Over the past few decades, China has been undergoing urbanization at an astounding pace. In 2013, the national leadership raised the process to a new gear when it unveiled its plan of converting 70 percent of the population to a cityoriented lifestyle by 2025. Such a significant change would undoubtedly transform the character of a country that has been largely agrarian throughout its millennia of history. One may wonder how, and to what extent, the landscape, culture and the daily being of the nation's people may be altered. As artists, we are compelled to explore and reflect upon the various phases of this historic undertaking while questioning how people are positioned during this monumental social transformation. Through fieldwork in China, we collect the ingredients necessary for a multimedia production that combines traditional artistic expressions with emerging technologies. Weaving three interfaces, namely virtual reality (VR) in cyberspace, a series of painting on canvases and traditional shadow play imagery, the multimedia art project visualizes the metamorphosis that results from the urbanization process. With a retrospective into the past through time-honored imagery and a reflection of the present through immersion in the realities of the modern China, we seek to present stories of everyday people to the conscience of a worldwide audience.
{"title":"Shadow play: tales of urbanization","authors":"Xiying Yang, Honglei Li, He Li","doi":"10.1145/3414686.3427102","DOIUrl":"https://doi.org/10.1145/3414686.3427102","url":null,"abstract":"Over the past few decades, China has been undergoing urbanization at an astounding pace. In 2013, the national leadership raised the process to a new gear when it unveiled its plan of converting 70 percent of the population to a cityoriented lifestyle by 2025. Such a significant change would undoubtedly transform the character of a country that has been largely agrarian throughout its millennia of history. One may wonder how, and to what extent, the landscape, culture and the daily being of the nation's people may be altered. As artists, we are compelled to explore and reflect upon the various phases of this historic undertaking while questioning how people are positioned during this monumental social transformation. Through fieldwork in China, we collect the ingredients necessary for a multimedia production that combines traditional artistic expressions with emerging technologies. Weaving three interfaces, namely virtual reality (VR) in cyberspace, a series of painting on canvases and traditional shadow play imagery, the multimedia art project visualizes the metamorphosis that results from the urbanization process. With a retrospective into the past through time-honored imagery and a reflection of the present through immersion in the realities of the modern China, we seek to present stories of everyday people to the conscience of a worldwide audience.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"203 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":"131966988","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}
'Alpha and Omega' deals with the emotional temperature difference between the fear and anxiety of those who have experienced a disaster and the attitudes of those who do not. This is because the artist, who returned to Seoul after suffering an earthquake around 5 am on February 11, 2018, when the second largest earthquake in Pohang (intensity 4.6), experienced the atmosphere of Seoul unlike Pohang. The severity of the earthquake felt at the epicenter of Pohang is not shared in Seoul. The artist interprets the difference in reaction between the two cities as "the difference in the senses due to the imbalance between information and experience." To express the sensory gap between the two cities, seismic data of two cities, which are objective indicators of earthquakes, are used, and the images of the horizontal (Seoul) and vertical (Pohang) axes created at the intersection reflect the earthquake intensity data of each city for 10 years. do. The higher the intensity of the earthquake, the greater the change in the axis width or line. The sound is also connected with data, and it is divided into two channels: Channel 1- Left (Seoul) and Channel 2-Right (Pohang). The sound converted to MIDI changes in pitch and rhythm depending on the magnitude of the earthquake. As such, the difference between the amount and intensity of the disaster experience shown by the data is proposed in a form that can be perceived as image and sound. Rather than simply reproducing the overwhelming fear and pressure of a disaster image, data sonication can listen to the data and provide a new synesthesia experience. In a space where disaster data is replaced by light and sound, audiences can freely experience a new type of disaster.
{"title":"Alpha and omega","authors":"Eunsol Kim","doi":"10.1145/3414686.3427168","DOIUrl":"https://doi.org/10.1145/3414686.3427168","url":null,"abstract":"'Alpha and Omega' deals with the emotional temperature difference between the fear and anxiety of those who have experienced a disaster and the attitudes of those who do not. This is because the artist, who returned to Seoul after suffering an earthquake around 5 am on February 11, 2018, when the second largest earthquake in Pohang (intensity 4.6), experienced the atmosphere of Seoul unlike Pohang. The severity of the earthquake felt at the epicenter of Pohang is not shared in Seoul. The artist interprets the difference in reaction between the two cities as \"the difference in the senses due to the imbalance between information and experience.\" To express the sensory gap between the two cities, seismic data of two cities, which are objective indicators of earthquakes, are used, and the images of the horizontal (Seoul) and vertical (Pohang) axes created at the intersection reflect the earthquake intensity data of each city for 10 years. do. The higher the intensity of the earthquake, the greater the change in the axis width or line. The sound is also connected with data, and it is divided into two channels: Channel 1- Left (Seoul) and Channel 2-Right (Pohang). The sound converted to MIDI changes in pitch and rhythm depending on the magnitude of the earthquake. As such, the difference between the amount and intensity of the disaster experience shown by the data is proposed in a form that can be perceived as image and sound. Rather than simply reproducing the overwhelming fear and pressure of a disaster image, data sonication can listen to the data and provide a new synesthesia experience. In a space where disaster data is replaced by light and sound, audiences can freely experience a new type of disaster.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"18 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":"134454719","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}
Minji Park, Yowon Jeong, J. Jeong, Dain Kim, J. H. Yoon, H. Jung, Kyeongju Hawng, J. Sung
"Painting of Thousand-hands Avalokitesvara" is a media art based on the theme of "Painting of Thousand-hands Avalokitesvara (千手觀音圖)," which paintings painted under the theme of Avalokitesvara (千手觀音) during or before Goryeo Dynasty. We reproduces the original Buddhist culture, which accounts for a large portion of Korea's culture archetype, in the three dimensional space. Avalokitesvara (千手觀音) appears in lotus flower on the center of artwork. Avalokitesvara is a Buddhist saint who saves people with a thousand-hands and a thousand eyes. Thousand-hands (千手) literally symbolize a thousand hands, and metaphorically symbolize the ability and its appearance is very diverse. Also in the artwork, Avalokitesvara has 11 faces, indicating that through Avalokitesvara's various appearances, they can save all of the people in various situations. On both sides of the Avalokitesvara, there are Four Devas (四天王), the four heavenly guardians of Buddhism. The Dragon King and the Sudhana (善財童子) appear After the appearance of the Four Devas. All of them gathered to listen to the teaching of the Avalokitesvara. Thousand-hands begin to unfold in the halo (光背) of the Avalokitesvara. After all the elements of the artwork such as the waves in the background and the Litany Buddha (化佛) appear, 42 hands which contained people's wishes with Buddhism things (持物) appear accordingly. Every time a 42-hands appears, the color of the thousand-hands in the halo changes and the thousand-hands take various hand movements (手印).
{"title":"Painting of Thousandhands Avalokitesvara","authors":"Minji Park, Yowon Jeong, J. Jeong, Dain Kim, J. H. Yoon, H. Jung, Kyeongju Hawng, J. Sung","doi":"10.1145/3414686.3427147","DOIUrl":"https://doi.org/10.1145/3414686.3427147","url":null,"abstract":"\"Painting of Thousand-hands Avalokitesvara\" is a media art based on the theme of \"Painting of Thousand-hands Avalokitesvara (千手觀音圖),\" which paintings painted under the theme of Avalokitesvara (千手觀音) during or before Goryeo Dynasty. We reproduces the original Buddhist culture, which accounts for a large portion of Korea's culture archetype, in the three dimensional space. Avalokitesvara (千手觀音) appears in lotus flower on the center of artwork. Avalokitesvara is a Buddhist saint who saves people with a thousand-hands and a thousand eyes. Thousand-hands (千手) literally symbolize a thousand hands, and metaphorically symbolize the ability and its appearance is very diverse. Also in the artwork, Avalokitesvara has 11 faces, indicating that through Avalokitesvara's various appearances, they can save all of the people in various situations. On both sides of the Avalokitesvara, there are Four Devas (四天王), the four heavenly guardians of Buddhism. The Dragon King and the Sudhana (善財童子) appear After the appearance of the Four Devas. All of them gathered to listen to the teaching of the Avalokitesvara. Thousand-hands begin to unfold in the halo (光背) of the Avalokitesvara. After all the elements of the artwork such as the waves in the background and the Litany Buddha (化佛) appear, 42 hands which contained people's wishes with Buddhism things (持物) appear accordingly. Every time a 42-hands appears, the color of the thousand-hands in the halo changes and the thousand-hands take various hand movements (手印).","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"85 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":"131910871","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}
Pub Date : 2020-12-04DOI: 10.1093/benz/9780199773787.article.b00183508
Takuya Yamauchi
"Tokyo" is a generative artwork created by visualizing continuous recorded Tokyo temperature data obtained from the Japan Meteorological Agency from 1990 to 2017, and then printing out the result in a creative manner. The colored dots in the artwork reflect the temperature of each day. Cold days were colored in blue while warm days were displayed in orange. There are two primary reasons for using natural phenomena, such as temperature data in generative art creation. First, the data allows us to embrace and comprehend the unpredictability of natural phenomena. Second, when used with a generative algorithm, it makes possible data visualization in ways that allow us to create abstract art. Since there are massive amounts of historical temperature data, such artwork would be impossible to create without computers. Simple patterns like noise are not always random and often contain repeating patterns that can be expressed harmoniously. The seeming randomness of dots showing temperature distributions of hot summer days can be painted as patterns that result in abstract artwork. When applied to Tokyo temperature data, the stain-like patterns that resulted are among the most attractive characteristics of generative art painting and would be difficult to express without the generative algorithm.
{"title":"Tokyo","authors":"Takuya Yamauchi","doi":"10.1093/benz/9780199773787.article.b00183508","DOIUrl":"https://doi.org/10.1093/benz/9780199773787.article.b00183508","url":null,"abstract":"\"Tokyo\" is a generative artwork created by visualizing continuous recorded Tokyo temperature data obtained from the Japan Meteorological Agency from 1990 to 2017, and then printing out the result in a creative manner. The colored dots in the artwork reflect the temperature of each day. Cold days were colored in blue while warm days were displayed in orange. There are two primary reasons for using natural phenomena, such as temperature data in generative art creation. First, the data allows us to embrace and comprehend the unpredictability of natural phenomena. Second, when used with a generative algorithm, it makes possible data visualization in ways that allow us to create abstract art. Since there are massive amounts of historical temperature data, such artwork would be impossible to create without computers. Simple patterns like noise are not always random and often contain repeating patterns that can be expressed harmoniously. The seeming randomness of dots showing temperature distributions of hot summer days can be painted as patterns that result in abstract artwork. When applied to Tokyo temperature data, the stain-like patterns that resulted are among the most attractive characteristics of generative art painting and would be difficult to express without the generative algorithm.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"40 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":"133488507","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 author noted the surrounding environment for creating gentrification using culture and arts in Munrae-dong. The author wanted to express the author's view of the situation in Munrae-dong, where gentrification is taking place, and the image of the person be used and consumed in this situation through partial visualization of four-dimensional space.
{"title":"Futility","authors":"Sang wook Lee","doi":"10.1145/3414686.3427126","DOIUrl":"https://doi.org/10.1145/3414686.3427126","url":null,"abstract":"The author noted the surrounding environment for creating gentrification using culture and arts in Munrae-dong. The author wanted to express the author's view of the situation in Munrae-dong, where gentrification is taking place, and the image of the person be used and consumed in this situation through partial visualization of four-dimensional space.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"320 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":"123922713","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This work was produced in the context of the Leaning Out of Windows project, where artists, scholars and physicists are placed in collaborative dialogue in the development of new artistic works. One of the overlaps between experimental particle physics and my own work is the deconstruction of material in order to inspect the nature of objects and their constituents. The source material for this work is a set of photographs of the experimental apparatus of the TRIUMF particle accelerator. The emphasis of the photographs is the beam-lines that facilitate the transport of various particles in the apparatus, which resembles a industrial factory. The various exotic particles are made through acceleration, filtering and collision. I often work with photographic imagery and machine learning methods to question the relations between objects and contexts, reality and imagination, and realism and abstraction. This image is composed from 130,000 image fragments extracted from 100 photographs taken at TRIUMF. Image fragments are constructed by the algorithmic selection of areas of somewhat uniform colour. The edges of these fragments are an emergent result of the interaction of a segmentation algorithm and the photograph. The image is constructed by collaging these fragments where placement is determined by grouping fragments, according to colour and orientation, using a self-organizing machine learning algorithm. The macro-structure is then also an emergent result, this time following from the interaction between the self-organizing algorithm and the set of photographic fragments. While I have used this fragmentation process in other works, it was my exposure to Karen Barad's concept of "cutting together/apart," that solidified by thinking on objects as resulting from the creation of boundaries through (inter)intraaction. This conception aligns very closely to what I've been thinking about as Machine Subjectivity that is enabled by imagination as boundary-making and a critique of classification.
{"title":"Imagined field from the decomposition of an apparatus","authors":"B. Bogart","doi":"10.1145/3414686.3427145","DOIUrl":"https://doi.org/10.1145/3414686.3427145","url":null,"abstract":"This work was produced in the context of the Leaning Out of Windows project, where artists, scholars and physicists are placed in collaborative dialogue in the development of new artistic works. One of the overlaps between experimental particle physics and my own work is the deconstruction of material in order to inspect the nature of objects and their constituents. The source material for this work is a set of photographs of the experimental apparatus of the TRIUMF particle accelerator. The emphasis of the photographs is the beam-lines that facilitate the transport of various particles in the apparatus, which resembles a industrial factory. The various exotic particles are made through acceleration, filtering and collision. I often work with photographic imagery and machine learning methods to question the relations between objects and contexts, reality and imagination, and realism and abstraction. This image is composed from 130,000 image fragments extracted from 100 photographs taken at TRIUMF. Image fragments are constructed by the algorithmic selection of areas of somewhat uniform colour. The edges of these fragments are an emergent result of the interaction of a segmentation algorithm and the photograph. The image is constructed by collaging these fragments where placement is determined by grouping fragments, according to colour and orientation, using a self-organizing machine learning algorithm. The macro-structure is then also an emergent result, this time following from the interaction between the self-organizing algorithm and the set of photographic fragments. While I have used this fragmentation process in other works, it was my exposure to Karen Barad's concept of \"cutting together/apart,\" that solidified by thinking on objects as resulting from the creation of boundaries through (inter)intraaction. This conception aligns very closely to what I've been thinking about as Machine Subjectivity that is enabled by imagination as boundary-making and a critique of classification.","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":"131690526","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}
Persistence is a kinetic installation exploring the conflict between geologic and human timescales. The Anthropocene, a proposed geological epoch, is proceeding towards a formal 'golden spike' to mark it's beginning. The installation investigates the fundamental dissonance one encounters when holding the ideas of planetary memory and personal experience simultaneously. Will we be defined by radionuclides, mass extinctions, and irreparable damage to the planet, or by a golden spike marking our ability to recognize and reverse current trajectories. Persistence acts as a fiducial, a fixed point, a reminder of our limitations, and fleeting collective memory. By drawing attention to our own limitations we hope to offer a space to allow viewers to reflect on the collective frailty of our memory, and the dire need to preserve the valuable life on this planet. The imagery of recently extinct animals, natural resources, and forgotten life forms will be displayed using the persistence machine. As the six-foot robotic arm rotates across a phosphorescent canvas, ultraviolet lasers activate the underlying pigment - revealing a fleeting image. Each additional pass of the robotic arm, mimicking a clock, invites new opportunities to allow existing memories and images to fade - or to activate entirely new compositions. In this digital representation of the project. A video (or real-time simulation) of the kinetic installation will be installed in the gallery for visitors to interact with. Visitors can select from a tablet a selection of topics to remember. The memory will be recalled using the kinetic persistence system. The visitor is invited to explore the memory and learn more about the topic to give the memory a new life.
{"title":"Persistence","authors":"H. Moon, J. Billions, Qianqian Ye","doi":"10.1145/3414686.3427112","DOIUrl":"https://doi.org/10.1145/3414686.3427112","url":null,"abstract":"Persistence is a kinetic installation exploring the conflict between geologic and human timescales. The Anthropocene, a proposed geological epoch, is proceeding towards a formal 'golden spike' to mark it's beginning. The installation investigates the fundamental dissonance one encounters when holding the ideas of planetary memory and personal experience simultaneously. Will we be defined by radionuclides, mass extinctions, and irreparable damage to the planet, or by a golden spike marking our ability to recognize and reverse current trajectories. Persistence acts as a fiducial, a fixed point, a reminder of our limitations, and fleeting collective memory. By drawing attention to our own limitations we hope to offer a space to allow viewers to reflect on the collective frailty of our memory, and the dire need to preserve the valuable life on this planet. The imagery of recently extinct animals, natural resources, and forgotten life forms will be displayed using the persistence machine. As the six-foot robotic arm rotates across a phosphorescent canvas, ultraviolet lasers activate the underlying pigment - revealing a fleeting image. Each additional pass of the robotic arm, mimicking a clock, invites new opportunities to allow existing memories and images to fade - or to activate entirely new compositions. In this digital representation of the project. A video (or real-time simulation) of the kinetic installation will be installed in the gallery for visitors to interact with. Visitors can select from a tablet a selection of topics to remember. The memory will be recalled using the kinetic persistence system. The visitor is invited to explore the memory and learn more about the topic to give the memory a new life.","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":"130304520","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}
Surrogate Being is an interactive virtual environment, where I negotiate the discrepancy between memories and digital data of a nostalgic place, my hometown in Korea. Interweaving the heterogeneity of algorithmic digital images and affective memories, this project overcomes the binary opposition of humans and nonhuman and the anthropocentric perspective to investigate technology as a coevolving cognitive being and vital actor in the cognitive network. This project explores our experience and understanding of the world living in the Cognisphere - the globally interconnected cognitive system of humans and machines - and acknowledges nonlinguistic forces and experiential knowledge. Such affective dynamics among planetary cognitive beings are largely unnoticed and overshadowed by seemingly explicit and errorless digital information, and this project opens up interplays between tangible representations on the interface and underlying affects. Surrogate Being bridges the gap between my mind and digital technology and invites participants to navigate the mediated landscape with their curiosity. As memories remain indistinct and disintegrated until we recollect, the landscape is destructed and distorted when no participant is engaged. If a participant is approached the fragmented image and stands in front of it, it turns into a navigable landscape. As s/he moves her/his head to look at the other side of the landscape, the virtual camera in the scene changes its direction responding to the participants' movement - analyzing the image using computer vision. This interaction suggests a potential depth in this digital landscape we can look into, thus the monitor becomes a portal into a mediated digital-memory space. Furthermore, human and technological cognition become indistinguishable in this mediated space, collaboratively generated by affective memories and algorithmic decisions.
{"title":"Surrogate being","authors":"Sunsook Nam","doi":"10.1145/3414686.3427148","DOIUrl":"https://doi.org/10.1145/3414686.3427148","url":null,"abstract":"Surrogate Being is an interactive virtual environment, where I negotiate the discrepancy between memories and digital data of a nostalgic place, my hometown in Korea. Interweaving the heterogeneity of algorithmic digital images and affective memories, this project overcomes the binary opposition of humans and nonhuman and the anthropocentric perspective to investigate technology as a coevolving cognitive being and vital actor in the cognitive network. This project explores our experience and understanding of the world living in the Cognisphere - the globally interconnected cognitive system of humans and machines - and acknowledges nonlinguistic forces and experiential knowledge. Such affective dynamics among planetary cognitive beings are largely unnoticed and overshadowed by seemingly explicit and errorless digital information, and this project opens up interplays between tangible representations on the interface and underlying affects. Surrogate Being bridges the gap between my mind and digital technology and invites participants to navigate the mediated landscape with their curiosity. As memories remain indistinct and disintegrated until we recollect, the landscape is destructed and distorted when no participant is engaged. If a participant is approached the fragmented image and stands in front of it, it turns into a navigable landscape. As s/he moves her/his head to look at the other side of the landscape, the virtual camera in the scene changes its direction responding to the participants' movement - analyzing the image using computer vision. This interaction suggests a potential depth in this digital landscape we can look into, thus the monitor becomes a portal into a mediated digital-memory space. Furthermore, human and technological cognition become indistinguishable in this mediated space, collaboratively generated by affective memories and algorithmic decisions.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"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":"125027477","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}
Simplexity 01 is a selection from an on-going experimental project that explores how unexpected visual complexities emerge from simple algorithmic procedures. For this particular work, the artist appropriated a simple space-filling algorithm into a generative medium for producing an unseen imaginary structure. The quality that identifies this work is the structure's semi-organic appearance, and the artist sees this emergence as a direct result of the spatial scale that the algorithm was allowed to explore.
{"title":"Simplexity 01","authors":"Kin-Ming Wong","doi":"10.1145/3414686.3427117","DOIUrl":"https://doi.org/10.1145/3414686.3427117","url":null,"abstract":"Simplexity 01 is a selection from an on-going experimental project that explores how unexpected visual complexities emerge from simple algorithmic procedures. For this particular work, the artist appropriated a simple space-filling algorithm into a generative medium for producing an unseen imaginary structure. The quality that identifies this work is the structure's semi-organic appearance, and the artist sees this emergence as a direct result of the spatial scale that the algorithm was allowed to explore.","PeriodicalId":376476,"journal":{"name":"SIGGRAPH Asia 2020 Art Gallery","volume":"21 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":"121773603","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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