This presentation centers on the Remembrance project, an ongoing endeavor since 2019, which moves beyond conventional medical perspectives on dementia to explore its broader philosophical and relational implications. By integrating machine learning technologies with elements inspired by East Asian shamanic traditions, the project offers an alternative lens to examine the complexities of cognitive decline, highlighting the paradox of the human brain's persistent quest for understanding despite progressive impairment.
Within this context, "Remembrance: Magma" is an immersive 3D animation project that harmonizes machine learning, cutting-edge neuroscience, East Asian aesthetics, and a deeply personal narrative to explore the intricacies of dementia. The work extends beyond the medical understanding of the condition to delve into its philosophical, relational, and poetic dimensions.
"Remembrance: Coral" is a bio-feedback gamified performance project building upon the themes explored in "Remembrance: Magma." It delves into the profound emotional landscape of confronting early-onset Alzheimer's, a condition intimately linked to the artist's family history. By merging the technological sophistication of machine learning with EEG sensor data, this project crafts a live narrative steered by brainwave activity, transcending traditional modes of storytelling and erasing boundaries between observer and participant, as well as between the real and virtual worlds.

This paper describes an investigation of tactile artmaking in digital and physical space. The tools employed are 3D printing, 3D animation, photogrammetry, and ceramic sculpture. Through art practice, the research connects the structures of these tools through a “cross-wiring” approach, addressing the question, “How can medium-specific structures enable the translation of tactility between computer graphics (CG) and physical artmaking?”.

The research uses breakage and failure to expose medium-specific structures. For instance, 3D printing extrudes material in stacked layers to create a form. These structures suggest pathways for translation between media, such as the controlled extrusion of printing filament and the free extrusion of other sculptural materials. Likewise, the stacked 2D layers of the print and the sequential 2D images of animation. This structural “cross-wiring” provides a scaffold for an artist to navigate the digital-physical continuum, generating outputs which draw on the tactile affordances of both computer-based and physical art-making.

The research is situated within a field of artists who, in different ways juxtapose the corporeal and the digital experience. It is distinguished by its particular focus on the translation of tactility and by doing so in an open-ended iterative workflow which yields both physical and digital outcomes.

The paper will demonstrate this approach through a series of sculptures and an animated 3D object made by the paper author. The practice outcomes invite reflection on the experience of tactility along a digital-physical continuum.

This research project endeavors to democratize AR within the South Korean artistic community, emphasizing the liberation of the creative potential it offers to artists. Through a series of workshops, established artists from diverse disciplines created AR artwork prototypes that unveiled the affordances of AR as an artistic medium. Our findings illuminate AR's transformative potential across artistic domains, from preserving live performances and enhancing memories to fostering interactive educational experiences and bridging diverse art forms. Additionally, a subset of our participants mobilized AR as a promotional tool for and a means to extend reality, enriching storytelling in exhibitions and theatre. This research contributes to the democratization of AR creative practice, expanding the grammar of artistic expression.

This paper presents PoEmotion, an approach to visualizing emotions in poetry with Chinese calligraphy strokes. Traditional textual emotion analysis often lacks emotional resonance due to its mechanical nature. PoEmotion combines natural language processing with deep learning generative algorithms to create Chinese calligraphy that effectively conveys the emotions in poetry. The created calligraphy represents four fundamental emotions: excitement, anger, sadness, and relaxation, making the visual representation of emotions intuitive and concise. Furthermore, the approach delves into the relationship between time, emotion, and cultural communication. Its goal is to provide a more natural means of communicating emotions through non-verbal mediums to enhance human emotional expression.

A simple key word search in Google Scholar returns articles on the "site specific installation" of proteins into cells, or electroactive units into layers of dendrons, exposing the authors and creators of "Heard" to a world of drawings, photos and diagrams, a library of analogues illustrating the chemistry of life. Fascinated by how the phrase "site-specific installation" is shared between the disciplines of science and art, the authors looked to create a different kind of analogue. Using Wilson’s Consilience Theory, the authors/artists used multiple sources of evidence to drive a conclusion. In this case, the authors created an artifact that affords a glimpse of sometimes invisible but not insignificant, unheard and unseen connections between all living things. In pushing into the affordances of the materials and technologies, the final artefact challenges traditional conceptualizations of what chemistry, and therefore by extension, what life looks like.​