BirthMark proposes an artificial intelligence model of an audience to evaluate and anticipate the audience reaction to media art. In BirthMark, human cognitive process of appreciating artwork is defined in three stages: "camouflage," "solution" and "insight." In other words, understanding the intention (solution) from hidden images (camouflage) and realizing its meaning (insight). Watching the archive video clips featuring different works by 16 artists, the A.I. in BirthMark tries to appreciate works of art in a similar way to humans. YOLO-9000, an object detection system, tracks objects in the images of the works, while ACT-R, a cognitive architecture designed to mimic the structure of the brain, reads and perceives them. The A.I.'s process of recognizing works is shown in the video and the keywords of the works found in this process appear on a small screen. At the same time, an old slide projector shows what the A.I. understands semantically about the artists' interpretations of their own work. The A.I.'s cognitive process seems to be similar to the human act of appreciating art at a glance. But in reality, the keywords that it accurately analyzes from the images are only 2 to 5 out of 300 words. The more abstract the work is, the worse the A.I's intelligibility gets. As the "birthmark" in a short story of the same title by Nathaniel Hawthorne represents, BirthMark implies that there is a realm of humans that can be hardly explained through scientific methodology.
{"title":"BirthMark","authors":"Jooyoung Oh","doi":"10.1145/3414686.3427146","DOIUrl":"https://doi.org/10.1145/3414686.3427146","url":null,"abstract":"BirthMark proposes an artificial intelligence model of an audience to evaluate and anticipate the audience reaction to media art. In BirthMark, human cognitive process of appreciating artwork is defined in three stages: \"camouflage,\" \"solution\" and \"insight.\" In other words, understanding the intention (solution) from hidden images (camouflage) and realizing its meaning (insight). Watching the archive video clips featuring different works by 16 artists, the A.I. in BirthMark tries to appreciate works of art in a similar way to humans. YOLO-9000, an object detection system, tracks objects in the images of the works, while ACT-R, a cognitive architecture designed to mimic the structure of the brain, reads and perceives them. The A.I.'s process of recognizing works is shown in the video and the keywords of the works found in this process appear on a small screen. At the same time, an old slide projector shows what the A.I. understands semantically about the artists' interpretations of their own work. The A.I.'s cognitive process seems to be similar to the human act of appreciating art at a glance. But in reality, the keywords that it accurately analyzes from the images are only 2 to 5 out of 300 words. The more abstract the work is, the worse the A.I's intelligibility gets. As the \"birthmark\" in a short story of the same title by Nathaniel Hawthorne represents, BirthMark implies that there is a realm of humans that can be hardly explained through scientific methodology.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"122 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124655261","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}
Viewporter is an interactive installation that displays a computer-generated video of a city. Viewers can rotate the screen attached to a device that resembles a telescope to accelerate the playback speed of the video. In this project, the deep learning technique with images capturing the Seoul skyline was used to train and generate the artificial city skyline. As one of the most developed metropolitan cities, Seoul has been under continuous development and construction of highrise buildings over the past decades. While the image of the skyscraper-packed skyline has been portrayed by the mainstream media to symbolize the utopian dream of the city, the lives of the residents with mundane duties have been far-fetched from the attractive image promoted through the propagandistic videos on the media. Viewporter uses the analogy of a telescope in tourist attractions to emphasize the distance between the idealized and the real and have viewers re-think the illusion and fantasy promoted by the images of development programs.
{"title":"Viewporter","authors":"J. Chu","doi":"10.1145/3414686.3427140","DOIUrl":"https://doi.org/10.1145/3414686.3427140","url":null,"abstract":"Viewporter is an interactive installation that displays a computer-generated video of a city. Viewers can rotate the screen attached to a device that resembles a telescope to accelerate the playback speed of the video. In this project, the deep learning technique with images capturing the Seoul skyline was used to train and generate the artificial city skyline. As one of the most developed metropolitan cities, Seoul has been under continuous development and construction of highrise buildings over the past decades. While the image of the skyscraper-packed skyline has been portrayed by the mainstream media to symbolize the utopian dream of the city, the lives of the residents with mundane duties have been far-fetched from the attractive image promoted through the propagandistic videos on the media. Viewporter uses the analogy of a telescope in tourist attractions to emphasize the distance between the idealized and the real and have viewers re-think the illusion and fantasy promoted by the images of development programs.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128404261","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}
Searching All Sources of White presents the error as the landscape. It is an interactive video installation examining the idea of the limitation of seeing. The projector projects a blue screen while a white spot falls in the middle. Blue is often seen in a digital display namely default screen, calibration screen, sleep mode, and 'Blue Screen of Death'. In an exhibition setting, this work gives the impression of a failure in the display when the projector displays a blue, standbymode. Standby is a component mode in which a system is kept readily available in case an unexpected event occurs. A system may be on standby in case of failure, shortage, or other similar events. The interaction is analogue rather than digital. The work invites the audience's body movement as a variation in the scene. The blue landscape is an illusion to the audience that the display device is having a malfunction situation. The switching text on the bottom first misleads the audience that it is a common standby mode text searching for the input source. It invites the audience to step into the projection area. When the blue light source from the projector is blocked by a body, a yellow light appears. The white spot in the middle is never a white light source. The white results from the addition of complementary-colour light source - yellow and blue. In the RGB colour system, mixing the primary colour blue with the complementary colour yellow would produce the colour white. There is a limitation of the human eyes which cannot analyse a mixture of complementary-colour light, results in perceiving it in white. The malfunction scene and the illusion of colour in human eyes encourage the audience to reflect on the limitations in the spectrum of human visual perception.
{"title":"Searching all sources of white","authors":"Gi Wai Echo Hui","doi":"10.1145/3414686.3427131","DOIUrl":"https://doi.org/10.1145/3414686.3427131","url":null,"abstract":"Searching All Sources of White presents the error as the landscape. It is an interactive video installation examining the idea of the limitation of seeing. The projector projects a blue screen while a white spot falls in the middle. Blue is often seen in a digital display namely default screen, calibration screen, sleep mode, and 'Blue Screen of Death'. In an exhibition setting, this work gives the impression of a failure in the display when the projector displays a blue, standbymode. Standby is a component mode in which a system is kept readily available in case an unexpected event occurs. A system may be on standby in case of failure, shortage, or other similar events. The interaction is analogue rather than digital. The work invites the audience's body movement as a variation in the scene. The blue landscape is an illusion to the audience that the display device is having a malfunction situation. The switching text on the bottom first misleads the audience that it is a common standby mode text searching for the input source. It invites the audience to step into the projection area. When the blue light source from the projector is blocked by a body, a yellow light appears. The white spot in the middle is never a white light source. The white results from the addition of complementary-colour light source - yellow and blue. In the RGB colour system, mixing the primary colour blue with the complementary colour yellow would produce the colour white. There is a limitation of the human eyes which cannot analyse a mixture of complementary-colour light, results in perceiving it in white. The malfunction scene and the illusion of colour in human eyes encourage the audience to reflect on the limitations in the spectrum of human visual perception.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132430437","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}
주마간산走馬看山 is a four-character chinese idiom that means to look at the scenery while horse riding, and it means to skim through the outer surface of things. , a collaboration between photographer Kim Hun Soo and painter Kwack Youn Soo, captures the scenery of the city as viewed from various perspectives while traveling by various transportations. They live in a city, use the same transportation, and look at similar landscapes, but each person's gaze varies. Even if it is a passing impression, the landscapes that contain each image are piled up and accumulated in the time and space of the city in which we live.
{"title":"주마간산 (jumagansan)","authors":"Youn Soo Kwack, Hun Soo Kim","doi":"10.1145/3414686.3427160","DOIUrl":"https://doi.org/10.1145/3414686.3427160","url":null,"abstract":"주마간산走馬看山 is a four-character chinese idiom that means to look at the scenery while horse riding, and it means to skim through the outer surface of things. , a collaboration between photographer Kim Hun Soo and painter Kwack Youn Soo, captures the scenery of the city as viewed from various perspectives while traveling by various transportations. They live in a city, use the same transportation, and look at similar landscapes, but each person's gaze varies. Even if it is a passing impression, the landscapes that contain each image are piled up and accumulated in the time and space of the city in which we live.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"110 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114275928","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}
BOX is an interactive installation, consisting on an everyday object augmented by artificial intelligence. The piece reflects on the power asymmetries that technology instantiates, aiming at providing with a reflection on the aesthetics of our relationship with it. The artwork also aims to showcasing the advancements and limitations in computer vision and artificial intelligence, allowing the public to experience in person its power as well as its inherent biases. Recent advances in computer vision and artificial intelligence, have allowed the creation of systems able to infer (predict) information on a person from camera data, including facial recognition, facial expressions, ethnicity, among others. Nowadays, several companies provide image processing services that include these predictions, among several others. In spite of potential benefits that face recognition proposes, its widespread application entails several risks, from privacy breaches to systematic discrimination in areas such as hiring, policing, benefits assignment, marketing, and other purposes. BOX consists of a gumball machine that, using computer vision and machine learning, predicts its user's ethnicity, delivering free candy only to white users. The artwork showcases a possible use of computer vision making explicit the fact that every technological implantation crystallises a political worldview, allowing the general public to experience in person the power of these new technologies, while simultaneously providing a tool for participatory observation, as well as ethnographic and technographic research. Our project aims to raise awareness on discrimination, ethics, and accountability in AI among practitioners and the general public.
{"title":"Box","authors":"Tomás Laurenzo, Katia Vega","doi":"10.1145/3414686.3427178","DOIUrl":"https://doi.org/10.1145/3414686.3427178","url":null,"abstract":"BOX is an interactive installation, consisting on an everyday object augmented by artificial intelligence. The piece reflects on the power asymmetries that technology instantiates, aiming at providing with a reflection on the aesthetics of our relationship with it. The artwork also aims to showcasing the advancements and limitations in computer vision and artificial intelligence, allowing the public to experience in person its power as well as its inherent biases. Recent advances in computer vision and artificial intelligence, have allowed the creation of systems able to infer (predict) information on a person from camera data, including facial recognition, facial expressions, ethnicity, among others. Nowadays, several companies provide image processing services that include these predictions, among several others. In spite of potential benefits that face recognition proposes, its widespread application entails several risks, from privacy breaches to systematic discrimination in areas such as hiring, policing, benefits assignment, marketing, and other purposes. BOX consists of a gumball machine that, using computer vision and machine learning, predicts its user's ethnicity, delivering free candy only to white users. The artwork showcases a possible use of computer vision making explicit the fact that every technological implantation crystallises a political worldview, allowing the general public to experience in person the power of these new technologies, while simultaneously providing a tool for participatory observation, as well as ethnographic and technographic research. Our project aims to raise awareness on discrimination, ethics, and accountability in AI among practitioners and the general public.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125094039","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 extension of Nanography to Cinematic Projection (various experiments based on the act of "seeing") the works prove that the attempt to present a new perspective on the act of seeing are made in various stages. Major works are motivated by comparing the images of old and new Hanji (traditional Korean paper) taken by an electron microscope. In the image of the old Hanji, Mother Nature is engrained with the traces of time accumulated. The image resembles the scenery of mountain in that there are soil, trees grow, flowers bloom and fruits are born. With this motive, the background of this work turns to the nature. The photo works are harvested in the process of shooting all over the country by time and season. They highlight the contingency rather than intentionality and enhance fictitiousness by blurring the line between the actual forest and the virtual reality synthesized with a nano-image. Why don't we imagine that the screen-like image in the wild nature is the screen of an outdoor theater? By stimulating the emotional code of a fictional drama, it spurs us to recall movies based on a specific situation. This work led to an opportunity for the artist to naturally develop the sense of improvisation and direction in the field and to integrate it into other cultural areas. My nano-image was projected behind a scene on a stage of a documentary film starring a pianist, as part of a theater stage set, on a small village in Jeju island, and on a house designed by H-Sang, Seung 's 18 years ago. The space of life and the space of fiction become more romantic because of the fictional clothes that are worn for a while. As the project progresses, the cultural sensitivity becomes more intense against the back drop of science.
{"title":"Invisible spot","authors":"Ho-Jun Ji","doi":"10.1145/3414686.3427141","DOIUrl":"https://doi.org/10.1145/3414686.3427141","url":null,"abstract":"The extension of Nanography to Cinematic Projection (various experiments based on the act of \"seeing\") the works prove that the attempt to present a new perspective on the act of seeing are made in various stages. Major works are motivated by comparing the images of old and new Hanji (traditional Korean paper) taken by an electron microscope. In the image of the old Hanji, Mother Nature is engrained with the traces of time accumulated. The image resembles the scenery of mountain in that there are soil, trees grow, flowers bloom and fruits are born. With this motive, the background of this work turns to the nature. The photo works are harvested in the process of shooting all over the country by time and season. They highlight the contingency rather than intentionality and enhance fictitiousness by blurring the line between the actual forest and the virtual reality synthesized with a nano-image. Why don't we imagine that the screen-like image in the wild nature is the screen of an outdoor theater? By stimulating the emotional code of a fictional drama, it spurs us to recall movies based on a specific situation. This work led to an opportunity for the artist to naturally develop the sense of improvisation and direction in the field and to integrate it into other cultural areas. My nano-image was projected behind a scene on a stage of a documentary film starring a pianist, as part of a theater stage set, on a small village in Jeju island, and on a house designed by H-Sang, Seung 's 18 years ago. The space of life and the space of fiction become more romantic because of the fictional clothes that are worn for a while. As the project progresses, the cultural sensitivity becomes more intense against the back drop of science.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"18 7","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"113979453","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}
Point Nemo is the name of the Oceanic pole of inaccessibility. The nearest terrestrial human life is located approximately 1,000 miles away; often, the nearest humans are located in space, approximately 250 miles away, aboard the International Space Station. The composition of this work draws inspiration from Théodore Géricault's painting, "The Raft of Medusa" (1818--19). Situated at a sublime intersect of sea and sky, this work represents a meditation on human desire --- the poetics that drive human exploration and the urgencies that underly human migration.
尼莫点是大洋中难以到达的极点的名字。离地球最近的人类生命大约在1000英里之外;通常，离我们最近的人类都在太空中，大约250英里外的国际空间站上。这幅作品的构图灵感来自thsamodore gsamricault的画作“The Raft of Medusa”(1818- 19)。这个作品坐落在海洋和天空的崇高交叉点上，代表了对人类欲望的思考——推动人类探索的诗意和人类迁徙的紧迫性。
{"title":"Point Nemo | sea [sic]","authors":"J. DeYoung, Jack Vees","doi":"10.1145/3414686.3427115","DOIUrl":"https://doi.org/10.1145/3414686.3427115","url":null,"abstract":"Point Nemo is the name of the Oceanic pole of inaccessibility. The nearest terrestrial human life is located approximately 1,000 miles away; often, the nearest humans are located in space, approximately 250 miles away, aboard the International Space Station. The composition of this work draws inspiration from Théodore Géricault's painting, \"The Raft of Medusa\" (1818--19). Situated at a sublime intersect of sea and sky, this work represents a meditation on human desire --- the poetics that drive human exploration and the urgencies that underly human migration.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"89 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134475983","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}
When there is light, everything is visible. I decompose the fundamental element in the visual world to let the invisible become visible. It is a process deconstructing light. I project a white source of light on a surface while using prism and some moving images to "deconstruct" it. "White" is not an independent colour. It is a mixture of colour in the visible spectrum that is composed of the primary colour red, green and blue. Through refraction of light, I separated the white source with the three primary colours to rainbow light using a prism. After that, I took away green light from white light, leaving a mixture of red and blue light. Without green, the light source gradually reflects a new colour called magenta, hence the 'rainbow' becomes a 'duo-coloured rainbow'. Eventually, I erased red from magenta. The line results in pure blue colour. As blue is a primary coloured light that cannot be further decomposed by the prism, it appeared the ultimate light source in a monochromatic 'rainbow' colour.
{"title":"We can't see the rainbow in the white","authors":"Gi Wai Echo Hui","doi":"10.1145/3414686.3427132","DOIUrl":"https://doi.org/10.1145/3414686.3427132","url":null,"abstract":"When there is light, everything is visible. I decompose the fundamental element in the visual world to let the invisible become visible. It is a process deconstructing light. I project a white source of light on a surface while using prism and some moving images to \"deconstruct\" it. \"White\" is not an independent colour. It is a mixture of colour in the visible spectrum that is composed of the primary colour red, green and blue. Through refraction of light, I separated the white source with the three primary colours to rainbow light using a prism. After that, I took away green light from white light, leaving a mixture of red and blue light. Without green, the light source gradually reflects a new colour called magenta, hence the 'rainbow' becomes a 'duo-coloured rainbow'. Eventually, I erased red from magenta. The line results in pure blue colour. As blue is a primary coloured light that cannot be further decomposed by the prism, it appeared the ultimate light source in a monochromatic 'rainbow' colour.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114201309","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 greatest mystery of life comes when you're least expecting it and disappears when you thought it is here to stay. The heat that ignites it at the beginning is doused by the intimacy it creates. It is a portal, a mirror, a cross to bear, a joy, a heartbreak, and an axe. It cuts through your hard parts, the gristly parts, and lays your beating heart bare. It is both the butterfly that flutters in your tummy, and the acid that melts everything away. That, my friend, is what we call LOVE.
{"title":"Love","authors":"Firdaus Khalid","doi":"10.1145/3414686.3427173","DOIUrl":"https://doi.org/10.1145/3414686.3427173","url":null,"abstract":"The greatest mystery of life comes when you're least expecting it and disappears when you thought it is here to stay. The heat that ignites it at the beginning is doused by the intimacy it creates. It is a portal, a mirror, a cross to bear, a joy, a heartbreak, and an axe. It cuts through your hard parts, the gristly parts, and lays your beating heart bare. It is both the butterfly that flutters in your tummy, and the acid that melts everything away. That, my friend, is what we call LOVE.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"273 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114423503","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}
Eyes are everywhere. Cheap and accessible technology products with high-resolution imaging capacity are in every corner of our surroundings to surveil us. They watch us, record us, and even recognize us. These artificial gazes became so ubiquitous and so familiar to us that we are not even aware of them in everyday lives. Meanwhile, human senses interact with each other and transfer from one to another. We hear vibrations, feel textures by seeing, smell tastes, taste tactility, and so on. We feel the movement only by seeing stopped escalator. Our vision translates the visual information to activate the motor sensation embedded to somewhere in the body. "Kam" tries to twist the one's familiarity by the phenomenon of the other. The eyeball-shaped camera follows you and imitates your blinks. The unfamiliar and unexpected behavior of this robotic camera gives lively feel to it and, at the same time, becomes eerie and unreal. It also makes you realize your sensation of blink when you find yourself trying to make it blink. Even its mechanical sounds seem to make you feel your blink physically. "Kam" utilizes the face recognition algorithms to see one layer deeper onto our facial expression. It exposes itself by reacting to the expression, when we would not even aware of it otherwise. It makes us pay conscious attention to it and realize our own bodily existence. "Kam" intended this trivial daily happening to become a meaningful experience.
{"title":"Kam","authors":"Taeil Lee","doi":"10.1145/3414686.3427116","DOIUrl":"https://doi.org/10.1145/3414686.3427116","url":null,"abstract":"Eyes are everywhere. Cheap and accessible technology products with high-resolution imaging capacity are in every corner of our surroundings to surveil us. They watch us, record us, and even recognize us. These artificial gazes became so ubiquitous and so familiar to us that we are not even aware of them in everyday lives. Meanwhile, human senses interact with each other and transfer from one to another. We hear vibrations, feel textures by seeing, smell tastes, taste tactility, and so on. We feel the movement only by seeing stopped escalator. Our vision translates the visual information to activate the motor sensation embedded to somewhere in the body. \"Kam\" tries to twist the one's familiarity by the phenomenon of the other. The eyeball-shaped camera follows you and imitates your blinks. The unfamiliar and unexpected behavior of this robotic camera gives lively feel to it and, at the same time, becomes eerie and unreal. It also makes you realize your sensation of blink when you find yourself trying to make it blink. Even its mechanical sounds seem to make you feel your blink physically. \"Kam\" utilizes the face recognition algorithms to see one layer deeper onto our facial expression. It exposes itself by reacting to the expression, when we would not even aware of it otherwise. It makes us pay conscious attention to it and realize our own bodily existence. \"Kam\" intended this trivial daily happening to become a meaningful experience.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"97 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122913364","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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