IMPORTANT DATES
	2024
Registration Opens	Nov.
Demonstration Applications Due	21 Dec
	2025
Early Registration Ends	7 Jan
FastTrack Proceedings Manuscripts Due	8 Jan
Hotel Reservation Deadline	24 Jan
Symposium Begins	2 Feb
Non-FastTrack Proceedings Manuscripts Due	21 Feb

Sponsors and Exhibitors

Exhibitors

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Conference Keynotes: Broaden Your Horizons

Many conferences invite individuals as keynote speakers and many of our attendees make a point of listening to all these talks to gain a broader understanding of the current state of imaging advances.

See our preliminary 2025 keynote lineup. Additional speakers will be added soon.

Human Vision and Electronic Imaging (HVEI)

Transparency and Scission in Augmented Reality

Michael Murdoch, Rochester Institute of Technology (US)

Abstract: Optical see-through augmented reality (OST-AR) is a developing technology with exciting applications including medicine, industry, education, and entertainment. OST-AR creates a mix of virtual and real, using an optical combiner that blends images and graphics with the real-world environment. Such an overlay of visual information is simultaneously futuristic and familiar: like the sci-fi navigation and communication interfaces in movies, but also much like banal reflections in glass windows. OST-AR’s transparent displays cause background bleed-through, distorting color and contrast, yet virtual content is usually easily understandable. Perceptual scission, or the cognitive separation of layers, is an important mechanism, influenced by transparency, depth, parallax, and more, which helps us see what is real and what is virtual. In examples from Pepper’s Ghost, veiling luminance, mixed material modes, window shopping, and today’s OST-AR systems, transparency and scission provide surprising – and ordinary – results. Ongoing psychophysical research is addressing perceived characteristics of color, material, and images in OST-AR, testing and harnessing the perceptual effects of transparency and scission. Results help both understand the visual mechanisms and improve tomorrow’s AR systems.

Michael J. Murdoch is an associate professor and director of the Munsell Color Science Laboratory at Rochester Institute of Technology (RIT). He has more than 25 years of experience in color and imaging, including work on film, printing, and OLED displays with Eastman Kodak as well as research on perception of LED lighting and computer graphics with Philips Research. He leads a research project on color appearance in augmented reality funded by the US National Science Foundation (NSF) and additionally conducts research on displays and temporally dynamic LED lighting. He holds a BS in chemical engineering from Cornell, an MS in computer science from RIT, and PhD in human-technology interaction from Eindhoven University of Technology.

Experiencing Art — Changing the World to the Better

Claus-Christian Carbon, University of Bamberg (Germany)

Abstract: The capacity of art to effect transformation at the individual and societal levels is grounded in its capacity to foster empathy, awareness, and critical thinking. Art experience provides individuals with exposure to a multiplicity of perspectives, emotions, and ideas that can challenge preconceived notions and inspire novel modes of thinking. Art functions as a reflective device, reflecting societal issues while providing a forum for dialogue and introspection. Art encourages individuals to engage with the world around them on a deeper level, fostering understanding and compassion. By promoting creativity and collaboration, art can also drive positive social change, encouraging activism and inspiring communities to take action on issues such as social justice, environmental protection, and human rights. Ultimately, the experience of art can lead to a more connected, empathetic, and proactive society, making it a powerful tool for changing the world for the better.

Claus-Christian Carbon studied psychology, followed by philosophy, receiving his PhD from FU Berlin and “Habilitation” (2nd PhD) from U Vienna. He now holds a full professorship leading the department of general psychology and methodology (U Bamberg) and the EPAEG, a research group specializing in cognitive ergonomics, psychological aesthetics, and design issues. He is an editor of several scientific journals, including Art & Perception as editor-in-chief. Since 2023, Carbon is an ordinary member of the European Academy of Sciences and Arts. He is founder and executive of EBCU — the world’s biggest beer consumers’ organization, located in Brussels; founder and executive of freakstotable, one of the most influential sustainable food networks in Germany; and founder and CEO of the startup PsyAIHance GmbH, located in Berlin, addressing essential challenges of neurodiverse people.

Predicting Visible Differences in Virtual and Augmented Reality

Alexandre Chapiro, Meta (US)
Abstract: Building the perfect display is difficult, and there are many artifacts that stand in the way. We need to be able to measure and predict the quality of the image reproduction on the device, but this presents its own challenges. In this talk, I will give an overview of my process in evaluating display design decisions via subjective study and simulation. In particular, I will talk about automatic assessment using image and video difference metrics, and discuss some of the philosophy behind our work on Visible Difference Predictor (VDP) metrics. I will touch on the steps needed to make a comprehensive and accurate metric, including the need for accurate psychophysical data describing human vision. Finally, I will discuss future challenges in quality assessment, focusing on the exciting new field of Augmented Reality (AR) displays, which bring its own unique features to this space.

Alexandre Chapiro is a researcher at Meta, working in Ajit Ninan's Imaging Experiences Architecture team in Reality Labs. Previously, he worked in the Applied Perception Science team at Meta, the Core Display Incubation team at Apple, the Applied Vision Science team at Dolby Laboratories, and the Stereo and Displays group at Disney Research Zurich. He earned a PhD from the Computer Graphics laboratory at ETH Zurich, and holds MS and BS degrees in Mathematics. Chapiro is interested in solving novel problems for industry applications by modeling human vision. His work touches on perception, computer graphics, computational display, and psychophysics. Prior work involved perceptual difference metrics, brightness and color, stereo 3D, and display topics like virtual and augmented reality, frame rate, high dynamic range and more.

Stereoscopic Displays and Applications (SD&A)

Beyond the Screen Plane: Stereo at Walt Disney Animation Studios
Katie Fico, Walt Disney Animation Studios (US)

Abstract: Moana 2 Stereoscopic Supervisor Katie Fico shares how Walt Disney Animation Studios uses 3D technology as a storytelling tool to create unique and compelling immersive experiences. She discusses insights on the creative and technical processes behind some of Disney Animation's films, as well as the technological innovations of the craft that she has been a part of during her 25 year tenure.

Katie Fico was raised in the Northridge neighborhood of Los Angeles, California, and received a bachelor’s degree in art from her hometown’s own California State University, Northridge. Her career at Walt Disney Animation Studios started in 1997 as a compositor on Disney Animation’s feature film Dinosaur, marking the beginning of her more than 25 years at the studio. Fico is a 3-time Advanced Imaging Society Lumiere Award winner for best Animated Stereography for her work on Zootopia, Frozen, and the animated short, Feast. She is currently working on Zootopia 2.

Half a Century of Innovation in Interactive Electronic Displays for Art and Science at the Electronic Visualization Laboratory (EVL) at UIC and the Qualcomm Institute at UCSD
Daniel Sandin, Electronic Visualization Laboratory (US)

Abstract: The Electronic Visualization Laboratory (EVL), established in 1973 at the University of Illinois at Chicago (UIC), specialized in interactive electronic displays even before the advent of the frame buffer. By ingeniously combining digital and analog systems, EVL enabled real-time interactive computer graphics through the Graphics Symbiosis System (GRASS). This system was instrumental for animator Larry Cuba in creating the computer graphics for the original 1977 Star Wars film, which was done frame by frame on 35mm film, as well as contributing to lesser-known movies like UFO: Target Earth, for which the special effects were captured on video. SpiralPTL is a work preserved in the Museum of Modern Art’s video art collection.

Throughout the decades, EVL advanced the technology of computer graphics but also deeply integrated art, science, and education researchers and teaching faculty. This collaboration led to the creation of an interdisciplinary MFA program in electronic visualization, bridging UIC's Engineering College with its School of Art and Design.

EVL's later innovations include the development of numerous interactive stereoscopic and autostereoscopic systems, most notably the Cave Automatic Virtual Environment (CAVE). This presentation describes and analyzes these technological advancements, discussing both their successes and their challenges in adoption by scientists, engineers, and artists. The narrative reflects on how these technologies have shaped interdisciplinary collaboration and the evolution of electronic art and visualization techniques over the past 50 years.

Daniel J. Sandin is director emeritus of the Electronic Visualization Lab (EVL) and a professor emeritus in the School of Art and Design at the University of Illinois at Chicago (UIC). As an artist, he has exhibited worldwide, and has received grants in support of his work from the Rockefeller Foundation, the Guggenheim Foundation, the National Science Foundation, and the National Endowment for the Arts. His video animation "Spiral PTL" is in the inaugural collection of video art at the Museum of Modern Art in New York. In 2007 Sandin received the IEEE VGTC Virtual Reality Technical Achievement Award. He went on to develop a series of VR display systems including Varier, a stereo VR display that does not require 3D glasses, and CAVE2, a large (20-foot) cylindrical display based on LCDs.

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