This artwork is inspired by the short story "The Gold-Bug" by Edgar Alan Poe. The story follows William Legrand, his servant Jupiter and an unnamed narrator on their quest to uncover a buried treasure. Poe took advantage of the popularity of cryptography as he was writing the "The Gold-Bug" and his story revolves around the team trying to solve a cipher. The characters in the story follow a simple substitution cipher to decode a message that eventually leads them to the treasure. With this project, the aim was to re-encode the decrypted text into a digital form and turn it into a 3d tree. In order for this to be achieved, the following process was used: 1) Using Chomky's Context-Free-Grammar, the text was broken down into a syntax tree. 2) By using a simple substitution process, like the one used by Poe, the syntax tree was turned into an L-systems syntax. 3) The tree was then generated using the build-in L-Systems function in Houdini 4) Maya was used to stylize, texture and render the 3d tree.
{"title":"Poe's tree","authors":"Doros Polydorou","doi":"10.1145/3414686.3427164","DOIUrl":"https://doi.org/10.1145/3414686.3427164","url":null,"abstract":"This artwork is inspired by the short story \"The Gold-Bug\" by Edgar Alan Poe. The story follows William Legrand, his servant Jupiter and an unnamed narrator on their quest to uncover a buried treasure. Poe took advantage of the popularity of cryptography as he was writing the \"The Gold-Bug\" and his story revolves around the team trying to solve a cipher. The characters in the story follow a simple substitution cipher to decode a message that eventually leads them to the treasure. With this project, the aim was to re-encode the decrypted text into a digital form and turn it into a 3d tree. In order for this to be achieved, the following process was used: 1) Using Chomky's Context-Free-Grammar, the text was broken down into a syntax tree. 2) By using a simple substitution process, like the one used by Poe, the syntax tree was turned into an L-systems syntax. 3) The tree was then generated using the build-in L-Systems function in Houdini 4) Maya was used to stylize, texture and render the 3d tree.","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":"121714412","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}
A selfie is a form of art. Over 1 million selfies are now taken every day. Selfies are not always as spontaneous as they seem. They can be a communication tool like any other that can be manipulated for purposes. Selfie + CODE III is a collection of generative selfie series by using computer algorithms. The algorithmic processes expend the concepts of traditional self-portraits to generative and expressive selfies delivering thought or feeling. The artist started taking her generative selfies in 2015 to raise awareness of Asian female faculty being isolated and marginal in a predominantly white institution (http://www.socialhomelessness.com). Her generative selfies have captured psychological moments to express those individual identities are devalued and deconstructed by a homogeneous institution in the United States. It has been shared by social media. The virtual supporting system at Facebook, "Like," by her diverse mentors and friends, helped her to persist and survive in a regionally isolated and exclusive community. Eventually, It has brought her psychological reconciliation and healing to succeed in dealing with difficulties.
{"title":"Selfie + code III: melancholy","authors":"Yeohyun Ahn","doi":"10.1145/3414686.3427128","DOIUrl":"https://doi.org/10.1145/3414686.3427128","url":null,"abstract":"A selfie is a form of art. Over 1 million selfies are now taken every day. Selfies are not always as spontaneous as they seem. They can be a communication tool like any other that can be manipulated for purposes. Selfie + CODE III is a collection of generative selfie series by using computer algorithms. The algorithmic processes expend the concepts of traditional self-portraits to generative and expressive selfies delivering thought or feeling. The artist started taking her generative selfies in 2015 to raise awareness of Asian female faculty being isolated and marginal in a predominantly white institution (http://www.socialhomelessness.com). Her generative selfies have captured psychological moments to express those individual identities are devalued and deconstructed by a homogeneous institution in the United States. It has been shared by social media. The virtual supporting system at Facebook, \"Like,\" by her diverse mentors and friends, helped her to persist and survive in a regionally isolated and exclusive community. Eventually, It has brought her psychological reconciliation and healing to succeed in dealing with difficulties.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"90 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":"133195491","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}
"Keep Running" is a collection of human and machine generated horse paintings using the generative adversarial network technology. The artworks are produced during the lockdown period in the Middle East due to the Covid-19 pandemic. Horses are significant symbols in the Middle East region culturally and historically, representing strength, endurance and persistence. These are the spirits that keep us running during the difficult times, even when we are facing many physical constraints in daily life. Nowadays, many AI-generated artworks are either photo-realistic or very abstract with distorted faces, fragmented figures and a combination of unknown objects. What technically unique in our work is to produce a series of AI-assisted paintings that shows distinguishable features and forms of horses, while creating aesthetic and even sentimental values in each horse portrait. Each of our art piece is presented in a 2x2 grid format that shows how an AI horse painting is evolved over the generation process. We believe that the machine learning process could unite human creativity with AI technology to produce a series of unique and aesthetic paintings - even these artworks were created in a large scale and mass production method that is never been possible before. With the artistic and technical novelty in our artworks, we also wish to pay a salute to the pioneers like Eadweard Muybridge and Andy Warhol, who first popularized the use of machines with camera and silk-screen printing technologies in art-making, redefining the meaning and expanding the horizon of art.
{"title":"Keep running: AI paintings of evolving horse portraits","authors":"James She, Carmen Ng, Wadia Sheng","doi":"10.1145/3414686.3427174","DOIUrl":"https://doi.org/10.1145/3414686.3427174","url":null,"abstract":"\"Keep Running\" is a collection of human and machine generated horse paintings using the generative adversarial network technology. The artworks are produced during the lockdown period in the Middle East due to the Covid-19 pandemic. Horses are significant symbols in the Middle East region culturally and historically, representing strength, endurance and persistence. These are the spirits that keep us running during the difficult times, even when we are facing many physical constraints in daily life. Nowadays, many AI-generated artworks are either photo-realistic or very abstract with distorted faces, fragmented figures and a combination of unknown objects. What technically unique in our work is to produce a series of AI-assisted paintings that shows distinguishable features and forms of horses, while creating aesthetic and even sentimental values in each horse portrait. Each of our art piece is presented in a 2x2 grid format that shows how an AI horse painting is evolved over the generation process. We believe that the machine learning process could unite human creativity with AI technology to produce a series of unique and aesthetic paintings - even these artworks were created in a large scale and mass production method that is never been possible before. With the artistic and technical novelty in our artworks, we also wish to pay a salute to the pioneers like Eadweard Muybridge and Andy Warhol, who first popularized the use of machines with camera and silk-screen printing technologies in art-making, redefining the meaning and expanding the horizon of art.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"54 2 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":"130924199","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}
In this robotic art project, we developing a series of autonomous behavior as fictional design to mimic that robot has its own conscious. We make robot holding a pencil for drawing line-based illustration, metaphor robot is dreaming, according to in "Do Androids Dream of Electric Sheep?", whether you can dream is used as a romantic question to test between life and artificial life. In the system, the industrial robot independently explores the Environmental Information through the depth sensor and AI system in exhibition space. And then the detected data will used to input into Dandelion-like Generative System(DGS), which made by algorithmic data structures from fractal tree and L-system for mimic nature phototropism mechanism and growing processes. Finally, we used grasshopper develop a mechanism to convert the linebase dandelion diagram into robotic painting by manipulation paths and gripper's act, to make robot physically holding the pencil to draw it out on a paper. This installation will painting an unique dandelion illustration per day, it can also see as specific data visualization by its dynamical physical environment. This stroking processes and its painted outcome can see as a hybrid creation combining computational aesthetics and Robotic Stroking.
在这个机器人艺术项目中，我们开发了一系列的自主行为作为虚构的设计来模仿机器人有自己的意识。我们让机器人拿着铅笔画基于线条的插图，隐喻机器人在做梦，根据“Do Androids Dream of Electric Sheep?”，你是否会做梦作为一个浪漫的问题来测试生命和人工生命之间的关系。在该系统中，工业机器人通过深度传感器和人工智能系统在展示空间中自主探索环境信息。然后将检测到的数据输入到蒲公英样生成系统(DGS)中，该系统由分形树和l系统的算法数据结构组成，模拟自然界的向光性机制和生长过程。最后，我们利用蚱蜢开发了一种机制，通过操作路径和抓取器的行为将线基蒲公英图转换为机器人绘画，使机器人物理地拿着铅笔在纸上画出来。这个装置将每天绘制一幅独特的蒲公英插图，它也可以通过其动态的物理环境看到特定的数据可视化。这种笔画过程及其绘制结果可以看作是计算美学和机器人笔画的混合创作。
{"title":"Dreaming with dandelion","authors":"S. Huang, Chi-Li Cheng","doi":"10.1145/3414686.3427158","DOIUrl":"https://doi.org/10.1145/3414686.3427158","url":null,"abstract":"In this robotic art project, we developing a series of autonomous behavior as fictional design to mimic that robot has its own conscious. We make robot holding a pencil for drawing line-based illustration, metaphor robot is dreaming, according to in \"Do Androids Dream of Electric Sheep?\", whether you can dream is used as a romantic question to test between life and artificial life. In the system, the industrial robot independently explores the Environmental Information through the depth sensor and AI system in exhibition space. And then the detected data will used to input into Dandelion-like Generative System(DGS), which made by algorithmic data structures from fractal tree and L-system for mimic nature phototropism mechanism and growing processes. Finally, we used grasshopper develop a mechanism to convert the linebase dandelion diagram into robotic painting by manipulation paths and gripper's act, to make robot physically holding the pencil to draw it out on a paper. This installation will painting an unique dandelion illustration per day, it can also see as specific data visualization by its dynamical physical environment. This stroking processes and its painted outcome can see as a hybrid creation combining computational aesthetics and Robotic Stroking.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"44 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":"134079999","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}
How does machine learning contribute to our understanding of how ideas are communicated through drawing? Specifically, how can networks capable of exhibiting dynamic temporal behaviour for time sequences be used for the generation of line (vector) drawings? Can machine-learning algorithms reveal something about the way we draw? Can we better understand the way we encode ideas into drawings from these algorithms? While simple pen strokes may not resemble reality as captured by more sophisticated visual representations, they do tell us something about how people represent and reconstruct the world around them. The ability to immediately recognise, depict objects and even emotions from a few marks, strokes and lines, is something that humans learn as children. Machinic Doodles is interested in the semantics of lines, the patterns that emerge in how people around the world draw - what governs the rule of geometry that makes us draw from one point to another in a specific order? The order, speedpace and expression of a line, its constructed and semantic associations are of primary interest, generated figures are simply the means and the record of the interaction, not the final motivation. The installation is essentially a game of human-robot Pictionary: you draw, the machine takes a guess, and then draws something back in response. The project demonstrates how a drawing game based on a recurrent-neural-network, combined with real-time human drawing interaction, can be used to generate a sequence of human- machine doodle drawings. As the number of classification models is greater than the generational models (i.e. ability to identify is higher than drawing ability), the work inherently explores this gap in the machine's knowledge, as well as creative possibilities afforded by misinterpretations of the machine. Drawings are not just for guessing, but analysed for spatial and temporal characteristics to inform drawing generation.
{"title":"NORAA [machinic doodles]","authors":"J. In, George Profenza, Sammy Price","doi":"10.1145/3414686.3427106","DOIUrl":"https://doi.org/10.1145/3414686.3427106","url":null,"abstract":"How does machine learning contribute to our understanding of how ideas are communicated through drawing? Specifically, how can networks capable of exhibiting dynamic temporal behaviour for time sequences be used for the generation of line (vector) drawings? Can machine-learning algorithms reveal something about the way we draw? Can we better understand the way we encode ideas into drawings from these algorithms? While simple pen strokes may not resemble reality as captured by more sophisticated visual representations, they do tell us something about how people represent and reconstruct the world around them. The ability to immediately recognise, depict objects and even emotions from a few marks, strokes and lines, is something that humans learn as children. Machinic Doodles is interested in the semantics of lines, the patterns that emerge in how people around the world draw - what governs the rule of geometry that makes us draw from one point to another in a specific order? The order, speedpace and expression of a line, its constructed and semantic associations are of primary interest, generated figures are simply the means and the record of the interaction, not the final motivation. The installation is essentially a game of human-robot Pictionary: you draw, the machine takes a guess, and then draws something back in response. The project demonstrates how a drawing game based on a recurrent-neural-network, combined with real-time human drawing interaction, can be used to generate a sequence of human- machine doodle drawings. As the number of classification models is greater than the generational models (i.e. ability to identify is higher than drawing ability), the work inherently explores this gap in the machine's knowledge, as well as creative possibilities afforded by misinterpretations of the machine. Drawings are not just for guessing, but analysed for spatial and temporal characteristics to inform drawing generation.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"105 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":"133403412","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}
From the moment mankind began observing the night sky, there is one question that has been in my mind for a very long time. As our attempts to find answers to these questions continued and progressed, we learned more about the universe and humanity. What is left of us now? The SETI (Search for Extra-Terrestrial Intelligence) project, which seeks to find evidence of civilization outside the earth by discovering artificial radio signals from space, has continued to this day with the development of radio astronomy. Breakthrough Listen, which aims to observe one million stars and one hundred galactic centers, is a radio wave exploration project that represents this modern SETI, and has been constantly updating new observational data from 2017 to the present. In particular, some of the data are recorded as unique radio signals of unknown cause. This work is the realization of real-time audio-visualization of data containing this unique signal with 2-channel projection mapping and 16- channel surround speakers. The work creates a cosmic experience that waits for the unknown signal hidden in it by making the audience sense the radio signals from outer space with light and sound. Through this cosmic experience, the audience will be able to reconsider the possibility of an unknown being, so that we can look back at ourselves from a cosmic point of view that all humanity is ultimately one. The journey to find extraterrestrial intelligence is the same as the journey to find the answer to the question about humanity. Now that the value of humanity and life goes beyond Earth, we have a time to ask the question that humanity has long held in mind. "Are we the only intelligent life in this universe?"
{"title":"A letter across the stars","authors":"JongKuk Won","doi":"10.1145/3414686.3427142","DOIUrl":"https://doi.org/10.1145/3414686.3427142","url":null,"abstract":"From the moment mankind began observing the night sky, there is one question that has been in my mind for a very long time. As our attempts to find answers to these questions continued and progressed, we learned more about the universe and humanity. What is left of us now? The SETI (Search for Extra-Terrestrial Intelligence) project, which seeks to find evidence of civilization outside the earth by discovering artificial radio signals from space, has continued to this day with the development of radio astronomy. Breakthrough Listen, which aims to observe one million stars and one hundred galactic centers, is a radio wave exploration project that represents this modern SETI, and has been constantly updating new observational data from 2017 to the present. In particular, some of the data are recorded as unique radio signals of unknown cause. This work is the realization of real-time audio-visualization of data containing this unique signal with 2-channel projection mapping and 16- channel surround speakers. The work creates a cosmic experience that waits for the unknown signal hidden in it by making the audience sense the radio signals from outer space with light and sound. Through this cosmic experience, the audience will be able to reconsider the possibility of an unknown being, so that we can look back at ourselves from a cosmic point of view that all humanity is ultimately one. The journey to find extraterrestrial intelligence is the same as the journey to find the answer to the question about humanity. Now that the value of humanity and life goes beyond Earth, we have a time to ask the question that humanity has long held in mind. \"Are we the only intelligent life in this universe?\"","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"64 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":"116374959","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 physical part of the installation composes of two major elements, namely a wooden table and a water ecosystem. The table is served as a water reservoir as well as an interaction interface while the water ecosystem provides a non-stop water flow for the water reservoir. On the technical side, the installation is set up with multimedia system consisting of a Mac Pro computer, four projectors, a speaker, a network router, an Xbox Kinect Sensor and an Arduino board. The Arduino board is connected to five relays, two ultrasonic sensors, one infra-red sensor, one water-flow sensor and one water-level sensor for detections and signal transmissions. There are three major interactions in Cascade. First, when audience enter the room, the infra-red sensor senses his movement and turns off the table lighting. Projection of a cascade then fades in with music triggering the water ecosystem to be turned on to form a water reservoir. Second, projection reminds audience to open the under-table drawer and interact with pebbles. When users open the drawer, the ultrasonic sensor senses the drawer movement and turns the LED on/off. Third, when users place pebbles on the table, water volume and flow rate of the reservoir will be changed. Therefore, the water-level sensor is used to detect the amount of water for controlling the water overflow and the water-flow sensor is used to transmit serial signals for projections of swimming fish to be mapped onto the reservoir accordingly. Pebbles are detected by the Xbox sensor to avoid fish collisions.
{"title":"Cascade","authors":"L. Cheng, Yuet Ting Cheng","doi":"10.1145/3414686.3427165","DOIUrl":"https://doi.org/10.1145/3414686.3427165","url":null,"abstract":"The physical part of the installation composes of two major elements, namely a wooden table and a water ecosystem. The table is served as a water reservoir as well as an interaction interface while the water ecosystem provides a non-stop water flow for the water reservoir. On the technical side, the installation is set up with multimedia system consisting of a Mac Pro computer, four projectors, a speaker, a network router, an Xbox Kinect Sensor and an Arduino board. The Arduino board is connected to five relays, two ultrasonic sensors, one infra-red sensor, one water-flow sensor and one water-level sensor for detections and signal transmissions. There are three major interactions in Cascade. First, when audience enter the room, the infra-red sensor senses his movement and turns off the table lighting. Projection of a cascade then fades in with music triggering the water ecosystem to be turned on to form a water reservoir. Second, projection reminds audience to open the under-table drawer and interact with pebbles. When users open the drawer, the ultrasonic sensor senses the drawer movement and turns the LED on/off. Third, when users place pebbles on the table, water volume and flow rate of the reservoir will be changed. Therefore, the water-level sensor is used to detect the amount of water for controlling the water overflow and the water-flow sensor is used to transmit serial signals for projections of swimming fish to be mapped onto the reservoir accordingly. Pebbles are detected by the Xbox sensor to avoid fish collisions.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"31 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":"122115525","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}
See the scenery of the city through Korean traditional music. 'object' exists with time. We sometimes bring the 'object' of the past to reproduce the time of the past. 'object' becomes the music of Korean traditional music. What we are trying to reproduce is nature. What is nature? Nature is a phenomenon itself. For people in the modern world, is nature an urban ecosystem? We find the way back to nature through the 'object' called 'Korean traditional music'. It looks at nature as the whole being, not as an individual who only has the impression of passing through without a clear form.
{"title":"Seoul landscape","authors":"Do-hyun Jeon, Hannah H. Kim","doi":"10.1145/3414686.3427170","DOIUrl":"https://doi.org/10.1145/3414686.3427170","url":null,"abstract":"See the scenery of the city through Korean traditional music. 'object' exists with time. We sometimes bring the 'object' of the past to reproduce the time of the past. 'object' becomes the music of Korean traditional music. What we are trying to reproduce is nature. What is nature? Nature is a phenomenon itself. For people in the modern world, is nature an urban ecosystem? We find the way back to nature through the 'object' called 'Korean traditional music'. It looks at nature as the whole being, not as an individual who only has the impression of passing through without a clear form.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"8 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":"124848963","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}
Title of my work is 'Playing with Remine.' Playing means playing or interacting with each other. There are two reasons why I design this work. Currently, I'm designing my website using interactive pictures and videos which visitors can play with them by clicking. Because I unsatisfied with traditional way to communicare with audiences only through the art piece of the artist is onesided communication. If you click my character on the website, you can meet Kim Hae-min(me) sitting in the room. Kim Hae-min doesn't has any attention to visiotors and doing her own habits. But if visitors matches certain conditions which attracts Kim Hae-min she beings to interreact with visitors. After that text messages pops up and visitors can choice questions to ask they want. Kim Hae-min's response depends on which question you choose. The response can be kind, ignoring the questions, explain the work, or talk about society. In other words, it is a reactive character with various events. Motivation of this project is also my personal experience. I've felt that there's actually not a lot of communication between people, and how can I be honest, comfortable and funny? In other way i also plan to expand this work to installation project. The audience passes by and sees Kim Hae-min. The audience enters the installation space and asks questions to the character. And then, if you don't agree or if you have conflicting values, you move on to the mini-game format. 'Battle with Remine' I'm thinking of trying this piece with interactive projection mapping. In the mini-game, I'm going to put various devices to solve the conflicts between me and visitors.
我的作品的标题是“和雷米一起玩”。玩意味着玩或与他人互动。我设计这个作品有两个原因。目前，我正在设计我的网站，使用交互式图片和视频，游客可以通过点击来玩。因为我不满意传统的与观众交流的方式，只通过艺术家的作品进行片面的交流。如果你在网站上点击我的角色，你就会看到坐在房间里的金海敏(我)。金海敏没有任何注意到游客和做她自己的习惯。但如果游客符合吸引金海敏的某些条件，她就会与游客互动。之后会弹出短信，访问者可以选择他们想问的问题。金海民的回答取决于你选择哪个问题。回答可以是友善的，忽略问题，解释工作，或者谈论社会。换句话说，它是一个具有各种事件的反应性角色。这个项目的动机也是我个人的经历。我觉得人与人之间其实没有太多的交流，我怎么能做到诚实、自在、风趣呢?另外，我还计划将这项工作扩展到安装项目。观众从旁边经过，看到了金海敏。观众进入装置空间，向人物提问。然后，如果你不同意，或者你有冲突的价值观，你就转向迷你游戏的形式。“Battle with Remine”我正在考虑用交互式投影映射来尝试这件作品。在迷你游戏中，我将放置各种设备来解决我与访客之间的冲突。
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The artificial, a curtain of cubes, interrupts and rolls over the natural order. Leaves fall and freeze into polygonal crystals. As the artificial interruption spreads fields and leaves shatter into ice cubes. Nature once fluid, splatters, then freezes. The seasons fold like boxes into structures of gray, as we see time crystalize. The AI cuts the atmosphere into rectangles and cubes, abstract, perfect, but empty of life squeezed into a splatter and gray wave. The AI slides open a door. It leaks out to become a tight, glacial surface of data cubes, a networked sea of ice. Under this sea sheet of networked ice, the last mammal breaks through, swims away, and with her our past coded in her genes.
{"title":"AI","authors":"Hyejin Hannah Kum-Biocca, J. Kwon","doi":"10.1145/3414686.3427110","DOIUrl":"https://doi.org/10.1145/3414686.3427110","url":null,"abstract":"The artificial, a curtain of cubes, interrupts and rolls over the natural order. Leaves fall and freeze into polygonal crystals. As the artificial interruption spreads fields and leaves shatter into ice cubes. Nature once fluid, splatters, then freezes. The seasons fold like boxes into structures of gray, as we see time crystalize. The AI cuts the atmosphere into rectangles and cubes, abstract, perfect, but empty of life squeezed into a splatter and gray wave. The AI slides open a door. It leaks out to become a tight, glacial surface of data cubes, a networked sea of ice. Under this sea sheet of networked ice, the last mammal breaks through, swims away, and with her our past coded in her genes.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"136 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":"113985597","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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