This paper presents and discusses the work “Data-Doppelgänger: Infinite Regress” (2023-2024), a dialogical NFT Exploration Inspired by Victoria Vesna’s 'Bodies Incorporated" and revisiting Roy Ascott’s considerations on the ‘multiple self’ emerging as a transformative art installation connected to the ISEA 2024 sub-theme, 'Ecologies of Place.' This immersive experience navigates the interplay of physical, digital, and ecological elements that shape our perception of place — interweaving our presence and identity in physical and digital realms. Participants engage in a participatory creation process, contributing personal data to algorithmic generation, resulting in NFT-driven avatars. The installation mirrors the layered ecologies outlined in ISEA's theme, highlighting the interactions between human, non-human, and technological entities. It serves as a dynamic exploration of sustainable and interconnected spaces in the digital age. Inspired by Roy Ascott's concept of 'Multiple Self' and in alignment with the Everywhen, 'Data-Doppelgänger: Infinite Regress” (2023-2024) offers a reflective journey into the multiplicity of identities within our contemporary landscapes. A TV screen becomes a nexus for the convergence of physical and digital realities, where the creation of NFTs intertwines with the organic, fostering a sense of ownership in the participants. As an homage to Vesna and Ascott's visions, the installation transforms personal narratives into a collective artwork, transcending boundaries and contributing to the discourse on ecologies that intertwine the human, the digital, and the ecological in the ever-evolving digital age."

This artist talk seeks to explore the profound intersection of ancient ritualistic practices, consciousness expansion, and contemporary technological advancements through the lens of caves in Guizhou. Caves, historically used for ritualistic purposes, become the canvas for an immersive multimedia installation. The project investigates how the exploration of altered states of consciousness in these subterranean spaces serves as a metaphor for the natural and artificial processes of consciousness reframing, particularly in the context of Machine Consciousness. Through advanced photographic techniques, the unique features of Guizhou's caves are captured, with a deliberate emphasis on the interplay of artificial light to unveil hidden dimensions. This artistic endeavor delves into the transformative journey of both human and machine intelligence, drawing parallels between ancient rituals and the evolving landscape of artificial intelligence.

This paper explores botanical aesthetics by presenting “ "Botanic Synthesis: A Visual Exploration of Tactile Interaction with Plants ” an artwork that seeks to visualize the intricate language of tactile interaction with plants. Inspired by the works of renowned artists Guto Nobrega, Laura Beloff, and Eduardo Kac, the project aims to translate the subtle signals and emotions emitted by plants into captivating visuals. The synthesis of art and technology, drawing on Nobrega's organic forms, Beloff's interactive installations, and Kac's bioart, serves as a foundation for the creation of an immersive experience that transcends the boundaries between the botanical and the digital. Central to this exploration is the integration of Roy Ascott's pioneering concept of "Moistmedia," wherein the artist envisions a dynamic and fluid interplay between technology and the natural world. The paper discusses the theoretical underpinnings of Ascott's Moistmedia and its application in the context of visualizing plant interactions. By combining artistic vision with scientific inquiry, this project contributes to the evolving discourse on the intersection of art, technology, and ecology, offering a unique perspective on the symbiotic relationship between humans and the vegetal realm.

This paper delves into the conceptual underpinnings and experiential dimensions of the immersive installation titled ‘Polyssemic Intimacy' (20023-20024) drawing inspiration from Jorge Luis Borges's labyrinths and the sensorial artistry of Olafur Eliasson, the installation emerges as a synthesis of intellectual depth and immersive aesthetics. The narrative unfolds within a physical labyrinth, embodying Borgesian themes of infinite possibilities, mirrors, and nonlinear storytelling. Colored lights, sequential panels, and reflective surfaces create disorienting effects, while thematic chambers echo Borges 'Garden of Forking Paths.' The incorporation of Eliasson's elemental influences introduces natural elements, spatial illusions, and collaborative storytelling, adding layers to the immersive experience. The paper explores the interplay of ambiguity and uncertainty in the design, inviting participants to navigate the possibility of random casual encounters driven by their inputs —- text, light, and sound. through contrasting elements. The intention is to explore in the design of the installation, the integration of metaphysical inquiry, and philosophical reflections on identity, existence, and nature of reality in casual intimate encounters. The work emerges as a multidimensional exploration that transcends conventional boundaries, inviting participants to engage intellectually, emotionally, and sensorial, considering exploring the potential of interactive art to create transformative and contemplative experiences.

This paper explores the design and conceptual aspects of "Shadows of Wuhan," a horror video game influenced by the literary perspectives of Bernard Perron, Clive Barker, and Souvik Mukherjee. Drawing inspiration from the fusion of fear and play, the narrative complexities of characters, and the art of storytelling in video games, our game ventures into a post-pandemic Wuhan, China. The protagonist, Lin Huowang, navigates a world transformed by a viral mutation, turning survivors into hybrids of humans and bats. Informed by Barker's narrative depth, Perron's insights into fear, and Mukherjee's exploration of storytelling elements, we delve into the conceptual framework and characteristics of 3D game environment design. The immersive realism, depth, and dynamic lighting of our environments contribute to world-building, creating a chilling atmosphere where the lines between humanity and monstrosity blur. The game's narrative intricacies, interactive elements, and user navigation align with the amalgamation of literary inspiration and 3D design principles. As players traverse the decaying city, the seamless transitions and textured landscapes tell a haunting story of survival and transformation."Shadows of Wuhan" emerges as a testament to the transformative potential of horror gaming, pushing the boundaries of narrative depth and emotional engagement. This paper sheds light on the considerations behind the design choices, providing insights into the amalgamation of literary inspiration and 3D environment design principles, ultimately contributing to the evolving discourse on horror game innovation.

This artist talk introduces the Virtual Reality (VR) installation titled 'Holly Landscapes,' a creation that seamlessly blends the visual inspirations of esteemed artists Ruben Wu and Olafur Eliasson. It also significantly emphasizes respecting natural environments amidst the ongoing climate crisis. By utilizing advanced AI technology to generate immersive 3D videos, our installation takes participants on a synesthetic journey through otherworldly landscapes, echoing Wu's captivating use of light and Eliasson's interactive installations. In an era marked by environmental challenges, 'Holly Landscapes intentionally infuses the VR experience with a commitment to respecting and preserving the natural world. Inspired by Wu's dynamic aerial photography and Eliasson's engagement with the elements, this AI-driven creation transports users to surreal environments that underscore the beauty and fragility of our planet. The generative algorithms employed in 'Holly Landscapes' not only craft visually stunning landscapes but also serve as a reminder of the urgent need to protect and cherish our natural surroundings. As participants navigate these synthetic realms, they are encouraged to reflect on the interconnectedness of art, technology, and the environment in the face of the climate crisis. This paper explores the conceptual foundations, technological innovations, and the potential role of 'Holly Landscapes' in fostering a renewed appreciation for nature and collective environmental responsibility.

"Electric Dreams" unfolds as a captivating short film inspired by Philip K. Dick's iconic work, "Do Androids Dream of Electric Sheep?" The storyline revolves around the central character, Rachel, an android unknowingly navigating a world where the lines between human and artificial consciousness blur seamlessly. Paying homage to Ridley Scott's "Blade Runner," Rachel embarks on a profound journey of self-discovery, grappling with existential questions surrounding identity, consciousness, and the essence of reality.
The film delves into contemporary dialogues on AI consciousness, probing the ethical implications of crafting beings that replicate human emotions and experiences. Rachel's internal struggle unfolds amidst a society wrestling with the profound implications of advanced artificial intelligence. Themes of empathy, self-awareness, and the elusive boundary between humanity and machine intricately thread through the narrative, provoking audiences to contemplate the very nature of consciousness in an era dominated by technology."Electric Dreams" extends an invitation for viewers to reflect on the ethical quandaries inherent in creating sentient machines and poses crucial questions about the future coexistence of humanity and artificial intelligence. Through Rachel's odyssey, the film endeavors to ignite discussions on the ethical responsibilities entwined with pushing technological boundaries and blurring the demarcation between the organic and the synthetic.

This paper delves into the metaverse museums, as an initiative showcasing the 2004 Spring Term final projects of 3rd-year undergraduating students from the Roy Ascott Studio Advanced Program in Technoetic Arts in Shanghai. Leveraging virtual reality (VR) technology, the public is invited to explore a digital exhibition, offering a unique and immersive experience. Drawing inspiration from Dowling's (2019) concept of the immersive method, commonly employed in physical museum exhibitions, our virtual showcase aims to engage visitors in a narrative and storytelling process that transcends traditional boundaries. The goal is to inspire a state of flow, where the audience becomes deeply absorbed in the artistic journey presented by the students. In the virtual world, the state of flow is cultivated through a variety of tools, with particular emphasis on augmented reality (AR) technology. This paper explores the technical implementations of AR, as demonstrated by Yuan (2019), to provide digital narratives within the metaverse museum. By seamlessly integrating AR elements, we aim to enhance the overall immersive experience, allowing visitors to interact with and navigate the virtual space in ways that transcend the limitations of physical exhibitions. Through a conceptual exploration of these ideas, our paper contributes to the evolving discourse on the intersection of art, technology, and education. The Technoetic Arts Metaverse Museum not only serves as a platform for the display of cutting-edge technoetic art but also as a testament to the transformative potential of immersive technologies in redefining the way we engage with and experience art in the digital age.

This short paper presents the interactive installation ‘Interpersonal Emotions’ (2023-2024) exploring aspects of people’s behavior, driven or influenced by sound and light while negotiating ‘who will have a seat’ in a darkened space in which the chairs have spots underneath and emits sounds when approached by the audience. The work explores aspects of interaction design and emotional design and a computer vision system maps the audience movements in space in the search for patterns. The system uses machine learning object detection to navigate the emerging patterns giving the artist the chance to explore the ‘aesthetics behind interaction’ driven by the emotions awakened or triggered by sound and light, guessing what attracts and directs their moves, what their motivations to act — subtleties about our intuitive, cultural and emotional reactions to environment signals and the ways we negotiate space when in public shared environments. In a contemporary hyper-mediated society, people have become increasingly physically isolated, and loneliness and depression, have become social problems worldwide, especially after COVID-19 pandemic. The intention is to explore, in the design of this interactive installation, by simulating the communication and negotiation between people influenced by environmental signals and presence, behavioral patterns that can help to escape loneliness.