Prometheus' string series attempt various artistic experiments applied to 'data refraction', a concept that breaks frame of data with modern concept of accurate delivery of information and induces more creative results. The resulting installation work includes various processes such as data extraction from living creature into 3D shape generation and printing, as well as robotic sculpture and data visual performance. 'Prometheus string' series began by recognizing the material essence of life as a stream of non-material data. For example, if you look at the human body, dead cells on one side are falling apart, and on the other, new cell division is constantly occurring. The living things that we can see and touch are just a piece of the continual line of life and death of the many invisible substances that make up our body. The information of living things that have been digitalized becomes a model for realizing unexpected results through a process of 'refraction of data' that is transferred or transformed in a way suitable for various systems. Of course, using information about life can't be said that the information can replace life, but it can be a significant attempt to approach the essence of life with a new perspective on the digital system, which is gradually expanding its scope. Prometheus' string series also intends to continue various artistic experiments applied to the 'refraction of data', a concept that breaks the frame of data with a modern concept of accurate delivery of information and induces more creative results. The experiment to convert from material life to non-material information and from information to artificial life will continue. Also experiments of connecting artificial intelligence patterns for robot movement with social discourse as well.
{"title":"Prometheus string","authors":"S. Jung","doi":"10.1145/3414686.3427137","DOIUrl":"https://doi.org/10.1145/3414686.3427137","url":null,"abstract":"Prometheus' string series attempt various artistic experiments applied to 'data refraction', a concept that breaks frame of data with modern concept of accurate delivery of information and induces more creative results. The resulting installation work includes various processes such as data extraction from living creature into 3D shape generation and printing, as well as robotic sculpture and data visual performance. 'Prometheus string' series began by recognizing the material essence of life as a stream of non-material data. For example, if you look at the human body, dead cells on one side are falling apart, and on the other, new cell division is constantly occurring. The living things that we can see and touch are just a piece of the continual line of life and death of the many invisible substances that make up our body. The information of living things that have been digitalized becomes a model for realizing unexpected results through a process of 'refraction of data' that is transferred or transformed in a way suitable for various systems. Of course, using information about life can't be said that the information can replace life, but it can be a significant attempt to approach the essence of life with a new perspective on the digital system, which is gradually expanding its scope. Prometheus' string series also intends to continue various artistic experiments applied to the 'refraction of data', a concept that breaks the frame of data with a modern concept of accurate delivery of information and induces more creative results. The experiment to convert from material life to non-material information and from information to artificial life will continue. Also experiments of connecting artificial intelligence patterns for robot movement with social discourse as well.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"6 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":"131594914","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}
Can we look at a person's face and determine how they feel? AI emotion recognition systems are designed to detect faces and return confidence levels across a set of emotions such as anger, contempt, disgust, fear, happiness, sadness and surprise. Such systems already operate in our environment and might have the capacity to seriously impact our lives. In the live performance 'Don't Worry, Be Happy', the artist is strapped to an electric chair. Her face is constantly detected by an emotion recognition AI system. As long as she is detected as 'Happy' she is safe. However, each time any other emotion is observed, she receives an electric shock to both her arms. During the performance the artist changes her apparent behavior in order to free herself from the 'punishment' that the AI system delivers. Yet, under the threat of getting shocked, for how long can she perform this exaggerated facial expression so that the machine continues to 'read' her as 'Happy'? The apparatus presented in this performance utilizes the electric chair as a reminder of the use of new technologies as instruments of the law. Such tools initially appeared as legitimate solutions and was later own understood as problematic and inhumane. The performance aims to remind the viewers that we are not powerless when we are confronted with AI algorithms that are looking at us. The artist resists the emotion recognition system by faking a smile. This performative engagement points out to a future of a post-algorithmic society in which we change our behavior in order to align it with algorithms in our environment.
{"title":"Don't worry, be happy","authors":"Avital Meshi","doi":"10.1145/3414686.3427151","DOIUrl":"https://doi.org/10.1145/3414686.3427151","url":null,"abstract":"Can we look at a person's face and determine how they feel? AI emotion recognition systems are designed to detect faces and return confidence levels across a set of emotions such as anger, contempt, disgust, fear, happiness, sadness and surprise. Such systems already operate in our environment and might have the capacity to seriously impact our lives. In the live performance 'Don't Worry, Be Happy', the artist is strapped to an electric chair. Her face is constantly detected by an emotion recognition AI system. As long as she is detected as 'Happy' she is safe. However, each time any other emotion is observed, she receives an electric shock to both her arms. During the performance the artist changes her apparent behavior in order to free herself from the 'punishment' that the AI system delivers. Yet, under the threat of getting shocked, for how long can she perform this exaggerated facial expression so that the machine continues to 'read' her as 'Happy'? The apparatus presented in this performance utilizes the electric chair as a reminder of the use of new technologies as instruments of the law. Such tools initially appeared as legitimate solutions and was later own understood as problematic and inhumane. The performance aims to remind the viewers that we are not powerless when we are confronted with AI algorithms that are looking at us. The artist resists the emotion recognition system by faking a smile. This performative engagement points out to a future of a post-algorithmic society in which we change our behavior in order to align it with algorithms in our environment.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"139 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":"131694201","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}
"Let's Chat Like This" is an interactive system that allows two people to observe each others' moods through interacting with a shared interactively generated image. The moving image changes according to the two people's facial expressions. Different from traditional ways of communication, "Let's Chat Like This" focuses more on the emotional aspect of communication. It shows a visualization of the complexity of human emotion and boosts people's emotional communication in a creative no-verbal way. When experiencing this work, people's emotions are bound together with the same moving image they see. The moving image changes depending on their moods. They will be aware of their current moods as well as the other's, the intimacy and empathy between them will be increased. This is not only a "social distancing" art installation that helps us connect emotionally during the COVID-19 pandemic, but also my hypothesis of what future emotional communication will be like. I hope this artwork can evoke deep thinking and maybe cheer people up in this challenging time.
{"title":"Let's chat like this","authors":"Qinyuan Liu","doi":"10.1145/3414686.3427118","DOIUrl":"https://doi.org/10.1145/3414686.3427118","url":null,"abstract":"\"Let's Chat Like This\" is an interactive system that allows two people to observe each others' moods through interacting with a shared interactively generated image. The moving image changes according to the two people's facial expressions. Different from traditional ways of communication, \"Let's Chat Like This\" focuses more on the emotional aspect of communication. It shows a visualization of the complexity of human emotion and boosts people's emotional communication in a creative no-verbal way. When experiencing this work, people's emotions are bound together with the same moving image they see. The moving image changes depending on their moods. They will be aware of their current moods as well as the other's, the intimacy and empathy between them will be increased. This is not only a \"social distancing\" art installation that helps us connect emotionally during the COVID-19 pandemic, but also my hypothesis of what future emotional communication will be like. I hope this artwork can evoke deep thinking and maybe cheer people up in this challenging time.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"16 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":"127948591","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 NEBULA GO, you can see many nebulae and stars being born and losing, and glimpse the secrets that arise in space. In this NEBULA GO, the universe is expressed through Go, and since ancient times, Go was invented as a tool for observing and studying the movement of celestial bodies. In this work, the artist harmonizes the secrets that occur in the universe by using the act of placing a Go in a square space, various fights caused by it, domain creation, and movement of forces. Looking at NEBULA GO, unlike Go, where victory or defeat is determined, you can observe the numerous planets visible in the universe when all actions have been completed and the changes caused by these planets. Also, by focusing on the birth origin of astronomical observation, actors can appreciate their own microcosm through their actions.
{"title":"Nebula go","authors":"Jungho Kim, Youngho Kim, Taekyung Yoo","doi":"10.1145/3414686.3427166","DOIUrl":"https://doi.org/10.1145/3414686.3427166","url":null,"abstract":"In NEBULA GO, you can see many nebulae and stars being born and losing, and glimpse the secrets that arise in space. In this NEBULA GO, the universe is expressed through Go, and since ancient times, Go was invented as a tool for observing and studying the movement of celestial bodies. In this work, the artist harmonizes the secrets that occur in the universe by using the act of placing a Go in a square space, various fights caused by it, domain creation, and movement of forces. Looking at NEBULA GO, unlike Go, where victory or defeat is determined, you can observe the numerous planets visible in the universe when all actions have been completed and the changes caused by these planets. Also, by focusing on the birth origin of astronomical observation, actors can appreciate their own microcosm through their actions.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"19 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":"123985623","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}
As we all feel as of 2020, most things in the world are reorganized around digital technology and the influence is strong. This technology is rapidly changing toward AI and M2M, where hardware is becoming nanoscale and software is less human intervention in order to process data flooding more efficiently and quickly. For this reason, we were the discoverers of this technology, but we feel a gap where we no longer know how it works. And I think it provides an opportunity for digital life, Digital Being, to emerge from that gap. I have been looking for an invisible and formless creature born out of abandoned technology for 10 years in New York City. I call it, "Digital Being," and it is also the title of my hypothetical story. This creature has atypical movements or other interactions depending on the machine it dominates. Also in this story, the entity can transmit itself over the network. Digital Being: "Hello, World!," a primitive version of the digital being family, has arrived into LCD touch screens through the network. There seems to be no physical connection, but you can guess by seeing the Wi-Fi indicator briefly appear in the right corner of the screen every time I boot it up. I don't know why, but, after arriving, it started to create a flag image by constantly collecting small pixels. To me, this action seems like a process similar to how people co-evolved the state. Please come closer and see what it is doing by touching the screen.
{"title":"Digital being: \"hello, world!\"","authors":"Taezoo Park","doi":"10.1145/3414686.3427138","DOIUrl":"https://doi.org/10.1145/3414686.3427138","url":null,"abstract":"As we all feel as of 2020, most things in the world are reorganized around digital technology and the influence is strong. This technology is rapidly changing toward AI and M2M, where hardware is becoming nanoscale and software is less human intervention in order to process data flooding more efficiently and quickly. For this reason, we were the discoverers of this technology, but we feel a gap where we no longer know how it works. And I think it provides an opportunity for digital life, Digital Being, to emerge from that gap. I have been looking for an invisible and formless creature born out of abandoned technology for 10 years in New York City. I call it, \"Digital Being,\" and it is also the title of my hypothetical story. This creature has atypical movements or other interactions depending on the machine it dominates. Also in this story, the entity can transmit itself over the network. Digital Being: \"Hello, World!,\" a primitive version of the digital being family, has arrived into LCD touch screens through the network. There seems to be no physical connection, but you can guess by seeing the Wi-Fi indicator briefly appear in the right corner of the screen every time I boot it up. I don't know why, but, after arriving, it started to create a flag image by constantly collecting small pixels. To me, this action seems like a process similar to how people co-evolved the state. Please come closer and see what it is doing by touching the screen.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"16 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":"129739149","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 screen's nature is to both show and to obscure. It forever hypnotizes us, seamlessly eliminating its own qualities as a substrate. It owns the characteristics of a Zelig: forever changing, unstable in any context, and destabilizing context itself. Informed by photography, film, and every meme that ever was, the digital image shifts readily between aspects of each. Its meaning is necessarily slippery and hard to define; possessing a quality that makes it hard to pin down or make fit into a neat category. Given this slipperiness, can we ever grasp the basic, tectonic components of the digital image? The bits and pixels of the screen do little to help our visual understanding of its relationship to one's perspective in everyday life. The seductive illusions and concomitant complexities of our online experiences have enabled an entirely new trompe l'oeil hell of phishing attacks, spoofs, and cross-domain tomfoolery. Digital images, precisely because of their ambivalence towards the picture plane, forever slip from our grasp. Only as Flusser's metaphorical wind blows them from our mental, perceptual grasp do they reveal aspects of their construction. Rather than fight against this liminal quality, we exploit it. Good-for-nothings celebrate the disappearance of materiality; albeit, through lack, dejection, and an embrace of the absence that seems to have brought much of our culture to a standstill. Forever shifting, always shiftless, on an endless joyride from nowhere to anywhere. How does one go about working with this shiftlessness? Each Good-for-nothing raises its metaphorical glass to Herman Melville's crème de la crème good-for-nothing anti-hero, Bartleby. They are images aligned with a scrivener of the post-modern age that can only tell us: 'I prefer not to'.
{"title":"Good-for-nothing (no. 1)","authors":"Nathan Matteson, Nicholas Kersulis","doi":"10.1145/3414686.3427171","DOIUrl":"https://doi.org/10.1145/3414686.3427171","url":null,"abstract":"The screen's nature is to both show and to obscure. It forever hypnotizes us, seamlessly eliminating its own qualities as a substrate. It owns the characteristics of a Zelig: forever changing, unstable in any context, and destabilizing context itself. Informed by photography, film, and every meme that ever was, the digital image shifts readily between aspects of each. Its meaning is necessarily slippery and hard to define; possessing a quality that makes it hard to pin down or make fit into a neat category. Given this slipperiness, can we ever grasp the basic, tectonic components of the digital image? The bits and pixels of the screen do little to help our visual understanding of its relationship to one's perspective in everyday life. The seductive illusions and concomitant complexities of our online experiences have enabled an entirely new trompe l'oeil hell of phishing attacks, spoofs, and cross-domain tomfoolery. Digital images, precisely because of their ambivalence towards the picture plane, forever slip from our grasp. Only as Flusser's metaphorical wind blows them from our mental, perceptual grasp do they reveal aspects of their construction. Rather than fight against this liminal quality, we exploit it. Good-for-nothings celebrate the disappearance of materiality; albeit, through lack, dejection, and an embrace of the absence that seems to have brought much of our culture to a standstill. Forever shifting, always shiftless, on an endless joyride from nowhere to anywhere. How does one go about working with this shiftlessness? Each Good-for-nothing raises its metaphorical glass to Herman Melville's crème de la crème good-for-nothing anti-hero, Bartleby. They are images aligned with a scrivener of the post-modern age that can only tell us: 'I prefer not to'.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"78 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":"126286481","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}
Narcissus was a hunter in Greek mythology who fell in love with his own reflection in the water. Narcissus is the origin of the term narcissism. This artwork, as its name suggests, is based on the myth of Narcissus. A narcissistic ego that conceals the weakness of the individual, focuses energy only on itself. Everyone has narcissism even if a little. Excessive narcissism causes lots of problems from isolation because fascinating by the perfection of oneself makes relationship with the others closed. Sensing the brainwave of an appreciator, creates an interaction that the higher concentration on the reflection on the surface of water, the more blurred observation. Through this interaction, the viewer is interrupted from being deeply immersed in oneself. That experience reflects the reverse of the Narcissus story and expresses that mirrored image of the participant could not exist as complete subject. Also, this artwork is referred to the 'Mirror stage' hypothesized by Jacques Lacan(1901--1981). Unlike the ego-psychologists' assertion that we should strengthen our ego, Jacques Lacan points out the narcissistic ego which is imaginary in human beings and says that we can grow up as a healthy subject through acknowledging that we are lacking ego not just strengthening the ego.
{"title":"Narcissus","authors":"S. Lee","doi":"10.1145/3414686.3427152","DOIUrl":"https://doi.org/10.1145/3414686.3427152","url":null,"abstract":"Narcissus was a hunter in Greek mythology who fell in love with his own reflection in the water. Narcissus is the origin of the term narcissism. This artwork, as its name suggests, is based on the myth of Narcissus. A narcissistic ego that conceals the weakness of the individual, focuses energy only on itself. Everyone has narcissism even if a little. Excessive narcissism causes lots of problems from isolation because fascinating by the perfection of oneself makes relationship with the others closed. Sensing the brainwave of an appreciator, creates an interaction that the higher concentration on the reflection on the surface of water, the more blurred observation. Through this interaction, the viewer is interrupted from being deeply immersed in oneself. That experience reflects the reverse of the Narcissus story and expresses that mirrored image of the participant could not exist as complete subject. Also, this artwork is referred to the 'Mirror stage' hypothesized by Jacques Lacan(1901--1981). Unlike the ego-psychologists' assertion that we should strengthen our ego, Jacques Lacan points out the narcissistic ego which is imaginary in human beings and says that we can grow up as a healthy subject through acknowledging that we are lacking ego not just strengthening the ego.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"23 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":"123573970","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}
"Serial paintings" are a series of works highlighting the role of the canvas - or more generally the support of the painting - in the construction of the final form. "Back and Forth - Pneumatic Anadrome" is the first work in the series. In it, a string of coloured beads is pushed back and forth between two spiralling "canvases" using compressed air. Without rearranging the order of the beads, the string is forced to coil alternatively into one or the other spiral: this folding and unfolding reveals in turn images or text with opposing meanings or connotations. Each image has to be destroyed in order to create the other; this cyclic process of creation and destruction is purposefully revealed and triggered by the curiosity of the public.
{"title":"Back and forth: pneumatic anadrome [serial painting 1]","authors":"Á. Cassinelli, C. Sandor, D. Saakes","doi":"10.1145/3414686.3427150","DOIUrl":"https://doi.org/10.1145/3414686.3427150","url":null,"abstract":"\"Serial paintings\" are a series of works highlighting the role of the canvas - or more generally the support of the painting - in the construction of the final form. \"Back and Forth - Pneumatic Anadrome\" is the first work in the series. In it, a string of coloured beads is pushed back and forth between two spiralling \"canvases\" using compressed air. Without rearranging the order of the beads, the string is forced to coil alternatively into one or the other spiral: this folding and unfolding reveals in turn images or text with opposing meanings or connotations. Each image has to be destroyed in order to create the other; this cyclic process of creation and destruction is purposefully revealed and triggered by the curiosity of the public.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"9 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":"125385631","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}
K. Lee, Eun Young Lee, Joo-seok Moon, Jina Jung, H. Park, H. Lee, Seung Ah Lee
Many people enjoy keeping houseplants and get comfort from the presence of plants. Not only for aesthetics and medical purposes, plants also have many other uses in human history. As a result, plant ecology and its biological evolutions are closely related to human culture. Normally people perceive plants as static objects, but in fact they do move and react to their surrounding environment in real-time. Their responses are just too slow to be recognized and their communication methods just differ from ours. Therefore, people find it hard to understand the biological and ecological contents underneath plants. We imagine what would happen if plants can talk, see, and sense as humans do. Our team is composed of researchers from engineering, HCI, and media arts. Our biology-computer hybrid installation project is collaboratively created based on our imagination driven from diverse experiences and interdisciplinary knowledge. Based on the imagination, we give each plant a character and exaggerate plants' sense by adding electronic devices with text to speech (TTS) voice synthesis and physics-based visual processing. The cultural histories of plants are spoken with all different synthesized human voices generated by our AI-based voice synthesis system. Also, as human vision responds to light, we also imagined that plants could see their surroundings through leaves. Because photosynthesis takes place there. By capturing the image from a mini-camera affixed to the leaf and showing the result of image processing in LCD screens placed among plants, we mimic a vision of the plants. The electrical signal is measured when users touch the plant and it distorts the audio-visual outputs. The overall experience with this work may arouse users to think about plants as a dynamic living being, opening a gap for users to understand the underlying context of plants more deeply.
{"title":"Plantext","authors":"K. Lee, Eun Young Lee, Joo-seok Moon, Jina Jung, H. Park, H. Lee, Seung Ah Lee","doi":"10.1145/3414686.3427139","DOIUrl":"https://doi.org/10.1145/3414686.3427139","url":null,"abstract":"Many people enjoy keeping houseplants and get comfort from the presence of plants. Not only for aesthetics and medical purposes, plants also have many other uses in human history. As a result, plant ecology and its biological evolutions are closely related to human culture. Normally people perceive plants as static objects, but in fact they do move and react to their surrounding environment in real-time. Their responses are just too slow to be recognized and their communication methods just differ from ours. Therefore, people find it hard to understand the biological and ecological contents underneath plants. We imagine what would happen if plants can talk, see, and sense as humans do. Our team is composed of researchers from engineering, HCI, and media arts. Our biology-computer hybrid installation project is collaboratively created based on our imagination driven from diverse experiences and interdisciplinary knowledge. Based on the imagination, we give each plant a character and exaggerate plants' sense by adding electronic devices with text to speech (TTS) voice synthesis and physics-based visual processing. The cultural histories of plants are spoken with all different synthesized human voices generated by our AI-based voice synthesis system. Also, as human vision responds to light, we also imagined that plants could see their surroundings through leaves. Because photosynthesis takes place there. By capturing the image from a mini-camera affixed to the leaf and showing the result of image processing in LCD screens placed among plants, we mimic a vision of the plants. The electrical signal is measured when users touch the plant and it distorts the audio-visual outputs. The overall experience with this work may arouse users to think about plants as a dynamic living being, opening a gap for users to understand the underlying context of plants more deeply.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"1 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":"129632948","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}
Hauntings (http://johnt.org/hauntings/) is a portrait of Australian artist/writer Francesca da Rimini. Francesca was a founding member of cyberfeminist collective VNS Matrix. Hauntings uses mixed reality technologies to create a series of portraits of Francesca reading her writing. Her stories are autobiographical and explore cultural diaspora and cross-generational family histories. They act as spells and incantations and often draw from algorithmic writing techniques. These mixed reality (XR) encounters seek to recreate and reinterpret the experience of da Rimini's performances and readings. Each reading/performance is constructed as a kind of virtual sculpture that the audience can explore and interact with. These virtual spaces and the writing itself both share a deliberate tension between wanting to make sense of one's place in the world and the acceptance of fragmentation, of the breaking down of meaning and of the image. They seek to call forth more diverse perspectives on reality. The interactive experiences are influenced by Tonkin's on-going explorations into embodied perception and the relationship between the movements of a viewer and the active bringing forth of a world.
鬼屋(http://johnt.org/hauntings/)是澳大利亚艺术家/作家Francesca da Rimini的肖像。弗朗西斯卡是网络女权主义团体VNS Matrix的创始成员。《鬼屋》使用混合现实技术创造了弗朗西斯卡阅读她作品的一系列肖像。她的故事是自传体的，探索文化散居和跨代家族史。它们就像咒语一样，经常从算法写作技巧中汲取灵感。这些混合现实(XR)相遇试图重现和重新诠释达·里米尼的表演和阅读体验。每一场阅读/表演都被构建成一种虚拟的雕塑，观众可以探索和互动。这些虚拟空间和写作本身都有一种刻意的张力，一方面想要理解一个人在世界上的位置，另一方面接受碎片化，接受意义和图像的分解。他们试图唤起人们对现实的更多样化的看法。这种互动体验受到Tonkin对具体感知的持续探索以及观众的运动与世界的主动产生之间的关系的影响。
{"title":"Hauntings","authors":"J. Tonkin","doi":"10.2307/j.ctvnwbxf5.49","DOIUrl":"https://doi.org/10.2307/j.ctvnwbxf5.49","url":null,"abstract":"Hauntings (http://johnt.org/hauntings/) is a portrait of Australian artist/writer Francesca da Rimini. Francesca was a founding member of cyberfeminist collective VNS Matrix. Hauntings uses mixed reality technologies to create a series of portraits of Francesca reading her writing. Her stories are autobiographical and explore cultural diaspora and cross-generational family histories. They act as spells and incantations and often draw from algorithmic writing techniques. These mixed reality (XR) encounters seek to recreate and reinterpret the experience of da Rimini's performances and readings. Each reading/performance is constructed as a kind of virtual sculpture that the audience can explore and interact with. These virtual spaces and the writing itself both share a deliberate tension between wanting to make sense of one's place in the world and the acceptance of fragmentation, of the breaking down of meaning and of the image. They seek to call forth more diverse perspectives on reality. The interactive experiences are influenced by Tonkin's on-going explorations into embodied perception and the relationship between the movements of a viewer and the active bringing forth of a world.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"1 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":"128798252","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：