Andrew Gambardella, Meeyung Chung, Doyo Choi, Jinjoon Lee
The authors present gOd, mOther and sOldier—Nowhere in Somewhere Series 2022, a work that was conceptualized and created by artist Jinjoon Lee and his TX Creative Media Lab at KAIST, realized through the remote cooperation of eight local collaborators across Southeast Asia. The authors used artificial intelligence-based object detectors and sonification techniques in a work of media art to symbolize the voicelessness of those at the margins of society in Southeast Asia. These algorithms and concepts, and the work as a whole, artistically demonstrate how marginalized people are misrepresented and misunderstood when interpreted out of context.
{"title":"gOd, mOther and sOldier: A Story of Oppression, Told through the Lens of AI","authors":"Andrew Gambardella, Meeyung Chung, Doyo Choi, Jinjoon Lee","doi":"10.1162/leon_a_02365","DOIUrl":"https://doi.org/10.1162/leon_a_02365","url":null,"abstract":"The authors present gOd, mOther and sOldier—Nowhere in Somewhere Series 2022, a work that was conceptualized and created by artist Jinjoon Lee and his TX Creative Media Lab at KAIST, realized through the remote cooperation of eight local collaborators across Southeast Asia. The authors used artificial intelligence-based object detectors and sonification techniques in a work of media art to symbolize the voicelessness of those at the margins of society in Southeast Asia. These algorithms and concepts, and the work as a whole, artistically demonstrate how marginalized people are misrepresented and misunderstood when interpreted out of context.","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"685 1","pages":"-"},"PeriodicalIF":0.0,"publicationDate":"2023-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76279739","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}
Metaverse, Metahype, Metafun—maybe all three, or even none? As of 2023, there were three billion gamers in the world. Among these, the gaming platform Roblox had nearly 55 million average daily users. Some gamers wanted to help solve real-world challenges, and a game developer could become a well-known futurist by addressing challenges with a global impact. However, instead of focusing on the whole picture, these initiatives concentrated on existential risks and remained “boringly” focused on climate change, financial crises, and other issues. Then, when Facebook rebranded as part of Meta Platforms, Inc., in October 2021, it made clear that we would henceforth need to live with the “metaverse.” Stemming from Neal Stephenson’s 1992 novel Snow Crash, in which the Metaverse was an urban virtual environment with avatars as inhabitants, it was praised as the successor to the Internet. Like an overarching architectural concept with a network of subsystems (or subverses), the Metaverse (Fig. 1) was implemented on several competing or coexisting private/business platforms. The XR (mixed reality) Metaverse community, combining virtual reality and augmented reality, involved fascinating people and was leading to collective intelligence, triggering the collective imagination. Millions of users entered a virtual world for playing, employment, and relationship-making: The online world was a “reality.”
{"title":"The Metaverse, 2030: A Boring Virtual Future Averted by Inspired Entrepreneurs and Artists","authors":"P. Friess, Alain Ruche","doi":"10.1162/leon_a_02369","DOIUrl":"https://doi.org/10.1162/leon_a_02369","url":null,"abstract":"Metaverse, Metahype, Metafun—maybe all three, or even none? As of 2023, there were three billion gamers in the world. Among these, the gaming platform Roblox had nearly 55 million average daily users. Some gamers wanted to help solve real-world challenges, and a game developer could become a well-known futurist by addressing challenges with a global impact. However, instead of focusing on the whole picture, these initiatives concentrated on existential risks and remained “boringly” focused on climate change, financial crises, and other issues. Then, when Facebook rebranded as part of Meta Platforms, Inc., in October 2021, it made clear that we would henceforth need to live with the “metaverse.” Stemming from Neal Stephenson’s 1992 novel Snow Crash, in which the Metaverse was an urban virtual environment with avatars as inhabitants, it was praised as the successor to the Internet. Like an overarching architectural concept with a network of subsystems (or subverses), the Metaverse (Fig. 1) was implemented on several competing or coexisting private/business platforms. The XR (mixed reality) Metaverse community, combining virtual reality and augmented reality, involved fascinating people and was leading to collective intelligence, triggering the collective imagination. Millions of users entered a virtual world for playing, employment, and relationship-making: The online world was a “reality.”","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"98 1","pages":"447-449"},"PeriodicalIF":0.0,"publicationDate":"2023-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80616072","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}
Abstract Scribe (2022) is a choral work for three voices. It is a multidisciplinary project that encompasses paleography, machine learning, transcription, and performance. Furthermore, Scribe is a work of parafictional art where fact and fiction overlap, conventional practices of paleography and edition-making are playfully reconfigured, and supposed historical authenticity is employed as a compositional material. This paper describes the creative processes in the making of Scribe before evaluating aspects of the uncanny and material agency. It draws upon autoethnographic analysis before contextualizing this within the psychoanalytical criticism of philosopher Slavoj Žižek.
{"title":"Scribe: Machine Learning, Parafiction, and the Perversion of Practice","authors":"M. Dyer","doi":"10.1162/leon_a_02363","DOIUrl":"https://doi.org/10.1162/leon_a_02363","url":null,"abstract":"Abstract Scribe (2022) is a choral work for three voices. It is a multidisciplinary project that encompasses paleography, machine learning, transcription, and performance. Furthermore, Scribe is a work of parafictional art where fact and fiction overlap, conventional practices of paleography and edition-making are playfully reconfigured, and supposed historical authenticity is employed as a compositional material. This paper describes the creative processes in the making of Scribe before evaluating aspects of the uncanny and material agency. It draws upon autoethnographic analysis before contextualizing this within the psychoanalytical criticism of philosopher Slavoj Žižek.","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"2 1","pages":"534-539"},"PeriodicalIF":0.0,"publicationDate":"2023-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84243631","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}
Abstract Epiphytic Memory is an ongoing project motivated by the symbiotic homing relations of plants. The artist 3D-printed porcelain LIDAR scans of ancient trees from Aotearoa New Zealand’s southern rainforests, situating them in hybrid environments in Ōtepoti Dunedin as scientific interventions. These site-specific sculptures function both as memories and as potential bioscaffolds for new life. The project uses augmented reality to help viewers understand the depth of time involved within the work through an interactive gallery installation that simulates plant growth. In this article, the artist contextualizes the project through scientific research and Indigenous Māori thought on plant relations and intelligence. Multiple forms of sentience connect within the project, and the artist uses philosopher N. Katherine Hayles’s ideas of planetary cognitive ecology and cognitive assemblages to understand the ecological value of this connected sentience and how these connections might facilitate plant-human dialogues.
{"title":"Epiphytic Memory: A Cognitive Assemblage of Plant-Human-Technology","authors":"Finn Petrie","doi":"10.1162/leon_a_02367","DOIUrl":"https://doi.org/10.1162/leon_a_02367","url":null,"abstract":"Abstract Epiphytic Memory is an ongoing project motivated by the symbiotic homing relations of plants. The artist 3D-printed porcelain LIDAR scans of ancient trees from Aotearoa New Zealand’s southern rainforests, situating them in hybrid environments in Ōtepoti Dunedin as scientific interventions. These site-specific sculptures function both as memories and as potential bioscaffolds for new life. The project uses augmented reality to help viewers understand the depth of time involved within the work through an interactive gallery installation that simulates plant growth. In this article, the artist contextualizes the project through scientific research and Indigenous Māori thought on plant relations and intelligence. Multiple forms of sentience connect within the project, and the artist uses philosopher N. Katherine Hayles’s ideas of planetary cognitive ecology and cognitive assemblages to understand the ecological value of this connected sentience and how these connections might facilitate plant-human dialogues.","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"18 1","pages":"478-484"},"PeriodicalIF":0.0,"publicationDate":"2023-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78948349","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}
Abstract In-Habitant is an art and life project based on artist Umut Tasa’s decadelong encounters with urban wildlife. It is a quest to utilize art as a research method to contemplate her memories, nature discoveries, audiovisual records, and archive of haiku and prose through a body of artworks. These artworks bring together the corporeality of nonhumans with their digital re-presentation and literary text with creative coding. The author inquires into dualistic and nondualistic ontological approaches to human-nonhuman relations in urban settings.
{"title":"In-Habitant: An Inquiry into a Non-Dualistic Duality of Human and Nonhuman","authors":"U. Tasa","doi":"10.1162/leon_a_02370","DOIUrl":"https://doi.org/10.1162/leon_a_02370","url":null,"abstract":"Abstract In-Habitant is an art and life project based on artist Umut Tasa’s decadelong encounters with urban wildlife. It is a quest to utilize art as a research method to contemplate her memories, nature discoveries, audiovisual records, and archive of haiku and prose through a body of artworks. These artworks bring together the corporeality of nonhumans with their digital re-presentation and literary text with creative coding. The author inquires into dualistic and nondualistic ontological approaches to human-nonhuman relations in urban settings.","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"20 1","pages":"351-358"},"PeriodicalIF":0.0,"publicationDate":"2023-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88489411","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 paper presents novel catoptric anamorphic sculptures made possible by the development of bespoke software. The authors detail the production of a catoptric anamorphic sculpture involving a concave mirror and examine the audience’s experience. The reflections the mirror creates are described as being holographic. This effect is known as a ‘real image’ and only occurs using a concave mirror. The authors present the digital tools they have developed to facilitate anamorphic artistic production and extend the limits of what has been achieved in the past. They end with an outline of future work, including glass lenses, and propose using video projection mapping.
{"title":"Reflections on Light: Developing New Methods for Producing Anamorphic Sculpture","authors":"Louise H. Pratt, Andrew Johnston, N. Pietroni","doi":"10.1162/leon_a_02368","DOIUrl":"https://doi.org/10.1162/leon_a_02368","url":null,"abstract":"This paper presents novel catoptric anamorphic sculptures made possible by the development of bespoke software. The authors detail the production of a catoptric anamorphic sculpture involving a concave mirror and examine the audience’s experience. The reflections the mirror creates are described as being holographic. This effect is known as a ‘real image’ and only occurs using a concave mirror. The authors present the digital tools they have developed to facilitate anamorphic artistic production and extend the limits of what has been achieved in the past. They end with an outline of future work, including glass lenses, and propose using video projection mapping.","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"30 1","pages":"-"},"PeriodicalIF":0.0,"publicationDate":"2023-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89425966","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}
Abstract This statement presents the author’s proposition—“Let’s be more conceptual!”—in response to the attempt to interpret Non-Fungible Tokens (NFTs) as contemporary art. In the context of NFTs, this opinion has the significance of finding artistry in the underlying decentralized autonomous consensus-building, and in the context of contemporary art, it has the significance of leading to the revival of early conceptual art. The second half of this statement covers the novelty and feasibility of this opinion, referring to precedents in art and engineering.
{"title":"Be More Conceptual Regarding Non-Fungible Tokens (NFTs) as Art","authors":"Kensuke Ito","doi":"10.1162/leon_a_02366","DOIUrl":"https://doi.org/10.1162/leon_a_02366","url":null,"abstract":"Abstract This statement presents the author’s proposition—“Let’s be more conceptual!”—in response to the attempt to interpret Non-Fungible Tokens (NFTs) as contemporary art. In the context of NFTs, this opinion has the significance of finding artistry in the underlying decentralized autonomous consensus-building, and in the context of contemporary art, it has the significance of leading to the revival of early conceptual art. The second half of this statement covers the novelty and feasibility of this opinion, referring to precedents in art and engineering.","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"214 ","pages":"290-291"},"PeriodicalIF":0.0,"publicationDate":"2023-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72504510","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Lessons from the Harrisons","authors":"Janeil Engelstad","doi":"10.1162/leon_a_02364","DOIUrl":"https://doi.org/10.1162/leon_a_02364","url":null,"abstract":"","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"43 1","pages":"304-305"},"PeriodicalIF":0.0,"publicationDate":"2023-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80840335","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}
Abstract The authors propose a new conception of the mechanism that occurs during a narrative-based art experience—the “Act of Fiction.” They claim that there is no “suspension of disbelief” but rather something more similar to our decision-making systems, enabling us to simultaneously be present in the real and the unreal (fictional). The article’s first part contains a narrative account in which an Act of Fiction takes place; it exemplifies what it also describes. The second part provides an analysis of this phenomenon through a review of current literature and our position on it. The third part proposes an outline for a primary examination of what might be happening in the brain in the experience of an Act of Fiction. The authors conclude by suggesting directions for future research.
{"title":"Act of Fiction: Simultaneously Experienced Multiple Perspectives of (Un)reality When Engaging with Narrative-Based Art","authors":"Einat Amir, J. Sofaer, Mikko Sams","doi":"10.1162/leon_a_02362","DOIUrl":"https://doi.org/10.1162/leon_a_02362","url":null,"abstract":"Abstract The authors propose a new conception of the mechanism that occurs during a narrative-based art experience—the “Act of Fiction.” They claim that there is no “suspension of disbelief” but rather something more similar to our decision-making systems, enabling us to simultaneously be present in the real and the unreal (fictional). The article’s first part contains a narrative account in which an Act of Fiction takes place; it exemplifies what it also describes. The second part provides an analysis of this phenomenon through a review of current literature and our position on it. The third part proposes an outline for a primary examination of what might be happening in the brain in the experience of an Act of Fiction. The authors conclude by suggesting directions for future research.","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"50 1","pages":"374-378"},"PeriodicalIF":0.0,"publicationDate":"2023-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83753025","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}
N. Tosa, A. Yamada, Yunian Pang, S. Toba, Azusa Ito, Takashi Suzuki, Ryohei Nakatsu
Abstract The authors, led by artist Naoko Tosa, discuss their collaboration on the video artwork Sound of Ikebana, made by applying sound vibration to fluid and shooting it with a high-speed camera. To study the fluid’s shape under zero gravity the authors experimented with generating the artwork under weightlessness achieved through parabolic flight. The authors confirmed that a new shape significantly different from the one created under normal gravity is created. A three-dimensional artwork was also generated by shooting the phenomenon from multiple viewpoints.
以艺术家土佐直子(Naoko Tosa)为首的作者讨论了他们在视频作品《花花之声》(Sound of Ikebana)上的合作，他们将声音振动应用于流体，并用高速摄像机拍摄。为了研究流体在零重力下的形状，作者实验了在通过抛物线飞行实现失重的情况下生成艺术品。研究人员证实，形成了一个与正常重力下形成的形状明显不同的新形状。通过从多个视点拍摄这一现象，也产生了一个三维的艺术品。
{"title":"Sound of Ikebana: Fluid Artwork Created under Zero-G Using Parabolic Flight","authors":"N. Tosa, A. Yamada, Yunian Pang, S. Toba, Azusa Ito, Takashi Suzuki, Ryohei Nakatsu","doi":"10.1162/leon_a_02360","DOIUrl":"https://doi.org/10.1162/leon_a_02360","url":null,"abstract":"Abstract The authors, led by artist Naoko Tosa, discuss their collaboration on the video artwork Sound of Ikebana, made by applying sound vibration to fluid and shooting it with a high-speed camera. To study the fluid’s shape under zero gravity the authors experimented with generating the artwork under weightlessness achieved through parabolic flight. The authors confirmed that a new shape significantly different from the one created under normal gravity is created. A three-dimensional artwork was also generated by shooting the phenomenon from multiple viewpoints.","PeriodicalId":93330,"journal":{"name":"Leonardo (Oxford, England)","volume":"9 1","pages":"359-366"},"PeriodicalIF":0.0,"publicationDate":"2023-01-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88585266","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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