文獻題目:The Printer is Telling Me about Itself
文獻作者:Thomas Ludwig/Michael Döll/Christoph Kotthaus
文獻來源:ACM Digital Library/ PAPER

The increasing complexity of cyber-physical systems poses special challenges for users to be able to appropriate and apply such technologies within their practice. Classic tools to support appropriation have usually taken the form of written manuals or video tutorials. However, recent research regarding appropriation infrastructures and sociable technologies has suggested that appropriation support functionality can be integrated directly into software and cyber-physical systems. The problem confronting this kind of support is the adequate visualization of the information and the provision of user interfaces that could offer the necessary basis for appropriation. Based on the example of 3D printing, we examine how projection mapping-as an innovative form of visualization-can be used as a user interface for hardware-related appropriation support. Through reflections upon the design and evaluation of a projection-based 3D-printer system, we provide insights that extend the notion of appropriation support to encompass projection mapping and that can contribute to the future development of projection-based human-machine interfaces.


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2020.05.26 施佳瑩報告

文獻題目:AIA. Artificial intelligence for art
文獻作者:Robert Lisek
文獻來源:ISEA 2018 (pp. 93-97)


There are limits to state-of-the-art AI that separate it from human-like intelligence. Today’s AI algorithms are limited in how much previous knowledge they are able to keep through each new training phase and how much they can reuse. There is domain called AGI where will be possible to find solutions for this problems. Artificial general intelligence (AGI) describes research that aims to create machines capable of general intelligent action. “General” means that one AI program realises number of different tasks and the same code can be used in many applications.

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2020.0414 李擇華 報告


文獻題目:Algorithmic Analysis and Visualization of Motion in Cinema
文獻作者:Hector Rodriguez
文獻來源: SIGGRAPH Asia 2019 / Art Gallery (Deep Dreaming)

This talk explores some of the possible applications of unsupervised machine learning methods in found footage cinema, a tradition of experimental art that re-edits excerpts from existing films. This artistic practice sometimes aims to reconfigure our experience of the moving image heritage. In this context, machine learning algorithms has the potential to capture aspects of the cinematic experience for which we lack critical concepts, and which are for this reason difficult to describe. One important example concerns cinematic motion. Established critical discourse often speaks of motion in film by reference to the movement of objects or the camera. Film scholars might describe a scene by noting, for instance, that a person is walking fast or that the camera is tilting upwards. What is missing in this kind of description is the visual texture of cinematic movement. The two-channel algorithmic installation Errant: The Kinetic Propensity of Images applies matrix factorization techniques to the analysis of optical flow in cinema, focusing on the work of Chinese director King Hu. This method produces a visual dictionary of basic motion patterns the represent what could be described as the “kinetic overtones” of image sequences. The results are then visualized using streaklines, a technique from fluid dynamics. This presentation will discuss the motivation and methodology used in the production of this work, in relation to other work by the speaker. Implications for cinema theory will also be briefly discussed.

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2020.0428 李擇華 報告



文獻作者:何宜軒(臺北科技大學 互動設計系研究所)

摘要:The environmental crisis that emerges in the process of urbanization has gradually affected the quality of life in cities, resulting in the increasing attention placed on many issues in urban planning and urban design. Along with the trend in social development, the scope of artistic creation has gone beyond traditional exhibit space and entered our everyday life. The World Design Capital Taipei 2016 Design Support Project, Construction in Cities can also become an Art, merged the idea of social planning into the design to transform the image of traditional mechanical construction flaggers. Through illuminating the issues of beautifying the environment with art designs, the whole city is treated as a museum, serving as the spaces with different natures in the city for the exhibition of mechanical flaggers as a kind of technical art installation. This study conducted a questionnaire survey on people who had visited the four locations where mechanical flaggers were exhibited. It used museum studies as well as the AEF principle (Attract, Engage, Flip) in the IPOP(Idea, People, Object, Physica) visitor experience typology developed by Pekarik el at. (2014) as the foundation for the measuring items. Apart from analyzing the satisfaction of the visitors, this study established a model, investigating the relationship of mutual influence among the nature of environmental space, exhibition planning and visitor experience from the visitor’s point of view. The

results of this study indicate that in the display of technical art installations in city spaces, exhibition planning as a means that influences visiting experience mediates between the nature of environmental space and visitor experience. Moreover, the attractiveness of exhibitions may be the pivot through which exhibition planning exerts its influence on visitor experience. This study hopes that through this model framework and situational context, the planning of exhibitions not only can affect visitor experience, but can also further influence individual behavior, with a view to realizing the many more possibilities that exhibition planning may contribute substantially to society.

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2020.04.28 鄭涵予報告

2020.04.28 鄭涵予報告

報告者:鄭涵予 PPT (已更新)


作者:許巽翔 (臺北藝術大學)



本文的章節將依序整理我從進入研究所之後對於人與實虛空間之相關議題的創作進行脈絡整理。從《Ultra Line》系列作為出發,以放置巨大尺度的光線比例尺於戶外空間進而探討在真實世界中人與人造建築和自然環境之間的尺度關係。到《闔眼之前》,藉由空間裝置的搭建再現並重新詮釋因科技指數型蓬勃發展的環境之下,人在實體空間中與電子載具平面所形成的虛擬沈浸空間的交互關係。到最後的《流變空間》則是將前兩件作品探討的面相做結合,試著透過媒材的介入使原本單純的現實幾何空間因隨機亂數切割的剖線而將其有機化並產生實虛難辨的空間邊界,進而在黑暗中創造出實虛組合的空間量體,使人對於空間的感受藉由奇觀式的視覺體驗重新回歸於最本能的身體感知。希望能夠藉由這些作品的特性進而去探討在數位時代中虛實空間與人之間的關係。

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2020.04.28 林楷育報告

  • Reporter: 林楷育 Kaiyu Lin
  • PPT:ppt
  • Topic: 科技舞蹈‧體現
  • Authors: 國立臺北藝術大學 舞蹈研究所理論組 劉宇桓
    台灣近年來,表演藝術在國家藝文政策推動下開始積極與科技藝術跨界結合,其中,又以舞蹈與科技結合為多數 。表演藝術與多媒體技術與科技裝置等媒材的結合下,劇場空間文本表現開創出更多可能性,觀眾可以看到表演者與虛擬表演者互動演出或是創作者在劇場上虛擬出的想像空間,甚至,科技裝置成為表演舞台上的主體之一。
    科技舞蹈除了舞蹈,另一個焦點便是「科技」。「科技」一詞本身便帶有高度技術與前瞻性想像的意涵,因此,舞蹈與科技結合的形式便有著超現實般的未來科技世界的想像。然而當科技媒材成為表演藝術內容的一部分時,科技媒材在表演藝術中究竟扮演什麼樣的角色,是劇場舞台裝置、技術或是舞蹈道具?若將科技媒材是為燈光、投影與音響等劇場技術時,其作用是為劇場上作品氛圍的營造或是故事情節的提示等功能,若將之視為舞蹈道具,在舞作中則作為伏筆、製造張力、推進劇情發展的媒介和刻畫人物性格的輔助手段,這些皆為科技媒材在表演藝術中的功能性,來滿足舞蹈的需求。然而科技舞蹈中的科技媒材存在於劇場的意義僅是依附其功能性上,僅做為服務舞蹈的手段或是如Marshall McLuhan所言,媒材如同人體的延伸?科技舞蹈當中,究竟有何隱而未顯之物?
    因此,研究者為釐清舞蹈藝術與科技媒材之間的關係,將從現象學出發,試討人類認識世界的如何可能、本體論的問題、科技與人類之間的關係到科技媒材在表演藝術中存在的可能,並以此作為科技舞蹈論述觀點,討論體相舞蹈劇場2012年科技舞蹈作品《Mr. R》中舞蹈與科技的之間相互影響的關係。
  • References: 臺灣博碩士論文知識加值系統
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2020.04.28 廖志唯報告

摘要:Quantified Self Movement,是透過穿戴式裝置記錄自身的生理數據,使用者透過被記錄下來的數據能認識自己各層面資訊的運動,因都將數據以視覺化圖表呈現,所以也稱為Personal Informatics。透過詳細的圖表呈現,讓人們透過數據更認識自己。慢科技提出者Hallnäs 和 Redström從Weiser提出的平靜科技延伸出另一個想法,電腦科技產品不僅應在大部分的時候靜靜待在背景,當與使用者發生互動時,其呈現資訊的方法經過設計,使用者在接受特定資料與訊號時,能夠得到美感上的體驗與反思的機會。若穿戴式裝置所記錄下來的資訊,以平靜科技、慢科技的概念去設計,讓它如家具、家飾般存在我們日常生活中,當使用者需要知道資訊時,不是拿起手機檢視,而是望向身旁日常生活中的家具、家飾以得知資訊。同樣是穿戴式裝置記錄的資訊,卻以不同的方式呈現,是本研究想要探討之議題,以了解使用者對其之想法。
本研究提出兩款應用穿戴式裝置(智慧手錶)作為以情緒管理為目的之概念產品,一為Slow Technology,一為Personal Informatics,並以影片的形式呈現給受測者。研究採用問卷調查法,問卷以AttrakDiff與INTUI兩份問卷架構而成,受測者在欣賞完兩支概念產品影片後,填寫問卷,問卷數據透過獨立樣本T檢定、成對T檢定之統計方法,檢驗人們針對這兩樣產品之間想法(實用性、愉悅性、吸引性、直觀性)上的差別,論述Personal Informatics與Slow Technology產品之使用者體驗差別。
本研究共收集103份有效問卷,數據分析結果,發現Slow Technology產品在實用性、直觀性雖然低於Personal Informatics,但是在愉悅性、吸引性卻高於Personal Informatics。且近一步分析發現,女生與男生在此兩個概念產品給分之平均數差異,於多個項目中有顯著性,表示女生比起男生,給予兩個產品更高的正面評價。另外,願意與不願意為增添家中氣氛購買家飾的人,對於此兩個概念產品給分之平均數差異也有顯著性,願意購買的人會給予兩產品更高的正面評價。歸納受測者於開放式的回覆,若要嚴謹做好情緒管理的話,使用Personal Informatics是比較實用的且直觀的,而對Slow Technology能否達到情緒管理的目的是需進一步深入研究的。然而將記錄下來的數據當作點綴家中氣氛的依據,可讓Slow Technology具有較高的愉悅性與吸引性。所以本研究認為穿戴式裝置能與家飾做整合,將記錄使用者的資訊、數據當作智慧家飾變換依據之素材,開放式地引導使用者反思。在情感辨識技術成熟前,可將具有調理、緩和使用者情緒功能的慢科技作為未來成熟產品上市前的鋪陳策略產品與後續研究。

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2020.04.28 劉學致報告


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2020.04.28 孟昕報告

文獻作者:實踐大學設計學院 服裝設計研究所——徐明琴


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Topic: Virtual Try-on Image Synthesis Based on Generative Adversarial Networks ppt
Reference: 台灣碩博士論文網


This study proposed a network which can redress the person in input image with the target clothes. Through the virtual try-on model, the clothes should perfectly fit human body in output image, the model wearing the assigned clothes with clothing detail well preserved. Also, the image would still keep the images photo-realistic.

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文獻題目:《Like Plant Like Painting》360度沉浸式虛擬實境體驗創作論述與製作說明
文獻作者:國立政治大學 數位內容碩士學位學程 洪子如
本論文透過《Like Plant Like Painting》之VR創作研究,旨在利用VR之媒材特性,各種歧視眼光、語言、行為,使觀眾感到強烈的不適與折磨,透過無法動彈視角、無法言語的狀況,進而產生同理心並尊重不同族群,希望作品能讓人們開啟對話,理解觀看與被觀看者情緒複雜感受,體認到眼光重疊中的世界下所應具備的同理之心。

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文獻題目:「以假亂真」─ 虛擬實境感官體驗藝術創作

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2020.04.14 林楷育報告

  • Reporter:  Kai-yu Lin 林楷育
  • ppt: ppt
  • Topic: Force Field
  • Authors: Domnitch Evelina, Gelfand Dmitry
    Since the 1970s and 80s acoustic levitation techniques have primarily been applied by NASA and ESA to trap and navigate otherwise uncontrollable samples in microgravity. In the last two decades the same methods have also been used as a means of containerless manipulation on Earth. Numerous experiments have been performed in a vast spectrum of research areas, including fluid dynamics, analytical chemistry, atmospheric sciences, molecular biology, and most recently tabletop astrophysics.In Force Field, acoustically levitated water droplets resonate, vaporise and reassemble into spheroids, toroids and oscillating polygons while spinning nearly devoid of shear. The performance simultaneously taps into the 3-dimensionality of sound, the elusive physicality of water, as well as the rotational dynamics of celestial and subatomic bodies.
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2020.04.14 鄭涵予報告

報告者:鄭涵予 PPT

文獻題目:Tactile microcosm of ALife

作者:Toshikazu Ohshima


摘要:This study aims to propose a new educational tool for interacting with artificial life (ALife). The proposed system consists of an ALife behavior simulation and a tactile aerial display with a combination of aerial imaging by retro-reflection and a force-feedback device. The content is mid-air interaction with a simulated school of fish-like ALife. The behavior is based on a modified BOIDs algorithm with a predator-prey relationship between different species. A user can enjoy interaction with the fish through aerial imaging and haptic feeling. The user can feel the activity of ALife as a force field using haptics.

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2020.04.14 廖志唯報告

文獻作者:Victoria Vesna (UCLA) / Martina R. Fröschl (University of Applied Arts Vienna) / Glenn Bristol (United Motion Labs) / Alfred Vendl (University of Applied Arts Vienna)


The interactive installation presents an aquarium full of plankton in an idyllic immersive experience which presents selected plankton organisms as huge as they are important for our ecosystem. The interaction deals metaphorically with the problem all humans face: Our needs versus the restricted resources of Earth. Find your balance.

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