Welcome to Bali for all of ADADA 2016 Committee members and participants. I hope there is no one missed this great event achieved by ADADA Committee 2016.
Our decision to choose Bali as the venue for the ADADA 2016 was a true and great decision, because by this decision, we have already extended our conference coverage, so that our conference would reach more participants.
Universitas Multimedia Nusantara (UMN) is honored to be the organizing partner or local arrangement partner of this event.
We hope that Bali culture as the conference environment will support at maximum to all of the ADADA participants by giving its unique culture and spiritual nuance, especially to the participants that are the first time visitors to Bali.
Bali is one of Province of Indonesia famous as tourism and convention destination. Bali has its unique culture among indonesia ethnic cultures, and considered as well maintained in its originality, while accepting new culture values from all over the world.
The Bali culture has its background from Hinduism. But of course this Hinduism is different from Hinduism of India. Hinduism of Bali is a result of merger of Hinduism in old era and old tradition of Balinese society.
That's why in this ADADA 2016 event, we arrange the conference agenda by combining the conference program, the banquette dinner and city tour program as one package, so that all the Committee members and participants could enjoy the culture and view of Bali.
We hope that there will be no Committee members and participants in hurry that will leave so soon after the conference program. We hope all of you could join the "Bali workshop" program as well, to celebrate our success in the conference, by enjoying the culture and view of Bali.
Finally we would like to thank to all of the Committee members and participants for their contributions so that the event of ADADA 2016 is successful and beneficial.
Thank you and see you in Bali.
Dr. Ir. P.M. Winarno,M.Kom.
Honorary Chair ADADA 2016
Online submission due: 24:00 pm 15th August 2016 22nd August 2016(JST) (JST) 29th August 2016(JST) (extended). All submissions must be conducted with our online submission system. We would not accept submissions via e-mail or postal mail. Please submit a PDF proceeding written in only English.
The program committee will review all submissions carefully and select papers of exceptional quality for an award from all categories. Furthermore, the authors of the selected technical papers and art papers from the conference will be invited to prepare an extended version of their paper to be considered for publishing in ADADA International Journals (ADADA Journal).
Technical Papers are a conventional academic papers. The authors are requested to give their oral presentations at the conference. Any topics about digital art/design fields ranging from technical research to cultural matters can be accepted. Artistic projects are encouraged to submit as Art Papers. In any case, your presentation should mention both aesthetic aspects and technical aspects of your project. Also, a process of the project should be explained logically, and your contribution to digital art/design field must be clarified. Regardless of your topic, you must describe your project in a scholarly manner. If your research could be an interactive system, we strongly recommend you to submit your system to not only papers but also demos.
Go to Submission Site
•Deadline: Deadline: 15th August 2016 22nd August 2016(JST) (JST) 29th August 2016(JST) (extended)
•Pages: 2 - 6 pages
Art Papers are more artistically-oriented papers than Technical Papers. You can present any type of artwork, as long as digital technologies are used in it. If you produced a cutting-edge digital art such as a computer animation and an interactive art, Art Papers would be a great showcase at an oral presentation. You can share your ideas between hundreds of artists and researchers, and it may evoke a synergistic effect in the Asian digital art community. You should describe an artistic motivation, a background of your artwork, and how digital technologies are involved in your work, and so on. If your research could be an interactive system, we strongly recommend you to submit your system to not only papers but also demos.
Go to Submission Site
•Deadline: Deadline: 15th August 2016 22nd August 2016(JST) (JST) 29th August 2016(JST) (extended)
•Pages: 2 - 6 pages
Poster submission provides a venue for authors to present work in progress reports. The Poster presentation also provides you with further discussion from experts. We believe this opportunity will be a great help to advance your work.
Go to Submission Site
•Deadline: Deadline: 15th August 2016 22nd August 2016(JST) (JST) 29th August 2016(JST) (extended)
•Pages: 1 - 2 pages
Demo submission offers a space for displaying artworks, technical demos and any other demonstrations which include interactive arts and systems. If you have interactive systems for demonstration, we strongly recommend you to submit your systems to not only papers but also demos. ADADA2016 Demos you will have a space and a table for your work, but you are responsible for bringing and setting up most of any other equipment that is required for presenting your work except for electric power.
Go to Submission Site
•Deadline: Deadline: 15th August 2016 22nd August 2016(JST) (JST) 29th August 2016(JST) (extended)
•Pages: 1 - 2 pages
ADADA 2016 invites papers describing original contributions in all fields of art and design associated with digital technologies and related research areas. All submissions should be in English. For every accepted submission, it is required that at least one author will attend the conference to present the work. Research topics of interest for ADADA 2016 include, but are not limited to:
* Interactive Art, Digital Art, Media Art
* Interaction Design, Interactive Technologies
* Computer Animation, Computer Graphics, Visual Effects
* Web Design, Web Application Design, Web Service Design
* Virtual Reality, Augmented Reality
* Digital Game and Gamification
* Social Networks, SNS
* IoT, Sensor Networks, Big Data
* Innovative devices, Robotics for Art, Gadgets
* Education, Digital Archives
* Digital Content Design
* Design Theory and Design Methodology
* Digital Music, Musical Interface, Sonification
For further information, please contact a program committee chair:
Taketoshi Ushiama, Kyushu University, Japan
There are two types of registration, online registration and onsite registration.
Online registration is an early bird registration which saves your registration fee.
We never extend online registration deadline, so please register today or until the deadline.
Onsite registration is held at the conference during 1st and 2nd, Nov, 2016. We only accept cash in Rupiah(IDR) for onsite registration.
We do not accept any bank transfer for registration.
All registrations include full access conference. You can join all conference programs. All registrations except for No.6 registration include Bali workshop ticket to enjoy the culture and view of Bali on 3rd, Nov, 2016.
I would like to reflect on computer graphic and multi-media arts from the vantage point of my own 40 years of association with them. First of all, a person must seek out the creative things he or she is aiming for from a point removed from principle-like habits and the tendencies of soft-ware programs created in advance. Namely, I think it is important that a person does not let his or her own creative urge get covered by a program with rather technical things pushed into the foreground. Independence and originality concerning form and color have no meaning unless completely controlled by the person who stands at the core of art. One should never create a structure embodying something developed through easy, wild numbers and chance. Moreover, there is a method of creating living things and/or nature under a quasi-reconstruction of the laws of the natural world. This method, which approaches the observation values as closely as possible, will continue for a long time hence. This is to pursue why materialistic shapes and colors exist in this transcendent sphere which include the natural world and the cosmos. The enlargement of those realms of existence will certainly render a moulding cut off from the framework of earth or mankind possible. This will come to question its main constituent in the very process of selecting various subjects. Consequently, the way of existence of the object itself is already a product of conception, which is not cut off at all from the artistic qualities from which it should be separate. The very laws themselves concerning form have arisen and grown, creating their own present system which is self-propagating. In other words, the process has hypothesized something which retains energy within. It is something which has advanced one step beyond a simulation of a cross-section of the natural world. It is an approach to nature in another sense. That is to say, because circumstantial stimulation can called a hypothesis thin the framework of fixed time, it becomes equipped with the same time as the observer despite the lack of a non-present system of simultaneity. Thus, the immediacy and the extemporaneousness of formation come to have direct perceptions and connections. My “Growth” series lies indeed at the starting point. Demands will be made from now on in the form of self-organization and natural occurrence, and they appear to have active bearings on the sixth sense in human beings and aesthetics.
CG Artist
Professor of the University of Tokyo
Born in Tanegashima Island. Kawaguchi has been working on Computer Graphics since 1975, and has been recognized as a pioneer and a world-class authority of CG art by his unique style. Using his ‘GROWTH Model’, a Self-Organizing procedural modeling algorithm, he has been creating various artificial complex life forms.
Recent work includes development of CG expression of natural beauty based on physical basic model, 8K Ultra High Definition CG art, creation of new traditional art-form incorporating traditional craftsmanship and advanced IT-based expression, creation of artistic and primitive robot for planet exploration, development of ‘Gemotion’(Gene, Growth + emotion) 3D Bumpy display which react emotion like living beings.
He won ‘ACM SIGGRAPH Distinguished Artist Award for Lifetime Achievement’ in 2010 for creative and innovative artistry, giving life to a stunning aesthetic derived from his dedicated research in computer technology, biological forms, and contemporary artistic practice. In 2013, He received the Award from the Ministry of Education in the Art Encouragement Prizes and Medal with Purple Ribbon.
| 1A-1 | 10:45～11:05 |
|
|---|---|---|
| 1A-2 | 11:05～11:25 |
|
| 1A-3 | 11:25～11:45 |
|
| 1A-4 | 11:45～12:05 |
|
| 1A-5 | 11:45～12:05 |
| 1B-1 | 10:45～11:05 |
|
|---|---|---|
| 1B-2 | 11:05～11:25 |
|
| 1B-3 | 11:25～11:45 |
|
| 1B-4 | 11:45～12:05 |
|
| 1B-5 | 11:45～12:05 |
| 2A-1 | 13:30～13:50 |
|
|---|---|---|
| 2A-2 | 13:50～14:10 |
|
| 2A-3 | 14:10～14:30 |
|
| 2A-4 | 14:30～14:50 |
|
| 2A-5 | 14:50～15:10 |
| 3A-1 | 15:40～16:00 |
|
|---|---|---|
| 3A-2 | 16:00～16:20 |
|
| 3A-3 | 16:20～16:40 |
|
| 3A-4 | 16:40～17:00 |
|
| 3A-5 | 17:00～17:20 |
|
| 3A-6 | 17:20～17:40 |
| 3B-1 | 15:40～16:00 |
|
|---|---|---|
| 3B-2 | 16:00～16:20 |
|
| 3B-3 | 16:20～16:40 |
|
| 3B-4 | 16:40～17:00 |
|
| 3B-5 |
|
|
| 3B-6 | 17:20～17:40 |
Creative industry in Indonesia has a significant number of creative talents that embrace technology as a tool to produce their works. Animation industry as one of the newest yet promising sector in Indonesian creative industry, consists of many small scale animation studios with combined production output; producing service works from bigger studios while maintaining their own internal project. Following this, they need to create and modify their production pipelines to be more effectively and efficiently meet the needs of their line of business. Once they adapt more advanced technology, more works can be created with significant results in quality and quantity.
As the surviving challenge in the creative industry is prominent, education becomes important to develop creativity. In this context, the education that is needed, is the education which empowers talents to learn how to think creatively, to understand how technology might support their creative works, and how it becomes the part of their creative process. It means, this context of education is meant to shape the human resources to be able to meet the quality and quantity as expected, while through their creativity combined with technology will create opportunities to generate significant results in global industry.
Technical Direcor
Daniel has been active in developing Indonesian animation industry since 1989. Mainly acts as Director of Technology, he involved in the production process of many projects; be it for feature length animated film or animated TV serials. Meraih Mimpi (Sing to the Dawn), Tatsumi, Garfield TV Series, Franklin and Friends, Dr. Contraptus, Octonauts, Peter Rabbit, Sonic Boom, are only shortlist of animated film projects which Daniel contributed in.
Daniel realizes the importance of human resources development in animation industry. Therefore, in 2015 Daniel took more contribution as one of the founders of PT. Bali Animasi Solusi Ekakarsa, an animation studio with one important mission; to produce competent animation experts in Indonesia.
| 4A-1 | 10:15～10:35 |
|
|---|---|---|
| 4A-2 | 10:35～10:55 |
|
| 4A-3 | 10:55～11:15 |
|
| 4A-4 | 11:15～11:35 |
|
| 4A-5 | 11:35～11:55 |
|
| 4A-6 | 11:55～12:15 |
| 4B-1 | 10:15～10:35 |
|
|---|---|---|
| 4B-2 | 10:35～10:55 |
|
| 4B-3 | 10:55～11:15 |
|
| 4B-4 | 11:15～11:35 |
|
| 4B-5 | 11:35～11:55 |
|
| 4B-6 | 11:55～12:15 |
| 5C-1 | Observation with hearts and hands |
|
|---|---|---|
| 5C-2 | Typhoon Soudelor: Comparing remotely-sensed data and Tweets |
|
| 5C-3 | A GUI Movement System by Back-of-Device Interaction for One-Handed Operation on a Large Screen Smartphone |
|
| 5C-4 | Unistroke Gesture on the Eye Tracking System |
|
| 5C-5 | KOKYU: A Non-Contact Sensing System With A Scalable Sphere For Visualization Breathing |
|
| 5C-6 | Dancing Mirror: An Interactive Installation for Discovery of Aesthetic in Motions |
|
| 5C-7 | Development the Interactive Tonality Blending System and Artworks |
|
| 5C-8 | Development and case study of a sensor platform system for media art and live performance using wireless microprocessor module TWE-LITE |
|
| 5C-9 | Mood-based Procedural Music Generation Using Markov Chains |
| 6A-1 | 15:30～15:50 |
|
|---|---|---|
| 6A-2 | 15:50～16:10 |
|
| 6A-3 | 16:10～16:30 |
|
| 6A-4 | 16:30～16:50 |
|
| 6A-5 | 16:50～17:10 |
|
| 6A-6 | 17:10～17:30 |
| 6B-1 | 15:30～15:50 |
|
|---|---|---|
| 6B-2 | 15:50～16:10 |
|
| 6B-3 | 16:10～16:30 |
|
| 6B-4 | 16:30～16:50 |
|
| 6B-5 | 16:50～17:10 |
|
| 6B-6 | 17:10～17:30 |
Chairs
Taketoshi Ushiama, Japan, Kyushu UniversityInteractivity Chairs
Hiroyuki Matsuguma, Japan, Kyushu UniversityChair
Mohammad Rizaldi, Indonesia, Multimedia Nusantara UniversityDecoration
Zamzami Almakki, Indonesia, Multimedia Nusantara UniversityAdministration
Diah Prameswari, Indonesia, Multimedia Nusantara UniversityLocal Keynote Speaker, Performance & City Tour
M. Chaya D, Indonesia, Multimedia Nusantara UniversityDocumentation (Photo & Video)
Kus Sudarsono, Indonesia, Multimedia Nusantara UniversityPoster, Cards, etc.
Agatha Maisie, Indonesia, Multimedia Nusantara UniversityWebsite Design
Manabu Shiaraishi, Japan, Musashino Art UniversityMain Visual
Arief Budiman, Indonesia, Musashino Art UniversityHotel Santika Seminyak Bali, Bali, Indonesia
Regarding visas for Indonesia, we have confirmed that most conference participants should be able to apply for a “Visa on Arrival” (VoA). To apply for a VoA, you will need to go to the VoA counter at the airport on arrival, and present your airline tickets and passport. The cost of the VoA is US$35. However, we recommend that you confirm visa requirements for your nationality with the Indonesian embassy or consulate in your own country. We can provide a sponsorship letter confirming your participation in the conference upon request. Thank you for your understanding.
All participants will get a special rate from Santika Hotel for Deluxe Rooms for IDR 460.000. Hotel reservations will be made via email to pricillia@seminyakbali.santika.com by including paper ID in the email.
