A still photo from artificial life, this is a frozen moment from the movement of simple shapes. Repeated geometric forms were rotated and transformed over time and complex interwoven abstract patterns emerged. These unexpected forms are born from motion and feedback. Initial graphical parameters were predefined and the patterned evolution was set in motion. When the motion is paused the cellular beauty of individual frames is revealed. Chance plays its part in this phenomenon. Individual parameters are predetermined but the end result is indeterminate. The space between known quantities is where the unexpected patterns and lights emerge.
{"title":"Arc diffusion","authors":"Dave Payling","doi":"10.1145/3414686.3427105","DOIUrl":"https://doi.org/10.1145/3414686.3427105","url":null,"abstract":"A still photo from artificial life, this is a frozen moment from the movement of simple shapes. Repeated geometric forms were rotated and transformed over time and complex interwoven abstract patterns emerged. These unexpected forms are born from motion and feedback. Initial graphical parameters were predefined and the patterned evolution was set in motion. When the motion is paused the cellular beauty of individual frames is revealed. Chance plays its part in this phenomenon. Individual parameters are predetermined but the end result is indeterminate. The space between known quantities is where the unexpected patterns and lights emerge.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"24 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":"130148240","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}
Could exploring the limit of consciousness become a mode of cultivating oneself? Understand_ V.T.S is an installation that substitutes senses. It helps explore and ponder in the process of the cultivation. In this piece of work, it conducts the experiment in which the possibility of the cooperation between natural and artificial algorithms are assessed, serves as an approach to human enhancement. That is, it tries out how well our brains(natural) work with AI (man-made). The feature of neuroplasticity allows our senses to perceive the world in various ways in which we might see not with our eyes, but with skins or listen not through our ears, but through taste buds, to name but a few. General skin vision relies on brain parsing pieces of information and shaping cognitions thereafter. In this respect, I introduced an object recognition system - YOLO v3, converting the results given by YOLO 3 into Braille reading system to thigh skin, and the other side converting the tactile image to motor on your back directly. You can control a robot wanders about the surroundings of you. The signals its left eye receive will translate the result of object detect to Braille and deliver it to your leg; while its right eye converts the signal received into the tactile image to the your back. So eventually your brain will manage to comprehend the meaning of these signals. Unlock a new tactile cognition by a Human and AI integration.
{"title":"Understand_ V.T.S","authors":"Jing Ting Lai","doi":"10.1145/3414686.3427176","DOIUrl":"https://doi.org/10.1145/3414686.3427176","url":null,"abstract":"Could exploring the limit of consciousness become a mode of cultivating oneself? Understand_ V.T.S is an installation that substitutes senses. It helps explore and ponder in the process of the cultivation. In this piece of work, it conducts the experiment in which the possibility of the cooperation between natural and artificial algorithms are assessed, serves as an approach to human enhancement. That is, it tries out how well our brains(natural) work with AI (man-made). The feature of neuroplasticity allows our senses to perceive the world in various ways in which we might see not with our eyes, but with skins or listen not through our ears, but through taste buds, to name but a few. General skin vision relies on brain parsing pieces of information and shaping cognitions thereafter. In this respect, I introduced an object recognition system - YOLO v3, converting the results given by YOLO 3 into Braille reading system to thigh skin, and the other side converting the tactile image to motor on your back directly. You can control a robot wanders about the surroundings of you. The signals its left eye receive will translate the result of object detect to Braille and deliver it to your leg; while its right eye converts the signal received into the tactile image to the your back. So eventually your brain will manage to comprehend the meaning of these signals. Unlock a new tactile cognition by a Human and AI integration.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"360 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":"125646710","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}
"Trace of Dance" tells the story of modern labor. It is not just to make money, but it includes images of various complex desires, such as social status, personal satisfaction, and the recognition of bosses. The artist likened this behavior of a modern laborers to an inertial Flapping wings of a moth. The thermal data are collected through interviews with workers and produced as sculptures depicting the trace of dance based on them. The sculpture is melted by thermal lighting, which turns on and off in proportion to laborers' working hours. The artist asks whether this quiet misfortune comes from personal aspirations or from systems.
{"title":"Trace of dance","authors":"Soyoung You","doi":"10.1145/3414686.3427179","DOIUrl":"https://doi.org/10.1145/3414686.3427179","url":null,"abstract":"\"Trace of Dance\" tells the story of modern labor. It is not just to make money, but it includes images of various complex desires, such as social status, personal satisfaction, and the recognition of bosses. The artist likened this behavior of a modern laborers to an inertial Flapping wings of a moth. The thermal data are collected through interviews with workers and produced as sculptures depicting the trace of dance based on them. The sculpture is melted by thermal lighting, which turns on and off in proportion to laborers' working hours. The artist asks whether this quiet misfortune comes from personal aspirations or from systems.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"4 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":"129732618","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}
"River's Edge" is the title of a series of collage artworks created from images obtained via the Internet through the medium of generative programming. In this series of images, the artist used a keyword associated with his childhood memory "River's Edge"to conduct an in-depth search for and gather associated images, which he then assembled into vivid and visually appealing collages. In the "River's Edge" artwork, blue, gray, and green sections of the collected images were associated with water, stone, and sky. Pieces from hundreds of images were extracted from the Internet in data form, processed, and emplaced in the images. The creative process was based on an algorithm that examined the collected images, extracted appealing sections, subjected them to a limited set of modifications, and then emplaced them into the artwork. Although the algorithm's functionalities are limited to magnification, rotation, and choosing the areas to extract from the collected imagery, the process made it possible to create a wide variety of collages. In the numerous trials that were conducted to develop this art form, several new expressions were identified, and many beautiful patterns were created.
{"title":"River's edge","authors":"Takuya Yamauchi","doi":"10.1145/3414686.3427103","DOIUrl":"https://doi.org/10.1145/3414686.3427103","url":null,"abstract":"\"River's Edge\" is the title of a series of collage artworks created from images obtained via the Internet through the medium of generative programming. In this series of images, the artist used a keyword associated with his childhood memory \"River's Edge\"to conduct an in-depth search for and gather associated images, which he then assembled into vivid and visually appealing collages. In the \"River's Edge\" artwork, blue, gray, and green sections of the collected images were associated with water, stone, and sky. Pieces from hundreds of images were extracted from the Internet in data form, processed, and emplaced in the images. The creative process was based on an algorithm that examined the collected images, extracted appealing sections, subjected them to a limited set of modifications, and then emplaced them into the artwork. Although the algorithm's functionalities are limited to magnification, rotation, and choosing the areas to extract from the collected imagery, the process made it possible to create a wide variety of collages. In the numerous trials that were conducted to develop this art form, several new expressions were identified, and many beautiful patterns were created.","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":"133061096","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}
Nowadays, with the continuous progress of science and technology, the environment is getting worse, and human beings are beset by diseases. The human body is constantly suffering from pain, disease, and even life threat. When human body organs can't meet our perfect requirements for perfection, perhaps an electronic pill can solve our troubles. This work attempts to present the visual art expression form of projection mapping in the future world of scientific and technological progress, and designs the image content with the concept that human organs are continuously eroded and finally cured through the intervention of electronic pills. The first part of the work shows the formation of human lung organs and the process when they are invaded by viruses outside the body. This part strives to present the reality of human organs and the fragile human body. The middle section describes that through the intervention of electronic pills, one lung is gradually deformed after being alienated by electronic technology to form an efficient and indestructible mechanical lobe, while the other lobe is continuously eroded by viruses without the intervention of electronic pills. At the end of the work, it presents the possibility of lung being repaired and cured constantly through the style of Cyberpunk.
{"title":"Healing 2077","authors":"Xiyuan Zhang","doi":"10.1145/3414686.3427154","DOIUrl":"https://doi.org/10.1145/3414686.3427154","url":null,"abstract":"Nowadays, with the continuous progress of science and technology, the environment is getting worse, and human beings are beset by diseases. The human body is constantly suffering from pain, disease, and even life threat. When human body organs can't meet our perfect requirements for perfection, perhaps an electronic pill can solve our troubles. This work attempts to present the visual art expression form of projection mapping in the future world of scientific and technological progress, and designs the image content with the concept that human organs are continuously eroded and finally cured through the intervention of electronic pills. The first part of the work shows the formation of human lung organs and the process when they are invaded by viruses outside the body. This part strives to present the reality of human organs and the fragile human body. The middle section describes that through the intervention of electronic pills, one lung is gradually deformed after being alienated by electronic technology to form an efficient and indestructible mechanical lobe, while the other lobe is continuously eroded by viruses without the intervention of electronic pills. At the end of the work, it presents the possibility of lung being repaired and cured constantly through the style of Cyberpunk.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"42 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":"115973346","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}
Japanese cuisine was registered as a UNESCO Intangible Cultural Heritage in 2013 designated with an evaluation as a social diet custom embodying a Japanese spirit that respects nature. However, it is difficult to fully understand the cultural characteristics of Japanese food because the actual meal is limited to taste and visual information such as taste, ingredients, tableware, and presentation. In this system, in order to convey Japanese food culture, interaction and video expressions are combined with actual meals, and as users proceed with meals the natural environment, text, and Ashirai projected on the tableware change and the system allows you to learn about the richness of nature that supports Japanese food, the changes in the four seasons, and the relationship with traditional events. The natural environment changes in 10 stages, and users can experience the changing seasons and beauty at their own pace. Ashirai are vegetables and flowers that are added to complement the dishes, and four types of treats are projected onto the tableware according to the changing seasons. The Japanese food in this work consists of "Ichiju Sansai," which means one soup and three vegetables. "Ichiju Sansai" is said to be the basis of Japanese food and is composed of a staple food, a soup, two side dishes, and a main dish, and their arrangement is also fixed. We asked several people to experience the system and we were able to tell the users that Japanese food is supported by natural riches and seasons while influencing traditional events as well. It has been also confirmed as another effect that users re-think the act of eating and re-realize Japanese cuisine including recognition of the blessings of nature. Demonstrations are held at the art gallery using cooking models.
{"title":"Augmented reality media to express the experience of Japanese food culture","authors":"Kei Kobayashi, Kazuma Nagata, Junichi Hoshino","doi":"10.1145/3414686.3427107","DOIUrl":"https://doi.org/10.1145/3414686.3427107","url":null,"abstract":"Japanese cuisine was registered as a UNESCO Intangible Cultural Heritage in 2013 designated with an evaluation as a social diet custom embodying a Japanese spirit that respects nature. However, it is difficult to fully understand the cultural characteristics of Japanese food because the actual meal is limited to taste and visual information such as taste, ingredients, tableware, and presentation. In this system, in order to convey Japanese food culture, interaction and video expressions are combined with actual meals, and as users proceed with meals the natural environment, text, and Ashirai projected on the tableware change and the system allows you to learn about the richness of nature that supports Japanese food, the changes in the four seasons, and the relationship with traditional events. The natural environment changes in 10 stages, and users can experience the changing seasons and beauty at their own pace. Ashirai are vegetables and flowers that are added to complement the dishes, and four types of treats are projected onto the tableware according to the changing seasons. The Japanese food in this work consists of \"Ichiju Sansai,\" which means one soup and three vegetables. \"Ichiju Sansai\" is said to be the basis of Japanese food and is composed of a staple food, a soup, two side dishes, and a main dish, and their arrangement is also fixed. We asked several people to experience the system and we were able to tell the users that Japanese food is supported by natural riches and seasons while influencing traditional events as well. It has been also confirmed as another effect that users re-think the act of eating and re-realize Japanese cuisine including recognition of the blessings of nature. Demonstrations are held at the art gallery using cooking models.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"4 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":"128327649","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 interactive immersive installation, I'm thinking what I am thinking, resembles a diagrammatic huge brain processing everyday data. The space includes a projection screen, a vintage CRT TV, 8 speakers hanging throughout the room, and under a spotlight there's a rug with stepping sensors. The environment combines sound and generative graphics, creating a subconscious experience for the visitor that calls on their intuition and cognition. It asks the question, 'Are we completely conscious of our thinking patterns when making a decision?'
{"title":"I'm thinking what I'm thinking","authors":"Yalan Wen","doi":"10.1145/3414686.3427124","DOIUrl":"https://doi.org/10.1145/3414686.3427124","url":null,"abstract":"The interactive immersive installation, I'm thinking what I am thinking, resembles a diagrammatic huge brain processing everyday data. The space includes a projection screen, a vintage CRT TV, 8 speakers hanging throughout the room, and under a spotlight there's a rug with stepping sensors. The environment combines sound and generative graphics, creating a subconscious experience for the visitor that calls on their intuition and cognition. It asks the question, 'Are we completely conscious of our thinking patterns when making a decision?'","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"30 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":"124618425","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}
Outside-in is an installation that utilizes machine learning to reflect on systematic discrimination by focusing on the indefinite detention of Mexicans with Japanese heritage concentrated in Morelos during WWII. This algorithmic discrimination system tears apart four classic fiction films continuously within a projection room. The fragments are displaced and classified using machine learning algorithms. The system selects, separates, reassembles and displaces the fragments into new orders. The new orders, edited in real time, are displayed in two perpendicular projections (one for the moving images, another for subtitles) and on a third wall the edited sound components are output through a row of headphones. It evokes the condition of being robbed of your right to be in the place to which you belong. The citizens detained during WWII were removed from their residence, their belongings were confiscated and they were placed in seclusion solely for having Japanese ancestry. Similarly, at present, data retrieving companies configure low resolution representations of ourselves from the snatched digital debris of our daily life. These pieces are reconfigured into archetypes and meaning is attached to them for massive decision making. We don't have the right or means to know what these representations look like or what meaning has been attached to such shapes. It is a privilege reserved to the designers of algorithmic processes: they own this right and we the citizens own the consequences.
{"title":"Outside in: exile at home","authors":"Annabel Castro","doi":"10.1145/3414686.3427114","DOIUrl":"https://doi.org/10.1145/3414686.3427114","url":null,"abstract":"Outside-in is an installation that utilizes machine learning to reflect on systematic discrimination by focusing on the indefinite detention of Mexicans with Japanese heritage concentrated in Morelos during WWII. This algorithmic discrimination system tears apart four classic fiction films continuously within a projection room. The fragments are displaced and classified using machine learning algorithms. The system selects, separates, reassembles and displaces the fragments into new orders. The new orders, edited in real time, are displayed in two perpendicular projections (one for the moving images, another for subtitles) and on a third wall the edited sound components are output through a row of headphones. It evokes the condition of being robbed of your right to be in the place to which you belong. The citizens detained during WWII were removed from their residence, their belongings were confiscated and they were placed in seclusion solely for having Japanese ancestry. Similarly, at present, data retrieving companies configure low resolution representations of ourselves from the snatched digital debris of our daily life. These pieces are reconfigured into archetypes and meaning is attached to them for massive decision making. We don't have the right or means to know what these representations look like or what meaning has been attached to such shapes. It is a privilege reserved to the designers of algorithmic processes: they own this right and we the citizens own the consequences.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"3 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":"122239762","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}
Empathy Wall is a work that starts with the question of whether when human-to-person communication is applied to human-to-technical communication, it can produce feelings close to the "sympathy" that occur between people. Empathy Wall wanted to develop human-to-human communication into human-to-object communication using the latest IT technology, and we wanted to expand this into empathy and familiarity between technology and humans. In other words, through the work of art called Empathy Wall, we are trying to extend human-to-human consensus to human-to-technical consensus formation. In the Empathy Wall, the two audiences in each room divided by walls cannot see each other, and an image appears on the wall. The two audiences are given the same subject and question, and if they talk about it freely, their emotions will be analyzed through AI algorithms according to the story, and images based on Kandinsky's theoretical rules will appear on the screen. At this time, the images from the emotional analysis of the stories of the two audiences are all mixed and appear on the walls of the room. Through this process, the audience will be able to see images automatically generated regardless of their own story being expressed on the same screen, in addition to images that respond to their stories. At this time, you can think of images as images of audiences in other rooms, or you can think that the walls themselves create images. During the experience of the Empathy Wall, the audience can feel emotions by looking at images that respond to their stories, and can feel emotions with other audiences as they automatically appear and mix with their own images regardless of their own stories, and furthermore, people and walls can feel empathy.
{"title":"Empathy wall","authors":"Joo-seok Moon","doi":"10.1145/3414686.3427167","DOIUrl":"https://doi.org/10.1145/3414686.3427167","url":null,"abstract":"Empathy Wall is a work that starts with the question of whether when human-to-person communication is applied to human-to-technical communication, it can produce feelings close to the \"sympathy\" that occur between people. Empathy Wall wanted to develop human-to-human communication into human-to-object communication using the latest IT technology, and we wanted to expand this into empathy and familiarity between technology and humans. In other words, through the work of art called Empathy Wall, we are trying to extend human-to-human consensus to human-to-technical consensus formation. In the Empathy Wall, the two audiences in each room divided by walls cannot see each other, and an image appears on the wall. The two audiences are given the same subject and question, and if they talk about it freely, their emotions will be analyzed through AI algorithms according to the story, and images based on Kandinsky's theoretical rules will appear on the screen. At this time, the images from the emotional analysis of the stories of the two audiences are all mixed and appear on the walls of the room. Through this process, the audience will be able to see images automatically generated regardless of their own story being expressed on the same screen, in addition to images that respond to their stories. At this time, you can think of images as images of audiences in other rooms, or you can think that the walls themselves create images. During the experience of the Empathy Wall, the audience can feel emotions by looking at images that respond to their stories, and can feel emotions with other audiences as they automatically appear and mix with their own images regardless of their own stories, and furthermore, people and walls can feel empathy.","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":"129844188","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 topic of my research was problem of creating virtual environments (VE) in immersive art. I was focused on a roles of Presence, Flow, Immersion, and Interactivity. I was particularly interested in the problem of presence and flow in VE. Presence is defined as the subjective experience of being in one place or environment, even when one is physically situated in another. Presence is a normal awareness phenomenon that requires directed attention and is based in the interaction between sensory stimulation, environmental factors that encourage involvement and enable immersion. Flow is a state of experience where someone is completely absorbed and immersed in an activity. I researched relations between presence, flow, immersion and interactivity, e.g. how interactivity and sound spatialization improves experience of presence. I have developed machine learning methods that extend granular and pulsar synthesis in composing and new methods of building and transforming virtual environments.
{"title":"Suprasymmetry","authors":"Robert B. Lisek","doi":"10.1145/3414686.3427155","DOIUrl":"https://doi.org/10.1145/3414686.3427155","url":null,"abstract":"The topic of my research was problem of creating virtual environments (VE) in immersive art. I was focused on a roles of Presence, Flow, Immersion, and Interactivity. I was particularly interested in the problem of presence and flow in VE. Presence is defined as the subjective experience of being in one place or environment, even when one is physically situated in another. Presence is a normal awareness phenomenon that requires directed attention and is based in the interaction between sensory stimulation, environmental factors that encourage involvement and enable immersion. Flow is a state of experience where someone is completely absorbed and immersed in an activity. I researched relations between presence, flow, immersion and interactivity, e.g. how interactivity and sound spatialization improves experience of presence. I have developed machine learning methods that extend granular and pulsar synthesis in composing and new methods of building and transforming virtual environments.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"7 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":"133348273","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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