WEBVTT 0 00:00:00.000 --> 00:03:02.500 Diolch yn fawr iawn am wylio'r fideo. Thank you. Thank you. Thank you. Good morning and welcome to Expanded 2026. 1 00:03:02.500 --> 00:03:06.099 This is 2 00:03:07.199 --> 00:03:07.800 Ars Electronica 3 00:03:09.500 --> 00:03:09.699 first day 10 o'clock. 4 00:03:12.400 --> 00:03:16.000 I think it's the first program of Ars Electronica. We already kicked off yesterday with the pre-opening 5 00:03:16.400 --> 00:03:20.300 and the celebration of Ars Electronica Center, 30 years of 6 00:03:20.300 --> 00:03:21.800 Ars Electronica Center, 7 00:03:22.300 --> 00:03:23.900 the Ars Electronica Festival. 8 00:03:24.300 --> 00:03:27.979 And now we are starting Ars Electronica Center, the Ars Electronica Festival. And now we are starting Ars Electronica 2026 9 00:03:27.979 --> 00:03:30.560 with a very intense program. 10 00:03:31.219 --> 00:03:35.280 And this is one amazing program 11 00:03:35.280 --> 00:03:37.699 within Ars Electronica Media Art Festival, 12 00:03:38.199 --> 00:03:39.719 the expanded conference. 13 00:03:40.560 --> 00:03:44.020 So welcome here at the Ars Electronica Center. 14 00:03:44.020 --> 00:03:49.060 As you already know, this building is 30 years old already. 15 00:03:49.659 --> 00:03:54.599 But with the extension, it is kind of newish. 16 00:03:54.759 --> 00:03:56.979 Not everything is 30 years old. 17 00:03:57.759 --> 00:03:59.919 We are here at the Skyloft. 18 00:04:00.379 --> 00:04:10.460 It's a beautiful weather and everything is setting up. The Klangwolke that will take place on Saturday is already doing rehearsals. 19 00:04:10.879 --> 00:04:15.280 So it will be a very fantastic five days journey for us. 20 00:04:16.060 --> 00:04:25.779 And now we are kicking off the expanded conference that is, I would say, the academic conference at Ars Electronica. 21 00:04:26.540 --> 00:04:31.600 We started the journey 14 years ago, 22 00:04:31.720 --> 00:04:33.779 so this is the 14th edition, 23 00:04:34.959 --> 00:04:40.139 with, yeah, starting as a small one-day symposium, 24 00:04:40.779 --> 00:04:44.420 and now it's already a big, big conference 25 00:04:44.420 --> 00:04:46.000 with, I don't know exactly the number, And now it's already a big big conference with I 26 00:04:46.399 --> 00:04:52.839 Don't know exactly the number but so many presentations. I think we counted more than 80 27 00:04:53.420 --> 00:04:55.899 speakers here at the conference and 28 00:04:56.819 --> 00:05:02.959 This is a bigger number than the other conferences at us electronic or some don't tell them because 29 00:05:05.600 --> 00:05:07.600 Anyway, I'm so happy 30 00:05:08.560 --> 00:05:10.560 to 31 00:05:11.319 --> 00:05:18.240 kick off the conference together with Victoria Szabo. We are both the general chairs 32 00:05:18.720 --> 00:05:20.720 this year. We have 33 00:05:21.500 --> 00:05:26.339 switched the symposium to a conference. It's ACM in cooperation. 34 00:05:26.959 --> 00:05:30.019 Victoria will tell you a little bit more about the proceedings later. 35 00:05:30.759 --> 00:05:35.139 And we already have a steering committee with a lot of chairs, 36 00:05:35.439 --> 00:05:38.819 so it's becoming professional, I would say. 37 00:05:39.720 --> 00:05:43.300 So welcome again, and I will pass over to Victoria, 38 00:05:43.620 --> 00:05:47.839 and you will give a little insight into the program. 39 00:05:48.040 --> 00:05:49.000 I think you have a mic. 40 00:05:52.519 --> 00:05:53.360 Hi, everyone. 41 00:05:53.740 --> 00:05:54.060 Yes? 42 00:05:54.759 --> 00:05:55.040 Yes. 43 00:05:55.819 --> 00:06:01.100 It's such a pleasure to be here, and I want to thank Juergen and everyone for all of your support. 44 00:06:01.480 --> 00:06:06.639 I got involved in Xpandit just a few years years ago and it's been amazing to see it grow and develop 45 00:06:06.639 --> 00:06:07.959 even in that time. 46 00:06:07.959 --> 00:06:11.860 So you'll see we have a very exciting and dense program. 47 00:06:11.860 --> 00:06:15.180 There are a variety of different types of activities. 48 00:06:15.180 --> 00:06:18.240 We're going to kick off today with the Expanded Play Gallery 49 00:06:18.240 --> 00:06:21.339 short presentations, but also bear in mind 50 00:06:21.339 --> 00:06:23.759 that this is also an exhibition that will be available 51 00:06:23.759 --> 00:06:25.120 to visit for several days. 52 00:06:25.899 --> 00:06:28.519 And then we have two different types of academic sessions. 53 00:06:28.519 --> 00:06:34.500 You'll see art tracks and research tracks, and these are both two different types of art papers. 54 00:06:34.500 --> 00:06:40.579 The art tracks tend to be more about projects and the research more about theory, history, criticism, 55 00:06:40.579 --> 00:06:45.500 but of course we all know that there is a lot of ambiguity and overlap between those modalities. 56 00:06:45.500 --> 00:06:49.439 So you'll see a number of those throughout the day. 57 00:06:49.439 --> 00:06:54.180 One thing that I've found especially exciting about our program is that it really encompasses 58 00:06:54.180 --> 00:07:01.019 history and critique and art and culture and technology all wrapped up together. 59 00:07:01.019 --> 00:07:03.680 We're also going to have a few other exciting sessions. 60 00:07:03.680 --> 00:07:06.339 The Birds of the Fe the feather connecting media arts research 61 00:07:06.339 --> 00:07:08.220 will bring together leaders from a variety 62 00:07:08.220 --> 00:07:09.819 of organizations that are 63 00:07:09.819 --> 00:07:12.300 around related topics and then 64 00:07:12.300 --> 00:07:13.600 Friday of course we have 65 00:07:13.600 --> 00:07:16.480 expanding expanded into a network 66 00:07:16.480 --> 00:07:18.560 of other associations art and industry 67 00:07:18.560 --> 00:07:20.019 artist perspectives 68 00:07:20.019 --> 00:07:22.000 from the pre-arts electronica 69 00:07:22.000 --> 00:07:24.220 and of course our 70 00:07:24.220 --> 00:07:26.339 keynote with the wonderful Catherine Ibister. 71 00:07:26.879 --> 00:07:28.939 So we have a lot happening. 72 00:07:29.139 --> 00:07:30.660 We hope that we'll see you for all of it. 73 00:07:30.800 --> 00:07:34.899 And also a reminder that we will have proceedings at the ACM 74 00:07:34.899 --> 00:07:36.019 after the conference is over, 75 00:07:36.040 --> 00:07:37.459 where you can read the papers 76 00:07:37.459 --> 00:07:39.980 and get more information about what you have seen. 77 00:07:42.060 --> 00:07:42.800 Thank you. 78 00:07:42.800 --> 00:07:49.100 So this is one venue where we have all the presentations, 79 00:07:49.560 --> 00:07:55.120 but we have already kicked off another venue, 80 00:07:55.480 --> 00:07:59.120 the Atelier Haus Salzamt, yesterday, the pre-opening walk, 81 00:07:59.439 --> 00:08:03.819 where we have a show of 13 projects 82 00:08:03.819 --> 00:08:07.660 that have been submitted to the Expanded Play Gallery track. 83 00:08:08.000 --> 00:08:13.939 So we will actually start with the first session where all these researchers and artists 84 00:08:14.699 --> 00:08:19.000 give you a brief introduction in that and if you haven't seen it yesterday, 85 00:08:19.740 --> 00:08:21.740 you are cordially invited to 86 00:08:22.600 --> 00:08:26.000 go to the expanded play gallery afterwards. 87 00:08:26.519 --> 00:08:30.759 It's open from today until Saturday, 6 o'clock. 88 00:08:31.399 --> 00:08:33.879 So here you see the map, the Danube, 89 00:08:34.399 --> 00:08:37.120 and there, of course, if you go on the Ars Electronica website, 90 00:08:37.299 --> 00:08:38.960 there are a lot of different venues. 91 00:08:39.679 --> 00:08:42.740 Another one that I would like to recommend is the Met Campus, 92 00:08:42.879 --> 00:08:45.679 where you will get information 93 00:08:45.679 --> 00:08:48.340 about the screening program. 94 00:08:48.340 --> 00:08:54.919 What we also want to do, of course, is to say thank you to a lot of people. 95 00:08:54.919 --> 00:09:00.039 We will share the information about the chairs. 96 00:09:00.039 --> 00:09:08.700 Besides the general chairs, there are a lot of track chairs. They did a lot of work in the last six months, 97 00:09:09.139 --> 00:09:15.600 selecting the reviewers and being responsible for picking the program. 98 00:09:16.340 --> 00:09:19.740 I just realized I neglected to shout out the doctoral consortium, 99 00:09:19.899 --> 00:09:24.200 which is a really critical program that is the future of what we're doing here. 100 00:09:24.200 --> 00:09:25.980 So I wanted to acknowledge that. 101 00:09:25.980 --> 00:09:30.539 And also to say that something like this really does have casts of hundreds behind it. 102 00:09:30.539 --> 00:09:35.379 The reviewers, the contributors, the tech staff, the everyone. 103 00:09:35.379 --> 00:09:36.379 So we really appreciate that. 104 00:09:36.379 --> 00:09:39.840 Yeah, this is great that you mentioned it. 105 00:09:39.840 --> 00:09:42.200 So it's an ongoing journey. 106 00:09:42.200 --> 00:09:46.399 So we don't know what new tracks will maybe come up next year. 107 00:09:46.399 --> 00:09:50.559 So it's really an evolving field, 108 00:09:50.559 --> 00:09:53.519 looking at the intersection of this pillar 109 00:09:53.519 --> 00:09:58.419 of us electronic technology, art, society, but also 110 00:09:58.419 --> 00:09:59.299 research. 111 00:09:59.299 --> 00:10:03.340 So that's the main focus, actually, 112 00:10:03.340 --> 00:10:10.059 at Expanded, to think about all these different forms in the context of media art and research 113 00:10:10.860 --> 00:10:15.879 What we also want to highlight is that we have a great website 114 00:10:16.559 --> 00:10:20.720 and a big archive already so every 115 00:10:21.759 --> 00:10:22.980 presentation 116 00:10:22.980 --> 00:10:24.899 since the beginning of 117 00:10:24.899 --> 00:10:33.759 expanded animation symposium in 2013 is documented, recorded, and there was a live stream. 118 00:10:33.759 --> 00:10:45.240 So it's a big resource for researchers, artists, curators, practitioners to go into the archive and listen to the talks. 119 00:10:45.659 --> 00:10:47.080 There is a streaming, 120 00:10:47.500 --> 00:10:49.899 and we already got a lot of requests. 121 00:10:50.340 --> 00:10:51.299 Where is the streaming? 122 00:10:51.639 --> 00:10:52.840 So it's a YouTube streaming, 123 00:10:53.519 --> 00:10:56.700 and you can also participate via the stream. 124 00:10:57.059 --> 00:10:57.919 So there is a chat, 125 00:10:57.919 --> 00:11:01.779 and we will look into the chat 126 00:11:01.779 --> 00:11:06.980 and pass the questions to the speakers here as well. 127 00:11:06.980 --> 00:11:16.720 So here's the QR code and we also want to of course highlight our sponsors and 128 00:11:16.720 --> 00:11:21.759 collaborations. The expanded journey began with a collaboration between the 129 00:11:21.759 --> 00:11:25.220 University of Applied Sciences Upper Austria and Ars Electronica. 130 00:11:26.059 --> 00:11:30.879 So these are the main funding institutions, so to speak, 131 00:11:30.960 --> 00:11:33.980 but with a lot of partners, local institutions 132 00:11:33.980 --> 00:11:37.200 and international institutions and a lot of collaborations. 133 00:11:37.200 --> 00:11:42.480 We are also very interested in connecting to SIGGRAPH and ICIA 134 00:11:42.480 --> 00:11:47.159 and other media art conferences and conferences with the media art focus. 135 00:11:48.279 --> 00:11:51.840 And a big, big, big, big thank you again and again. 136 00:11:52.279 --> 00:11:56.039 I think Expanded has the greatest production team, 137 00:11:56.259 --> 00:11:59.580 so a lot of students from the university are involved. 138 00:12:00.299 --> 00:12:15.360 You already saw the trailer created by John Lim. And a lot of people are working months before the conference to prepare everything. 139 00:12:15.820 --> 00:12:18.440 Also doing the archive, the documentation. 140 00:12:18.740 --> 00:12:21.919 The documentation is, so to speak, the key for the archive. 141 00:12:22.919 --> 00:12:26.639 And now I would like to hand over to Daniela 142 00:12:26.639 --> 00:12:35.159 Duker. We are both the curators of the Ars Electronica animation art screening. So as 143 00:12:35.159 --> 00:12:51.220 you all know Ars Electronica has a big, come to me, has a big international competition and one category is since the beginning since 1986 focusing on time 144 00:12:51.220 --> 00:12:57.159 based media entitled at the beginning computer animation and now the category is entitled new 145 00:12:57.159 --> 00:13:09.820 animation art so expanding all forms of time based media in the context of media art. And we have a brilliant screening program that Danila will introduce. 146 00:13:09.820 --> 00:13:12.320 Thank you. 147 00:13:12.320 --> 00:13:23.120 Yes, so let's see. 148 00:13:23.120 --> 00:13:25.460 It doesn't show up yet. Yes, so let's see. 149 00:13:26.759 --> 00:13:28.259 It doesn't show up yet. 150 00:13:29.000 --> 00:13:34.519 So as Jürgen said, this program consists of a lot of animations 151 00:13:34.519 --> 00:13:38.519 that we selected from the submissions in the new animation art category. 152 00:13:39.179 --> 00:13:42.840 Some projects are award-winning projects, 153 00:13:42.840 --> 00:13:45.440 and other, because Jürgen and I, yeah, 154 00:13:45.779 --> 00:13:48.779 we're part of the pre-selection process. 155 00:13:49.259 --> 00:13:52.860 We have usually around 1,000 submissions. 156 00:13:53.559 --> 00:13:57.080 And then the jury awards 15 prizes. 157 00:13:57.299 --> 00:13:59.100 That's why we find it really fair 158 00:13:59.100 --> 00:14:01.019 to extend the selection 159 00:14:01.019 --> 00:14:04.000 and show beyond the winning projects 160 00:14:04.000 --> 00:14:08.960 other animations that drew our attention. 161 00:14:08.960 --> 00:14:15.679 So we have this whole screening program that takes place in the third festival hub, which 162 00:14:15.679 --> 00:14:18.340 is Met Campus. 163 00:14:18.340 --> 00:14:21.879 The screening space is the so-called Met Space. 164 00:14:21.879 --> 00:14:28.080 It's the little brother of Deep Space. And we have five days of program. 165 00:14:28.220 --> 00:14:29.559 You can see here the calendar 166 00:14:29.559 --> 00:14:32.820 and the different selections. 167 00:14:33.620 --> 00:14:35.419 And beyond the curated programs 168 00:14:35.419 --> 00:14:37.320 like the Priars Elektronika Insight, 169 00:14:37.460 --> 00:14:39.740 Ghost Stories and Austrian Panorama, 170 00:14:39.740 --> 00:14:42.740 we also have a series of Meet the Artists events 171 00:14:43.259 --> 00:14:45.000 in which we show the film 172 00:14:45.000 --> 00:14:48.200 and then we have an in-depth discussion with the artists. 173 00:14:48.980 --> 00:14:52.840 And we also have a partner guest program 174 00:14:52.840 --> 00:14:56.879 with the Lucerne School of Design, Film and Art 175 00:14:56.879 --> 00:15:00.620 where we show a selection of best student animations. 176 00:15:02.340 --> 00:15:04.639 As Ars Electronica teaches us, 177 00:15:04.679 --> 00:15:07.759 and I guess any festival this size, a lot is happening 178 00:15:07.759 --> 00:15:14.580 at the same time. So yeah, unfortunately our screening program runs at least these first 179 00:15:14.580 --> 00:15:21.100 three days in parallel with the conference. So we will have to make some choices. But the good news 180 00:15:21.100 --> 00:15:27.279 is that we also have a lot on Saturday and Sunday. So if some of you are staying longer, then you can join us, 181 00:15:27.639 --> 00:15:30.860 especially because some of the guests will present here, 182 00:15:30.940 --> 00:15:33.960 part of the CIFA panel, the Artist Perspective panel, 183 00:15:33.960 --> 00:15:39.019 will also be invited for the Meet the Artist events. 184 00:15:39.200 --> 00:15:44.279 And we also have on Saturday these two programs, 185 00:15:44.460 --> 00:15:48.320 which is the Two Girls, One Comp Showcase, with a lecture 186 00:15:48.320 --> 00:15:57.899 performance showing how the artist duo is modding video games, and this one is also 187 00:15:57.899 --> 00:16:08.080 a performance on Saturday evening, also in Met Campus, by Riot Jetsby, who's also a guest on Friday here at the Expanded. 188 00:16:08.759 --> 00:16:15.440 So I hope to see some of you there and I wish you a great conference and great festival. Thank you. 189 00:16:18.960 --> 00:16:27.519 Thank you Daniela. Yeah I also want to mention that there is a festival on tour program after Ars 190 00:16:27.519 --> 00:16:32.539 Electronica. So if you are a curator or responsible for an institution that is 191 00:16:32.539 --> 00:16:37.200 interested in the screening program, just get in contact with us and we can talk 192 00:16:37.200 --> 00:16:44.360 about options for screening and showing Ars Electronica in different locations. 193 00:16:45.539 --> 00:16:47.080 screening and showing as electronic or in different locations. 194 00:16:52.279 --> 00:16:53.259 We are right on time to kick off the first session and I would like to invite 195 00:17:22.400 --> 00:17:23.119 Jeremiah on stage to start with the expanded Play Gallery spotlight session. Thank you. Good morning. There we go. 196 00:17:23.680 --> 00:17:46.059 We're just going to switch over to the presentation. I had the pleasure of basically organizing the Explanted Play Gallery this year. This is the third year in a row that we've done this type of exhibition, but this was the first year that it was really integrated into the entire conference. submissions for projects and we reviewed all of these both in terms of their sort 197 00:17:46.059 --> 00:17:49.359 of autistic statement but also in terms of feasibility for the space that we 198 00:17:49.359 --> 00:17:54.440 have and we selected 13 interactive works to exhibit and last night we had 199 00:17:54.440 --> 00:17:58.660 our grand opening and everything was running and everything's fine and we're 200 00:17:58.660 --> 00:18:04.259 very honored to start off the conference today at the same time the timing is a 201 00:18:04.259 --> 00:18:05.039 bit challenging 202 00:18:05.039 --> 00:18:09.900 because the exhibition has to actually start running in a few minutes and so 203 00:18:09.900 --> 00:18:13.619 some of us had to sort of hurry on over here after we got all the installations 204 00:18:13.619 --> 00:18:18.119 running. We're going to do this really quickly, it's a very quick format and so 205 00:18:18.119 --> 00:18:21.480 what I have are these 13 projects. I'm going to ask the people to come up and 206 00:18:21.480 --> 00:18:26.480 briefly present the projects but they only have five minutes and what we're going to do then at the end, we're going to do the people to come up and briefly present their projects, but they only have five minutes. And what we're going to do then at the end, 207 00:18:26.640 --> 00:18:28.359 we're going to do a question and answer session. 208 00:18:28.900 --> 00:18:31.400 And the good news is I've made a really quick slide 209 00:18:31.400 --> 00:18:32.920 where you can see the names of the projects 210 00:18:32.920 --> 00:18:35.559 so that you can ask the artists a question, 211 00:18:35.660 --> 00:18:38.039 you know specifically which project that they're referring to. 212 00:18:38.259 --> 00:18:41.200 So we're going to go ahead and get off to our first project. 213 00:18:41.200 --> 00:18:45.960 And I would like to ask the artists from the Clausemble machine to come up on stage, which is our next project and I would like to ask the artist from the Closembly machine to come 214 00:18:45.960 --> 00:18:50.960 up on stage, which is our next project. Thank you very much. 215 00:18:56.140 --> 00:18:59.140 So again, you have five minutes. I will stop you and move on afterwards, okay? 216 00:19:03.140 --> 00:19:16.980 Do I actually need to do the slides myself? 217 00:19:16.980 --> 00:19:22.559 So hi, I will have the honor to present the core assembly line to you, which is a student 218 00:19:22.559 --> 00:19:24.019 project of ours. 219 00:19:24.019 --> 00:19:28.819 It's actually quite small and tiny, but I think we also have a slide for that. 220 00:19:28.940 --> 00:19:32.039 Yep, that's the claw assembly line. It's the small mock-up. 221 00:19:32.039 --> 00:19:38.160 So basically our project is a mixture of a character creator 222 00:19:38.160 --> 00:19:40.619 and an arcade claw machine. 223 00:19:41.460 --> 00:19:46.920 Basically the users get three claws, which they use to pick up these small 224 00:19:46.920 --> 00:19:55.359 orbs on a conveyor belt and build their own little character. And our idea behind that 225 00:19:55.359 --> 00:20:02.200 or what we wanted to achieve is that players just leave a mark so whenever a character 226 00:20:02.200 --> 00:20:09.420 is finished it just moves on into the background. You see a small crowd over there of lots of different, differently looking characters. 227 00:20:09.740 --> 00:20:16.799 So whenever someone finishes one of the creations, it moves into the background and together over the whole exhibition, 228 00:20:16.799 --> 00:20:22.980 a crowd is formed of many different looking characters. For this we created over a hundred different assets, 229 00:20:23.759 --> 00:20:28.000 consisting of different hairstyles, eyes, ears and so on. 230 00:20:28.000 --> 00:20:36.000 And with this we also wanted to make the whole thing very approachable. 231 00:20:36.000 --> 00:20:42.000 So that's why we chose the whole arcadey looking joystick and button setting. 232 00:20:42.000 --> 00:20:47.160 And this also makes it a lot more playful and approachable. 233 00:20:48.259 --> 00:20:52.200 And on top of that, a little tidbit from the design perspective of the whole thing, 234 00:20:52.759 --> 00:20:58.640 is it was actually a bit tricky of, as you know, claw machines are often not that accurate. 235 00:20:58.640 --> 00:21:01.660 And also this character creator is also not that accurate. 236 00:21:02.019 --> 00:21:05.980 But that is actually intended, since you can't really choose what you look like. 237 00:21:05.980 --> 00:21:11.079 You do get a bit of control, but in our representation, 238 00:21:11.079 --> 00:21:12.619 it really doesn't matter because in the end, 239 00:21:12.619 --> 00:21:15.539 you always get a good looking small character. 240 00:21:15.539 --> 00:21:19.079 And after all, you can also just do it again. 241 00:21:19.079 --> 00:21:22.660 Another thing you also might see the little QR code over there. 242 00:21:22.660 --> 00:21:25.240 You can always then scan your creation 243 00:21:25.240 --> 00:21:31.559 and share it with friends or download it. And that is pretty much it. Feel free to 244 00:21:31.559 --> 00:21:36.240 come by to the SALTSAM and give it a try and also feel free to give feedback. 245 00:21:36.240 --> 00:21:44.000 Thank you. Thank you very much. We're gonna move right along with our next 246 00:21:44.000 --> 00:21:45.539 project which is called Vimmer. 247 00:22:00.539 --> 00:22:07.740 Okay, hi. So let's talk about Wimmel real quick. I wrote a bachelor thesis about it, 248 00:22:07.740 --> 00:22:13.920 so it's kind of hard to do in five minutes, but let's go. First of all, do you know this painting 249 00:22:13.920 --> 00:22:19.319 on the right? That's Pieter Brueghel's The Flemish Proverbs, and it's one of the greatest 250 00:22:19.319 --> 00:22:26.420 paintings ever made in my opinion. And basically it's a Wimmer-Build. Wimmer-Build in English for 251 00:22:26.420 --> 00:22:32.119 the lack of a better term is a hidden object picture. But you know a hidden 252 00:22:32.119 --> 00:22:37.519 object picture has the component of there is a goal, there is an incentive 253 00:22:37.519 --> 00:22:42.559 for the viewer. And in the Wimmer-Build it's more about the exploration of the 254 00:22:42.559 --> 00:22:47.000 whole piece. Now there are two really cool things about this piece. 255 00:22:47.000 --> 00:22:51.000 First of all, it's the day-to-day life of the Dutch people, 256 00:22:51.000 --> 00:22:54.000 which is very unconventional for Renaissance paintings. 257 00:22:54.000 --> 00:22:57.000 And then second of all, secondably, 258 00:22:59.000 --> 00:23:07.000 the whole picture incorporates about 100 or so Dutch proverbs. 259 00:23:07.000 --> 00:23:13.000 So, what we wanted to do with Viml is take this picture, make it animated, make it interactive, 260 00:23:13.000 --> 00:23:16.000 and translate it into the Austrian zeitgeist. 261 00:23:16.000 --> 00:23:22.000 So, we made about 20 characters or so, animated all of them, 262 00:23:22.000 --> 00:23:27.700 and then we collected like 50 or so Austrian proverbs 263 00:23:27.700 --> 00:23:30.980 and the Austrian language is a very beautiful one so there are 264 00:23:30.980 --> 00:23:34.640 a lot of lot of sayings and proverbs like for example 265 00:23:34.640 --> 00:23:39.720 It's neither 266 00:23:39.720 --> 00:23:44.000 a disadvantage nor a mistake if the schnitzel is bigger than the plate 267 00:23:44.000 --> 00:23:51.160 so then we basically planned all this out and this is what you see on the left and 268 00:23:51.160 --> 00:23:57.579 don't be afraid it's just looks confusing. It also kind of is but I get it. 269 00:23:57.579 --> 00:24:10.740 So we planned all of these out and we settled on 18 characters with about 25 or so different sayings that are portrayed in like a pictorial way. 270 00:24:11.400 --> 00:24:18.180 So in a really literal sense, not in the sense that the, not in the meaning of the actual proverb. 271 00:24:18.660 --> 00:24:20.160 And then we made it interactive. 272 00:24:25.000 --> 00:24:28.000 So the whole system works via this laser tracking system on the floor, where you can move about in the Wimmelbild, 273 00:24:28.000 --> 00:24:32.000 and you're represented by these small hands. 274 00:24:32.000 --> 00:24:37.000 Now, this is where the playful nature of the hidden object picture comes in again. 275 00:24:37.000 --> 00:24:40.000 So you can actually move around in the picture, 276 00:24:40.000 --> 00:24:50.200 and then hover over trigger points you can find in the picture. And then a character spawns and does their whole animation and their whole routine. 277 00:24:50.799 --> 00:24:55.099 And the goal basically is to explore the whole Vimble build, fill it up, 278 00:24:55.099 --> 00:24:59.000 so it really Vimbles, it really sprawls, right? 279 00:25:00.299 --> 00:25:01.599 And that is very fun. 280 00:25:01.599 --> 00:25:05.420 You can also explode the whole canvas and reset everything. 281 00:25:06.119 --> 00:25:08.960 But that was really fun and really complicated to do. 282 00:25:09.940 --> 00:25:12.660 But I think it's worth it, and I hope you check it out. 283 00:25:18.599 --> 00:25:19.779 Thank you very much. 284 00:25:19.920 --> 00:25:22.339 We're going to move on to the next project. 285 00:25:23.000 --> 00:25:24.319 I hope the person... 286 00:25:24.319 --> 00:25:24.920 Yeah, there he is. 287 00:25:25.279 --> 00:25:26.440 We were just setting up this morning, and he wasn't quite here yet. Pascaro is going to present on to the next project. I hope the person's here. There he is. We were just setting up this morning, 288 00:25:26.440 --> 00:25:27.940 and he wasn't quite here yet. 289 00:25:27.940 --> 00:25:30.019 Pascaro is going to present Matchmaker Madness. 290 00:25:41.980 --> 00:25:42.839 Hi. 291 00:25:42.839 --> 00:25:49.539 We made Matchmaker Madness in part of our Game Spaces course in the Masters. 292 00:25:49.539 --> 00:25:54.140 And this game is about making love or making pairs. 293 00:25:54.140 --> 00:25:55.500 Obviously happy pairs. 294 00:25:55.500 --> 00:26:00.180 The background story is that you're a little cupid in training and you're not allowed to 295 00:26:00.180 --> 00:26:02.460 use your bow yet. 296 00:26:02.460 --> 00:26:06.960 That's why your controller is a big slingshot which you 297 00:26:06.960 --> 00:26:13.259 have to pull and match people. The goal is to match happy people despite gender 298 00:26:13.259 --> 00:26:19.380 ethical or cultural background and yeah your goal is to make as many 299 00:26:19.380 --> 00:26:30.980 happy people and Paris as possible. And there are possible outcomes that you make couples that are not happy or toxic, which 300 00:26:30.980 --> 00:26:36.640 is displayed in UI with unhappy persons, and we don't want them, and that's your goal as 301 00:26:36.640 --> 00:26:41.000 a good qubit to make the happy couples. 302 00:26:41.000 --> 00:26:46.460 And for our controller, as I mentioned already, we have a big slingshot, which is like this size. 303 00:26:46.660 --> 00:26:48.220 You can try it out at Salzamt, 304 00:26:48.519 --> 00:26:51.420 and I'm happy if you try it out, 305 00:26:51.480 --> 00:26:53.019 give some feedback on the controls, 306 00:26:53.539 --> 00:26:56.759 and we implemented this in Unreal Engine 5 307 00:26:56.759 --> 00:27:01.740 and some custom scripts for detection of shooting and aiming. 308 00:27:02.720 --> 00:27:03.420 Thank you. 309 00:27:03.420 --> 00:27:03.440 Thank you. 310 00:27:03.039 --> 00:27:04.539 detection of shooting and aiming. Thank you. 311 00:27:09.240 --> 00:27:10.819 OK, we'll move right on. 312 00:27:10.819 --> 00:27:12.480 So we have plenty of time for the question and answer 313 00:27:12.480 --> 00:27:13.019 session. 314 00:27:13.019 --> 00:27:15.779 And our next project is the guinea pig eligibility test. 315 00:27:24.420 --> 00:27:25.839 Hello, I'm.-Han Xiaoma. 316 00:27:26.039 --> 00:27:28.960 I created this project with my collaborator, Anna Ren, 317 00:27:29.079 --> 00:27:30.799 who unfortunately cannot be here today. 318 00:27:30.799 --> 00:27:35.019 The Guinea Pig Eligibility Test is an interactive installation 319 00:27:35.019 --> 00:27:39.500 that explores clinical trials, screening, biometric data, 320 00:27:39.819 --> 00:27:44.380 and the systems that determine who become eligible for experimentation. 321 00:27:45.160 --> 00:27:48.680 Clinical trials are very essential to medical progress. 322 00:27:49.000 --> 00:27:52.740 Our intention is to examine the intertwined relationship 323 00:27:52.740 --> 00:27:56.539 between scientific progress and medical exportation. 324 00:27:57.019 --> 00:28:02.180 The project focuses on how clinical trial eligibility criteria and incentives 325 00:28:02.180 --> 00:28:07.220 shape participation, particularly when financial and social vulnerability 326 00:28:07.220 --> 00:28:13.759 affect a person's choices. It then invites audiences to experience the system from within 327 00:28:13.759 --> 00:28:20.220 through direct participation. The title comes from the double meaning of guinea pig. It refers 328 00:28:20.220 --> 00:28:26.700 literally to an animal historically associated with medical experimentation, it 329 00:28:26.700 --> 00:28:32.680 is also a metaphor for a human test subject, someone whose body and identity can be reduced 330 00:28:32.680 --> 00:28:38.799 to experimental material. Our installation makes this metaphor literal by transforming 331 00:28:38.799 --> 00:28:46.859 a recognizable human face, particularly the participant's face, onto a human guinea pig hybrid. 332 00:28:46.859 --> 00:28:50.140 The result appears playful and humorous, 333 00:28:50.140 --> 00:28:51.940 but it is also unsettling. 334 00:28:51.940 --> 00:28:56.220 It blurs the boundary between human, animal, 335 00:28:56.220 --> 00:28:59.059 biometric data and experimental subject. 336 00:28:59.059 --> 00:29:02.960 And now let's walk through the process with this video. 337 00:29:06.500 --> 00:29:08.500 Is projection mapping not? 338 00:29:14.000 --> 00:29:18.500 So participants begin by walking to the kiosk 339 00:29:18.500 --> 00:29:21.500 and signing a clinical-style consent form, 340 00:29:22.500 --> 00:29:25.460 and then complete a screening questionnaire about their 341 00:29:25.460 --> 00:29:31.579 socioeconomic status. During the first attempt there's no guidance those who 342 00:29:31.579 --> 00:29:36.720 are ineligible are given additional attempts and during the second or third 343 00:29:36.720 --> 00:29:42.400 attempts they may choose to strategically adjust their answers and 344 00:29:42.400 --> 00:29:46.099 eligibility score a scale now appears moving between 345 00:29:46.099 --> 00:29:51.099 ineligible and eligible as they select different options many begin answering 346 00:29:51.099 --> 00:29:57.500 the same questions differently to reach eligibility and at any point reaching 347 00:29:57.500 --> 00:30:01.900 the eligibility threshold immediately triggers the transformation the system 348 00:30:01.900 --> 00:30:05.339 captures the participants phase and then transforms it 349 00:30:05.339 --> 00:30:10.240 into the hybrid. And then they're asked whether they want to enter the farm. With 350 00:30:10.240 --> 00:30:15.839 their consent, their hybrid would join this farm with previous participants in 351 00:30:15.839 --> 00:30:27.480 a growing, seemingly banal digital farm. But then people can think about the darkness behind all this. 352 00:30:32.180 --> 00:30:32.480 And the core of the work is the reversal of reward, 353 00:30:34.980 --> 00:30:35.079 becoming a guinea pig, which is usually bad, 354 00:30:37.000 --> 00:30:37.180 now is framed as success, 355 00:30:39.319 --> 00:30:40.039 and vulnerability becomes eligibility. 356 00:30:42.519 --> 00:30:42.660 So as the participants discover this logic, 357 00:30:45.220 --> 00:30:47.500 the questionnaire becomes almost like a game, and self-reporting becomes a strategy. 358 00:30:48.099 --> 00:30:53.359 Research on experienced participants in paid clinical trials has found that some conceal 359 00:30:53.359 --> 00:30:57.940 health information where previous trial participation to remain eligible. 360 00:30:58.539 --> 00:31:03.599 So in our fictional interaction, participants conceal signs of privilege and present themselves 361 00:31:03.599 --> 00:31:06.480 as vulnerable to qualified guinea pigs. 362 00:31:06.960 --> 00:31:10.079 And yeah, and this comparison shows 363 00:31:10.079 --> 00:31:13.640 how eligibility systems can influence self-representation 364 00:31:13.640 --> 00:31:16.220 and encourages ethical reflection 365 00:31:16.220 --> 00:31:17.519 through direct experience. 366 00:31:17.900 --> 00:31:19.579 Please experience the work for yourselves. 367 00:31:19.880 --> 00:31:21.559 We are always looking for a few more 368 00:31:21.559 --> 00:31:23.819 qualified guinea pigs at South Amt. 369 00:31:24.119 --> 00:31:24.700 Thank you. 370 00:31:24.700 --> 00:31:24.740 Thank you. 371 00:31:24.720 --> 00:31:29.380 are always looking for a few more qualified guinea pigs at South Amt. Thank you. 372 00:31:33.920 --> 00:31:47.440 Okay, thank you very much. We're going to move on to the Urban Data Orchestra. Okay. Hi. Hi, everyone. 373 00:31:47.819 --> 00:31:49.920 My name is Elina Ikonomaki, 374 00:31:50.440 --> 00:31:54.539 and I'm one of the two artists behind this project. 375 00:31:55.279 --> 00:31:59.980 I want to thank my colleague, Lucas, who is in the audience, 376 00:32:00.619 --> 00:32:03.880 and without him, this project wouldn't have been possible. 377 00:32:04.660 --> 00:32:07.559 So I also want to thank Data Through Design 378 00:32:07.559 --> 00:32:08.940 and Beta New York City 379 00:32:08.940 --> 00:32:12.380 because this project was originally created 380 00:32:12.380 --> 00:32:16.200 during the New York City Open Data Week 381 00:32:16.200 --> 00:32:21.359 and we are using the public open data sets 382 00:32:21.359 --> 00:32:29.480 which are the tree data sets and sounds from the public repository. 383 00:32:29.480 --> 00:32:38.380 So our project initially was created to turn visitors into kind of DJs and try to think 384 00:32:38.380 --> 00:32:45.000 through how we can take an alternative approach on city soundscapes. 385 00:32:45.559 --> 00:32:48.700 The original data set was collected 386 00:32:48.700 --> 00:32:51.039 to just monitor noise pollution, 387 00:32:51.039 --> 00:32:52.619 and we really wanted to think through 388 00:32:52.619 --> 00:32:56.839 how we can turn this into like a gamified experience 389 00:32:56.839 --> 00:33:01.180 and think through how sound, play, and visual 390 00:33:01.180 --> 00:33:02.660 can really go together. 391 00:33:06.900 --> 00:33:12.299 Okay, yeah. So the installation is split into really three parts, three components. 392 00:33:12.299 --> 00:33:18.799 This is the on-screen visualization that kind of exposes the selections through the physical 393 00:33:18.799 --> 00:33:22.240 interface, which I'm going to walk you through in a bit. 394 00:33:22.240 --> 00:33:25.740 The visualization consists of the city map with different city 395 00:33:25.740 --> 00:33:32.339 blocks and the visualization of different sound types that you can find over a period of a month. 396 00:33:32.500 --> 00:33:37.079 So this is kind of like the sound distribution based on what you're selecting and the kind of 397 00:33:37.079 --> 00:33:48.059 the trees that are available around the city areas. This is like a schematic of the actual physical interface. 398 00:33:48.480 --> 00:33:52.140 The visitors, it's kind of split between A and B, 399 00:33:52.140 --> 00:33:54.680 similar to how a DJ would work. 400 00:33:54.680 --> 00:33:57.140 And you can select different sounds, 401 00:33:57.140 --> 00:34:01.160 like the colored acrylic blocks to the left and right. 402 00:34:01.160 --> 00:34:03.240 And you can start creating compositions 403 00:34:03.240 --> 00:34:06.539 by placing these blocks on the physical interface. 404 00:34:06.539 --> 00:34:15.099 This is a detail of the actual embedded digital interface which is part of the physical interface. 405 00:34:15.099 --> 00:34:26.380 It's a visualization that allows users to insert inputs and select what city blocks are interested to compare and listen to, which 406 00:34:26.380 --> 00:34:29.800 months they're interested to listen to. 407 00:34:29.920 --> 00:34:36.260 So, for example, you can actually select the same city block and listen how it's, what 408 00:34:36.260 --> 00:34:40.139 kind of sounds it has in January versus in June. 409 00:34:40.139 --> 00:34:51.099 So, you can kind of like start understanding how the different activities and how city is transformed through sound on our everyday life over time. 410 00:34:51.480 --> 00:34:59.059 There's also the playback components so you can really curate through your compositions what you're actually listening to. 411 00:34:59.920 --> 00:35:05.119 So yeah, this is our project and we are very excited to be here. 412 00:35:05.480 --> 00:35:07.199 Thank you for all of your support. 413 00:35:07.760 --> 00:35:09.460 And yeah, please visit us. 414 00:35:10.440 --> 00:35:10.840 Thank you. 415 00:35:15.159 --> 00:35:16.780 Perfect. Moving right along. 416 00:35:16.860 --> 00:35:17.820 We're still on schedule. 417 00:35:17.940 --> 00:35:27.000 We're moving on to Infinity AR. Hiroko Kawano Reviewer Reviewer's Name 418 00:35:32.000 --> 00:35:35.000 Hello everyone, I'm Ayuko Noe. 419 00:35:35.000 --> 00:35:41.000 Today I will talk about Infinity, a visual novel game with AR elements. 420 00:35:43.000 --> 00:35:50.360 So there are a lot of emotion-based games in this world, but most of them are focusing 421 00:35:50.360 --> 00:35:53.780 on categorizing or leveling them. 422 00:35:53.780 --> 00:36:03.179 So our question is, how can art-based AR interactions support young people in exploring, expressing, 423 00:36:03.179 --> 00:36:05.860 and reflecting on emotions through play. 424 00:36:08.960 --> 00:36:14.599 The story starts when Dani wakes up in a small, mysterious room. 425 00:36:15.699 --> 00:36:21.099 She finds that she is trapped there because she suppressed her emotions. 426 00:36:22.119 --> 00:36:29.900 To escape from this room, she must face these six emotions. Anger, happiness, 427 00:36:30.579 --> 00:36:41.679 surprise, fear, disgust, and sadness. We are using this three-layer model of emotion. 428 00:36:51.820 --> 00:36:59.119 layer model of emotion. This model is based on my own journaling and self-reflection experience, and also it resonates with emotion-focused therapy by Rosalie Greenberg. So it's like 429 00:36:59.119 --> 00:37:05.639 an iceberg, and at the deepest layer, there is the true feeling, what we truly feel. 430 00:37:06.559 --> 00:37:11.940 But we're sometimes afraid of being disliked or judged by other people, 431 00:37:12.480 --> 00:37:15.000 so hide it underneath with fear. 432 00:37:16.119 --> 00:37:21.440 Then we suppress our feelings and act as if nothing is wrong. 433 00:37:22.500 --> 00:37:26.619 So through playing this game, the player 434 00:37:26.619 --> 00:37:31.619 will face Danny's suppressed emotions together 435 00:37:31.619 --> 00:37:34.920 and learn how to confront their own. 436 00:37:39.380 --> 00:37:43.460 In this game, there are two AR modes. 437 00:37:43.460 --> 00:37:47.000 We call them taking in and letting out. 438 00:37:47.000 --> 00:37:50.000 First, taking in. 439 00:37:50.000 --> 00:37:55.000 With preset markers, you can talk with six portraits. 440 00:37:55.000 --> 00:38:11.519 They will give us various perspectives on how to treat your emotions and it will widen your view and loosen your fear to feel your own feeling. 441 00:38:11.519 --> 00:38:14.260 And then letting out. 442 00:38:14.260 --> 00:38:20.820 It is sometimes very difficult for us to express honest feeling with words. 443 00:38:20.820 --> 00:38:25.880 So instead, you can use colors and shapes. 444 00:38:30.199 --> 00:38:31.059 The drawing is registered as an AR marker in real time. 445 00:38:34.679 --> 00:38:35.179 And then when you scan it, the ice will appear, 446 00:38:38.880 --> 00:38:39.380 and you swipe to melt it, and the seed will appear. 447 00:38:43.340 --> 00:38:44.519 And then you tap it, and the bud will pop up. 448 00:38:46.780 --> 00:38:47.340 So through playing this cycle, 449 00:38:51.880 --> 00:38:53.159 players learn to face and express their emotions in a very fun way. 450 00:38:57.639 --> 00:38:58.039 So if you want to play our game, please come to our booth. 451 00:38:58.420 --> 00:39:02.760 Thank you. 452 00:39:03.699 --> 00:39:03.739 Thank you very much. 453 00:39:06.039 --> 00:39:18.719 We're moving right along to In Data We Trust. Hello. 454 00:39:18.719 --> 00:39:22.780 My name is Magdalena Kistova and I want to present to you our project which is In Data 455 00:39:22.780 --> 00:39:23.780 We Trust. 456 00:39:23.780 --> 00:39:25.579 So first I would like to make you 457 00:39:25.579 --> 00:39:31.599 think of how many decisions or if you made some decision based past this week or month based on 458 00:39:31.599 --> 00:39:37.880 some chart and then to think about if you were actually taught how to critically read charts 459 00:39:37.880 --> 00:39:45.539 and so this is what our project is about because data visualizations are basically everywhere right now in social 460 00:39:45.539 --> 00:39:50.800 media and really some decisions are made based on these charts and people are not really 461 00:39:50.800 --> 00:39:54.960 thought how to critically think about them or how to critically read them, see if they 462 00:39:54.960 --> 00:40:00.000 are not just like fooling the idea that is not really backed by the data. 463 00:40:00.000 --> 00:40:05.900 And so you will be the participant in the boardroom where you will get ten proposals. 464 00:40:05.900 --> 00:40:09.300 All of the proposals are baked by some chart. 465 00:40:09.300 --> 00:40:15.559 And your task will be to see if the chart is misleading or if it's truthful and based 466 00:40:15.559 --> 00:40:19.559 on this chart, accept or reject this proposal. 467 00:40:19.559 --> 00:40:23.119 And so this is one part of the installation. 468 00:40:23.119 --> 00:40:27.940 And you will not know if the charts were truthful or misleading until the end, where you will 469 00:40:27.940 --> 00:40:32.719 then see all of the charts and you can see how you went. 470 00:40:32.719 --> 00:40:36.800 The second part of the installation is above this tablet. 471 00:40:36.800 --> 00:40:49.280 It's a live scatter plot on a big television above and it is showing each participants on the two axis based on how well they caught 472 00:40:49.280 --> 00:40:54.380 the traps and how well they trusted the truthful visualizations. 473 00:40:54.380 --> 00:41:01.960 And so at the end of this exhibition I hope we will see some collective idea of the audience 474 00:41:01.960 --> 00:41:07.840 how well they can catch the traps and how well they can trust the correct visualizations. 475 00:41:07.840 --> 00:41:12.320 So please come and add your dots to our live scatterplot. 476 00:41:18.440 --> 00:41:35.199 And our next installation, Chro Dunham. 477 00:41:36.139 --> 00:41:36.340 Hello, everyone. 478 00:41:37.840 --> 00:41:38.139 My name is Jenna Caravello, 479 00:41:40.099 --> 00:41:43.360 and I'm an artist from Los Angeles and assistant professor of design media arts at UCLA. 480 00:41:44.360 --> 00:41:46.000 My project is Codonum, 481 00:41:46.000 --> 00:41:50.000 and I'm very, very pleased to be part of this lineup. 482 00:41:50.000 --> 00:41:55.000 In the logic of my game, which is a two-player game 483 00:41:55.000 --> 00:42:00.000 meant to be installed in gallery spaces, 484 00:42:00.000 --> 00:42:04.000 you can type out a word under five letters 485 00:42:04.000 --> 00:42:15.300 and gift an object to the other player, which they receive in their world, which looks a lot like yours, but you cannot interact with them in space and time. 486 00:42:16.199 --> 00:42:27.340 When you align your two objects in space, they solidify as part of the environment, and they are no longer editable, as you can see here. 487 00:42:29.539 --> 00:42:33.159 You know, it's very personal to me as well 488 00:42:33.159 --> 00:42:35.960 because this art practice comes from research 489 00:42:35.960 --> 00:42:39.440 that involves looking at mechanic as allegory 490 00:42:40.699 --> 00:42:43.099 and emergent play in games 491 00:42:43.099 --> 00:42:45.960 as new performative languages or ludalechs. 492 00:42:46.519 --> 00:42:47.960 My research is personal. 493 00:42:48.340 --> 00:42:56.099 So during the pandemic, I developed a friendship through networked game VR chat, if anyone is familiar. 494 00:42:57.820 --> 00:42:59.960 And this was a very unlikely friendship. 495 00:42:59.960 --> 00:43:09.619 And as he convalesced with a buckshot wound on a couch in Arkansas, we became almost like family. 496 00:43:10.239 --> 00:43:14.539 And across this void, I never really learned his real name. 497 00:43:16.739 --> 00:43:21.300 For installations, I always make custom sculptural controllers. 498 00:43:25.639 --> 00:43:26.059 sculptural controllers, it's important to me to limit the number of buttons so that it's 499 00:43:33.340 --> 00:43:34.820 quite organic for someone to sit down and to play the game without too much instruction or too much leading. 500 00:43:39.099 --> 00:43:39.440 This game takes place more between the two people who are sitting in the gallery together. 501 00:43:45.519 --> 00:43:49.980 Any two friends or strangers in the gallery begin to negotiate or to make up rules. And this kind of emergent play really mimics the kind of relationship that you can have 502 00:43:49.980 --> 00:43:53.340 in a friendship across a networked game. 503 00:43:53.340 --> 00:43:59.719 For example, two boys spent an entire game session sending hearts to each other back 504 00:43:59.719 --> 00:44:06.440 and forth because a third boy came along and instructed them to type love to each other over and over and over again. 505 00:44:08.079 --> 00:44:12.559 Because this kind of play is performative and generous but mysterious, 506 00:44:12.940 --> 00:44:15.159 there are no rules and there are no fail states. 507 00:44:15.679 --> 00:44:19.840 So I really hope that you'll come to the gallery and spend some time with chronodonum 508 00:44:19.840 --> 00:44:22.420 with your friends or maybe with a stranger. 509 00:44:22.840 --> 00:44:23.639 Thank you very much. 510 00:44:23.639 --> 00:44:23.719 Thank you. 511 00:44:22.440 --> 00:44:22.840 with your friends or maybe with a stranger. 512 00:44:23.659 --> 00:44:32.300 Thank you very much. 513 00:44:35.119 --> 00:44:48.239 Okay, and our next project, Deus in Machina. Hello, everyone. Hello everyone, I'm Philipp Haselbauer 514 00:44:48.239 --> 00:44:50.920 and I brought with me from Switzerland 515 00:44:50.920 --> 00:44:55.000 an installation that lets you talk to Jesus Christ. 516 00:44:56.159 --> 00:44:58.960 I've also brought with me my two collaborators, 517 00:44:59.480 --> 00:45:01.980 Markus Schmid, who's not here yet, 518 00:45:02.159 --> 00:45:04.099 but will arrive later today, 519 00:45:04.619 --> 00:45:07.539 and Aljosha Smolich, who is sitting in the second row over there. 520 00:45:09.900 --> 00:45:14.380 Yeah, so, yeah, it's quite simple to understand. 521 00:45:14.500 --> 00:45:18.440 We have an installation which lets you freely talk to Jesus Christ, 522 00:45:19.360 --> 00:45:23.940 but we often get the question how this actually came to be. 523 00:45:23.940 --> 00:45:24.800 But we often get the question how this actually came to be. 524 00:45:30.440 --> 00:45:34.179 So in the beginning, the Catholic Church in Luzern came to us and they wanted to do a project with art and religion. 525 00:45:35.059 --> 00:45:40.900 So one of the ideas was to create an avatar with a religious connection 526 00:45:40.900 --> 00:45:44.340 and they wanted it to be Jesus Christ. 527 00:45:44.340 --> 00:45:48.280 So we did that. We did it 528 00:45:48.280 --> 00:45:54.780 with conversational AI, so like everything you're also using today, and real-time 529 00:45:54.780 --> 00:46:03.159 generative video. And you may see a resemblance between me and this AI 530 00:46:03.159 --> 00:46:06.139 avatar, which is not coincidental. 531 00:46:07.159 --> 00:46:09.980 We installed the whole thing into the confessional booth 532 00:46:09.980 --> 00:46:12.820 of the Catholic chapel in Luzern. 533 00:46:13.500 --> 00:46:16.820 So, yeah, it's marked there. 534 00:46:17.119 --> 00:46:19.119 It's kind of hard to see. 535 00:46:21.340 --> 00:46:25.159 And the reaction we got was quite overwhelming. 536 00:46:25.360 --> 00:46:26.500 We did not expect that. 537 00:46:26.719 --> 00:46:27.639 Maybe we should have. 538 00:46:27.760 --> 00:46:28.900 We probably should have. 539 00:46:29.519 --> 00:46:32.880 We got a lot of very strong feedback. 540 00:46:33.619 --> 00:46:35.260 Some positive, some negative. 541 00:46:36.079 --> 00:46:38.519 Like if you read online comments, 542 00:46:38.519 --> 00:46:41.699 they made me quite nervous actually 543 00:46:41.699 --> 00:46:43.780 because they can be very strong. 544 00:46:44.699 --> 00:46:48.639 We got all kinds of media reactions like YouTube theologians. 545 00:46:48.840 --> 00:46:51.079 We turned up in some quiz shows. 546 00:46:52.039 --> 00:46:53.820 We've been asked to be in documentaries. 547 00:46:54.679 --> 00:46:58.400 And there was even a reference to us on an American talk show 548 00:46:58.400 --> 00:47:00.739 which was a crazy reaction. 549 00:47:02.000 --> 00:47:08.019 And then we also of course got reactions from the local churchgoers, 550 00:47:08.019 --> 00:47:15.519 which were mostly positive actually. And people, even in the personal conversations that we 551 00:47:15.519 --> 00:47:20.099 have, sometimes thought this is… like they really had a conversation with Jesus Christ. 552 00:47:20.099 --> 00:47:29.179 So this surprised us a lot. You can read more about this in our previous publication or ask us. 553 00:47:29.659 --> 00:47:35.260 So in the original exhibit, the whole conversation worked like this. 554 00:47:36.159 --> 00:47:39.320 You would close the door of the confessional booth. 555 00:47:39.780 --> 00:47:43.539 Then Jesus' face would appear and the conversation would begin. 556 00:47:43.539 --> 00:47:44.260 Jesus' face would appear and the conversation would begin. 557 00:47:48.179 --> 00:47:52.519 The visitor would speak the first words for Jesus to know the language he's supposed to respond in. And then in the end 558 00:47:52.519 --> 00:47:55.900 the conversation would end with a kind of ritual 559 00:47:55.900 --> 00:48:00.659 with a blessing or prayer. And this had a really big effect on people 560 00:48:00.659 --> 00:48:01.119 I think. 561 00:48:03.840 --> 00:48:09.219 We've changed the shape to be able to bring it here and like to 562 00:48:09.219 --> 00:48:13.679 other places so we put the whole thing in a box inspired by the confessional 563 00:48:13.679 --> 00:48:20.880 booth it was originally in and now it activates not through a door sensor but 564 00:48:20.880 --> 00:48:33.320 through human presence. So feel free to try it out and feel free to talk to us. We are always happy to discuss what this all means. Thank you very much. 565 00:48:50.199 --> 00:48:50.519 presentation is Plato's AI allegory of the cave. We need to, I think, refresh it, though. 566 00:48:53.059 --> 00:48:54.440 There's a change to it. We'll give it a try, but we're going to go ahead and start the video, and maybe you guys can come in the meantime. 567 00:49:09.800 --> 00:49:14.820 Hello. I'll just get started and say that I'm Sam, this is Kathy, we have Ruipeng in the audience 568 00:49:14.820 --> 00:49:22.599 as well as two or three other team members who couldn't make it, Leonie, Sky and Alex. 569 00:49:22.599 --> 00:49:29.280 And so I'll talk a little bit about the high level of this project. We're looking at 570 00:49:29.280 --> 00:49:36.380 this, if you're familiar with the thought experiment of Plato's cave, it's this idea 571 00:49:36.380 --> 00:49:43.179 about perception and how your reality is kind of shaped by what you're able to perceive. 572 00:49:44.460 --> 00:49:45.000 And so in this thought experiment by Plato, he imagined these people who were chained to the your reality is kind of shaped by what you're able to perceive. 573 00:49:45.000 --> 00:49:47.480 And so in this thought experiment by Plato, 574 00:49:47.480 --> 00:49:48.920 he imagined these people who were 575 00:49:48.920 --> 00:49:51.059 chained to the wall of a cave. 576 00:49:51.059 --> 00:49:53.019 And there's a fire behind them. 577 00:49:53.019 --> 00:49:55.619 So all they saw were the shadows in front of them. 578 00:49:58.059 --> 00:50:00.440 And so if you could not move your head 579 00:50:00.440 --> 00:50:02.519 and you're chained to a wall, your reality 580 00:50:02.519 --> 00:50:04.880 would become the shadows. 581 00:50:04.880 --> 00:50:07.739 And so even of even though 582 00:50:07.739 --> 00:50:13.639 they are humans and are three-dimensional, their reality becomes a two-dimensional thing. 583 00:50:15.260 --> 00:50:30.320 And so we looked at this in terms of LLMs as this kind of shadow, this person who's attached to the wall looking at shadows. So we literally have a webcam pointed at this projection and then we have this 584 00:50:30.320 --> 00:50:36.440 3D stage in front of it. The 3D stage you can put like your fist on it, you can put 585 00:50:36.440 --> 00:50:42.119 blocks on it, and you can also turn on and off the switch. So we have this like 586 00:50:42.119 --> 00:50:45.239 little shadow guy who you can see over there, and his goal 587 00:50:45.239 --> 00:50:52.280 is to turn off the switch. And then your goal is to kind of put things in his way and or 588 00:50:52.280 --> 00:50:56.519 block him. You can literally do that with the block by putting it in front of the switch, 589 00:50:56.519 --> 00:51:01.960 which then casts a shadow and kind of prevents him from pushing the switch or flicking the 590 00:51:01.960 --> 00:51:09.579 switch. But then we have electromagnets embedded underneath and so when you put the block down he can actually kick it away. 591 00:51:09.659 --> 00:51:16.280 But he'll also do that if you put your fist down because he doesn't really understand what's causing the projection. And so the kind of the 592 00:51:17.760 --> 00:51:23.679 artistic statement behind this or like the concept behind this is that LLMs consume all of this 593 00:51:24.380 --> 00:51:26.400 language data, but they have no idea 594 00:51:26.400 --> 00:51:30.579 about seeing. There are visual models, but those are trained on images. But LLMs are 595 00:51:30.579 --> 00:51:35.500 still able to talk super cogently and even control stuff like robot hands, and there's 596 00:51:35.500 --> 00:51:41.519 this whole idea of physical AI, right? And so even though they don't have any sensory 597 00:51:41.519 --> 00:51:49.619 abilities necessarily and they can't perceive, they're still able to kind of act in the physical world in a really compelling way, seemingly. 598 00:51:50.079 --> 00:51:58.920 But they don't really have any understanding of what's causing the shadows and or what the original 3D thing that is causing the projections to be. 599 00:51:59.239 --> 00:52:05.460 And so we think that this shadow installation is kind of a metaphor for how LLMs interact with the world. 600 00:52:05.460 --> 00:52:09.500 I'll kind of leave it to Cathy to talk a little bit more about the technical implementation. 601 00:52:09.500 --> 00:52:10.500 Thanks. 602 00:52:10.500 --> 00:52:17.920 Yeah, I think as Sam mentioned, we have to figure out a way for LLMs to see what we see. 603 00:52:17.920 --> 00:52:21.820 So to bring you sort of behind the scene a little bit. 604 00:52:21.820 --> 00:52:28.420 So there's a webcam that looks at the real shadow, and then the shadow person is actually drawn on the screen. 605 00:52:28.420 --> 00:52:32.519 But as Sam mentioned, we're not allowing the LLMs 606 00:52:32.519 --> 00:52:35.280 to taking actual images, so we have to convert the real world 607 00:52:35.280 --> 00:52:37.639 or the shadow into the language that it understands, 608 00:52:37.639 --> 00:52:38.699 which is symbols. 609 00:52:38.699 --> 00:52:41.920 So in the middle where the model view actually shows 610 00:52:41.920 --> 00:52:44.860 what the language model actually receives, 611 00:52:44.860 --> 00:52:46.760 so it has a description, its goals, 612 00:52:46.760 --> 00:52:53.019 and then the symbols like ASCII maps, hashes, and letters 613 00:52:53.019 --> 00:52:56.320 to represent the shadow world that it sees. 614 00:52:56.320 --> 00:52:57.880 And then, oh, sorry. 615 00:53:01.599 --> 00:53:02.980 And then here you can actually see 616 00:53:02.980 --> 00:53:06.440 how it plans the trajectory of where it should go 617 00:53:06.440 --> 00:53:12.400 and then upon which seeing the collision, it actually decides whether it should climb 618 00:53:12.400 --> 00:53:13.800 or kick or take other actions. 619 00:53:13.800 --> 00:53:15.500 And we have no control over that. 620 00:53:15.500 --> 00:53:21.480 So I hope you actually come visit us and actually explore or discover what LLMs actually would 621 00:53:21.480 --> 00:53:25.000 do when encountering obstacles. 622 00:53:25.000 --> 00:53:28.000 And yeah, thank you. 623 00:53:34.000 --> 00:53:35.000 Thank you very much. 624 00:53:35.000 --> 00:53:55.119 And moving right along to embodied animation. Hello everyone, my name is Jiajian, this is Annam, and it's our great pleasure to be here 625 00:53:55.119 --> 00:53:58.559 attending the Ars Electronica Expanded Play Gallery. 626 00:53:58.559 --> 00:54:03.679 And firstly, I want to express our special thanks to Jeremiah and all the organization 627 00:54:03.679 --> 00:54:04.679 team. 628 00:54:04.679 --> 00:54:07.599 Without their efforts, we cannot make this happen. 629 00:54:07.599 --> 00:54:12.780 And so today we're introducing our interactive artwork called Embodied Animation. 630 00:54:12.780 --> 00:54:19.460 And this one was developed at MIT Media Lab for MIT Media Lab Human Augmentation Summit. 631 00:54:19.460 --> 00:54:29.000 And there's an interesting thing is that this one was also invited to be exhibited at the ECCV Art Gallery in Sweden right now. 632 00:54:29.000 --> 00:54:37.000 We have to say sorry to them because we want to be here for our events and showcase a video for theirs. 633 00:54:37.000 --> 00:54:42.000 The interactive one is here, so welcome to experience it in the gallery. 634 00:54:44.000 --> 00:54:46.179 I will give you more idea about this. 635 00:54:47.619 --> 00:54:51.400 So drawing on the traditions such as hand, shadow, 636 00:54:51.400 --> 00:54:54.380 puppetry, performance, and sand painting, 637 00:54:54.380 --> 00:54:57.420 so you want to express how you could use your body 638 00:54:57.420 --> 00:55:01.239 not only as an apparatus but as a medium and as an agency 639 00:55:01.239 --> 00:55:03.760 and how to express yourself to the world. 640 00:55:03.760 --> 00:55:07.420 So that's how we integrated hand-based generative AI 641 00:55:07.420 --> 00:55:08.840 and made this project. 642 00:55:09.840 --> 00:55:11.420 So for now, I have four questions. 643 00:55:11.880 --> 00:55:13.599 The first one I have already talked about. 644 00:55:13.719 --> 00:55:16.420 So how do you understand hand not only as an apparatus, 645 00:55:16.639 --> 00:55:20.239 not only as a device, but as your body, like as an agency? 646 00:55:20.840 --> 00:55:22.820 And also, how do you understand animation? 647 00:55:23.300 --> 00:55:24.840 Like from the very ancient time, 648 00:55:24.960 --> 00:55:27.679 like as we mentioned, like Plato's cave, like animation 649 00:55:27.679 --> 00:55:30.539 is something happening in real time and very fluid. 650 00:55:30.539 --> 00:55:34.619 But then in the like industrial pipeline, like people make animation frame by frame 651 00:55:34.619 --> 00:55:36.860 or like render them in this 3D space. 652 00:55:36.860 --> 00:55:41.960 But how do you improvise and make the animation in real time and interact with that? 653 00:55:41.960 --> 00:55:43.920 And also the perception. 654 00:55:43.920 --> 00:55:45.960 So we all know like modern and contemporary 655 00:55:45.960 --> 00:55:51.559 technologies has been shaping our perceptions and understanding of the world. So for now like 656 00:55:51.559 --> 00:55:56.780 we understand the world as really like precise and slick and photorealistic but how these like 657 00:55:56.780 --> 00:56:03.300 blurry like artistic art style and languages could echo with our like human beings like humanities. 658 00:56:03.840 --> 00:56:05.440 So there's also one thing to think about. 659 00:56:05.860 --> 00:56:07.300 And also AI, right? 660 00:56:07.360 --> 00:56:11.019 So AI is not only a tool, not only raising the efficiency, 661 00:56:11.440 --> 00:56:13.199 but how it's shaping the new language 662 00:56:13.199 --> 00:56:15.800 and the new ways of understanding and looking at the world. 663 00:56:16.059 --> 00:56:18.960 So we have these four questions together, and we make this. 664 00:56:20.059 --> 00:56:22.019 And this is our technology pipeline. 665 00:56:22.500 --> 00:56:27.599 So we are integrating the pipeline of a hand-tracking camera 666 00:56:27.599 --> 00:56:31.539 and this prompting, text prompting and live prompting adjustment 667 00:56:31.539 --> 00:56:34.079 with the parameters from live OSC. 668 00:56:34.719 --> 00:56:38.079 And we also trained a model of Lara with Chinese calligraphy. 669 00:56:38.440 --> 00:56:42.420 So this is how we get the aesthetic style of 2D images 670 00:56:42.420 --> 00:56:46.559 rather than the 3D pre-rendered thing. We wanted to look at 671 00:56:46.559 --> 00:56:52.559 like Chinese calligraphy, like Chinese landscapes with like walk and ink drawings. So as you will 672 00:56:52.559 --> 00:57:00.760 see later in this. And yeah, so you could interact with different ways. It's like by your hand 673 00:57:00.760 --> 00:57:05.579 interaction, like waving in the air, or it's like left prompting and weight adjustment 674 00:57:05.579 --> 00:57:08.420 through left OIC, but you have different interfaces. 675 00:57:08.420 --> 00:57:10.840 And you would realize that your hand itself 676 00:57:10.840 --> 00:57:13.079 is the interface because it really matters 677 00:57:13.079 --> 00:57:14.280 through this process. 678 00:57:15.219 --> 00:57:17.579 We have a video, is it playing? 679 00:57:32.880 --> 00:57:37.900 And one thing I want to say that AI is really giving us a new way of looking at it. So like when we look at this like blurry, like diffusing and morphing things, we realize 680 00:57:37.900 --> 00:57:42.880 it's something like embedded in the AI algorithm, but we are making use of it and it's really 681 00:57:42.880 --> 00:57:47.760 talking to the Chinese calligraphy art still. So that's how we are enjoying this part. 682 00:57:51.760 --> 00:57:57.000 Yeah, so again, we want to say, like, we want to embody ourselves into all this, like, technology 683 00:57:57.000 --> 00:58:02.320 and the technological world and all this nowadays media, and want to expand our humanities, 684 00:58:02.619 --> 00:58:05.639 our human beings into the world, not only the real world, 685 00:58:05.639 --> 00:58:12.460 not only the semantical world and the digital world and all this work together. And also it's an immersive experience. 686 00:58:12.460 --> 00:58:15.579 So if you go to the gallery and play with our installation, 687 00:58:15.579 --> 00:58:21.539 it's really immersive not only because the skill like you could look at the improvised animation by yourself, 688 00:58:21.539 --> 00:58:26.579 but also it's soundscape at the same time and you feel you are leading the world, 689 00:58:26.579 --> 00:58:28.579 you are driving the world, and you are negotiating 690 00:58:28.579 --> 00:58:31.579 with the algorithm because the algorithm identifies 691 00:58:31.579 --> 00:58:33.900 something but you don't know how it's understanding it 692 00:58:33.900 --> 00:58:36.619 so you try to negotiate with it and you see like 693 00:58:36.619 --> 00:58:39.500 what is identifying and how you could create 694 00:58:39.500 --> 00:58:40.940 something together with it. 695 00:58:43.920 --> 00:58:45.000 And so we're artists and researchers based in Boston, US. 696 00:58:45.000 --> 00:58:49.760 And currently, Anna, so we have our own studio called MY Studio. 697 00:58:49.760 --> 00:58:53.239 And Anna is right now pursuing a PhD at UC Santa Barbara 698 00:58:53.239 --> 00:58:57.239 Media Arts and Technology, and also research affiliate at MIT. 699 00:58:57.239 --> 00:59:01.000 And I'm also working with Harvard before. 700 00:59:01.000 --> 00:59:03.500 And so that's our linking. 701 00:59:03.500 --> 00:59:04.760 And also Instagram. 702 00:59:04.760 --> 00:59:06.159 We really want to get connected to the community and also working with Harvard before. And so that's our linking. 703 00:59:06.739 --> 00:59:07.659 And also Instagram. 704 00:59:08.000 --> 00:59:10.659 We really want to get connected to the audience, 705 00:59:10.880 --> 00:59:14.199 researchers, and this big family of Ars Electronica. 706 00:59:14.480 --> 00:59:15.239 Thank you so much. 707 00:59:20.900 --> 00:59:21.300 Okay. 708 00:59:21.699 --> 00:59:24.039 We just have two presentations to go, 709 00:59:24.219 --> 00:59:25.500 but they're from the same institution, 710 00:59:25.500 --> 00:59:27.719 they're going to be presented by the same person, so I'm going to ask Kristin Geiger 711 00:59:27.719 --> 00:59:31.760 to come up here and tell us a bit about the two projects. 712 00:59:31.760 --> 00:59:39.880 Okay, yeah, thank you for inviting us. 713 00:59:39.880 --> 00:59:47.679 I'm Chris from MIREVI, New Media Artistic Research and Development Lab in Düsseldorf in Germany. 714 00:59:48.420 --> 00:59:52.019 And here we have our project on Aeronautica. 715 00:59:52.559 --> 00:59:55.199 It took me quite a while to learn to pronounce it correctly. 716 00:59:55.820 --> 00:59:57.199 And it is on dreams. 717 00:59:57.199 --> 01:00:02.619 So Aeronautics is the conscious exploration of one's dreamscape. 718 01:00:03.039 --> 01:00:04.619 So you can control your dreams. 719 01:00:04.780 --> 01:00:06.400 And this is the idea of this project. 720 01:00:07.440 --> 01:00:12.079 This is an ongoing collaboration with a theater in Mülheim 721 01:00:12.079 --> 01:00:19.699 and we see the theater also as a place for dreams and dreaming and we use VR experience. 722 01:00:19.699 --> 01:00:28.059 We can put an HMD on and we use VR as a dream machine. And yeah, in this project, we dealt with this, 723 01:00:28.059 --> 01:00:30.539 and we created a number of dreams. 724 01:00:30.539 --> 01:00:34.159 So it is a series of experiences. 725 01:00:34.159 --> 01:00:38.179 Originally, we started with, more technically, 726 01:00:38.179 --> 01:00:41.840 with a workflow, we scanned the theater, 727 01:00:41.840 --> 01:00:44.159 did some avatar designs, motion capturing, 728 01:00:44.159 --> 01:00:47.099 and then had a framework where we can create 729 01:00:47.099 --> 01:00:49.340 a number of different experiences, 730 01:00:49.500 --> 01:00:50.880 a number of different dreams 731 01:00:50.880 --> 01:00:54.340 based on the topics of the theater season. 732 01:00:54.480 --> 01:00:58.239 So in this collaboration, there are the theater pieces, 733 01:00:58.460 --> 01:01:01.139 and in the foyer, there is this installation. 734 01:01:03.059 --> 01:01:06.260 Here we present on our Nautica 5. 735 01:01:07.099 --> 01:01:08.760 I would not want to go too much 736 01:01:08.760 --> 01:01:10.099 into detail. I would 737 01:01:10.099 --> 01:01:12.619 like you to try 738 01:01:12.619 --> 01:01:14.280 it out, but there are two 739 01:01:14.280 --> 01:01:16.019 inspirations of this work. 740 01:01:17.179 --> 01:01:18.480 We were inspired by 741 01:01:18.480 --> 01:01:20.719 Dostoevsky's Dream of a Ridiculous Man 742 01:01:20.719 --> 01:01:21.800 where 743 01:01:21.800 --> 01:01:24.539 the 744 01:01:24.539 --> 01:01:30.019 protagonist infects paradise simply by being there. So the community becomes 745 01:01:30.019 --> 01:01:35.380 aggressive. There is hated speech in this experience. And also it gets then healed. 746 01:01:36.579 --> 01:01:42.519 It was inspired by Charlie Chaplin's final speech from The Great Dictator. The experience itself is 747 01:01:42.519 --> 01:01:47.000 an eight-minute experience. So you have to take some time to experience it. 748 01:01:47.000 --> 01:01:56.000 And I only want to show you a bit of this experience and also the aesthetics showing you currently a video we created for that. 749 01:01:59.000 --> 01:02:02.000 Come in. Take your place. 750 01:02:02.000 --> 01:02:05.000 You want quality. You want to know what you're getting. You want quality. 751 01:02:05.000 --> 01:02:07.000 You want something that lasts. 752 01:02:07.000 --> 01:02:10.000 Your worries, your failures. 753 01:02:10.000 --> 01:02:12.000 Here, you don't have to. 754 01:02:12.000 --> 01:02:16.000 More performance, more reliability, more attitudes, more difficult things. 755 01:02:16.000 --> 01:02:18.000 You came. 756 01:02:18.000 --> 01:02:20.000 We breathe because we have been given. 757 01:02:20.000 --> 01:02:22.000 No place has products like this every three years. 758 01:02:22.000 --> 01:02:24.000 Nova is built to last five. 759 01:02:24.000 --> 01:02:28.000 And we gather because we were never meant to walk alone. 760 01:02:35.000 --> 01:02:37.000 And you want a fair price. 761 01:02:37.000 --> 01:02:41.000 For this moment, it is enough to simply be here. 762 01:02:42.000 --> 01:02:44.000 More performance. More reliability. 763 01:02:44.000 --> 01:02:46.940 More value to the sounds outside. 764 01:02:54.719 --> 01:03:07.420 And suddenly I understood with such clarity that there is nothing more beautiful, nothing more profound than love, that within it lie the dignity and the strength 765 01:03:07.420 --> 01:03:15.619 of being human. If we truly loved one another, we could awaken to another life, a life without lies, 766 01:03:16.219 --> 01:03:22.559 without hostility, for all the evil between us begins when we separate ourselves from one another 767 01:03:22.559 --> 01:03:25.000 and believe that we can endure it, 768 01:03:25.940 --> 01:03:27.260 but no one lives alone. 769 01:03:28.739 --> 01:03:30.099 Okay, thank you. 770 01:03:35.860 --> 01:03:41.199 And we're quite happy also to show another work from our lab. 771 01:03:41.340 --> 01:03:44.519 It's called Das Trampeltier, L'Angers du Fouillé. 772 01:03:45.760 --> 01:03:48.239 Not quite sure how many of you know this 773 01:03:48.239 --> 01:03:51.980 painting. It is a very famous painting from surrealist Max Ernst, 774 01:03:52.039 --> 01:03:54.380 L'Angers de Fouillé. It was painted in 775 01:03:54.380 --> 01:03:57.800 1937. It was associated with the 776 01:03:57.800 --> 01:04:00.320 Spanish War when the Spanish War ended and the fascists won. 777 01:04:01.460 --> 01:04:03.340 And yeah, I would say 778 01:04:03.340 --> 01:04:09.559 this creature represents the fascismism and Max Ernst itself 779 01:04:09.559 --> 01:04:16.179 cited it it's a bit ironic and also an ambivalent character but he cited in this way this is of 780 01:04:16.179 --> 01:04:22.039 course an ironic title for a kind of clumsy beast that destroys and annihilates everything 781 01:04:22.039 --> 01:04:28.000 that gets in his way and that was my impression at that time, the Spanish War, 1937, 782 01:04:28.179 --> 01:04:31.679 and what follows then, and was likely going on to happen in the world, 783 01:04:31.940 --> 01:04:34.000 and I was right about it. 784 01:04:34.920 --> 01:04:40.179 And we thought, so can we bring this creature now, today, into 2026, 785 01:04:40.739 --> 01:04:43.679 and created a number of different experiences, 786 01:04:43.960 --> 01:04:45.679 and one we will show here. 787 01:04:45.719 --> 01:04:48.360 You can experience it, as you can see here also. 788 01:04:49.019 --> 01:04:53.780 It is a mixed reality, augmented reality experience. 789 01:04:53.780 --> 01:04:55.619 You have to pull on an Apple Vision. 790 01:04:56.119 --> 01:04:59.739 And then the creature jumps out of the painting. 791 01:05:00.039 --> 01:05:05.500 We use a copy of this painting in the installation at Salzamt. 792 01:05:05.860 --> 01:05:08.880 And you can interact with the creature. 793 01:05:09.480 --> 01:05:11.760 And he tells a story. 794 01:05:15.000 --> 01:05:20.659 Basically, the idea is to create it using AI. 795 01:05:21.000 --> 01:05:23.300 Sure, it's a sincere authority. 796 01:05:23.519 --> 01:05:25.960 And so he is utterly convinced of his perspective. 797 01:05:26.920 --> 01:05:28.760 He is also a bit friendly. 798 01:05:28.960 --> 01:05:34.980 He is never defensive and tries to defend his position because he thinks it's correct, it's right what he says. 799 01:05:34.980 --> 01:05:40.099 It is also a smart alternative truth teller, so he frames instead of clear lies, 800 01:05:40.199 --> 01:05:42.159 and also a kind of friendly manipulator. 801 01:05:42.420 --> 01:05:46.179 So it's empathic in form, 802 01:05:46.280 --> 01:05:48.599 but it's very manipulative in function. 803 01:05:48.900 --> 01:05:52.119 And this is the experience we want here to tell. 804 01:05:52.320 --> 01:05:54.920 And also he offers a kind of false participation. 805 01:05:55.119 --> 01:05:56.559 So you can choose in the story, 806 01:05:56.679 --> 01:06:00.139 but it always goes into his direction. 807 01:06:00.139 --> 01:06:03.139 And here the idea is so that we want to experience 808 01:06:03.900 --> 01:06:06.840 populist strategies so we can experience these things. 809 01:06:07.440 --> 01:06:08.900 And 810 01:06:08.900 --> 01:06:11.960 yeah, the idea as I said is to bring it to 811 01:06:12.420 --> 01:06:17.159 2026, preserving the works, also ambigity and also commenting on these popular strategies. 812 01:06:17.300 --> 01:06:21.119 There are a lot of different experiences we are currently developing. 813 01:06:21.119 --> 01:06:25.179 We're only showing this interaction with the 3D character and 814 01:06:25.179 --> 01:06:29.679 also this fairy tale telling, the Kindhearted Beer. 815 01:06:29.679 --> 01:06:33.599 It's a participatory fairy tale about controlling your neighbors. 816 01:06:33.599 --> 01:06:36.679 I do not want to go too much into the technical details. 817 01:06:36.679 --> 01:06:42.400 There's also a paper and also we are with our team here and we can talk about all the 818 01:06:42.400 --> 01:06:46.480 technical stuff, but I want to close it 819 01:06:46.480 --> 01:06:52.300 with a short video of the experience so when the creature steps out of the 820 01:06:52.300 --> 01:06:54.760 painting 821 01:07:10.900 --> 01:07:17.559 So this is what you experience when you look through the glasses. So he interacts with the real world and then you can also talk with him. 822 01:07:17.559 --> 01:07:24.039 But that you can experience in the art gallery. 823 01:07:24.039 --> 01:07:30.000 Thank you. 824 01:07:32.440 --> 01:07:32.619 Yes, that was very, very fast-paced, I know, 825 01:07:33.820 --> 01:07:35.139 but we were able to get some insight into the 13 different installations, 826 01:07:35.420 --> 01:07:37.639 which are actually, they've been open for the last six minutes, 827 01:07:37.739 --> 01:07:38.579 and so they're already running. 828 01:07:38.920 --> 01:07:39.800 Please stay here, though, 829 01:07:39.840 --> 01:07:41.159 because there's a lot of interesting things going on. 830 01:07:41.159 --> 01:07:42.900 You can visit the gallery a bit later. 831 01:07:43.500 --> 01:07:46.000 What we're going to do now is a short question and answer session, 832 01:07:46.059 --> 01:07:47.699 and we're going to do it in a very interesting way. 833 01:07:48.000 --> 01:07:50.559 I would like to ask at least one person from every team 834 01:07:50.559 --> 01:07:52.280 to come up and stand here. 835 01:07:52.460 --> 01:07:54.500 We'll have the largest podium discussion ever done 836 01:07:54.500 --> 01:07:55.539 at the Expanded Conference. 837 01:07:56.679 --> 01:07:58.039 And so here's the deal. 838 01:07:59.619 --> 01:08:01.000 I've got some questions in my head, 839 01:08:01.000 --> 01:08:02.920 but this is actually an opportunity for you guys. 840 01:08:03.059 --> 01:08:08.579 Expanded Play is about involving the participant and the audience in some capacity. So if you have 841 01:08:08.579 --> 01:08:16.140 questions, then make it a little bit easier. Can we switch to the slide? I've put the names 842 01:08:16.140 --> 01:08:19.960 of the projects. I did this really hurriedly, and 13 is a terrible number to try to put 843 01:08:19.960 --> 01:08:27.300 on a slide. But the names of the projects up there, maybe you guys could step away from the canvas just a little bit, right here, form a line. 844 01:08:28.880 --> 01:08:31.739 And if you have a question, simply raise your hand, 845 01:08:31.739 --> 01:08:33.619 someone will come around with a microphone. 846 01:08:33.619 --> 01:08:35.399 And again, if you need the project's name, 847 01:08:35.399 --> 01:08:36.819 it's listed on there somewhere. 848 01:08:36.819 --> 01:08:41.119 Hopefully you can see roughly how the projects are called. 849 01:08:41.119 --> 01:08:42.279 So think about a question. 850 01:08:42.279 --> 01:08:44.159 I'm gonna start off with a question, 851 01:08:44.159 --> 01:08:50.000 and I'm gonna start off with a question. And I'm going to start off with Plato's A.I. Allegory of the Cave. 852 01:08:50.000 --> 01:08:52.000 We do a lot of game development. 853 01:08:52.000 --> 01:08:56.000 And just a second, we probably need a microphone for you guys as well. 854 01:08:56.000 --> 01:08:59.000 Might need to see if that's turned on. 855 01:08:59.000 --> 01:09:02.000 Hello? 856 01:09:02.000 --> 01:09:04.000 Does it work? 857 01:09:04.000 --> 01:09:07.300 So we often do game development and and you have a physics engine, 858 01:09:07.659 --> 01:09:09.359 and you can configure that and such. 859 01:09:09.520 --> 01:09:12.279 You have real-world physics that you're simulating. 860 01:09:12.539 --> 01:09:14.060 How did you go about doing that? 861 01:09:14.079 --> 01:09:15.760 Because it actually looks pretty good. 862 01:09:16.000 --> 01:09:18.180 It kicks the box up into the air. 863 01:09:18.800 --> 01:09:24.000 So we're primarily doing it just via the visual webcam stuff. 864 01:09:24.239 --> 01:09:26.439 So we actually did try a physics engine 865 01:09:26.439 --> 01:09:28.960 in a game engine originally to try to stimulate 866 01:09:28.960 --> 01:09:32.640 the guy and gravity, but we found that we could get by 867 01:09:32.640 --> 01:09:34.439 with just running it in web. 868 01:09:34.439 --> 01:09:36.819 And so most of the physics that is happening 869 01:09:36.819 --> 01:09:39.800 is actually just it tracking visually. 870 01:09:39.800 --> 01:09:42.340 And because we have such a high contrast situation, 871 01:09:42.340 --> 01:09:45.140 it's not too bad to track and be accurate. 872 01:09:45.520 --> 01:09:46.859 I don't know if that answers your question. 873 01:09:47.020 --> 01:09:48.060 It does ask my question, 874 01:09:48.119 --> 01:09:49.100 but you have like, 875 01:09:49.220 --> 01:09:50.460 you have a paper object 876 01:09:50.460 --> 01:09:52.760 that you can't really, 877 01:09:52.880 --> 01:09:53.439 like you can, 878 01:09:53.939 --> 01:09:55.539 the magnets and all this stuff below, 879 01:09:55.619 --> 01:09:56.640 I sort of understand that. 880 01:09:56.680 --> 01:09:57.279 Although I have to admit, 881 01:09:57.600 --> 01:09:59.319 when I first viewed the video for your project, 882 01:09:59.319 --> 01:10:00.260 it was voodoo for me. 883 01:10:00.359 --> 01:10:00.739 It was just like, 884 01:10:00.800 --> 01:10:01.859 okay, this is cool. 885 01:10:02.520 --> 01:10:04.020 And it's lovely that you showed us 886 01:10:04.020 --> 01:10:04.880 basically how it works, 887 01:10:07.619 --> 01:10:10.640 but the direction the box is kicked and all these things, I mean, paper is light, there's no question about it, 888 01:10:10.640 --> 01:10:13.779 but the real world is still a little bit difficult 889 01:10:13.779 --> 01:10:15.260 to influence and it's pretty impressive. 890 01:10:15.260 --> 01:10:16.239 I can talk a little bit. 891 01:10:16.239 --> 01:10:18.720 So it actually was, I was telling some other people, 892 01:10:18.720 --> 01:10:21.579 it's a bit lucky and a bit of trial and error. 893 01:10:21.579 --> 01:10:25.340 So we use commercial electromagnets. 894 01:10:29.220 --> 01:10:31.199 And so we actually have to have the field be misaligned with the... So we have a magnet inside the paper cube. 895 01:10:31.720 --> 01:10:33.560 And we have to have it be misaligned 896 01:10:33.560 --> 01:10:35.279 so it actually does this flipping motion. 897 01:10:35.460 --> 01:10:37.180 If it's actually the opposite way, 898 01:10:37.239 --> 01:10:38.979 it just kind of, like, gets sucked in. 899 01:10:39.520 --> 01:10:42.920 And so there's, like, the orientation of the magnet itself, 900 01:10:42.920 --> 01:10:44.819 but then there's also the lightness of the paper. 901 01:10:45.239 --> 01:10:46.899 So for the final installation, we were like, oh, let's like the orientation of the magnet itself, but then there's also the lightness of the paper. So for the final installation, we were like, 902 01:10:47.000 --> 01:10:48.720 oh, let's improve the paper. 903 01:10:49.260 --> 01:10:52.060 And so we bought like high quality paper and laser cut it 904 01:10:52.060 --> 01:10:53.060 and it was too heavy. 905 01:10:53.399 --> 01:10:57.260 And so had we like started off with like heavier paper to begin with, 906 01:10:57.359 --> 01:10:58.279 we might've just been like, 907 01:10:58.359 --> 01:10:59.760 oh, this interaction just doesn't work. 908 01:11:00.140 --> 01:11:02.079 And so just based on the size of the cube 909 01:11:02.079 --> 01:11:04.680 and the strength of the magnetic field that we had, 910 01:11:04.800 --> 01:11:06.340 that's kind of the luck part. But we did kind of really fine on the size of the cube and the strength of the magnetic field that we had, that's kind of the luck part. 911 01:11:06.399 --> 01:11:09.140 But we did kind of really fine-tune the physics of it 912 01:11:09.140 --> 01:11:13.279 to make sure that it kind of cleared the switch most of the time. 913 01:11:14.539 --> 01:11:15.579 Thank you so much. 914 01:11:16.020 --> 01:11:16.939 Do we have questions? 915 01:11:17.039 --> 01:11:18.159 The audience, you can raise your hand. 916 01:11:18.300 --> 01:11:18.859 I've given you time. 917 01:11:19.819 --> 01:11:22.199 I was talking to Jenna, one of our artists recently, 918 01:11:22.260 --> 01:11:25.659 about the concept of surprise, and I was very inspired by our chat. 919 01:11:25.659 --> 01:11:27.840 And so I have sort of a mechanism, 920 01:11:27.840 --> 01:11:29.439 if you don't have any questions, 921 01:11:30.979 --> 01:11:33.079 we have questions for you. 922 01:11:33.079 --> 01:11:35.939 Please don't make me throw stuff into the audience. 923 01:11:35.939 --> 01:11:38.479 So if, I will ask a couple more maybe, 924 01:11:38.479 --> 01:11:39.640 but if you don't have any questions, 925 01:11:39.640 --> 01:11:41.520 we have questions for you based on the presentation. 926 01:11:41.520 --> 01:11:43.119 It's gonna be a live quiz, 927 01:11:43.119 --> 01:11:47.619 and I don't know how well these airplanes will work, and I hope they don't actually hurt. So I see a 928 01:11:47.619 --> 01:11:51.640 hand over there, do I not? Excellent! That wasn't a threat, it really wasn't a threat. 929 01:11:51.640 --> 01:12:01.000 A question for the, what was it again, the Plato's Allegory of the Cave. Sorry. Yeah, 930 01:12:01.000 --> 01:12:08.479 I'm just really curious, like how did you transform the physical world into, like, a literal, like, a text representation? 931 01:12:08.920 --> 01:12:09.680 Like, what kind of? 932 01:12:09.680 --> 01:12:12.819 So it's kind of what Kathy was saying. 933 01:12:13.000 --> 01:12:16.000 We almost do, like, pixels, and then we use ASCII. 934 01:12:16.100 --> 01:12:22.619 So I don't know if you've ever seen ASCII art before, but it's almost like using letters and numbers as a shader. 935 01:12:22.760 --> 01:12:26.239 And so similarly, we kind of chose representations, 936 01:12:26.239 --> 01:12:28.579 like we represented a little bit less like a shader 937 01:12:28.579 --> 01:12:32.140 and more of like the ground is like SSSSSS 938 01:12:32.140 --> 01:12:35.380 and like the blocks are like hashtag, hashtag, hashtag. 939 01:12:35.380 --> 01:12:37.760 And so obstacles are represented in a particular way, 940 01:12:37.760 --> 01:12:40.159 but it's almost like a pixel grid. 941 01:12:40.159 --> 01:12:41.920 Thanks. 942 01:12:41.920 --> 01:12:44.960 Excellent. Great. 943 01:12:44.960 --> 01:12:45.000 Hi. This is a question for the mobile animation. Thank you. Excellent. Great. 944 01:12:45.000 --> 01:12:45.939 Hi. 945 01:12:45.939 --> 01:12:48.880 This is a question for the model animation. 946 01:12:48.880 --> 01:12:53.319 I'm curious about the training of your model. 947 01:12:53.319 --> 01:12:57.739 Clearly, you went for a particular aesthetic. 948 01:12:57.739 --> 01:13:01.600 And that probably helped you on the training of the model? 949 01:13:01.600 --> 01:13:07.100 Or how many images do you need to actually get the model to produce what you have? 950 01:13:07.819 --> 01:13:09.479 Yeah, that's an interesting question 951 01:13:09.479 --> 01:13:13.159 because first it's based on stream diffusion. 952 01:13:13.659 --> 01:13:15.239 It's a diffusion model 953 01:13:15.239 --> 01:13:18.600 and it's something you could put in Touchy Zen as a software. 954 01:13:19.119 --> 01:13:22.659 So it's actually a self-integrated black box. 955 01:13:22.760 --> 01:13:23.800 You could call it a black box. 956 01:13:24.100 --> 01:13:25.739 So you could insert different models 957 01:13:25.739 --> 01:13:28.159 and different trained lawyers into it. 958 01:13:28.159 --> 01:13:29.659 So that's where we trained. 959 01:13:29.659 --> 01:13:32.340 So we decided to use the artisan style 960 01:13:32.340 --> 01:13:35.199 of Chinese calligraphy, our Chinese landscape. 961 01:13:35.199 --> 01:13:37.220 So we collected different data sets 962 01:13:37.220 --> 01:13:41.159 from the open sources and from these online datas. 963 01:13:41.159 --> 01:13:45.560 And some landscape drawing and some flow and blur drawing. 964 01:13:45.560 --> 01:13:47.680 There are different Chinese drawing genres 965 01:13:47.680 --> 01:13:50.060 and some really Chinese calligraphy. 966 01:13:50.060 --> 01:13:53.119 And we made different data sets and different models 967 01:13:53.119 --> 01:13:53.659 from that. 968 01:13:53.659 --> 01:13:54.960 And we put them into this. 969 01:13:54.960 --> 01:13:56.960 And from this one is the best. 970 01:13:56.960 --> 01:14:00.340 Actually, I could disclose it's trained on Wang Cijie, 971 01:14:00.340 --> 01:14:02.960 Asian Chinese calligraphy. 972 01:14:02.960 --> 01:14:06.279 And we have a lot of these calligraphy writings 973 01:14:06.279 --> 01:14:08.460 because for one person, 974 01:14:08.539 --> 01:14:10.619 even if he writes one character a thousand times, 975 01:14:10.720 --> 01:14:12.140 a thousand times looks different. 976 01:14:12.399 --> 01:14:14.340 But they are from a similar art style. 977 01:14:14.680 --> 01:14:16.920 So that's kind of the baseline for the understanding. 978 01:14:17.180 --> 01:14:19.060 But actually for the real data set we use, 979 01:14:19.140 --> 01:14:21.899 it's around 100 pages of images, I think. 980 01:14:22.119 --> 01:14:22.600 Yeah, thank you. 981 01:14:22.899 --> 01:14:23.220 Thank you. 982 01:14:23.979 --> 01:14:25.319 Great, we have another question over here. 983 01:14:27.060 --> 01:14:28.079 It's for 984 01:14:28.079 --> 01:14:29.619 the Machina. 985 01:14:29.859 --> 01:14:30.560 What's the... 986 01:14:30.560 --> 01:14:34.119 So I think everyone who grew up 987 01:14:34.119 --> 01:14:36.020 with Catholic belief in Upper 988 01:14:36.020 --> 01:14:37.380 Austria has a 989 01:14:37.380 --> 01:14:39.939 really traumatized 990 01:14:39.939 --> 01:14:41.979 by going into the Beichtstuhl to 991 01:14:41.979 --> 01:14:44.039 confess the sins and then get an 992 01:14:44.039 --> 01:14:47.859 answer. I'm just wondering, how do you feed God? 993 01:14:48.020 --> 01:14:49.880 I mean, what is his moral standard? 994 01:14:50.199 --> 01:14:53.779 And is he fed by the Bible or what is he telling us? 995 01:14:54.300 --> 01:14:56.739 We actually, in the final version, didn't do much. 996 01:14:56.979 --> 01:15:00.399 We just had a very simple instruction, you are Jesus Christ, 997 01:15:00.399 --> 01:15:03.199 and then some rules, what it's not supposed to talk about. 998 01:15:04.579 --> 01:15:05.640 Is it the ten rules? No, no, no, it's not supposed to talk about is it the 10 rules? 999 01:15:06.199 --> 01:15:07.560 no no no it's not the 10 rules 1000 01:15:07.560 --> 01:15:08.220 no no no 1001 01:15:08.220 --> 01:15:11.220 the 10 recommendations 1002 01:15:11.220 --> 01:15:14.020 yeah no but recently 1003 01:15:14.020 --> 01:15:15.699 I was actually curious 1004 01:15:15.699 --> 01:15:17.560 I read about Leo Tolstoy 1005 01:15:17.560 --> 01:15:18.579 being a 1006 01:15:18.579 --> 01:15:22.220 anarchist 1007 01:15:22.220 --> 01:15:24.060 like Christian anarchist 1008 01:15:24.060 --> 01:15:26.140 so I read about Christian anarchist, like Christian anarchist. So I read about Christian anarchist. 1009 01:15:26.380 --> 01:15:29.359 So I imagine like in a future version, 1010 01:15:29.439 --> 01:15:31.140 it would be interesting to actually like 1011 01:15:31.140 --> 01:15:32.840 have variations of this. 1012 01:15:33.659 --> 01:15:35.760 Like interpretation of Jesus Christ. 1013 01:15:36.439 --> 01:15:36.960 Okay. 1014 01:15:37.920 --> 01:15:38.640 Thank you. 1015 01:15:39.880 --> 01:15:41.220 More questions in the back. 1016 01:15:41.279 --> 01:15:41.840 That's excellent. 1017 01:15:42.399 --> 01:15:44.460 I don't think my airplanes would reach back that far anyway. 1018 01:15:44.579 --> 01:15:45.220 So this is perfect. 1019 01:15:45.699 --> 01:15:48.439 Just an additional question to AI Jesus. 1020 01:15:49.619 --> 01:15:52.760 So am I just talking to the AI Jesus 1021 01:15:52.760 --> 01:15:53.979 or is someone else listening? 1022 01:15:54.220 --> 01:15:57.899 So is there some memory or is an external model called? 1023 01:15:58.279 --> 01:16:00.220 Yeah, there's an external model called 1024 01:16:00.220 --> 01:16:02.699 and we also have information in front 1025 01:16:02.699 --> 01:16:07.000 that this goes out to non-European servers, 1026 01:16:07.000 --> 01:16:08.000 American. 1027 01:16:08.000 --> 01:16:11.619 So I should be careful about my confessors. 1028 01:16:11.619 --> 01:16:14.119 Yeah, do not confess to anything. 1029 01:16:14.119 --> 01:16:15.119 Thank you. 1030 01:16:15.119 --> 01:16:17.859 Do not try to stay anonymous. 1031 01:16:17.859 --> 01:16:23.000 Just the speech to text is actually on our own server, so that doesn't go out. 1032 01:16:23.000 --> 01:16:25.520 But then the text produced from that does. 1033 01:16:25.520 --> 01:16:28.619 OK, thank you. 1034 01:16:28.619 --> 01:16:31.979 OK, another question back there. 1035 01:16:31.979 --> 01:16:35.680 For the last speaker, I was interested in the Max Ernst 1036 01:16:35.680 --> 01:16:42.720 painting coming to life and the concept of taking a painting 1037 01:16:42.720 --> 01:16:45.279 about something that is horrific, 1038 01:16:47.600 --> 01:16:48.000 in what Max Ernst stated, 1039 01:16:49.699 --> 01:16:49.960 and then making it into an animation, 1040 01:16:52.060 --> 01:16:54.220 whether the message of the painting or the conceptual framework for the painting 1041 01:16:54.220 --> 01:16:57.399 is shifted irreversibly. 1042 01:16:59.800 --> 01:17:03.560 I'm not quite sure if I understand it. 1043 01:17:04.439 --> 01:17:06.659 Can you explain again? 1044 01:17:06.760 --> 01:17:07.619 Sorry, I can't hear you. 1045 01:17:08.159 --> 01:17:10.460 Sorry, I have not got the question. 1046 01:17:10.899 --> 01:17:12.840 Can you explain it again, please? 1047 01:17:14.279 --> 01:17:15.239 What was the question? 1048 01:17:15.819 --> 01:17:17.899 I'm not very good at repeating questions 1049 01:17:17.899 --> 01:17:20.760 because I have a very short-term memory 1050 01:17:20.760 --> 01:17:22.000 and questions are hard. 1051 01:17:22.000 --> 01:17:24.739 But it was fundamentally the conceptualisation. 1052 01:17:25.460 --> 01:17:32.000 In other words, Max Ernst put his painting out into a context that was horrific and translating 1053 01:17:32.000 --> 01:17:39.060 it into a beast that jumps out of the screen and so on, transfers the concept into some 1054 01:17:39.060 --> 01:17:43.680 other realm. And it doesn't necessarily... I mean, so I wondered, I mean, when I was 1055 01:17:43.680 --> 01:17:46.020 watching, I was wondering what Max Ernst would have thought of this 1056 01:17:46.020 --> 01:17:55.460 recreation of his, and whether you think the conceptual framework devalues the original intent. 1057 01:17:57.220 --> 01:18:07.060 Yeah, well, this is a good question. And we also thought, yeah, can we do this? From our perspective, when we looked at the 1058 01:18:07.060 --> 01:18:16.520 work from Max Ernst, we thought it is an interesting idea to transform this idea now to 2026. And 1059 01:18:16.520 --> 01:18:27.819 the idea is also to have different scenarios. This fairy tale is only one. We also have another one. It is in work on the 1060 01:18:27.819 --> 01:18:36.300 Spanish war where the creature comments. And well, what would he say? I don't know. But 1061 01:18:36.300 --> 01:18:47.720 to use this, we had to also talk with the heirs of Max Ernst because of the copyright. And well, we got the license because they are interested 1062 01:18:47.720 --> 01:18:50.159 in this experience. 1063 01:18:50.159 --> 01:18:52.239 We also talked with art historians 1064 01:18:53.220 --> 01:18:56.539 and also colleagues from the art department 1065 01:18:56.539 --> 01:18:58.180 so to get some feedback. 1066 01:18:58.180 --> 01:19:00.060 But yes, you're right, we have to discuss 1067 01:19:00.060 --> 01:19:02.300 if this, what Max Ahrens would do, 1068 01:19:02.300 --> 01:19:08.239 and yeah, if this is a good or interesting work. 1069 01:19:08.579 --> 01:19:09.859 But let's discuss it. 1070 01:19:10.460 --> 01:19:12.819 So feel free, come and experience it. 1071 01:19:15.100 --> 01:19:15.880 Okay, thank you. 1072 01:19:15.920 --> 01:19:17.380 Any other questions in the audience? 1073 01:19:17.460 --> 01:19:18.399 You can raise your hand in the meantime. 1074 01:19:18.600 --> 01:19:19.279 I'm going to ask one. 1075 01:19:19.439 --> 01:19:20.140 You have a question? 1076 01:19:20.460 --> 01:19:21.500 You're breaking the rules. 1077 01:19:21.619 --> 01:19:22.100 I like that. 1078 01:19:22.260 --> 01:19:22.619 Sorry. 1079 01:19:23.760 --> 01:19:27.060 I have a question for the Urban Data Orchestra, please. 1080 01:19:28.399 --> 01:19:31.880 Could you speak a little bit about the best context 1081 01:19:31.880 --> 01:19:33.239 for this work? 1082 01:19:33.239 --> 01:19:37.000 We see it in the gallery as it's in the white box. 1083 01:19:37.000 --> 01:19:39.840 And can you just talk a little bit about context 1084 01:19:39.840 --> 01:19:41.819 and where you see it? 1085 01:19:46.220 --> 01:19:47.560 Yeah, sure. 1086 01:19:47.560 --> 01:19:50.600 I mean, we haven't thought about, 1087 01:19:50.600 --> 01:19:54.460 so we originally created for the, 1088 01:19:54.460 --> 01:19:56.560 basically, people of New York City, 1089 01:19:57.520 --> 01:20:00.399 and it was in the gallery there for three weeks, 1090 01:20:00.399 --> 01:20:02.159 so it had a lot of exposure 1091 01:20:02.159 --> 01:20:04.520 with a lot of kind of different people, 1092 01:20:04.520 --> 01:20:06.020 as you can imagine from 1093 01:20:06.020 --> 01:20:12.739 kids to all kinds of ages and it was really interesting to see people how curious they were 1094 01:20:12.739 --> 01:20:19.739 about their own city and trying to how they can play with what is out there and and kind of we 1095 01:20:19.739 --> 01:20:27.340 think about that and this is our second basically basically, exhibition in the gallery space, but I think it would be, 1096 01:20:27.340 --> 01:20:30.560 I mean, I have a background originally in architecture, 1097 01:20:30.560 --> 01:20:35.380 so I was thinking about it as also a different way 1098 01:20:35.380 --> 01:20:38.819 of thinking about the city from the people 1099 01:20:38.819 --> 01:20:40.500 who are actually making the policies 1100 01:20:40.500 --> 01:20:44.100 and making the decisions and even designing 1101 01:20:44.100 --> 01:20:46.939 and just a playful way of really rethinking 1102 01:20:46.939 --> 01:20:52.279 how you see maps or you see and hear sounds 1103 01:20:52.279 --> 01:20:53.859 beyond noise pollution. 1104 01:20:54.260 --> 01:20:56.340 So, I mean, it's also kind of a stance 1105 01:20:56.340 --> 01:20:59.939 in how we think about cities and noise pollution 1106 01:20:59.939 --> 01:21:02.939 and all this kind of data that is everywhere. 1107 01:21:04.079 --> 01:21:07.119 So maybe it could be out of a gallery 1108 01:21:07.119 --> 01:21:11.300 and could be something else other than just an artwork. 1109 01:21:12.359 --> 01:21:14.819 But yeah, for now, it is what it is. 1110 01:21:14.960 --> 01:21:15.960 It's in the gallery. 1111 01:21:16.920 --> 01:21:18.020 That's great. Thank you. 1112 01:21:19.399 --> 01:21:21.460 Okay, we have a couple more minutes for questions 1113 01:21:21.460 --> 01:21:22.720 before we move on. 1114 01:21:22.960 --> 01:21:24.060 And since... Ah, they're perfect. 1115 01:21:24.859 --> 01:21:27.199 Yes, I have a question for the creative guinea pig 1116 01:21:27.199 --> 01:21:29.640 eligibility test. 1117 01:21:29.640 --> 01:21:33.680 So I'm very curious about your design process. 1118 01:21:33.680 --> 01:21:36.880 How did you, or rather, how did you 1119 01:21:36.880 --> 01:21:41.079 translate this sometimes complex social issue 1120 01:21:41.079 --> 01:21:44.199 into an experience that also feels a bit uncomfortable? 1121 01:21:44.199 --> 01:21:44.939 Could you? 1122 01:21:44.939 --> 01:21:45.739 Thank you. That's a 1123 01:21:45.739 --> 01:21:50.539 wonderful question. So in the questionnaire itself, we actually borrowed a lot of questions from 1124 01:21:50.539 --> 01:21:58.119 real clinical trial consent forms. And yes, I was saying people do lie about certain things 1125 01:21:58.119 --> 01:22:06.000 in the real process if we don't verify them. Yeah, it's, I guess being 1126 01:22:06.000 --> 01:22:07.880 playful is a way to get 1127 01:22:07.880 --> 01:22:10.079 around it in a way because it's a difficult 1128 01:22:10.079 --> 01:22:11.880 topic to touch on 1129 01:22:11.880 --> 01:22:14.159 and having this serene 1130 01:22:14.159 --> 01:22:16.100 beautiful farm environment is also 1131 01:22:16.100 --> 01:22:17.640 part of trying to 1132 01:22:17.640 --> 01:22:20.020 smooth it down 1133 01:22:20.020 --> 01:22:22.079 a little bit. Yeah, I don't know if I 1134 01:22:22.079 --> 01:22:23.960 answered your question. Yes, you did 1135 01:22:23.960 --> 01:22:25.760 and just one follow-up around 1136 01:22:25.760 --> 01:22:27.960 the aesthetics. Was there, beyond the 1137 01:22:27.960 --> 01:22:29.420 scenic farm view, were there any 1138 01:22:29.420 --> 01:22:31.939 considerations you made to make it feel also 1139 01:22:31.939 --> 01:22:34.060 a bit disconcerting when people interacted 1140 01:22:34.060 --> 01:22:35.920 with it? Oh, yeah. 1141 01:22:37.399 --> 01:22:38.300 This project 1142 01:22:38.300 --> 01:22:40.079 was actually presented at an expanded 1143 01:22:40.079 --> 01:22:42.020 conference last year, and then 1144 01:22:42.020 --> 01:22:44.180 after that we had, thank you so much 1145 01:22:44.180 --> 01:22:45.800 for the support and everything. And in New York we had thank you so much for the support and everything 1146 01:22:45.800 --> 01:22:51.979 and in New York we had an exhibition and in the front room there are a lot of huge inflatable 1147 01:22:51.979 --> 01:22:58.800 guinea pigs they're two meters long and a lot of huge inflatable pills as well so people loved 1148 01:22:58.800 --> 01:23:03.279 like a lot of kids and people are just taking photos and posting them on social media 1149 01:23:03.279 --> 01:23:05.460 and that's really like making 1150 01:23:05.460 --> 01:23:11.960 the whole process entertaining but then going back into the like back room and then actually 1151 01:23:11.960 --> 01:23:18.760 participating in this whole process made a lot of people realize oh there's this dark side of it and 1152 01:23:18.760 --> 01:23:26.159 I mean not everyone participating in this because it can feel a little strange having your face on the guinea pig. 1153 01:23:26.159 --> 01:23:30.960 So that's, we made it optional, and I think that's part of trying to, yeah. 1154 01:23:30.960 --> 01:23:31.960 Thank you. 1155 01:23:31.960 --> 01:23:32.960 Thank you. 1156 01:23:33.960 --> 01:23:36.960 Perfect. Just a couple more minutes for questions. 1157 01:23:36.960 --> 01:23:39.760 I'm going to ask a question from this side. 1158 01:23:39.760 --> 01:23:42.760 I'd like to talk really briefly about the Claw-Simbly machine. 1159 01:23:42.760 --> 01:23:48.880 And specifically, basically you can create your own avatar. 1160 01:23:48.880 --> 01:23:51.560 And if you're not happy, you get three tries to do that, et 1161 01:23:51.560 --> 01:23:52.060 cetera. 1162 01:23:52.060 --> 01:23:54.739 It's a very fun sort of game to play. 1163 01:23:54.739 --> 01:23:56.319 But how did you go about designing 1164 01:23:56.319 --> 01:23:57.560 all of the different elements? 1165 01:23:57.560 --> 01:23:59.239 Was there some type of taxonomy? 1166 01:23:59.239 --> 01:24:02.880 You were like, OK, there's eyes, and there are 1167 01:24:02.880 --> 01:24:05.279 like 20 different types of eyes. 1168 01:24:05.279 --> 01:24:11.359 There's quite a diversity of facial animation, of clothes, etc. 1169 01:24:11.359 --> 01:24:12.640 How did you go about designing that? 1170 01:24:14.079 --> 01:24:19.520 So basically, at first, we also were facing this, how do we actually make it? 1171 01:24:19.520 --> 01:24:24.239 And we decided on just making a base model at first, 1172 01:24:24.239 --> 01:24:26.579 and then fitting or figuring out 1173 01:24:26.579 --> 01:24:29.720 how we best fit facial features on there. 1174 01:24:29.720 --> 01:24:34.380 So basically in a way that all the same and it's just textures that we swap around. 1175 01:24:34.380 --> 01:24:39.779 And during the process we also had to think about what features actually work, what are 1176 01:24:39.779 --> 01:24:46.760 too much, what if stuff intersects and covers each other. So it was pretty much just a trial 1177 01:24:46.760 --> 01:24:51.180 and error. At first we had a phase of trying how to best make it work and then we were 1178 01:24:51.180 --> 01:24:52.960 just producing lots of assets. 1179 01:24:52.960 --> 01:24:56.100 Have you calculated how many different combinations there are? 1180 01:24:56.100 --> 01:25:01.039 Like combinations I'm not quite sure but we have over a hundred different assets but they're 1181 01:25:01.039 --> 01:25:07.600 like technically like four-ish slots like the hair, the eyes, the noses, the mouth, and the 1182 01:25:08.159 --> 01:25:10.159 the clothings. 1183 01:25:10.640 --> 01:25:12.000 I don't have an exact number. 1184 01:25:12.000 --> 01:25:16.640 I have not managed to recreate the same character and I've been playing it for the last three days, so 1185 01:25:17.039 --> 01:25:18.760 there's a lot of possibilities. 1186 01:25:18.760 --> 01:25:25.140 Okay, maybe one more question from the audience or apparently from the podium itself, since we've introduced 1187 01:25:25.140 --> 01:25:30.119 that possibility, if you have any questions for anyone else. If not, I will ask a last 1188 01:25:30.119 --> 01:25:39.119 question and, hmm, should I go controversial or simple? Both, simple and controversial. 1189 01:25:39.119 --> 01:25:46.180 Okay, then I'm going to have to ask Diaz and Machina. The visual representation of Jesus. 1190 01:25:46.939 --> 01:25:48.359 Tricky, tricky topic. 1191 01:25:48.579 --> 01:25:49.659 How did you guys go about that? 1192 01:25:51.439 --> 01:25:55.500 How did you go about deciding how it's going to be designed? 1193 01:25:56.000 --> 01:26:00.779 Or did you just say, AI, give me a picture of Jesus? 1194 01:26:00.779 --> 01:26:09.640 Like originally, we wanted to go for a kind of stereotypical representation of the face. 1195 01:26:09.939 --> 01:26:17.760 So actually what my original plan was to, like you have to feed an input video to this generative video service. 1196 01:26:19.840 --> 01:26:26.239 And like two minutes of a person talking. And what I originally had planned is like, 1197 01:26:26.239 --> 01:26:29.939 I do a face swap with a painting, 1198 01:26:29.939 --> 01:26:32.399 a depiction of Jesus Christ, 1199 01:26:32.399 --> 01:26:37.399 at like a Dutch painting actually that I found fitting. 1200 01:26:37.520 --> 01:26:40.100 And the face swap worked, 1201 01:26:40.100 --> 01:26:45.300 but per the user agreement with that service, 1202 01:26:49.699 --> 01:26:50.659 you could only upload a video of a real person talking. 1203 01:26:52.539 --> 01:26:54.199 And we also had actually an artist who wanted to be the face of it, 1204 01:26:54.399 --> 01:26:55.979 or almost agree to it, 1205 01:26:56.039 --> 01:26:57.140 but then he got doubts, 1206 01:26:57.319 --> 01:26:58.560 and he wasn't there anyway, 1207 01:26:58.560 --> 01:27:00.760 and then I thought, yeah, I'll do it. 1208 01:27:03.279 --> 01:27:06.079 Yeah, that's how it came about 1209 01:27:06.079 --> 01:27:07.619 you definitely have to try it 1210 01:27:07.619 --> 01:27:10.260 you can't experience it in 2D 1211 01:27:10.260 --> 01:27:12.399 you really have to sit in the room and see 1212 01:27:12.399 --> 01:27:13.840 Jesus and speak to Jesus 1213 01:27:13.840 --> 01:27:16.399 I'd like to thank you so much for all 1214 01:27:16.399 --> 01:27:18.079 participating, coming this long way 1215 01:27:18.079 --> 01:27:20.300 and helping with the setup and we've got a couple 1216 01:27:20.300 --> 01:27:21.899 of days of exhibitions still ahead of us 1217 01:27:21.899 --> 01:27:24.020 but all of you in the audience 1218 01:27:24.020 --> 01:27:26.640 when you are finished attending the conference today, 1219 01:27:27.060 --> 01:27:30.060 we're open until, I believe, 7.30 p.m. tonight 1220 01:27:30.060 --> 01:27:33.319 and all the way until Sunday and 6 p.m. on Sunday, 1221 01:27:33.380 --> 01:27:34.880 but every other day until 7.30 p.m. 1222 01:27:35.560 --> 01:27:37.880 Please drop by and try out the exhibits. 1223 01:27:38.020 --> 01:27:38.579 Tell your friends. 1224 01:27:39.279 --> 01:27:41.619 And again, thanks so much for participating. 1225 01:27:41.859 --> 01:27:43.260 I'm going to run over to the exhibition space. 1226 01:27:43.260 --> 01:27:44.579 Some of you might be doing that as well. 1227 01:27:45.539 --> 01:27:47.000 Lots of fun at the rest of the conference. 1228 01:27:47.340 --> 01:27:49.199 We have a very exciting panel starting here 1229 01:27:49.199 --> 01:27:50.119 in just about five minutes. 1230 01:27:50.199 --> 01:27:50.819 Thank you very much. 1231 01:27:52.640 --> 01:27:53.199 Thank you.