WEBVTT

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 Diolch yn fawr iawn am wylio'r fideo. Thank you. Thank you. Thank you. Thank you. Teksting av Nicolai Winther Thank you. Okay, yes, now here we go.

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 So welcome back to the next session.

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 This is a session that is entitled Archive.

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 There is a focus on cultural heritage,

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 Living Archive at Ars Electronica.

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 This edition on Saturday as well,

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 so you are also cordially invited to join

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 the Deep Space session on Saturday

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 on the focus on living archive.

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 But now we are focusing on archive from a research aspect.

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 We have brilliant speakers, and the first one is Xiuwen Huang.

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 She's a Taiwanese artist-researcher, interaction designer,

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 educator, and founder of Vibe Weaving Studio,

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 a creative researcher, practice bridging code, craft and cultural technology.

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 Her work explores how generative system can support cultural continuity without flattering lineage,

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 authorship, consent or community authority. So we are starting with the

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 first talk with the title Lineage Canvas Productive Friction on Born Digital

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 Heritage. Welcome! Hi, good morning everyone.

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 So I'm Shiwen, you can call me Wen.

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 I think I just gave a very brief introduction about my background. So this whole project is actually basically trying to,

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 this is like a lineage canvas in the

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 productive friction in Bon Jovi heritage.

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 So this project is actually asking a very simple question.

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 When situated material enters a

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 generative system, how can source consent and restriction travel with it? The paper

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 used foreign digital heritage as a case to propose a lineage-aware infrastructure

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 for generative system because the plausible outcome can still savor relation.

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 So generative AI change more than production speed.

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 A form that once emerged through observation, apprenticeship, and engagement can now approximate

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 in seconds. So the result may look like culturally plausible,

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 but it's really hard to ask the question,

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 so where is this come from?

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 And who has authority to extend it?

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 And also what obligation remain attached?

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 So and the important, the most important thing

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 is not only like imitation,

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 it's also that the relation is actually being stripped away

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 while the appearance may look very convincing.

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 So the paper asks one question.

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 What must a generative artifact remain accountable to?

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 Three things.

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 So the first one is the human who initiated it,

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 and then the computational system that

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 transforms it and also the source that make it possible.

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 So consent credit and restriction shouldn't be expired at the moment when the output appears.

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 Born to show heritage is the case.

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 A lineage-aware infrastructure is the proposal.

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 So in this prototype, so this is basically an artwork and also a research prototype. I used Taiwanese indigenous tribes as a use case, and because I

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 have a background for weaving, so this is using three different tribes in Taiwan.

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 The first one is Ataya.

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 And so Ataya is basically using mapping.

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 It's these three relationship basically trying

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 to deliver mapping unequal.

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 So one relation must proceed and the other is a proxy only. That one is the

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 pi one and the other one is the refusal state, which is the ru chi. And the entire relation

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 proceed with a condition attached. The pi one relation is also defined proxy and the root-key relation is encoded as a protected boundary.

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 So recognition becomes a permission.

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 So rather than just describe it, I can just demo this.

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 So this is a research prototype. So when I selected Ataya, for the system,

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 it's about you need to know the source

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 and also how does this context come from.

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 But for the human actually trying to drive this whole thing,

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 you need to witness this and translate.

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 And there's a governance state,

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 and you're trying to understand the relations, and then

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 there will be records for the consequence.

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 And these are the record for each of the bone digital artifacts. And there's also another relation.

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 So for RuKai here is being presented as a protected boundary.

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 So recognition is not equal to permission.

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 So the system is actually allowed to say no in terms of what happened.

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 So this is also the lineage record.

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 So like I mentioned, for RUCAI, it's actually being constrained.

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 So refusal is not a failure.

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 It is actually a generative outcome. When

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 the protective root correlation is selected, recognition does not become

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 permission. The system stops, but the attempt does not disappear. Source, restriction,

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 and reason, and refusal remain in the provenance chain. So a lineage-away

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 infrastructure must be able to produce a governed refusal, not only just an output.

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 So I call this whole process like a productive friction.

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 Intentional resistance, where the stimulus

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 would erase responsibility.

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 So you need to recognize,

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 recognitions come first and governance comes second.

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 Lineage confinement comes third.

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 So whether the outcome is an artifact or a refusal

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 stay, both persist with layer record. Friction is meaningful here, only tied to a condition.

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 So this project makes three contributions. The first one is lineage-aware infrastructure,

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 where the condition travels with the outcomes. Second, productive friction as a strategy, where delay or refusal become the

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 mean for material, not a bug.

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 Third, the heritage legibility.

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 Can someone actually trace their origins and also identify the relations and

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 also understanding what happened?

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 And to be clear, this is an implemented prototype and R-based case study, not a valid

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 scale or any community co-design. So there's no indigenous data set was being used for training,

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 and no model inference happened at runtime. So I'll close here. Heritage makes the state visible,

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 but this isn't only about heritage.

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 It extends to any kind of generative systems working with situated material.

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 Communities, archives, public memory, or data with social cultural stakes.

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 The case is heritage. The proposal is infrastructure.

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 Condition, travel, and refusal remains possible.

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 And every outcome keeps a province record. Thank you.

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 Thank you for the presentation. I would like to start with a first question.

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 So born digital heritage is a

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 question. So born digital heritage is a anything as being digitalized.

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 So in this scenario, it's actually the weaving structure.

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 So being like, it's another form, it's not actually being made, making like a tangible

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 as a output, but it's actually persist in the digital world.

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 And so, funny thing is I'm actually interaction designer

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 and product designer, so for me to design a lot of

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 software, I need to make sure everything becomes seamless.

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 And so frictionless is actually the production,

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 commercial company will ask for.

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 But this project is asking another question. So because

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 generative AI has become so fast, but not everything should be, you know, making so

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 fast. Sometimes it's a pause to think about what's the state to generating

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 something. Because that actually created a lot of problems. So people kind of like

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 having cognitive overloading

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 and they have no idea about what is the born

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 digital artifact is being created.

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 What is the source relationship and the context

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 in terms of this items?

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 So it's not just about the output.

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 Sometimes the generative system,

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 we probably can think about maybe they can allow

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 to say no and refuse to generate as well because you did not finish the whole recognition process.

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 Does that answer to your question?

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 Thank you so much.

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 Are there any questions from the audience?

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 So if not now, at the end,

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 there will also be the opportunity to address questions again.

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 Here is one.

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 For your practice, if you're in system design,

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 or like just system design is not the proper thing,

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 but how would you integrate friction to make your systems better

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 or more interesting in that sense? If the conclusion, if there's something interesting or in that sense?

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 If the conclusion, if there's something interesting in having that friction, where and why?

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 And I guess in this context or society,

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 how can you actually negotiate place for friction?

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 So friction here in the context, in the system is not a bug.

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 It's a moment to declare a state for people to pause, to think about what is the thing

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 that I'm trying to do here.

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 Because generated AI will give you everything.

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 You just type in, using problem-based engineering and typing anything you want, and they will

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 just give you the answers.

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 But a lot of time, you are not actually thinking through everything. using problem-based engineering and typing anything you want, and they will just give you the answers.

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 But a lot of time, you are not actually thinking through everything. You are accepting a lot of passive outcome.

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 And people become like a human.

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 This is like AI and a human relation.

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 So human in this context is being...

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 Humans should steer AI interface.

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 But right now, it's more become like we become offloading to everything to generate AI.

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 So that's why I think in terms of generative AI system,

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 should have a stop mechanism.

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 And everything should build into the infrastructure level.

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 Not just like, for example,

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 lineage canvas is creating the provenance chain

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 that embedded into the infrastructure.

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 So everything like being created,

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 like a born digital artifact,

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 anything digitalized being created,

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 is actually embedded with the provenance chain,

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 no matter is a refusal or actually a recognition being produced,

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 it's all in the records.

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 So everything you could trace what happened.

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 I don't know if I actually answered your questions.

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 Thank you.

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 Thank you. Any other questions?

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 So then let's move to the next presenter.

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 Thank you so much.

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 Thank you.

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 Let's move to the next presenter.

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 Thank you so much..

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 Let's try.

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 Okay, I will.

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 Yes, great.

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 A very short introduction.

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 Xiying Zhang is an artist and lecturer at the Taiyin Academy of Fine Arts,

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 currently based in Beijing.

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 She holds a PhD from the Central Academy of Fine Arts, Beijing,

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 and studied in the Karlsruhe University

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 of Arts and Design in Germany right now.

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 Her research focuses on AI in artistic and design practice, working with fine-tuned diffusion

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 models and generative image making, and has applied this approach to cultural heritage

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 through AI-assisted restoration.

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 So we're looking forward to your presentation.

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 Okay, thank you.

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 Hello, everyone. My name is Xin Zhang.

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 I'm an artist and lecturer in digital media art at Tianjin Academy of Fine Arts in China.

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 My work focuses on media art, internet culture, and the cultural heritage.

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 I'm very happy to be here.

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 I will introduce my paper and the artwork behind it.

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 And the work is called Naran Shiv.

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 So it is an open-ended interactive installation

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 made of hand-built ceramic vessels.

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 The surface design are based on painted pottery

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 from the new SelSelic Magyar culture.

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 Some of the vessels hold mobile devices.

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 The screen shows the changing Python-like pseudocode and the short text based on the mess.

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 And the viewers can speak, can type or clap or make some other noise.

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 The system takes this action, but it does not reply directly.

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 Instead, each action interrupts the historical simulation that is already running.

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 So the work asks one question.

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 Does the history have a hidden code?

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 So, the simulation asks one question. Does the history has a hidden code?

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 Or can the viewer's action become an unexpected event and change its direction?

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 In NarrowShift, the audience interaction is now to command with direct response.

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 Each action became an interruption.

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 And this interruption built up inside the simulate history.

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 So before I explain the technical system, let me begin with the title,

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 the narrative of all shape of foods. The Boche's paintings use the shape as the

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 of the humans' foolishness. The folk who described the shape of food as an image of exclusion,

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 travel, and uncertainty. This influenced how I look at the early AI system. They maybe made

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 mistakes, misunderstood people, and often produced foolishness results. For me, that foolishness

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 the foolishness result. For me, that foolishness is became the start

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 of creative journey.

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 So if we want to talking about history,

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 where does it begin?

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 So I use the creation mass and the stories of culture heroes

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 as a program starting point.

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 Like as we can see,

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 Pangu in Chinese traditional math

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 separated the heaven and the earth.

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 Like Sui and Shi taught people how to use fire,

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 and the Pulusha comes from the Indian tradition,

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 while the Eden and Eve from the Bible.

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 Once this story are loaded, the simulation begins.

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 So as we can see, the Pangu separated the heaven

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 and the earth and the historical time begins.

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 Here, I use an idea from the Reinhardt's

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 co-science collection.

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 He described the history time as a space between the experience and expectation.

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 The system rewrites the creation stories from the difficult culture in the same Python-like

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 language.

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 In this program, the some cultural difference may become simplified or lost. That leads to my next question.

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 What does this have to do with Ma Jiayao pottery?

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 I'm especially interested in

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 painters of the Chinese patient pottery.

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 I also spent long time in Northwest China

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 to making the ceramic vessels with local potters.

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 Some scholars connect this motif

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 with the early rituals and beliefs,

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 although this idea is still debated.

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 For example, some researchers connect the frog motif

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 with fertility and the bird motif with the song.

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 I recently saw a very similar thing,

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 the pattern on the ceramic vessel in museum in Athens.

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 This vessel comes from a different culture,

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 but some of the visual form looks very similar. I treated that

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 as a visual connection. In this work I combine these patterns with the

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 coat-like signs and the symbol from today's inter-night culture. Through

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 repetition and imitation the painted pottery carries patterns from one generation to the next.

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 Both of the forms and the meanings are changed over. So this is the focus detail of my artwork.

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 So they also remind us something important. Long before the computer appeared, the surface

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 of objects could already hold the relationship,

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 memories, the way of understanding the world. So the

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 phone holders reading from the wasps

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 looks like a snake from the out of them.

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 So I chose the mobile phone because I wanted to, interaction to feel close and private.

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 So as we can see the screen, the viewers need to, if the viewers want to see the screen,

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 they need to walk up to the vessel and sometimes they need to bend down.

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 So, now let me show how the historical machine works. A computer in exhibition runs

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 local AI model

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 by Ollama.

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 Audience input becomes an interruption. The system updates the world state and

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 generates new pseudocode for the

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 phones. The world state keeps a record of the current mess and everything that has happened

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 so far, including conflict and errors. So let's return to the Panguai example, at first, the heaven and earth has just separated.

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 The system is still stable, and when the

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 viewer says chaos fracture, the system save this word

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 as an interruption and generated this code.

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 The commander append scar, either the interruption

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 to the timeline as a scar. So the interruption to the timeline of the scar.

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 So the scar stay in the word state and affects what happen next.

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 Please look at the last line of the code.

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 The year equals minus one.

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 This is observed result is intentional. The system has lots of normal position in time, but it continues to generate history.

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 I describe this process with three words, interrupt, patch, and drift.

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 Each new interruption pushes the system farther from the original path.

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 The movement is a drift.

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 So the work is also related to glitch aesthetics.

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 During the text, I noticed the interesting change

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 in the way the people behave.

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 At first, they may be a little nervous or maybe pilot.

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 They spoke in full sentence as if they

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 were talking with a chat bot.

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 And then the system did not reply,

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 and some began to cry or laugh or make awkward noise.

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 And then the viewer focused the changes.

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 They began to ask, where did my action live or trees?

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 The viewers can affect the system,

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 but they cannot control the result.

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 To me, this is very similar to number place in history.

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 So let me back to the question, does the history have a hidden code? After

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 making this word, I still have a clear answer. So the narrative is a small experiment. Each

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 run carries three traces from the one before. The work also changed now how I understand the

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 title, Nero's Ship, or Ship of the Foes. The ship has no fixed destination. It

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 could be arrow, it could be noise, and the scar travel with it

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 and keep changing it along the way. So the work makes this uncertainty easier to feel and the question

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 remains open. And that's all my presentation. Thank you very much for listening and looking

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 forward for the connection. Thank you. Thank you for the presentation. I'll start with the first question.

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 I'm interested in the conversation with art historians and experts in the archive.

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 So when I had the privilege to work on a cultural heritage project,

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 we observed that the experts on the archive and cultural heritage artifacts, they gave us different answers and our questions started a discussion about

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 specific questions that they have not considered. So my question is, was there a dialogue with experts on the cultural artifacts, and how was the dialogue, the conversation with them?

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 I think if I'm understanding correctly, you want to talk about the dialogue in the history?

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 Yeah, yeah.

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 It was exhibited, so it can be, of course,

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 a conversation in the pre-production,

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 but it could also be at the exhibition

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 when experts with expertise in the cultural heritage

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 objects, what was the dialogue? expertise in the cultural heritage objects.

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 What was the dialogue? Have they reflected, discussed the project?

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00:31:13.519 --> 00:31:18.519
 Yes, for this project, maybe in the past year,

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 I have research on the how to restoration

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 the ancient pottery, how to restoration the ancient pottery,

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 how to restoration the patterns with the AI tool.

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 And in this project, I'm already focused on the interactive

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 between the viewers and the program.

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 So maybe in the common interaction installation, the viewer wants to get a certain reflect.

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 And in my program, I'm not engaged in certain results because I think, like in my program, I was talking

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 about the history, like not a very smooth line.

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 So I think it's a totally different thing.

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 So for the cultural heritage, I'm focused on what is exactly how could I do with AI to restore the patterns.

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 And in this program, I'm very engaged in how the people to see the interactive is valid, or can solve any problem.

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 So I think it's a totally different thing.

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 Thank you.

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 I think the conversation from an artist perspective,

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 and art historians, or experts in archive, I think that's very fruitful and to get their new insight in terms of the knowledge that we have in the archive. aspect but the only thing I'm very focused on is how the people

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 understand the world, so how the technology to change our world of the

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 change our mind of the world or change our mind of the history and the

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 history is maybe we can say we cannot affect history actually, but we can leave a scar in history.

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 Maybe that is the meaningful life for every person to do.

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 Thank you.

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00:33:59.559 --> 00:34:06.000
 We have time for one short question. Thank you so much.

334
00:34:06.000 --> 00:34:08.000
 Thank you so much.

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00:34:08.000 --> 00:34:10.000
 We will continue with the next presentation.

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00:34:12.000 --> 00:34:14.000
 So it's Dayan Wang, right?

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 Welcome on stage.

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00:34:24.000 --> 00:34:29.360
 Dayan Wang is a PhD candidate at the Queensland University of Technology.

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 His practice-based research explores how extended reality, immersive environments,

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 and digital storytelling can support cultural reconnection with diasporic communities.

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00:34:47.760 --> 00:34:53.440
 diasporic communities. His current project, Root Seeking, investigates the reinterpretation of Chinese cultural heritage through our experiences.

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 Welcome. Hello everyone, my name is Daichun Wang and this project was completed with

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 my supervisor Dr. Rehwald, Professor Damian Conduzzo, and Professor Gavin Seed

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 at Queensland University of Technology.

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 And today, I will present our artwork,

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 Roots Thinking, or Xun Gen,

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 which means searching for where you come from.

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 And here is referring to reconnecting

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 with someone's personal history, place,

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 and cultural memories.

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00:35:21.699 --> 00:35:24.059
 So what you see here is not a photograph,

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 it's our reconstruction of a traditional Chinese garden inside VRChat.

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 First, let me introduce what the work is about. The artwork was built in Unity 2022.3

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 for MetaQuest 3. It engages users through the gesture, sound, and poetic narratives.

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 It engages users through the gestures, sound, and poetic narratives.

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 Its visual language and spatial structure come from Jichang Garden, which is a Chinese garden from Ming Dynasty located in Wuxi.

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 And the garden mainly shapes how the virtual space is experienced,

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 through the frame views, board sensory, and the view that gradually appeared.

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 through the frame views, board sensory, and the view that gradually appeared.

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 But our goal is different from some XR heritage research,

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 which often focuses on the accuracy, reconstruction, education, and tourism.

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 This work is made for different audiences, people living far away from home, which we call it here diaspora.

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 Instead of

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 not instead of only recording the garden, it used the garden as a way to

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 reconnect with the culture and memory. This also means giving the diaspora more voice,

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 but this creates a limit as well. The research team still decides what to scan,

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 what dialogue to use in the virtual environment,

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 and which garden should stand for home.

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 And one, Jichang Garden, which is what we use as inspiration,

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 cannot fully represent the Chinese heritage.

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00:37:08.000 --> 00:37:10.000
 So that leads to an important question. the object is not a real object, but it is a real object. So, we can see that the object is not a real object, but it is a real object.

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 So, we can see that the object is not a real object, but it is

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 a real object.

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 So, we can see that the object is not a real object, but it is

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 a real object.

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 So, we can see that the object is not a real object,. Below is a fact layer. We have 1.2 objects here,

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 systematically scanned and published openly.

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 In the archive on the right,

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 every object here has its own page,

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 so anyone can check and can record it.

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 A void is a supplicated layer.

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 Ritual, narrative, and atmosphere

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 create with the community

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 and clearly present the interpretation.

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 So, participants are afraid to imagine,

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 but that imagine does not replace the historical record.

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00:38:02.039 --> 00:38:04.179
 And let's jump to the...

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 Yeah. historical record. And let's jump to the, yeah. And let's first show you what we mean by the fact layer.

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 We capture 102 objects and grounded them into six

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 categories based on their role in the garden.

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 The largest group is architectural element

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 with 46 objects.

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 And this is partly because those objects

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 were easily to reach and record.

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 While the smallest ground were much harder to capture.

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 So we used three main methods to capture those objects.

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 The first one is iPhone LIDAR,

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 was used for the object at ground level.

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 Gussing and splitting was used for the object at ground level. Gussing and splatting was used for the detailed surface, and drawing photogrammetry was used

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 for larger surrounding views.

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00:38:54.239 --> 00:39:00.980
 Vegetation was much harder to capture, so all the trees we built in the environment

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00:39:00.980 --> 00:39:09.679
 was created digitally. Gussing and splat also become more than just a technical

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00:39:09.679 --> 00:39:15.159
 method because it made from the point and light rather than just solid surface. It gave

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00:39:15.159 --> 00:39:29.159
 us a visual quality and that feels close to memory. Clear in some space but less solid and completed from the distance. Let's jump

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00:39:29.159 --> 00:39:39.559
 back a little bit. But building the garden was not only one part of the

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00:39:39.559 --> 00:39:44.679
 project. We also needed to understand what people actually want from a virtual

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 heritage space. This slide shows one of the most important funding in this project. We also needed to understand what people actually want from a virtual heritage

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 space. This slide shows one of the most important funding in this project. The footnote shows

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 where the data came from. An on-site survey, an online Diaspora survey and an on-site prototype

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00:39:59.139 --> 00:40:10.280
 demo. The chart comes from the on-site study. Visitors gave Chinese gardens a high score of cultural importance at 4.47,

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 but the score for the personal meaning was low at 3.53.

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 So people could see the garden as of cultural importance

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 without feeling strongly personal connecting to it.

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 We saw a similar pattern in the emotional attachment.

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 Visitor score 3.80, where the staff,

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 the staff is the garden administration.

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00:40:34.579 --> 00:40:39.579
 In the first on-site questionnaire, scored like 4.5.

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 Participant with a more long relationship to the garden

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 were reported stronger emotional attachment.

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 But this is a small sample.

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00:40:48.039 --> 00:40:50.079
 I treat this as an early observation

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 rather than a casual finding.

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 But it's important for evolution.

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 People may recognize a virtual heritage space

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 without feeling attached to it.

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 On the right, we can see what this means for design.

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 Sensory experience was rated as the most important feature,

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 and at the same time, 14.1% of the participants

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 had never used VR before.

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 And the clearest result was that people

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 wanted to avoid this 130 out of 172

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 choose overall complex control.

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 Those finding directly shaped our design choice.

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 Participant want a strong sensory experience,

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00:41:37.139 --> 00:41:39.599
 but they also want the simple interaction.

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00:41:39.599 --> 00:41:43.739
 So instead of building only one type of virtual space,

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00:41:43.739 --> 00:41:47.840
 we explore two different way of responding to their needs.

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00:41:47.840 --> 00:41:50.000
 So we built two different worlds,

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 and I would like to show you both.

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 The VR chat world is more than just being inside of the space.

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00:42:08.079 --> 00:42:13.760
 It uses continuous environment, realistic scale, sound from different directions, and

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 a complete visual scene.

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00:42:16.079 --> 00:42:19.699
 It encourages participants to look around and experience the garden.

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00:42:19.699 --> 00:42:22.800
 The Minecraft world takes a different approach.

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 It's more than just making and changing things.

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 The block system is simple, easy to understand,

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 and easy to rebuild.

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00:42:28.480 --> 00:42:30.639
 It makes the world feel open to change.

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00:42:30.639 --> 00:42:35.219
 In our demonstration, we tested the project

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 as one overall experience.

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00:42:37.239 --> 00:42:40.539
 So this comparison is mainly based on what each platform

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00:42:40.539 --> 00:42:47.579
 allows people to do, together with the survey funding that people prefer simple

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00:42:47.579 --> 00:42:53.039
 interaction.

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 And I will first focus on the VRChat version and how people experience it.

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 Up to three people can use the wall together on Quest 3.

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00:43:02.400 --> 00:43:10.500
 And they can move freely in a 3 by 3 meter space, running and the Quest 3 is running at 90 FPS.

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 There's also a desktop version for people without VR, so they can get access to it through their computer.

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 When users move close to the artifact, they can hear the classic poetry in Mandarin and local dialects.

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00:43:25.900 --> 00:43:30.619
 And there is also a Sujo Pintan and other dialect sounds are placed in

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00:43:30.619 --> 00:43:34.980
 different part of the garden, so the sound feels connected to the space.

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00:43:42.000 --> 00:43:49.239
.

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00:43:53.239 --> 00:43:57.239
 And the second platform, Minecraft, has a different role. The Minecraft world runs on the Java edition with our own

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00:43:57.239 --> 00:44:01.239
 server. I also include the AI cultural guide through the

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00:44:01.239 --> 00:44:07.320
 service called MyPair. The guide can talk with the user about Chinese garden, classic poetry, and Chinese philosophy.

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 It can also change the language when the user asks.

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00:44:10.380 --> 00:44:12.579
 So one point is important here.

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 We configured the AI rather than just building the AI system ourselves.

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 We draw the guides, characters, and instructions based on the selected cultural resources.

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00:44:22.420 --> 00:44:28.000
 The AI follows the construction and the instruction during the conversation, but we do not treat the answer 100% correct

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00:44:28.000 --> 00:44:32.000
 during this experience. Instead, the guide works as a

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00:44:32.000 --> 00:44:36.000
 exploration, cultural interface with the co-design process. The

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 Minecraft board also includes message board, voice chat, and

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 the personal county art. And the participant can change and

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 build all the personal county art.

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00:44:45.380 --> 00:44:50.079
 And the participant can change and build all the environment by themselves.

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00:44:50.079 --> 00:44:55.179
 So Minecraft world mainly as a co-design and workshop space, rather than just a world to

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 explore.

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00:44:56.239 --> 00:45:01.039
 The co-design workshop will continue through the second half of 2026.

479
00:45:01.039 --> 00:45:02.639
 Actually it's already happened.

480
00:45:02.639 --> 00:45:05.599
 And with Minecraft serving as the primary workshop environment.

481
00:45:09.599 --> 00:45:16.300
 And together, those two platforms lead to three main contributions. First, from the participant data,

482
00:45:16.500 --> 00:45:22.239
 we learned what the audience values. They want the simple instruction rather than game-like tasks,

483
00:45:22.599 --> 00:45:24.360
 change over time,

484
00:45:24.360 --> 00:45:28.760
 like the day and night cycle,

485
00:45:28.760 --> 00:45:33.239
 richer sensory content and simple way to use the system.

486
00:45:33.239 --> 00:45:38.940
 Second, the design research and the main contribution is the two platform model.

487
00:45:38.940 --> 00:45:42.059
 The VR chat provides more details and immersive space.

488
00:45:42.059 --> 00:45:46.340
 While the Minecraft provides a simple space for making and co-design.

489
00:45:46.340 --> 00:45:49.599
 The two are connected as part of the same design process.

490
00:45:49.599 --> 00:45:53.179
 Third, this is an art practice.

491
00:45:53.179 --> 00:45:59.519
 The project explores how the cultural heritage in XR can focus on feeling, memory, and visual,

492
00:45:59.519 --> 00:46:03.440
 rather than just virtual realism.

493
00:46:03.440 --> 00:46:05.039
 There is also an important limit.

494
00:46:05.039 --> 00:46:12.400
 So far, the funding shows us user needs and design preference.

495
00:46:12.400 --> 00:46:15.960
 They do not yet show the long-term effect.

496
00:46:15.960 --> 00:46:19.940
 Question around the identity will be examined after the workshop.

497
00:46:19.940 --> 00:46:26.400
 More broadly, this project suggests that heritage place can be shared virtual space for people

498
00:46:26.400 --> 00:46:29.000
 living far away from home.

499
00:46:29.000 --> 00:46:33.780
 Where the cultural memory can be experienced, changed and rebuilt together, the archive

500
00:46:33.780 --> 00:46:39.800
 is also available on the Sketchfab if you just type Ruth Higgin as the keyword.

501
00:46:39.800 --> 00:46:41.800
 And that's all about my presentation today.

502
00:46:41.800 --> 00:46:45.239
 Thank you guys for listening.

503
00:46:45.239 --> 00:46:55.239
 Thank you so much. Thank you for coming from Australia to Austria. It was a long journey.

504
00:46:55.239 --> 00:47:10.199
 Greetings to your co-authors. They could unfortunately not make it to Linz. So the same question, have you also talked to experts and how

505
00:47:10.199 --> 00:47:17.039
 they gave you feedback especially in terms of realism versus abstraction in

506
00:47:17.039 --> 00:47:24.300
 terms of reconstruction of cultural heritage? Actually I have talked to a lot

507
00:47:24.300 --> 00:47:26.300
 of expert in this area, but

508
00:47:26.300 --> 00:47:28.440
 the expert I would like to share

509
00:47:28.440 --> 00:47:29.739
 today is a

510
00:47:29.739 --> 00:47:32.380
 Chinese grandfather.

511
00:47:32.780 --> 00:47:34.260
 I met him in the

512
00:47:34.260 --> 00:47:36.239
 Jichang Garden. He basically

513
00:47:36.239 --> 00:47:38.260
 just walked me through every construction

514
00:47:38.260 --> 00:47:40.460
 of every important fact of the

515
00:47:40.460 --> 00:47:42.079
 garden, and he taught me

516
00:47:42.079 --> 00:47:44.440
 like, for example, this is

517
00:47:44.440 --> 00:47:45.400
 a window, but the video

518
00:47:45.400 --> 00:47:49.840
 can be treated as a frame if you are photographer the frame would be the most

519
00:47:49.840 --> 00:47:53.679
 important element if you're doing photographer the film can be treated and

520
00:47:53.679 --> 00:47:58.059
 through the frame you will see another landscape but after frame the landscape

521
00:47:58.059 --> 00:48:10.000
 just changes so basically our design followed more to the grandfather scene rather than just like some expert in the 3D.

522
00:48:10.000 --> 00:48:17.000
 That's the most important part we found in this project and it happened in our first group.

523
00:48:17.000 --> 00:48:25.840
 The participants loved this kind of design rather than just we have a really high level like 3D modeling and stuff.

524
00:48:25.840 --> 00:48:31.719
 Yeah, they like this kind of design we find in the real garden

525
00:48:31.719 --> 00:48:34.619
 rather than just from the expert.

526
00:48:35.840 --> 00:48:43.440
 I observed that if the experts don't have a clear answer,

527
00:48:43.599 --> 00:48:46.800
 it's more like, oh no, not realistic

528
00:48:46.800 --> 00:48:54.340
 visualization or details because we don't know. Is there a second stage in

529
00:48:54.340 --> 00:48:59.440
 reconstruction of a historical building or not? Then say, oh no, no, a more abstract

530
00:48:59.440 --> 00:49:07.119
 version. So that's my observation. Any further question to the project?

531
00:49:07.119 --> 00:49:07.619
 Victoria.

532
00:49:12.039 --> 00:49:13.460
 Thanks for your presentation.

533
00:49:13.460 --> 00:49:15.460
 I was really interested in the ways

534
00:49:15.460 --> 00:49:17.860
 in which you aligned the different platforms

535
00:49:17.860 --> 00:49:20.179
 with different kinds of strategies.

536
00:49:20.179 --> 00:49:22.940
 So the VR chat with more of the presence

537
00:49:22.940 --> 00:49:24.699
 and a more built out kind of environment

538
00:49:24.699 --> 00:49:27.199
 versus the Minecraft blocky state.

539
00:49:27.760 --> 00:49:30.719
 And it leads me to wonder where you think the future is

540
00:49:30.719 --> 00:49:31.920
 for this kind of work.

541
00:49:32.019 --> 00:49:33.679
 Because right now it seems like you have to have

542
00:49:33.679 --> 00:49:35.440
 two different work paths perhaps.

543
00:49:35.900 --> 00:49:37.980
 And then we all know that these platforms go away

544
00:49:37.980 --> 00:49:40.639
 as soon as we get everything all built up nicely.

545
00:49:40.860 --> 00:49:42.860
 So could you say more about how you're thinking

546
00:49:42.860 --> 00:49:44.940
 about how to privilege development in the future

547
00:49:44.940 --> 00:49:46.800
 for this kind of work?

548
00:49:46.800 --> 00:49:53.960
 For me, probably I would like to run both platforms, because from our survey, most of

549
00:49:53.960 --> 00:50:00.239
 people who like to take our survey, they are from Gen Z. And Gen Z, and based on our literature

550
00:50:00.239 --> 00:50:05.000
 review, Gen Z are more close to the Minecraft rather than the VRChat. Because VRChat just I think that's the thing that I think is really important. I think that's the thing that I think is really important.

551
00:50:05.000 --> 00:50:07.000
 I think that's the thing that I think is really important.

552
00:50:07.000 --> 00:50:09.000
 I think that's the thing that I think is really important.

553
00:50:09.000 --> 00:50:11.000
 I think that's the thing that I think is really important.

554
00:50:11.000 --> 00:50:13.000
 I think that's the thing that I think is really important.

555
00:50:13.000 --> 00:50:15.000
 I think that's the thing that I think is really important.

556
00:50:15.000 --> 00:50:17.000
 I think that's the thing that I think is really important.

557
00:50:17.000 --> 00:50:19.000
 I think that's the thing that I think is really important.

558
00:50:19.000 --> 00:50:21.000
 I think that's the thing that I think is really important.

559
00:50:21.000 --> 00:50:23.000
 I think that's the thing that I think is really important.

560
00:50:23.000 --> 00:50:25.059
 I think that's the thing that I think is really important. I think that's the thing that I think is really important. I think that's the thing that I think is really important. previous slide. They would like to change. They would like to build their own apartment.

561
00:50:25.059 --> 00:50:30.280
 They would like to change the garden. In that way, they can really experience and to find

562
00:50:30.280 --> 00:50:37.760
 their own identity when they participate in the garden. So in that case, in order to improve

563
00:50:37.760 --> 00:50:45.000
 the diversity of our project in the future, I would like to run both two platforms and keep them running

564
00:50:45.000 --> 00:50:47.000
 alive.

565
00:50:50.000 --> 00:50:55.000
 Any further questions? Thank you so much for your presentation.

566
00:50:55.000 --> 00:50:57.000
 Thank you.

567
00:50:57.000 --> 00:51:14.019
 We will continue with Emily. Emily DayDam works as an academic artist and creative technologies in the space of immersive storytelling and social justice.

568
00:51:14.699 --> 00:51:15.440
 The stage is yours.

569
00:51:17.579 --> 00:51:18.420
 Thank you.

570
00:51:19.800 --> 00:51:22.340
 Hi, my name is Emily. My pronouns are they, them.

571
00:51:22.519 --> 00:51:26.000
 And this research builds ar fy PhD,

572
00:51:26.000 --> 00:51:29.000
 a dwi wedi'i ddefnyddio yn gyntaf yn gyfranol yn Fawrth.

573
00:51:29.000 --> 00:51:32.000
 Mae'r bwydau bwydau bwydau i mi yn dynnu,

574
00:51:32.000 --> 00:51:35.000
 yw duned, re-exar, heredigaeth wir, obsolesn, exar,

575
00:51:35.000 --> 00:51:38.000
 cyn ddiweddio'r hoff.

576
00:51:38.000 --> 00:51:41.000
 Peidiwch â'i ofyn, os nad ydych chi'n gwybod beth mae'r rhain yn ei olygu.

577
00:51:41.000 --> 00:51:44.000
 Byddwn i'n ymwneud â'r rhain.

578
00:51:44.000 --> 00:51:45.039
 Byddwn i'n dechrau gan ddweud bod fy nghymorth yn ddrwg,

579
00:51:45.119 --> 00:51:47.639
 ac roedd yn rhaid i'r rhan fwyaf o'r PhD ddeall hynny.

580
00:51:49.320 --> 00:51:52.920
 Mae'n fflavwr arbennig o ddrwg, a dyna'r ddrwg e-gwaest.

581
00:51:53.000 --> 00:51:55.039
 Mae e-gwaest yn ddrwg eledronol.

582
00:51:55.119 --> 00:51:58.320
 Mae'n ymwneud â defnyddio ariannol ariannol

583
00:51:58.400 --> 00:52:01.639
 sydd wedi cyrraedd y diwedd eu bywyd ddefnyddiol.

584
00:52:01.719 --> 00:52:04.480
 Mae'n un o'r drwg e-gwaest fwyaf yn y plannad,

585
00:52:04.559 --> 00:52:06.960
 gyda 347 miliwn o ton o

586
00:52:06.960 --> 00:52:12.199
 ddwyloedd e-bwyd wedi'u cymryd i fod ar blynyddoedd yr Eiriaeth ei hun, ac mae hynny'n ddiweddar y flwyddyn gwaith ystod y llaw.

587
00:52:12.199 --> 00:52:18.559
 Gallwn ni ddim ystyried, gyda llawer o statiau, ond mae 17.4% o ddwyloedd e-bwyd yn cael ei gael cael ei gael a'i gael i'w

588
00:52:18.559 --> 00:52:26.000
 gael yn iawn. Dyna dim ond y cymaint o ddwyloedd e-bwyd. Rwy'n credu bod y sector ymersif yn cynyddu'r cyfrifoedd e-bwyd yn gyflym.

589
00:52:28.320 --> 00:52:35.440
 Gwnewch Rhe XR. Mae Rh e yn ymwneud â rhwydweithio ac XR yn ymwneud â phwerthu. Rhe XR yn ddefnyddio cyfrifoedd

590
00:52:35.440 --> 00:52:39.760
 sydd wedi cael eu llwyddo gan y sector XR, ond gall eu rhwydweithio i ddweud y storïau sydd wedi cael eu

591
00:52:39.760 --> 00:52:48.000
 rhannu neu ddim yn cael eu cyflwyno mewn archifau. Mae Rh XR yn defnyddio dechnolegau golli i ddweud storïau golli.

592
00:52:48.000 --> 00:52:52.000
 Y pwysig nesaf yw cerddedig wirthu.

593
00:52:52.000 --> 00:52:56.000
 Mae deffiniad Sarah Kenderdean yn y cerddedig rwy'n ei ddefnyddio yma,

594
00:52:56.000 --> 00:52:59.000
 nid yn unig oherwydd roedd nhw'n un o fy myfyrwyr PhD.

595
00:52:59.000 --> 00:53:02.000
 Y defnydd o gerddedig wirthu a gwahaniaethau gwahanol

596
00:53:02.000 --> 00:53:04.000
 mewn ymchwil cerddedig diwylliannus

597
00:53:04.000 --> 00:53:07.000
 i weithio ar y cyfran rhwng ymchwil gwyddonol cynnyrch a'r datasynau a deitlau datasyn cyfryng a'ol ar gyfer y cyfranogol ymchwil ar gyfer y cyfranogol ymchwil ar gyfer y cyfranogol ymchwil

598
00:53:07.000 --> 00:53:10.000
 ar gyfer y cyfranogol ymchwil ar gyfer y cyfranogol ymchwil

599
00:53:10.000 --> 00:53:12.000
 ar gyfer y cyfranogol ymchwil.

600
00:53:12.000 --> 00:53:15.000
 Mae'r ymchwil hwn yn canolbwyntio ar sut y gallwn ddatblygu

601
00:53:15.000 --> 00:53:17.000
 ymchwil ymchwil ymchwil yn ddiogel.

602
00:53:17.000 --> 00:53:20.000
 Mae'n werth nodi bod llawer o ddefinidiaethau o ymchwil ymchwil

603
00:53:20.000 --> 00:53:23.000
 a therbyniadau eraill fel ymchwil digidol.

604
00:53:23.000 --> 00:53:27.159
 Roeddwn i'n hapus i glywed pan oedd ymchwil digidol wediol hanesu, archeoleg arsgolion cyfoed ac llawer mwy. Efallai bod yna hyd yn oed ffordd i gael hanes XR.

605
00:53:28.719 --> 00:53:29.920
 Felly, pam Dunedge?

606
00:53:30.599 --> 00:53:32.719
 Dwi'n ddigon ddechrau gyda hyn.

607
00:53:32.800 --> 00:53:35.079
 Mae'n ymwneud â'r gwaith gwaith i'w ymchwil.

608
00:53:35.159 --> 00:53:38.239
 Dwi wedi dewis y ddyned o Dunedge fel sefydliad i'w ymchwil

609
00:53:38.320 --> 00:53:40.960
 oherwydd mae ei hanes wedi cael ei ddysgu drwy amser,

610
00:53:41.039 --> 00:53:44.920
 gan ystyried sut mae amser yn ddysgu technolegau XR trwy'r cyfnod oesol.

611
00:53:48.800 --> 00:53:55.360
 Yn unig y byddai'r dyned wedi cael'i llwyddo i'r môr Cymru, mae'r ddwylliau digidol wedi'i llwyddo i'r rwst digidol. Mae'n gwneud, o fy marn i, safbwynt arall i ysbrydoli methodoleg arall arall.

612
00:53:56.239 --> 00:54:01.280
 Fel rhywun sy'n tyfu i fyny yng Nghymru, rwyf wedi gweld y newid ystod y llaw,

613
00:54:01.280 --> 00:54:06.000
 ac fe wnes i'r cymhwyso i gynhyrchu ac adeiladu'r ardal hwnnw o her i'r cyfnod o ddiwedd. Roedd yn cael ei ddod o hyd i'r cyfnod o ddiwedd.

614
00:54:06.159 --> 00:54:09.000
 Roedd yn cael ei ddod o hyd i'r cyfnod o ddiwedd.

615
00:54:09.159 --> 00:54:12.159
 Roedd yn cael ei ddod o hyd i'r cyfnod o ddiwedd.

616
00:54:12.320 --> 00:54:15.320
 Roedd yn cael ei ddod o hyd i'r cyfnod o ddiwedd.

617
00:54:15.480 --> 00:54:18.480
 Roedd yn cael ei ddod o hyd i'r cyfnod o ddiwedd.

618
00:54:18.639 --> 00:54:21.639
 Roedd yn cael ei ddod o hyd i'r cyfnod o ddiwedd.

619
00:54:21.800 --> 00:54:24.800
 Roedd yn cael ei ddod o hyd i'r cyfnod o ddiwedd.

620
00:54:24.960 --> 00:54:28.000
 Roedd yn cael ei ddod o hyd i'r cyfnhau o'r llinell ymddygiadol yma yn ddi-wyd. I'r rhai sydd ddim yn ymwybodol â Dunedge, mae'n enwog fel Atlantis, Brifysgol.

621
00:54:28.000 --> 00:54:35.000
 Felly, mae fy ngwestiwn yw, sut all dechnolegau creadigol ddatblygu hanes wirfoddol yn ddiogel

622
00:54:35.000 --> 00:54:40.000
 pan fydd y gwaith maen nhw'n ei ddatblygu'n ysgwyl yn gyflym â'r amgylchiadau maen nhw'n ceisio'u diogelu?

623
00:54:40.000 --> 00:54:49.639
 Fel datblyguoedd yn tech ymddygiadol, rydyn ni'n adeiladu ein casgau ar ysgol. Gyda'r cyfnodau sy'n newid ymhellach i'n gwybod pan fydd ein casgau'n llwyr.

624
00:54:49.639 --> 00:54:54.159
 Mae'r ymchwil hwn yn golygu i ddatblyguwyr gweithio mewn gweithdai gynhyrchol.

625
00:54:54.159 --> 00:55:07.000
 Os na allwn ni fod yn ddatblyguwyr gynhyrchol, sut y gallwn ni ddatblygu profiadau XR yn awyddus? Yn ystod y rhôs, mae'r rhôs Dunedge yn stori gwrthdaro XR ar gyfer safonau ar gyfer ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod ystod gwyddoniaeth ar-lein ar gyfer ystod ystod y llawr.

626
00:55:07.000 --> 00:55:10.000
 Mae'r dynfod yn ddysgu'r stori gwyddoniaeth ar-lein ar gyfer ystod y llawr.

627
00:55:10.000 --> 00:55:15.000
 Mae'r dynfod yn ddysgu'r stori gwyddoniaeth ar gyfer ystod y llawr.

628
00:55:15.000 --> 00:55:20.000
 Mae'r dynfod yn ddysgu'r stori gwyddoniaeth ar gyfer ystod y llawr.

629
00:55:20.000 --> 00:55:25.000
 Mae'r dynfod yn ddysgu'r storiryd enw Rose i ymwneud â sgwrs dynol.

630
00:55:25.000 --> 00:55:31.000
 Mae'r stori yn dweud eu bod nhw'n gofio pan oes eu tŷ a'u teulu wedi cael eu llwyr o amgylch ymlaen.

631
00:55:31.000 --> 00:55:36.000
 Mae Rose yn dyn a'i stori yn ffyrdd o unigol.

632
00:55:36.000 --> 00:55:41.000
 Rwy'n gweithio gyda dynion i ofyn y material a chynaliad o amrywiaeth stori.

633
00:55:42.000 --> 00:55:46.599
 Mae'n ddiddordeb i'r maes o stori.

634
00:55:49.599 --> 00:55:49.760
 Mae'r heriau wedi'u cyflwyno.

635
00:55:51.199 --> 00:55:51.360
 Yn ymchwil,

636
00:55:55.199 --> 00:55:55.360
 fe wnes i ddatblygu'r rhaglen ar gyfer defnyddio methodau modul, agored a thafodd.

637
00:55:57.920 --> 00:55:58.079
 Mae'r rhaglen yn lles arferol.

638
00:56:00.320 --> 00:56:00.480
 Er bod y gwaith yn arbennig ar gyfer y lle,

639
00:56:04.320 --> 00:56:04.480
 gallai'r gwaith ei ddatrys i leiaf.

640
00:56:06.840 --> 00:56:06.920
 Gallwn ddysgu sut gallwn ddweud stori'n ddiogel...

641
00:56:08.880 --> 00:56:08.960
..yn ffwrdd agored yn bwysig...

642
00:56:12.360 --> 00:56:14.239
..gyda gwasanaethau cynllunio, gwaith ddewis a chyflwyno.

643
00:56:17.840 --> 00:56:17.920
 Yn ymwneud â heriau, roedd yna'r cyfnod o ddiffyg...

644
00:56:20.360 --> 00:56:20.440
..o dechnolegau fel ystafelloedd haptig...

645
00:56:23.280 --> 00:56:23.360
..a'r rhain yn aml gynnal asthedig llyfn neu'r arfordir.

646
00:56:26.360 --> 00:56:28.679
 Dyma ddau enghraifft o ddigwyddiadau cyfrifol.

647
00:56:31.280 --> 00:56:31.360
 Mae fy nghymorth fatholegol yn un sy'n arwain ar y pradwyth.

648
00:56:32.840 --> 00:56:32.920
 Mae'n un cymysgedd.

649
00:56:34.920 --> 00:56:35.000
 Byddaf yn dechrau gyda media zombi.

650
00:56:37.920 --> 00:56:38.000
 Nid oedd unrhyw zombi yn cael ei ddiffyg yn ymwneud â'r ymchwil.

651
00:56:43.079 --> 00:56:43.159
 Mae'n ymwneud â media sy'n peidio â thamgymryd o'r cyflenwad planetol.

652
00:57:06.000 --> 00:57:09.000
 Yn aml, mae'n ymwneod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r cyfnod o'r ffabwlaeth cridigol a'r meddwl. Mae'r ddau ddau ar y dde, yn dangos ymgyrch diagraffu y gwrth-gyrch Gartner Hype gyda media dynol.

653
00:57:09.000 --> 00:57:11.000
 Mae'r cyrch Gartner Hype yn ymgyrchu â'r ffyrdd

654
00:57:11.000 --> 00:57:14.000
 a'i ddangos pan nad yw'r cynnyrch yn gwneud cyflwyniad cyflwyniad.

655
00:57:14.000 --> 00:57:16.000
 Mae Re-XR yn byw yn y ffazen dynol.

656
00:57:16.000 --> 00:57:19.000
 Mae'r media wedi ffail i'w wneud i gyflwyniad cyflwyniad

657
00:57:19.000 --> 00:57:21.000
 neu wedi dod yn ddiflannol neu wedi cael ei ddysgu.

658
00:57:21.000 --> 00:57:24.000
 Rwyf hefyd yn gydgyddeol ac yn debygol o fod yn rhaid i'r cyfrif

659
00:57:24.000 --> 00:57:28.000
 gael diagraffu cymhleth iawn ar ryw bwynt arr cyfnod hon yn ddiddordeb, ac mae'r ffyrdd oedd yn ddiddordeb. Mae'r ffyrdd oedd yn ddiddordeb, ac mae'r ffyrdd oedd yn ddiddordeb.

660
00:57:28.119 --> 00:57:32.000
 Mae'r ffyrdd oedd yn ddiddordeb, ac mae'r ffyrdd oedd yn ddiddordeb.

661
00:57:32.119 --> 00:57:36.119
 Mae'r ffyrdd oedd yn ddiddordeb, ac mae'r ffyrdd oedd yn ddiddordeb.

662
00:57:36.239 --> 00:57:40.239
 Mae'r ffyrdd oedd yn ddiddordeb, ac mae'r ffyrdd oedd yn ddiddordeb.

663
00:57:40.360 --> 00:57:44.360
 Mae'r ffyrdd oedd yn ddiddordeb, ac mae'r ffyrdd oedd yn ddiddordeb.

664
00:57:44.480 --> 00:57:47.599
 Mae'r ffyrdd own yn ddysgu'r grip dynol ar archifau hanesyddol, yn gofyn am ystafell ar gyfer clywedau hir a'u gwneud yn fawr

665
00:57:47.679 --> 00:57:51.199
 i'r dyfodol trwy ddynol ymddygiadau radigol.

666
00:57:51.280 --> 00:57:54.480
 Dyma sleid ffotograffig o'r ffordd mae Rose Dunwich yn edrych.

667
00:57:57.519 --> 00:57:59.760
 Yn rhan o'r ystyried y gwaith hwn,

668
00:57:59.840 --> 00:58:04.159
 mae'n ddewis nad yw'n Dunwich Beach, ond brofiad arbennig.

669
00:58:04.239 --> 00:58:06.000
 Yn rhan o'r cyfathrebu,

670
00:58:06.000 --> 00:58:08.000
 fe ydym yn gofyn y cwestiwn nesaf.

671
00:58:08.000 --> 00:58:10.000
 Beth oedd y rhan fwyaf effeithiol o'r profiad?

672
00:58:10.000 --> 00:58:12.000
 Roedd pob ysgrifennydd yn dweud

673
00:58:12.000 --> 00:58:14.000
 bod y fest haptig yn alluogi eu synnwyr ymddygiad.

674
00:58:14.000 --> 00:58:16.000
 Roedd y cyfathrebu tactil yn gallu

675
00:58:16.000 --> 00:58:18.000
ogi defnyddwyr i ddiddordeb yn ffusigol

676
00:58:18.000 --> 00:58:20.000
 i'r sain y môr,

677
00:58:20.000 --> 00:58:22.000
 yn dangos y gallai gwaith arferol

678
00:58:22.000 --> 00:58:24.000
 ffostro ar gyfer cymysgedd sensoriol,

679
00:58:24.000 --> 00:58:26.000
 ac yn rhywle i'w hwynebuwaith o'r systemau gweithredol.

680
00:58:26.000 --> 00:58:28.000
 Nid oedd unrhyw un yn sylweddoli bod y profiad wedi'i datblygu

681
00:58:28.000 --> 00:58:30.000
 yn unigol o ddefnyddio media gwasanaethol,

682
00:58:30.000 --> 00:58:32.000
 yn annibynnol o gyfrifoldeb sy'n meddwl

683
00:58:32.000 --> 00:58:36.000
 pam nad oedd gen i set o glasau enriol o'r ffordd o'r ffordd o'r ffordd.

684
00:58:38.000 --> 00:58:40.000
 Gwasanaeth, gynnyrch arall.

685
00:58:40.000 --> 00:58:44.000
 Yn ystod y cyd-dysgu, mae'r AI yn ffordd arall o ddysgu technolegol,

686
00:58:44.000 --> 00:58:48.400
 gyda cyfrifoldyd dechnolegol, gyda cynydd o obsolesiwn technolegol fwy na rhaid i'r cynydd o ReaxR

687
00:58:48.480 --> 00:58:50.800
 oherwydd cynydd o leithiau bywydau cynhyrchion.

688
00:58:50.880 --> 00:58:53.679
 Byddai AI genedlaethol 2030 yn gallu cynnig

689
00:58:53.760 --> 00:58:56.079
 5 miliwn o tonnau metric o ddwyloedd.

690
00:58:56.159 --> 00:58:59.280
 Mae obsolesiwn yn dod i ni i gyd, ac os nad yw'n dod i chi,

691
00:58:59.360 --> 00:59:01.920
 gallaf ystyried nad ydych chi'n ddyn iPhone.

692
00:59:03.599 --> 00:59:08.360
 Mae Kate Crawford, sydd â cael atlases o AI yn y tu ôl,

693
00:59:08.440 --> 00:59:11.719
 yn argyfwng bod, wrth i'r capabiliadau AI ymlaen yn gyflym,

694
00:59:11.800 --> 00:59:15.079
 maen nhw'n gadael cymaint o gwaith o'r cyd-dynol,

695
00:59:15.159 --> 00:59:18.079
 gan gynhyrchu lles o gwarthegau sy'n gweithio'n ddifrifol

696
00:59:18.159 --> 00:59:21.800
 a oedd wedi'i fframio fel cynnyrch technolegol o ddiwedd.

697
00:59:23.960 --> 00:59:28.000
 Mae'r ymchwil hwn yn cyd-dynol a'i gy chyflwyno'r angen i de-carbonio ymarfer amrywiol

698
00:59:28.079 --> 00:59:31.280
 wrth gyfrifo'r criseu o'r hinsawdd a'r diogelu cymdeithasol.

699
00:59:31.360 --> 00:59:33.519
 Mae'r sleid hwn o 1911.

700
00:59:33.599 --> 00:59:36.159
 Fe wnes i ymwneud â'r ddelwedd hwn oherwydd roeddwn i'n teimlo'n debyg

701
00:59:36.239 --> 00:59:38.159
 o'r ddau tref yma yn ystod y phrifysgol.

702
00:59:38.239 --> 00:59:40.400
 Rwy'n cael fy ngwrdd â'r ddilemau rhwng y ddau.

703
00:59:42.960 --> 00:59:47.000
 Mae yna gynyrchiad mewn nifer o gyfresoedd o ddysgu sut mae XR yn cael ei ddefnyddio mewn stori-tellyn amgylcheddol.

704
00:59:47.000 --> 00:59:52.159
 Ond mae'r astudiaethau hyn yn fawr yn canolbwyntio ar sut y gall y ddewision hynny gynyddu

705
00:59:52.159 --> 00:59:58.199
 llythyrwyr gynaliadwy. Nid wyf yn ddiolch ar y syniad hwn, mae hynny'n wych. Ond rwy'n credu

706
00:59:58.199 --> 01:00:07.519
 y dylem ni ystyried effaith amgylcheddol y gwaith gwaith a'r cynyddion bywyd a chynnydd a chynnydd ariannol yn ymwneud â hyn.

707
01:00:13.119 --> 01:00:18.239
 Mae fy nghymorth i ddatblygu lles yn cynnwys cymryd ymddygiad cyflawnol i ddatblygu profiadau XR a'u creu drwy ddefnyddio e-waste a chyfeirio llwythoedd agored i rannu profiadau a all eu ddysgu

708
01:00:18.239 --> 01:00:23.599
 mewn brwswr weithredol i alluogi mynediad i'r hanes wirfoddol drwy gyd-dysgu ac ddefnyddio cyfnod o ddigidol cyfnodol.

709
01:00:24.639 --> 01:00:29.760
 i'r hanes ymddygiadol drwy'r cyfrifiad ac yn defnyddio'r gwaith cyhoeddus digidol. Mae'r ffyniad hwn yn dangos sganner LIDAR gwasanaethol. Mae'n sganner mewn goffi,

710
01:00:29.760 --> 01:00:34.000
 ac o'r cychwyn i ddechrau ei ddatblygu yn y pandemig gyda'r hyn oeddwn yn

711
01:00:34.000 --> 01:00:38.000
 ymgynghori o ran fy nghyfarchiad llythyrol, roeddwn i'n ei wneud o'r cychwyn i

712
01:00:38.000 --> 01:00:47.000
 ysbrydoli sut i ddatblygu defnaithau ganolbwyntio ac hefyd oherwydd nad yw fy nghyfarwyddwr yn ei gadael i fy nghymryd, neu eu bod yn meddwl y byddaf yn gynnal eu caner £20,000.

713
01:00:49.000 --> 01:00:51.000
 Mae yna rywbeth da.

714
01:00:51.000 --> 01:00:54.000
 Mae yna rhai strategaethau sy'n gallu cael eu ddefnyddio

715
01:00:54.000 --> 01:00:56.000
 mewn llyfn yn erbyn methodau cynhyrchu.

716
01:00:56.000 --> 01:00:58.000
 Mae codi gwydr yn un o'r enghraifftau.

717
01:00:58.000 --> 01:01:03.000
 Mae'n defnyddio ymarfer cyfrifiadol i leihau'r arian sy'n ymwneud â'r broses cyfrifiadu codi.

718
01:01:03.000 --> 01:01:06.000
 Mae hefyd wedi bod ymchwil am effaith y sefydliadna hefyd astudiaethau ar y pwynt o'r ddisblawn...

719
01:01:06.000 --> 01:01:08.000
..a'r cyfrif bwyd.

720
01:01:08.000 --> 01:01:12.000
 Dyna pam rwyf wedi cyflawni'r llaw y gwnaethom ei gyflawni.

721
01:01:12.000 --> 01:01:15.000
 Mae gen i asturisg ar y cyflawn carbon ar y dde.

722
01:01:15.000 --> 01:01:19.000
 Mae'n debygol o fod yn cael ei ddefnyddio fel gwysio gwyddo.

723
01:01:19.000 --> 01:01:21.000
 Ond nid yw hynny'n bob amser.

724
01:01:21.000 --> 01:01:24.000
 Os ydych chi'n edrych ar gyflawn carbon...

725
01:01:24.000 --> 01:01:29.119
..rydych chi'n gwybod bod y cyflawn carbon yn gweith yn gweithiol, os yw unrhyw un yn edrych.

726
01:01:30.760 --> 01:01:32.639
 Rwyf wedi dyfodol y byddaf yn ddiweddar,

727
01:01:32.719 --> 01:01:35.199
 ond rwy'n gwerthfawrogi nad yw hyn yw'r ddyniad mwyaf gobeithio.

728
01:01:36.880 --> 01:01:40.719
 Roedd yna dyniad o'r dyniad yn ystod ystod y wythnosau yn y flwyddyn,

729
01:01:40.800 --> 01:01:44.079
 ac fe wnaeth gael 150 oed o'r dynion.

730
01:01:44.159 --> 01:02:06.860
 Mae fy nheulu yn ddiweddar yn wythnosau ar ôl y llifogydd hwn. Mae rhai rhai, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyr, bydwyrch ar y sgriniau glwyddo sy'n rheoli ein bywydau a'n ein hwylio.

731
01:02:06.860 --> 01:02:12.000
 Rhaid i ni ystyried y tol cyffredinol a chyffredinol ein bywydau digidol.

732
01:02:12.000 --> 01:02:15.059
 Mae'r ymchwil hwn yn ei ddodd i'r cyfrifon dynol mwy na phobl sydd wedi cael eu cyflwyno

733
01:02:15.059 --> 01:02:18.920
 gan y Gwrdd Gwyddo a'r Cwrdd Cymru yn gychwyn.

734
01:02:18.920 --> 01:02:23.000
 Mae gen i list o gyfeiriadau i unrhyw un sy'n edrych.

735
01:02:23.000 --> 01:02:26.360
 Rwy'n hoffi ddweud diolch. Diolch. Diolch am y cyflwyniad gwych. list of references for anyone curious and just want to say thank you. Thank you.

736
01:02:26.360 --> 01:02:32.260
 Thank you for this great presentation. As we mentioned at the beginning there

737
01:02:32.260 --> 01:02:36.800
 will be in a couple of weeks proceedings and then you can read the paper in

738
01:02:36.800 --> 01:02:41.380
 detail. Thank you so much. I have a question, a practical question. As you are

739
01:02:41.380 --> 01:02:49.000
 now an expert in terms of sustainability, digital born artifacts archived.

740
01:02:49.000 --> 01:02:56.000
 So at Ars Electronica we have a very small physical archive downstairs in the basement.

741
01:02:56.000 --> 01:03:05.880
 Books, brochures, but nothing in terms of artifacts. So the focus is, since many, many years,

742
01:03:06.219 --> 01:03:10.960
 a digital archive where we have a lot of documentations

743
01:03:10.960 --> 01:03:14.280
 of the projects that are exhibited at Ars Electronica.

744
01:03:14.440 --> 01:03:16.780
 So the documentation is very, very important

745
01:03:16.780 --> 01:03:21.139
 and also the description, a tech writer.

746
01:03:21.139 --> 01:03:25.559
 So if someone wants to do it again 20 years later,

747
01:03:26.480 --> 01:03:29.699
 there should be of course a detailed description to install

748
01:03:31.579 --> 01:03:35.860
 the installation and of course you need the hardware as you mentioned.

749
01:03:36.820 --> 01:03:42.340
 Someone has to take care that there is still the hardware from the 90s so that you can run it. So that's

750
01:03:42.920 --> 01:03:45.599
 very, very tricky in terms of sustainability.

751
01:03:46.559 --> 01:03:47.579
 So as far as I know,

752
01:03:47.900 --> 01:03:51.719
 As Electronica does not collect hardware.

753
01:03:53.559 --> 01:03:58.260
 Any advice for such challenging task

754
01:03:58.260 --> 01:04:02.059
 to archive digital-borne media art?

755
01:04:02.760 --> 01:04:03.840
 Oh, that's an amazing question.

756
01:04:04.400 --> 01:04:06.000
 I think we're... So different heritage institutions and museums o'r cyfnod cyffredinol? Mae'n gwestiwn anhygoel. Mae amgueddfeydd gwahanol o ran

757
01:04:06.000 --> 01:04:08.000
 sefydliadau a chyfnodau

758
01:04:08.000 --> 01:04:10.000
 o ran amser

759
01:04:10.000 --> 01:04:12.000
 yn cymryd rhan o'r mater hwn.

760
01:04:12.000 --> 01:04:14.000
 Mae Tate wedi cyhoeddi

761
01:04:14.000 --> 01:04:16.000
 nifer o ddau papur ar hynny.

762
01:04:16.000 --> 01:04:18.000
 Yn fwyaf, mae pobl yn ceisio

763
01:04:18.000 --> 01:04:20.000
 casglu cymaint o'r gwaith ffisigol

764
01:04:20.000 --> 01:04:22.000
 neu ddefnyddio

765
01:04:22.000 --> 01:04:24.000
 emulatio.

766
01:04:24.000 --> 01:04:26.000
 Mae'n ffyrdd o waith ar wahanol elfennau o ran y gwaith,

767
01:04:26.159 --> 01:04:28.880
 oherwydd nad yw un elfen ar ei hun yn gweithio.

768
01:04:29.039 --> 01:04:32.960
 Mae casglu CRTs i gyrru llawer o ddysgu fideo o'r 80au a'r 90au

769
01:04:33.119 --> 01:04:36.559
 ddim yn gwirioneddol, ac mae emuladu ddim yn y ffordd gorau.

770
01:04:36.719 --> 01:04:39.119
 Un o'r ymarferion gorau ydw i,

771
01:04:39.280 --> 01:04:43.679
 yw'r term Paradata, sy'n dod o'r ymdrin o'r hanes.

772
01:04:43.840 --> 01:04:46.000
 Mae Paradata yn ysgol sy' y maes o'r heredigaeth. Mae parodata yn ystod y maes o'r heredigaeth.

773
01:04:46.000 --> 01:04:48.000
 Mae parodata yn ystod y maes o'r heredigaeth.

774
01:04:48.000 --> 01:04:50.000
 Mae parodata yn ystod y maes o'r heredigaeth.

775
01:04:50.000 --> 01:04:52.000
 Mae parodata yn ystod y maes o'r heredigaeth.

776
01:04:52.000 --> 01:04:54.000
 Mae parodata yn ystod y maes o'r heredigaeth.

777
01:04:54.000 --> 01:04:56.000
 Mae parodata yn ystod y maes o'r heredigaeth.

778
01:04:56.000 --> 01:04:58.000
 Mae parodata yn ystod y maes o'r heredigaeth.

779
01:04:58.000 --> 01:05:00.000
 Mae parodata yn ystod y maes o'r heredigaeth.

780
01:05:00.000 --> 01:05:02.000
 Mae parodata yn ystod y maes o'r heredigaeth.

781
01:05:02.000 --> 01:05:04.000
 Mae parodata yn ystod y maes o'r heredigaeth.

782
01:05:04.000 --> 01:05:27.239
 Mae parodata yn ystod y maes o'r heredigaeth. Mae parodata yn ystod y maes o'r heredigaeth. Mae parodata yn ystod y maes o'r heredigaeth. Felly, byddai'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dweud, mae'n dwe of things that will evolve along with the technologies evolving. At the minute, we're kind of on the back end as kind of consumers developing.

783
01:05:27.599 --> 01:05:32.119
 And I think we should try and lobby to reverse that so that these technologies

784
01:05:32.119 --> 01:05:34.800
 are less proprietary and that we have more agency over them.

785
01:05:34.800 --> 01:05:38.440
 So then we can control the futures of the works that we're developing a lot easier.

786
01:05:39.719 --> 01:05:40.880
 Thank you.

787
01:05:41.239 --> 01:05:43.280
 Any further question?

788
01:05:43.639 --> 01:05:44.679
 Victoria.

789
01:05:41.380 --> 01:05:42.639
 Thank you. Any further question?

790
01:05:43.760 --> 01:05:44.599
 Victoria.

791
01:05:48.860 --> 01:05:50.500
 Thanks for your presentation.

792
01:05:50.500 --> 01:05:53.059
 As you were speaking, I was thinking about our desire

793
01:05:53.059 --> 01:05:55.820
 to keep everything, my own desire to keep everything,

794
01:05:55.820 --> 01:05:58.119
 and the fact that my house is bursting.

795
01:05:58.119 --> 01:06:01.800
 But also, going to Juergen's question,

796
01:06:01.800 --> 01:06:04.219
 do we need to archive everything?

797
01:06:04.219 --> 01:06:07.820
 We have this back it all up, copy it,

798
01:06:07.900 --> 01:06:11.280
 make sure it's instanced in the most rigorous way possible,

799
01:06:11.280 --> 01:06:13.960
 and yet the history of media is also the history of loss.

800
01:06:14.099 --> 01:06:15.340
 Should we just let things go?

801
01:06:16.800 --> 01:06:18.340
 I'd be inclined to agree.

802
01:06:18.460 --> 01:06:20.280
 We do have a massive...

803
01:06:20.280 --> 01:06:23.099
 Perhaps if you're an AI, you'd have a different perspective

804
01:06:23.099 --> 01:06:24.920
 because there is a thirst for data,

805
01:06:29.360 --> 01:06:35.719
 and data is knowledge that's going to fuel a lot of these different models that we're using. Efallai, os oes gennych chi AI, bydd gennych chi safbwynt gwahanol, oherwydd mae yna ddyniaeth am ddata, a'r ddata yw'r gwybodaeth sy'n mynd i ddod â llawer o'r modelau gwahanol y mae gennym ni. Yn ffordd bach iawn, rwy'n eich herio i chi edrych ar y data y byddwch yn ei ddefnyddio yn eich bywyd bob dydd.

806
01:06:35.719 --> 01:06:42.320
 Rwy'n credu bod 0.025g yw'r cymaint o emisiynnau CO2 sy'n dod o un e-bost heb ysgrifennu yn eich e-bost.

807
01:06:42.320 --> 01:06:45.000
 Felly, gosodwch eich e-bost heb ei ddod o'r e-bost. Felly, gwblhau eich e-bostau os ydych chi'n gallu.

808
01:06:45.000 --> 01:06:53.000
 Byddwn yn dweud na i... Mae llawer o amgueddfeydd, ac ati, felly rwy'n gweithio yn fwyaf gyda amgueddfeydd,

809
01:06:53.000 --> 01:06:57.000
 ac ati, felly byddaf yn mynd i fod yn ddibysig ac yn ymwneud â nhw, ond mae colledwyr eraill ar gael.

810
01:06:57.000 --> 01:07:06.079
 Mae yna ymddiriedaeth i ddigidu popeth a chyhoed-dau. Mae yna ddyn o'r enw...

811
01:07:06.159 --> 01:07:08.920
 Dwi wedi gofio'r enw, ond gallaf ei ddod o hyd i.

812
01:07:09.000 --> 01:07:12.000
 Roeddwn i'n dod o hyd i dyn o'r enw Palliative Care.

813
01:07:12.079 --> 01:07:14.079
 Mae'r dynion yn ein lleoliadau.

814
01:07:14.159 --> 01:07:16.559
 Yn ystod Dunedg,

815
01:07:16.639 --> 01:07:18.639
 mae llawer o bethau wedi cael eu llwyddo.

816
01:07:18.719 --> 01:07:22.079
 Mae'n cydnabod nad ydym yn gallu chadw popeth.

817
01:07:22.159 --> 01:07:23.840
 Beth yw'r peth mwyaf pwysig?

818
01:07:23.920 --> 01:07:26.219
 Sut ydym yn gallu chadw pethau sydd yn anghyfansodol? Dwi'n dweud na. we're not going to be able to protect everything. So what is most important and how do we protect things that are intangible?

819
01:07:26.219 --> 01:07:28.199
 So yeah, I'd say no.

820
01:07:30.719 --> 01:07:32.420
 I love the palliative care idea.

821
01:07:35.380 --> 01:07:39.360
 If you had a question, we have time for one question.

822
01:07:41.099 --> 01:07:42.260
 Thank you so much.

823
01:07:42.260 --> 01:07:48.000
 We will continue to talk about archiving later. Thank you.

824
01:07:48.000 --> 01:08:19.899
 So our last speaker is Xinran Wu. Are you here? Please creative strategist based in the Bay Area, working

825
01:08:19.899 --> 01:08:26.479
 at the intersection of cultural memory and spatial practice and generative AI.

826
01:08:26.479 --> 01:08:30.800
 You are talking about a project Anywhere Doors.

827
01:08:30.800 --> 01:08:32.539
 The stage is yours.

828
01:08:32.539 --> 01:08:34.579
 Thank you.

829
01:08:34.579 --> 01:08:35.680
 Hi, everyone.

830
01:08:35.680 --> 01:08:40.619
 My name is Xinran, and I am an independent artist and also

831
01:08:40.619 --> 01:08:44.060
 a designer and creative strategist in AI industry.

832
01:08:44.060 --> 01:08:48.619
 And it's my honor today to talk here to share my project, Anywhere Door,

833
01:08:48.880 --> 01:08:53.960
 Tethered Hallucination as a Media of Remembering Shanghai, Vanishing Longtown Alleys.

834
01:08:54.560 --> 01:08:58.439
 And it is a research on history, memory, and methodology.

835
01:08:59.180 --> 01:09:01.920
 And that's the part I'm going to focus on today.

836
01:09:01.920 --> 01:09:04.899
 And also that's installation or in progress.

837
01:09:01.920 --> 01:09:02.079
 That's the part I'm going to focus on today.

838
01:09:04.899 --> 01:09:08.340
 And also that's installation work in progress.

839
01:09:11.220 --> 01:09:12.180
 So let's begin with imagination.

840
01:09:15.720 --> 01:09:18.359
 Imagine you are an anthropologist from another planet and arriving in Shanghai for the first time.

841
01:09:18.800 --> 01:09:22.399
 Local people tell you that there is a kind of building called Nongtang,

842
01:09:22.399 --> 01:09:24.500
 which is a nice place to look at.

843
01:09:22.399 --> 01:09:22.739
 that there is a kind of building called Nong Tang,

844
01:09:24.500 --> 01:09:25.899
 which is a nice place to look at.

845
01:09:28.720 --> 01:09:30.159
 And you see the three corners like this across the metropolis.

846
01:09:31.119 --> 01:09:33.840
 And in outdoor, there is one type,

847
01:09:34.180 --> 01:09:36.399
 like a shopping street,

848
01:09:36.960 --> 01:09:40.000
 where renovated facade enclose luxury retailers.

849
01:09:40.699 --> 01:09:43.760
 And second, there is a nostalgia-style food court

850
01:09:43.760 --> 01:09:50.000
 staging slavage props taken into into the basement newly built shopping malls.

851
01:09:50.819 --> 01:09:55.640
 And third, there is also a set apart from the prosperity.

852
01:09:56.460 --> 01:09:59.800
 There are depopulated ghost towns awaiting for demolishing.

853
01:10:00.699 --> 01:10:06.880
 Each of the places claim to preserve the memory of Nongtang, which makes you really confused

854
01:10:06.880 --> 01:10:10.880
 why it looks totally different but calls the same name.

855
01:10:10.880 --> 01:10:19.140
 However, each of them, in my opinion, is missing something in two ways.

856
01:10:19.140 --> 01:10:23.319
 So first, the history has layers.

857
01:10:23.319 --> 01:10:28.060
 Nongtang developed since the opening port of Shanghai in the 19th century,

858
01:10:28.539 --> 01:10:31.619
 is in that time the newest housing type

859
01:10:31.619 --> 01:10:36.279
 with a hybrid of Chinese and Western forms built for wealthy families.

860
01:10:36.920 --> 01:10:41.260
 Through the wars and the changes of land ownership in the mid-20th century,

861
01:10:41.699 --> 01:10:43.819
 it became dense collective housing,

862
01:10:44.399 --> 01:10:49.319
 once shared by even 72 families on one roof.

863
01:10:49.880 --> 01:10:54.399
 And third, in 21st century, the force of urban gentrification

864
01:10:54.399 --> 01:10:57.479
 in the heart of Shanghai pushed it to restore it.

865
01:10:58.319 --> 01:11:01.600
 And when one possibility right now is being built

866
01:11:01.600 --> 01:11:06.800
 and fixed in break, the memory of every other layer is being worn away.

867
01:11:09.579 --> 01:11:16.479
 And in a second, the Nong town is a space of everyday living, and individual lives have no mark

868
01:11:16.479 --> 01:11:23.939
 that a structure can carry. Nong town once housed 70% of the city's population in 20th century,

869
01:11:23.939 --> 01:11:24.539
 house 70% of the city's population in 20th century,

870
01:11:27.199 --> 01:11:27.859
 and not as a heritage, but as a home.

871
01:11:31.199 --> 01:11:34.199
 It is dense, sheer, improvised residential space where every life accumulates on every surface.

872
01:11:34.979 --> 01:11:38.600
 As Henri Lefebvre would call it, a spatial memory.

873
01:11:39.520 --> 01:11:43.819
 And the three places you saw are imagination of non-town memory

874
01:11:43.819 --> 01:11:46.899
 onto the surviving architecture structure right now.

875
01:11:46.899 --> 01:11:51.960
 Yet, none of them preserve this daily spatial practice at all.

876
01:11:55.079 --> 01:12:00.520
 So, seeing these questions, where does the memory of Nongtang really live

877
01:12:00.520 --> 01:12:03.479
 if it's not in the structure?

878
01:12:04.260 --> 01:12:06.319
 And let us go back into the field.

879
01:12:08.399 --> 01:12:16.920
 And from 2021 to 2024, I sometime kept returning to the ghost town version of Nong Town nowadays

880
01:12:16.920 --> 01:12:25.880
 before it's being demolished. And there is an afternoon I stood in front of the door like this.

881
01:12:25.880 --> 01:12:32.399
 On its surface, there is a milk delivery box with the household name in blue ink,

882
01:12:32.920 --> 01:12:37.560
 and the spring couplet with red had faded to the color of dyers,

883
01:12:38.260 --> 01:12:44.560
 and a lockbox of parcel, an address plate from one administrative area

884
01:12:44.560 --> 01:12:47.779
 bolted above an address place from another.

885
01:12:47.779 --> 01:12:53.340
 A door is not only an architecture element, it's also a threshold.

886
01:12:53.340 --> 01:13:10.539
 Standing outside, I try to imagine what is the life behind this door. As Susan Scoopley argued in Material Witness, objects do not merely document events.

887
01:13:10.539 --> 01:13:16.819
 Through weird, fading attachment, they testify carrying political, emotional, and ethnical

888
01:13:16.819 --> 01:13:21.520
 weight in the proportion to their apparent insignificance.

889
01:13:21.520 --> 01:13:28.100
 So there are the fragments I collected from that ghost town version of Nong Town, from

890
01:13:28.100 --> 01:13:35.020
 Henry's store, and sorted them from the historical evidence behind them. You can see it's from

891
01:13:35.020 --> 01:13:41.220
 different time eras, you can see also there are different occupations of the owners, and also

892
01:13:41.220 --> 01:13:48.640
 there are different functions of the room, like the time maybe from 80s, 90s, early 2000s,

893
01:13:48.720 --> 01:13:49.659
 and even pandemic.

894
01:13:50.619 --> 01:13:51.720
 And from all of that,

895
01:13:51.979 --> 01:13:54.840
 an imagination of life inside can be formed.

896
01:13:58.279 --> 01:14:00.420
 And with this concept,

897
01:14:01.220 --> 01:14:03.699
 the process in human brains,

898
01:14:03.880 --> 01:14:07.039
 like collecting the pieces and decoding them, we

899
01:14:07.039 --> 01:14:09.319
 may call it as memory.

900
01:14:09.319 --> 01:14:14.899
 And there is maybe a parallel process in artificial intelligence.

901
01:14:14.899 --> 01:14:20.000
 So memory, as Bartlett showed, is not a recording mechanism.

902
01:14:20.000 --> 01:14:27.460
 It's an active process of reconstruction in which each recollection reorganizes available fragments

903
01:14:27.460 --> 01:14:33.699
 according to present expectations, filling gaps between plausible materials to produce

904
01:14:33.699 --> 01:14:49.600
 a coherent account. The past is now stored. It is reassembled each time when it is accessed. Each memory is both faithful and fabricated. Well, in a language model,

905
01:14:49.600 --> 01:14:55.239
 maybe it does the same things. It takes fragments from the database and fills the

906
01:14:55.239 --> 01:15:01.619
 gaps with what we may call reasoning. And when the fragment relatively is real and

907
01:15:01.619 --> 01:15:07.340
 the whole narration maybe is not unconfirmed. We call it hallucination.

908
01:15:08.140 --> 01:15:13.560
 So, hallucination and remembering, I'm not arguing this is a claim about their technical

909
01:15:13.560 --> 01:15:21.739
 architecture is the same. It is an observation about a sheer epistemic pre-decimate. In both

910
01:15:21.739 --> 01:15:27.239
 cases, a coherent account of the past is assembled from the fragment in the absence

911
01:15:27.239 --> 01:15:35.000
 of the original by a creative system that cannot verify.

912
01:15:35.000 --> 01:15:41.600
 And the hint or the database is also the key that makes this parallel possible.

913
01:15:41.600 --> 01:15:48.520
 This is where tether matters. When you're prompting to an LLM or a text-to-image

914
01:15:48.520 --> 01:15:54.340
 model just with the word Nongtong, you may get an average visual residue of every Nongtong

915
01:15:54.340 --> 01:16:09.300
 room from this training data. It may be plausible, but it's belonging to no one in particular. And this is the place Corpus can be an anchor. Take an example. Writer

916
01:16:09.300 --> 01:16:15.239
 Lu Da Feng recalls one evening in 1930s and written in his book. Sitting with friends

917
01:16:15.239 --> 01:16:20.680
 in a long time courtyard, he heard the bamboo clapping after late night winter wonders and

918
01:16:20.680 --> 01:16:30.399
 watch a girl in the building above lower, watch a girl in the building above lower a basket nugget from the stoking to make her purchase.

919
01:16:31.039 --> 01:16:36.779
 The Wonton was thin-skinned, chicken-flavored, and served hot with egg strips and scallions.

920
01:16:38.039 --> 01:16:44.859
 Stories from non-fictional writing like this add reliability and vividness to our corpus.

921
01:16:49.380 --> 01:16:59.260
 writing like this add reliability and vividness to our corpus. So I extract passages like this from seven different sources from 1940s to 2020s and cut them into around 2,000 pieces.

922
01:16:59.260 --> 01:17:09.000
 Each piece is tagged along five dimensions. Errors, life domain, space, emotion, and object is mentioned.

923
01:17:09.000 --> 01:17:15.000
 Based on this, AI can create or remember vivid stories of Nong Thang

924
01:17:15.000 --> 01:17:21.000
 from the perspective of daily practice and penetrate the layer of time.

925
01:17:24.180 --> 01:17:30.800
 layer of time. And also, with this technical process, can we also create an experience?

926
01:17:30.800 --> 01:17:34.500
 So that's where Anywhere Door is.

927
01:17:34.500 --> 01:17:40.359
 Anywhere Door is an installation work in progress that's built on this idea.

928
01:17:40.359 --> 01:17:45.699
 This concept is borrowed directly from that afternoon in the empty town version of Nong

929
01:17:45.699 --> 01:17:51.880
 Town, where you can imagine the door inside from the fragment of the door outside.

930
01:17:55.140 --> 01:18:00.000
 And you can choose a few objects from the panel and put it on the door.

931
01:18:01.260 --> 01:18:04.220
 This is some sample of lists you can choose from.

932
01:18:05.260 --> 01:18:12.439
 This is some sample of this you can choose from. Each object maps to tag and the tag maps back to the fragment in the corpus.

933
01:18:12.439 --> 01:18:18.140
 A milk box and a spring couplet from different decades, an address place and a notice with

934
01:18:18.140 --> 01:18:19.600
 different functions.

935
01:18:19.600 --> 01:18:25.000
 The combination shifts the weight of the text.

936
01:18:25.000 --> 01:18:28.800
 And then the system will retrieve several fragments

937
01:18:28.800 --> 01:18:31.300
 based on this combination of text.

938
01:18:31.300 --> 01:18:33.800
 And the language model connect and imagine them

939
01:18:33.800 --> 01:18:36.640
 into our first person stories.

940
01:18:36.640 --> 01:18:39.460
 Since the difference of the object chosen

941
01:18:39.460 --> 01:18:42.100
 and storytelling is different each time,

942
01:18:42.100 --> 01:18:45.380
 every visit produced a different narrations.

943
01:18:45.380 --> 01:18:48.239
 And the physical structure is also emphasized

944
01:18:48.239 --> 01:18:49.899
 in body experience.

945
01:18:49.899 --> 01:18:52.680
 Audience will be curious when standing at the door

946
01:18:52.680 --> 01:18:54.199
 and picking the object.

947
01:18:54.199 --> 01:18:56.920
 Also, will be enlightened when hearing the story

948
01:18:56.920 --> 01:18:59.239
 from the door and look through the peephole.

949
01:19:01.039 --> 01:19:04.039
 And here is a video of the demo of this.

950
01:19:26.840 --> 01:20:08.340
 And here is a video about the demo. when she was small probably 1990 something I could scrape it off but why the mailbox it's crooked now Thank you. 1935, said it made us a modern world. I was seven days, barely tall and I was touching a spell.

951
01:20:12.439 --> 01:20:13.880
 And last part.

952
01:20:13.880 --> 01:20:16.340
 These are the four different Nontown rooms

953
01:20:16.340 --> 01:20:18.359
 you just saw in the videos.

954
01:20:18.359 --> 01:20:21.479
 And this is the same act that's from the empty

955
01:20:21.479 --> 01:20:24.079
 Nontown Alice and now can be formalized

956
01:20:24.079 --> 01:20:25.840
 and made available to everyone.

957
01:20:26.060 --> 01:20:33.380
 It is an invitation from a fictional permanent resident of Nongtang to approach the vanished Nongtang

958
01:20:33.380 --> 01:20:40.119
 not through restoration or replica, but through the embodied act of imagining together with the machine and

959
01:20:40.579 --> 01:20:42.819
 to think what it's like to be there.

960
01:20:45.619 --> 01:20:49.640
 And there are some questions I'm still thinking about.

961
01:20:49.640 --> 01:20:53.100
 First is about individual and collective.

962
01:20:53.100 --> 01:20:58.100
 So here the map is the distribution of Nantang in 1947.

963
01:21:00.039 --> 01:21:02.119
 That you can see is really the house

964
01:21:02.119 --> 01:21:05.579
 for 70% of the Shanghai families.

965
01:21:08.880 --> 01:21:09.380
 And I think it's collecting memory as a folk,

966
01:21:13.760 --> 01:21:14.319
 a nebula made of countless fragments of individual memories.

967
01:21:18.140 --> 01:21:18.619
 If the machine's imagination is layered on real sources,

968
01:21:20.640 --> 01:21:21.159
 can it help us to across the folk,

969
01:21:24.159 --> 01:21:26.720
 which cannot be taken apart to fully describe and came closer to the authenticity

970
01:21:26.720 --> 01:21:30.039
 of one individual memory, rather than just casting

971
01:21:30.039 --> 01:21:34.720
 the dust from the collective fork into a single shape.

972
01:21:34.720 --> 01:21:38.300
 And second is about computation and embodiment.

973
01:21:38.300 --> 01:21:41.119
 The physical interaction is part of the project,

974
01:21:41.119 --> 01:21:44.859
 but it's also inside the remembering,

975
01:21:44.859 --> 01:21:46.239
 the act of remembering itself.

976
01:21:46.880 --> 01:21:54.479
 And in this work right now, the act of remembering or meditation is filled by the machine. If the

977
01:21:54.479 --> 01:22:06.500
 purpose is to share the memory or even to educate visit, how can the visitor's own mind do more of the remembered effort themselves

978
01:22:06.500 --> 01:22:08.680
 and with the involvement of AI.

979
01:22:11.119 --> 01:22:14.520
 And that's all of my talk today.

980
01:22:14.520 --> 01:22:17.859
 I hope maybe the experience can be shared with you

981
01:22:17.859 --> 01:22:20.760
 in the short future.

982
01:22:21.439 --> 01:22:22.399
 And that's a thank you.

983
01:22:22.319 --> 01:22:36.880
 short future. And that's a thank you. Thank you for a great inspiring presentation. So have you already exhibited the installation

984
01:22:36.880 --> 01:22:38.880
 and have you already got feedback?

985
01:22:38.880 --> 01:22:47.079
 Not yet. I'm doing a demo online. Yeah, and building the physical part right now.

986
01:22:47.199 --> 01:22:49.180
 So the next step to...

987
01:22:49.180 --> 01:22:49.199
 Yes.

988
01:22:49.199 --> 01:22:49.319
 Yeah.

989
01:22:50.039 --> 01:22:59.539
 My question is, as I'm not an expert on the vanishing allies in Shanghai,

990
01:23:00.319 --> 01:23:08.180
 so how do you distinguish between people who have a living there and know the allies,

991
01:23:09.000 --> 01:23:16.420
 know the history and people who are not aware of the topic? Is that considered in an installation?

992
01:23:18.560 --> 01:23:24.380
 Yes, because like I was mentioned, I do the on-site

993
01:23:22.800 --> 01:23:26.380
 because like I was mentioned, I do the onsite investigation in Shanghai

994
01:23:26.380 --> 01:23:29.619
 before I came to like US for work.

995
01:23:29.619 --> 01:23:32.859
 But this idea came from like when

996
01:23:32.859 --> 01:23:35.699
 already moved to California.

997
01:23:35.699 --> 01:23:38.359
 And that's when I'm thinking of the idea,

998
01:23:38.359 --> 01:23:40.600
 I always have questions with people around me.

999
01:23:40.600 --> 01:23:44.239
 Like as someone who is not from Shanghai or from China,

1000
01:23:44.239 --> 01:23:46.180
 well, I'd be curious about this.

1001
01:23:46.180 --> 01:23:49.600
 Or is that really a matter that this kind of things

1002
01:23:49.600 --> 01:23:52.220
 is authentic to you or not?

1003
01:23:52.220 --> 01:23:56.340
 And I will say that maybe authentic,

1004
01:23:56.340 --> 01:23:58.640
 like for someone not from Shanghai,

1005
01:23:58.640 --> 01:24:01.140
 it's not really something matters.

1006
01:24:01.140 --> 01:24:04.399
 It's like everyone will love stories.

1007
01:24:04.399 --> 01:24:07.899
 And what I argue at the first is if you see from the

1008
01:24:07.899 --> 01:24:15.659
 current version of restored Nong Thang, like the building right now is only a slice of the past of

1009
01:24:15.659 --> 01:24:27.600
 Nong Thang. And it has demolished the other part that's the everyday life from this and I think like as Nong Thang goes through about the the history oh as the

1010
01:24:27.600 --> 01:24:34.359
 resident building the current structure or the current building is really lost the essence of

1011
01:24:34.359 --> 01:24:41.359
 the story so I think if for someone who is not interested in the history at all to hearing some

1012
01:24:41.359 --> 01:24:45.420
 interesting stories from the past that maybe you cannot imagine

1013
01:24:45.420 --> 01:24:48.640
 when you're not really living in this kind of building.

1014
01:24:49.039 --> 01:24:52.560
 Or being entertained with the stories is also my purpose.

1015
01:24:53.840 --> 01:24:55.579
 And so there's two sides.

1016
01:24:55.680 --> 01:24:57.439
 For someone who maybe lived there before,

1017
01:24:57.619 --> 01:25:00.960
 they can recall part of their memory from this process.

1018
01:25:01.239 --> 01:25:05.439
 And for the others, if they are interested in interact with this

1019
01:25:05.439 --> 01:25:08.699
 and hearing the stories that's maybe not happening today,

1020
01:25:08.699 --> 01:25:11.180
 is also very good things.

1021
01:25:11.180 --> 01:25:14.520
 Always when AI is involved and we have this balance

1022
01:25:14.520 --> 01:25:18.239
 between fiction and truth when it comes to memories

1023
01:25:18.239 --> 01:25:21.800
 and history, it is of course interpretation

1024
01:25:21.800 --> 01:25:25.079
 of memories, so to speak. Yeah.

1025
01:25:25.479 --> 01:25:25.520
 Yes.

1026
01:25:30.159 --> 01:25:31.319
 Great. So we have time for one last question from the audience.

1027
01:25:32.100 --> 01:25:33.060
 Any question?

1028
01:25:34.760 --> 01:25:37.859
 And thank you again for your presentation

1029
01:25:37.859 --> 01:25:38.939
 and all the presenters.

1030
01:25:38.939 --> 01:25:40.340
 Oh, here is one, sorry.

1031
01:25:47.760 --> 01:25:48.260
 Okay. Sorry. OK.

1032
01:26:00.239 --> 01:26:02.100
 Thank you for your great presentation.

1033
01:26:02.100 --> 01:26:06.199
 I'm stuck with the thought of, what was it?

1034
01:26:06.479 --> 01:26:08.600
 Remembering is an embodied act.

1035
01:26:09.279 --> 01:26:12.739
 And I'm very curious about your thoughts to it.

1036
01:26:12.739 --> 01:26:16.680
 Because I think, as I understood, the locations, they are gone.

1037
01:26:17.319 --> 01:26:19.159
 These doors are not there anymore.

1038
01:26:20.399 --> 01:26:35.439
 And I think, like, my hypothesis is that if you could display it still at these locations or have an experience about these memories at the locations, that would be for me personally the embodied act of remembering.

1039
01:26:36.300 --> 01:26:38.859
 So I'm curious about what your thoughts are.

1040
01:26:38.899 --> 01:26:41.399
 Did you think about that at all?

1041
01:26:43.079 --> 01:26:51.000
 Thanks for the question, and I think it will be great if there is an opportunity to really have this anywhere at the site.

1042
01:26:53.439 --> 01:27:01.100
 So as there is also the question just now about is this being authentic or not and have different meanings to different people.

1043
01:27:02.800 --> 01:27:07.319
 Yeah, I think for the more authentic of the memory

1044
01:27:07.319 --> 01:27:09.500
 or the experience, it would be really nice

1045
01:27:09.500 --> 01:27:13.640
 if we can instill these things back to the site.

1046
01:27:13.640 --> 01:27:18.399
 But only with this interactive experience,

1047
01:27:18.399 --> 01:27:22.979
 even outside the site, is the other way of creating stories

1048
01:27:22.979 --> 01:27:26.819
 or trying to make effort to picking things

1049
01:27:26.819 --> 01:27:29.579
 together and remembering things.

1050
01:27:29.579 --> 01:27:34.760
 And it's also, for me, it's also being meaningful in a part.

1051
01:27:34.760 --> 01:27:35.760
 Yeah.

1052
01:27:35.760 --> 01:27:42.220
 And if there is an opportunity, I would like to bring it back.

1053
01:27:42.220 --> 01:27:43.220
 Thank you.

1054
01:27:43.220 --> 01:27:47.859
 As we are running out of time and we need a break, again, thank you for your presentations

1055
01:27:47.859 --> 01:27:57.859
 and you are cordially invited to join us at 2.30 here again with the next art paper session.

1056
01:27:57.859 --> 01:27:58.859
 So thank you.

1057
01:27:58.859 --> 01:28:35.020
 Thank you.