3.3 Interdisciplinary Innovations
Tracks
Track 3
Monday, June 24, 2024 |
3:30 PM - 5:30 PM |
Plaza P7 |
Speaker
Dr Chanee Choi
Assistant Professor
University of New Mexico / Film and Digital Arts
AT: Remembrance: Bio-feedback Gamfied Performance Project
3:30 PM - 3:45 PMAbstract
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.
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.
Biography
Chanee Choi is a transdisciplinary artist and educator. She has developed a ritualistic craft-based art practice that transcends the conservative and isolationist roots of traditional East Asian craftwork by focusing on a celebration of feminist theory and modern tech. Within this hybrid genre, she produces both embodied and virtual immersive experiences exploring the effect of immigration on issues of identity, and the synesthetic processes of corporeal-cognitive space.
Originally from South Korea, Chanee now lives, works, and studies in Albuquerque, New Mexico. She holds positions as an assistant professor at the University of New Mexico in The Department of Film & Digital Arts. Alongside her academic role, Chanee has earned degrees including a BFA in Craft Design from Dongduk Women's University in 2013, an MFA in Fiber and Material Studies from the Art Institute of Chicago in 2016, and a Ph.D. in Art and Technology from DXARTS at the University of Washington in 2022.
Her artistic endeavors have been featured in publications including UW News, UW College of Arts & Sciences, GeekWire, International Examiner, Seattle Times, KUOW National Public Radio, KING-TV, ISEA2022, SIGGRAPH Asia 2022, and WIRED magazine.
Ms Sarah Eddowes
PhD Student
University of New South Wales
SP: Digital Deviation: Rewiring CG Art-Making Tools with Manual Extrusion
3:45 PM - 4:00 PMAbstract
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.
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.
Biography
Sarah Eddowes is a inter-disciplinary artist and current PhD candidate at UNSW. She has completed a Bachelor of Fine Arts (painting)(UNSW), a Masters of Animation (UTS) and a Masters of Fine Arts by research (NAS). Her current practice-based PhD research explores how a non-linear workflow between digital and physical artmaking tools can reframe materiality. Her experimental practice moves between computer generated imagery and the physical manipulation of materials such as clay, silicone, wax, paint and gel.
Dr Sojung Bahng
Assistant Professor
Queen's University
SP: Exploring Augmented Reality as an Artistic Tool: A Workshop-based Study with South Korean Artists
4:00 PM - 4:15 PMAbstract
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.
Biography
Sojung Bahng is a multidisciplinary artist, filmmaker and researcher. She is an Assistant Professor in the Department of Film and Media and the DAN School of Drama and Music at Queen’s University in Canada. Sojung explores cinematic media via digital technologies to reflect aesthetic and narrative experiences in cultural and philosophical contexts.
Mr Tiancheng Liu
PhD Student
The Hong Kong University of Science and Technology (Guangzhou)
FP: PoEmotion: Can AI Utilize Chinese Calligraphy to Express Emotion from Poems?
4:15 PM - 4:40 PMAbstract
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.
Biography
Tiancheng LIU, a Ph.D. student at HKUST (GZ), is deeply engaged in the study of Chinese calligraphy computational aesthetics. He holds a dual bachelor's degree in network engineering, and finance from the South China University of Technology, Guangzhou, and a master's degree in computer science and engineering, specializing in Blockchain Technology and Network Security, from Waseda University, Tokyo. Tiancheng's professional journey includes roles as a developer and product manager in cloud computing at the China Telecom Research Institute. His current research interests during his Ph.D. encompass NFT technology, computational aesthetics, AI generative arts, and interactive arts. He aims to integrate aesthetics, art, technology, and finance, forging a path that aligns with the evolving dynamics of the modern technological world.
Dr Sue Ann Stanford
Dean
JMC Academy
PIC: Heard
4:40 PM - 4:55 PMAbstract
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.
Biography
Work colleagues Dr Silk and Dr Stanford are two artists who have recently begun collaborating in the creation of multi-media art works. Their first piece ‘Dyadic, Generally’ was selected for the international show Paper on Skin 2022. ‘Heard’ was their second collaborative piece and was selected for exhibition in Eden Unearthed (2022/2023). They share a common fascination with the intersection of maths, science, and art, working to bring these elements together in intriguing and original ways. Dr Silk has an international reputation for their work; Dr Stanford re-ignited her creative practice during the COVID-19 lockdowns, and has since exhibited her work, and presented at conferences, most recently with Dr Silk on the use of GAI in the creative process at THETA 2023. The authors are now working on a newly commissioned piece that combines origami, R Buckminster Fuller's engineering principles, and augmented reality projections of animated micro landscapes.
Dr Melissa Silk
National Head of Department, Design
JMC Academy
Co-presenter
Biography
Session chair
Marilene Oliver
University of Alberta
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