2019.1119趙立報告

報告者:趙立

報告PPT:PPT

文獻題目:國小主題式學習自造教育的行動研究:以環境教育為例

文獻作者:張乃文

文獻來源:台灣博碩士論文知識加值系統

 

摘要:

研究者在國小藝術領域教學中,發現現行主題統整課程還是多以單向單科的教學模式為主,且在動手做的學習應用上也常受限於時間和領域教學內容,導致見樹不見林的教學導向,常使學生認為課程單調乏味,而失去學習的自主性,學習成效也不好。故研究者期望透過行動研究,發展主題式學習自造教育的統整課程,以改善研究者於統整課程的教學困境,並分析其課程成效,進而增進研究者教學專業能力,以因應十二年國教課程綱要教育理念和學習趨勢。
本研究採行動研究法,研究者與服務國小合作,於課後社團實施主題式學習自造教育的行動研究,並以主題式學習、設計思考、社群共創和動手做為課程理念,發展主題式學習自造教育的課程設計,並在課程規劃中,透過教學資源運用和協同教學等方式進行課程活動。本研究對象以國小一到六年級對設計和藝術有興趣的學生和協同教師,教學時間共19週於每週三下午進行課程,教學地點除了國小教室外,也與在地社區資源發展學習場域。在資料蒐集部分,透過研究者教學日誌、協同教師觀察紀錄、訪談紀錄、錄音拍照等相關田野資料,進行三角檢測法的分析、歸納與教學反省,以理解和分析主題式學習自造教育的課程學習成效。據此,研究者經歸納與整理後,提出以下結論與建議:
一、於國小課後社團的主題式學習自造教育的課程設計理念與教學內涵,是以「主題」的議題課程,進行認知、情意和技能的跨領域學習整合,教師以「學生」為中心,並以「協作者」角色,進行教學引導,並以就地取材的方式,運用設計思考和設計概念,發展動手做的設計自造課程活動。
二、於國小實施主題式學習自造教育的教學資源運用和協同教學的合作模式,可以透過網路社群平台尋找合作對象,並善用其合作對象的專長、差異性和跨領域性,以及溝通策略,聚焦學習目標,增進課程的多元性與跨域性。
三、於國小課後社團實施主題式學習自造教育的課程學習成效,可以提升學生設計概念和設計思考的方法、啟發設計美感經驗、提升動手做的問題解決能力、增進跨領域的統整和應用能力、改變學生之於合作學習的觀點,以及增進學習自主性。
四、研究者於行動研究的專業知能能力成長與啟發,是發展以主題式學習自造教育的統整課程方案,藉此提升研究者的教學整合能力、發展教學資源運用的合作關係、善用溝通策略與管道建立親師生關係,以致建構結合社區資源的社會設計教學目標。

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2019.1105 廖志唯報告

報告者:廖志唯

報告PPT:https://drive.google.com/file/d/1mk_jAJECAbMg-kWILz9wGvMXn0IppP73/view?usp=sharing

文獻題目:ECHO

文獻作者:Georgie Pinn | Electric Puppet, Kendyl Rossi

文獻來源:

http://archive.aec.at/prix/showmode/61069/

https://www.electric-puppet.com.au/current-work

摘要:

The key intention of *Echo* is to create a vehicle for the exchange of empathy. As the world becomes more complex and digitally connected, the role of empathy is becoming increasingly important as an antidote to personal loneliness and an ideological isolation.

The iterative artwork *Echo* takes the form of an interactive booth installation. The work is relational and explores notions of connection through an interactive exchange of personal narratives. *Echo* utilizes innovative real-time facial capture and tracking technology and combines it with animation, storytelling, and portraiture to make connections between strangers. The intention is to build and share a culturally diverse archive of stories and songs to enable an embodied, cross-cultural experience that elicits compassion.

**The Experience**

The 3-minute experience, framed inside a booth, is reminiscent of the priest’s confessional and the photo booth. Once seated inside, a touch screen becomes a talking virtual mirror. *Echo*, a female AI character guides the participant, explaining that she can “help you connect”. Your face is captured and then you are directed to select the face of another. Once chosen, you find yourself face-to-face with that person’s personal story that reveals a life challenge, win, or hardship. As the narrative unfolds, your pixelating features slowly inch and glitch onto the narrator’s face, ending with your lips uttering their final words. It is a strange feeling as you see your face subtly hijacked by the virtual other, blurring the boundaries between you and them, and shifting your perception through empathy.

When this is completed you are asked if you would like to donate your own narrative or song. Should you decide to do so the installation transforms into an automated recording environment, allowing privacy and personal space in which to author. Adversity becomes a powerful tool for learning and, when shared with a complete stranger, can assist in breaking down stereotypes and prejudices.

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2019.1105 孟昕報告

報告者:孟昕

報告PPT:《The other in You》——孟昕

影片:http://www.ycam.jp/en/events/2017/the-other-in-you 

 https://youtu.be/OzNU4_W_cEM

文獻題目:THE OTHER IN YOU

文獻作者:Richi Owaki +YCAM(JP)

文獻來源:http://archive.aec.at/prix/showmode/61572/

摘要:

*The Other in You*, developed as a new way to experience dance, has realized a novel dance audience experience. We assembled the cutting-edge Computer Graphics, haptic feedback device which directly express the dance to the body, 16 stereophony channels sound and research on Virtual Reality techniques to realize this work.

How can we relate to others, who are supposed to be distant from us? Do we really know what it is to “see”? *The Other in You* is an attempt to revive the notion of our body in relation to an object, a notion, which had been forgotten in the act of watching.

The movement of the dancer, Tomohiko Tsujimoto is captured with a motion capture system. The data is converted into 3DCG to create virtual dancers covered with black skin. Using VR technology, the views of the audience move freely during the performance and the dancers get very close to the audience—an unlikely situation with ordinary dance theater. In addition, screened by 3D sensor cameras, the audience members themselves virtually come to appear in the VR images.

The work is based on Richi Owaki’s meditations on the dance theater audience. Often, audiences are required to stay in fixed seats in the dark and quietly watch the stage. However, this is a recent phenomenon. It became the norm only after the modern theater system was established.

*The Other in You* sheds light on the physicality of the audience which we, including the audience themselves, have forgotten along the way. At some point during the performance, the point of sight of the viewer leaves their own body and they see themselves from above. This out-of-body sensation is a unique experience VR offers.

Playing with this phenomenon, Richi Owaki challenges the idea of “selfness.” The body we are seeing moves the same way as we move behind the helmet, but there is a sense that that body isn’t really our body. For Richi Owaki, watching dance is an act of “seeking others in oneself” or “oneself in others.” The title suggests we are not divided from each other, but rather an extension of one another.

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2019.1105 王新仁報告

報告者:王新仁

報告PPT:https://reurl.cc/qDveOD

影片:https://vimeo.com/259129367

文獻題目:AI DJ PROJECT —  A DIALOG BETWEEN HUMAN AND AI THROUGH MUSIC

文獻作者:Shoya Dozono, Qosmo, Nao Tokui

文獻來源:http://archive.aec.at/prix/showmode/61564/

摘要:
The system of AI DJ consists of the following three features:

1. Music selection
We trained three different neural networks for inferring genres, musical instruments and drum machines used in the track from spectrogram images. AI DJ “listens” to what human DJ plays and extracts auditory features using those networks. The extracted features are compared with those of all tracks in our pre-selected record box, so that the system can select the closest one, which presumably has similar musical tone/mood.

2. Beatmatching
It is also a task for AI DJ to control the pitch (speed) of the turntable to match the beat. We used “reinforcement learning” (RL) to teach the model how to speed up/down, nudge/pull the turntable to align downbeats through trials and errors. For this purpose, we built an OSC-compatible custom turntable and robot fingers to manipulate.

3. Crowd-reading
A good DJ should pay attention to the energy of the audience. We utilize a deep learning-based motion tracking technique to quantify how much people in the audience dance to the music AI plays for future music selection.

We have performed several times in different locations in Japan and Europe. AI’s slight unpredictability always brought amusing tension into the performance and gave new ideas to human DJs on what/how to play music as a DJ. AI is not a replacement for the human DJ. Instead, it is a partner that can think and play alongside its human counterpart, bringing forth a wider perspective of our relationship to contemporary technologies.

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2019.1105 劉學致報告

報告者:劉學致

報告PPT:http://save.liuxuezhi.net/20191105MarbleMachine.pdf

影片:

文獻題目:MARBLE MACHINE

文獻作者:Martin Molin, Wintergatan(In alphabetical order)

文獻來源:http://archive.aec.at/prix/showmode/52900/

摘要:

Martin Molin (SE), a founding member of Wintergatan (SE), decided in November 2014 to switch gears and embark on a visionary project: to build a programmable Marble Machine. Three days after releasing the *Marble Machine* video, it had been viewed over 10 million times around the world. Wintergatan is a close­knit operation that takes pride in the ability to adapt and invent. The four members of the band all play several instruments, and if a new instrument is needed, one of them figures out how to use it.

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2019.1105 趙立報告

報告者:趙立

報告PPT:PPT

影片:VIDEO

文獻題目:JENNIFER LYN MORONE™ INC

文獻作者:Jennifer Lyn Morone

文獻來源:

Jennifer Lyn Morone / Ars electronica

摘要:

Jennifer Lyn Morone™ Inc is an artwork that exists as a corporation, a person, and a protest. As a multidimensional project, its purpose is to expose the lies and mythology of capitalism by working with the concrete structures that make up the system itself, reflecting many aspects of our society, culture, policies, and economy.
This attempt to reclaim her Self, her identity, and her life captured as data as her property, consequentially also sets her existence on a path to perpetually seek sources of revenue for its shareholders, as is the primary purpose of the existence of corporations.  As the project slowly unfolds, it reveals an unnatural and vacuous business model-lifestyle devoted to the collection, analyzation, and commercialization of data.
Jennifer Lyn Morone, Inc is a merging of art and life through legal and commercial appropriation. It calls into question notions of the Self, ownership, and property in relation to corporate personhood, personal data, and immaterial labor in the digital age of corporate capitalism.

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2019.1008 王新仁報告

報告者:王新仁
報告PPT:https://reurl.cc/xDQ1nz
文獻題目:Melody Slot Machine
文獻作者:

  • Masatoshi HamanakaRIKEN
  • Takayuki NakatsukaWaseda UniversityRIKEN
  • Shigeo MorishimaWaseda Research Institute for Science and Engineering

文獻來源:

http://smc2019.uma.es/articles/D1/D1_02_SMC2019_paper.pdf
https://dl.acm.org/citation.cfm?id=3327985

摘要:
We developed an interactive music system called the “Melody Slot Machine, ” which provides an experience of manipulating a music performance. The melodies used in the system are divided into multiple segments, and each segment has multiple variations of melodies. By turning the dials manually, users can switch the variations of melodies freely. When you pull the slot lever, the melody of all segments rotates, and melody segments are randomly selected. Since the performer displayed in a hologram moves in accordance with the selected variation of melody, users can enjoy the feeling of manipulating the performance.

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2019.1008 廖志唯報告

報告者:廖志唯

報告PPT:https://drive.google.com/file/d/1kwBfUWIOgNcmc4_1OQMpr8RuUTKbo2Sk/view?usp=sharing

影片: https://www.youtube.com/watch?v=u8pw81VbMUU

文獻題目:Space Walk: A Combination of Subtle, Redirected Walking Techniques Integrated With Gameplay and Narration

文獻作者:Eike Langbehn – University of Hamberg / Frank Steinicke – University of Hamberg

文獻來源:

https://s2019.siggraph.org/conference/programs-events/emerging-technologies/

https://dl.acm.org/citation.cfm?id=3327976

https://research.nvidia.com/sites/default/files/pubs/2018-08_Towards-Virtual-Reality/paper_0.pdf

摘要:

Redirected walking (RDW) denotes a collection of techniques for immersive virtual environments (IVEs), in which users are unknowingly guided on paths in the real world that vary from the paths they perceive in the IVE. For this Emerging Technologies exhibit we present a playful virtual reality (VR) experience that introduces a combination of those RDW techniques such as bending gains, rotation gains, and impossible spaces, which are all subtly integrated with the gameplay and narration to perfectly fit the given environment. Those perceptual tricks allow users to explore a virtual space station of 45m2 in a room-scale setup by natural walking only.

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2019.1008 孟昕報告

報告者:孟昕

報告PPT:Active Textile Tailoring——孟昕

文獻題目:Active Textile Tailoring

文獻作者:Lavender Tessmer/Carmel Dunlap/Bjorn Sparrman/Schendy Kernizan/ Jared Laucks/Skylar Tibbits

文獻來源:

https://s2019.siggraph.org/conference/programs-events/emerging-technologies/

https://dl.acm.org/citation.cfm?id=3327995

摘要:

Active Textile Tailoring is a new process for creating smart textiles in which its fibers change shape and structure in response to heat. This adaptive textile can create a new type of sizing customization or aesthetic patterning for the preference of individual customers. This system was developed in collaboration with MIT, Ministry of  Supply, Hills Inc. and Iowa State University with support from the federal non-profit Advanced Functional Fabrics of America (AFFOA).

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2019.1008 劉學致報告

報告者:劉學致

報告PPT:PPT

文獻題目:A Stretch-Sensing Soft Glove for Interactive Hand Pose Estimation

文獻作者:Oliver Glauser/Shihao Wu/Daniele Panozzo/Otmar Hilliges/Olga Sorkine-Hornung

文獻來源:

ACMsiggraph Emerging Technology
https://dl.acm.org/citation.cfm?id=3327975

摘要:

We propose a stretch-sensing soft glove to interactively capture hand poses with high accuracy. A deep network exploiting the spatial sensor layout reconstructs the pose from the embedded capacitive sensors. The emerging technology visitors have the chance to try our new stretch-sensing glove in interactive demos.

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2019.1008 趙立報告

報告者:趙立

報告PPT:PPT

影片:3D Printing-FDM3D Printing-SLA3D Printing-RLP-Products /
3D Printing-RLP-Pneumatic Objects / BMW-Pneumatic Objects

文獻題目:Liquid to Air: Pneumatic Objects

文獻作者:Bjorn Sparrman/Schendy Kernizan/Jared Laucks
/Skylar Tibbits/Christophe Guberan

文獻來源:

ACMsiggraph Emerging Technology
Patrickparrish
Nyartbeat
Selfassemblylab

摘要:

Liquid to Air: Pneumatic Objects, is an exhibition of 3D-printed inflatable works by the Self-Assembly Lab, MIT and Swiss designer Christophe Guberan, exhibited at the Patrick Parrish Gallery in NYC. Using Rapid Liquid Printing, a new process they developed, the Self-Assembly lab has created a way to craft large, customized, dynamic products with complex shapes, internal chambers, intricate surfaces and other unique features. This printing process enables the individualized production of large-scale objects in a matter of minutes, ranging in scale from a vase to a sofa.

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2019.0924 廖志唯報告

報告者:廖志唯

報告PPT:mosaicvirusppt

VIDEO: http://annaridler.com/mosaic-virus

文獻題目:Mosaic Virus

文獻作者:Anna Ridler (UK)

文獻來源:https://calls.ars.electronica.art/prix2019/prixwinner/32178/

文獻摘要:

Drawing historical parallels from “tulip-mania” that swept across Netherlands/Europe in the 1630s to the speculation currently ongoing around crypto-currencies, this video work is generated by an artificial intelligence (AI). It shows a tulip blooming, an updated version of a Dutch still life for the 21st century. The appearance of the tulip is controlled by bitcoin price. “Mosaic” is the name of the virus that causes the stripes in a petal which increased their desirability and helped cause the speculative prices during the time. In this piece, the stripes depend on the value of bitcoin, changing over time to show how the market fluctuates.

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2019.0924 王新仁報告

報告者:王新仁

報告PPT:https://reurl.cc/6gaRlr

文獻題目: Artificial intelligence bot for live voice improvisation
文獻作者:Tomomi Adachi (JP),Marcello Lussana (IT),Andreas Dzialocha (DE)
文獻來源:https://calls.ars.electronica.art/prix2019/prixwinner/33994/
文獻影片連結:

Voices from AI in Experimental Improvisation is the attempt to improvise and interact with a computer software which “learns” about the performers voice and musical behavior. The program behind it, named “tomomibot”, is based on Artificial Intelligence (AI) algorithms and enables the voice-performer and artist Tomomi Adachi (human) to perform with his AI-self–learning over time from Tomomi’s past concerts.

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2019.0924 劉學致報告

報告者:劉學致

報告PPT:PPT

文獻題目:Mother’s Hand Taste (Son-mat)

文獻作者:Jiwon Woo (KR)

文獻來源:PRIX ARS ELECTRONICA 2019 / Mother’s Hand Taste

文獻摘要:

Mother’s Hand Taste (Son-mat) explores the complex relationships between the inheritance of culinary culture, genealogical heritage, microbiology, immigration, and notions of a ‘transient self.’ Through Mother’s Hand Taste (Son-mat) Woo questions that various yeasts living on our hand skin must influence the process of fermentation and the taste of food. The project emphasizes the notion of inheritance, not only to psychological and cultural core, but also to the microbes that inhabit our bodies.

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2019.0924 孟昕報告

報告者:孟昕

報告PPT:PPT

文獻題目:   Labor

文獻作者:Paul Vanouse (US)

文獻來源:https://calls.ars.electronica.art/prix2019/prixwinner/33175/

文獻摘要:

Labor is a dynamic, self-regulating art installation that re-creates the scent of people exerting themselves under stressful conditions. There are, however, no people involved in making the smell—it is created by bacteria propagating in the three bioreactors in the artwork. Each bioreactor incubates a unique species of human skin bacteria responsible for the primary scent of sweating bodies: Staphylococcus epidermidis, Corynebacterium xerosis, and Propionibacterium avidum. As these bacteria metabolize sugars and fats, they create the distinct smells of human exertion, stress, and anxiety. Their scents combine in the central chamber in which a sweatshop icon, a wearer-less white T-shirt, is infused as the scents disseminate out, intensifying throughout the exhibition.

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