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Thursday, June 24, 2010

Fulldome Professional Development Webinar this Monday & Tuesday

From David Beining here at ARTS Lab:

Dear Friends & Colleagues,

I'm writing in support of the unique opportunity you'll find below: It's a wonderful program dedicated to fulldome-based professional development in computer graphics as well as data-based archeological and cultural studies.  The presenting team, led by Kevin Cain, is an exceptional cast that have much to share with the fulldome producing community and the resources they're making available have great value in both production and research.  If you saw Kevin's talk at DomeFest2007, you'll have an idea of how clear the communication will be and how exciting the work is.  

Because of the usual bandwidth issues, there's a limited number of 'live' connections available and we invite those of you interested in fulldome content (and the many related tools and techniques Kevin and his team will discuss) to attend with us here at ARTS Lab.  The ARTS Lab will be hosting a group of interested participants here in our space (contact us at if you'd like to attend). If you'd be interested in hosting a group at another venue here in New Mexico, please let us know and we'll help make arrangements.

The team here at ARTS Lab has had a great collaboration with Kevin and the folks at INSIGHT, and this is an excellent opportunity to take the continued success of NM-developed fulldome content even further.

A Chabot Space & Science Center Production

 June 28th & 29th


Chabot Space & Science Center and INSIGHT are pleased to invite you to participate in the Maya Skies Online Masters' Class - a  FREE 2 day Webinar designed to introduce full dome producers and humanities researchers to the production tools and archive material available at the dissemination website.

The dissemination project, which was funded by a supplemental grant from the NSF, stemmed from our desire to share with others the expertise and learning -  both in terms of production techniques and archaeological archive material - that were acquired during the production of Tales of the Maya Skies.

Day one
of the Webinar is designed to help full dome producers produce immersive media from real-world environments.  Day two launches the Maya Skies Archive, a freely accessible repository of archaeological data from Chichen Itza, Yucatan, Mexico.  Both days keep the practical needs of full dome producers and humanities researchers front and center. 

The sessions are open to all - spaces limited to the first 100 applicants. Please RSVP to the address below and we will send you confirmation of your participation and details on how to join the Webinar:

RSVP, Chabot Space & Science Center:

A complete schedule is below - all times listed are Mountain Standard Time (adjustments made locally here at ARTS Lab).

The Maya Skies Online Masters' Class is presented by the Maya Skies production team from INSIGHT, an archaeological visualization group, listed at the end of this message.


Day 1: Monday, June 28

Session 1
Introduction to Data-Driven Full Dome Production I:  Pipeline Overview
Chris Bernal, Kevin Cain, Mark Eakle, Todd Gill, Jun Nagaoka

The full dome is highly immersive.  As a format, full dome excels at presenting real-world places with great immediacy.  But it's not simple to create realistic environments that hold up on the dome, especially for producers with limited budgets and experience.  This session introduces a pipeline for capturing data from the real world for use in full dome media.  2D and 3D reality capture are discussed, drawing on examples of time-lapse panoramic photography and 3D laser scanning.  While aimed at first-time dome producers, more experienced creators will also benefit.

Session 2
Introduction to Data-Driven Full Dome Production II:  Tech Walkthrough
Kevin Cain, Mark Eakle, Todd Gill, Jun Nagaoka

This session expands the discussion of Session 1's data-driven production pipeline.  We present a focused introduction to managing laser scan data in production, from initial capture through alignment, merging, surfacing, and painting.  Particular attention is paid to techniques for editing, UV layout and texturing steps, as conventional approaches generally fail with dense data-driven geometry.  This session is designed for full dome producers new to 3D reality capture techniques.

Session 2B
Live Session Follow-Up
Chris Bernal, Kevin Cain, Mark Eakle, Todd Gill, Jun Nagaoka

The speakers from the morning sessions will be on line to answer questions, provide detail, and connect with the web audience.

Session 3
Building Realistic Computer Graphics for the Full Dome
Chris Bernal, Kevin Cain, Mark Eakle, Todd Gill, Ali Jamalzadeh

From the start, the lion's share of full dome media content has been supplied as rendered images from 3D computer graphics.  Realism, long an object for CG images, is now becoming possible even with modest budgets.  This session explores two practical ways to increase realism for full dome graphics:  non-biased rendering of light, and efficient use of dome sampling in compositing.  Using the Tales of the Maya Skies production as a basis, we present suggestions for managing the complexity of rendering with natural light while remaining practical and efficient.  We also discuss new tools  to optimize color reproduction on the dome for rendered images and present an automated system for processing renders for collaborative review.

Session 3B
Live Session Follow-Up
Chris Bernal, Kevin Cain, Mark Eakle, Todd Gill, Ali Jamalzadeh, Jun Nagaoka 

The speakers from the afternoon session will be on line to answer questions, provide detail, and connect with the web audience.

Day 2, Tuesday, June 29

Session 4
Introduction to Digital Cultural Heritage and Digital Capture Research
Kevin Cain, Mark Eakle, Greg Downing, Greg Ward

Archaeologists and art historians have been practicing digital field techniques for at least the past decade.  However, the recent proliferation of good, cheap digital cameras and affordable processing power has enabled humanities researchers to take on more ambitious digital documentation projects.  In this session we survey research from the worlds of computer graphics and computer vision, showing approaches that can be directly applied to cultural heritage work.  We present the computer vision research for Tales of the Maya Skies as the core of our discussion, with emphasis placed on open source tools and off-the-shelf equipment that will work in the difficult field environments found at archaeological sites around the world.

Session 5
Maya Skies Archaeology Case Studies and the Maya Skies Data Archive
Chris Bernal, Kevin Cain, Falken Foreshaw, Ali Jamalzadeh, Jun Nagaoka

All of the data gathered on site at Chichen Itza, Mexico for Tales of the Maya Skies has been gathered into a public repository, which the team launches in this final session.  Using archaeological case studies from the archive, we introduce this archive and the web application built to navigate it.  The archive tools are themselves available for download; in this session, we walk through the steps to build your own humanities 'data dashboard'.

Session 5B
Live Session Follow-Up
Chris Bernal, Kevin Cain, Mark Eakle, Todd Gill, Jun Nagaoka

The speakers from the morning sessions will be on line to answer questions, provide detail, and connect with the web audience.

Suggested reading:

New Heritage: New Media and Cultural Heritage
Theorizing Digital Cultural Heritage: A Critical Discourse (Media in Transition)
Digital Technologies and the Museum Experience: Handheld Guides and Other Media


Speakers participating live at Chabot Space and Science Center, Oakland, California, USA:

Chris Bernal: Core member of PalmaVFX, Digital Modeling Lead has worked with INSIGHT on archaeological film projects for several years, including two full-length documentaries on Egypt

Kevin CainINSIGHT founder and Director, has introduced digital tools to archaeological projects around the world for the last ten years.

Mark Eakle: Xenexus founder and long-time INSIGHT collaborator, photographer  shot on location for Tales of the Maya Skies.

Falken Foreshaw:Archaeologist - has assisted the Tales of the Maya Skies team in archaeological review, notably for the Caracol and Osario structures.

Todd Gill: INSIGHT Technical Director brings a career of visual effects to his digital field work and pipeline development for Tales of the Maya Skies, from CG work for feature film to web interactives.

Ali Jamalzadeh: Lead Artist has been at INSIGHT for two years; for Tales of the Maya Skies he has been focused primarily on painting the reconstructed structures of ancient Chichen Iza.

Jun Nagaoka:INSIGHT Technical Lead is responsible for guiding the development of the Maya Skies Data Archive and for much of the tool chain used in the production.

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Tuesday, June 22, 2010

Special NM Screening of Maya Skies (7/7)

We welcome you to a special screening of "Tales of the Maya Skies," a fulldome film co-produced by UNM's ARTS Lab.  Please join us to celebrate the work of renowned New Mexico professionals like Hue Walker and Michael Stearns - and rising-star Jonathan Strawn - as well as the fabulous student artists and technologists who contributed greatly to this unique production.  Meet these merry makers and see this NSF-funded immersive film on the astronomy and culture of the Maya on the big dome:

Wednesday, July 7th
5:30pm reception; 6:30 screening (40 minutes)
The Planetarium at the New Mexico Museum of Natural History & Science (aka LodeStar)
1801 Mountain Rd, NW, ABQ

Kids welcome!  We hope to see you there.

Crew: ARTS Lab

**The film opens to the public July 2nd at the Planetarium.  Please help us spread the word to get as many New Mexicans to see this film as possible!  Learn more at:

Wednesday, June 16, 2010

Bill T. Jones & OpenEnded Group at the Lensic 6/19

We had the pleasure of having Paul Kaiser and Marc Downie talk here at ARTS Lab ( a few months back and... this event promises to be a great example of cross-genre/intermedia collaboration. More info at:

Saturday, June 19, 2010 



Bill T. Jones/Arnie Zane Dance Company performance

Part of the SITE Santa Fe Biennial's Opening Weekend, this special performance by Bill T. Jones/Arnie Zane Dance Company features a new commission and collaboration with OpenEnded Group. The opening weekend live performance will consist of a selection of recently reconstructed and rarely-seen duets that showcase the company's polished movement technique. The performance will include Duet, a piece featuring some of Jones' most sophisticated movement, and one or two other seminal works that use a repetitive, formalist vocabulary which echoes the concerns of visual artists who influenced Jones and Zane's creative process. The premiere theatrical screening of the new high-resolution edition ofGhostcatching will be interwoven with the dances, foregrounding the cross-genre collaboration in the company's body of work. The program has a running time of approximately one hour.

The installation at SITE Santa Fe will consist of the world premiere of the tenth anniversary edition of Ghostcatching, the renowned video that brings the movement of dancer Bill T. Jones into revelatory clarity using advanced motion capture technology.

Download the Press Release PDF

Tickets available from the Lensic Box Office / $30, $50, $100
Call 505.988.1234 or purchase online

  • Bill T. Jones & OpenEnded Group
  • After Ghostcatching, 2010
    Virtual Dance for Stereoscopic Display
    Visual and Sound Design: Marc Downie, Shelley Eshkar, and Paul Kaiser
    Choreography, Movement and Voice: Bill T Jones

Monday, June 14, 2010

48HFP Registration ends today - sign up now!!

From Liz Langston at the 48 Hour Film Project:

Albuquerque Filmmakers and Film Fans--

Just a quick reminder... registration for the Albuquerque 48 Hour Film Project has steadily filling up and not many spots remain. The Early Bird registration rate ends today!

Save some dough and register your team now before we run out of room for you.  Go to:

For more info about the project, read below.

Don't miss out!

-The 48 Hour Film Project Team



The 48 Hour Film Project, the oldest and biggest time filmmaking competition, is returning to Albuquerque!  In a wild, sleepless weekend, you and a team will make a movie--write, shoot, edit and score it. From scratch.  In 48 hours.  On Friday, July 9, you'll get a character, a prop, a line of dialogue and a genre, all to include in your movie.  By Sunday, July 11th, the movie must be complete. Each completed film is guaranteed a screening at KiMo in the following week.

To be part of the 48HFP, register online at:

Registration costs $155 per team, unless you register today, in which case it's $135.  Space is limited, so register today!

For more information, contact Liz Langston, Producer of the 48 Hour Film Project at or Scott Milder, Deputy Producer, at

Albuquerque 48 Hour Film Project

Tuesday, June 01, 2010

Volker Straebel: Sonification Metaphor in Instrumental Music (6/8)

What: Volker Straebel: Sonification Metaphor in Instrumental Music

When:       Tuesday, June 8th 6:30

Where: UNM ARTS lab, 131 Pine St., NE (1 block west of University Blvd; half a block north of Central - at the wooden steps)

Renowned musicologist Volker Straebel speaks on "The sonification Metaphor in Instrumental Music". The sonification metaphor is not limited to electronic sound synthesis and computer music, but can be applied to instrumental music as well. The relation of sonification to program and experimental music is discussed and works by Iannis Xenakis, Karlheinz Stockhausen, John Cage and Alvin Lucier are briefly introduced. The paper leads to a discussion of the connection between sonification and romanticism, where the desire is to directly evoke an understanding of natural phenomena.

Volker Straebel (1969) is a musicologist focusing on electro-acoustic music, the American and European avant-garde, intermedia, performance and sound art. He is co-director of the Electronic Music Studio at Technische Universität Berlin and teaches Sound Studies at the University of Arts (UdK). Furthermore, hhe is curatorial adviser to contemporary music festival MaerzMusik and has realized and performed indeterminate works by John Cage and himself.

Visit for more information.