科技藝術書報討論

Topic: YAMAHA A.I. – Dear Glenn  ppt

Author: Maira Waezawa (Researcher of Yamaha Corporation)

Reference: https://ars.electronica.art/outofthebox/de/glenn/

Connection:

Yamaha AI不僅是對非人類表演者的音樂實驗，而且是使計算機文化“可聽”的事業。該性能提出了有關A.I.與人類文化相關的邏輯問題。實驗即興創作中來自AI的聲音是一種即興創作的嘗試，並可以與“學習​​”表演者的聲音和音樂行為的計算機軟件互動。程序“ Dear Glenn”基於人工智能（AI）算法，使語音表演者可以從過去的表演中隨時間獨立地進行AI學習。通過機器學習，計算機可以識別各種聲音文檔中的模式，還能學會即興演奏。
Dear Glenn通過使用深度學習技術與Francesco Tristano(鋼琴家)和Bruckner Orchester Linz(小提琴和長笛)進行實時交互來進行嘗試。人工智能（AI）通過錄音來“學習”藝術家的個人風格，並以新生成的材料直接面對他。Yammaha A.I.的作品呈現了互動技術和AI如何影響聲音風格。但是，這也清楚地表明，與A.I.相比，藝術家將永遠更具創造力和不可預測性。

How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics

N. Katherine Hayles

摘要：
後人類將意味，科技領先已成事實，科技影響日常生活成為必須，儘管人類無意識到，它不僅在我們社會的結構上留下了印記，而且還重新定義人類。
後人類主義可能沒有單一的，統一的含義，後人類主義試圖重寫人類的定義，不再只是關於人類和人類狀況的傳統觀念來定義身份的概念，身體存在與感知與判斷，以控制論機制定義下，機器人與人類之間沒有本質區別。身體不過是義肢可以修修復，甚至換另一個，意識是一種現象。從本質上講，這允許並科學和科技為人類和後代提供不同類型的增強功能。演進的行為在歷史上被依然視為偶然事件，而不是生命的必然性。超人類主義，一種思想和運動，尋求發展並使消除老齡化的技術成為可能，大大提高人類智力，體力和心理素質，以實現後人類未來。
今社會已經在許多方面開始接受並實踐這些改進，改變了自然的局限性：從諸如眼鏡，眼神接觸器和助聽器等“較簡單”的輔助物品，到諸如人工視網膜，激光眼科手術和內耳等更複雜的結構；甚至起搏器和胰島素泵，這些從根本上使我們能夠欺騙死亡本身。
超人類主義也許可以被認為是後人類主義的一種更激進的類型，它建議一種不再是人類的生物，已經發生了巨大的變化以至於不再代表我們的物種，因此它將消除殘疾，痛苦，心理選擇，疾病，老化。我們真的可以自己加速甚至控制自己的進化
如何定義人的本質，想像超人類主義的最後後果，例如人工耳蝸會把聾人變成機器人嗎？我認為我們可以創造出納米技術或原子技術來在細胞水平上修復我們的身體，並將我們的預期壽命提高到150或200年。如果有一天有可能使人的意識完全脫離身體，在數位媒體中維持意識，僅消耗20瓦特且持續保有意識。如果我們開始將自己轉變成更高的東西，那麼這些增強生物將要求擁有哪些權利？

報告者：鄭涵予  報告PPT

文獻題目：BIOART: AN INTER-DISCIPLINARY APPROACH TO HUMANITIES AND SCIENCES

作者：Rosangela Barcaro

參考資料來源：PDF

文章摘要：

Many contemporary artists are attracted by bioengineered life, genetics and biotechnology; this phenomenon can be explained by the artist?s role: over the centuries artists have been interpreters of ideas and socio-political and scientiic phenomena. They have described, crit- icised, or – more often – acclaimed, their contemporary society and its socio-political powers. Therefore current attention, paid by artists to biotechnology, is perfectly understandable and justiiable, as pertaining to the very role of the artist.

Introduction: We are going to characterise what has to be intended as bioart, as well as in- troduce an analysis of the potentiality of this multifaceted experiment as a crossing bridge between scientiic, technological and bioethical issues.

Methods: Comparison between selected bioartworks and bioartistical research projects in or- der to characterise their ethical, philosophical and socio-political aims.

Conclusion: A conscious involvement in the interdisciplinary debate between bioaethics, bioarts, and science in general is needed to ind solutions that can be shared in this global- ised world.

From Technological to Virtual Art

By Frank Popper

Cambridge, MA, US: The MIT Press (2007)   190-197, illus.

Char Davies（生於1954年）是加拿大當代藝術家，以創造沉浸式虛擬現實（VR）藝術品而聞名。他的作品Ephémère（1997-1998）是令人印象深刻的沉浸式交互環境。為了體驗這些作品，參與者戴上了頭戴式立體顯示器他認為這是在整個空間內實現全身沉浸感的最有效方法。隨著沉浸者的呼吸，這被一片被森林包圍的空地所取代。一個人可以通過呼吸無休止地漂浮在這片森林中。或進入該空地的孤樹及其葉子的內部；或沉入池塘及其深淵中；或上升到空曠處進入雲層或下降到半透明的根和岩石之間。我認為這些早期即開始的VR作品中，除了技術上的價值之外，作者Char Davies本身的藝術修養也是作品雋永的重要的因素。美的感知和對她所選擇自然界的素材，都能讓觀眾進入一種內觀的原始情狀。作者本身的生理經驗:(深度近視)和懷孕的經驗，影響作者選擇的再現的景象。我個人認為那些非常主觀的選擇，構成了這件作品迷人的個性。

報告者：陳信甫  1019 ppt

文獻題目：The   Nature   of   Code 

作者：Daniel Shiffman

參考資料來源：https://natureofcode.com/book/

摘要：

懂得random()，noise()的差別之後明白函式的應用及使用順序，或是不同的效果會需要不同的函示表現，這兩者之間是幾乎相近，但是對於大概表現之時我會用random去做使用，懂得大概樣後，使用noise來進行生物性修改，移動及顏色都能透過noise來表現，這兩者對於本書後續的教學，都佔有很重要的問題參考，懂得這兩者的應用性，後續會非常好操作，但是我們可能容易陷入使用 noise ( ) 作為函數的功能應用裡。該對象應如何移動？變量要給多少才會有明顯的變化、顏色應用、波形圖形等。但這並不式要跟說您應該或不應該使用隨機性這項功能 random( )。還是您應該或不應該使用 noise ( ) 。關鍵是程式碼是由您定義，會的功能越多，實現你的圖像作品就會更容易。本書的目標是讓你學會並充實你各式各樣的功能。如果您所知道的只有 random( ) ，那麼您的設計思路就會受到限制。當然，noise ( )也會對你有所幫助，但您需要更多。

Topic: Introduction to Artificial Life for People who Like AI  ppt

Author: Lana Sinapayen

Reference: https://thegradient.pub/an-introduction-to-artificial-life-for-people-who-like-ai/

Abstract: ALife is the bottom-up scientific study of the fundamental principles of life. Artificial Intelligence researchers ponder the nature of intelligence by trying to build intelligent systems from scratch, ALife researchers investigate the nature of “life” by trying to build living systems from scratch. This academic field naturally overlaps with biology and chemistry, but also computer science, astrobiology, physics, complex systems, network sciences, geology, evolutionary science, origins of life research, and of course AI and animal behavior studies. We introduce ALife through the following 6 sections:
ALife Introduction, A short history of Alife, ALife and AI, Conclusion & Vision of ALife, Connection/Demo

Topic: Bioart and Bildung —Wetware: Art, Agency, Animation, an Exhibition as Case Study  PDF

Author: Charissa N. Terranova

Reference: Bioart_and_Bildung

Abstract:

報告者：李擇華

文獻題目：An Analysis of How Interactive Technology Supports the Appreciation of Traditional Chinese Puppetry: A Review of Case Studies

作者：ShichaoZhao

參考資料來源：PDF

Introduction:
From the perspective of safeguarding Chinese Cultural Heritage, this paper discusses how to enhance the appreciation of traditional Chinese puppetry through the support of interactive technology. The author analyses extensive, yet current case studies, based on the findings described in the interactive systems for puppetry performances and interactive technology for puppetry appreciation. The author summarisesfour aspects of how to enhance the appreciation of, and engagement with, traditional Chinese puppetry:
(1) maintaining originality is necessary for the design phase;
(2) it is crucial to explore how to use interactive technology in order to design a way for adults to appreciate this form of art;
(3) it is also necessary to determine ways to support adult audiences in grasping the cultural significance and folk customs of traditional Chinese puppetry; and
(4) the study’s further main research goals are to investigate ways to use emotional expressions, digital storytelling and other methods in conjunction with interactive technology to help multi-cultural users comprehend traditional Chinese puppetry.

報告者：鄭涵予 PPT

文獻題目：SpinalLog: Visuo-Haptic Feedback in Musculoskeletal Manipulation Training

作者：D. Antony Chacon, Eduardo Velloso, Thuong Hoang, Katrin Wolf

參考資料來源：文獻/PDF

摘要：

Current techniques for teaching spinal mobilisation follow the traditional classroom approach: an instructor demonstrates a technique and students attempt to emulate it by practising on each other while receiving feedback from the instructor. This paper introduces SpinalLog, a novel tangible user interface (TUI) for teaching and learning spinal mobilisation. The system was co-designed with physiotherapy experts to look and feel like a human spine, supporting the learning of mobilisation techniques through real-time visual feedback and deformation based passive haptic feedback. We evaluated Physical Fidelity, Visual Feedback, and Passive Haptic Feedback in an experiment to understand their effects on physiotherapy students’ ability to replicate a mobilisation pattern recorded by an expert. We found that simultaneous feedback has the largest effect, followed by passive haptic feedback. The high fidelity of the interface has little effect, but it plays an important role in the perception of the system’s benefit.

報告者：劉學致
報告PPT：0609 PPT
文獻題目：Exploring Art with a Voice Controlled Multimodal Guide for Blind People
文獻作者：Jorge Iranzo Bartolome, Luis Cavazos Quero, Sunhee Kim, Myung-Yong Um, Jundong Cho
文獻來源：2019 TEI
原文摘要：
There is an increasing concern to improve the accessibility of artworks for blind people. Much of the effort has been focused on helping the visually impaired people to access the exhibition facilities, but the works of art hosted there are still difficult to experience for them. Particularly, the appreciation of visual artworks is hindered as blind visitors are not allowed to touch them in order to conserve their aesthetics and value. In this work we explore our findings using a prototype of a voice interactive multimodal guide designed to improve the accessibility of visual works of arts, such as paintings, for the blind people. The prototype identifies tactile gestures and voice commands that trigger audio descriptions and sounds while a person explores a 2.5D tactile representation of the artwork placed on the top surface of the prototype. Our preliminary findings include the results of eight user tests and Likert-type surveys.

報告者：施佳瑩
報告PPT：20200609書報
文獻題目：Deep Appearance Models for Face Rendering
文獻作者：STEPHEN LOMBARDI, JASON SARAGIH, TOMAS SIMON, YASER SHEIKH
文獻來源：PAPER / ACM Digital Library
原文摘要：
We introduce a deep appearance model for rendering the human face. Inspired by Active Appearance Models, we develop a data-driven rendering pipeline that learns a joint representation of facial geometry and appearance from a multiview capture setup. Vertex positions and view-specific textures are modeled using a deep variational autoencoder that captures complex nonlinear effects while producing a smooth and compact latent representation. View-specific texture enables the modeling of view-dependent effects such as specularity. In addition, it can also correct for imperfect geometry stemming from biased or low resolution estimates. This is a significant departure from the traditional graphics pipeline, which requires highly accurate geometry as well as all elements of the shading model to achieve realism through physically-inspired light transport. Acquiring such a high level of accuracy is difficult in practice, especially for complex and intricate parts of the face, such as eyelashes and the oral cavity. These are handled naturally by our approach, which does not rely on precise estimates of geometry. Instead, the shading model accommodates deficiencies in geometry though the flexibility afforded by the neural network employed. At inference time, we condition the decoding network on the viewpoint of the camera in order to generate the appropriate texture for rendering. The resulting system can be implemented simply using existing rendering engines through dynamic textures with flat lighting. This representation, together with a novel unsupervised technique for mapping images to facial states, results in a system that is naturally suited to real-time interactive settings such as Virtual Reality (VR).

相關影片(原作者報告影片): YouTube

Topic: Inside the Classification Cube, An Intimate Interaction with A.I. System   ppt
Author: Avital Meshi
Reference: SIGGRAPH’20

Abstract:

“Inside the Classification Cube: An Intimate Interaction With an AI System” is a SIGGRAPH 2020 Art Papers selection that explores one of society’s most frequently asked questions — how do people portray themselves versus how others portray them?
The “Classification Cube” art installation was developed as Meshi’s MFA thesis project for the Digital Arts and New Media program at University of California, Santa Cruz (UC Santa Cruz). Throughout this studies, Meshi mainly focused on the role of avatars and possibilities for embodiment in virtual worlds, along with the performative engagement that comes with this practice.

報告者：趙立
報告PPT：PPT
文獻題目：FusePrint: A DIY 2.5D Printing Technique Embracing Everyday Artifacts
文獻作者：Kening Zhu/Alexandru Dancu/Shengdong Zhao
文獻來源：ACM Digital Library/ PAPER
摘要：
FusePrint is a Stereolithography-based 2.5D rapid prototyping technique that allows high-precision fabrication without high-end modeling tools, enabling the mixing of everyday physical artifacts and liquid conductive gels with photo-reactive resin during the printing process, facilitating the creation of 2.5D objects that perfectly fit the existing objects. Based on our polynomial model on 2.5D resin printing, we developed the design interface of FusePrint, which allows users to design the printed shapes using physical objects as references, generates projection patterns, and notifies users when to place the objects in the resin during the printing process. Our workshops suggested that FusePrint is easy to learn and use, provides a greater level of interactivity, and could be useful for a wide range of applications domains including: mechanical fabrication, wearable accessory, toys, interactive systems, etc.

報告者：廖志唯
報告PPT：https://drive.google.com/file/d/1UCM6ncI9MR6fi55yeKTHogMDyi1K5_5a/view?usp=sharing
文獻題目：Interaction in Virtual Environments – How to Control the Environment by using VR-Glasses in the Most Immersive Way
文獻作者：Barbara Streppel (MaibornWolff GmbH, Germany), Dorothea Pantförder and Birgit Vogel-Heuser (Technical University of Munich, Germany)
文獻來源：https://link.springer.com/chapter/10.1007/978-3-319-91581-4_14
摘要：Not only in the gaming industry is Virtual Reality (VR) the new way to give users a new experience – in engineering or production plant operation we also see first attempts at finding innovative ways of visualizing data or training plant staff. This is necessary because processes are getting more and more complex thanks to higher interconnection and flexibility. This paper presents actual possibilities of interacting with a virtual environment and provides three concepts for immersive interaction. We also show the results of an evaluation of these concepts at the end of the paper.