Perfect Storm" 6 -7:30 pm mi:! ~ :::>m,:m;;;;::;:;;;:;;;...~~--~~--===-~~--===-~~.:;;::::==--~~--~~---'~~~~=-~~~-=-­ l./"\ N ~ Cl (/) Ll.J :::> I- mi:! Imation & Spec·al Effects El rt mD ame Developm nt & Interactive Techniques 1!J3 firtual Reality C!J Veb Technology Courses/Half Day 8:30 am -noon Courses/Half Day 1:30 -5 pm 13 Rendering and Visualization in Parallel Environments 2 9 Introduction to the Java Advanced Imaging AP\ 44 Image Quality Metrics 3O Practical Parallel Processing for Realistic Rendering Courses/Full Day 8:30 am -5 pm 31 Geometric Algebra: New Foundations, New Insights 32 Advanced Graphics Programming Techniques Using OpenGL 33 Animating Humans by Combining Simulation and Motion Capture mi:! 34 The Convergence of Scientific Visualization Methods With the World Wide Web C!J 35 Image-Based Modeling, Rendering, and Lighting 1!J3 36 3D User Interface Design: Fundamental Techniques, Theory, and Practice 1!J3 r1j[J 3 7 Drawing on the Right Side of the Brain El 38 3D Geometry Compression 39 Games Research: The Science of Interactive Entertainment mD 40 Very Advanced RenderMan: Rl_lnfinity and Beyond 41 Advanced Issues in Level of Detail 42 Developing Shared Virtual Environments 1!J3 43 Aggressive Performance Optimizations for 3D Graphics 1!J3 mIJ 45 The Technology of Digital Cinema CD-cinema) Turing Award lecture 12:15 -1 pm Courses/Half Day 1:30 -5 pm I The Art and Technology of Disney's "Dinosaur" mi:! 3 Getting Started With the Java Media APls 4 Visibility: Problems, Techniques, and Applications 5 Eye -Based Interaction in Graphical Systems: Theory & Practice l!JI 6 Developing Efficient Graphics Software 1!J3 mIJ Tutorials 1 -3 pm and 3:15 -5:15 pm 2 Physically Based Parametric Sound Synthesis and Control (3:15-5:15 pm) l!JI ~ 8 A Practical Guide to Global Illumination Using Photon Maps (3:15-5:15 pm) 9 Visualizing Quaternions 1!J3 (1-3 pm) IO A Survey of Color for Computer Graphics (1-3 pm) El II Visual Curves and Surfaces: A Non-Technical Approach (1-3 pm) 12 Obtaining 3D Models With a Hand-Held Camera (1-3 pm) Special Session: Art & Culture Papers 5-6:30 pm El A GLANCE ~rr.;-;;;--~~~--~~~~-;:;;~~~-:--~~-=-~~~~~~~~~~~~~~~~~~~~~~~ :::::>t=:;:;:;:;::::::...,_~~:;_~~---===~~~~~~~~~~ Keynote Address/Awards t!Ji Special Session: Fiction 2001 l!l!l 12:30 -1:45 pm Special Session: Web3D Round UP l!i!I 7:30 -9 pm N '° ~ :::::i.=-===:;....~....lllL-~~~!:...-~___:~~~~~~~....!::!~~~.2..~~--11!-~~~~~~.2..~~~~~--'~i!:!!...~_J 8:15 -9:45 am >­ J: f- Papers 8:30 -10:15 am Shape and Style f1m Papers 2:15 -4 pm Simplification and Compression Panel 8:30 -10:15 am How Free is Free Software Panel 2:15 -4 pm Exploring New Roles for Interactive Virtual Characters El Panel 8:30 -10:15 am The Healing Powers of Virtual Reality mf1m Papers 2:15 -4 pm Light Fields m Papers 10:30 am -12:15 pm Animation r1m m:l'3 Panel 10:30 am -12:15 pm Understanding the Past: Computer Graphics and Archaeology m Papers 10:30 am -12:15 pm Geometric Techniques oam Beyo'1C t'le Wd1ls. Redefining the Museum as an EduCdtioral "Jew Med a Publisher Educators 9 -11 am Teaching CoMpute• C1rdphic<> wit'1 Ope'1GL· Two Appro ches Educators 9 -9:30 am A Collaborative n rd1sc pl nary Computer Animation Co1.. m:Ł! Educators 9:30 -10 am A M1..lt1d c;cip.inary Approach to Master'> Education n ::> gita. ~esearch Educators 10:30 -11 am Qu ckWor m Educators 2:30 -3 pm re ching LOMPL.ter ~ 30 Papers 10:30 am -12:15 pm Earth, Wind, Fire, and Water m:l'3 Panel 10:30 am -12:15 pm Rich Media for the Web l!ZJ Panel 10:30 am -12:15 pm The Actual Reality of Virtual Reality Software t!Ji r1Jll Educators 10:30 -11 am, and Educators 11 am -noon Develop ng d Cu•ricJIU'Tl or The Arts and Mec'1d'1 cc, of "Jew Med·a fo· an nternat1onal i'ost Grddudte Audience Educators 11:30 am -noon Educators 2:30 -3 pm Painting Together Across the World: Collaborative Net Painting Between High School Students & a Professional Artist El Educators 3 -4 pm Community Outreach Program: Cyberlnstitute Technology Magnet School@ Riverside High School Educators 4 -4:30 pm Community Outreach Program: If You Build It: The Story of an On-Line Collaborative Environment Papers 4:15 -6 pm Efficient Rendering m:l'3 Special Session: Phil Tippett's History of Animation 4:30 -6 pm m:l'3 Papers 2:15 -4 pm Perception and Lighting Papers 2:15 -4 pm Subdivision l!ZJ Panel 2:15 -4 pm Computer and Video Games: The Next Generation f1m Educators 3:30 -4 pm Crash Course in Creative Digital Media for the Community El Educators 4 -4:30 pm Using 3D Animation in Teaching Introductory Electromagnetism m:Ł! Educators 4 -4:30 pm Community Outreach Program: 3:30 pm Achievi ig Balan1 c l!ZJ Papers 4:15 -6 pm Model Acquisition r1m Panel 4:15 -6 pm Digital Cel Animation in Japan m:l'3 Panel 4:15 -6 pm No Art Jargon! El Panel 10:30 am -12:15 pm Interactive Storytelling: New Genres and Directions f1m El Papers 10:30 am -12:15 pm Hardware Accelerated Rendering Papers 4:15 -6 pm Non-Photorealistic Rendering El m:l'3Educators 9 -11 am tn ia icing fPd( hing 11c Learning with Animation m:l'3 Panel 4:15 -6 pm James Brown: Putting a New Face on theEducators 9 -9:30 am nterc ct1on r an IVR Mu .eurT' o• r o o m Godfather of Soul m:Ł! Educators 9-9:30 am "•'Jjec.•.., for a Co'11pJter G•a ihrc; P•og.a.nn.1'1g CoJrse Educators 11:30 am -12:30 pm Papers 2:15 -4 pm Texturing r1m El Tre i)esig1 c.nd !'Tip emen•a• '."ln of C,u cec;c.fJI ~earT' Panel 2:15 -4 pm Designing for Convergence in the Entertainment Industry l!ZJ Or ente r I E•vir-.inMP'1t'> for C.o'11p..iter An 111at1 m:Ł! tors 10:30 -11:30 am See1'1g thP B g i'•c• r1m Ed 11:30 am -12:30 pm (Om'T unny Out•e Kr P•ogram. releC OIT'M Jr ity: Visible C.onc.ept Educators 1:30 -2:30 pm Cim runity ou•re lc.h ProgrdrT''> ( hallengec, < nd Surcec.ses www.siggraph.org/ s2000 / A P•oject·Oriented Graphics Course techArts: Urban Girls Get A Handle on Computer Graphics El Courses Professional development in every aspect of computer graphics and interactive techniques, offered in three formats: full-day courses, half-day courses, and two-hour tutorials. Full Conference registration allows attendees access to all SIGGRAPH 2000 Courses. For additional information on the level of experience and education required to make best use of the material offered in each course, please see the SIGGRAPH 2000 Web site. Seating in courses is on a first-come, first-served basis. Seating is very limited for courses scheduled in the Creative Applications Lab. Sunday, 23 July I The Art and Technology of Disney's "Dinosaur" mi:! SUNDAY, HALF DAY, 1·30-5 PM An exploration of the artistic and technical challenges in Walt Disney Feature Animation's recent film, "Dinosaur". When they began making this film in 1994, the production staff faced the challenge of designing and creating a full-length animated feature film with live-action background plates and photoreal, computer­generated characters. In this course, artistic and technical members of the production staff explain how they photographed the live-action backgrounds and acquired virtual set data; designed and modeled photorealistic characters; animated, rigged, and skinned the characters; integrated the 3D characters into the live-action plates; and manipulated and enhanced live­action backgrounds. PREREQUISITES Basic knowledge of 3D computer graphics. The course is appropriate for anyone interested in feature animation, including artists, animators, modelers, and technical directors. TOPICS Live-action cinematography for digital effects, modeling, animation, secondary animation, skinning, and software tools. ORGANIZER Neil Eskuri Walt Disney Feature Animation LECTURERS Mike Belzer Baker Bloodworth Cliff Brett Bruce Buckley Neil Eskuri Jim Hillin Neil Krepela Cristy Maltese Pam Marsden Terry Moews Sean Phillips Walt Disney Feature Animation .­ 2 3 4 Physically Based Parametric Getting Started With the Visibility: Problems, Techniques, Sound Synthesis and Control l'i'D!J m Java Media APls and Applications SUNDAY,JUTORIAl,3.:15 -5:15 PM SUNDAY, HALF DAY, 1:30 -5 PM SUNDAY, HALF DAY, 1:30 -5 PM This tutorial on models and techniques for parametric digital synthesis of sound focuses on well-founded methods and techniques for synthesis of real-world interactive sound effects, using parametric computational models. Demonstrations illustrate the use of real-time sound synthesis and control. PREREQUISITES Attendees should be familiar with basic physics, audio sampling and quantization, and the relationship between the time (waveform) and frequency (spectrum) domains. TOPICS Sound in the time domain (the wave equation); Eigenmodes and spectral models; sines+noise, sines+noise+transients, and modal models; pseudo-physical control of spectral models, one-dimensional and two-dimensional physical models (waveguides); friction, particle models, wavelets, and granular models; statistical models and hybrids. ORGANIZER/LECTURER Perry Cook Princeton University Java is widely espoused as a versatile programming language and runtime environment that provides cross-platform portability, a relatively secure environment, and strong networking and connectivity APls. This course discusses all of the Java Media APls Uava.sun.com/products/java-media/) and focuses on Java 20, JMF, Java 30, and Java Advanced Imaging. It also explores related Java APls, such as OpenGL-to-Java bindings. PREREQUISITES Attendees should have intermediate to advanced experience with the Java programming environment and the Java i.1 and Java 2 core APls. No direct experience with the Java Media APls is required. The course assumes familiarity with the fundamentals of 20 and 3D graphics and streaming multimedia. TOPICS Overview of the Java platform, introduction to the Java Media APls, Java 20, Java Media Framework, Java 30, Java Advanced Imaging, and related resources. ORGANIZER/LECTURER Bill Day Sun Microsystems, Inc. Visibility determination, the process of deciding what surfaces can be seen from a certain point, is one of the fundamental problems in computer graphics. Its importance has long been recognized, and in network-based graphics, virtual environments, shadow determination, global illumination, culling, and interactive walkthroughs, it has become a critical issue. This course reviews fundamental issues, current problems, and unresolved solutions, and presents an in-depth study of the visibility algorithms developed in recent years. Its goal is to provide students and graphics professionals (such as game developers) with effective techniques for visibility culling. PREREQUISITES Attendees should understand the basics of 30 graphics. The course is not for experts in visibility. TOPICS Hidden surface removal, culling techniques ­view volume culling, occlusion culling (from the viewpoint and with respect to an area), how to find good occluders for culling, and the use of BSP trees for visibility. ORGANIZER Daniel Cohen-Or Tel Aviv University LECTURERS Yiorgos Chrysanthou University of London Daniel Cohen-Or Tel Aviv University George Drettakis iMAGIS-GRAVIR/ IMAG-JNRIA Claudio T. Silva AT&T Labs mt.3 nlm tlon & Special Effects EJ rt l'i'D!J ame Development & Interactive Techniques mi rtual Reality r:J b Te "inology www.siggrap h.o rg I s2000 I Sunday, 23 July 5 Eye-Based Interaction in Grap · al Systems: Theory & Practice II SUNDAY, HALE DAY, 1·30-5 PM Interactive techniques associated with the use of an eye tracker, a device that delivers real-time coordinates of the user's gaze. This course introduces attendees to theoretical aspects of dynamic human vision, the characteristics of eye movements, and visual attention. It presents system integration techniques, including a description of available video-based eye-tracking hardware; requirements for development of software drivers; techniques for developing real-time, interactive, gaze­contingent applications, and off-line diagnostic eye movement analysis. PREREQUISITES Basic knowledge of 3D computer graphics such as that provided in the Fundamentals Seminar (see page 6). Experience with virtual reality application programming and knowledge of VRML may be helpful. TOPICS Specifications of eye tracking hardware, emphasizing state-of-the-art, video-based eye trackers, principal modes of gaze-contingent applications (interactive or diagnostic), design of software drivers and integration of eye trackers in graphical systems, basics of eye movements and eye movement signal characterization, and potential gaze-contingent applications. ORGANIZER Andrew Duchowski Clemson University LECTURERS Andrew Duchowski Clemson University Roel Vertegaal Queen's University 6 lo · nt Graphics Softwa SUNDAY, HALE DAY, 1:30 5 PM This course covers architecture, algorithms, and analysis used to create and measure high-performance interactive graphics software. This course begins with a general discussion of the interaction among CPUs, bus, memory, and graphics subsystems and follows with a detailed analysis of graphics subsystems and the OpenGL pipeline. It continues with a discussion of general C and C++ language optimization techniques, including analysis methods for characterizing graphics and system performance, and detecting bottlenecks. It concludes with a survey of software algorithms and techniques for interactive graphics applications. PREREQUISITES Working knowledge of software development in C/C++, computer graphics techniques, and overall computer system architecture. The course is designed for the software developer who wants to optimize graphics and system performance. TOPICS Interaction among CPUs, bus, memory, and graphics subsystems; general C and C++ optimization techniques; methods used to measure performance; current algorithms and techniques for large-scale graphics applications. ORGANIZER Keith Cok SGI LECTURERS Keith Cok Roger Corron Bob Kuehne Thomas True SGI 7 sychophysics 101: How to Design, Implement, and Analyze Visual User Studies in Computer Graphics SJJJWAY, TUTORIAL CANCELLED iirn. ...... . : :. :·: ... -~ ::·;·... ,.. ...... =-··· r.•... :~: ... tr.1 n f:·• :' ........ ·, sig r ph org/c;2000 8 A Practical Guide to Global Illumination Using Photon Maps SWiDAYJU.IOJUAL, 3·15 -5:15 PM Beginning Intermediate Advanced I ) ) ) ,·) ) ~ ~,) This advanced tutorial provides the insight necessary to efficiently and practically implement global illumination and shading algorithms based on photon maps. It covers efficient techniques and data-structures for generating photon maps, including use of projection maps and Russian roulette-based sampling. It describes how to efficiently integrate information from photon maps in shading algorithms to render global illumi­ nation effects such as caustics, color bleeding, and participating media. It presents several examples of scenes rendered using photon maps, discusses how the maps were used, and reviews issues that were important to ensure good quality and fast results. PREREQUISITES A good working knowledge of global illumi­ nation algorithms, in particular Monte Carlo ray tracing-based methods. TOPICS Efficient and practical techniques for generating and using photon maps. How to use a photon map to compute global illumination effects such as caustics, color bleeding, participating media, and subsurface scattering. Many examples of photon maps and efficient "tricks" that significantly improve the performance of the algorithm. ORGANIZER Henrik Wann Jensen Stanford University LECTURERS Niels J. Christensen Technical University of Denmark Henrik Wann Jensen Stanford University 9 Visualizing Quaternions m Sum>AY, IUIQRIAL, l..::.3_PM__ This tutorial provides an intuitive connection between quaternion lore and many standard problems in representation, interpolation, and exploitation of orientation frames in graphics and visualization. It begins with an entirely pictorial intuition of what quaternions are and why we should use them to study orientation frames. It then presents a range of visualization methods, including images that represent individual quaternion rotations, the action of rotations in quaternion space, and the visual properties of quaternion splines and related animation optimization procedures. PRE REQUISITES Attendees should be comfortable with and have an appreciation for conventional mathematical methods of 3D computer graphics and geometry used in geometric transformations and polygon rendering. The tutorial is designed for those who wish to deepen their intuitive understanding of moving coordinate frames and quaternion-based animation techniques. TOPICS Basic methods of orientation frames and orientation interpolation, novel quaternion visualizations that provide alternative intuitions, and advanced applications of these quaternion techniques to coordinate frames and animation splines. ORGANIZER/LECTURER Andrew J. Hanson Indiana University IO A Survey of Color for Computer Graphics EJ 5UrtDAY, TUTORIAL, 1 -3 PM A survey of color disciplines and technologies relevant to computer graphics: color vision and perception, physical and symbolic models for representing color, algorithms for rendering colored objects and images, tools for design and selection of color, monitors, scanners, and printers. This tutorial is designed for attendees who want an introduction to color in computer graphics and for those who are knowledgeable in some aspects of color but want to get a broader view of the field. PREREQUISITES Basic scientific and mathematical presentation (simple graphs, diagrams and equations). TOPICS Color perception, representation, reproduction, management, rendering, selection, and design. ORGANIZER/LECTURER Maureen Stone StoneSoup Consulting m3 nimation & Special Effects EJ rt ri1JD am Dev lopment & Interactive Techniques m rtu l R ality r:J bTechnology www.siggraph.org/ s2000 I Sunday~ 23 July II I2 I3 Visual Curves and Surfaces: btaming 30 Models With Rendering and Visualization A Non-Technical Approach a Hand-Held Camera in Parallel Environments Su N DAY,_TuIOlUA!.._l_:-3 PM The basics of curves and surfaces in a technically non-threatening, visually appealing presentation. This course conveys a sense of the mathematical beauty and utility of curves and surfaces, and teaches the subject's visual vocabulary. Because curves and surfaces are so prevalent in design, animation, CAD/CAM, desktop publishing, and other fields, the course is valuable for artists, stylists, and managers who need a quick introduction, as welt as some technical types who need an efficient overview. PREREQUISITES A minimum facility with mathematics (cottege-tevet algebra) but even this should not be considered a constraint. TOPICS Parametric curves, Bezier curves, the de Castetjau algorithm and subdivision, smoothness, B-splines and their properties, surfaces, trimming, and application examples. ORGANIZER Alyn Rockwood Mitsubishi Electric Research Laboratory LECTURERS Hans Hagen Universitat Kaiserslautern Alyn Rockwood Mitsubishi Electric Research Laboratory This tutorial describes how 3D models can be obtained from images acquired with a hand-held camera. The presented approach is based on advanced automatic techn iques that avoid camera calibration and a priori scene knowledge. This tutorial includes interest point extraction and matching, projective calibration, self-calibration, dense matching, and 3D modeling. Applications ranging from archaeology to planetary exploration are presented. PREREQUISITES Basic knowledge of 3D computer graphics and geometry. Some knowledge of 3D modeling from images is helpful. TOPICS Interest point extraction, muttiview relations, robust matching, projective calibration, setf­calibration, bundle adjustment, image-pair rectification, dense stereo matching, muttiv·ew matching, surface generation, and volumetric mode ting. ORGANIZER/LECTURER Marc Pollefeys Katholieke Universiteit Leuven Course 13 has been rescheduled to Tuesday 25 July, see page31. :J lb la S: 1! JOI la le I: m:J imation & Special Effects El rt !1JD ame Development & Interactive Tech m 1rtual Reality r:J eb Technology www.siggraph.orgIs2000 / Monday, 24 July 15 16 "Stuart Little": ATale of Fur, Costumes, Migrating to an Object-Oriented Image-Based Surface Details Performances, and Integration: Breathing Graphics API R al Life Into a Digital Character ml!1 MONDAY, FULL DAY, 8:30AM -5 PM MONDAY, FULL DAY, 8:30 AM -5 PM An in-depth, exclusive look into the creation of "Stuart Little", a live-action film with an all-digital, fully articulated leading character. Stuart's creators explore conceptualization, design, research, and development of photo-real fur, costuming, and animation set-up, as well as physical effects, CG lighting, compositing, and final delivery of over 500 shots of varying difficulty. Attendees learn how these techniques are applied in a real-world computer graphics production. REREQUISITES An intermediate understanding of 3D and 2D graphics production techniques. Interest in research and development methods, photo-real character integration, cloth and dynamics, procedural shading, lighting design, and sophisticated feature-film production methods. TOPICS Research and development methods, character design, creation of real-world elements such as CG costuming and cloth dynamics, furring, shader development, character acting, CG and physical effects, match-moving, final integration, pipeline, and production methods. Also: integration of proprietary tools with third-party software, continuous development during production, and data management. ORGANIZERS Jim Berney Jay K. Redd Sony Pictures lmageworks LECTURERS Henry Anderson Jim Berney Jerome Chen John Dykstra Jay K. Redd Scott Stokdyk Sony Pictures lmageworks This course identifies the classes and methods that must be captured by a programmer to implement a graphics system in an object­oriented language. Rather than focus on one specific language defined by a particular library, this course provides a taste of the different languages that result from the compromises in library design. Speakers present concrete examples from several graphics and geometry APls, such as OpenGL++, Open Inventor, Fahrenheit/XSG, Java3D, LEDA, and CGAL. PREREQUISITES The course is designed for computer graphics practitioners who are familiar with an object-oriented programming language but use an older, imperative language-based API. In addition to being familiar with the fundamentals of rendering, attendees should be well-versed in an object-oriented programming language such as C++ or Java. Some sections of the course also assume that attendees are familiar with the basics of genericity and template instantiation. TOPICS Introduction to scene graph concepts, scene graphs and shapes, ways of embedding classical geometry classes in a modern API, separating topology from geometry in an API, immediate vs. retained-mode rendering, methods of specifying viewers in a scene graph, associating a file format with an API, user interaction, visibility culling, multiprocessing, the future of scene graph APls. ORGANIZER Sherif Ghali Max-Planck-lnstitut fUr lnformatik LECTURERS David Blythe SGI Sherif Ghali Max-Planck-lnstitut fUr lnformatik Lutz Kettner University of North Carolina at Chapel Hill Henry Sowizral Sun Microsystems, Inc. Image-based techniques for modeling, capturing, recovering, and classifying detailed surface appearance data that can be used for graphical rendering techniques to synthesize realistic images and animations. This course focuses on techniques for various applications and geometry with increasing complexity from material samples, human skin, existing objects to complete real architectural and natural scenes, and their integration with rendering algorithms from local shading to global illumination. PREREQUISITES Basic knowledge of rendering and illumination, including reflectance models, shading, texture and bump mapping, and shadow generation. Some knowledge of image processing and computer vision is useful, but not required. TOPICS Image-based measurement and recovery of BRDFs and texture for material samples, existing objects, human skin, and real architectural scenes; texture mapping real scenes using photographs; recovering normal maps using photometric information; object re-illumination without reflectance recovery; image-based classification of surface details; simulating vegetation and snow for real natural scenes; and recovering illumination for re-rendering. ORGANIZER Yizhou Yu University of California, Berkeley LECTURERS Kristin Dana Rutgers University Stephen Marschner Microsoft Corporation Simon Premoze University of Utah Holly Rushmeier IBM T.J. Watson Research Center Yoichi Sato University of Tokyo Yizhou Yu University of California, Berkeley www.siggraph.org/ s2000 I Monday, 24 July An Interactive Introduction to OpenGL Programming MONDAY, FULL DAY, 8·30 AM -5 PM LOCATION · CAL (LIMITED SEATING),_______ Creating interactive three-dimensional graphics applications using the OpenGL programming interface. Through tutorials, simple programming exercises, source code examples, and generated images, attendees investigate topics ranging from specifying 3D geometric models, and transformations to lighting, shading, and texture mapping. Inputs are rendered interactively and immediately, so attendees can see the effects of their work. At the conclusion of the course, attendees should be able to write simple OpenGL. PREREQUISITES Ability to program in a structured program ming language, such as C. Some fam iliarity with mathematical concepts such as matrix multiplication, trigonometry, and vector opera­tions (dot and cross products). Knowledge of computer graphics concepts such as lighting, matrix transforms, and texture mapping is helpful, but not required. TOPICS A platform-independent windowing utility library. Geometric rendering primitives and how they can be assembled into geometric objects. Matrix transformations. Depth buffering and animation. Lighting, shading, and texture mapping of geometric primitives. Introduction to advanced topics: accumulation and stencil buffers, pixel blending, image processing. ORGANIZER Dave Shreiner SGI LECTURERS Ed Angel University of New Mexico Dave Shreiner Vicki Shreiner SGI www. c;iggra ph .org/ s2000I 18 In e active Walkthrough o Large Geometric Datasets m How can we make effective walkthrough illusions? What are their applications? The main emphasis in this course is on techniques to render complex datasets at interactive rates, 3D acoustic modeling, real-time collision detec­tion, database management, and pre-fetching algorithms. Emphasis is on distinguishing th eo ry from practice. Speakers summarize their experiences, surprises, and the technical lessons they have learned, and present systems for interactive display and proximity queries on massive models. PREREQUISITES Familiarity with polygon rendering pipeline, textu re maps, geometric representations (polygons, splines and Bezier patches), spatial data structures (octrees), and elementary acoustics. TOPICS Introduction to and applications of interac ive walkthroughs. Model representations and taxonomy. Rendering acceleration algorithms. 3D acoustic modeling of computer-generated environments. Real-time collision detection. Database management and pre-fetching algo­rithms. Issues in integrating different rendering acceleration, collision detection, and database management algorithms. Building walkthrough syste ms for architecture and CAD models. Applications to house, submarine, and power-plant models. ORGA NIZERS Daniel G. Aliaga Lucent Bell Labs Dinesh Manocha University of North Carolina at Chapel Hill LECTURERS Daniel G. Aliaga Lucent Bell Labs Jon Cohen Subodh Kumar Johns Hopkins University Tom Funkhouser Princeton University Ming C. Lin Dinesh Manocha Andy Wilson University of North Carolina at Chapel Hill David Luebke University of Virgin ia 19 30 Photography While optical cameras measure thevisible light radiated from a scene, 30 photography systems measure scene geometry and color. Combining these two technologies could change computer graphics by providing an effective means of constructing graphical scenesof unparalleled detail and realism. This course presents the current state of the art in 3D photography and describes the principles behind a number of current techniques. Leading researchers in the field introduce the fundamental concepts, survey of avariety of techniques, examine a few successful approaches at the forefront of 3D photography, and discuss the relative merits and weaknesses of current approaches. PREREQUISITES Knowledge of basic techniques for representing and rendering surfaces and volumes. Familiarity with triangular meshes, voxels, and implicit functions (isosurfaces of volumes). Understand· ing of basic image processing. Experiencewith still photography. TOPICS The fundamentals of cameras and waysof cali· brating them. Standard and emergingpassive vision methods, including stereo, structurefrom motion, shape from focus/defocus, shapefrom shading, interactive photogrammetry, and voxel coloring. Active vision methods: imagingradar, optical triangulation, moire, active stereo, active depth from defocus, and desktop shadow striping. The Digital Michelangelo Project. ORGANIZERS Brian Curless University of Wash ington Steven Seitz Carnegie Mellon University LECTURERS Jean-Yves Bouguet Marc Levoy Intel Corporation Stanford University Brian Curless Shree K. Nayar University of Washington Columbia University Paul Debevec Steven Seitz Institute for Creative Carnegie Mellon Technologies, USC University ··: .:;•. .·:i :;···· .... ...... , :· I 21 22 Modeling for Medical Applications Co or Science olor Management Introduction to Computer Graphics for CGI and Fil El MortDAY, fUJ.L DAY. 8:30 AM -tlM_ MO.NDAY, FULL DAY, 8:30 AM -5 PM The state of the art in interactive and real-time modeling techniques in a broad range of educa­tional and clinical medical applications that require graphical representations of organ anatomy and physiology. Applications include modeling the shape and motion of the heart; brain data registration for surgery; abdominal, laparoscopic, and liver surgery; soft tissue modeling; registration methods for prostate cancer; blood flow simulation; modeling joints, skin, and muscles for animation; organ visual­ ization and segmentation methods; and haptic interfaces. The course demonstrates all the necessary steps in modeling the geometry, kinematics, dynamics and tissue properties, texture, and physiology of internal organs, with the goal of improved computer-assisted diagnosis and surgical simulation. PREREQUISITES Basic knowledge of calculus, linear algebra, physics and graphics. No knowledge of medicine is required. TOPICS Modeling of the heart, lungs, and breast from MRI. Segmentation and modeling methods for heart and brain. Modeling methods for internal organs, data registration, and virtual surgery. Visualization and registration methods for various types of surgery with strong emphasis on clinical applications. Integration of multi­ sensory information for surgical simulation. Modeling skin, muscles, and joints for use in animation and medical applications. The future of modeling methods in medicine. ORGANIZER Dimitris Metaxas University of Pennsylvania LECTURERS Nicholas Ayache INRIA James S. Duncan Yale University Ron Kikinis Brigham and Women's Hospital Nadia Magnenat Thalmann University of Geneva Dimitris Metaxas University of Pennsylvania Don Stredney Ohio Supercomputer Center How color is represented and processed as images are transferred between film and computer graphics. This course details the different forms of nonlinear coding (gamma) used in film, video, and CGI, explains why one system's RGB does not necessarily match the RGB of another system, describes color measurement instruments such as densitometers and colorimeters, introduces color appearance issues where color is not completely described by numbers, and explains how color management technology is currently used in film production (both animation and live action). PREREQUISITES Some familiarity with color science, perhaps gained through a digital color course at a previous SIGGRAPH conference. This course is suitable for people who have no fear of mathematics and who are experienced in creating or manipulating digital images. TOPICS Tone reproduction, gamma, classical color science (colorimetry), color appearance, gamut, color management systems, characterization, calibration, profiling. ORGANIZER Charles Poynton LECTURERS Michael Bourgoin Adobe Systems, Inc. Dave LeHoty Silicon Light Machines Charles Poynton Arjun Ramamurthy Warner Bros. Maureen Stone StoneSoup Consulting Though the annual SIGGRAPH conference is a large, comprehensive event, the vast array of unfamiliar terms, concepts, and products can be an intimidating experience for first-time attendees. This course eases newcomers into the SIGGRAPH conference experience by explaining fundamental ideas and vocabulary. It is not just dry facts. Through slides, videotapes, and online demos, it conveys the fun and excitement that led most of us into computer graphics. The goal is to help attendees understand, appreciate, enjoy, and learn from other SIGGRAPH 2000 programs and events. PREREQUISITES A basic understanding of computers and algebra. TOPICS Computer graphics from data to photons; the fundamentals of geometry, interaction, hardware, modeling, rendering, and animation; virtual reality and graphics for the Web. ORGANIZER Mike Bailey University of California at San Diego and San Diego Supercomputer Center LECTURERS Mike Bailey University of California at San Diego and San Diego Supercomputer Center Andrew Glassner Microsoft Research Olin Lathrop Cognivision rli3 nimation & Special Effects El rt r1lD ame Development & Interactive 1i chniques mJ 1rtual Reality C!I b Technology www.siggraph.org/s2000 / ---·-------­ Monday, 24 July 23 24 25 Subdivision for odeling mar Animated Agen m:J r1m Simulating Nature: From Theory and Animation m:J to Practice MOITMaID1IO Membri multilingue del Comitato no SIGGRAPH 2000. lnternazionale sono disponibili a rispondere Miembros multilingiies del Comite alle domande ed a fornire informazioni in Internacional estan a su disposicion parariguardo a SIGGRAPH 2000. responder preguntas y proveer informacion sobre SIGGRAPH 2000. RESOURCES Chair Marcelo Knorich-Zuffo PORTUGUESE +55.11.8185659 +55.11.8185664 fax international-s2000@ siggraph.org Advisory Board Alain Chesnais achesnais@aw.sgi.com CANADA Carolina Cruz-Neira carolina@siggraph.org USA Midori Kitagawa midori@cgrg.ohio-state.edu USA John Michael Pierobon pierobon@siggraph.org USA Linda Hersom hersom@siggraph.org USA James Scidmore scidmore@siggraph.org USA Committee Igor Alexandrov RUSSIAN +1.095.264.0588 +1.617.236.7356 +i.617.262.5268 fax igorsa@aol.com Christian Bauer GERMAN +43.6562-4867 +43.6562-4804 fax chris@well.com Alan Chalmers ENGLISH +44.117 .9545150 alan_chalmers@siggraph.org Remy Francis HINDI, MALAYALAM, TAMIL +97.16.573.2113 enroute@emirates.net.ae Thierry Frey FRENCH +33.1.55-49·84.09 frey@siggraph.org Andrew Grant ENGLISH +44.1625-44.1334 andyg@manchester.sgi.com Juan Grit SPANISH +54.1i.48oi.9930 jgril@ciudad.com.ar Ugur Gudukbay TURKISH +90.312.290.1386 +90.312.266.4126 fax gudukbay@cs.bilkent.edu.tr Linda Hersom & Jim Seid more ENGLISH +1.612-476.4976 +1.612.476.6083 fax scidmore@siggraph.org Masa lnakage JAPANESE +81-467.32.7941 +81-467.32.7943 fax inakage@cyberagenz.com Malcolm Kesson ENGLISH +1.912.944.2289 +i.912.231.8571 fax mkesson@acm.org Maria Grazia Mattei ITALIAN +39.02.798760 +39.02.798701 fax mgm@mi.camcom.it Ayumi Miyai JAPANESE +81.3.3535.3501 +81.3.3562.4840 fax miyai@cgarts.or.jp Ahmad H. Nasri ARABIC +961.3.233210 +961.1. 7 44461 fax anasri@aub.edu.lb Alvaro De Oliveira PORTUGUESE +351.21.4866784 +351.21-4866752 fax alvaro.oliveira@alfamicro.pt Marilenis Olivera SPANISH +58.2.5754141 +58.2.9063243 fax mari_olivera@hotmail.com Mark Ollila SWEDISH +46.26.648.301 +46.26.648.788 fax molly@hig.se Pedro Cervantes Pintor SPANISH +52.5.6722297 +52.5.6722297 fax pedrocp@acm.org Nan C. Schaller ENGLISH +1.716-475·2139 +i.716-475.7100 fax ncs@cs.rit.edu Guanping Zheng CHINESE +1.615.904.8365 +1.615.898.5862 fax gzheng@mtsu.edu English is the official language of SIGGRAPH 2000. L'anglais est la langue officielle du SIGGRAPH 2000. Englisch is die offizielle Sprache der SIGGRAPH 2000. L'inglese ela lingua ufficiale di SIGGRAPH 2000. 0 ingles e lf ngua oficial da SIGGRAPH 2000. A Hrm1Y1cK11Y1 5I3bIK 5IBJ15I eTC5I O~l1lll13JlbHhlM 5I3hlKOM 06illeHl15I SIGGRAPH 2000. El ingles es el idioma oficial de SIGGRAPH 2000. SIGGRAPH 2000 O)~ffl~gt;t?€~~z.·9o SIGGRAPH 2000 ~ ~~ ~<>-!:::: ~(}j~L-lq. ?€::)[~ SIGGRAPH 2000 ~;;t;;E~g~o siggra ph.org/s2000 I SIGGRAPH 2000 Conference Chair Jackie White California State University, Los Angeles SIGGRAPH Conference Ch"ef Staff Executive Dino Schweitzer Capstone Systems, Inc. Accounting/ Conference Management/ Copy Coordination/Marketing arid Media/Registration Smith, Bucklin & Associates, Inc. Art Gallery Diane Gromala Georgia Institute of Technology Aud·o' ··sual Support AVW Audio Visual, Inc. Commun·ty Outreach Adele Newton Newton Associates Compu•er Animation Festival Joe Takai Industrial Light + Magic Coriference Administration Capstone Systems, Inc. Courses Anselmo Lastra University of North Carolina at Chapel Hill Creative Applications Lab Rob Lembree Metro Link, Inc. Educa ors Program Valerie Miller Georgia State University Emerging Technologies: Po"nt of Departure J. Jeffrey Close Independent Consultant c:xh'b"tion Management Hall-Erickson, Inc. Graphic Design/Editing/ 'ueb s·te Qltd 1nter..-a ·0.,1 ' Resources Marcelo Knorich-Zuffo Universidade de Sao Paulo Brazil Graph.csNet Larry Kauffman USA Group, Inc. Organ:zat;onal Development Gayle Magee Independent Consu ltant Pane 's Aliza Corson Walt Disney Feature Animation Papers Kurt Akeley SGI Pathf nders Kristen J. Stratton Incentive Innovations Ser ,;ce Contractor Freeman Decorating Company S'GGRAPH Te 1evision/Online Mary Nichols Middle Tennessee State University sig1<'DS Marc Barr Middle Tennessee State University Sketches & Applications Tom Appolloni Harris Corporation Student 'o'unteers Steve Talent Motorola Peter Braccio Monterey Bay Aquarium Research Institute T ... ""' -1 A-nf Travel Technology Group SIGGRAPH 99 (-c .... -r """i"" Warren N. Waggenspack, Jr. Sandia National Laboratories Lynn Pocock New York Institute of Technology SIGGRAPH Chair Judith R. Brown The University of Iowa Vice Chair Alan Chalmers University of Bristol Treasurer Garry Paxinos Metro Li nk, Inc. Past Chair Steve Cunningham San Diego Supercomputer Center Director for Communications Leo Hourvitz Pixar Animation Studios Director for Education Mike McGrath Colorado School of Mines Director for Professional Chapters Scott Lang The Academy for the Advancement of Science and Technology Di rectors-at-Large John Fujii Hewlett-Packard Company Theresa-Marie Rhyne Lockheed Martin/ US EPA Scientific Visualization Center Director for Publications Stephen Spencer University of Washington S GGRAPH Conference Advisory Group Chair Scott Owen Georgia State University SIGGRAPH Conference Chief Staff Executive Dino Schweitzer Capsto ne Systems, Inc. ACM SIGGRAPH Program D' rec•or Erica Johnson ACM SIGGRAPH ACM SIGGRAPH p ACM SIGGRAPH In the span of 30 years, ACM SIGGRAPH (ACM's Special Interest Group on Computer Graphics and Interactive Techniques), has grown from a handful of computer graphics enthusiasts to a diverse group of researchers, artists, developers, filmmakers, scientists, and other professionals who share an interest in computer graphics and interactive techniques. Our community values excellence, passion, integrity, volunteerism, and cross-disciplinary interaction. We sponsor not only the annual SIGGRAPH conference, but also focused small conferences, profes­sional chapters throughout the world, awards, grants, educational resources, online resources, a public policy committee, and the SIGGRAPH Video Review. Membership The SIGGRAPH community depends on your support! Please help by joining ACM SIGGRAPH for $27 per year. Members receive the Computer Graphics newsletter, discounted registrations for the annual conference and all other ACM SIGGRAPH-sponsored programs, and access to the archive of SIGGRAPH proceedings in the ACM Digital Library in recog­nition of their support. For more details on membership or to join online, go to www.siggraph.org and select Membership. Newsletter The ACM SIGGRAPH quarterly newsletter, "Computer Graphics", contains articles on current topics in CG and columns by CG leaders on art and computer graphics, international computer graphics, chapter activities, education, pioneers, and graphics standards. For more information, see: www.siggraph.org/newsletter ACM SIGGRAPH's parent organization is ACM, the world's first and largest computing society. ACM serves as an umbrella organization for infor­mation-technology professionals. ACM SIGGRAPH members may also join ACM. Benefits of adding ACM membership include discounts on cutting-edge magazines, journals, books, and conferences. ACM members may also subscribe to the complete Digital Library, which contains six years of publication archives and conference proceedings, 22 high-tech publications, and a state-of-the-art search engine. Computer graphics professionals who join both ACM and ACM SIGGRAPH are eligible for discounted subscriptions to ACM Transactions on Graphics and the Journal of Graphics Tools. For more information, see: www.acm.org Professional & Student Chapters The Professional Chapters of ACM SIGGRAPH exist in 40 cities in 15 countries around the world. They form an international multi­cultural network of people who develop, share, continue, and extend the work and achieve­ments presented at the annual conference. Chapter members include those involved in research, development, education, art, gaming, visualization, and enter­tainment fields, just to name a few. Student chapters have been chartered in 10 schools. These groups host activities on their campuses that highlight computer graphics and interactive techniques. For more information, about the ACM SIGGRAPH network of chapters, or if you would like to start a Professional or Student Chapter, see: www.siggraph.org/chapters S'GGDt.Dt-1 One More Time The SIGGRAPH One More Time booth offers attendees the opportunity to purchase publications from previous SIGGRAPH-sponsored conferences and workshops. For more information, see: www.siggraph.org/publications Education SIGGRAPH supports both computer graphics education and the use of computer graphics in education with curriculum studies, a Web site for educators, and other educational projects. The SIGGRAPH Education booth features SPACE (a juried exhibition of student animations and posters, and a display of student slides submitted by faculty from around the world) and SPICE, a juried exhibition of student Web-based projects. For more information, see: www.siggraph.org/education SIGGRAPH Video Review The SIGGRAPH Video Review is the world 's most widely circulated video-based publication. Over 135 programs provide an unequaled opportunity to study advanced computer graphics theory and applications. Available on VHS tape in NTSC and PAL formats with upcoming releases available at SIGGRAPH 2000 on DVD! Visit the SIGGRAPH Video Review booth at the SIGGRAPH 2000 Merchandise Store. For more information, contact: svrorders@siggraph.org SIGGRAPH 2001 Next summer (12-17 August 2001) the future of computer graphics and interactive techniques returns to Los Angeles, for six days of art, science, education, and adventure. If you have the skill, energy, and imagination to help the SIGGRAPH 2001 Committee create this LA extravaganza, please join us at our "Get Involved!" session on Wednesday, 26 July, 5:30 -7 pm. Or stop by the SIGGRAPH 2001 booth to meet the committee and pick up a Call for Participation. For more information, see: www.siggraph.org/s2001 ACM SIGGRAPH Forum Each year at the annual conference, ACM SIGGRAPH holds an open organizational meeting to report on its year-round projects and accomplishments, answer questions, and respond to members' concerns. All SIGGRAPH 2000 attendees are invited. Thursday, 27 July 12:15 -1:30 pm Volunteers! All of the programs developed by ACM SIGGRAPH rely heavily on volunteer support. As a member, you are eligible to serve in some of ACM SIGGRAPH's most visible positions, including leading a professional chapter, chairing the annual conference, or serving on the SIGGRAPH Executive Committee. Stop by the ACM SIGGRAPH Booth, or come to the ACM SIGGRAPH Forum and get involved! For more information, see: www.siggraph.org www.c;iggraph.org/ s2000I Attendee Service SIGGRAPH 2000 and the Ernest N. Moria! Convention Center offer several services during the conference to make your week more enjoyable. GraphicsNet A state-of-the-art fiber backbone network linking programs and exhibitors within the conference to the global computer graphics community. Networked graphics environments created at SIGGRAPH 2000 will provide an international communications forum for attendees, exhibitors, and contributors. Internet Access Center This networked area in the Ernest N. Moria! Convention Center provides email access for all attendees. Career Center SIGGRAPH 2ooo's employment headquarters, where attendees and companies can: • Post resumes and job openings. • Schedule job interviews. • Distribute resumes and demo reels to employers. • Talk with experienced profes­sionals about computer graphics careers. The SIGGRAPH 2000 Career Center features more industry mentors and expanded mentoring hours. Companies that are not SIGGRAPH 2000 exhibitors must pay a $600 fee to participate in the Career Center. Non-profit organizations are eligible for discounted fees. Complete details: Career Center www.siggraph.org/s2000I +1.312.321.6830 career-s2ooo@siggraph.org lob Fair Job seekers: explore how your skills and experience match a vast array of current job openings in a relaxed, informal setting at the day-long SIGGRAPH 2000 Job Fair, Wednesday, 26 July. Employers: join hundreds of other leading computer graphics companies and explore how SIGGRAPH 2000 attendees' skills and experience can benefit your organization. The Job Fair is open to all SIGGRAPH 2000 attendees. Fee for participating exhibitors and non-exhibitors: $800. Complete details: Job Fair www.siggraph.org/s2000/ +1.312.321.6830 jobfair-s2ooo@siggraph.org Child Care SIGGRAPH 2000 will provide age­ appropriate child-care activities for children from six months to 16 years of age at the Ernest N. Moria! Convention Center. Please check the SIGGRAPH 2000 Web site for more detailed information on costs, hours, and registration: www.siggraph.org/ s2000/ Or for additional information and to register: Accent on Children's Arrangements, Inc. 938 Lafayette Street, Suite 201 New Orleans, Louisiana 70113 USA +1.504.524.1227 +1.504.524.1229 fax registration@accentoca.com ~l~GRLlDl-l ..,non Rnnkc;tore Business Outreach Books presents a computer graphics bookstore. To suggest titles that should be offered in the bookstore, please call or write: 800.968.9622 +1.440.895.6003 fax businessoutreach@hotmail.com Ernest N. Morial Con 1ention Center 900 Convention Center Boulevard New Orleans, Louisiana 70130 USA +1.504.582.3023 www.mccno.com Accessibility The convention center is wheel­chair accessible. It has no cu rbs, and there are elevators to the second-and third-floor levels. If you have special needs or requirements, please call conference management at: +1.312.321.6830 Business Center (located outside Hall Fat The Ernest N. Moria! Convention Center) A variety of services are offered by Rhino Business Center including: computer time rental, faxing services, and photocopying. The business center also sells office supplies and U.S. stamps. Food Services The Ernest N. Morial Convention Center operates several food concession areas for the convenience of SIGGRAPH 2000 attendees. Food carts and casual seating are also available throughout the convention center. Shipping Desk For your convenience, a shipping desk at SIGGRAPH 2000 provides next-day air, second-day air, and regular ground shipping services to destinations throughout the world. Shuttle Service SIGGRAPH 2000 provides complimentary shuttle bus service between most conference hotels, the Ernest N. Moria! Convention Center, and the Electronic Theater at the Saenger Theater. Look for the signs indicating pick-up times and locations at your hotel. If you require special transportation assistance, please call conference management at: +1.312.321.6830 Special Policies • Registered attendees under the age of 16 must be accompanied by an adult at all times. • Children under 16 are not permitted in the Exhibition. Age verification is required. • No cameras or recording devices are permitted at SIGGRAPH 2000. Abuse of this policy will result in the loss of the individual's registration credentials. • Food and beverages cannot be brought into Electronic Theater performances. www.siggraph.org/ s2000I Travel &Housing Housing SIGGRAPH 2000 has arranged special rates for conference attendees. Travel Technology Group (TTG), SIGGRAPH 2ooo's travel coordinator, can assist with making your hotel reservation at SIGGRAPH 2000 discounts. Visit the SIGGRAPH 2000 Web site (www.siggraph.org/s2000/ travhouse/), where you can make your own reservation through the online housing system. Or complete the SIGGRAPH 2000 hotel form on the next page and fax or mail the form to TTG no later than Friday, 9 June 2000. To receive prompt acknowl­edgement of your hotel reservation request, please include your email address or fax number on your hotel form. If you do not include your email address or fax number, acknowledgement will be sent via postal service within 72 hours after TTG receives your form. Non-smoking rooms are available and assigned on a first-come, first-served basis as requested upon check-in. Complimentary shuttle bus service is provided between most conference hotels and the convention center. If your hotel choices are not available, call TTG and ask to be added to a waiting list. If you have questions about hotel accommodations, please contact: Travel Technology Group 110 West Hubbard Street Chicago, Illinois 60610 USA Attention: SIGGRAPH 2000 800.631.5557 (Continental US and Canada) +1.312.527.7300 (International) +1.312.329.9513 fax siggraph2ooo@ttgonline.com Reservation Deposit Reservations will not be processed without a first-and last-night's room and tax deposit via credit card or check. This deposit is non-refundable after Friday, 9 June. The non-refundable deposit does not guarantee your reservation if you do not check-in on your confirmed arrival date. An 11% per night sales tax and an occupancy tax ranging from $1-3, depending on hotel, is added to all hotel bills. Room occupancy taxes are subject to change. If you need to cancel or change your hotel reservations, you must contact TTG on or before Friday, 14 July. After 14 July, cancellations or changes must be sent directly to your hotel. Airlines TTG has negotiated special air travel discounts with American Airlines and Delta Airlines for travel to New Orleans. Call TTG at: 800.631.5557 (Continental US and Canada) +1.312.527.7300 (International) Hours: 7 am -7 pm Central Time, Monday -Friday Or call the airlines directly, but be sure to mention the codes below to receive the SIGGRAPH 2000 discounted fares. American: 800.433.1790 Code: AN-7970UH Delta: 800.241.6760 Code: DL-DMN156712A Car Rental Special discounted rates have been arranged with Alamo Rent a Car. Ask your TTG representative to reserve an Alamo car when you make your airline reservations, or call Alamo directly at 800.732.3232 and mention SIGGRAPH ID #15148GR. New Orleans New Orleans has always been a non-conformist, a city of adventurous spirit, ready to consider the alternatives. So, it's preparing a warm welcome for the international SIGGRAPH community. For complete information on New Orleans, contact: New Orleans Metropolitan Convention & Visitors Bureau 1520 Sugar Bowl Drive New Orleans, Louisiana 70112 USA 800.672.6124 www.neworleanscvb.com HOTEL AVAILABILITY, PARKING RATES, AND INFORMATION: www.siggraph. org/s2000/travhouse/ www.siggraph.org Is2000 I Travel &Hous· RESERVE YOUR HOTEI: ACCOMMODATIONS ONLINE! WWW· s1ggraph. org/s2 000/travhouse/ Hotel Price($) Single/Double Hotel Price (S) Single / Double ~ QUEEN AND CRESCENT HOTEL 100 S/D 0 SHERATON NEW ORLEANS $ 137 S/D MAIN ~ RADISSON HOTEL NEW ORLEANS 93 S, 101 D HEADQUARTERS HOTEL 163 S/D CLUB ~ ROYAL SONESTA HOTEL 110 S/D e(HATEAU SO NESTA HOTEL NEW ORLEANS 115 S/D ~ W NEW ORLEANS 116 S/D ~ WINDSOR COURT HOTEL 185 S/D STANDARD • DOUBLETREE HOTEL 113 S, 122 D 215 S/D JUNIOR SUITE 9 EMBASSY SUITES 123 S/D 225 S/D FULL SUITE • FAIRMONT HOTEL 129 S/D ~ WYNDHAM RIVERFRONT 129 S/D 0 HAMPTON INN DOWNTOWN 119 S, 129 D GHILTON NEW ORLEANS RIVERSIDE 135 S/D CLASSIC 149 S/D DELUXE 0 HOLIDAY INN CHATEAU LEMOYNE 115 S/D 0 HOLIDAY INN FRENCH QUARTER 115 S/D ' HOTEL INTER-CONTINENTAL 117 S/D &HOTEL MONTELEONE 111 S, 128 D 9 LEMERIDIEN NEW ORLEANS 131 S/D ~ LEPAVILLON HOTEL 130 S/D fb NEW ORLEANS MARRIOTT 137 S/D &OMNI ROYAL ORLEANS 117 S/D IND TRAVELER 124 S/D DELUXE TWIN S/D DELUXE QUEEN/KING 132 Early departure fees may apply. www.siggraph.org/s2000 I RESERVE YOUR HOTEL ACCOMMODATIONS ONLINE! IForm AP RESERVATION INFORMATION Complete this form and fax or mail it to TTG at the address below no later than Friday, 9 June. Travel Technology Group IIO West Hubbard Street Chicago, Illinois 60610 USA Attention: SIGGRAPH 2000 800.63r.5557 (Continental US and Canada) +r.312.527.7300 (International) +r.312.329.9513 fax siggraph200o@ttgonline.com Or visit the SIGGRAPH 2000 Web site where you can make your hotel reserva­tion through the online housing system. To avoid a duplicate hotel reservation and possible cancellation penalties, do not send more than one hotel request. ACKNOWLEDGEMENTS, CANCELLATIONS, CHANGES TTG will acknowledge your hotel reserva­tions by email, fax, or by postal service (if no email or fax number is provided). Your acknowledgement will indicate the name, address, telephone number, deposits charged, and confirmed room rate for your hotel. Ifyou need to make any changes or cancellations to your reservation on or before Friday, 14 July, contact TTG. Changes or cancellations after this date must be made directly with your hotel. Room deposits are non-refundable after Friday, 9 June. The non-refundable deposit does not guarantee your reservation if you do not check in on your confirmed arrival date. SIGGRAPH 2ooo's deposit policy supercedes any individual hotel's deposit policy. SPECIAL REQUIREMENTS** It is important that you enjoy SIGGRAPH 2000. If, due to a disability, you have special needs or requirements, please provide us with details in the designated space. TTG will make every effort to accommodate your requests. www.siggraph.org/s2 O O o/travhouse/ ATTENDEE INFORMATION Please prim legibly Last Name First Name Organization Address City State/Province Country Postal Code Telephone (Include all country, area, and city codes.) Fax Email HOTEL PREFERENCE TIG will do its best to accommodate you on your first hotel request. In the event that your preferred hotels are not available, an alternate hotel will be confirmed based on location and rate preferences. First Request Hotel Name Third Request Hotel Name Second Request Hotel Name Fourth Request Hotel Name RESERVATION REQUEST If you are making reservations for more than one room, please supply information on all rooms required. Guest Room One: C Single* 0 Double-1 Bed* 0 Double-2 Beds* Arrival Date Arrival Time Departure Date Departure Time Rate $ Share Room With Special Requirements** Guest Room Two: C Single* 0 Double-1 Bed* 0 Double-2 Beds* Arrival Date Arrival Time Departure Date Departure Time Rate $ Share Room With Special Requirements** Guest Room Three: Single* 0 Double-1 Bed* 0 Double-2 Beds* Arrival Date Arrival Time Departure Date Departure Time Rate $ Share Room With Special Requirements** Guest Room Four: C Single* 0 Double-1 Bed* 0 Double-2 Beds* Arrival Date Arrival Time Departure Date Departure Time Rate $ Share Room With Special Requirements** * Note: We will do our best to honor bedding requests based on availability in hotel upon check-in. RESERVATION DEPOSIT Your reservation requires a first-and last-night's room and tax deposit via credit card or check submitted with your reservation request. Deposits are non-refundable after Friday, 9 June. SIGGRAPH 2ooo's deposit policy supercedes any individual hotel's deposit policy. Credit Card Type Expiration Date Credit Card Number Signature If you wisr to provide your guarantee by check, enclose the first-and last-night's room and tax deposit and make check payable to TIG Room reservations guaranteed by check will only be accepted through written correspondence. www.siggraph .o rg/s2000I Registration Form 23-28 July OL REGISTRATION INSTRUCTIONS ARE AVAILABLE 01i_[(1{sl_~fK OF THIS FORM. . . ONLINE1 www.s1ggraph .org/s2000/reg1str atlon/ IRM'' ATTENDEE INFORMATION AP Membership (check only one) 0 Current ACM or SIGGRAPH Membership Number (AM) Local or regional SIGGRAPH memberships are NOT eligible. C Non-Member (NM) C Student (SM) Student status will be verified. Please see back of this form. First Name Last Name Job Title Organization Address City State/Province Country Postal Code Telephone (Include all country, area, and city codes.) Fax Email CCheck if you want the above information made available to exhibitors. To help us maintain optimum service to our attendees, please provide the following information: Your primary business focus: Products and services you currently use, recommend, specify, or purchase annually: Rate your bu yi ng influence: (check only one) (check all that apply) (check only one) a O Animation/Special Effects k 0 Animation v 0 Paint Systems gg D Final Decision b O CAD/CAM/CAE Engineer I :J Broadcast Media w 0 PC-Based Systems hh D Specify/Recommend c O Digital Video m Business/PC Graphics x 0 Scan Converters/Scanners ii D No Role d 0 Educator n CAD/CAM/CAE/CIM/Robotics y 0 Scientific Visualization e O Game Developer o Desktop/Other Publishing 0 Software f O Graphic Arts/Design p Film/Video Recorders aa 0 Special Graphics Processors g 8 Marketing/Sales/PR q D Fine Arts/Graphic Design bb 0 Storage h O Researcher/Scientist r 0 Image Processing cc 0 Video Technology 0 Software Developer/Programmer s 0 Input Devices dd 0 Virtual Reality/Simulation O Web Developer/eCommerce t 0 Monitors and Displays ee 0 Web Graphics Development O Other: u D Multimedia/Hypermedia ff 0 Workstations 0 Other:_______ IP,i;ifj REGISTRATION CATEGORY (check on ly one) REGISTRATION FEE SUBTOTAL S._I___ _, Full Conference 0 Electronic Theater Ticket: (you must ra nk your time preference) Postmarked on or before 16 June: 0 Member $575 =Non-Member $690 0 Student $230 _Monday 7 pm (670) _ Tuesday 7 pm (671) _ Tuesday 10 pm (672) Received on or before 5 July: 0 Member $120 :::::; Non-Member $865 0 Student $290 _Wednesday 2 pm (673) _ Wednesday 7 pm (674) _ Thursday 7 pm (675) At SIGGRAPH 2000: Member $800 Non-Member $950 Student $320 Conference Select Postmarked on or before 16 June: 0 Member $150 C Non-Member $175 D Student $150 0 Electronic Theater Ticket: Received on or before 5 July: 0 Member $210 C Non-Member $235 D Student $210 _Tuesday 10 pm (672) _Wednesday 2 pm (673) At SIGGRAPH 2000: Member $225 Non-Member $250 Student $225 Exhibits Plus Postmarked on or before 16 June: 0 $40 Received on or before 5 July: 0 $65 At SIGGRAPH 2000: $65 ' ' urther informat·on on programs, act V't s, and documentation included with your registrat on, see page 55. Advance registrations are not accepted after 5 July. MERCHANDISE SUBTOTAL$ ._I____, i˘i;ifi MERCHANDISE Printed Course Notes -Full Set, Shipped (US only) Item# (101) Quantity __ x Cost $570 Subtotal$ __ Su btotal$ __ SIGGRAPH 2000 Video Review Set (NTSC VHS only) Item # (600) Quantity__ x Cost $165 t:w. St:iected SIGGRAPH 2000 merchanu1;:,e 1. '11J ~ .: ava. uu• ,..,, u " .... urchase at· WW .s ggrapn.u1 g, s2000/. A full selection of merchandise and technical Ill materials ic; availab1e at SIGGRAPH 2000. Video Reviews MUST BE PICKfD UP at SIGGRAPH 2000 in t'le Merchandise Pickup Center ELECTRONIC THEATER TICKET SUBTOTAL$ ._I____, 1˘Mi1 ELECTRONIC THEATER TICKET __Tuesday 10 pm-midnight (772) __ Monday 7-9 pm (770) __Tuesday 7-9 pm (771) __Thu rsday 7-9 pm (775) Quantity 1 x Cost $45 = Subtotal $45 __Wednesday 2-4 pm (773) __ Wednesday 7-9 pm (774) IMPORTANT One E.ectronic Theater ticket is already included with Fi..I Corfererce and Corfe•e'lce Select regist·ations. . RA-·-ntr t h dd t l t"cket Please r nk your p•eference as tickets are issued on a first-come, forst-served basts. No refunds. n any ca egory can pure ase one 1tona 1 . • IP.Mil CREDENTIAL MAILING MAILING (HARGES SUBTOTAL s~I---~ ::::; 2-day express mail to continental US/Canada. Cost: $15 per person (99o) O 2 -day express mail to locations outside continental US/Canada. Cost: $30 per person (991) "' T Credent a ma ng nstruction fom TOTAL AMOUNT DUE$ ._I____, IPfaij PAYMENT INFORMATION 'J Check or money order is enclosed, payable to ACM SIGGRAPH 2000. Expiration date ________ ~ American Express O MasterCard 0 Visa Credit card # ------------------------­ (I authorize payment for the amount due for this registration to be processed as I have indicated.) Signature -------~~~­ www.siggraph.org/ s2000 I Reoistration Instructions & Policies ('.:)­ IMPORTANT DATES SIGGRAPH 2000 will begin confirming registrations in writing after Wednesday, 5 April. FRIDAY, 16 JUNE ADVANCE EARLY REGISTRATION DEADLINE Registration forms must be postmarked (and full payment included) on or before this date in order to be eligible for advance early registration fees and to receive any mailed credentials. WEDNESDAY, 5 JULY ADVANCE REGISTRATION (LOSED Registration forms received after 5 July cannot be processed. Ifyour form is received after 5 July, you must register at SIGGRAPH 2000 and pay the on-site registration fee. REFUND DEADLINE Cancellation requests for refunds must be made in writing and postmarked on or before Wednesday, 5 July. No refunds will be issued after this date. There is a refund processing fee of $US 65. Exhibits Plus registrations are not refundable. Su BSTITUTIONS Substitutions must be made in writing before Wednesday, 5 July in order to be processed in advance. Mail or email requests to SIGGRAPH 2000 Conference Management at the address below. In order to request a substitution at SIGGRAPH 2000, you must present the request in writing on company letterhead at the Special Assistance Desk. For more information, contact: SIGGRAPH 2000 Conference Management 401 North Michigan Avenue Chicago, Illinois 6o6rr USA +I. 312.32r.6830 +r.312.32r.6876 fax registration@siggraph.org FOR SIGGRAPH MEMBERSHIP INFORMATION, CONTACT: ACM +r.212.626. 0500 +r.212.944.1318 fax acmhelp@acm.org l!m SPECIAL REQUIREMENTS ~It is important that you enjoy SIGGRAPH 2000. If, due to a disability, you have special needs, let us know by describing below, or by contacting SIGGRAPH 2000 Conference Management: +r.312.32r.6830 siggraph2ooo@siggraph.org .................. ·····­ ww.5 ggraph org/52000/ REGISTER ONLINE! www.siggraph.org/s2 O oofregistration/ COMPLETE ALL INFORMATION ON THE REGISTRATION FORM. PLEASE NOTE THE FOLLOWING INSTRUCTIONS AND POLICIES. ip.i;jii ATTENDEE INFORMATION Member Rate: If you are currently an ACM or SIGGRAPH member, you are eligible for member discounts. You must provide your current ACM or SIGGRAPH membership number in order to receive the discount, otherwise you will be charged the non-member rate. Local or regional SIGGRAPH memberships are not eligible for registration discounts. Students: You must be a full-time student in order to qualify. You must attach copies of the following to your registration form to qualify for student rates (this applies for those registering in advance as well as at the conference): • Your 2000 ACM student membership card OR • Your valid 2000 student identification card AND a letter on school letterhead verifying you are a student. The letter must include your registrar's name, address and phone number so we can verify your student status. • When you arrive at SIGGRAPH 2000, you must present your ID card (not a copy) in order to pick up your credentials. If you do not attach one of the above to your registration form, you will not receive the student discount and will be charged the non-member rate. Note: Your badge will include your name, organization, city, state, and country as indicated on your registration form. ip.i;jfj REGISTRATION CATEGORY Please refer to the chart on page 55 for programs, activities, and conference documentation included with each registration category. Check only one registration category. ip.i;jij MERCHANDISE All SIGGRAPH 2000 technical materials or merchandise, except shipped full sets of printed course notes, must be picked up at the conference. No refunds will be given for items that are not claimed at the conference nor will unclaimed items be shipped after the conference. i˘i;j(j ELECTRONIC THEATER TICKET One Electronic Theater ticket is included with Full Conference and Conference Select registrations. Registrants in any category can purchase one additional ticket. Please rank your preference, as tickets are issued on a first-come, first-served basis. No refunds. If you do not receive your first ticket choice, a limited number of tickets will be available for exchange at SIGGRAPH 2000 at the Electronic Theater Ticket Exchange Counter. ip.i;jij CREDENTIAL MAILING Exhibits Plus and Conference Select Registrants Your badge will be mailed first class (at no additional charge) prior to the conference provided your registration meets the following criteria: • Your registration and payment must be postmarked by Friday, 16 June. • Your mailing address must be in the United States. (A note to our international guests: Due to inconsistent postal service world-wide, we do not mail international badges unless the credential mailing option is purchased. Please refer to instructions for Full Conference registrants below.) SIGGRAPH is not responsible for lost credentials for which we have a carrier receipt that shows the package was received and signed for. If the above criteria are met, your badge will be mailed first class the week of 10 July. Full Conference Registrants Due to the high value of your registration credentials, your badge will not be automatically mailed to you. If you would like to receive your badge in advance of the conference via express carrier, the following instructions apply: • Select and include payment for the appropriate credential mailing option on the registration form. • Your registration and payment must be postmarked by Friday, 16 June. • Student and member status must be fully verified with ALL documentation by Friday, 16 June. • You must provide us with a street address as express carriers do not deliver to P.O. boxes. If the above instructions are followed, your badge will be mailed two-day service the week of 10 July. Credential Mailing Policies • All prices are per person. • SIGGRAPH is not responsible for lost credentials for which we have a carrier receipt that shows the package was received and signed for. • Should your credentials be lost prior to arriving at the conference or should you forget to bring them, you will need to repay your registration fee and you will NOT receive a refund. ip;i;jij PAYMENT INFORMATION Verify that subtotals add up correctly, and enclose payment. • Checks and money orders ($US only) should be made payable to ACM SIGGRAPH 2000. • Credit card information must be completed with signature. • Purchase orders are NOT accepted as payment. • Forms will not be processed without accompanying payment in full. Send form to SIGGRAPH 2000 as follows: Mail form and payment to: or Register on line at: or Fax the registration form to: SIGGRAPH 2000 www.siggraph.org/ s2000 Iregistration/ +1.312.321.6876 P.O. Box 95316 Chicago, Illinois 60694-5316 USA A Note About Faxing We strongly recommend faxing your form well in advance of the Friday, 16 June deadline. Fax volume increases as the deadline approaches, and SIGGRAPH 2000 is NOT responsible for faxes not received due to busy telephone lines. Keep a copy of your fax transmission report to verify that your fax was received by the SIGGRAPH 2000 deadline in the event of a problem. Do NOT SEND MORE THAN ONE REGISTRATION FORM OR IT MAY RESULT IN DUPLICATE BILLING. Technical Ma SEE SIGGRAPH 2000 MERCHANDISE ONLINE! www.siggraph.org/s2 0 00/ fULL(ON FERENCE AND CONFERENCE SELECT REGISTRANTS MUST PICK UP CONFERENCE TECHNICAL MATERIALS THAT ARE INCLUDED WITH REGISTRATION AT SIGGRAPH 2 0 0 0. SHI PPING SERVICES ARE AVAILABLE AT SIGGRAPH 2 000. TECHNICAL MATERIALS WILL NOT BE SHIPPED AFTER THE CONFERENCE. f- u UJ u -'UJ UJ TECHNICAL MATERIALS AVAILABLE MERCHANDISE z Vl UJ UJ ::J UJ u PROGRAMS, ACTIVITIES, AND Vl -' AT SIGGRAPH 2000 [ NEW!] A selection of SIGGRAPH 2000 "" c.. DOCUMENTATION INCLUDED WITH u.. z z UJ VlSee chart at right for materials included with merchandise is available online. YOUR REGISTRATION 0 u UJ !::: "" al your registration . -' -' z u.. I ::J 0 x u.. u UJ At SIGGRAPH 2000, visit the Merchandise PRINTED COURSE NOTES -FULL SET $500 Store to purchase technical materials EXHIBITION/STARTUP PARK eoo The full set of printed course and the full range of SIGGRAPH 2000 (OURSES notes includes all courses. merchandise items: • PAPERS INDIVIDUAL PRINTED COURSE NOTES $25 • T-shirt • • Polo Shirt PANELS • COURSE NOTES CD-ROM $250 • Long Sleeve Denim Shirt SKETCHES & APPLICATIONS eo Contains the electronic version • Coffee Mug of the course notes. • Travel Mug EDUCATORS PROGRAM eo • Travel Clock/Calculator/Calendar CREATIVE APPLICATIONS LAB eo CONFERENCE ABSTRACTS & • Pen APPLICATIO NS $30 • Earrings ART GALLERY eoo n Contains the permanent record • Youth Shirt 0 z .., ELECTRONIC THEATER TICKET-ANY SHOW of Panels, Special Sessions, Sketches • '"::a &Applications, Educators Program, Images of merchandise items are on the '" ELECTRONIC THEATER TICKET-2 OR 10 PM 0 n z and Emerging Technologies: Point SIGGRAPH 2000 Web site. Merchandise is '" available on a first-come, first-served basis. ANIMATION THEATERS eoo "'O of Departure. ::a 0 A limited selection of merchandise items Ci\ EMERGING TECHNOLOGIES: CONFERENCE ABSTRACTS & from SIGGRAPH 99 and earlier conferences ,.::a 3:: APPLICATIONS CD-ROM $40 is also available on-site and online. POINT OF DEPARTURE eoo UI Contains the electronic version l20 SIGGRAPH VIDEO REVIEW SPECIAL SESSIONS > of Panels, Special Sessions, Sketches n &Applications, Educators Program, SIGGRAPH Video Review is the world's most -t DAYTIME eo ~ and Emerging Technologies: Point widely circulated video-based publication. ~ of Departure. Over 135 programs provide an unequaled EVENING eoo '" UI opportunity to study advanced computer THE STUDIO eo ELECTRONIC ART & graphics theory and applications. Available ANIMATION CATALOG $30 on VHS tape in NTSC and PAL formats BIRDS OF A FEATHER eoo Contains the permanent record with upcoming releases available at CAREER (ENTER eoo of images from the Art Gallery and SIGGRAPH 2000 on DVD ! Visit the SIGGRAPH Computer Animation Festival. Video Review booth at the SIGGRAPH 2000 EXHIBITOR FORUMS eoo Merchandise Store. FUNDAMENTALS SEMINAR eoo ELECTRONIC ART & ANIMATION CD-ROM $40 For more information, contact: INTERNATIONAL CENTER eoo Contains the electronic version of svrorders@siggraph.org INTERNET ACCESS (ENTER eoo the images from the Art Gallery, the TECHNICAL MATERIALS SOLD AFTER Computer Animation Festival, and JOB FAIR eooTHE CONFERENCE the Art Gallery Slide Set. SIGGRAPH 2000 Conference Proceedings, KEYNOTE ADDRESS/AWARDS • 0 0 CONFERENCE PROCEEDINGS $45 Conference Proceedings CD-ROM, Electronic PATHFINDERS 0 Contains the permanent record of Art & Animation Catalog, Electronic Art • 0 & Animation CD-ROM, Conference Abstracts SIGGRAPH 2000 Pape rs and con ference SIGGRAPH TV e 0 0 & Applications, Confe rence Abstracts awards. Includes Conference Proceedings c & Applications CD-ROM, Course Notes CONFERENCE ABSTRACTS 0 Videotape, which contains videotape n c: CD-ROM, and Video Reviews are available supplements to Papers. & APPLICATIONS AND CO-ROM • 0 3:: for sale after the conference. '"z CONFERENCE PROCEEDINGS CD-ROM $35 ELECTRONIC ART & ANIMATION CATALOG § To order, contact: Contains the electronic version of the 0 &CD-ROM • 0 z ACM Order Department Conference Proceedings, including papers, 800.342.6626 (Continental US and Canada) images, and additional material not found in CONFERENCE PROCEEDINGS, VIDEO, +1.212.626.0500 (International) the printed version, including QuickTime & CO-ROM • movies, extended versions of papers, and +1.212.944.1318 fax orders@acm.org the Technical Slide Set. COURSE NOTES CO-ROM • ;:o MERCHANDISE SOLD A FTER THE COURSES RECEPTION • '" n (ON FERENCE "ti'" PAPERS/PANELS RECEPTION ~ • SIGGRAPH 2000 merchandise will be 0 z available on line after the conference, UI while supplies last. Get Involved Wednesday, 26 July, 5·30-7 pm Some common questions about SIGGRAPH: What is it? Who's in charge? Who plans and produces this complex annual event? How can I let them know what I would do to make the SIGGRAPH conference even better? The best source for answers: SIGGRAPH Get Involved. Here's your chance to meet the current group of SIGGRAPH volunteers­from the organization and conference committees-for informative conversations about what they do and how you can help. All SIGGRAPH 2000 attendees, exhibitors, and contributors are invited. All questions and comments are welcome. Tell us what you want to do, and we'll help you find the right opportunity! For Conference Information: SIGGRAPH 2000 www.siggraph.org/s2000I +1.312.321.6830 +1.312.321.6876 fax registration@siggraph.org Call for Volunteers The annual SIGGRAPH conference relies heavily on volunteers to plan and produce the premier international conference on computer graphics and interactive techniques. Volunteer opportu­nities for this vibrant event include: future conference chairs, SIGGRAPH 2001 subcommittee members, SIGGRAPH 2002 program chairs, and additional on-site volunteers for most years. Explore how you can contribute your ideas, energy, and expertise at: www.siggraph.org/volunteering/ SIGGRAPH 2001 and 2 002 Future Conference Dates SIGGRAPH 2001 12-17 August 2001 Los Angeles, California USA SIGGRAPH 2002 21-26 July 2002 San Antonio, Texas USA Cover: New~i 1998 Jean-Plerre Kfbelt. Audition © 1999 De19k O'Brien, Georgia lnstibm! Inside Cover: Tortuoslty 1f9 Page 1: Still Life © 1998Scott C Page 3: Xrays: Bladder© 1999 Annika ErixAn Page s: Bookshelf Communication© Page 7: Softy Puffs: Paper Chase © 1~ 1999 Annika ErixAn Page 16: Tortuosity #13 © 1998 Sheriann Pages 32, 37 &. 39: Mary's Helpers © 1998 Paul Brown; Twigs © 1999 Gary Day Pages 40, 42 & 45: Vision © 1998 Satoshi Makoto Satoh; Zhen Po: The Visual Effect of• National Center for High-Performance Computfrj Page so: New Orleans images courtesy of the & Visitors Bureau Page 56: (right) The Space Field Series: Comet (left) 98.9 © 1998 Kenneth A. Huff. Back Cover: Music Lessons © 1999 Wilson Smith, Design; Hollow© 1999 Jason Shulman, Ringling Mawu (the Moon) is the supreme creator goddess, a wise, elderly mother who dwells in the West and brings the night and cooler temperature. She is the goddess of fertility, joy, and rest. Mawu has a partner, Lisa, who is associated with the Sun. He is the god of day. heat, and strength. Mawu and Lisa are twins, and they are an insepa­rable unity at the basis of the universal order. Together, they created the universe. When there is an eclipse of the Sun or the Moon, Mawu and Lisa are making love. They are the parents of seven pairs of twins, all ofwhom are gods of other universal domains. Spiritual heritage of the Fon people ofAbomey (present-day Republic of Benin) The Moon, the Earth s only natural satelliL, L more than one quarter the size of Earth itself (3,456 km diameter), making the Earth-Moon system virtually a double planet. The Moon has phases because it orbits Earth, which causes the portion we see illuminated to change. At the new Moon phase, the Moon is so close to the Sun in the sky that none of the side facing Earth is illuminated. In other words, the Moon is between the Earth and the Sun. When the Moon appears smaller than a quarter, we call it a crescent. At first quarter, the half-lit Moon is highest in the sky at sunset, then sets about six hours later. At full Moon, the Moon is behind Earth in space with respect to the Sun. As the Sun sets, the Moon rises with the side that faces Earth fully exposed to sunlight. Western Science ,. 1''"'~;:< .,t,, ,~. (' ~ .,1._. ,,, ''SIGGRAPH is the industry's special!J store, showcasing products at the cutting edge ofcomputer graphics, animation, and visual effects." Film & Video Dancer's Fund Benefit •' ,.. Pleasejoin Sharir+ Bustama·nte Danceworks . Sunday, February 11, for the Dancer's Fund Benefit at Fonda San Miguel. Enjoy an elaborate buffet prepared by Fonda's 'chefRoberto Santibanez, as well as live entertainment and a raffle for two airline tickets. (Tickets valid to an:y-destination in the continental US) • Cocktails (cash bar) begin at 6 pm, and dinner is at 7pm. A table for six;; $390 (your -tax-deductible contribution is $282), single tickets are $80 (your tax-deductible contributio·n is $62), and raffle tickets are $25. Sponsor a dancer with a $65 contribution. • I • Allproceeds fi·om this e<,Jent benefi,t panceworks. Make your reser<,Jations by Jl1onday, January 5, by calling 458-8158. , Fonda San.Miquel is at 2330 W North Loop Bll,Jd. celebrate the human spirit­ z .. 1­ Ul ~OF IN ATUBE celebrate the human spirit ,,,,_______ --------~------. z .. 1­ U) 9th annual I a benefit for AIDS Services of Austin & Dancers Responding to AIDS AUSTIN FESTIVAL. OF DANCE Dear Friends, Happy New Millennium!!! As we enter the new millennium, it amazes me how much HIV/AIDS is still such a part of our everyday lives. So much so, that sometimes we forget the gravity of the epidemic. Whether you are living with HIV/AIDS or not, there are very few people left who have not been touched in some way by the disease and the loss of friends. Just recently many of us lost two great friends in Austin to AIDS, Tom Henderson and Clifford Ueltschey. Both Tom and Clifford contributed enormously to AIDS Services of Austin, HIV/AIDS activisim and the Austin community. Their loss is a big void for many of us, and they will be sorely missed and fondly remembered. As I work on events in New York and around the country, I am always proud of the extraordinary activism continually demonstrated by the Austin community-a community I always consider my home. In New York they tease me about my "Texas Pride,'' and all I can say is, "the truth is the truth." As many of you already know, this year's Festival is the next to the last in the life of the Austin Festival of Dance. I decided last year, for personal reasons, the 10th year, 2001, would be the final Austin Festival of Dance. So next year's Festival will be the last production of a project that has been a major part of my life and has brought me much joy and fulfillment. It has shown me what a community could really do, and that Vision very often does become Reality. This year, once again, we have an amazing group of artists from across the country coming together to support AIDS Services ofAustin and the fight against HIV/AIDS. I want to thank all the dancers and musicians for their time, talent and dedication to the cause. Also, many thanks to Broadway Cares/Equity Fights AIDS for their continued support of the Festival and AIDS Services ofAustin. I especially want to thank the myriad of Austin businesses, dance companies and indi­viduals that have consistently supported the Festival and ASA. As always, I am truly grateful to you, the audience, for being here tonight. Enjoy tonight's perfor­mance. Sincerely, Charles Santos Artistic Director/Producer AUSTIN FESTIVAL OF DANCE AUSTING FESTIVAL OF DANCE ARTISTIC DI RECTOR/PRODUCER Charles Santos Dave Steakley MUSIC DIRECTOR Allen Robertson PRODUCTION COORDINATOR Amarante L. Lucero PRODUCTION STAGE MANAGERS Rachel N. Durkin Drga Heather Hatton GRAPHIC DESIGN Be PRODUCTION Design Edge Gwen Manney FESTIVAL COMMITTEE Carol Adams Lidia Agraz Neil Barclay Eric Behrens Paul Beutel Carla Cox Dara Gray Bruce Hartman Lisa Katz Chelby King Gwen Manney Michael Morrow, Chair Bettie Naylor Dorothy Raven Michael Regier Steve Reynolds, DVM Heath Riddles Cookie Ruiz Eddie Safady Cindy & George Santos, MDs Dave Steakley Pebbles Wadsworth AIDS SERVICES OF AUSTIN ASA BOARD OF DI RECTORS Greg Barbutti, Chair Annette Dominguez, Vice-Chair Tamara Allen, Secretary Anthony Chapple, Treasurer Patricia Becker Frank Genco Linette Harris Robert Hernandez Susan Johnson Marc Katz Fred Lugo Elizabeth Pomeroy Jess Ramirez Michael Regier Cecelia Schulte Bob Werner ASA EXECUTIVE DIRECTOR Lee Manford DANCERS RESPONDING TO AIDS, A PROGRAM OF BROADWAY CARES/EQUITY FIGHTS AIDS Hernando Cortez, Founding Director Denise Roberts, Associate Director Charles Santos, Producer Ariadne Villarreal, Producer ORA ADVISORY COUNCIL Mikhail Baryshnikov Art Becofsky Bonnie Brooks Trisha Brown Ina Clark Carolinda Dickey Eliot Feld Cynthia Gregory Bill T. Jones Gail Kalver Sali Ann & Alan Kriegsman Robert La Fosse Lar Lubovitch Peter Martins Elvi Moore Mark Morris David Parsons Richard Philp Stephanie & Charles Reinhart Linda Shelton Ben Stevenson Helgi Tomasson Laurie Uprichard Pebbles Wadsworth David White AIDS Services of Austin P.O. Box 4874 Austin, TX 78765 512-451.2273 512-452.3299 Fax ORA 165 West 46th Street, Suite 1300 New York, NY 10036 212.840.0770, 212.840.0551 Fax WWW.BCEFA.ORG AUSTIN FESTIVAL OF DANCE AUSTIN FESTIVAL OF DANCE SPONSORS LEADING SPONSOR MAC Cosmetics MAJOR SPONSORS KGSR/107.1 FM KNVA Continental Ai rlines PRINCIPAL SPONSORS The Austin Marriott at the Capitol/Renaissance Austin Broadway Cares/Equity Fights AIDS Capital Beverage/Coors of Austin The Lithoprint Company & Litho Image, Inc. Philip Morris Companies, Inc. Time Warner Cable EVENT SPONSORS The Austin Chronicle GSD&M Jackson Walker L.L.P. The Paramount Theatre SETON Hea lthcare Network Southwestern Bell Telephone Company BENEFACTORS Addressing Your Needs Continental Communicat ions/ Sprint PCS Henna Chevrolet, Inc. Liberty Bank Longhorn Rentals & Sales PATRONS The Austin American-Statesman The Harkness Foundation Hoffmann & Co. Catering Paper Tech The Texas Triangle Word of Mouth Catering Casey Blass & Lee Manford Tana & Joe Christie Carla Cox Guido Goldman Gwen Manney Michael Regier & Gordon Kendall Drs. Cynthia & George Santos CONTRIBUTORS Fonda San Miguel/Tom Gilliland Glazer's Dist ributors Katz's Deli & Bar Lonestar Legal Copies/Stephen Rice Odwalla The UT Performing Arts Center Pierre Apraxine Randy Burcham Andrew Harpe r Kirk Rice Ted Smith SPONSORS Stephen Jones Capital Management Carol & Chris Adams Jim Campbell Susan B. Hammer & John Stephen Skaggs Robert L. Hardgrave Ron Miller Sharon & Doug Williams HOSTS Cowgirls & Flowers Christian Abernathy & Heath Riddles Susan K. Adler, MD Tamara Allen Greg Barbutti & Mike McElhaney Senator Gonzalo Barrientos Susan E. Campion & Candis Guidry Anthony Chapple & Denn is Driskell Chris Fabre, DDS Shiree Flume, MD Steven R. Franden Frank Genco Greg Hand & Rory Reich Richard Hartgrove & Gary Cooper Jeff Hudson V. Swan & H. F. Jalliet Steven Jones, Capital Management Fred Lugo Diane & Brian Lyerly Maline & Dudley Mccalla Standish Meacham & Steven Salzman Janis & Joe Pinnelli Jess Ramirez Martha St. Romain Lynn Wilczak SPECIAL THANKS Digital Domain Match Frame The Paramount Theatre UT Performing Arts Center Zachary Scott Theatre Center Christian Abernathy Lidia Agraz Linda Atkins Greg Bennett Greg Bibeau Michelle Butler Lisa Chernow Mike Comer Stephen Dalbey Anne Debois Tommi Ferguson Diana Gembinski Shirley Gerber Cindy Goldberg Bruce Hartman Nancy Hoffmann-Allison Sue Jenkins Claudia Langford Teri Lint Harry Mackey Nancy Matthews Stephen Mills Kathryn Miller Michael Mitchell Skip Mooney Leslie Moore Mike Moran Kimberly Myer Mary Nelson Loren Nyer Forrest Preece Dorothy Raven Jim Reynolds Stephen Rice Patricia Sengstack Steve Shaw Julie Springer Dave Steakley Tom Tabler Tracy Walker Armando Zambrano AUSTIN FESTIVAL OF DANCE AUSTIN FESTIVAL OF DANCE Friends, Welcome to the ninth annual Austin Festival of Dance. Thank you for your presence this evening and for your support of AIDS Services of Austin and Dancers Responding to AIDS. Ifchis is your first Festival, you are in for a treat! Charles Santos, our Producer and Artistic Director, has put together an exciting show to delight the senses. Ifyou are a returning Festival attendee, I trust the anticipation of what this year bolds has whetted your appetite for dance. Never one to disappoint, Charles has worked his magic once again in assembling one of the finest evenings of dance anywhere. The theme of Festival is a "Celebration of the Human Spirit." Every year, based on the unique happenings since the previous year, that phrase embodies something slightly different for each of us. Publicly, we come to celebrate the incredible power and strength of our collective spirits -a force that has assembled a compassionate response in the face of this epidemic. Individually we come with the burden of tremendous loss and the comfort of community and family formed during time of adversity. And that is what Charles is asking us to do -celebrate -in the way that we know how, our joys, hopes, sorrows, and pain. Celebrate each other; celebrate life. Thank you visiting and resident artists for tonight's performances. Thank you to all of the com­mittee members, volunteers, and stage and theater staff who worked to make tonight possible. Thank you Charles for bringing celebration to our hearts and inspiration to our souls. Thank you audience for your continued support. Enjoy! Lee Manford Executive Director make vour morning from 5:30-9am www.kusr.com • 7 AUST I N FESTIVAL OF DANCE l annual