Diolch yn fawr iawn am wylio'r fideo. Thank you. Thank you. Teksting av Nicolai Winther The Thank you. Welcome to the Birds of a Federal session, connecting media art research. We'll come back to expand it. This Birds of a Federal session is focusing on media art research. As you all know, Ars Electronica has three pillars, art, technology and society. And with EXPANDED, the conference on animation and interactive art, we are also tackling a fourth pillar, research. And that brings us to the very simple question, what is media art research? And I'm very happy to have on stage great representatives from different institutions and festivals and conferences with the same focus, with the focus on media art and media art research. So there is, of course course a lot of different approaches, disciplines, how to collaborate with different researchers, how can media artists collaborate with computer scientists for instance, etc. So there are a lot of interesting questions and what we will do in this Börsever Feder session is that we will have presentations by great representatives and at the end we will have a discussion and we will discuss what is media art research right now how should we collaborate between the institutions, between the big institutions, between the smaller initiatives and to share our findings. So here we will have, I will shortly introduce the program, Victoria Szabo, who will introduce the ACM SIGGRAPH digital arts community, a big initiative within SIGGRAPH digital arts community, a big initiative within SIGGRAPH conference. Then we have Arandi Vergas and also Everardo Ries, representatives from ISEA International. That's very great and Everardo will also talk about the ACM SIGGRAPH 26 art gallery because he was the chair or is the chair for the art gallery and then we have Yurichiro Katsumoto, he will talk about Seagraph Asia art gallery so very international and then we also have Baiyuan Cheng who will provide insight into the Chinese perspective on evolving media art. And finally, we have James Shi. He will introduce the Vinci ACM conference and will also talk about the journey across technology, media and culture. So with that I would like to start with Victoria Szabo. She is a research professor in the Department of Art, History and Visual Studies at Duke University where she works at the intersection of digital humanities, visual culture, computational media, immersive technologies. She is a founding director of Duke's Computational Media Immersive Technologies. He is a founding director of Duke's Computational Media Arts and Cultures PhD program and has held several leadership roles at Duke including director of the Digital Humanity Initiatives, co-director of the Game Lab and director of the Information Science Studies program. And a lot of other things I would only highlight that Victoria please come on stage is the co-general chair together with me for on the expanded conference as you see we already have a strong collaboration and you are heavily involved in Seacraft as well because you are the executive committee of ACM SeIGGRAPH. I think that's not in your current bio because that's brand new. It's breaking news. Is it official? It is official. Okay, everyone. It's a pleasure to be here and talking to you about ACM SIGGRAPH. You know, as you've already heard from Juergen, we have a lot of intersections and crossovers already, and we'll talk a little bit about those. So today, I'm here to talk about an organization I've been involved with for more than 20 years, ACM SIGGRAPH. The long acronym stands for the Association for Computing Machineries Special Interest Group on Computer Graphics and Interactive Techniques. If you don't know, we have large annual conferences in North America and in the Asia-Pacific regions. And there are usually art gallery, art papers, and other arts-related events at the conferences. But for the most part, that's really not what I'm going to be talking about today, because what I'm talking about is the year-round digital arts community. The mission of the ACM SIGGRAPH digital arts community is to foster year-round engagement and dialogue within the digital, electronic, computational, and media arts. We facilitate dynamic scholarship and creative programming within the ACM SIGGRAPH organization. Our goal is to promote collaboration between artists and the larger computer graphics and interactive techniques community. We are a small but important part of the conferences, which really originated in technical papers, and we serve academics and professionals in those worlds, as well as industry partners. This situation, this placing, gives us a great advantage in that we can communicate directly with possible interdisciplinary collaborators and learn more about the latest discoveries and inventions in the field. But we, as the digital arts community, are also an underdog, a somewhat niche community in a wider ecosystem. This makes us different from programs like Expanded and Ars Electronica or Isaiah, our frequent collaborative partners. I want to highlight that we're all volunteers doing this for the love of the thing, but being part of the digital arts community also provides a space to create community and connection around topics of shared interest in a variety of modalities and sometimes in an experimental, exploratory sort of way. The core group is small, with each of us focusing on specific areas that we work together on our projects and we extend out with a network of collaborators in a variety of ways. One of our signature activities in the DAC are the monthly SPARC sessions. SPARCs are short presentations of artwork and research for the kindred spirit. These take place online and are moderated by digital arts community members along with invited guest facilitators. We have a call for proposals, maybe eight to ten speakers per session, and five minute lightning talks followed by a group discussion. We have worldwide engagement with these. People do get up at 3 a.m. to be part of it, which is really extraordinary. And a lot of people who've gotten involved in some of our projects started out as a Sparks presenter. We also record the sessions and the recordings have a long tail. We're currently trying to get all of our videos into the main SIGGRAPH YouTube channel so that they're more distributable to the rest of the community. Here's some examples of recent topics. I don't know well how you can read this, but you'll note that each one has a different focus than a guest co-moderator. In fact, this Friday night, if you aren't busy at 10 p.m., consider joining a new assemblage, Rethinking Audiovisual Creativity with Generative AI. This session is moderated by Wei-Di Zhang and Wailu Ge, artists you may know from other contexts. I encourage you to check this out if you're not doing something else. One of our other major year-round activities are our exhibitions. These can take a few different forms. Some are purely online, though they're showcased on kiosks at the conferences and are sometimes, we're sometimes able to bring in speakers into the sessions. I organized an exhibition called The Future of Reality Post-Truths, Digital Twins, and Doppelgangers in 2024, for example. That was the theme that I then revisited as Art Papers Chair. You're starting to sense a theme of weaving through these different modalities. And this is one of several types of recurring themes in my own research and others that becomes part of the SIGGRAPH ecosystem. We also use the exhibition format as an occasion to showcase the work of students through student competitions. For the last few years, we've used the evergreen theme of speculative futures to organize this event and bring student winners to the conference. Another way we engage is through ancillary events at the SIGGRAPH conferences themselves. For the last couple of years, we've had events alongside the conference with partners in the city. Last July, we worked with the Texpressionist group to co-organize a show at the LA Center for Digital Arts, LACTA. This event was an interesting initiative that celebrated both print-based digital art and added an extra layer of interactivity by curating partnerships between composers and AR artists with some of the featured artists in the show, so layers and layers of interaction. Gustavo Rincon, one of our DAC members, was one of the key organizers there. The result was an exciting on-site and multimodal experience. I've been chatting with people all along during Expanded about how important it is to come together and have the liveness of lived experience together. The year before in Denver, we were able to organize a projection mapping show, thanks to local connections that DAC member Johannes Young had in the city. An opening night party brought together artists and community members within the SIGGRAPH community and more broadly. A little picture, video of the projection mapping. Our newest on-site exhibition is different in that it isn't tied to a specific conference. We're working closely with the art group Chewing Theory in China to produce the Urban Digital Canvas Shanghai as part of the Shanghai Light Festival. This is opening in a couple weeks. This event will bring more than 80 artists' works to screens around the city. Together with the DAC chair, Rebecca Xu, I've been working with Weihang and Chewing Theory to organize and manage a very complex intervention. As I said, it opens 24th of September and will be open for a few weeks. We'll also be documenting it online afterwards, which is part of our recurring theme of having a live event, but then also documentation and also discussion. There's a little promo video, maybe? So So part of what's exciting about this is that we're really thinking about how to be in dialogue with a specific place and at the same time bringing to light digital arts of various kinds and from people around the world. We need to watch that again. So we promised a few computational media arts research threads and themes. I'm going to just telegraph a few of them here, and hopefully at the end we'll have time to have a broader conversation. As you've seen, there's lots of different ways in which the digital arts community has worked as a larger organization. We've taken advantage of our own networks and provided ways to create real-time lived experiences together. But thinking forward and looking ahead, some of the key themes I'd like to highlight are as follows. History, heritage, archives and documentary, multimodal publication and exhibition formats, digital divides, access and authority, media art histories, theories and cultures, experience, affect, liveness, play and corporeality, data, information, translation, adaptation, and aesthetics, human and non-human co-production, and ethical, legal, environmental, and social implications of computation. So these are just a few, a few things we might choose to tackle together. In terms of pragmatic tactics, I hope we can continue to develop cross-organizational connections. I got involved and expanded in part through connections made at SIGGRAPH. The kinds of events we've organized invite global participation across modes and locales with people who are both established scholars and researchers, community members, and then also students and younger people. I personally like to continue to explore real-time physical and virtual connections as well, and to think more about how persistent third spaces, galleries, publications, and archives can play a part in our ongoing activities. And I look forward very much to hearing all of your ideas. You can feel free to contact me here in my Duke identity or my ACM SIGGRAPH identity or maybe even in my expanded identity. So thank you all. Thank you, Victoria. We will continue with Arandi Bergarras Vargas. She curates, teaches, and writes on contemporary and media art. She is assistant professor in the École des M's right. My French is not good. UQAM Her main research interests include global art history, climate responsibility, cultural studies, internet culture and widespread biases in algorithms. Internet Culture and Widespread Biases in Algorithms. She earned an M.E. at the Concordia University and a Ph.D. in Art History at McGill University, and she is the chair of ISEA International Board. Stitches, you're welcome. Thank you. Hello, everyone. Thank you so much for being here. Thank you, Expanded Conference, for the invitation. And it gives us an excuse to gather together and reflect on ways of connecting. So thank you. It's a pleasure also to be in ours. When I started my undergrad and I was interviewing these artists with this curator in Mexico City, where I'm from, he said, get this catalog, you need to know about Ars Electronica. And it's been my dream to be here and ever since this is a reference. And so I feel this is ways today we're going to be talking about two events that are connecting our communities. So thank you, Ars, for that. All right. So I'm here standing representing ICA International. I joined the board in 2022 with my colleague here, Everardo Reyes. We're both part of the board. Everardo is the treasurer. And I organized ASEA in Montreal. So maybe I know some of you that participated but didn't get to meet in person because this is when the pandemic hit. And so, as you know, ASEA is the International Symposium on Electronic, and now we add emerging art. The first symposium took place in 1988 in Holland. And ever since this event has grown, to answer a bit about the question about research, I say I started as a symposium where people gathered together to share research and to share ideas and there was no name for most of the things that were happening but there was the curiosity, there was the research, there was the impulse to try to find ways to gather together and share not only the research but also the questions that were shaping our world related to technologies. So there has been 30 symposiums. The last year, we started with 30. This year, Dubai will be the 31st. And so, as you know, we have academic conferences, we have artist talks, we have exhibitions, we have performances, we have workshops. And the idea is that we gather together to share research in different ways. And ICA has always brought together communities that are both scholars working at universities, artists working at universities, but also independent artists. And so I think that's one of the things that makes the dialogue and the community strong. We are a nomadic event. We are hosted in a different country every year. And the HQ is at the University of the Creative Arts in the UK. And so our mission, as I said, is a non-for-profit organization fostering interdisciplinary discussion and knowledge exchange among both organizations and individuals working at the intersection of our science and technology. And so the way it works is like we have a structure, we have a board of directors that Iberardo and I represent here today. We have a HQ that basically executes the board's decisions and ensures to give follow up with every new host. We also have an advisory committee. These are all voluntary memberships. As Victoria was saying, for us too, we are in a voluntary basis and we want to be part of that community. We have special advisors, people who have been associated with ASEA and have played an important role. We also have a physical archive, the online archives, and we have subcommittees and task forces that shape or answer to different questions or things that we are working on every year it changes. And so the way it works is we have an open call for a bid. It's around September. And the idea is that every country, every organization is invited to put on a bid. We call it the expression of interest. It's on the website, the on how to bid section. You can find it. And the call is open every year. The deadline is February 15 every year. And so organizations are invited to put together a bid where they develop an idea of a theme. And they also kind of map out the infrastructure. What we are looking at here is what is that this country, this host, this organization can bring to the community. We're interested to see the areas of the world that this venue will bring together. Usually if the event is in South America, in Asia, these are the communities that are gonna join and so we are going to, we're trying to find a diversity in that way too. These are the countries that have hosted ASEA in the past. So you can see it's been everywhere. There are some hosts that really ASEA make such an impact in the community that they want to bring it back because it really shaped the landscape. I can speak for my experience in Montreal. Every Montrealer who was alive around the 90s, they said, Isaiah changed my life. This is when I knew that what I was doing on my own, that in my university nobody understood. This is what I knew that other people were doing it. And we have organizations, major organizations like MUTEC or DESAT that you might have heard of that actually started out of this impulse, this energy that formed in Isaiah. The last edition was in Seoul, and so here I will try to see if I learned, yes. All right, because I've been talking about Isaiah, but obviously we couldn't do anything without the artist, so I wanted to give you a hint of what happened in Seoul last year. I'm sorry. Thank you. Thank you so much. You shut the sound please. Thank you. All right. So 800 delegates from 47 countries. They received 49 submissions from 60 different countries. And so this is kind of the energy that got into ASEA. The picture on the side, it's the proceedings. What's interesting is, again, when communities put together a bid, what they do is develop a theme. And we are looking at how people are responding to the urgent themes of the time, but also what they want to bring from their communities. I bring this example of Brisbane because this is an event in Manjin that they wanted it to be reflecting on the local community of indigenous peoples. So for them it was very important that, for instance, have all women keynote speakers. They also had a massive amount of indigenous artists from across the world that came to present their work. So again, every country gave its own vision. The picture on the right side is gathering that was only by invitation. It was for indigenous people working around AI, but they are looking at protocols in a very different way. And so this is what every organization, every host brings to ASEA, its own power and its own way of thinking and its own epistemologies. We have an international program committee, maybe some of you have served already. We have had around 1,200 members throughout the years. There's different profiles. Again, this is where research intersects with our end society. So obviously the submissions are peer review and every paper, every presentation has a double-blind process. I wanted to share a list of the IPC from the first edition of EISEA. Look, I think there were like, what, 17 names reviewing proposals for the first edition of Isaiah. Look, I think there were like, what, 17 names reviewing proposals for the first edition of Isaiah. And look at this now. Again, we went from here to 1,200 people reviewing proposals. So again, we exist because of the community that volunteer and are happy to share their skills and review papers. Keynote speakers throughout the year, maybe you know some of these names. A lot of artists I've also met always tell me, like, you know, I was an undergrad, my prof bring me, and then years later I was giving a keynote. So these are kind of the impulses and the ideas that shape the community. We have a physical archive. For those of you who don't know, actually, the archives of ICA are hosted at the Montfort University in the UK, and it's under the supervision of the computer's archives. So this is a major thing for us. We also have an online archive, and these are volunteers who are working every edition of ICA. They're taking pictures, grabbing everything that they can, and then they're documenting that. And this is like the archive. This serves as just a measurement of what's happening every year and the research and the ideas that are growing in our communities. And it's all available online for free. We also, and this is the last part, we are trying to be in conversation and always collaborating with our partners, Ars Electronica and ACM Seagraph. We think it's very important. We're all doing different things, but we are also working with the same community, and we have the same mission. It aligns in the intersection of our science technology and, I think, society for all of us. And so I'd like now to ask Maite to join me. As you know, the next edition, it's going to take place in Dubai from the 6th to the 15th of November. So Maida, he's representing Dubai and he's going to tell us about it. Thank you, Maida. Hello, everyone. I'm Maythal Blushi, Director of Emerging Arts Department in Dubai Culture and Arts Authority and the Executive Director for the IZEA 2026. So I'll give you a glimpse of IZEA's edition, 31 edition this year. فبالنسبة لأهمية الياه، وهي أميرة أميرة في العام، كانت تستخدمها لتسليم المشاركة أن نكون مستمرةً على المستقبل لأننا نحتاج إلى أن نرى بكل ما يتعلق بالمجرد خاصة عندما يتعلق بالتكنولوجيا والإنجليزية لذا، تحت تهم إليا تنظر إلى المكان والإدارة والإدارة سيكون هذا الموضوع موضوعاً 10 أياماً في كل مدينة. لذلك، لأول مرة نحن نظهر موقعات عزيزية عام ٢٠٢٦. بعض الموقعات الآن ونحن نشارك بعض الموقعات الآن ونحن نشارك بعض الموقعات الآن ونحن نشارك بعض الموقعات الآن ونحن نشارك بعض الموقعات الآن ونحن نشارك بعض الموقعات الآن ونحن نشارك بعض الموقعات الآن ونحن نشارك بعض الموقعات الآن ونحن نشارك بعض الموقعات الآن ونحن نشارك بعض الموقعات الآن ونحن نشارك بعض الموقعات الآن ونحن نشارك بعض الموقعات الآن ونحن نشارك بعض الموقعات الآن ونحن نشارك بعض الموقعات الآن ونحن نشارك بعض الموقعات الآن ونحن نشارك بعض الموقعات الآن ونحن نشارك بعض الموقعات الآن ونحن نشارك بعض الموقعات الآن ونحن نشارك بعض الموقعات الآن ونحن نشارك بعض الموقعات الآن ونحن نشارك بعض الموقعات الآن ونحن نشارك بعض الموقعات الآن ونحن نشارك بعض الموقعات الآن ونحن نشارك بعض الموقعات الآن ونحن نشارك بعض الموقع وفي عملية إيزياء سيكون عملية عملة سيكون لدينا مجموعة عامة لبرنامج الأكاديمي ومعظم المواضيع المتحدة في المنطقة المتحدة ومعظم المواضيع المتحدة في المنطقة المتحدة ومعظم المواضيع المتحدة في المنطقة المتحدة ومعظم المواضيع المتحدة في المنطقة المتحدة ومعظم المواضيع المتحدة في المنطقة المتحدة ومعظم المواضيع المتحدة في المنطقة المتحدة and it's open for the public. So it will include also exhibitions, installations, immersive experiences, and performances. So when it comes to artistic program, we'll say it's physical plus digital. It's a physical program. So here are some numbers, IZEA's numbers. We've received 1,014 submissions, and we are revealing those numbers right now. We've selected 96 artworks and 148 مرات عامة عامة عامة ويمكنكم رؤية التفاصيل في المنطقة الأسفل لذلك في المنطقة المتحدة سيكون هناك تنظيم مفتوح في 30 سبتمبر وقد أعطنا أيضاً، أعطنا المعرضات للشخصين، وذلك يمتلك المالات لتحسين عملهم المهارة. ونحن أيضاً نود أن نجعل الجميع يتجمعون في هذه المجالات لنتجمع معاً ونحن نتجمع على المجالات الإنوويتية والخاصة ونحن نكتشف المجالات المتخصصة ونحن نقوم بإشارة المجالات التي تتخلص عندما تتخلص العلم والعلم والتكنولوجيا نحن نرحب بكم that emerge when art, science, and technology intersects. We welcome you in Dubai, and we're looking forward to see you all, and to have this experience together. Thank you so much. Colors, shapes, and textures. Let's take a look at some of the examples. Thank you for the great presentation and also the insight into IC Dubai. So we are really looking forward to the event and without any further ado I will not introduce Everardo. He's already a friend of ours, electronic current. current we are collaborating he was on stage already last year with this initiative to bring Isaiah and as electronic are a little bit closer together and I think you will also talk about some initiatives that had have already been in the last year. Let's see the trailer. Let's roll the clip. Everado was on a jury for a Prius Electronica category computer animation art last year and we are collaborating I think since two, three years and I'm a professor of computer art and I'm a professor of computer art and I'm a professor of computer art and I graduated from the Department of Computer Animation Art last year and we are collaborating I think since two or three years and I'm really looking forward to your insight into C-Graph Art Gallery Plus. Thank you. Thank you, Juergen. And well, you were there so you know how was the art gallery and some of you as well, Victoria. Or some others have been, Martina. So I'm happy to be here and to show a little bit of what we did. And kind of, it's amazing how to see the history, you know, that 30 years of Aicia. Now that generation, we are into this new generation and seeing how new words and students and we have a lot of energy right happening. So I will not come back to what Victoria has already said about what is ACM, what is SIGGRAPH, those are like really all-time institutions, very prestigious from the computing science perspective. But that's also great that they are open to artists and creative practices, right? So this has happened since the beginning. Let me show you a couple of images from what was the first art show 45 years ago. 45 years ago in 81, David M. was writing software to show. This is what the first art show looked like. It was like a curtain, like hiding the big, of course, computers, servers, graphics, there was no GPUs, right? But it was an effort by those some very important contributors, Jim Blim, Julian Gomez, all from the NASA's Jet Propulsion Lab. Some of the images that you might recognize because some were very famous, right, it was even the cover of jazz pianist Harvey Hancock, for instance, Rebecca Allen, those are some of the works that were there in 81, 45 years ago again. So what we've done, I was very fortunate to be this year art gallery chair, next to other previous chairs who have been like keep trying to keeping I mean to who have kept alive right the tradition so themes each year has like a topic's say, and since some years ago, since 2018, the art gallery is juried. That means that it's an open call and submissions are received. And as the chair, let's say, I thought that one word would be easy to get and perhaps inspiring for submissions. So the topic was in-betweens in this case. So what is in-betweens and what for in-betweens? The idea to me was that I said, well, let's try to find connections between the works. Of course, there are many, let's say, similar technologies or similar models or similar languages, I don't know, but what else? What else? How can we like highlight, uncover, show those hidden, let's say, or implicit interconnections? So just to be very very brief, we this year received a record number of submissions, more than 200, 211 to be precise, and in the end there were 12 selected works and two curated works. These are some of the I mean, documentation is also on site, online, at the SIGGRAPH website, right? So this is like a map of every, when you submit to SIGGRAPH, there's a field where you can put your own keywords, the keywords that you think that define your submission. So this is what it looks like, more or less. It was an initial idea, right? So it became later a big poster. So I think that together, those pieces created naturally some sub-themes. Some were related to space, right? Some others were related to, let's say, culture. Weidi Zhang who is chairing this Friday, it's a small community, we're all connected. And let's try to keep it that way, like to nourish these connections. Shirley from data visualization, she did an amazing, amazing job. Some others were working on memory, for instance. And well, I don't know if artworks or artists are later seeing this video. I'm really also thankful to everybody who committed and put a huge amount of dedication. This is fantastic also because you can even experience this piece at the FC venue this year at Ars Electronica. Joey and Koi, they are there and you can experience that one. Shihua, and this is about nature, some examples, right? What were the two curated? It's again an effort to like trying to give ours... I mean, if not everybody can come to ours every year. Well, let's try to bring Ars Electronica to Sigra. So we got a screening of the festival and a couple of prints that, if you remember, were some of those written 45 years ago for the first art gallery show, right? David M. kindly lent these prints for the gallery, so they were exhibited there. So to conclude and to end, I'd like to just say that there is an online art gallery archive. I mean, because the project was being done, let's say, it was important to me to try to take photos, pictures, document, the whole process behind what the installation was. So I am just screen recording the website. You can go if you want later, but there are some images from what does it look like to be at the gallery and install your own work, right? So it's a huge, well, it's behind the scenes perhaps. It's some details, right? But then afterwards there is the exhibition, some documentation, right? And I think that's it for me. Thank you again for inviting me and let's try to continue chatting, yeah. Everardo, thank you so much. So great. The documentation is already available. You saw the link. So we will continue with Shurichiro Katsumoto. He is an artist and educator based in Japan. His practice explores the relationship between letters and images through materials such as strings, ribbons, springs, chains and needles. His pieces have been exhibited worldwide also at ACM Seagraph, Seagraph Asia, Ars Electronica, Sona, File, Tokyo Game Show, etc. He received a couple of prizes with his artwork and together we are both involved in Seacraft Asia. So Yuri Chiro is the art gallery chair for Seacraft Asia. That will, you still need time, SeacPH Asia will take place at the beginning of December. So what you will show is probably, hopefully official, because the program is not announced. And together we will host the art gallery and the art papers and that's really great to see the evolution of SIGGRAPH Asia, SIGGRAPH. SIGGRAPH Asia is so to speak a spin-off since 2008 and we already heard that ISEER has some spin-offs like other initiatives, that's really great. Jirijiro, do you need more time? Should I? Yeah, I'm doing my best. SIGGRAPH Asia is in Kuala Lumpur this year, so it's also a nomadic conference like SIGGRAPH and it's the first time in Malaysia and we are very looking forward to also engage with the local community there. So it's fine. Thank you for your patience. Stage is yours. Hello. I still need some time to show my work. Thank you for waiting.こんにちは。仕事を見る時間がかかるので、まだ時間がかかります。待ってくれてありがとう。私は、ゆうちろかつもとです。2008年に初のシーグラフ・エイジアに 関係しています。最近、オーガナイザーの参加しています今日はシーラフエイジアを 私の視点で紹介したいと思いますこの経験に基づいてシーラフはインターネットで コンピュータグラフィックスとインタラクティブテクニックのインターネットでのインターネット会議です主に南アメリカで開催されていますが研究者やアーティストは世界中から来ています2006年にリ・ヨンツィと他のアジアの研究者がACMシーラフのリーダーシップにアイデアを提出しましたなぜアジアにはシーラフが全てあるのですか私のカーソルが見えません2008年にシーラフア8年にシンガポールでシーラフアジアがあります。横浜が続いて、ソウル、香港、シンガポール、香港、シェンセン、神戸、19年にクアラノンポールが開催されます。参加者数は多く、ホストシティは多く変わります東京は2024年に8000人の参加者があり香港は2025年に6000人の参加者があり西グラフアジアは西グラフアメリカよりも小さくなっていますしかし、参加者数は小さくなっていません技術書は参加必要なく小さくなっています。技術書は大量の出版を受け、芸術館や芸術書は西アメリカでの対戦力が高いです。これは私の個人的な印象ですが、西アメリカでは、大学や研究所から人数が高いようです西アメリカでは 企業や企業の人数が 増えています私は シーグラフのアジアの 主な国が年々変わりますアジアは 文化が異なることで 変わることがあります年に一度にこれはエイディアのために重要ではありません文化は異なり適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な�インタープレートすることはとても違います数年前に私は仕事をしたことで仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕。しかし、仏教の文化関係は台湾や日本とはかなり違います。次年は東京でシーグラフ・エイジアで同じ作品が展示されます。問題ありません。私にとってシーグラフ・エイジアについての魅力的なことは、文化の違いを直接体験できますもちろんアジアの国々の 政治的な違いもありますが研究者やアーティストは シーグラフ・アジアに一緒に来ていますアメリカに旅行する人たちにとって 難しい国から来る人たちもいますシーグラフはコンフィルタグラフィックスに 集まraphはコンフェンスに集まっているので、最初に研究を行う技術課の中で、最新の研究を行うことができるようになりました。同時に、CGraphはアニメーション、VFX、技術の興味を持っていることにも関連しています。大型の展示やプロデュースや会社からのプレゼントもありますこの2つの大規模な展示の中で技術 アート アニメーション 教育そしてメディアからの多くのプログラムがあります私自身の場所はアートサイトで特にアートギャラリーやアート紙の中での活動を 見ることができるようになりました芸術館は2008年に初の編集によって シーグラフアジアにも収集されましたしかし 当時は開発されていない2年間でした当時は芸術館と現代技術ジーの 間違いはあまり明確ではありませんでしたアート デザイン クラフト 技術は 多くのことを混ぜ合わせたのですそれによって アジアについても 意味がありますクラフトとデザインは 多くのことは アートとは近づいていますクラフトとは クリアに分かれていません今日のディスティンクションはより明確になりました人々は何をアートとして表すのかに 意味をもっと知っています今は特にアートワークを 作るものを見ることができましたアートギャラリーの他にも重要な特徴は、オープンコールです。シーグラフアジアは、オープンコールを通して、 アートワークを選択することが続いています。これは、南アメリカのシーグラフの歴史とは異なります。2010年の数年間、シーグラフアートギャラリーは オープンサービスを受け止め主に開催されました2016年に シーグラフ・アート・ギャラリーは 北アメリカで開催されましたシーグラフ・エイジアは 開催されましたシーグラフ・エイジアは オープンコールを継続し開催されましたCGRAPHASIAがアートギャラリーを持って オープンコールを保つことに感謝しています。その機会が私のキャリアにとって大切になりました。今日、CGRAPHASIAとCGRAPHASIAアートギャラリーは オープンコールを使っています。その場合、競争は強いです。受け取り率は約10%で、時々、少し低いです。選択肢については、シーグラフとシーグラフエイジアは結構似ています。しかし、一つの違いがあります。面白い違いがあります。最近、シーグラフは北アメリカではオープンコールから約12枚の作品を選択しています。西アメリカでは、多くの作品を受け取ることができますが、多くの作品を受け取ることができます。なぜかわからないですが、アメリカ人よりも、西アメリカ人よりも小さなスペースを使っているようです。なので、少ないスペースで、もっと効果を見せようとしています。シーグラフアジア2026年に200個のサービスを受け、12個の作品を選びました。今年も、もっとアートを少なくなっていきたいと考えています。次に、アートペーパーを紹介します。アートペーパーはCGraphでとても若いです。CGraphアートペーパーは2009年に始まりました。CGraph Asiaアートペーパーはもっと若いです。2019年に始まりましたが、ちょっとずつ休憩して、2023年に再開しました。Victoriaが2023年に再開されたプログラムを主催しています。その後、サミッション数は急速に増えてきました。実際、サミッション数はとても増えてきています。なので、良いプログラムが始まっています。もっともっとサービスをすることで、 更にレビューの仕事ができるようになっています。今後も伸びるようになっています。今年のシーグラフ・エイジアの アートペーパーの座席はユーゲンです。 chair is Yu-Gun. So this year, Sea Graph Asia will be held in Kuala Lumpur, Malaysia. So this will be the first Sea Graph Asia in Malaysia. I visited Kuala Lumpur for the first time last summer to do some research for the conference.マレーシアのシーグラフィゼアです。私はクアラロンプールに来て、コンフェンスに行くことを実験したことを初めてしました。もちろん、天気に関しては暑いですが、私は、都市は文化的にとても微妙です。私の自分の作品はカリグラフィーやジオメトリックパターンによく関わっています。クアラロンプールのカリグラフィーやジオメトリックパターンを使ってアーキテクチャーやデコレーションに魅力を与えましたでも、それは伝統的な文化だけではなく多くの面白い映画館やカフェや本屋がありますだから、ディセンバーに来てくださいそして、寒いヨーロッパに戻りたいことはありません今年のアート�年の主テーマを選びました。未来を描くシーグラフの主テーマです。シーグラフの古い時代は、 アーティストとエンジニアの間の線があまり切れず、アーティストはロードコードや 機械を作りたくさんのことを 新しい技術を発想しています私は今後も 新しい技術や 芸術のギャラリーに参加しましたそのような意味を 戻していきたいと思いますスレッドにファイバーを 回していくようなものです技術とアーティスト的な表現が 共に生まれます So like spinning fibers into threads, technology and artistic expression can grow together. Please come to KL this December and see the work for yourself. Thank you very much. Thank you so much. Now we know that Ars Electronica is cold. Thank you so much. So we need time for the panel discussion with a short introduction. Ouyang Cheng, please come on stage, is an artist and researcher who works with AI and robotics. And if you haven't seen it, in the basement, minor three, in this building, there is a big robotic installation that he brought to it, in the basement, minor three, in this building, there is a big robotic installation that he brought to us, electronica, and will be exhibited until end of October here. His work has been shown internationally. You are a professor and heavily involved in media art in China. And that's the main topic to give you the stage to talk about the evolving field in China and media art. Thank you. That's a fancy intro. Okay. So, yeah. Here I want to share with you guys and what they and the researchers have been involved. So first is this thing called EAST, Education, Arts, Science, and Technology Conference, which we founded at CAFA, Central Academy of Fine Arts, 2027. That's the first edition. We managed through five editions and unfortunately because of the pandemic it didn't continue but it built an early platform. In the photo perhaps some of you will recognize some people like Jeffrey Schell and so on. And also, we bring some friends from the Ars Electronica to our conference 2018. And another thing I've been involved with is since 2019, we have been doing this Asia Digital Art Exhibition. And this is the thing we continue to do so far. We just closed this year's exhibition three weeks ago. Of this show, from 2020 we have this open call, just like what you probably see at the SIGGRAPH and SIGGRAPH Asia, that we want the artist to submit their work then through a curatorial process. The reason we had this is because of the pandemic, it will be difficult for the curators to go to artist's studios and to look at their work and have face-to-face conversation. So we decided to learn from SIGGRAPH and SIGGRAPH Asia, the art gallery. We have this open call and have the artists to come to us. And then if you know about the China's art scene, you will recognize this place called 798 Art Zoom, which since the early 2000s has been the center of China's contemporary art. There are many, many programs there, many famous galleries there, and starting from last year, they have this Art and Tech Week, which is happening every September, just like here, Arts Electronica, which is in two weeks, they will have this Art and Tech Week in Beijing. So, any of you who fancy traveling to Beijing, please do so. Then another vivid spot in China now is the HKUST and HKUST Guangzhou campus. I believe both of them have campus exhibition here this year. The reason I want to highlight them is so art in China in the past have been vivid in those art schools, famous art schools such as Central Academy of Fine Arts, China Academy of Fine Arts, and so on. But since the inauguration of the Computational Media and Arts, CMA, in Guangzhou campus, I believe seven, eight years ago, which actually they bring together the technologists, the scientists, and artists to work on creative endeavor. So, yeah, so almost the same time, CAFA, the school I am at, submit the application to the Ministry of Education to have a major called SciTech Arts, basically Art and Tech, but with a different name. And the CMA is actually one step ahead of us. They set a very great example for the Chinese Ministry of Education to see, okay, this fusion of art and tech is doable. Yeah, that's the reason I highlight them there. And I want to share a few things that you will observe in the Chinese art and tech scene. One is the looking through the lens of the present to the past. So you use the new technology such as VR and AI to look back the cultural roots. So here is an example we did since 2018 that use AI to generate Chinese calligraphy, basically Chinese writing. I want to share a bit of experience there. So our first paper was submitted to, I believe, Ichika, 2018, and it's got a horrible review feedbacks because at the time no one understand like why you are using this AI doing generating some random characters But we finally got in 2019 Which the conference was held in Macau. Perhaps that's the reason they finally look at something Asia. Yeah, and the reason we want to use the Chinese choreography as a starting point to look at how AI and those generative networks at the time was GAN can do is very often at the time when GAN produce an image of cat it will be difficult to tell if it's a cat or not. Then we decided to use the writing as a way because we feel like if the writing is readable then it passed the basic minimum bar. And this all take on the controllable image generation at the time, although we have better things now. So it's gradually to this research and the conversation into the co-authorship and so on. And to me, it's less about what we artists do and think it's less about what we artists do and think than how this AI has been rapidly, even crazily changed our understanding. So when we are doing GAN, it's always about training a new model with new data sets. So if we want a CAD, it means a CAD data set and a new model and so on. Then the diffusion model came in. And at the time, we were thinking, can we see the model itself as an artwork rather than the end results? Because the end results is always about if Picasso is better than AI or the versa versa, right? So, at the time we think, okay, that's for the diffusion model, it's the first time we can train a model, tune it, and have it to produce different kinds of images. So we can finally say, okay, this is the model, this is the end results, because at the GAN, the GAN time was, because I guess the results and the model is almost the same. So, but then, as Transformer came in, it becomes very difficult for artists to train a model. It's impossible now even for a university or a mid-sized company to train a transformer-based model. So here we see is we try to coin the term AI and art or we're trying to say what is the difference AI brings into art and each time we think okay perhaps this perhaps that and as the technology changes and there are new question arises yeah so at the time we were thinking if the training process is the creation process now if you use say OpenAI Image 2 just released I believe one or two days ago, you play around on your phone or on the website, you think okay, I'm creating something, but the model is trained, it's frozen way before you even know it. So, does it like use such open AI model, create an image, is a creation process, or who trains the model is the creator? Because when the ways are frozen, basically the latent space are decided. But I guess any AI scientist can correct me. Okay, yeah, so more and more, like we creators arrange context, tools, and the feedbacks and so on, rather than, okay, I'm going to be Picasso and create this image. So again, I guess this is nothing new that when the technology finally becomes the medium, whereas in the media as history we observe this time and time again, but can a new production tool, AI, can still make a film or image of what is the different from if the one using AI to create an image than holding a phone or holding a camera and so on. So I guess from generating images to organize different actions we are as artists or researchers start to think what can appear to what can happen. So that's I get thanks for Juergen's introduction of my work in the basement. I guess later on you can check it out. So the work itself was two robotic arms swinging a very light silk. The idea is the silk itself is the visual appearance of how the robotic arms collaborating or competing with each other. Time is. And I want to show this is, this is another attempt that perhaps can show the collaboration in the Chinese art and tech scene. Is, so it's Chinese Academy of Science, CAFA, the art school, and the HKUST VisLab. We are working together together looking at if, well our initial question is trivial but interesting is if the embodied AI is more dangerous than say a web-based chatbot. So we start to, inside this virtual arena, in this Unreal Engine scene, we have nine agents to play a game. It's like a deception game. And they are not talking, but only use behavior, embodied behavior, and to see if they can do that. So here is different researchers from different backgrounds. They may have different questions, but in this project, they are trying to do different things in one testbed, in one project. Yep, I guess I will skip a few slides. So what we are doing is we want to do the public value prototyping. This is a concept we learned from the bioengineering. So if something is produced or tested in the lab, the next step is try to scale it up. So they call this prototyping in a way. So here is we see or we feel there is this rapid developing technology. We want to see how it will interact with the public through making art. At this level, we are not doing those kind of HCI or scientific experiments, but we create works and put them in a gallery and see how audience reacts to them. So we have this feedback process within the research of course. And the reason I'm talking about this is I want to introduce potential artists or researchers to come to my center in Shenzhen, which is a very large synthetic biology research institute. I believe they're among the top few around the global. Because if you ever interact with bio art, you interact with wet material, which means those labs are not exist in art schools. At least it needs to be a large research institution. So here we are doing international residencies, artists with proposals and so on, they were coming and in that lab they will spend a few months there. Yeah, I'm not sure if I put the website address on there. But yeah, I mean if you research it, you search on Google, it will come up. So yeah, I guess my time goes up, running up. So yes, if you are interested in doing bio art, please research for it and submit your proposal. Or you can talk to me later on. Okay, I guess that's it. Thank you. Thank you so much. We will stay in Szechen and it's a great pleasure to introduce James Shih. He's a tenured associate professor of pleasure to introduce James Shi. He's a tenured associate professor of computational media and arts at the Hong Kong University for Science and Technology. His work appears in top tier venues including SIGGRAPH, ACM Multimedia, Leonardo, IEEE conferences. And James is also heavily involved in ACM Vinci, a conference that you organized together with Günter Wallner from JKU here in Linz a year ago. And I'm looking forward to see what you are doing and planning with Vinci. Great that you are here. Thank you. Thank you. First of all, thanks for the invitation by Expanded Animation and Jürgen for me being here. And thanks for everyone being here as well. And also thanks for Bao Yang just introducing CMA. So actually I can save some time to talk more about Vinci. But I just want to talk a bit add-ons. 제가 지금 CMA를 사용하고 있습니다. 그래서 제가 더 많은 시간을 제공할 수 있도록 더 많은 이야기를 해드리겠습니다. 하지만 제가 조금 더 추가적으로 이야기하고 싶습니다. HKUST는 정말 공학, 미디어, 디자인 학교를 기획하는 학교를 만들기 위해 기획자의 기획을 하고 있습니다. 그래서 저희가 도입하고 싶은 기획은 engineering faculty. So it is really like a start-up we are trying to do because we hire faculty from art history, from architecture, from all different arts and design media areas within engineering faculty. So we need to keep answer how you get tenure and then I'm in the search committee and very challenging but we manage it and and also we are a graduate school really giving scholarship for student doing PhD and M field we don't have undergrad program yet because we treasure the partnership with all the art school, design school, CAVA, Central Academy of Arts, and all major media schools in China or Asia. So that's actually the plan we have been doing, trying to put research on arts, technology, and even culture together. So I think I would just add on this. So now, in the coming few 10 minutes, I really want to explain Vinci, this conference, especially how we actually move a very tech-oriented conference, especially like the story, like SIGGRAPH. It is actually a conference focusing on visualization research, especially scientific visualization, data visualization. research, especially scientific visualization, data visualization. And believe it or not, Vinci is a very small computing community focusing on visualization, but it has a long history, 19 years, since 2008. And I think also thanks for what Bauer mentioned, that actually there's quite a bit of our colleague working on visualization. They really appreciate arts and design or even media making kind of area because these are the people. They're not just interpreting data. They want to interpret data artistically or aesthetically and also intuitive. aesthetically and also intuitive. So that's actually the the reason why the conference started moving on from more tech oriented focusing on visualization. They tried to bring in some track including art oriented focus and then over the years they're getting more and more consideration and topics related to art and media, like SIGGRAPH, ARTRACT, or ISEER. And all the submitted, accepted paper and also gallery submissions, because of the partnership with ACM and get the index under ACM. So just in case, I think people, most of the people understand the visualization, why they care about arts, right? This is actually an example, simple example about Vinci through a simple visualization showing Vinci has been actually running around the world, east and west. And when we have this practice, we hope that one year in Asia, one year anywhere outside 이 연습을 하고 있습니다 한 달 동안 아시아에서 한 달 동안 아시아에서 그 모든 게 전부입니다 다음 년에는 아시아로 돌아올 겁니다 지난 년에는 린스에 있었습니다 이번 년에는 아시아에서 한 소위의 관객을 데려오고 있습니다 하지만 올해의 변화에 대해 말씀드리고 싶습니다 지난 몇 년 동안 몇 가지 변화가 있었습니다 2023년, 제가 CMA에 참여한 직장인 시즌 전, 제가 빈치의 참가자와 스피커였죠 And we already noticed that we're inviting more and more people, especially media artists, designers, to serve in the committee so that we can actually attract more good quality submission but also able to evaluate. I think this is something, I think, for people in ICA, expanded animation, SIGGRAPH, we all know that you can't just expect a computer scientist to review a submission in ArtTrack without people who really understand art and design media. And then the next year, in 2024, we're also bringing more international media artists and also we provide the gallery exhibition with a guided tour because we really appreciate those people who submitted the artwork and all the way bring their artwork to the location and set it up. So we really want to make the audience to appreciate those submitted work and exhibited work. And last year in here, since this is one of the major hub of our tech people, we raised the bar further. With the help from Lugan and also Kunta and many people here, we tried to create... First of all, we get a very nice space, same as the space as for us electronicares. Because of that, we need to have really professional curation for those gallery submission, and also a guided tour as well. So we keep on raising the requirements. So, beside that, we also separate the space, instead of just having like many academic or scientific conference, we usually have the conference at a university space or in the hotel space, and in the past we may just leave the gallery work at the lobby, but now, no, we want to have a professional, dedicated exhibition space. Also, we want to bring in more experience to bring in the computer scientists together with the artists to have a more social discussion so that they can get connected. Of course, we choose the Art Electronica Center as one of the meeting point here. So we try to make Vinci actually have multiple dimension of the venue so that people can talk and experience different perspective. And these are the gallery works that we have exhibited before just to get it, everyone have a taste on it, right? Many beautiful works, that's why we really want to have a dedicated space and also professional tours and also the arrangements so that people and the audience and the offers of the artists and the artwork can be appreciated. So just to have everyone glimpse through the works here. And of course we will have the regular type of activity like seminars and also presentation for Vinci because we also have the tag papers. I skipped it too fast. Actually for all the Vinci in historically we always have some selected work for the Art Track paper to be invited to extend and then to have further review for some partnering journals. So that's actually one way we also try to work on it for Art Paper. So far we didn't make it yet in case someone here can help. 아직은 이 기술을 공부하지 못했지만 여기에서 도움이 될 수 있는 경우에 우리가 더 정밀하게 그 사람들에게 기술과 기술을 함께 만들고 싶어요 믿을 수 없지만 빅토리아는 류호가 말했지만 사실은 이 시기에 제가 시크라프트 에이쉽의 기술 검사에 참여한 경우가 매우 경쟁적입니다 acceptance rate, like I also involved in this year, SIGGRAPH Asia paper review, it's very competitive. I think it's even more competitive than the tech track, and I can see the same pattern happen in Vinci as well. So I think they deserve to have some partnering journal to get the extension to go further, so that we'll gain more the communities, especially the younger researcher, the student, we really dedicate to put the effort on it, right? And of course the supervisor will be willing to pay for it, for their trip, right? Now, with the remaining time, I just want to share with everyone. So this year, Vinci 2026 will be in Hangzhou. Like I mentioned, we need to upkeep the bar or even raising the bar more. So this year, we are able to manage to do similar arrangement like what we have successfully did in Linz here. We have a nice venue for the academic presentation for the for all various track from tech track cultural computing track and also the art paper but on the other side we secure a very beautiful exhibition venue in one of the most artsy and popular place in Hangzhou called Tengmuli. These are the shopping complex that let the audience not just shopping over there, but experiencing the arts installation, the setup over there. So this is what we have able to manage this year to match what we have achieved the last year. But there's something very, very special this year to match what we have achieved the last year. But there's something very, very special this year. Instead of just putting the gallery work only for those few days of the conference day periods, we successfully to convince to work together with the local government to let our gallery exhibition to stay for two weeks so that that will be much more meaningful for the author to bring all the way the artwork and set up the artwork and also for all the committee curation effort, right? On the other side, after the conference, because during the conference, we have the exclusive access for the conference register audience. But after the conference, we have the exclusive access for the conference registered audience. But after the conference, we will make the exhibition open to the public, and that will also overlap with Hangzhou Arts Festival on the same month, so that we can make the effort from the authors, the artists, and also the committee, worth their day and night preparation. I know how it is these few days for Jürgen. So this will happen this year. Another thing to share. I think because of the last few years of changes, we also see Vinci also become one of the, another conference that actually other than ICR, expanded animations, SIGGRAPH, SIGGRAPH Asia for sure, and there are actually more submissions to Vinci. And so is more work as well. I think we all know. So basically we delayed our notification for two weeks because in the very last minute we need to get more qualified reviewers. Well, it's easy to get reviewers from the tech communities but with people actually understand tech and media and art, it's not easy, like Victoria just mentioned, right? It's really hard. And for us, we need to maintain, like, three reviews for each submission work, so that is making more work for us. I can see some of the people actually also get involved to help the review. So we luckily managed we just delayed it for two weeks, so the announcement, the notification actually just went out for the last few days. So don't blame me if you don't get accepted. It's very, very competitive because of the increase of the submission. Like last few years, we always invite speaker for the conference, but we also try to about arts and culture, how the technology can interplay so that to make more interesting arts that influence culture. And of course, we also always have the keynote speaker talking about how the future visualization technology evolve, right? So this year, Vinci, we also have special speaker, right? Stay tuned. We will make the announcement soon. Of course, this speaker, we're also focusing on the visualization technology, media arts, and cultural computing. For the last two years, actually since last year, Vinci, we already introduced a special track about culture. But this year, we officially make it as a new track called Cultural Computing. So we also have looking for some, well we already know, I need to wait for some more confirmation then next two weeks we can announce. All right, so that's pretty much, I would love to... Sorry, there's one more thing I want to mention. Why Hangzhou? Well, if some of you are actually interested in travel, you know how beautiful this city is. They have the West Lake. And believe it or not, actually, Hangzhou is also one of the major civilizations in China, which is called the Liangzhu Heritage. And, of course, in Hangzhou, major civilization in China, which is called the Liangzhu heritage. And of course, in Hangzhou, we also have a very interesting, very strong arts community, especially with the Chinese Academy of Arts and also different galleries over there. And also now they are having more interesting shopping complex with a very artsy setup. So this is actually one of the reasons we picked this place next to our conference venue as well to be the gallery exhibit venue. And also, I don't know, some of you may already know, like Alibaba, NetEase, these are the, I would say, the major tech companies since dot-com, e-commerce. But these days, talking about AI, deep-seek, the robots, Uriji, they're all in Hangzhou. So it's a city that's mixing arts, culture, and technology. So it's a city that you shouldn't miss. So that's pretty much I want to share, and see you all in Vinci, and Hangzhou, thank you so much. James, thank you so much. So we have five minutes, and so many questions. I would propose, please, I would like to invite all the speakers here. We will do a roughly 10-minute discussion. And then, of course, we have a coffee break. But during the coffee break, we are around, and you can address the questions directly. And there is also tomorrow, after the keynote by Catherine Espister, a gathering, and then you can also ask a question, because I have so many questions, there is no chair for me. You can start with the first question. Yes? How is everyone paying for everything? Sorry. From what aspect? Well, so are you doing collaborations with the city in order to be able to use the facilities to run the conference? Yes. Et cetera. This is very, I think, challenging question actually. Of course, from academic perspective, we try to not to pay. No, actually because we have limited budget, so we try to see whether we get the support and sponsorship. So for most of the, I think, major costs is the values. So we don't want to do it in the university. If we go outside, then definitely we need to cover the costs. So we were lucky to have some sponsorship I think due to the the general chair this year they have a very strong connection with different industry and also because in Hangzhou so I think every year is a bit different story so I get involved in the committee as well so this year they were lucky to have sponsorship so last year when we were in Linz we mainly rely on the registration. So that's how we actually, so that's why, but we were lucky to have the venue to be supported by us, and also like JKU. So every year is a bit different, but mainly we counting on this sponsorship. I have so many questions, but this is a very good point that you mentioned in your talk, open access and open for the public. As a brilliant panel, I really appreciate these different insights. We have a conference, we have a media festival, we have hybrid formats. I'm thinking about bringing the community to places to be here and to exchange and also to invite the local community and to start the conversation. That's very very important. So from my perspective in conferences are usually very inclusive in terms of registration free fee, it's a very short period of time and thinking about that also bringing an intersection to cultural institutions. So I think ICER had always this kind of vision to work with local institutions and being a hybrid festival symposium conference since its beginning. So my question is, when we think about media at research, how important is it to support young researchers in terms of funding to come to the events but also to give them access to the papers. So ACM has changed the policy open access but on the other hand the artists have to pay that it's open access. So the emerging artists have to pay that it's accessible. So how do we handle it to embrace? Quick answer. I think different ways. I'm a professor, too. I think it's part of my role to bring my students, maybe if they don't feel comfortable to present, but at least to see. And that is a major exposure. So I think that's one that we try to bring our undergrads because it starts there. Then they will continue. The financial thing for the open papers, I think, is a debate for everyone. I think in Canada, we have a lot of support. If you ask for grants and then you I think, is a debate for everyone. I think in Canada we have a lot of support. If you ask for grants and then you get grants, it has to be 50% at least for your students. So the system is there to support, but I think the challenge is how you make operational for everyone. It is inclusive, and as it is exclusive on places where there is no funding structures. But I think we can play different roles. I say, for instance, we have a policy. We ask hosts to have a reduced registration fee for artists and independent artists and students. We have been suggesting hosts to have deals. So write to universities and say you have a package. If you register 10 students or 20 people, you have discounts. So, you know, we're trying to find systems. Yeah, I think that also what I do as a professor, like many of us are working at universities is working with local associations and local institutions like trying to offer a real let's say world opportunity to students to like present or showcase or partnering in my case with BNF, Bibliothèque Nationale de France for instance like a real framework but also I think that we also commit a lot with BNF, Bibliothèque Nationale de France, for instance, like a real framework. But also I think that we also commit a lot in, we are volunteers, no, right? We volunteer a lot. All the work that I am doing for SIGGRAPH, Aisia, or Leonardo, or any other, has been volunteering. So I think that energy is also like a good, I don't know. We do it because we love to do it, right? So I think that sometimes we transmit that in our classes. One thing I brought up, and I think we have like zero time left, but that I've been trying to figure out is what to do about the virtual and the online. I know you have virtual options for Isaiah, for example, and I talked about the Sparks program, which is online. But it also, there's something deeply satisfying about being co-present in real space and time so do any of us have strategies for thinking about that maybe some of the answer is the local one thing that I've seen that works is to have a separate events no hybrid at the same time because then it really cuts the vibe of the in person so I have seen in other conference is having a online symposium on days or week prior to the event and then the in person and they don't mix for production reasons too. This is something that if you have done at one of these events you know it's just not a Zoom and it's not easy. You need an infrastructure for it to run well and so the presenters can be heard properly and stuff. So that's a model that I have seen works in both ways and you are bringing communities together but when we are online then everyone is online. I totally agree. Sparks is a good example. There is a great community that is since the pandemic so to speak participating and there is an exchange and we're also thinking about revisiting expanded and having an online discussion but what is so important is of course also when we talk about art papers and artworks also to have the option to see the artworks itself so if it's an online format you only see the documentation you have a video but experience the pieces is so important even if we talk about screenings it has a big impact if is a huge screen and if it's a great opportunity to have a conversation with the community. It's a huge screen and if it's just online, so I really appreciate the local activities. Plus also giving video documentations and live streams as an option for those who cannot come. Ruchiro. I'm sorry. I continuously submitted art galleries for a long time because I don't know if you guys know, art gallery, when the art piece was accepted at art galleries, the registration fee is free. That's the reason why I can't receive some of these art galleries. Well, so the money is a quite big issue for the young artists. But if the registration fee is free, then we can spend our budget for the proper cost. So going to Ars Electronica or going to the US is quite costly for young Asians. That's why the city of Asia is still there. Well, I don't know what exactly is the answer of your questions, but the money is an issue always. And I'd like to see more of us. And if we have a, and in my point of view, I'd like to reduce the acceptance rate, I know, increase the acceptance ratio to the 10% to 30%. Then we can make a huge community in Asia and communicate this each other. And then we can make a huge community in Asia and communicate with each other. And then we can make a new conference, a new type of organization for make a good media art study in Asia or in some areas. That's my aspect of the point. I have a question and also suggestion. I don't know if any one of us can answer, because I remember when I was still a PhD graduate student, if we submitted, for example, ACM gallery works together with, might be a paper, one registration can cover two works but seems like recently they only limited to one registration to one paper or one work. I don't know whether this can be reverse or is there any way for gallery track can have the committee can have the discount for the offers so that to lower the cost for the R track. Yeah, well I guess that's how research has been set up for long, long time. Yeah, well I guess conference registration fee is high, but if you factor in, submit to any APC general now, like it's $6,000, $8,000 US dollars. It might not be much for a engineering lab, because they have the tons of budget, but in terms of humanities or arts, that's a huge budget. But since we are talking about media arts and art and technology, there's this need for artists or researchers in arts to submit articles in broader, wider venues, right? So that's even another problem I have encountered and foresee in the future more and more people will run into that, so not only if SIGGRAPH is expensive. Well, but I guess SIGGRAPH is expensive because it's a computer graphics conference. Yeah, I think those are very good questions, and I think we do need a dedicated panel or half-day conference to tackle those issues, because personally, I don't... We also need more support from institutions, or I mean a department, something like that, because we keep saying, in my case, I won't commit again to do this again, but one month later, I am there again. So I'm saying... So the things will stay here, no? That's a good... I think that's also, I have so many questions. So we should of course discuss what is an art paper, how do we do research in an interdisciplinary way to embrace computer scientists, archeologists, etc., biotech, etc. There is many different conferences and platforms and we see a lot of increasing numbers with a focus on media art. Vinci, cultural, great, great, great, great initiatives. But we also have to be critical on that, thinking about, we talked about that already, how do we handle the review? There are experts from different disciplines. From a media art perspective, the media art is very, very important and should be in the center. But on the other hand, it could be a very, very scientific interdisciplinary urgent topic with an artistic input. So there is so many things, so many to discuss and, to embrace other institutions to discuss finding platforms and exchange and support the initiative. And with that, I would like to close, because now we have thousands of further questions that we have to continue in maybe a Sparks or in a specific track where we have more time and more perspectives. So thank you so much also for joining and as I mentioned before we are still around and you can ask us the question what is an art paper for example. Thank you. can ask us the question what is an art paper for example thank you Yeah. Let's do it. I hope I can get you sure..