The Bandari women from the southern coast of Iran are famous for their intriguing masks, known as Niqab masks. Legend has it that the practice started during Portuguese colonial rule as a way of protecting the wearer, not only from the harsh sun of the Persian Gulf, but also from slave masters looking for pretty women. Viewed from a contemporary perspective, these masks can be seen as a means of protecting women from patriarchal and colonial oppression.
{"title":"\"Can the subaltern speak?\": critical making in design","authors":"Behnaz Farahi","doi":"10.1145/3450507.3457429","DOIUrl":"https://doi.org/10.1145/3450507.3457429","url":null,"abstract":"The Bandari women from the southern coast of Iran are famous for their intriguing masks, known as Niqab masks. Legend has it that the practice started during Portuguese colonial rule as a way of protecting the wearer, not only from the harsh sun of the Persian Gulf, but also from slave masters looking for pretty women. Viewed from a contemporary perspective, these masks can be seen as a means of protecting women from patriarchal and colonial oppression.","PeriodicalId":146833,"journal":{"name":"ACM SIGGRAPH 2021 Art Gallery","volume":"55 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127295042","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
An Interview with ALEX is a 12-minute interactive experience that engages the participant in a job interview with ALEX, a powerful artificial intelligence HR employed by a speculative tech giant called "Open Mind Corporation." Through a science-fiction lens, the experience reveals how artificial intelligence (AI) and the gamification of work can be used as subtle tools of control in the interest of those in power.
ALEX的面试是一个12分钟的互动体验，让参与者参与ALEX的面试，ALEX是一家名为“Open Mind Corporation”的投机科技巨头雇佣的强大的人工智能人力资源。通过科幻的镜头，这次经历揭示了人工智能(AI)和工作的游戏化如何被用作微妙的控制工具，以满足当权者的利益。
{"title":"An interview with ALEX","authors":"Carrie Wang","doi":"10.1145/3450507.3457428","DOIUrl":"https://doi.org/10.1145/3450507.3457428","url":null,"abstract":"An Interview with ALEX is a 12-minute interactive experience that engages the participant in a job interview with ALEX, a powerful artificial intelligence HR employed by a speculative tech giant called \"Open Mind Corporation.\" Through a science-fiction lens, the experience reveals how artificial intelligence (AI) and the gamification of work can be used as subtle tools of control in the interest of those in power.","PeriodicalId":146833,"journal":{"name":"ACM SIGGRAPH 2021 Art Gallery","volume":"75 23","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120899201","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Movement in Capture is an environmental visual story presented as an installation of 4 videos that explores the impact of pollution on ocean life. Dancers' movements were recorded with motion capture technology as they identified with marine creatures forced to live in a polluted environment.
{"title":"Movement in capture","authors":"Shira Shvadron","doi":"10.1145/3450507.3457430","DOIUrl":"https://doi.org/10.1145/3450507.3457430","url":null,"abstract":"Movement in Capture is an environmental visual story presented as an installation of 4 videos that explores the impact of pollution on ocean life. Dancers' movements were recorded with motion capture technology as they identified with marine creatures forced to live in a polluted environment.","PeriodicalId":146833,"journal":{"name":"ACM SIGGRAPH 2021 Art Gallery","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114706710","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Isle of Reflections is an interactive lighting installation that can only be remotely explored via videotelephony. Viewers visit the island filled with iridescent lights and colorful reflections through Zoom, a popular web-based video communication tool. When the viewers see the lights and shadows that respond immediately to their voice through the screen, they recognize that they are interacting with a distant physical space in real-time. The viewers move between "breakout rooms" in Zoom to explore this virtual island filled with an immersive spectrum of light and color. Each room provides live scenes of the island from different viewing angles.
Isle of Reflections是一个交互式照明装置，只能通过视频电话进行远程探索。通过流行的网络视频通信工具Zoom，观众可以参观这个充满彩光和彩色反射的岛屿。当观众看到灯光和阴影通过屏幕立即响应他们的声音时，他们意识到他们正在与遥远的物理空间实时互动。观众在Zoom的“分组讨论室”之间移动，探索这个充满沉浸式光谱的光和颜色的虚拟岛屿。每个房间都从不同的视角提供岛上的现场场景。
{"title":"Isle of reflections","authors":"Chaeeun Lee, Myeongseong Kim, Hyunjung Kim","doi":"10.1145/3450507.3457434","DOIUrl":"https://doi.org/10.1145/3450507.3457434","url":null,"abstract":"Isle of Reflections is an interactive lighting installation that can only be remotely explored via videotelephony. Viewers visit the island filled with iridescent lights and colorful reflections through Zoom, a popular web-based video communication tool. When the viewers see the lights and shadows that respond immediately to their voice through the screen, they recognize that they are interacting with a distant physical space in real-time. The viewers move between \"breakout rooms\" in Zoom to explore this virtual island filled with an immersive spectrum of light and color. Each room provides live scenes of the island from different viewing angles.","PeriodicalId":146833,"journal":{"name":"ACM SIGGRAPH 2021 Art Gallery","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128565375","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Models for Environmental Literacy is a series of experimental digital animations combining drone photogrammetry with A.I. generated narratives. These videos creatively and critically explore the challenges of describing a landscape, an ecosystem, or the specter of environmental collapse through human language. The project further explores how language and vision are impacted by the mediating agency of new technologies. How do we see, feel, imagine, and talk about the environment in this post-digital era, when there are indeed non-human/machine agents similarly trained to perceive "natural" spaces? This project explores these questions, as well as emerging relationships with environmental surveillance, drone/computer vision, and A.I.
{"title":"Models for environmental literacy","authors":"Tivon Rice","doi":"10.1145/3450507.3457439","DOIUrl":"https://doi.org/10.1145/3450507.3457439","url":null,"abstract":"Models for Environmental Literacy is a series of experimental digital animations combining drone photogrammetry with A.I. generated narratives. These videos creatively and critically explore the challenges of describing a landscape, an ecosystem, or the specter of environmental collapse through human language. The project further explores how language and vision are impacted by the mediating agency of new technologies. How do we see, feel, imagine, and talk about the environment in this post-digital era, when there are indeed non-human/machine agents similarly trained to perceive \"natural\" spaces? This project explores these questions, as well as emerging relationships with environmental surveillance, drone/computer vision, and A.I.","PeriodicalId":146833,"journal":{"name":"ACM SIGGRAPH 2021 Art Gallery","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116069318","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The air we exhale is 100% saturated with water. The air in the lungs is essentially saturated with water at 37 C, which is about 44 mg/liter. The average lung capacity of an adult is about 6 liters. Once exhaled, the air cools to the ambient temperature, leaving the air supersaturated. If it is cool enough it will form a visible cloud. When our breath comes in contact with a cold surface, it will leave visible condensation.
{"title":"Common datum","authors":"Tobias Klein, Jane Prophet","doi":"10.1145/3450507.3457433","DOIUrl":"https://doi.org/10.1145/3450507.3457433","url":null,"abstract":"The air we exhale is 100% saturated with water. The air in the lungs is essentially saturated with water at 37 C, which is about 44 mg/liter. The average lung capacity of an adult is about 6 liters. Once exhaled, the air cools to the ambient temperature, leaving the air supersaturated. If it is cool enough it will form a visible cloud. When our breath comes in contact with a cold surface, it will leave visible condensation.","PeriodicalId":146833,"journal":{"name":"ACM SIGGRAPH 2021 Art Gallery","volume":"68 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114724001","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Beholders can feel the imaginary movement from the artist's brushstrokes in visual artworks. This psychological phenomenon has been recorded in the world's art literature, and its physiological basis has been found by neuroaesthetics researchers. However, past practice and research have neither tried to fetch the "data" of the imaginary stroke movement from the brain nor re-created artworks in new forms based on it. By drawing lessons from "copying," a common practice in art skill training, we develop two interactive "painting" applications which enable the user to draw their perceived stroke movement on reference artworks.
{"title":"Visualization of imaginary stroke movement in painting and calligraphy","authors":"Tianqin Zhang, Ruimin Lyu, Zhaolin Yuan","doi":"10.1145/3450507.3457437","DOIUrl":"https://doi.org/10.1145/3450507.3457437","url":null,"abstract":"Beholders can feel the imaginary movement from the artist's brushstrokes in visual artworks. This psychological phenomenon has been recorded in the world's art literature, and its physiological basis has been found by neuroaesthetics researchers. However, past practice and research have neither tried to fetch the \"data\" of the imaginary stroke movement from the brain nor re-created artworks in new forms based on it. By drawing lessons from \"copying,\" a common practice in art skill training, we develop two interactive \"painting\" applications which enable the user to draw their perceived stroke movement on reference artworks.","PeriodicalId":146833,"journal":{"name":"ACM SIGGRAPH 2021 Art Gallery","volume":"453 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123379650","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This series features silver gelatin prints of trees shot on large-format film and then straightened with custom code, giving strip malls, telephone poles, and restaurant signs the curves that once belonged to the elms, palms, and oaks they stand beside. It uses media less associated with technology, in part to emphasize algorithmic and human processes rather than technological tools. Using custom code, the natural curvature of each tree is "corrected." Manufactured objects, i.e., buildings and power lines, twist and contort around the artificially plumbed tree. Each photo is shot on large-format film, the only medium that captures enough detail to straighten the tree without pixelly artifacts. Because the trees need to include human-made objects (such as buildings) straight-on, they are often shot from a car's point of view. That aspect, plus the fact that all were shot in North America, emphasizes the classic photographic road trip (e.g., Lee Friedlander's America By Car).
{"title":"Straightened trees","authors":"Daniel Temkin","doi":"10.1145/3450507.3457431","DOIUrl":"https://doi.org/10.1145/3450507.3457431","url":null,"abstract":"This series features silver gelatin prints of trees shot on large-format film and then straightened with custom code, giving strip malls, telephone poles, and restaurant signs the curves that once belonged to the elms, palms, and oaks they stand beside. It uses media less associated with technology, in part to emphasize algorithmic and human processes rather than technological tools. Using custom code, the natural curvature of each tree is \"corrected.\" Manufactured objects, i.e., buildings and power lines, twist and contort around the artificially plumbed tree. Each photo is shot on large-format film, the only medium that captures enough detail to straighten the tree without pixelly artifacts. Because the trees need to include human-made objects (such as buildings) straight-on, they are often shot from a car's point of view. That aspect, plus the fact that all were shot in North America, emphasizes the classic photographic road trip (e.g., Lee Friedlander's America By Car).","PeriodicalId":146833,"journal":{"name":"ACM SIGGRAPH 2021 Art Gallery","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125961086","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
V. James, T. Wester, Simon Boas, H. Newlands, M. Vesely, Sandrine Malary, Terri Ayanna Wright
Suga' is a live volumetric dance performance experience presented in Mozilla Hubs' social virtual reality space. The performer appears as a live-streamed 3D video within a photogrammetry scan of the Annaberg Sugar Mill Ruins in the U.S. Virgin Islands, when in fact she is performing from her living room. She traces the point cloud rendering of the mill with her movements as if preparing the space for ritual, recalling events that happened there. Through movement and soundscape, the performer tells the story of her own deep connection and mixed relationship to similar sites as a Black woman growing up in the Caribbean.
{"title":"Suga'","authors":"V. James, T. Wester, Simon Boas, H. Newlands, M. Vesely, Sandrine Malary, Terri Ayanna Wright","doi":"10.1145/3450507.3457436","DOIUrl":"https://doi.org/10.1145/3450507.3457436","url":null,"abstract":"Suga' is a live volumetric dance performance experience presented in Mozilla Hubs' social virtual reality space. The performer appears as a live-streamed 3D video within a photogrammetry scan of the Annaberg Sugar Mill Ruins in the U.S. Virgin Islands, when in fact she is performing from her living room. She traces the point cloud rendering of the mill with her movements as if preparing the space for ritual, recalling events that happened there. Through movement and soundscape, the performer tells the story of her own deep connection and mixed relationship to similar sites as a Black woman growing up in the Caribbean.","PeriodicalId":146833,"journal":{"name":"ACM SIGGRAPH 2021 Art Gallery","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124039983","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Figure 1. is a visual essay on the proliferation and mediation of the "digital body" in the contemporary politics of images. It is an attempt at locating the virtual body in the processes of production, circulation, and consumption of images concerning continuing computational advancements.
{"title":"Figure 1","authors":"Hirad Sab","doi":"10.1145/3450507.3457435","DOIUrl":"https://doi.org/10.1145/3450507.3457435","url":null,"abstract":"Figure 1. is a visual essay on the proliferation and mediation of the \"digital body\" in the contemporary politics of images. It is an attempt at locating the virtual body in the processes of production, circulation, and consumption of images concerning continuing computational advancements.","PeriodicalId":146833,"journal":{"name":"ACM SIGGRAPH 2021 Art Gallery","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116988917","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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