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This workshop, first given at SIGGRAPH 2001 [Garvey 2002] is now offered in two-parts. Part I introduces the process of transferring life drawings into 3D models using MAYA followed by a life drawing session. In Part II, workshop attendees working in the CAL import digitized life drawings into MAYA for setup as image planes to guide the modeling process. The goal of the workshop is to explore and develop skills of observational figure drawing and integrate them with the process of 3D modeling.

The Diagnostic and Statistical Manual of Mental Disorders-IV-TR treats dissociation as a disruption in the usually integrated functions of consciousness (American Psychiatric Association, 2000). Survey instruments used to measure dissociation incorporate questions that focus on depersonalization, de-realization, and dissociative-identity disorder (DID). The self-administered Structured Clinical Interview for DepersonalizationDerealization Spectrum (SCI-DER) asks a subject if they ever felt that your body did not seem to belong you or you were outside your body (Mula et al. 2008). This last question references what is also known as the out-of-body experience (OBE). In some cultures and religious practices OBE is considered desirable. Research has shown that OBE can be induced. For users of the virtual world Second Life, OBE is the default point of view (POV). Users are represented as avatars that look unreal and one's surroundings look unreal. Yet reality testing is intact (American Psychiatric Association, 2000). Many users have multiple avatars, which enact distinct identities or personalities, and this fits the criteria for dissociative identity disorder. To experience any of these disorders in real life may be considered undesirable, even pathological. But for users of Second Life such dissociative experiences are considered normal, liberating, and even transcendent.

Panelists Myron Krueger Independent Consultant Ed Tannenbaum Independent Artist Don Ritter Concordia University This panel focuses on and addresses the distinctions made between computer art, interactive art, and artificial and virtual realities. Panelists consider how the computer, as a symbol-manipulating, all-purpose machine, is a tool that changes the way art is created and experienced. Panelists argue that this view implies interactivity and possibly trivializes static paintbox computer art by changing the viewer's role from passive observer to active participant. Interactivity is discussed as a step toward artificial or virtual realities and a means to define new possibilities in real-time performance.

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