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Haptic feedback is important for narrative virtual reality (VR), yet authoring remains costly and difficult to scale due to device-specific tuning, placement constraints, and the need for semantically congruent timing. We systematically reviewed user studies on haptics in narrative VR to establish an empirical baseline and identify gaps for AI-powered procedural haptics. Following PRISMA 2020, we searched IEEE Xplore, ACM Digital Library, Scopus, Web of Science, PubMed, and PsycINFO (English; human participants; haptics synchronized to narrative events) and performed backward/forward citation chasing (final search: 31 July 2025). We also conducted a parallel scoping scan of grey literature (arXiv and CHI/SIGGRAPH workshops/demos), finalized on 7 September 2025; these records are summarized separately and were not included in the evidence synthesis. Of 493 records screened, 26 full texts were assessed, and 10 studies were included. Quantitatively, presence improved in 6/8 studies that measured it and immersion improved in 3/3; sample sizes ranged 8–108. Across varied modalities and placements, haptics improved presence and immersion and often enhanced affect; validated measures of narrative comprehension were rare. None of the included studies evaluated AI-generated procedural haptics in user studies. We conclude by proposing a structured, three-phase research roadmap designed to bridge this critical gap, moving the field from theoretical promise to the empirical validation of intelligent systems capable of making rich, adaptive, and scalable haptic narratives a reality. Full article

This report addresses the SIGGRAPH 2018 Art Gallery (Vancouver, 2018), its curatorial process, the conceptual guidelines, the methodological approaches, and the sources behind it. The gallery has emphasized a transdisciplinary perspective combining creative and critical projects coming from art, science, and technology. The exhibition was one component of the SIGGRAPH conference, and it was built upon five conceptual nodes, in this text, particular attention is paid to the historical node. The SIGGRAPH Art Gallery is an international show that in 2018 included the work of artists, engineers, and scientists from more than twelve countries participating in the exhibition in situ and from other ten countries participating in the online exhibition. In general terms, the dialog between a diverse set of projects is one of the most compelling aspects of the exposition, the participation of Indigenous artists working with digital media represented one of the most challenging and positive elements of the gallery. The theoretical reflections of Friedrich Kittler about the museums and their relationship with computation and information were a permanent source of inspiration. This text is located halfway between a report and a paper. Therefore, some sections are written in the first person. Full article

This essay details the curating strategies and central premise behind the 2013 traveling exhibition The American Algorists: Linear Sublime. This group exhibition, which showcased the artwork of Jean-Pierre Hébert, Manfred Mohr, Roman Verostko, and Mark Wilson, marked the 20th anniversary of New York Digital Salon. In organizing this exhibit, I attempted to expand the discourse of digital art curation by linking the Algorists, a group formed at the Los Angeles SIGGRAPH conference in 1995, to the broader narrative of American art. Through the exhibition catalogue, I constructed a detailed history of the Algorists and connected the movement’s narrative to ideas of national identity and myth. To cultivate this nexus, I interpreted the Algorists’ unique approach to linear abstraction through the various theories of the sublime active within the history of American art. Ultimately, this case study reveals the incongruities of aligning this group of digital artists—who shared a decidedly internationalist outlook—with a national narrative. While the Algorists resisted parochial characterizations, the concept of the sublime provided a useful vehicle for theorizing the aesthetic response to computer-generated abstraction. The travelling exhibition also offered a potential model, based on effective partnerships and resource sharing, for small college and university galleries. Full article