Ⓥ V.5 Virtual Discussion - Papers
Monday, June 24, 2024 |
2:10 PM - 3:00 PM |
Virtual |
Overview
Group discussion giving virtual presenters the opportunity to discuss their work with colleagues and delegates
Details
Join the session here
This virtual discussion session will give virtual presenters the opportunity to participate in a live interactive virtual panel discussion facilitated by an academic chair. Virtual delegates will be encouraged to pre-watch the presentation videos (available via the OnAIR conference platform) and then join this discussion session, which will run through a provided Zoom link. The Aim of this session is to provide an opportunity for presenters to share and discuss their work with colleagues and for delegates to engage in Q&A. Each discussion will run for 30-50 minutes depending on how many virtual presenters and delegates are participating.
This virtual discussion session will give virtual presenters the opportunity to participate in a live interactive virtual panel discussion facilitated by an academic chair. Virtual delegates will be encouraged to pre-watch the presentation videos (available via the OnAIR conference platform) and then join this discussion session, which will run through a provided Zoom link. The Aim of this session is to provide an opportunity for presenters to share and discuss their work with colleagues and for delegates to engage in Q&A. Each discussion will run for 30-50 minutes depending on how many virtual presenters and delegates are participating.
Speaker
Professor Julie Y. Chu
Associate Professor
The University of Chicago
FP: Fulfillment: A Field Guide to the Logistical City
Abstract
Fulfillment: a field guide to the logistical city is a web-based immersive virtual reality project, currently in production, that invites the user to explore the sedimented landscapes of logistics traversing urban centers of consumption and their related distributive networks of warehousing, transportation,dataveillance, waste and wilderness management. Inspired by Amazon’s logistical empire and specifically, by e-commerce-driven promotions of “seamless” flows in our on-demand economy, this project offers an interactive tour of the dark side of supply chain capitalism – that is, the hidden buffer zones, glitchy seams and uncanny folds of logistical spacetime that enable the “magic” of consumer “fulfillment” to seem always just one online click away.
Our aim is to establish a platform from which to observe the behind-the-scenes realities of supply chain infrastructures and their impact on labor, consumption, wellbeing and the environment. The project opens up new avenues of interdisciplinary collaboration between anthropology, design, science, and engineering for our team, while paving the way for new interdisciplinary educational opportunities. Fulfillment contributes to exploring how VR can be used as a medium for anthropological field research and in turn, make anthropological findings more accessible to a broader audience.
Our aim is to establish a platform from which to observe the behind-the-scenes realities of supply chain infrastructures and their impact on labor, consumption, wellbeing and the environment. The project opens up new avenues of interdisciplinary collaboration between anthropology, design, science, and engineering for our team, while paving the way for new interdisciplinary educational opportunities. Fulfillment contributes to exploring how VR can be used as a medium for anthropological field research and in turn, make anthropological findings more accessible to a broader audience.
Biography
Julie Y. Chu is Associate Professor of Anthropology at the University of Chicago and author of the award-winning ethnography Cosmologies of Credit: Transnational Mobility and the Politics of Destination in China (Duke University Press, 2010). She is currently finishing a book entitled The Hinge of Time: Chronopolitics and Infrastructure at China’s Global Edge. Based on fieldwork with Chinese migrant couriers and customs inspectors, this work examines how figures of 'infrastructure' animate the global politics of time in three key ways – as matters of constancy, rhythm and non/event. She also currently leads two collaborative multimodal research projects on logistics: "Logistics in the Making of Mobile Worlds" hosted by the Center for International Social Science Research (CISSR) at the University of Chicago, and "Understanding Logistics Through Multimodal Experiments in Ethnography" sponsored by the U.S. National Science Foundation.
Professor Daria Tsoupikova
University of Illinois Chicago
Co-presenter
Biography
Daria Tsoupikova is a Professor in the School of Design and the Electronic Visualization Laboratory at the University of Illinois Chicago. Her creative practice bridges design of virtual reality (VR), interactive applications, data visualizations, User Experience (UX) design, with media technologies to advance creative expression. She is a second wave VR practitioner developing virtual reality art projects and networked multi-user exhibitions for virtual reality projection systems, such as UIC’s Cave Automatic Virtual Environment (CAVE and CAVE2) for over 20 years. Recent research projects explore how creative solutions can augment virtual rehabilitation for stroke survivors, cultural heritage, interdisciplinary science, education and advance social change. She is partnering with the Arms + Hands Lab at the Shirley Ryan AbilityLab in Chicago to develop generations of multi-user virtual environments to aid in hand rehabilitation for stroke survivors. Tsoupikova’s work has been exhibited and published by Springer, Leonardo, ACM SIGGRAPH, IEEE VR, IEEE VIS, ISEA and funded by the NSF, NIDRR, NEA and the Department of Education.
Chronobiology And The ‘time Machines’ In Art Miguel Carvalho
Usp
FP: Chronobiology and the 'Time Machines' in Art
Abstract
The present work approaches different definitions of time, going through the objects of time described by Kevin Birth (2012) and artistic works that directly discuss the theme of 'time machines' (JP Accacio, 2017; Andrei Thomaz, 2014; Daniel Buzzo, 2017). The need to look at biological time stands out. For this purpose, we resorted to chronobiology, an area of biology that investigates the temporal dimension in the relationships of organisms and the environmental roles of temporal adaptation. This article also starts with Luiz Menna-Barreto's Internal and External Temporal Organizations (2005). Regarding the different temporalities observed in the arts, we dedicate special attention to the synchronization modes.
Biography
Miguel Alonso A. Carvalho: A visual artist and professor, currently pursuing a PhD in Visual Arts at PPGAV - ECA/USP under the guidance of Prof. Dr. Silvia Laurentiz. Master's degree from PPG in Arts at UNESP. Technologies and Arts Educator at SESC – São Paulo (Pinheiros Unit). Bachelor's degree and degree in Visual Arts at UNESP. Member of the artistic collective COM.6 and the research groups Realidades (ECA/USP) and GIIP (IA/UNESP).
Silvia Laurentiz: A Full Professor and Associate Professor at the School of Communications and Arts, ECA-USP. Founding leader of the Realities Research Group – from tangible realities to ontological realities (http://www2.eca.usp.br/realidades) – ECA-USP, certified by the institution and recognized by the CNPq. She has been a Professor at the Postgraduate Program in Visual Arts (PPGAV-ECA) since 2003 and at the Department of Plastic Arts (CAP-ECA) since 2002.
Ms Sol Rezza
Sol Rezza
FP: The Future is Here: Listening to Space
Abstract
"The future is here: Listening to space" explores the intricate relationship between sound, technology, and our environment, offering insights into the evolution of immersive sonic narratives. It delves into the historical and cultural aspects of technology, drawing parallels between ancient milestones like the mastery of fire and contemporary immersive experiences. The text explores how immersive technologies reshape our perception of space and time, discussing the impact of next-generation audio innovations like spatial audio and object-based sound. It emphasizes the socio-economic factors driving the desire for immersive experiences and addresses their implications on society. Additionally, it reflects on ancient immersive practices like the temazcal ceremony and their relevance to contemporary discussions on immersive audio. The summary encapsulates the evolution of immersive audio, from spatial technologies to data-driven experiences, and highlights the role of independent artists in shaping immersive narratives. It emphasizes the convergence of art and technology, envisioning immersive audio as a conduit to deepen human connections with our environments.
Biography
Sol Rezza, an Argentine composer, sound designer, and audio engineer, specializes in next-gen audio tech. She utilizes 3D sound to craft immersive experiences for virtual realms and live shows. Her approach integrates multilingual vocal samples, granular synthesis, and sequencers. Since 2015, Sol has focused on spatial audio, contributing to SoundSquares, a plugin by Daz Disley for simplified multichannel mixing in installations and 3D sound performances.
Her work has graced festivals like MUTEK Montreal, CTM Festival, IN/OUT Festival, Tsonami Festival, BRIWF Festival, Simultan Festival, Borealis Festival, and HÖRLURS Festival. Sol has engaged in residencies at Radio Corax, Somerset House Studios, and Binaural Nodar. Presently, she explores how AI, VR, and immersive audio shape modern storytelling creation and production.
Mr Michael Trommer
York University
FP: Spectral Sound Systems: Mapping the Mnemonic Soundscape
Abstract
This paper considers urban spaces as commercialized topographies of deliberately deployed sonic mnemonics, examining how an acoustemological approach to mapping locale might be reconfigured to address retail environmental music (often referred to as Muzak) as an infrastructural element that bears the capacity to territorialize both their vibratory and non-vibratory sonic spectra – an intentionally articulated sonic architecture that, in the words of philosopher and musicologist Peter Szendy, ‘us[es] the words of hits as subliminal advertisements’.
Biography
Michael Trommer is a Toronto-based sound and video artist; his practice has been focused on psychogeographical and acoustemological explorations of anthropocentric space via the use of VR, spatial and tactile sound, field recordings, immersive installation and expanded cinema. He has released, exhibited and performed his work for labels, galleries and festivals throughout the world.
In addition to teaching graduate sound design and sound art at George Brown College, Michael also teaches Sound Film at Toronto Metropolitan University, Think Tank at OCAD University as well as Media Practice and Sonic Cinema at York University, where he is currently a PhD candidate and SSHRC Joseph-Armand Bombardier doctoral scholar in Cinema and Media Art.
Dr Liliana Conlisk Gallegos
California State University, San Bernardino
FP: Monuments to the Pluriverse: A Transfronteriza Nepantlera's Approach to Rasquache Anticolonial Artisanal or Utilitarian New Media Art Production
Abstract
In my explorations through new media art, I delve into expressing the intricate experience of inhabiting Nepantla—a non-place like the Borgian aleph, encapsulating all places simultaneously—a perpetu-al crossroads. This exploration is deeply entwined with my identity as a transfronteriza, constantly navigating the complexities of existence along the US-Mexico border. It is also intertwined with my experiences as a "first-generation" Chicana and descendant of Indigenous Californian and Baja Californians, as I long and search to reclaim a seized Indigeneity. I do this in acute awareness of the profound political ramifications that Mexican de-Indigenization has had on our communities, still currently facing coloniality as decon-textualized and severely minoritized peoples.
This autoethnography-based article explains my perspectives, approach, theoretical background, and resources while defining my interpretation of transfronteriza nepantlera sensibility and meth-ods. I aim to share some of the intricacies of the creative process for crafting no-muralismo or Xicanx Indígena Transfronteriza Immersive Muralism—a fusion of rasquache, anticolonial, and tech-driven artisanal/utilitarian art introduced by my VR piece, The Coyolxauhqui Imperative 2020. My core objective is to question the parameters that define new media art and VR world-making while destigmatizing the processes involved by inviting community members to share the diversity of experimental culturally driven ways in which it is possible to engage in new media art.
This autoethnography-based article explains my perspectives, approach, theoretical background, and resources while defining my interpretation of transfronteriza nepantlera sensibility and meth-ods. I aim to share some of the intricacies of the creative process for crafting no-muralismo or Xicanx Indígena Transfronteriza Immersive Muralism—a fusion of rasquache, anticolonial, and tech-driven artisanal/utilitarian art introduced by my VR piece, The Coyolxauhqui Imperative 2020. My core objective is to question the parameters that define new media art and VR world-making while destigmatizing the processes involved by inviting community members to share the diversity of experimental culturally driven ways in which it is possible to engage in new media art.
Biography
Dr. Liliana Conlisk Gallegos (Dr. Machete or Mystic Machete) is a first-generation scholar from the Tijuana-San Diego border. She supports the decolonial option through live, interactive, immersive transborder rasquache new media art. These projects forge culturally specific collective spaces, presenting Chicana/o/x "Mestiza" Indigenous wisdom and artisanry as technological contributions. As a perpetual border-crosser, she metaphorically views prevailing notions of research, media, and technology as a yonke (junkyard), repurposing elements to amplify individual and collective expression, community healing, and social justice. She has organized/cu-rated 14+ community-centered art interventions and her artwork is exhibited internationally. In 2022 she curated the first transborder decolonial international digital new media art exhibition, The Future Past v. Coloniality: Decolonial Media Art Beyond 530 Years which opened at the SIGGRAPH Asia conference in Daegu, South Korea. She is Associate Professor of Media at CSU San Bernardino and a member of the ACM SIGGRAPH Digital Arts Committee.
Session chair
Liliana Conlisk Gallegos
California State University, San Bernardino
![loading](/Content/Images/loader-large.gif)