2025.04.29 周巧其報告 – 付諸環境藝術行動之前
臺灣中海拔霧林帶三種林相的降雨再分配和水質變化(2022)
運用機器學習整合衛星資料量化亞熱帶日間山地雲霧森林之雲霧時空分佈(2023)
基於兩篇論文之方法與結果比較
引用資料:
Chong, J. Y. (2023). 運用機器學習整合衛星資料量化亞熱帶日間山地雲霧森林之雲霧時空分佈. 國立臺灣大學地理環境資源學系學位論文, 2023, 1-42.
薛美莉, & 蕭明堂. (2022). 臺灣中海拔霧林帶三種林相的降雨再分配和水質變化. 台灣林業科學, 37(3), 207-226.
劉邦隱. (2024). 從儲回大地的藝術爭議再思藝術與生態的關係. 高雄師範大學跨領域藝術研究所學位論文, 1-169.
校院名稱: 國立臺南藝術大學
系所名稱: 藝術創作理論研究所博士班
研究生: 吳梓寧
指導教授：薛保瑕
本文以《當代藝術中的後人類身體調控》為題，主要研究「賽伯格」與「後人類」的當代身體美學問題。於緒論後的第二章追溯主體論述與科技演進，第三章與第四章透過當代藝術創作案例研討，分別聚焦於「資訊科技」與「生物科技」的科技互動與社會模控作用，第五章交叉歸整前面章節所有作品，從「互動與調控」、「真實與虛擬」、「存在與流變」、「個體與群體」的四個美學問題切點，探討當代藝術中的後人類身體調控，以主體哲學、科技史、論述史三條線索的系譜探究，批判並回應「後人類」論述中付之闕如的身體美學研究，並於第六章總結。
研究範疇以1940年代數位資訊革命與1970年代分子生物革命為研究起點，而演進至今的當代藝術融合科技應用，在強調互動性與開放性的當代藝術民主化歷程中，伴隨法蘭克福學派的批判理論影響，從社會學觀點批判媒體與科技霸權的論述系譜，逐漸被引用在新媒體和科技藝術創作與藝術評論中。但是科技女性主義論述卻鼓勵女性擁抱科技，將新科技視為打破天生命定自然身體束縛的革命武器，1985年唐娜．哈洛威〈賽伯格宣言〉，開展介於「人與非人、有機與無機、自然與人工」的複合生命體，使「賽伯格」成為創造新認同的虛擬主體象徵符號。1990年代的「後人類」論述承襲「賽伯格」論述，並加入隨著生物科技而不斷升級的自我改造技術，使「後人類」所面對的新難題，恐怕是「我想成為什麼？」而不需再問「我是誰？」的問題。
海內外「賽伯格」或「後人類」論述，以科技社會學取向為主，缺乏當代藝術創作的研究視野與觀點，尤其在美學問題的探討更是稀少或缺乏台灣創作案例的參照討論。因此，本文最主要的研究焦點，在於引入當代藝術反饋後人類主體論述的不足之處，試論後人類身體美學在科技互動與社會模控夾殺的戰場中，能重新發明自我的後人類自我創生所體現「人人都可以是藝術（品）」的美學思考。
本論文探討醫學影像如何以生物媒體藝術作為表現形式之可能，研究方法涉及生物藝術、生物醫學之觀點，解析醫學圖像、柏格森生命哲學、現象學及新媒體理論等論述思維，考掘醫學、生物媒體藝術與當代藝術的擴延意涵，並反思科技社會對於生物媒體藝術的影響力。論文結構與研究內容，包括：第一章「緒論」闡述研究動機、研究問題與研究方法；第二章「文獻分析」梳理醫學影像、生物藝術與生物媒體藝術的交互關係；第三章「生物媒體藝術形式」分析生物的濕性特色、生物媒體藝術的意涵；第四章「生物媒體藝術之媒介轉繹」探究生物媒體藝術之媒介特質，解讀其與生物藝術、媒體、醫學的技術轉繹；第五章「微膠細胞突變」以創作實踐方法，扣連記憶圖像與生物媒體藝術的連結，反思生命本質；第六章「結論」揭開醫學影像對生物媒體藝術的多樣性及其影響。經由本研究推證過程，本論文率先提出「生物媒體藝術」一詞，對應「生物藝術」的單一性，不僅打破Bio Art的界線，更深化新媒體藝術與醫學影像的結合與價值。
林月霞
國立臺灣師範大學美術學系美學、媒體藝術與藝術史組
Thesis Supervisor: Pattie Maes
Germeshausen Professor of Media Technology, Program in Media Arts and Sciences
Thesis Committee
Yoon Kim, Assistant Professor in Electrical Engineering / Computer Science Department, Massachusetts Institute of Technology
Jeremy Bailenson, Thomas More Storke Professor in the Department of Communication
Stanford University
Reference Link
Abstract
As Artificial Intelligence (AI) becomes increasingly integrated into our daily lives, understanding the psychological implications of human-AI interaction is crucial for developing systems that truly support human capabilities. This dissertation introduces “Cyborg Psychology,” an interdisciplinary, human-centered approach to understanding how AI systems influence human psychological processes. Cyborg Psychology also emphasizes applying these insights to design and develop AI systems that support human flourishing. Cyborg Psychology recognizes the complex, non-linear interactions between humans and AI, acknowledging that both can influence and shape each other in dynamic and often unpredictable ways. Informed by human-computer interaction, psychology, and behavioral sciences, this dissertation focuses on understanding AI’s impact on crucial cognitive and behavioral processes, including motivation, critical thinking, self-reflection, confidence, beliefs, biases, and more. In addition, the work presents several AI systems that apply psychological insights to support human cognition and behavior. For example, the “Wearable Reasoner” seeks to enhance human rationality, “Personalized Virtual Characters” aims to support learning motivation, and “Future You” is designed to encourage long-term oriented thinking and behavior. Employing a diverse array of research methodologies, this work proposes a framework for investigating the implications of interaction design choices. The ultimate goal is to empower the development of AI systems that foster human flourishing by nurturing intellectual growth, cultivating motivation, stimulating critical thinking, and preserving individual autonomy in decision-making.
Surrounded: A Series of Sound Installations That Combine Plant Electrophysiology and 3D Sonic Art
Author
Augustine Leudar (sound artist)
Abstract
This paper discusses a series of sound installations that combine plant electrophysiology with 3D sonic art. A brief introduction to plant electrophysiology is given. The sonification of electrophysiological signals in the mycorhizzal network is discussed explaining how art and science are combined in this project in a way that differs from simply the sonification of data.
Novel 3D audio spatialization techniques, the 3D audio mapping of natural environments and immersiveness are also discussed, along with some technical details of how to read the
electrical signals in plants known as action potentials. Other topics which are addressed include, acoustic signaling in the forest, spectral composition and interaction with forest flora and fauna.
In the rapidly evolving landscape of AI-mediated communication (AIMC), tools powered by Large Language Models (LLMs) are be-coming integral to interpersonal communication. Employing a mixed-methods approach, we conducted a one-week diary and interview study to explore users’ perceptions of these tools’ ability to: 1) support interpersonal communication in the short-term, and 2) lead to potential long-term effects. Our findings indicate that participants view AIMC support favorably, citing benefits such as increased communication confidence, and finding precise language to express their thoughts, navigating linguistic and cultural barriers. However, the study also uncovers current limitations of AIMC tools, including verbosity, unnatural responses, and excessive emotional intensity. These shortcomings are further exacerbated by user concerns about inauthenticity and potential overreliance on the technology. Furthermore, we identified four key communication spaces delineated by communication stakes (high or low) and
relationship dynamics (formal or informal) that differentially predict users’ attitudes toward AIMC tools. Specifically, participants found the tool is more suitable for communicating in formal relationships than informal ones and more beneficial in high-stakes than low-stakes communication.
Yue Fu, Sami Foell, Alexis Hiniker, University of Washington
Xuhai Xu, Massachusetts Institute of Technology
Bio-art epitomizes a coalescence of art and sciences. It is an emerging contemporary artistic practice that uses a wide range of traditional artistic media interwoven with new artistic media that are biological in nature. This includes molecules, genes, cells, tissues, organs, living organisms, ecological niches, landscapes and ecosystems. In addition, bio-art expands into conceptual art using biological processes such as growth, cell division, photosynthesis and concepts of the origin of life and evolution, explaining them as new artistic media. In this time of global challenges, bio-art communicates thoughts and feelings that involve relationships between the artist, science, public and the biological organism or biological concept. This article reviews the major challenges and driving forces that contributed to emerging biology-centered art and design.
College of Integrated Sciences and Arts, Arizona State University, Mesa, AZ, USA
Alexander N. Melkozernov
School of Art, Design and Media, Nanyang Technological University, Singapore, Singapore
Vibeke Sorensen
Future You: A Conversation with an AI-Generated Future Self Reduces Anxiety, Negative Emotions, and Increases Future Self-Continuity
Pat Pataranutaporn, Kavin Winson, Peggy Yin, Auttasak Lapapirojn, Pichayoot Ouppaphan, Monchai Lertsutthiwong, Pattie Maes, Hal Hershfield
Abstract
We introduce “Future You,” an interactive, brief, single-session, digital chat intervention designed to improve future self-continuity–the degree of connection an individual feels with a temporally distant future self–a characteristic that is positively related to mental health and wellbeing. Our system allows users to chat with a relatable yet AI-powered virtual version of their future selves that is tuned to their future goals and personal qualities. To make the conversation realistic, the system generates a “synthetic memory”–a unique backstory for each user–that creates a throughline between the user’s present age (between 18-30) and their life at age 60. The “Future You” character also adopts the persona of an age-progressed image of the user’s present self. After a brief interaction with the “Future You” character, users reported decreased anxiety, and increased future self-continuity. This is the first study successfully demonstrating the use of personalized AI-generated characters to improve users’ future self-continuity and wellbeing.
Keywords: Future Self-Continuity, AI-Generated Character, Large Language Model, Generative AI, Mental Health.
Subjects: Human-Computer Interaction (cs.HC); Artificial Intelligence (cs.AI)
Reference: https://arxiv.org/abs/2405.12514
Voices of Climate Change
Each soul knows the infinite—knows all—but confusedly.
It is like walking on the seashore and hearing the great
noise of the sea.—G. W. Leibniz (1714)
The authors, an artist and a geophysicist, present three different approaches to art-science projects, depicting hybrid models of interdisciplinarity, particularly via sound art. They first cooperate to create an art installation using sonified seismic data collected in Antarctica, moving then to vibrational data at a seismic deployment in the Jornada desert, New Mexico, envisioning a site-specific listening approach that would effectively merge art and science. The authors propose new models of collaboration in ever-more-urgent global responses to the climate crisis, revealing what we might call the “voices” of climate change.
Rupkatha Journal on Interdisciplinary Studies in Humanities (ISSN 0975-2935)
Vol. 13, No. 1, January-March, 2021. 1-13
Author: Eleni Gemtou
National and Kapodistrian University of Athens, Greece.
This paper aims to define Bio-art by strengthening its artistic status through two distinct approaches. The first is based on the acceptance that the concept of Bio-art includes both the term “art” and the term “bio” that could stand for Biology, Biotechnology, and Bioethics. It is argued that despite its direct connection to scientific research, Bio-art is only partly linked to the methods of the pure science of Biology, while it stands
closer to the technoscience of Biotechnology. However, while bio-artists often use scientific methods and techniques, they eventually focus on bioethical questions. To amplify the artistic status of bio-artworks, we claim that they are kinds of visual “enthymemes”, a term used by Aristotle to define incomplete rhetoric
syllogisms linking all recipients to common questions. Our second approach is developed around Levinson’s intentional-historical theory, showing that Bio-art belongs to the evolutionary narrative of art and artistic intentions. We allege interconnections of distinct features of bio-artworks with artworks of different eras that in the context of a retrospective view are to be understood as having paved the way for the emergence of Bio-
art.
Key words: Bio-art, Biotechnology, Bioethics, Metaphor-Enthymeme, Levinson’s intentional-historical
theory
“When He Feels Cold, He Goes to the Seahorse“
— Blending Generative AI into Multimaterial Storymaking for Family Expressive Arts Therapy
CHI ’24: Proceedings of the 2024 CHI Conference on Human Factors in Computing Systems
This study pioneers the use of generative AI (Midjourney) in family expressive arts therapy, showing how AI-generated visuals—combined with clay, drawing, and storytelling—help children and parents communicate emotions. Through 5-week sessions with 7 families, researchers found AI acts as both a creative amplifier (e.g., turning clay figures into symbolic characters) and therapeutic bridge, revealing family dynamics through metaphors like a child’s “seahorse = comfort.”
This study employed a 5-week co-design process with 7 families (18 participants) guided by a therapist. Families used traditional materials (clay, markers) and generative AI (Midjourney) to co-create stories. AI (Midjourney) to co-create stories.
https://doi.org/10.1145/3613904.3642852
2025.04.01 葉卯陽報告 – When He Feels Cold, He Goes to the Seahorse
From I-Ching to AI: Interrogating Digital Divination
Conference: 29th International Symposium on Electronic Art (ISEA)
Authors: Hugh Davies (RMIT University)
Keywords: Games, Media Art, Artificial Intelligence
Abstract
Divination denotes practices of mediation that aim to reveal hidden knowledge and sketch out speculative futures before they come into being. Often employing creative and playful methods, divinatory speculations wield ominous power, even when inaccurate. Today, this power is becoming con-centrated within neoliberal coordinates following the pro-fessionalization of divination, most markedly through artifi-cial intelligence (AI). Reviewing the literature of past and present divinatory practices to interrogate its methods from games to AI, this paper offers four key contributions: (1) it establishes divination as a media arts practice; (2) it traces transnational histories of this practice; (3) it unpacks the lim-itations and issues arising from AI divination, and (4) it pre-sents strategies and tactics to confront them. Mapping the shifting power-relations and speculative practices of predic-tion, this paper reveals and critiques the unannounced spir-itual mysticism surrounding contemporary AI and its in-creasing embrace within late-capitalist future forecasting.
Reference
新興技術重構生態視野
Presentation PDF
REFERENCE
Chang, M., Shen, C., Maheshwari, A., Danielescu, A., & Yao, L. (2022, June). Patterns and opportunities for the design of human-plant interaction. In Proceedings of the 2022 ACM Designing Interactive Systems Conference (pp. 925-948).
Hu, Y., Chou, C., & Kakehi, Y. (2023). Synplant: Cymatics Visualization of Plant-Environment Interaction Based on Plants Biosignals. Proceedings of the ACM on Computer Graphics and Interactive Techniques, 6(2), 1-7.
Hu, Y. Y., Chou, C. C., & Li, C. W. (2021, October). Apercevoir: Bio internet of things interactive system. In Proceedings of the 29th ACM International Conference n Multimedia (pp. 1456-1458).
Hu, Y., Fol, C. R., Chou, C., Griess, V. C., & Kakehi, Y. (2024, May). Immersive Flora: Re-Engaging with the Forest through the Visualisation of Plant-Environment Interactions in Virtual Reality. In Extended Abstracts of the CHI Conference on Human Factors in Computing Systems (pp. 1-6).
Hu, Y., Fol, C. R., Chou, C., Griess, V. C., & Kakehi, Y. (2024, May). Immersive Flora: Re-Engaging with the Forest through the Visualisation of Plant-Environment Interactions in Virtual Reality. In Extended Abstracts of the CHI Conference on Human Factors in Computing Systems (pp. 1-6).
The Malleable-Self Experience comprises the integration of the visual element of virtual reality (VR) with the whole-body haptic sensations of the Synesthesia X1 haptic chair. The goal is to induce a provocative experience that expands one’s understanding of the self by creating a malleable perception of the body image. We explore the effects of visual and whole-body haptic integration on augmenting body image during dynamic transformations of visual representations of the body in VR. We design the plausibility of these perceptual augmentations using a specific sequence of multisensory events: (1) establishing body ownership of a virtual body anchored in the same self-located space as the participant, (2) separating the virtual body to hover above the participant’s physical body, enhanced by accompanying haptic stimuli to increase proprioceptive uncertainty, and (3) transforming the virtual body with integrated visuo-haptic stimuli to sustain perceptual congruency.
Malleable-Self Experience, XR(Extended Reality), Synesthesia, Body Ownership Illusions(BOI)
ACM SIGGRAPH 2024 Emerging Technologies
Keio Media Design (KMD)
Enhance Experience Inc.
Synesthesia lab
SIGGRAPH 2023 Emerging Technologies
KEYWORDS
texture design, haptic display, elastic interface
REFERENCE
https://www.youtube.com/watch?v=KqxmShoDhjIhttps://dl.acm.org/doi/epdf/10.1145/3588037
