WEBVTT

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 Tekstet av Nicolai Winther Nå er det en av de fleste som har kastet seg på denne vegen. Thank you. Everyone, to the last session for the first day.

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 My name is Michael and I co-chaired the research track together with Philippa Ski and Catherine Isbister.

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 We received more than 30 submissions and out of those 30 submissions we selected six high-quality papers.

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 And we'll start with the first contribution.

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 It's called XR meets the performing arts.

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 Sorry.

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 Mobile phones.

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 XR meets the performing arts led by laboratories at intersection of theater and virtual production.

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 And this was offered by Ilya Mirsky, Volker Hetzle, Ludger Engels and Simon Spielmann.

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 So please welcome on stage. Can you hear me?

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 Yeah, obviously.

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 So, yeah, hello to this afternoon session.

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 So let's quickly start because I heard we just have 10 minutes time.

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 So my name is Simon.

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 I'm here with Ilya.

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 I'm going to present you what we are doing at Film Academy Baden-Württemberg in cooperation

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 with the Academy of Performing Arts, both in Ludwigsburg.

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 I myself and Volker as well, we are from the Karl-Lemme-Institut, which is part of Film

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 Academy.

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 Film Academy, for those who don't know it, is a classical film school close to Stuttgart

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 in Ludwigsburg in Germany.

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 So there you can study classical courses like writing, acting, not but directing,

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 camera, as well as visual effects and computer animation where we are closely

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 connected to. We from film from Kallebner Institute we have an extensive

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 background in virtual production

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 and we're running since 2013 already EU-funded projects in the scope of virtual production.

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 Basically, you can see it here on this picture on the left top, we already started in 2007

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 developing our own software around the scope of virtual production, virtual reality and

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 XR technology.

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 We are also running and supporting workshops like the workshop we had with the Academy of Performing Arts.

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 Hello, good evening or good afternoon everyone. I'm Ilya Mirsky, I am lecturer at the Academy for Performing Arts. I lecture on theater and digitality.

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 The Academy for Performing Arts is on the same campus as the Film Academy,

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 where the Karl Lambert Institute is placed.

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 And the Academy for Performing Arts, in German it's Akademie für Darstellende Kunst,

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 was founded in 2007.

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 And it has programs in acting, directing directing and a master's in dramaturgy

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 and also a very strong focus on practice-based and interdisciplinary artistic education.

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 There is a short trailer which you can also see on our website and I'm teaching there

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 for five years now, Theatre and Digitality. And the paper we are presenting now is a collaboration

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 between both institutes on this campus in Ludwigsburg.

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 So, basically, at our Academy for Performing Arts,

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 there is in the curriculum

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 like an obligatory theoretical Monday

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 Theorie Montag it's called

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 and it's about introducing all the students

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 at the Academy for Performing Arts

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 to theoretical frameworks

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 which they need for their education

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 acting, directing and also dramaturgy

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 and in the program on digitality or technology and theater,

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 I am trying to teach them about the technical continuation

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 of looking at theater as a history of technologies

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 because basically the very first theaters

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 or theaters were the very first theaters or theaters were the very first institutions who got electricity

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 to run like the lights back in the end of the 19th century so you can see here it's like from

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 a publication from the theater scientist ulf otto a very first sketch about a map in berlin and you

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 you can see like the very first electric cables were going

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 from the power plant straight to the theater and to the to the castle so back

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 then like having new technology and theater was something very common and

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 what I do is I focus there on looking at technology and media technology especially as something which

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 highlights performing arts instead of like giving away the focus to the

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 technology because in performing arts is all about the human actors and the human

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 body and not so much about the technology and that's why and how we got together for the workshop for LEDVol Lab.

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 Now some words to the technology or maybe where we're coming from.

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 So first of all, what is XR?

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 XR is a catchphrase for everything which is basically under the roof of AR, augmented reality, mixed reality and virtual reality.

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 under the roof of AR, augmented reality, mixed reality and virtual reality. And we see also virtual production as in this world of XR technology.

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 Who of you know about virtual production or exactly knows what it is?

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 Raise your hands. Oh yeah, quite a lot. So basically here a small quote from the

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 Visual Effects Society. So virtual production is a collaborative and So basically here a small quote from the visual effects society.

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 So virtual production is a collaborative and interactive digital filmmaking process

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 which begins with virtual design and digital assets, develops and continues in an interactive nonlinear process throughout the production.

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 Interactive and nonlinear is the important thing here.

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 So because in the last decades what happens to film production is that you often on a film set just see blue screens and green screens.

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 And the idea, one of the many ideas behind virtual production is to bring back the filmmaking like we did it in the past.

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 You can see it here, a good example of Metropolis where really almost the whole film has been

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 made on film set a whole film crew saw or sees what happens on the film set of

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 course there is still in this was post-production there is a cutting day

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 is sound etc but the intensive amount of creations, foregrounds, digital backgrounds, all this stuff

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 does not happen in virtual production in the post-production, but mostly directly on a film set.

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 So the

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 teaching format LED wall lab, which we developed throughout the last

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 teaching format LED wall lab, which we developed throughout the last three years, has the core challenge how to

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 work in the context of performing arts with a huge LED wall and

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 it's asking students and those are all first-year students to use the LED wall as something which can extend the human body

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 instead of like taking away the attention.

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 So for that the students get like an introduction into the basic technologies and concepts of Unreal Engine

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 and also about like a theoretical framework

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 where this whole technological background is coming from

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 and where it's actually aimed for, as Simon just said,

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 more for film and media production purposes.

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 So we think, and especially I'm convinced

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 that in the future, LED walls will play a major role in theater.

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 So it's actually somehow maybe XR in that sense

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 is the continuation of the electrification of theater.

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 And so we also have the opportunity to showcase small performances

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 the students produce within a very limited time frame.

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 So they just have two hours of working with the LED wall. So most of the stuff

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 has to happen in advance conceptually and also really focusing on how to kind

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 of incorporate the LED wall as part of their artistic performance. So there are

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 always groups of five to six people, some

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 actors, a director and a dramaturg who develop together with students from the film academy

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 like those artistic concepts. You will see a trailer in a moment. Sometimes those students

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 also decide to use depth sensors also to somehow make the LED wall more interactive like Kinect

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 or Intel Sense. Here on the right down corner you also see like a very special moment because

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 we have also students with disabilities in our programs so there we also try to make

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 another use of the LED wall as something which amplifies certain movements

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 or somehow, like in this case, it's an acting student and she cannot see,

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 so we somehow play with the brightness of the LED wall to somehow create a different tension in this artistic performance.

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 And in the end, after those students develop for several weeks their performances,

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 And in the end, after those students develop for several weeks their performances, they are all

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 highlighted and showcased with a discussion afterwards in the studio, but with a very restricted amount of time.

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 So, yeah, absolutely. So like I said,

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 virtual production, all these technologies around it, is way more than just technology for movie making.

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 It's more a sandbox of tools you can use in a lot of purposes.

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 And we also have the luck to announce that we will have a permanent virtual production installation,

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 including a LED World Film Academy, which will be then also available of course for the students of the ADK.

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 And yeah, let's see how we can further develop the collaboration here.

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 Yes, so I think there's definitely a lot to explore because theater is like one of most of the ancient art forms has like a

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 lot to learn from new technologies and especially I think the most

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 important thing is always to create artistic works which really highlight, as I said, the

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 performers and how this can look like you will see in this short trailer about this

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 year's presentation. Die Aprikosenbäume gibt es, die Aprikosenbäume gibt es, die Fahne gibt es und Brombeeren,

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 Brombeeren und Bromen gibt es und den Wasserstoff, den Wasserstoff. Die Zikaden gibt es. Wegwarte,

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 Kronen und Zitronenbäume, Zitronenbäume, Zitronenbäume.

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 Die Zikaden gibt es, die Zikaden, Zeder, Zitresse, Zerebellum.

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 Die Tauben gibt es. Die Träumer, die Pucken, die Töter gibt es.

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 Die Träumer, die Puppen, die Töter gibt es.

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 Die Töter gibt es.

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 Die Tauben, die Tauben, Dunst, D den Tod und die Gedächte gibt es. Die Gedächte, we end our presentation. Thanks for your attention and looking forward for your feedback and your questions.

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 Yeah, thanks for this great talk. Are there any questions from the audience?

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 Anyone? Okay, I've got a question. So in your paper you mentioned that each student group had a limit of about two hours within the wall.

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 And you say that this forces creativity.

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 But if the students would have more time, how would you deem that the effects will be?

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 So I think it really depends on the students, of course.

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 I think this limited amount of time has something pressuring,

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 which is really like a value of this pragmatism,

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 which is incorporated into theater makers.

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 And I think, I mean, of course,

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 having more time would mean

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 we could also play with virtual cameras

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 and really use more elaborated VP concepts

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 for kind of extending the possibilities of this LED wall.

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 So not just using this interactive part

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 or like a big screen and a bright screen,

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 but also more interactively.

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 And I think this would mean we would need a lot of more time.

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 So I think it's either or,

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 and that's kind of a question of scalability. So I think either's either or, and that's kind of a question of scalability.

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 So I think either it's kind of one week

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 playing with the LED wall

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 and the whole virtual production set up

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 and really making a whole like play with it,

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 or like staying with this little amount of time,

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 which is somehow narrowing down the possibilities

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 by forcing and fostering creativity in that way.

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 It really helps

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 in stopping thinking

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 about too much about technology.

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 You're just there and then

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 please do it now and don't think about

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 the surrounding. Of course then you need help from people

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 which are running the system, which are there

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 but this also gives you

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 a bigger freedom of just doing

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 things instead of thinking about

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 what could it be and what happened if we and so on.

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 You see it quite often in theater.

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 There are young directors who are really talented

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 and then they get the chance to stage something

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 on the big stage and use all the technology which is there.

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 Those plays sometimes become boring

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 because they want to use all the technology

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 because they have all those resources.

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 And I think there is something in this moment of limiting those resources but still having like a strong concept which

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 can be realized in a very short amount of time and speaking about theater

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 nowadays it's also kind of something which is very realistic going out of the

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 Academy having like a very less and less well-functioned

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 subvention like cultural scene.

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 So working in theater is always kind of

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 working with limited resources in that way.

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 Thank you.

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 Any?

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 Yeah, we have one question.

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 Thanks.

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 Really interesting, and I'm just,

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 maybe this picks up on the last thing you said about giving them two hours where they can experiment, but they don't have too much time to experiment.

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 I was wondering if you talked to the students about the potential danger of the technology overshadowing the content, and if that's an issue that you discuss, and of course, how you counter that.

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 if that's an issue that you discuss and of course how you

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 counter that. Yes, thanks

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 for your question. So

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 in the preparation to those workshops

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 and to those presentations we

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 speak a lot about technology and

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 there is always

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 and it's getting like year by year

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 quite more difficult

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 to talk to the students because students

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 who go to do theatre

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 are quite often very sceptical about technology.

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 That's the reason why they go into this very analogue art form.

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 So it's very important to somehow have this onboarding process

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 convincing them that it's really about trying to keep up

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 to a certain kind of tradition and history of theatre

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 as a technical art form where

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 it's always about the human. So it's kind of interesting in regards to that when

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 theatres became electrified, like there was this big problem that the humans

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 disappeared so they had kind of the problem to somehow become more present

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 because the light was so bright in the back

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 that they needed some spotlights.

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 So spotlights were just introduced

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 after theatres were electrified to highlight the human body.

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 So there are certain lines of tradition,

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 that's what I want to say,

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 and I think it's really important to make everyone aware

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 if you go

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 into like this professional career

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 of becoming like a theatre actor

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 or a theatre director it's really important to

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 somehow be aware of that theatre

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 is not on purpose so analog

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 how it is today but it's because there

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 are so many resources

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 from the past 56 years

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 which were not used in the way

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 how they could have been used so now it's a new

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 kind of entry point to use

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 virtual production

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 because also

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 through virtual production

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 film production becomes way more theatrical

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 everything is somehow

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 centered in the

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 film studio with like a LED

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 wall and by that

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 also film production is again way more theatrical

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 because it's all in the set, right? So there are very interesting movements and shifts

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 happening right now.

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 Okay, any other questions from your side? Yes?

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 Thank you, very interesting.

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 At what point of production do you use the screen?

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 Is it more sort of an idea exploring at the beginning

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 of the creative process or more towards the end

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 to test if things really work

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 out where they have those two hours?

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 So from our side it's a classical film production.

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 So we really use it in the scope of a film production as virtual backdrops, as surroundings

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 and even for virtual foregrounds and all this stuff.

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 So it's a classical movie production or commercial production in the scope of Film Academy's

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 teaching.

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 And we are using it like as a very special medium and as a

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 stage design somehow as a part of a very important part of the

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 scenography which somehow can as in a regular theater play like become a

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 certain part of the way how performances or stories are told and presented on stage. Does it change a lot after you've projected it?

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 Or is it sort of what is there is there

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 and you have to have produced it before?

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 This is what we like to achieve.

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 So what is there is there,

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 so and everything is called in camera

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 and then everything is done in best case.

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 Of course, there are pros and there are pitfalls, but this is

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 our aim.

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 Thank you.

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 Okay, yeah, I think...

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 One more question. One last one.

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 Thank you for your talk.

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 Do I understand you correctly

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 that by now, using

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 LED walls in theater

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 and also in film that the stage set in a theatre

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 and the LED film set are getting closer and it's basically the same way of production.

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 Is that correct or what did I misunderstand that?

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 So that's a very good question.

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 I think I'm not, I don't think that's getting closer but i think it's

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 kind of similar yeah i think uh i think the process is becoming more theatrical so film

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 production is becoming more theatrical through virtual production and that's kind of interesting

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 because it's not separated into pre-process like pre-ning, like shooting and then post-processing,

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 so it's way more condensed and I think this is something very theatrical because in the theatre

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 you have all the different departments working in one space with all the technicians,

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 all the artistic department trying to somehow make this performance happening and I think this

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 is something very special and I think in that regard film production can learn a lot from theater.

281
00:22:51.000 --> 00:22:56.000
 Okay, yeah, so Simon, Ilda, once again thank you for your great talk.

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 We move on to the second talk with the title, The Extractive Image World, Artistic Counterpractices in Gaussian Splitting,

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 Nerves and Volumetric Machine Vision by Tom Milnes.

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 Hi, everyone. Can you hear me? Okay.

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 So, yeah, thanks for all coming.

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 My name is Tom Milnes, so I'm fromf o'r Celfyddydau Cysylltiedig ar FFAMWYTH.

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 Rwy'n edrych ar y byd ffyrdd ddysgu.

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 Felly dyma brosiect ymchwil.

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 Rwyf wedi edrych ar ffyrdd newydd o ddysgu spatiol,

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 fel sgwrs yn sblatio nerffau a ddysgu ffoliometrig.

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 Felly, fe wnes i gyhoeddi, neu fe gyhoeddi,

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 papur yn ddiweddar,

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 ganddo'n enw Splatstraction, a oedd yn edrych ar y esthetig a'r ecologi cymdeithasol,

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 a'r theori, y archeoleg cymdeithasol, o ffyrdd newydd o ddiffyg ymddygiadau ymlaen,

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 a oedd Sblatstraction yn ennill y broses ymarferol rhw'r ddau rhan, sy'n ymwneud â'r ffordd, yn y ffordd ddiwylliannol,

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 o ran ystradio data,

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 ond hefyd yn y ffordd amgylcheddol.

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 Byddaf yn edrych ar hynny heddiw,

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 ond mae'r peth yw edrych ar artistiaid

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 sydd wedi datblygu rhagweithiau cydweithredol

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 gan ddefnyddio'r fforddau ystradio'r ddau rhan,

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 neu ar leiaf dangos ffyrdd

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 a ffyrdd o weithysgu ymddygiad ymddygiad, neu ar lai dangos ffyrdd a ffyrdd o weithio'n gwych

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 a allai eu cynnig er mwyn cyd-ddychmygu ymarferau ymddygiad.

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 Yn y papur, roeddwn i'n edrych ar John Gerard's Spirits, Ars Electronica Future Labs, Influence Ground Truth,

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 SkanLab Projects, Framerate Desert Pulse, pôl, a phrensig, ymchwil, a'r gwaith o...

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...Morosiannau Aliyari, gwaith, isis, hefyd.

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 Felly, mae'r hyfforddiant hyn yn pwysio'r ffantasi o ddiogelu captur realiti. the fantasy of a neutrality of reality capture. Often all these 3D scanning technologies

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 are called reality capture.

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 By making visible the sort of petrochemical residues,

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 the scanner agency, environmental duration,

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 the evidentiary uncertainty in the cultural extraction,

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 and infrastructural costs of these kinds of images.

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 So the paper argues that probabilistic spatial images are extractive image worlds, a'r costau ar gyfer y ffyrdd o'r ffyrdd hyn. Mae'r papur yn argyfwng bod ffyrdd ysbasiol yn fforddau ffyrdd ffyrdd ysbasiol,

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 ffyrdd sy'n ysbasi amgylcheddau neu, o ran ecologaethau,

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 ffyrdd, materion, canolfannau data, dŵr, gwaith, a chwastraff.

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 Felly, yn amlwg, dros y 30 mlynedd diwethaf, mae yna ddysgu fawr o ran ffynu ysbasiol. Ar hyn o bryd, bydd llawer ohonoch chi'n ymwybodol â sganio 3D, ac wrth gwrs, ffotogramedriaeth. Felly, mae'r argwmant yn y papur yn ymwneud â'r ffynu ysbasiol ymwneud â'r ffynu ymwneud â'r ffynu ymwneud â'r ffynu ymwneud â'r ffynu ymwneud â'r ffynu ymwneud â'r ffynu ymwneud â'r ffynu ymwneud â'r ffynu ymwneud â'r ffynu ymwneud â'r ffynu ymwneud â'r ffynu ymwneud â'r ffynu ymwneud â'r ffynu ymwneud â'r ffynu ymwneud â'r ffynu ymwneud â'r ffynu ymwneud â'r ffynu ymwneud â'r ffynu ymwneud â'r ffynu ymwneud â'r ffynu ymwneud â'r ffynu ymwneud â'r ffynu ymwneud â'r ffynu ymwneud â'r ffynu ymwneud â'r ffynu ymwneud â'r fwyaf yn ymdrech yn llai fel llyfr nag ydy'r byd ddiddordeb. Mae'n dod yn ffordd o'r ffordd ysbrydoli, edifio a chyflawni ysbrydol.

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 Mae ddiddordeb fel gwrsion, splatiau, nerffau, adnoddau 3D, a systemau'r gyfnodol am ddod â'r amgylchiadau hyn

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 i'w gyflawni i mewn i ddynion ymdreol sy'n gallu cael eu gwylio, gweithio, edrych,

320
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 ei ddysgu ac ei ddatblygu ar draws llwythoedd. Felly, yn dylunio hanes diwylliannol neu XR, mae hyn wedi

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 cael ei ddynu fel captur realiti, yn aml, neu mae'n rhan o'r byd captur realiti hon. Felly, mae'r

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 gwasanaeth yn amlwg o ran y cyfathrebu cyffredinol rhwng y byd a'r ddynion, ond mae'r

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 llwyth o'r byd dynion yn dibynnu ar ystraddoiaeth o'r byd ffrindiau yn dibynnu ar ychwanegwyr

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 sydd yn anodd i'w ddefnyddio ar y pwynt defnyddio.

325
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 Mae ffotogramedigaeth, LIDAR a chynllunio llaw sy'n seiliedig ar y ffotograff cyffredinol

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 gan gyd-dodd ymlaen mewn mesurau, clywchau pwynt, yn gwneud dyfodol o ddifrif. Dyfodol yn rhywbeth a oedd wedi'i benderfynu,

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 ei gyflawni, ei gyflawni ac ei gynhyrchu.

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 Ac mae ddifrifion fel Gawson Splats a NERFs yn gynhyrchu'r cyflwyniad hwn.

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 Felly mae fy ymchwil wedi bod yn enwio'r fath o gynyrchu

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 o'r cyfnod o ddifrifion cyfnodol arno.

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 Felly mae ddifrifion gwyddonol yn fformau ddifrifol sy'n gweithredu

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 sy'n gweithredu fel cyfnod o ddifdwyliant spatiol trwy estimad cymhwysol,

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 yn hytrach na trwy ysbais optig unigol neu safon geometrig stafell unigol,

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 yn ymddygiadu'r ddiddordeb cymhwysol ar brosesau ysbais.

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 Felly, yn ddiogel, rwyf wedi bod yn edrych drwodd, dyma fframing archeoleiddio cymunedol, sy'n gallu helpu i ddeall sut yw fframingau gwyddonol spatiol probabilistig nid yn unig yn ffwrdd sydd wedi'i gynnal o ddechrau technolegau gwyddonol hwy,

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 ond yn ymgyrchu a chynyddu ymddygiadau hanesyddol ar gyfer cymorth dimensiynol. Mae'n bwysig i'w ddiddordeb yw effeithiau dyfodol

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 sy'n trefnu dimensiynolrwydd o'r ffotograffig

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 i'r ymarferau stereoscopig o edrych ar y ddewis transplen

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 i ddewis cyfrifiadau cyfathrebu cyfathrebu hefyd,

340
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 yn dangos nad yw dyfodol yn unigol.

341
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 Mae'n gysylltiedig â ffyrdd o sefydlu cyrff,

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 lles a gwybodaeth. Mae ei gyfrifiad yn bwysig yn enwedig oherwydd mae'n cysylltu â dyfodfyrdd o sefydlu cyrff, ysgolion a chwybodaeth.

343
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 Mae ei gyfrif yn arbennig oherwydd ei fod yn cysylltu â'r dystyr sy'n seiliedig ar y camera

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 i ddylunio cynlluniau, i gynhyrchu, cyfrif, cynhwys, a chyflawni'r bydau gweledol hyn.

345
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 Felly mae ime sbaethol probabilol yn cynnwys y hanes hwn. Nid yw'n cyflawni ffyrdd yn unig.

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 Mae'r ddynion yn gwneud gwneud gwneud gwneud. Mae'r adroddiad yma yn fizial

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 yn rhoi llwybr theoretigol yn bwysig i'r papur.

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 Felly, nid yw imeion gweithredu yn unig.

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 Nid yw'r imeion yn gweithredu i'r cyfrifion dynol.

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 Maen nhw'n cael eu defnyddio fel rhan o broses

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 o ran cyfrifiad neu systemau eraill.

352
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 Maen nhw'n imeion sy'n gweithredu,

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 sy'n arwain, dategu, clasifio,

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 targedu neu'n hyfforddi.

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 Felly pan fydd gwasganiadau

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 neu nerffau wedi'u cyflwyno i Gorzyn

357
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 mae'r syniad hwn yn newid ymwneud

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 o'r ffermio diweddol i'r gweithgareddau sy'n y tu ôl

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 ac sy'n cynhyrchu ac yn ei ddysgu.

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 Mae ffyrdd yma'n cael eu defnyddio

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 i ddarganfod y ffermio diweddol

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 y gwelwch. Felly,

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 mae sên ffermio neu ffermio radiaeth nid sydd gennych chi. Felly, ystod y ffordd ysbwll neu'r ffordd radiaeth

364
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 yw nid yn unig ysbwll ysbwll,

365
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 ond set o hyderau o fewn camera,

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 cyd-dynllunio, dysgu cyd-dynllunio,

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 data sets,

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 gweithgaredd graffig a gwasanaethau platfform.

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 Felly mae'r byd ime yn gweithredol

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 oherwydd ei fod wedi'i adeiladu i'w wneud

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 neu'i wneud trwy.

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 Ac yn amlwg, mae'r hyn yma wedi'i adeiladu ar

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 ystod ystod hir nawr o d ddewiswyr cymdeithasol

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 yn siarad am y canlyniadau ecologol y cyfrifion technoleg ac yn sicr cymhwyso.

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 Felly, ymddiriedaeth geolegol Eusiporica, ymddiriedaeth ffinitaidd Sion Kubitz,

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 ymddiriedaeth cymdeithasol Jennifer Gabrys, Lisa Parks,

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 a'r hyn a allwch chi ei gychwyn, yn ogystal â gwaith Sharon Matynith Sharon Matyn ar gyfer sefydliadau cymdeithasol y cymdeithasol,

378
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 mae'r cymdeithasau'n nodi nad yw'r cymdeithas yn gallu cael eu llwyddo

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 o'u cefnogaethau a'u sefydliadau.

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 Mae hyn yn ddiddorol i'w ddod i'r pwynt o ddiflwyr spesial probabilistig,

381
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 gan fod y cymdeithasau sefydliadol yn cymryd rhagor

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 i brosesau dysgu maskin, hyfforddiant GPU,

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 brosesu gweithredu ar gael, ac obsolesnwm ar gyfer hardwyr sy'n cynyddu. because they are increasingly tied to machine learning processes, GPU training, cloud-based processing,

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 and accelerated hardware obsolescence.

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 The aesthetics at the front end of a smooth depth

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 and immersive scene are produced

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 and obviously tied to rough material geographies.

388
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 So as I mentioned, this is a dual extractive turn, geograffiaethau materol. Felly, fel y dywedais, mae'r troi'n ymwneud â'r ddwy-gynhyrchu.

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 Yn ymwneud â'r ddwy-gynhyrchu, byddai ysbesiadau arddangos yn cael eu deall fel bydau ymgyrchu.

390
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 Ac mae hynny'n ddwy-fynd, fel y dywedais, y cynyddu o amgylcheddau drwy'r cyfnod,

391
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 drwy gyflawni cerfyniadau, cyrffau athrawiaethau i ffyniadau cymhwyso,

392
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 felly dyna'r casgliad o ddata,

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 ond hefyd o ran eu llwyth o ffyniadau o'r byd a'r amgylchedd.

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 Yn ail, mae hyn wedi'i wneud trwy gweithredu ymchwil, camera, senswraethau, GPU,

395
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 batreau lithium, sefydliadau cwylio data,

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 yn ogystal â gwaith gwaith a chyfnodau e-bwyd.

397
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 Gallai pob un ohonyn nhw fod yn ymwneud â'r penderfyniadau amgylcheddol y mae'r ffyniadau

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 ffyniadau hyn yn arferol arnyn nhw. Felly mae'r ddiddordeb ddiddordeb y ffordd yw'r ffordd yma,

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 y ffordd cynaliadol o ddynion cyffredin. Felly mae'r cyfraniadau'r papur

400
00:32:21.599 --> 00:32:26.720
 yn ymwneud â ddim yn ymddangos bod ym, sefydliad gweithredol neu gweld yn newydd,

401
00:32:26.799 --> 00:32:31.119
 ond mae'n ymwneud â sbesifio sut mae ffyrddiau ysbesiol probabilistig

402
00:32:31.200 --> 00:32:35.079
 yn ymgyrchu'r traedegion hyn a'u symud ymlaen at gyfnod bywyd.

403
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 Pan fyddwn yn siarad am y gweithgareddau cyd-drech,

404
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 mae'n ddigon dderbynol i'w gwybod yw Jon Gerrard's Spirits.

405
00:32:44.119 --> 00:32:49.000
 Mae'r gwaith gweithredol yn gynharach yn ystod ar-lein sy'n cael ei gyflwyno yng Nghymru drwy 25-26 oed.

406
00:32:49.000 --> 00:32:54.000
 Mae'n gwaith sy'n seiliedig ar broses ar-lein sy'n cynnwys gwaith gwasanaethol,

407
00:32:54.000 --> 00:33:00.000
 gwasanaethau gwasanaethol o ddoddau plasti, sgwrs, sy'n cael eu canfod ar beichiau o amgylch y byd,

408
00:33:00.000 --> 00:33:06.000
 a sgannu ffotograff, felly mae'r ddoddau o''r rhain y gall y gwylio ddewis ac ymdrech â nhw,

409
00:33:06.000 --> 00:33:09.000
 caelwyd mewn sblatiau gorsiwn o ddynion uchel.

410
00:33:09.000 --> 00:33:15.000
 Mae gwylwyr yn cydnabod y ddynion hyn fel symuladau sculpturol,

411
00:33:15.000 --> 00:33:28.279
 ac pan fyddwch yn clicio arnyn nhw mae'r ffwrdd o'r sgiliau petro-chemig yn ymgymryd â nhw. Y mwy y gwelwch chi â nhw, y mwy y byddant yn cael eu llwythu gyda'r gwaith olyg.

412
00:33:30.440 --> 00:33:35.279
 Mae'r gwaith yn ymwneud â'r sblat i hanes petrochemig

413
00:33:35.359 --> 00:33:38.599
 sy'n dod yn anodd.

414
00:33:38.680 --> 00:33:41.119
 Mae plastig fel ffosil,

415
00:33:41.200 --> 00:33:43.119
 y llwyth o'i llwyth o'i llwyth,

416
00:33:43.200 --> 00:34:08.000
 a'r cyflawniad o'r môr fel cyflawniad planedol a'r symulad o'r brdysgu, mae'n ddiddordeb i'r ddysgu, mae'n ddiddordeb i'r ddysgu, mae'n ddiddordeb i'r ddysgu, mae'n ddiddordeb i'r ddysgu, mae'n ddiddordeb i'r ddysgu, mae'n ddiddordeb i'r ddysgu, mae'n ddiddordeb i'r ddysgu, mae'n ddiddordeb i'r ddysgu, mae'n ddiddordeb i'r ddysgu, mae'n ddiddordeb i'r ddysgu, mae'n ddiddordeb i'r ddysgu, mae'n ddiddordeb i'r ddysgu, mae'n ddiddordeb i'r ddysgu, mae'n ddiddordeb i'r ddysgu, mae'n ddiddordeb i'r ddysgu, mae'n ddiddordeb i'r ddysgu, mae'n ddiddordeb i'r ddysgu, mae'n ddiddordeb i'r ddysgu, mae'n ddiddordeb i'r ddysgu, mae'n ddiddordeb i'r ddysgu, mae'n ddiddordeb i'r ddysgu, mae'n ddiddordeb i'r ddysgu, mae'n ddiddordeb i'r ddysgu, mae'n ddiddordeb i'r ddysgu, mae'n ddiddordeb i'r ddysgu, mae'n ddiddordeb i'r ddysgu, mae'n ychydig o'r ffricsiwn, ond yn gweithrediad dechnolegol o astudiaeth materol sy'n ymwneud â chyflawni.

417
00:34:08.000 --> 00:34:16.000
 Mae gweithrediad petrolewyr, cynnyrch cymdeithasol, drwy'r ddrin maraidd, ymwneud â'r cymig, a'r ffwrdd.

418
00:34:16.000 --> 00:34:23.000
 Mae'r gwaith yn digwydd yn ddiwylliannol fel ddiwedd arferol o'r plastig a'r gwasanaeth cymdeithasol.

419
00:34:23.000 --> 00:34:25.760
 Mae'r arfer GERWA yn bwysig oherwydd ei fod yn ysbrydoli

420
00:34:25.760 --> 00:34:32.000
 gwahanol gwahanol ffyniad. Mae ffyniadau sbaethol ymddygiadol yn gallu gwneud

421
00:34:32.000 --> 00:34:37.880
 ddiffyg amgylcheddol yn ddiffygol ond dim ond drwy ymddygiad yn y

422
00:34:37.880 --> 00:34:43.320
 ecologi cyfrifiadol cyfrifiadol sy'n gweithio hefyd i ddychrynwad amgylcheddol.

423
00:34:43.320 --> 00:34:46.000
 Nid yw'r ysbrydol yn llwyddo'r cyfranogwch.

424
00:34:46.079 --> 00:34:50.960
 Mae'r byd imeiddio yn dweud bod yna ddwylyddoedd petrochemigol

425
00:34:51.039 --> 00:34:53.599
 a threfn cyfathrebu.

426
00:34:56.480 --> 00:35:01.159
 Gall llawer ohonoch chi fod yn ymwybodol â phrosiectau architechtiaid ffrensig.

427
00:35:01.239 --> 00:35:04.719
 Maen nhw'n gweithio ar gyfer rhoi ymwybyddiaeth a'r gwir,

428
00:35:01.840 --> 00:35:04.039
 projects, obviously they work providing voice

429
00:35:04.039 --> 00:35:06.119
 and truth or they aim

430
00:35:06.119 --> 00:35:08.199
 to provide testimony and show

431
00:35:08.199 --> 00:35:09.739
 reconstructions

432
00:35:09.739 --> 00:35:11.920
 of

433
00:35:11.920 --> 00:35:13.460
 voices against

434
00:35:13.460 --> 00:35:15.440
 oppressive or

435
00:35:15.440 --> 00:35:17.760
 totalising regimes that may be

436
00:35:17.760 --> 00:35:20.219
 obscuring evidence

437
00:35:20.219 --> 00:35:21.860
 as well. So they do this

438
00:35:21.860 --> 00:35:23.579
 in a very visually engaging way

439
00:35:23.579 --> 00:35:29.239
 so I think their spatial investigations use yn defnyddio 3D ffotogramedig, sylfaen ffotograff,

440
00:35:29.239 --> 00:35:35.119
 sylfaen fideo, a chynhyrchu architechtol, yn ogystal â chynhyrchu ardal agored o bobl

441
00:35:35.119 --> 00:35:41.000
 ar y llaw trwy ffotograffu a chyfrifoldebau cyhoeddus o ddewiswyr cyhoeddus, a diogelu amgylcheddol.

442
00:35:41.000 --> 00:35:48.000
 Felly, mae eu gwaith yn bwysig oherwydd mae'n trafod adeiladu ymddygiadol yn ddim fel realisme ymddygiadol,

443
00:35:48.000 --> 00:35:51.000
 ond fel broses ymddangos sydd wedi'i ddynnu,

444
00:35:51.000 --> 00:35:54.000
 ac mae'r ffyrdd, ymddygiadau a'r llwybrau yn rhaid iddynt fod yn ymddangos.

445
00:35:54.000 --> 00:35:58.000
 Mae'r ffyrdd yma'n ddibynnol i ddeall

446
00:35:58.000 --> 00:36:00.000
 gweledigaeth ymddygiadau ymddygiadol,

447
00:36:00.000 --> 00:36:04.000
 wrth ddangos nad yw adeiladu 3D yn unigol,

448
00:36:04.000 --> 00:36:05.000
 ond yn ymddangos, ym 3D reconstrucio'n unigol.

449
00:36:05.079 --> 00:36:07.840
 Mae'n gyfadwyol, yn gyfadwyol, yn sefydlogaidd...

450
00:36:07.920 --> 00:36:11.000
...a'n gysylltiedig o fewn y llwyth o ddewis.

451
00:36:11.079 --> 00:36:14.880
 Mae eilweithredwyr A.L. Wiseman yn ysgrifennu ar weithredwyr.

452
00:36:14.960 --> 00:36:18.000
 Mae llwyth o ddewis yn arbennig yn arbennig...

453
00:36:18.079 --> 00:36:23.000
...herwydd ydym yn ymddangos i ddewis ysbasiadau spasiol...

454
00:36:23.079 --> 00:36:30.000
...a'u gwneud i rhanau o'r ddau ffyrdd yn ymgymryd â'r ddau ffyrdd a'u gwneud i fod yn ymwneud â'r ddau ffyrdd.

455
00:36:30.000 --> 00:36:34.000
 Mae gwirionedd poliwng amgylcheddol yn digwydd yn aml ar sgailau sy'n cynyddu'r gwylio,

456
00:36:34.000 --> 00:36:44.000
 a'r amgylcheddau'n cael eu llwyddo, ac mae modd i'r modelau amgylcheddol gwneud y ffyrdd fel yna fod yn ddigon ddiffygol,

457
00:36:44.000 --> 00:36:50.320
 ond dim ond os yw'n gwerthfawr a'r ffordd y mae'n rhan o'r dyfyniad, fel gyda gyd-architechtiaeth ffrensig.

458
00:36:50.320 --> 00:36:53.679
 Mae gyd-architechtiaeth ffrensig yn cyd-arhau ar ddyfyniadau rhanbarth ac yn dangos sut y mae

459
00:36:53.679 --> 00:36:59.039
 ffregion yn cefnogi neu'n herio cyfrif o ddydd. Mae hyn yn bwysig i

460
00:36:59.039 --> 00:37:03.119
 gwrsyn, sbatyn a nyrs, oherwydd gall eu tecniadau gynhyrchu'r awdurdod o

461
00:37:03.119 --> 00:37:10.000
 ddyddwch. Gall byd y ddyddwch yn ysgda yn ymddangos yn fwy cyffredin na'r ffordd sy'n ei gwerthu.

462
00:37:10.000 --> 00:37:16.000
 Mae architechtiaeth fferensig yn cynnig epistemoleg yn y gwahaniaeth.

463
00:37:16.000 --> 00:37:21.000
 Bydd y ddylunio'n ddisglos ei ffyrdd, ffyrdd, ymddygiadau a'r llwybrau.

464
00:37:21.000 --> 00:37:25.440
 Nid yw'r problem yw bod y y cyflwyniadau'n cael eu cael, ond yw'r caelwch

465
00:37:25.440 --> 00:37:31.119
 yn gallu cael ei wneud i ddod yn gyfan drwy dechnolegau a fydd yn gynhyrchu a chael eu gosod.

466
00:37:35.199 --> 00:37:41.920
 Mae morosiawn a'r alwadau a'r isis yn gweithio ar ddyfodol 3D,

467
00:37:41.920 --> 00:37:45.599
 gan sganio a chyflwyno i ofyn ar ar y gwleidyddiaeth o ddiogelu,

468
00:37:45.599 --> 00:37:47.599
 gweithredu a chwltur.

469
00:37:47.599 --> 00:37:52.400
 Rwy'n credu bod hyn yn bwysig yn benodol yma, oherwydd nid yw'n ymwneud â'r degradadau amgylcheddol

470
00:37:52.400 --> 00:37:56.400
 rydw i wedi siarad amdano trwy'r prosiectau eraill hefyd.

471
00:37:56.400 --> 00:38:05.960
 Mae problem yma o ran y gweithredu cwltur, a phwy sy'n cael ei sganio a phwy.

472
00:38:08.400 --> 00:38:08.480
 Mae ei bracteisio'n bwysig i ddeall,

473
00:38:11.960 --> 00:38:12.039
 oherwydd mae'n cael ei wneud gan ddysgu ystraddoedd,

474
00:38:14.639 --> 00:38:14.719
 ond nid ar gyfer ymddygiadau amgylcheddol neu gyfnodol.

475
00:38:16.679 --> 00:38:16.760
 Mae'n ddysgu am ystraddoedd epistemaidd a chwlturol,

476
00:38:18.599 --> 00:38:18.679
 sy'n ymwneud â phwy sydd ganddo'r hawdd i sganio,

477
00:38:22.519 --> 00:38:22.599
 storio, cyrru, gwaith, neu ffynnu'u data ystraddoedd,

478
00:38:25.000 --> 00:38:25.079
 o ddynion, llefydd a hanes.

479
00:38:28.880 --> 00:38:28.960
 Yn ei ysgrifennu ac yn ei gweithredu ar ddigidolololwg,

480
00:38:34.639 --> 00:38:34.719
 mae hi'n argyfwngi bod technolegau canfod a chyflawni

481
00:38:39.519 --> 00:38:39.599
 yn gallu cynhyrchu cysylltiadau cysylltiedig, neu ailgynhyrchu cysylltiadau cysylltiedig.

482
00:38:44.960 --> 00:38:45.039
 Felly pan fydd cyflogwyr yn gynhyrchu, gynaliadn cyrffio'r data o gwerthfawrau diwylliannol

483
00:38:45.119 --> 00:38:52.639
 heb ymgysylltu â'r cymunedau neu'r hanesau o ran y gwerthfawrion.

484
00:38:52.719 --> 00:38:56.800
 Mae ymarfer Alliari'n bwysig

485
00:38:56.880 --> 00:39:01.159
 oherwydd ei fod yn cymhlygu'r rheterig o gaelwch digidol.

486
00:39:04.480 --> 00:39:10.000
 Gall ysgannu ymddangos i resdod o hyd i bwyllgor o ddystrychu, yn sicr yn y

487
00:39:10.000 --> 00:39:16.639
 achos yma lle mae llawer o'r bwyllgor hyn wedi'u dioddef gan ISIS. Ond mae'r problem hwn yn dod yn fwy

488
00:39:16.639 --> 00:39:20.800
 fwyaf ar gyfer ffynciau probabilistig oherwydd bod bywydau'n ysgannu yn gweithredu yn gyflymach

489
00:39:20.800 --> 00:39:46.000
 yn fwyaf am gynaliadau pan maen nhw'n cael eu gwylio, eu optimio, eu cymysgu, eu cymryd a'u defnyddio neu'u defnyddio ar gyfer hyfforddiant, fel mewn setiau data hefyd. Felly mae'r gwaith yma'n ymwneud â'r farn amgylcheddol y tu hwnt i'r carbon a'r gwaith gwaith, mae'r gwaith ymwneud â'r gwaith ymwneud â'r carbon a'r gwaith, mae'r gwaith ymwneud â'r gwaith, mae'r gwaith ymwneud â'r gwaith, mae'r gwaith ymwneud â'r gwaith, mae'r gwaith ymwneud â'r gwaith, mae'r gwaith ymwneud â'r gwaith, mae'r gwaith ymwneud â'r gwaith, mae'r gwaith ymwneud â'r gwaith, mae'r gwaith ymwneud â'r gwaith, mae'r gwaith ymwneud â'r gwaith, mae'r gwaith ymwneud â'r gwaith, mae'r gwaith ymwneud â'r gwaith, mae'r gwaith ymwneud â'r gwaith, mae'r gwaith ymwneud â'r gwaith, mae'r gwaith ymwneud â'r gwaith, mae'r gwaith ymwneud â'r gwaith, mae'r gwaysig pwy sydd ganddo'r hawdd i'w ddod o hyd.

490
00:39:50.000 --> 00:39:55.000
 Yn ystod y studiau, mae ystod ymddygiad cyffredin. Mae pob un yn gwneud hynny mewn ffyrdd gwahanol.

491
00:39:55.000 --> 00:39:59.000
 Mae'r gwaith hyn yn helpu i ddiffynu'r byd ffyrdd ymarferol.

492
00:39:59.000 --> 00:40:04.000
 Nid yw'n unig y ffyrdd ymarferol, ond ffyrdd ffordd ymarferol sy'n cael ei gynhyrchu.

493
00:40:05.480 --> 00:40:11.400
 Mae ffyrdd ymarferol yn ymddangos ar ymardd o ddiffyg yn fform ddiffyg gan ymdrechion ymdrechol. Mae ffyrdd spatiol yn arwain ar ymdrechion data gweledol o amgylcheddau symuladwy.

494
00:40:11.519 --> 00:40:14.599
 Mae ymdrechion y data yn gweithredu i ffyrddau a'r modelau...

495
00:40:14.719 --> 00:40:18.599
..a'r optimaliad o ffyrdd trwy gyfnod o ddiffyg yn yr aelodau.

496
00:40:18.719 --> 00:40:23.199
 Ac mae'r cyflawniad o asetau trwy gweithdai a sefydliadau gweithdai.

497
00:40:23.320 --> 00:40:26.000
 Mae'r bryder amgylcheddol yn cynyddu,

498
00:40:26.000 --> 00:40:28.000
 yn ogystal â'r bryder gwleidyddol,

499
00:40:28.000 --> 00:40:31.000
 yn arwain materion o ddilyddio,

500
00:40:31.000 --> 00:40:34.000
 cyflawni, cyfweliad, captio'r dynol,

501
00:40:34.000 --> 00:40:37.000
 ac wrth gwrs, y cyhoedd o symudiad symlwyr.

502
00:40:37.000 --> 00:40:40.000
 Nid yw hyn yn golygu y bydd artistiaid yn ddewis

503
00:40:40.000 --> 00:40:43.000
 pethau fel gwrsion, splats neu nerffs.

504
00:40:43.000 --> 00:40:46.199
 Cwestiwn mwy gweithredol yw sut y gall y ddewisau gael eu'r ffyrdd o'r ffyrdd yna yn ymwneud â'r ffyrdd sydd yn cael eu llwyddo.

505
00:40:46.400 --> 00:40:50.400
 Mae'r ffyrdd yna'n ymwneud â'r ffyrdd sydd yn cael eu llwyddo.

506
00:40:50.599 --> 00:40:54.599
 Mae'r ffyrdd yna'n ymwneud â'r ffyrdd sydd yn cael eu llwyddo.

507
00:40:54.800 --> 00:40:58.800
 Mae'r ffyrdd yna'n ymwneud â'r ffyrdd sydd yn cael eu llwyddo.

508
00:40:59.000 --> 00:41:03.000
 Mae'r ffyrdd yna'n ymwneud â'r ffyrdd sydd yn cael eu llwyddo.

509
00:41:03.199 --> 00:41:07.000
 Mae'r ffyrdd yna'n ymwneud â'r rhain yn anghywir ar gyflawni'r amgylchedd.

510
00:41:07.000 --> 00:41:11.000
 Nid yw'r gestion hyn yn llwyddo'r byd ime,

511
00:41:11.000 --> 00:41:14.000
 ond maen nhw'n ei chyflawni o'i gwneud yn ddiddorol.

512
00:41:14.000 --> 00:41:21.000
 Ond, mae gwneud ymchwil yn ymddangos

513
00:41:21.000 --> 00:41:25.199
 yn rhywbeth yn hytrach na chyflawni ymchwil yn ysgol yn wahanol na'r un fath o addrefnu gwasanaethau trwy ymarfer.

514
00:41:26.079 --> 00:41:30.159
 Mae'r gwerth cyfrifol o waith fel hyn yn y lle, ac felly, nid yw'n gweithredu'r

515
00:41:30.159 --> 00:41:33.199
 imogiaeth ysbasiol probabilistig neu'n canolbwyntio'r anodd amgylcheddol.

516
00:41:36.239 --> 00:41:45.840
 Mae'r gwerth yma yn ymarferau datblygu sy'n draw ymwneud â'r newansiau o to the nuances of technological inference and ecological upheaval behind everyday imaging

517
00:41:45.840 --> 00:41:47.679
 systems.

518
00:41:47.679 --> 00:41:48.679
 Thank you.

519
00:41:48.679 --> 00:41:56.800
 Okay, yeah, we have time for one or two questions.

520
00:41:56.800 --> 00:41:59.500
 So anyone from the audience?

521
00:41:59.500 --> 00:42:08.219
 Yes. Thank you very much for this very interesting

522
00:42:08.219 --> 00:42:10.460
 perspective on image making

523
00:42:10.460 --> 00:42:12.699
 I'm just wondering how can we

524
00:42:12.699 --> 00:42:14.880
 measure this ecological

525
00:42:14.880 --> 00:42:16.019
 impact

526
00:42:16.019 --> 00:42:18.579
 you name a few stuff

527
00:42:18.579 --> 00:42:21.000
 but how can we really measure it

528
00:42:21.000 --> 00:42:22.860
 I think that's the whole

529
00:42:22.860 --> 00:42:23.500
 problem is

530
00:42:23.500 --> 00:42:25.380
 so obscured, it's obfusc's the whole problem. It is so obscured.

531
00:42:25.480 --> 00:42:27.940
 It's obfuscated, the exact sort of costs

532
00:42:27.940 --> 00:42:29.960
 of this kind of imagery.

533
00:42:31.360 --> 00:42:32.019
 I really

534
00:42:32.019 --> 00:42:33.940
 don't know how to answer that because I don't

535
00:42:33.940 --> 00:42:35.000
 know how

536
00:42:35.000 --> 00:42:37.380
 we'd actually measure it. I think

537
00:42:37.380 --> 00:42:39.900
 whenever I've seen predictions

538
00:42:39.900 --> 00:42:42.059
 or people's estimations, it does vary wildly

539
00:42:42.059 --> 00:42:44.000
 and this is often because it is

540
00:42:44.599 --> 00:42:46.119
 collated from various sources of data around neu estymadau pobl, mae'n gwahanol. Mae'n aml, oherwydd ei fod wedi'i gael o ran

541
00:42:46.119 --> 00:42:50.199
 ffyrdd o ddata am weithio mewn gwahanol ffyrdd

542
00:42:50.199 --> 00:42:53.440
 o ran costau extraciwn, gwasnau e-gwaith,

543
00:42:53.440 --> 00:42:55.400
 neu'r amryw o ddiddordeb.

544
00:42:55.400 --> 00:42:56.880
 Mae hyn yn newid yn ymlaen.

545
00:42:56.880 --> 00:43:04.320
 Mae'r dechnolegau ffyrdd yma'n datblygu'n gyflym,

546
00:43:04.320 --> 00:43:05.519
 ond maen nhw hefyd yn newid.

547
00:43:05.519 --> 00:43:11.280
 Mae eu hyder ar amgylchiadau amryw iawn yn newid yn llawer.

548
00:43:11.280 --> 00:43:15.920
 Felly mae'n anodd iawn i bobl ddewis y pethau hyn yn gyffredinol,

549
00:43:15.920 --> 00:43:21.360
 ac yn rhoi ateb onest i chi am un sblat fyddai'n costio hyn am y cyfan,

550
00:43:21.360 --> 00:43:23.840
 neu amrywiaeth o gwrp, neu amrywiaeth o ddŵr.

551
00:43:23.840 --> 00:43:26.420
 Rwy'n credu y byddwch yn cael ymdrin yn anodd mewn gwirionedd. Felly byddwn i'n ddiddorol iawn i wybod os oes unrhyw un yma this much for the environment or a certain amount of carbon or a certain amount of water, I think you'd have a hard job actually measuring that.

552
00:43:26.500 --> 00:43:28.780
 So I'd be really interested to know if there's anyone here

553
00:43:28.780 --> 00:43:30.659
 who has answers to that.

554
00:43:30.780 --> 00:43:34.980
 But I think it would have to bring together so much

555
00:43:34.980 --> 00:43:37.300
 to really answer it.

556
00:43:40.139 --> 00:43:42.480
 Any other questions from your side?

557
00:43:44.639 --> 00:43:50.940
 Okay, then. Thanks, Tom. Thank you for your great a great talk and yeah, we'll move on to the next presentation.

558
00:43:55.840 --> 00:44:01.920
 So our next talk will be Generative Artificial Intelligence

559
00:44:06.539 --> 00:44:06.699
 Generative Artificial Intelligence for Non-Representational Arts,

560
00:44:08.480 --> 00:44:09.000
 Laura-Based Style Learning on Flux,

561
00:44:14.320 --> 00:44:15.139
 by Jan Tietz, Niklas Beuter, Abdullah Sassiz, Al-Hamandi.

562
00:44:16.780 --> 00:44:17.500
 And, yeah, welcome on stage.

563
00:44:18.659 --> 00:44:18.880
 Yeah, thank you very much.

564
00:44:22.539 --> 00:44:23.039
 And fortunately, I took the right microphone, so you can hear me.

565
00:44:26.940 --> 00:44:29.000
 I'm Niklas, so I'm presenting work from a student of mine, Jan Tietz,

566
00:44:29.000 --> 00:44:31.079
 and a colleague, Alhamman Adi,

567
00:44:31.079 --> 00:44:33.820
 about generative artificial intelligence

568
00:44:33.820 --> 00:44:35.619
 for non-representational art.

569
00:44:36.820 --> 00:44:39.300
 I also call it objectless art.

570
00:44:39.300 --> 00:44:40.639
 So this is one example,

571
00:44:40.639 --> 00:44:42.179
 what you can see here in the background.

572
00:44:42.179 --> 00:44:44.019
 So this is what it's all about.

573
00:44:44.019 --> 00:44:48.619
 It's about art where you can't see any object in it. So I also call it like I

574
00:44:48.619 --> 00:44:55.320
 said objectless. And what we try to do here is we wanted to train an artificial

575
00:44:55.320 --> 00:45:02.860
 neural network to mimic this kind of art which is coming from a real artist which

576
00:45:02.860 --> 00:45:06.159
 is known for me.

577
00:45:06.159 --> 00:45:08.239
 This is what it's all about.

578
00:45:08.239 --> 00:45:15.860
 This term flux here, this is the artificial intelligence model what we used for this.

579
00:45:15.860 --> 00:45:24.739
 In 2025, I was approached by the artist who came to me because he read about artificial

580
00:45:24.739 --> 00:45:25.239
 intelligence.

581
00:45:25.980 --> 00:45:29.000
 And this is one real example from his art.

582
00:45:29.119 --> 00:45:35.219
 So he painted this and he tried to copy this with AI.

583
00:45:35.699 --> 00:45:41.119
 So his idea was, it takes quite a long time to create such a picture

584
00:45:41.119 --> 00:45:47.380
 because he creates it, changes it, starts completely again and so

585
00:45:47.380 --> 00:45:52.119
 it took quite a while and the idea is to use AI to be faster in that process.

586
00:45:52.119 --> 00:45:57.460
 So he asked one AI model in that time, please create an image with yellow stripes with darker

587
00:45:57.460 --> 00:46:07.840
 ends on a background and similar prompts but all what he got was something like fries or sometimes bananas.

588
00:46:07.840 --> 00:46:15.239
 So that were things the AI model was known or knew at that time, but he was not able

589
00:46:15.239 --> 00:46:18.539
 to recreate art in his style.

590
00:46:18.539 --> 00:46:23.480
 And then he saw me in an article and approached me and asked if I can do that.

591
00:46:23.480 --> 00:46:25.800
 And I said, oh, this is not that easy

592
00:46:25.800 --> 00:46:29.260
 because AI models are trained on data from the internet

593
00:46:29.260 --> 00:46:34.079
 and your art is not very well represented there.

594
00:46:34.519 --> 00:46:38.260
 So let's take some students and train a model for that.

595
00:46:39.239 --> 00:46:41.699
 And I asked the students,

596
00:46:41.699 --> 00:46:46.679
 so are you able to generate an AI model which is able to do that?

597
00:46:47.059 --> 00:46:50.460
 And then at the end, are humans able to differentiate?

598
00:46:50.780 --> 00:46:51.820
 Is it real art?

599
00:46:52.280 --> 00:46:54.940
 So perhaps real is not the right word, human-made art.

600
00:46:56.199 --> 00:46:57.940
 Or AI art.

601
00:46:58.480 --> 00:47:00.599
 And at the end, what does the artist say?

602
00:47:00.760 --> 00:47:01.980
 Is he satisfied or not?

603
00:47:02.480 --> 00:47:07.880
 So what the students did, they took original art, which is in the top line,

604
00:47:08.280 --> 00:47:10.579
 and then this flux baseline model,

605
00:47:10.699 --> 00:47:12.280
 and they first tried prompting.

606
00:47:12.280 --> 00:47:14.840
 But they were not successful at the end.

607
00:47:14.960 --> 00:47:17.539
 So they took a learning method,

608
00:47:17.699 --> 00:47:19.400
 Laura, I think we already heard it today,

609
00:47:19.980 --> 00:47:22.699
 where I don't go deeply into how it works,

610
00:47:22.820 --> 00:47:27.099
 but it is a very efficient way of training a neural network

611
00:47:27.099 --> 00:47:32.099
 by presenting images and prompts describing these images.

612
00:47:32.960 --> 00:47:36.059
 And so they tried here with the Flux plus LoRa

613
00:47:36.059 --> 00:47:39.739
 to recreate these art styles from the top line.

614
00:47:40.059 --> 00:47:43.519
 So the idea is not to exactly match what you see in the top,

615
00:47:43.659 --> 00:47:46.360
 but to match the style, how it's created.

616
00:47:47.179 --> 00:47:48.920
 And they were again not successful.

617
00:47:49.179 --> 00:47:51.400
 They tried several ways in quite a long time,

618
00:47:52.760 --> 00:47:54.280
 but at the end they recognized,

619
00:47:54.280 --> 00:47:55.920
 so there needs to be something more.

620
00:47:56.179 --> 00:47:58.260
 So they approached the artist again

621
00:47:58.260 --> 00:48:01.219
 and asked him to describe his own images.

622
00:48:01.559 --> 00:48:06.219
 And then they recognized that you don't only need a good model and

623
00:48:06.219 --> 00:48:12.199
 some specific prompt, or we call it generic prompt, but you also need very specific vocabulary

624
00:48:12.199 --> 00:48:20.119
 to describe this kind of artist style. And then again they took his vocabulary, so his

625
00:48:20.119 --> 00:48:28.480
 description of these artworks, digitalized 127 of his canvas or painted canvas, and then

626
00:48:28.480 --> 00:48:32.340
 they trained these models.

627
00:48:32.340 --> 00:48:36.840
 Like I said, without this generic, sorry, with a generic prompting style and then with

628
00:48:36.840 --> 00:48:40.280
 the style, with the vocabulary of the artist.

629
00:48:40.280 --> 00:48:47.900
 And then at this point, to be honest, we were quite satisfied. So the style itself, like if you take the first image,

630
00:48:48.199 --> 00:48:50.820
 is already quite close to the one from the artist.

631
00:48:50.820 --> 00:48:57.860
 So you have this kind of art is created by moving color on the canvas

632
00:48:57.860 --> 00:49:02.659
 with different kind of tools like, for example, scrapers.

633
00:49:03.059 --> 00:49:07.840
 Or I don't know if it's exactly, I think it's called Windows

634
00:49:07.840 --> 00:49:12.539
 Squitchy, something like this in German, it's Scheibenabzieher.

635
00:49:12.539 --> 00:49:18.099
 So the colors moved on the canvas in different ways and that's how the image at the end should

636
00:49:18.099 --> 00:49:19.559
 look like.

637
00:49:19.559 --> 00:49:24.940
 And they also took one of the most prominent models in image generation, Nano Banana, and

638
00:49:24.940 --> 00:49:26.320
 also tried the same there.

639
00:49:27.340 --> 00:49:30.699
 So, and now we wanted to measure, is it good?

640
00:49:31.239 --> 00:49:33.800
 Yeah, did they match the style of the artist?

641
00:49:34.619 --> 00:49:42.820
 And we wanted to measure this in a quantitative, in a qualitative, and in a, yeah, expert meaning way.

642
00:49:43.619 --> 00:49:46.480
 The first one, I'm sorry for that slide to be honest,

643
00:49:46.480 --> 00:49:48.760
 so we don't go into all the numbers and details,

644
00:49:48.760 --> 00:49:52.179
 I just want to emphasize reading the paper at the end,

645
00:49:52.179 --> 00:49:56.199
 but the quantitative measurement

646
00:49:56.199 --> 00:49:58.460
 did we met the style of the artist

647
00:49:58.460 --> 00:50:01.199
 was measured with a lot of metrics at the end.

648
00:50:01.199 --> 00:50:03.460
 And just to summarize this,

649
00:50:04.500 --> 00:50:09.519
 indeed the image style of the creation of how the color is

650
00:50:09.519 --> 00:50:17.280
 been shown on the image itself and how the features of a single image is compared to the

651
00:50:17.280 --> 00:50:23.179
 ground truth, the style indeed was met quite well from the Flux plus LoRa artists where the artist

652
00:50:23.179 --> 00:50:28.900
 grounded captions. There are some metrics where the other models are better, and this is more like,

653
00:50:29.179 --> 00:50:35.320
 for example, in the base, if you compare, is the prompt fitting perfectly to the image? And this,

654
00:50:35.320 --> 00:50:42.059
 I think I can explain, because our model is trying to fit the style itself, and for example,

655
00:50:42.059 --> 00:50:47.480
 NanoBanana is really trying to follow the prompt but it's sometimes forgetting about the style

656
00:50:47.679 --> 00:50:51.900
 so at the end we were really happy the numbers somehow showed that the

657
00:50:52.760 --> 00:50:56.699
 yeah artist style is really met with our training and

658
00:50:57.239 --> 00:51:01.139
 With this way of using a lower with this artist grounded captions

659
00:51:03.400 --> 00:51:08.079
 Next we wanted to know the second question. Are humans able to

660
00:51:08.079 --> 00:51:16.980
 differentiate these kinds of art? So, we made a public exhibition, and 70 out of these visitors

661
00:51:16.980 --> 00:51:28.059
 answered a questionnaire, and we showed different kinds of images. So, art made by AI and art made by our artist. And all of them stated

662
00:51:28.059 --> 00:51:33.199
 they will be definitely able to differentiate these images. But if you look at the numbers,

663
00:51:33.199 --> 00:51:40.099
 how many of them were able to differentiate correctly, it's close to chance. So they were

664
00:51:40.099 --> 00:51:46.239
 not really able to differentiate AI and human-made art at the end. And the

665
00:51:46.239 --> 00:51:50.920
 cool thing at the exhibition was that the students created also a website where

666
00:51:50.920 --> 00:51:57.300
 the visitors could in a live way just enter some prompts and then the website

667
00:51:57.300 --> 00:52:03.599
 created a new art in the way or in the style of the artist.

668
00:52:01.679 --> 00:52:08.320
 or in the style of the artist.

669
00:52:10.039 --> 00:52:10.199
 And the third question has been,

670
00:52:12.019 --> 00:52:12.039
 so is the artist satisfied at the end?

671
00:52:12.860 --> 00:52:13.460
 So what does he say?

672
00:52:16.539 --> 00:52:19.500
 And he was indeed also very satisfied with the kind of pictures which were created.

673
00:52:20.219 --> 00:52:22.559
 So he said that like the brush strokes

674
00:52:22.559 --> 00:52:25.559
 and the textures have been

675
00:52:26.179 --> 00:52:32.519
 pretty close to his style, but what he mentioned was that there are still physical gaps.

676
00:52:32.760 --> 00:52:37.920
 For example, if you let the AI create an image, it forgets about

677
00:52:38.820 --> 00:52:41.219
 resistance on the canvas, for example, about

678
00:52:41.619 --> 00:52:46.159
 the physics of the color, how it sometimes fades on the canvas and so on.

679
00:52:46.159 --> 00:52:52.760
 So if you're an expert and really looking closely at the images, you still can see the differences, for example.

680
00:52:53.400 --> 00:53:00.719
 And then there's a very difficult question at the end or a statement at the end where we discussed quite a lot with all the visitors.

681
00:53:02.000 --> 00:53:07.780
 He says that the style or the images are quite stylistically convincing,

682
00:53:08.360 --> 00:53:14.880
 but not authentic. But he sees them as a good starting point for his own images to

683
00:53:14.880 --> 00:53:29.780
 just try out things and then start from that point on. We had a long discussion with all the visitors about that, because they say art needs some kind of historic moment behind it.

684
00:53:29.780 --> 00:53:34.760
 Some artist who was creating it with a story and something in his mind,

685
00:53:34.920 --> 00:53:35.760
 or her mind, sorry.

686
00:53:37.539 --> 00:53:41.000
 And this is where we discussed quite a lot,

687
00:53:41.139 --> 00:53:43.159
 because this can also be created by AI.

688
00:53:43.679 --> 00:53:51.579
 And if they don't know the artist in person, then all the story can be created at the end. So here

689
00:53:51.579 --> 00:53:58.420
 are some results from the AI generator and yet to be honest there is one

690
00:53:58.420 --> 00:54:06.099
 between which is from the human-made artist style. So I don't know if you can detect it,

691
00:54:06.280 --> 00:54:08.400
 but that's it about my talk.

692
00:54:08.599 --> 00:54:10.679
 And so thank you very much for listening.

693
00:54:15.059 --> 00:54:16.119
 Thanks for the talk.

694
00:54:16.320 --> 00:54:19.019
 Yeah, we have already a first question from the audience.

695
00:54:27.179 --> 00:54:31.760
 Thank you. this is great. I have a question regarding the vocabulary of the artist.

696
00:54:31.760 --> 00:54:38.199
 Have you checked the vocabulary with another artist to see if the other artist would describe

697
00:54:38.199 --> 00:54:41.400
 the images in the same way?

698
00:54:41.400 --> 00:54:48.360
 Not with another artist, but we took books where you can learn how to describe art.

699
00:54:48.840 --> 00:54:51.820
 And so we took these ones and matched.

700
00:54:52.119 --> 00:54:53.099
 Fantastic. Thank you.

701
00:54:55.219 --> 00:54:56.539
 Any other questions?

702
00:54:58.300 --> 00:54:58.619
 Yes.

703
00:55:04.119 --> 00:55:07.840
 Which one was it?

704
00:55:07.840 --> 00:55:10.559
 I should have made a questionnaire here for all of them.

705
00:55:10.559 --> 00:55:13.300
 I will tell you afterwards.

706
00:55:13.300 --> 00:55:25.960
 Thanks for the presentation. did you receive any comment like distinguishing between

707
00:55:25.960 --> 00:55:27.800
 the 2D

708
00:55:27.800 --> 00:55:29.320
 the 2D

709
00:55:29.320 --> 00:55:31.440
 bidimensional presentation

710
00:55:31.440 --> 00:55:33.300
 of the images as you are doing

711
00:55:33.300 --> 00:55:35.159
 in your presentation

712
00:55:35.159 --> 00:55:37.800
 against for instance the 3D

713
00:55:37.800 --> 00:55:39.440
 plastic

714
00:55:39.440 --> 00:55:41.420
 aspect of paintings which

715
00:55:41.420 --> 00:55:43.599
 are when you paint that's why

716
00:55:43.599 --> 00:55:44.420
 you see the

717
00:55:44.420 --> 00:55:46.039
 traces.

718
00:55:46.519 --> 00:55:48.239
 Yeah, thank you for that good question.

719
00:55:48.400 --> 00:55:51.619
 And it's exactly pointing out the limit of this one right now.

720
00:55:51.619 --> 00:55:57.079
 So we printed also again the scanned canvas from the artist

721
00:55:57.079 --> 00:55:59.539
 to have a fair comparison only in 2D.

722
00:55:59.780 --> 00:56:03.219
 And only then it's by chance differentiating them.

723
00:56:03.480 --> 00:56:06.940
 Because if you have the real art with all the 3D structures on it

724
00:56:06.940 --> 00:56:11.619
 and the real color on it, of course, there's a big difference still.

725
00:56:12.079 --> 00:56:14.940
 So our idea was to take a robotic arm next

726
00:56:14.940 --> 00:56:18.340
 and let that one learn to push the color and everything

727
00:56:18.340 --> 00:56:19.960
 and then have the decision again.

728
00:56:20.019 --> 00:56:21.360
 But you're right, this is still a limit.

729
00:56:21.360 --> 00:56:21.639
 Yeah.

730
00:56:24.159 --> 00:56:25.239
 Any other questions?

731
00:56:28.880 --> 00:56:29.599
 Okay, yeah.

732
00:56:31.139 --> 00:56:33.679
 Shall I tell which one is from the real artist?

733
00:56:34.679 --> 00:56:37.059
 It was in the top left, the orange one.

734
00:56:40.219 --> 00:56:41.539
 I don't know if I can.

735
00:56:41.539 --> 00:56:44.179
 I don't have the presentation here anymore.

736
00:56:44.619 --> 00:56:45.699
 Sorry for that.

737
00:56:48.480 --> 00:56:49.820
 One of our people.

738
00:56:53.360 --> 00:56:54.159
 Just a second.

739
00:56:54.159 --> 00:56:54.960
 It's really complicated.

740
00:57:07.000 --> 00:57:11.000
 Very exciting. Should I just go there?

741
00:57:11.000 --> 00:57:17.000
 The one on the top left, which you might have not expected.

742
00:57:17.000 --> 00:57:22.000
 Okay, so thank you very much.

743
00:57:22.000 --> 00:57:26.199
 Thanks again, what you very much.

744
00:57:28.099 --> 00:57:29.320
 Thanks again for the great talk.

745
00:57:33.340 --> 00:57:35.440
 Yeah, so let's get to the next contribution.

746
00:57:37.699 --> 00:57:41.039
 The next contribution has the title Feel-Back-Loop, Effective Co-Adaption

747
00:57:41.039 --> 00:57:43.420
 Between Humans and Embodied Intelligence Systems

748
00:57:43.420 --> 00:57:46.000
 Through Reinforcement Learning. And this was done by Ghazal Hosseini, co-adaption between humans and embodied intelligence systems through reinforcement learning.

749
00:57:46.000 --> 00:57:52.000
 And this was done by Ghazal Hosseini, Hanif Akhtaralab and Philipp Wintersberger.

750
00:58:11.780 --> 00:58:13.780
 So hi everyone, good evening. Thank you for having me here.

751
00:58:13.780 --> 00:58:23.280
 Today I want to present the paper that I co-authored with Hanif and Philip, which is called Field

752
00:58:23.280 --> 00:58:26.239
 Back Loop, Affective Co-adoption between humans and

753
00:58:26.239 --> 00:58:32.780
 embodied intelligence system to reinforcement learning so a short

754
00:58:32.780 --> 00:58:39.679
 introduction of the artwork this research conducted based on an artwork

755
00:58:39.679 --> 00:58:48.679
 that I created last year and exhibited in Ars Electronica 2025 in campus exhibition of the interface

756
00:58:48.679 --> 00:58:51.059
 culture department.

757
00:58:51.059 --> 00:58:57.400
 And Fieldback Loop is a robotic tail that develops its own movement language to interaction

758
00:58:57.400 --> 00:59:02.760
 with human emotion.

759
00:59:02.760 --> 00:59:06.000
 So this is a short video of this artwork.

760
00:59:06.000 --> 00:59:18.000
 So the artwork has a camera that can take the facial expression of the human in front of it.

761
00:59:18.000 --> 00:59:26.500
 And it generates some movement based on this interaction or facial expression.

762
00:59:36.500 --> 00:59:46.539
 This is another video that is like we found it interesting, the interaction, then we started to write a paper about it.

763
00:59:46.539 --> 00:59:56.679
 So this robotic tail detects facial expression and develops a policy based on this expression,

764
00:59:56.679 --> 01:00:02.239
 which is classified the expression into two different groups, like positive emotion and

765
01:00:02.239 --> 01:00:05.880
 negative emotion, that it works as a reward to the system

766
01:00:05.880 --> 01:00:11.579
 that uses reinforcement learning for development of this policy.

767
01:00:11.579 --> 01:00:14.340
 And then the interesting observation

768
01:00:14.340 --> 01:00:16.860
 that we had in the Ars Electronica,

769
01:00:16.860 --> 01:00:20.280
 it was that people started to engage with physically

770
01:00:20.280 --> 01:00:21.760
 through their body.

771
01:00:21.760 --> 01:00:24.460
 They move with it like they dance with it.

772
01:00:24.460 --> 01:00:25.920
 And it was interesting.

773
01:00:25.920 --> 01:00:28.280
 It was the start of this research.

774
01:00:33.579 --> 01:00:38.800
 So if I want to talk a little bit about the interaction.

775
01:00:38.800 --> 01:00:42.039
 So interaction is usually an interactive art.

776
01:00:42.039 --> 01:00:43.800
 It's like one direction.

777
01:00:43.800 --> 01:00:54.099
 Human gives an input to the system and system executes a predefined interaction or behavior.

778
01:00:54.099 --> 01:01:01.699
 But if we use different kind of interaction that human can input to the system and trigger

779
01:01:01.699 --> 01:01:08.780
 the system and also the system can influence the human in another

780
01:01:08.780 --> 01:01:20.579
 way so it's like a two directional interaction that I want to talk about it.

781
01:01:20.579 --> 01:01:25.159
 So I want to talk a little bit about this kind of interaction.

782
01:01:30.579 --> 01:01:33.739
 So if we want to say that it's not just one-sided interaction and it's not a predefined interaction,

783
01:01:35.800 --> 01:01:39.900
 there are some artists that they work on in the 90s.

784
01:01:40.019 --> 01:01:49.219
 They started working on evolutionary algorithm in the media art. One of them is Carl Sims, that he developed

785
01:01:49.219 --> 01:01:53.199
 evolved virtual creation, like a virtual creature.

786
01:01:53.199 --> 01:01:58.380
 And this creature could develop its movement and its behavior

787
01:01:58.380 --> 01:01:59.940
 through the interaction.

788
01:01:59.940 --> 01:02:03.320
 So there was no pre-programmed or predefined movement

789
01:02:03.320 --> 01:02:06.179
 or behavior of this creature, but

790
01:02:06.179 --> 01:02:12.420
 it could develop itself in the virtual environment based on the interaction with the environment

791
01:02:12.420 --> 01:02:13.539
 and human.

792
01:02:13.539 --> 01:02:20.059
 So for example, in this artwork, he developed this model and this like creature that could

793
01:02:20.059 --> 01:02:25.460
 swim after sometimes like a trial and error, and based on the interaction that it got

794
01:02:25.460 --> 01:02:30.460
 from the environment, and it was able to swim

795
01:02:31.059 --> 01:02:32.699
 after some time.

796
01:02:32.699 --> 01:02:37.280
 And another artwork by Christos Amar and Lugan,

797
01:02:37.280 --> 01:02:41.920
 who is my supervisor, it's evolved in 1994,

798
01:02:41.920 --> 01:02:45.440
 and also they They had the same

799
01:02:45.440 --> 01:02:48.800
 approach for creating like a the virtual a creature

800
01:02:49.539 --> 01:02:55.800
 That can develop and evolve based on the interaction with the human for example in this

801
01:02:56.480 --> 01:03:02.300
 Example it was a touch and feedback loop is also is like in the same category of like evolutionary

802
01:03:03.559 --> 01:03:09.539
 media art or interactive art But it just the input is emotion

803
01:03:09.539 --> 01:03:28.880
 and facial expression so if we want to consider emotion as a interaction or like a as an input to the system. Then we were curious about how people started

804
01:03:28.880 --> 01:03:31.199
 bonding with technology, or how would

805
01:03:31.199 --> 01:03:34.400
 be the relationship between human and technology based

806
01:03:34.400 --> 01:03:36.980
 if the emotion is a medium.

807
01:03:36.980 --> 01:03:40.000
 So then we searched about it, and we

808
01:03:40.000 --> 01:03:44.599
 found some people feel some emotional attachment

809
01:03:44.599 --> 01:03:47.059
 to the AI chatbots, for example.

810
01:03:47.059 --> 01:03:52.019
 But in the chatbots, it's just a screen and a text space.

811
01:03:52.019 --> 01:03:56.059
 You give an input as a text and you got an output as a text.

812
01:03:56.059 --> 01:04:01.059
 But if we want to talk about more a meaningful interaction,

813
01:04:10.000 --> 01:04:14.539
 if it's like, we can say that another channels of like another tool of communication that is like nonverbal

814
01:04:14.539 --> 01:04:21.400
 communication like a body language or like the facial expression and also we

815
01:04:21.400 --> 01:04:27.739
 can consider emotion as another way of communication and also movement as another way of communication.

816
01:04:28.840 --> 01:04:46.719
 And then Rosalind Picard, that a computer or a system is truly intelligent,

817
01:04:46.719 --> 01:04:55.139
 it should be able to not just process the emotion and respond to the emotion,

818
01:04:55.619 --> 01:05:00.619
 it should be able to express the emotion and kind of have emotion.

819
01:05:01.320 --> 01:05:04.960
 And the thing that we call emotional intelligence,

820
01:05:01.239 --> 01:05:05.239
 have emotion. And the thing that we call it emotional intelligence,

821
01:05:05.239 --> 01:05:08.239
 then we can, if the computer or the system

822
01:05:08.239 --> 01:05:11.460
 has emotional intelligence, then we

823
01:05:11.460 --> 01:05:16.579
 can say that it's really, truly intelligent.

824
01:05:16.579 --> 01:05:19.519
 So here, emotion as a medium, if you

825
01:05:19.519 --> 01:05:22.500
 want to consider emotion as a medium,

826
01:05:22.500 --> 01:05:27.820
 then there are more critical questions that can arise.

827
01:05:27.820 --> 01:05:36.099
 For example, if machine can perceive and respond in a different way,

828
01:05:36.099 --> 01:05:42.179
 then we should look at it more critically in terms of the interaction

829
01:05:42.179 --> 01:05:45.039
 design. And this question, this critical

830
01:05:45.039 --> 01:05:51.440
 question also will arise that what if emotion becomes the medium through which a machine

831
01:05:51.440 --> 01:05:59.000
 and a human co-construct their relationship? Then if we can say that, okay, emotion is

832
01:05:59.000 --> 01:06:07.219
 a way of like communication and non-verbally, then there should be a way that we can say that the system can

833
01:06:07.219 --> 01:06:13.440
 adopt to us because it's not just us that we can influence the system as an input, also

834
01:06:13.440 --> 01:06:16.280
 system can influence us.

835
01:06:16.280 --> 01:06:28.619
 Then another, in the feedback loop, another medium of interaction or establishing a relationship with the participant is the motion.

836
01:06:29.900 --> 01:06:39.000
 If you saw the movie, I showed it last minute before, it was like the shape of the tail.

837
01:06:39.000 --> 01:06:44.239
 And the tail is like, it's a metaphor of the communication non-verbally.

838
01:06:44.800 --> 01:06:51.139
 like it's a metaphor of the communication non-verbally. Because in animal, they use the tail

839
01:06:51.139 --> 01:06:53.920
 to express their emotions and their feelings.

840
01:06:53.920 --> 01:06:56.320
 And also, they try to communicate non-verbally

841
01:06:56.320 --> 01:06:58.119
 with us.

842
01:06:58.119 --> 01:07:02.500
 And also, if you look at the more morphology of this

843
01:07:02.500 --> 01:07:06.039
 feedback loop as a tail, it has like a vertebra,

844
01:07:06.320 --> 01:07:09.559
 because we also, at the end of our spine,

845
01:07:09.679 --> 01:07:10.860
 we have a tailbone,

846
01:07:11.059 --> 01:07:15.219
 which is like in the evolutionary history,

847
01:07:16.179 --> 01:07:18.880
 it's supposed that we also have,

848
01:07:19.059 --> 01:07:20.900
 we had a kind of tail.

849
01:07:22.980 --> 01:07:29.079
 And also there was an artist, a Japanese artist, Hachiya, in

850
01:07:29.539 --> 01:07:36.820
 1996 that he also developed a tail for a car, which is called a tank's tail, and he used this

851
01:07:38.420 --> 01:07:43.360
 tail as a medium in the traffic, for example, to communicate with cars and

852
01:07:43.380 --> 01:07:44.380
 traffic for example to communicate with cars and

853
01:07:51.000 --> 01:07:53.500
 Nonverbally and like say thank you to the other cars that like were behind it in the traffic

854
01:07:54.940 --> 01:07:59.119
 And This is the system architecture of the feedback loop as you can see

855
01:08:00.099 --> 01:08:02.460
 We use the reinforcement learning in this

856
01:08:03.579 --> 01:08:10.159
 artwork so the tail detects the emotion, the facial expression, actually,

857
01:08:10.320 --> 01:08:11.840
 and considers it as an emotion.

858
01:08:13.840 --> 01:08:20.060
 Then the algorithm classifies it to positive and negative emotions.

859
01:08:20.260 --> 01:08:22.600
 For example, happiness is considered as a positive,

860
01:08:23.199 --> 01:08:25.260
 which is considered as a reward for the system.

861
01:08:25.520 --> 01:08:30.159
 And negative emotions, like sadness, are considered as a penalty for the system.

862
01:08:30.359 --> 01:08:34.680
 And it's considered as a penalty.

863
01:08:35.420 --> 01:08:37.680
 So it has a table.

864
01:08:37.840 --> 01:08:42.939
 It's called Q-table or Q-learning algorithm that has a value.

865
01:08:43.079 --> 01:08:49.279
 So each movement in the feedback loop has a value. So each movement in the feedback loop has a value. It starts

866
01:08:49.279 --> 01:08:57.079
 randomly at the beginning and then it tries to evolve itself and develop a policy based

867
01:08:57.079 --> 01:09:05.239
 on the feedback and reward and penalty that gets from the audience. So for example, if it start wagging,

868
01:09:05.239 --> 01:09:08.840
 and if it gets like a more positive emotion,

869
01:09:08.840 --> 01:09:11.359
 positive feedback, so it consider this emotion

870
01:09:11.359 --> 01:09:12.979
 as like a positive emotion,

871
01:09:12.979 --> 01:09:17.979
 and then updates the cue value and increase the cue value.

872
01:09:18.020 --> 01:09:21.880
 If it gets a penalty and it decrease the cue value,

873
01:09:21.880 --> 01:09:26.880
 and like it's less chance to use this movement in the

874
01:09:26.880 --> 01:09:49.220
 next for example episodes or next encounters. And then we conducted a like like a user study and evaluated so we invited 30 students across four groups

875
01:09:49.220 --> 01:09:54.840
 and with diverse backgrounds in the educational context and we allow them to

876
01:09:54.840 --> 01:10:03.960
 interact with this artwork because like before and after the learning the basic

877
01:10:03.960 --> 01:10:05.039
 knowledge about the reinforcement

878
01:10:05.039 --> 01:10:10.399
 learning because we wanted to see that how they perceive it in like a three

879
01:10:10.399 --> 01:10:16.680
 different dimension for example how they perceived adoption if they attribute any

880
01:10:16.680 --> 01:10:29.399
 characters characteristic to this system and how also they interpret the movement of the system. And there are the

881
01:10:29.399 --> 01:10:35.260
 findings of this, like this is the interesting finding that we found in the

882
01:10:35.260 --> 01:10:41.680
 this user study and also from the observation in the Ars Electronica. So

883
01:10:41.680 --> 01:10:45.640
 they said that for example it's unpredictable like a cat.

884
01:10:45.640 --> 01:10:53.600
 So they kind of saw it as a cat sometimes. It wants something. It's curious.

885
01:10:53.600 --> 01:11:00.460
 It's happy to see me. It's dancing. And somehow it's bracing and also sometimes

886
01:11:00.460 --> 01:11:06.720
 they couldn't understand of course the, and they said that it's like ambiguous and random movement.

887
01:11:06.720 --> 01:11:11.720
 So there are two different results.

888
01:11:15.260 --> 01:11:17.699
 And I want to thank you,

889
01:11:17.699 --> 01:11:22.000
 the Interface Culture Department that I study,

890
01:11:22.000 --> 01:11:28.000
 and also ITU that I worked there. So and they I had this opportunity to

891
01:11:28.720 --> 01:11:33.119
 conduct this research and go further with our work. Thank you so much.

892
01:11:38.800 --> 01:11:43.600
 Thank you for the presentation. Any questions from the audience?

893
01:11:43.920 --> 01:11:48.100
 Any questions from the audience? Okay, yeah so

894
01:11:48.100 --> 01:11:51.680
 I have one, actually pretty funny one.

895
01:11:51.680 --> 01:11:55.500
 Why a cat? So three or four groups saw a cat in the tail

896
01:11:55.500 --> 01:11:58.500
 even though you never designed it that way. Did it surprise you?

897
01:11:58.500 --> 01:12:01.840
 And would you now design the movement differently?

898
01:12:01.840 --> 01:12:11.039
 More or less animal-like? It didn't surprise us because the first time that I accepted in the Ars Electronica, I

899
01:12:11.039 --> 01:12:16.279
 also received a lot of feedback that they kind of like attribute some animal-like to

900
01:12:16.279 --> 01:12:18.399
 the system.

901
01:12:18.399 --> 01:12:26.220
 And because I designed it as a tail, so it was kind of like, you know, obvious for me that maybe they can

902
01:12:26.880 --> 01:12:31.479
 see it as a kind of part of the animal or like an organic shape.

903
01:12:31.979 --> 01:12:33.979
 Okay, yeah.

904
01:12:34.279 --> 01:12:36.279
 I think I have a mic.

905
01:12:37.159 --> 01:12:41.380
 I understand you designed it to optimize it for happiness as an emotion.

906
01:12:41.380 --> 01:12:47.199
 Did you try other emotions if it would learn to make interactive people make angry or sad?

907
01:12:47.199 --> 01:12:51.199
 Yes, actually it's a really interesting point, but in this

908
01:12:52.000 --> 01:12:55.920
 artwork I just designed a goal as a like to

909
01:12:56.720 --> 01:13:01.220
 make people more happy or go to the more positive emotions.

910
01:13:01.420 --> 01:13:08.199
 But it's actually a really interesting point and yeah, I would like to continue it in this direction. Thank you.

911
01:13:10.319 --> 01:13:12.319
 Other questions?

912
01:13:15.239 --> 01:13:18.260
 No, I have an additional one.

913
01:13:18.539 --> 01:13:20.539
 So what did the

914
01:13:20.640 --> 01:13:26.319
 tail learn at the festival? After several days at Ars Electronica with hundreds of visitors, what did the tale's

915
01:13:26.319 --> 01:13:27.439
 behavior look like in the end?

916
01:13:28.300 --> 01:13:30.359
 So the tale

917
01:13:30.359 --> 01:13:32.420
 was like at the beginning

918
01:13:32.420 --> 01:13:34.060
 because it just used

919
01:13:34.060 --> 01:13:36.159
 random movements and

920
01:13:36.159 --> 01:13:38.420
 it's able to explore different

921
01:13:38.420 --> 01:13:40.399
 movements to learn actually.

922
01:13:41.520 --> 01:13:42.399
 At first

923
01:13:42.399 --> 01:13:44.140
 it was sometimes really

924
01:13:44.140 --> 01:13:48.579
 aggressive, like it moved really fast, but

925
01:13:48.579 --> 01:13:56.060
 at the end, because this kind of aggressive or this kind of movement got more a penalty,

926
01:13:56.800 --> 01:14:04.979
 so at the end of the Ars Electronica, it was more calm and gentle movement and smoother.

927
01:14:05.000 --> 01:14:12.420
 the Ars Electronica, it was more calm and like, you know, gentle movement and smoother. Thank you. Okay, yeah, so thanks again for this interesting presentation. So we move

928
01:14:12.420 --> 01:14:18.180
 on now to the next one. Big applause. Thank you.

929
01:14:18.180 --> 01:14:27.760
 Okay, so the next talk has the title, Empowering Marginalized Narratives Through Pixel Art, a Case Study of the Video Game

930
01:14:27.760 --> 01:14:31.779
 of My Life and the Medicine Association

931
01:14:31.779 --> 01:14:35.340
 by Maria Paget, Nia Ehrlich, Ruben Tu, Lasse Löpfe.

932
01:14:55.119 --> 01:15:00.960
 Okay, hi everyone, thank you for being here and thank you also the chair for organising all this and also the people who chose this proposal, we are very happy to be here.

933
01:15:00.960 --> 01:15:07.000
 And I'm Maria Pagès, I work in the Centre of Digital Image and Multimedia in Catalunya.

934
01:15:07.000 --> 01:15:16.000
 And there I work with Nia Erlich, Glaceleufe, and Ruben Tous, who comes from Computer and Architecture.

935
01:15:16.000 --> 01:15:30.020
 But the four of us, we work in the Universitat Politícnica of Catalunya. So this project stems from the possibility of making video games with people

936
01:15:30.020 --> 01:15:36.619
 who have not an easy access to video games. It's the title is the video game of my life

937
01:15:36.619 --> 01:15:49.500
 and we just mix video game, digital art and as you see, social activism. We try to reconstruct the aesthetics of the 80s arcade machines

938
01:15:49.500 --> 01:15:55.460
 and with some imageries that you will see that they are alternative, disident,

939
01:15:56.220 --> 01:15:58.239
 and often invisibilized,

940
01:15:58.359 --> 01:16:01.560
 because the participants of the project you will see,

941
01:16:01.739 --> 01:16:06.140
 they are women, or they are women they are women or they

942
01:16:06.140 --> 01:16:07.739
 feel like they are women

943
01:16:07.739 --> 01:16:10.199
 and they usually, we use

944
01:16:10.199 --> 01:16:11.600
 this word to

945
01:16:11.600 --> 01:16:14.420
 designate female, transgender

946
01:16:14.420 --> 01:16:16.199
 non-venerate and

947
01:16:16.199 --> 01:16:17.939
 women of color, so

948
01:16:17.939 --> 01:16:19.399
 these participants

949
01:16:19.399 --> 01:16:22.239
 they are homeless, they are

950
01:16:22.239 --> 01:16:24.260
 usually consuming drugs and you

951
01:16:24.260 --> 01:16:28.720
 will see how they deal with the daily routines

952
01:16:28.720 --> 01:16:31.199
 thanks to the video games that we will see.

953
01:16:33.220 --> 01:16:35.819
 The project stems from Medzineras.

954
01:16:36.060 --> 01:16:41.760
 That's a non-governmental association that's based in the Raval,

955
01:16:41.899 --> 01:16:44.800
 which is a neighborhood in Barcelona, a very intense neighborhood

956
01:16:44.800 --> 01:16:46.300
 with tourists,

957
01:16:46.520 --> 01:16:50.520
 with people from generations that have been living in Catalonia,

958
01:16:50.840 --> 01:16:54.399
 and also people from Pakistan, from Morocco, from everywhere.

959
01:16:54.840 --> 01:17:03.640
 So they have this association that's for homeless and drug consumption women, as I said,

960
01:17:04.000 --> 01:17:08.399
 and they have one thing that's very particular from them,

961
01:17:08.399 --> 01:17:13.399
 which is they just don't try to rehabilitate these women.

962
01:17:14.739 --> 01:17:17.680
 They don't try to stop them from consuming drugs

963
01:17:17.680 --> 01:17:20.899
 because it's something that helps them to survive

964
01:17:20.899 --> 01:17:22.760
 in the limits of the society.

965
01:17:22.760 --> 01:17:27.520
 So they only try to give them a shelter, a safe space,

966
01:17:27.520 --> 01:17:30.899
 where they can have a shower, where they can change clothes,

967
01:17:31.460 --> 01:17:35.500
 and where they can have a safer injection site.

968
01:17:35.779 --> 01:17:40.000
 So it's not a matter of just eliminating the drugs,

969
01:17:40.279 --> 01:17:44.020
 but just to help these women to have harm reduction,

970
01:17:44.560 --> 01:17:47.979
 because the limit between medication and drugs,

971
01:17:48.439 --> 01:17:52.300
 it's really blurred in this context.

972
01:17:53.659 --> 01:17:58.340
 So I get in contact with the association

973
01:17:58.340 --> 01:18:04.260
 and I found the Symphonies of the City program.

974
01:18:04.699 --> 01:18:07.560
 That's a program, that's a six edition,

975
01:18:07.560 --> 01:18:11.859
 and it's a program to produce experimental shorts

976
01:18:11.859 --> 01:18:14.920
 that's granted for the Center of Contemporary Culture

977
01:18:14.920 --> 01:18:16.960
 in Barcelona, the CCCB.

978
01:18:16.960 --> 01:18:21.260
 And they offer the possibility to make short films,

979
01:18:21.260 --> 01:18:24.420
 experimental ones, six every year,

980
01:18:24.420 --> 01:18:26.680
 and they offer the possibility to Donas

981
01:18:26.680 --> 01:18:32.579
 Visuals Associates, which is an association of women that work in audiovisual domain,

982
01:18:32.819 --> 01:18:39.199
 and I'm one of the associates, so I got granted to make this artistic piece of 10, 15 minutes.

983
01:18:39.520 --> 01:18:46.180
 I'm not going to talk about this piece because it's in post-production. We will mix things about the gameplay you

984
01:18:46.180 --> 01:18:52.939
 will see. We will mix the aesthetics of Pixlr and we will mix also the development of the

985
01:18:52.939 --> 01:19:00.340
 workshops. But we will talk about the workshops and how these video games came out.

986
01:19:00.340 --> 01:19:05.800
 Thank you.

987
01:19:08.939 --> 01:19:12.539
 So I'm just going to take my minute to shed some light on some of the ethical issues that we had to confront with

988
01:19:12.539 --> 01:19:15.520
 as we started our project.

989
01:19:15.699 --> 01:19:19.880
 So first of all, our starting position was definitely a feminist stance.

990
01:19:19.880 --> 01:19:22.699
 And since feminist video game studies,

991
01:19:22.899 --> 01:19:28.760
 they aim to decentralize the male perspective and open up a stance for more diversity within the medium.

992
01:19:28.979 --> 01:19:31.600
 So games are not just entertainment in this case.

993
01:19:31.979 --> 01:19:37.279
 We're trying to create these lived experience, especially experience that are marginalized by mainstream media.

994
01:19:38.000 --> 01:19:44.319
 Now, feminist game makers increasingly use interactive forms to explore trauma, memory, care, resistance,

995
01:19:46.479 --> 01:19:51.979
 treating gameplay itself as a way of kind of engaging with these silenced histories. So the video game of my life takes

996
01:19:51.979 --> 01:19:56.439
 up this approach and represents drug use and survival in a way that's meant to awaken

997
01:19:56.439 --> 01:20:04.039
 audiences that are unfamiliar with this reality. Now our starting hypothesis in this case was that

998
01:20:04.039 --> 01:20:06.079
 we had to protect the protagonist,

999
01:20:06.079 --> 01:20:09.000
 which means that we had to maintain their anonymity.

1000
01:20:09.000 --> 01:20:13.420
 And that need really shaped all of our technical and kind of representational thoughts before

1001
01:20:13.420 --> 01:20:14.859
 we started.

1002
01:20:14.859 --> 01:20:21.079
 So we landed on this kind of double distancing stance, which was A, avatarization, the idea

1003
01:20:21.079 --> 01:20:26.000
 of using an avatar rather than seeing the protagonist, and B, of course, animation.

1004
01:20:26.000 --> 01:20:28.000
 And we approached animation in the sense of

1005
01:20:28.000 --> 01:20:33.000
 animation has this kind of dual capacity, this masking capacity,

1006
01:20:33.000 --> 01:20:37.000
 where on one hand it can hide because it hides the identities,

1007
01:20:37.000 --> 01:20:40.000
 but on the other hand it can also expose.

1008
01:20:40.000 --> 01:20:42.000
 It can expose the lived experiences,

1009
01:20:42.000 --> 01:20:45.699
 it can expose recognisable. It can expose recognizable locations.

1010
01:20:46.279 --> 01:20:50.579
 And it can definitely show a lot of the subjective aspect that otherwise can't be seen.

1011
01:20:52.100 --> 01:21:00.699
 Now, concretely, we used rotoscoping, which is the animating frame-by-frame of live footage through the tool Lester.

1012
01:21:01.180 --> 01:21:06.119
 My colleague Ruben will explain more about Lester. My colleague Ruben will explain more about Lester. And Lester allows participants

1013
01:21:06.119 --> 01:21:15.520
 to both animate and make a lot of the representational decisions. So it's also worth emphasizing

1014
01:21:15.520 --> 01:21:22.220
 that a lot of the underrepresentation is also a financial issue, which also keeps marginalized

1015
01:21:22.220 --> 01:21:30.359
 creators out of the field. And that context shaped everything, and also why we used Lester as a technical solution

1016
01:21:30.359 --> 01:21:33.840
 that meant providing maximum agency to these users,

1017
01:21:34.000 --> 01:21:38.060
 rather than requiring them to have funds and technological know-how.

1018
01:21:38.840 --> 01:21:49.260
 Now, the most important concept that we'd like to emphasize is that that sense of agency ended up really being key because these women seeing their stories rendered on their

1019
01:21:49.260 --> 01:21:54.779
 own terms they ultimately chose to be recognizable they consented to exposure

1020
01:21:54.779 --> 01:22:00.199
 and they move past the anonymity that we assumed they would prefer so as a result

1021
01:22:00.199 --> 01:22:06.020
 we're glad to share the images of the entire process with the women whose lives we depict in the game.

1022
01:22:09.920 --> 01:22:11.920
 Something a little bit more technical.

1023
01:22:13.239 --> 01:22:19.020
 The characters were designed with Lester. Lester is an animation editor originated from a research work

1024
01:22:19.319 --> 01:22:21.859
 carried out at our university at UPC.

1025
01:22:22.359 --> 01:22:26.600
 So the editor allows to generate an animation, as the ones you see here,

1026
01:22:27.199 --> 01:22:29.800
 from real videos,

1027
01:22:30.020 --> 01:22:31.199
 from live action footage,

1028
01:22:31.279 --> 01:22:34.640
 so it's a kind of rotoscoping animation software.

1029
01:22:35.920 --> 01:22:39.239
 The idea is to facilitate workflows

1030
01:22:39.239 --> 01:22:42.039
 such as the ones used by Jordan Mechner

1031
01:22:42.039 --> 01:22:44.420
 in the development of the classic game

1032
01:22:44.420 --> 01:22:46.260
 Prince of Persia i altres.

1033
01:22:46.960 --> 01:22:47.359
 Però,

1034
01:22:47.439 --> 01:22:49.659
 en comptes de anar

1035
01:22:49.659 --> 01:22:52.300
 a tots els frames

1036
01:22:52.300 --> 01:22:54.000
 un per un, havent de rotoscopar

1037
01:22:54.000 --> 01:22:55.300
 tots els frames, Lester et permet

1038
01:22:55.300 --> 01:22:57.279
 només de rotoscopar el primer frame

1039
01:22:57.279 --> 01:22:59.500
 i després de propagar

1040
01:22:59.500 --> 01:23:01.100
 les decisions artístiques

1041
01:23:01.100 --> 01:23:02.779
 a la resta dels frames automàticament

1042
01:23:02.779 --> 01:23:04.500
 per l'ús de diversos algoritmes.

1043
01:23:04.619 --> 01:23:06.739
 Un d'ells és un algoritme de segmentació de vídeo, però també algoritmes de simplificació geomètrica artistic decisions to the rest of the frames automatically through the use of several algorithms. One of them is a video segmentation algorithm, but also

1044
01:23:07.439 --> 01:23:11.260
 geometric simplification algorithms like Douglas Becker, for instance.

1045
01:23:12.779 --> 01:23:18.260
 Of course today you can achieve something similar with generative AI, as you can imagine, but

1046
01:23:19.020 --> 01:23:20.699
 it's

1047
01:23:20.699 --> 01:23:21.960
 typically

1048
01:23:21.960 --> 01:23:25.819
 more costly in terms of money and also impact in the environment. the process is not so deterministic. It's a local desktop application. It's free, it's open

1049
01:23:25.819 --> 01:23:27.819
 source.

1050
01:23:28.979 --> 01:23:30.979
 It does not require a lot of

1051
01:23:32.239 --> 01:23:34.239
 information.

1052
01:23:36.239 --> 01:23:38.239
 So, it's a very good process.

1053
01:23:40.439 --> 01:23:42.439
 Typically more costly in terms of money and also impacting the

1054
01:23:42.439 --> 01:23:44.439
 environment.

1055
01:23:45.859 --> 01:23:48.000
 Also with generative AI, the process is not so deterministic. artista e de controle sobre o resultado. Lester é algo tradicional, é unha aplicación local de desktop, é libre,

1056
01:23:48.140 --> 01:23:50.039
 é open source, non requere

1057
01:23:50.039 --> 01:23:50.619
 internet.

1058
01:23:51.800 --> 01:23:54.020
 Usamos-o sucesivamente en todos os jogos,

1059
01:23:54.079 --> 01:23:55.340
 os 4 jogos do proxecto,

1060
01:23:55.520 --> 01:23:57.539
 para o diseño de todos os caracteres,

1061
01:23:57.739 --> 01:23:59.100
 e tamén de todos os caracteres principais,

1062
01:23:59.180 --> 01:24:01.239
 e tamén de alguns dos NPCs nos jogos.

1063
01:24:02.079 --> 01:24:04.500
 Fizemos isto com a participación

1064
01:24:04.500 --> 01:24:08.399
 das mozas participando no proxecto. pieces in the games. We did it with the participation of the women participating in the project.

1065
01:24:08.399 --> 01:24:12.899
 They not only provided the performances for the live action footage, but also they sit

1066
01:24:12.899 --> 01:24:17.420
 with us in front of the editor, selecting the different colors and the finishing aspects

1067
01:24:17.420 --> 01:24:31.319
 of their characters. Maybe I'm going to talk about the workshop itself a bit, how we did it.

1068
01:24:31.319 --> 01:24:35.920
 And our goal, as Nia said, was to give agency to the participants.

1069
01:24:35.920 --> 01:24:41.500
 So we tried to give the freedom, the sense of freedom of the burden of having to implement

1070
01:24:41.500 --> 01:24:42.500
 the game.

1071
01:24:42.500 --> 01:24:43.779
 So we did that.

1072
01:24:43.779 --> 01:24:49.180
 So they just talked about their ideas they had and it was implemented by professionals.

1073
01:24:49.180 --> 01:24:53.760
 We did all the coding, it was not a sort of teach to how to make a game, as I said, it

1074
01:24:53.760 --> 01:25:01.520
 was giving the maximum artistic freedom to these women, which implied also very importantly

1075
01:25:01.520 --> 01:25:04.899
 the final word about what goes into the game and what not.

1076
01:25:04.899 --> 01:25:05.000
 So we could not decide on that as far as their decisions. but also very importantly the final word about what goes into the game and what not.

1077
01:25:05.000 --> 01:25:10.000
 So we could not decide on that as far as their decisions.

1078
01:25:10.000 --> 01:25:15.000
 So I want you to present the games resulting.

1079
01:25:15.000 --> 01:25:22.000
 Antonia started from Bubble Bobble and wanted to represent the place she lived

1080
01:25:22.000 --> 01:25:25.000
 during the first six months of her stay in Barcelona

1081
01:25:25.000 --> 01:25:32.300
 and all those ghosts, creepy creatures climbing up and she had to chase them out of the place

1082
01:25:32.300 --> 01:25:36.500
 where she was living with poison coming out of her hands.

1083
01:25:36.500 --> 01:25:40.899
 And the ghosts laughing at her.

1084
01:25:40.899 --> 01:25:45.000
 This is Maria's game. She is...

1085
01:25:50.000 --> 01:25:59.000
...represent using lemmings as a base game to show how drug addiction dictates her daily life.

1086
01:25:59.000 --> 01:26:06.539
 She feels herself as an avatar going through life and having to do all the stuff to get to

1087
01:26:06.539 --> 01:26:11.760
 the sugar daddy to get some money go down again buy the drugs be avoid being

1088
01:26:11.760 --> 01:26:16.020
 robbed so she can keep the money and the drugs and finally reach the missionaries

1089
01:26:16.020 --> 01:26:21.479
 Association to smoke her crack pipe in peace forced to do that every day and

1090
01:26:21.479 --> 01:26:28.640
 every day so it's one lemming after the other. Tania just wanted to destroy the MACBA.

1091
01:26:28.899 --> 01:26:33.659
 MACBA is the Center of Contemporary Art in Barcelona.

1092
01:26:34.380 --> 01:26:37.340
 And it's sort of a symbol of infrastructure

1093
01:26:37.340 --> 01:26:40.720
 done for tourists and rich people in general,

1094
01:26:40.840 --> 01:26:42.100
 but not the people living there.

1095
01:26:42.420 --> 01:26:44.420
 So her goal was to destroy it.

1096
01:26:44.420 --> 01:26:47.239
 And once it destroys, you destroy it, and once it destroys,

1097
01:26:47.239 --> 01:26:50.479
 what is left?

1098
01:26:50.479 --> 01:26:51.420
 Nothing.

1099
01:26:51.420 --> 01:26:54.560
 And there was a very peaceful nothing somehow.

1100
01:26:54.560 --> 01:26:58.840
 Then finally we have Kitty.

1101
01:26:58.840 --> 01:27:03.560
 Kitty was very inspired by the Catastrophe Anarchist

1102
01:27:03.560 --> 01:27:05.439
 movement during the Civil War, and shocked by the Catastrophe and Anarchist movement during the Civil War

1103
01:27:05.439 --> 01:27:10.819
 and shocked by the police violence she was experimenting on the street.

1104
01:27:10.819 --> 01:27:18.720
 So she wanted to be sort of a cat climbing around and jumping around in the balconies of the rubble

1105
01:27:18.720 --> 01:27:20.859
 and slicing policemen into pieces.

1106
01:27:21.399 --> 01:27:22.760
 That was the goal of the game.

1107
01:27:23.380 --> 01:27:27.000
 You see, they could choose what goes in and what not.

1108
01:27:29.000 --> 01:27:34.000
 The structure of the workshops was relatively simple. We just made them play some games.

1109
01:27:34.000 --> 01:27:47.920
 First session was just playing for fun. Second session, choosing from there what game to want to make, sketching that game out, then we had some recording sessions and

1110
01:27:47.920 --> 01:27:53.399
 tried to bring that into a first version of the game and let them see that.

1111
01:27:53.399 --> 01:27:58.479
 That was a crucial point because from the feedback we got, the games changed dramatically

1112
01:27:58.479 --> 01:28:01.079
 what was in the first version, what we have interpreted.

1113
01:28:01.079 --> 01:28:07.000
 So that feedback we implemented again, We did the final shootings for the

1114
01:28:07.500 --> 01:28:12.960
 animations you have seen before. They did some drawings. Some of the artwork is there.

1115
01:28:12.960 --> 01:28:19.960
 And finally, sort of a conclusion and feedback version to see what they thought about the

1116
01:28:19.979 --> 01:28:27.119
 process. What they thought was, I think, really positive. They really felt the agency to do

1117
01:28:27.119 --> 01:28:31.579
 the stuff and they were surprised because normally it's not something that happens in

1118
01:28:31.579 --> 01:28:38.640
 their life. Having an agency is something new for them and they really enjoyed the experience.

1119
01:28:38.640 --> 01:28:43.420
 So I really like the game because it's exactly as I had asked for it. It has all been very

1120
01:28:43.420 --> 01:28:45.420
 altruistic without anyistic, without any rules,

1121
01:28:45.420 --> 01:28:50.399
 without any obligations, not dictating how things should be, but rather do whatever you

1122
01:28:50.399 --> 01:28:56.840
 want and I love that. The video game was an opportunity to show our personality and from

1123
01:28:56.840 --> 01:29:00.680
 the mentor of Metsineros she told us that it was the first time in all the workshops

1124
01:29:00.680 --> 01:29:07.140
 that do that everybody is attending all the sessions. So I think from that point, it was successful.

1125
01:29:11.619 --> 01:29:19.340
 As conclusions, we were very proud of just proving that the routines of the medicine

1126
01:29:19.340 --> 01:29:26.039
 areas people were in the workshops. They decided to show. We didn't know if they would just make something

1127
01:29:26.039 --> 01:29:28.180
 superficial to avoid

1128
01:29:28.180 --> 01:29:30.279
 their real lives. But no, they put

1129
01:29:30.279 --> 01:29:32.560
 the routines, the things that happened to them

1130
01:29:32.560 --> 01:29:34.340
 into the video games. So I

1131
01:29:34.340 --> 01:29:36.239
 think that was really just

1132
01:29:36.239 --> 01:29:37.840
 putting real life into

1133
01:29:37.840 --> 01:29:39.699
 a ludic place.

1134
01:29:40.340 --> 01:29:42.180
 Then also, the process

1135
01:29:42.180 --> 01:29:44.260
 of design in the video game was

1136
01:29:44.260 --> 01:29:45.119
 iterative.

1137
01:29:45.439 --> 01:29:48.300
 We made, as Lasse said, we made seven sessions.

1138
01:29:48.420 --> 01:29:53.079
 We could just keep doing sessions and trying to polish the video games.

1139
01:29:53.779 --> 01:29:59.600
 And we decided that they had to focus on the narrative part,

1140
01:29:59.600 --> 01:30:07.840
 on the game design and not on coding as it's usual in this kind of workshops. Another thing is that

1141
01:30:07.840 --> 01:30:14.319
 they really feel very happy for the sovereignty they had, the possibility of deciding absolutely

1142
01:30:14.319 --> 01:30:20.159
 everything. That's something that we realize that doesn't happen in Helya in their real

1143
01:30:20.159 --> 01:30:25.939
 lives. And we're also very proud of having these games mechanics and this

1144
01:30:25.939 --> 01:30:33.739
 structural design from the decisions of all the participants so thank you very

1145
01:30:33.739 --> 01:30:45.100
 much for listening and we wait for the questions mess thank you for your great talk. Any questions from you? Yes.

1146
01:30:48.840 --> 01:30:49.479
 Hi.

1147
01:30:50.239 --> 01:30:52.260
 I actually have a comment and a question.

1148
01:30:52.699 --> 01:30:55.140
 The comment is that historically,

1149
01:30:55.680 --> 01:30:58.220
 arcades were a really dark place

1150
01:30:58.220 --> 01:31:01.600
 and not a very safe place in the 80s, at least.

1151
01:31:01.600 --> 01:31:04.819
 They were a place where there was mostly males

1152
01:31:04.819 --> 01:31:06.939
 and not really too many females

1153
01:31:06.939 --> 01:31:10.060
 or people from different groups.

1154
01:31:10.359 --> 01:31:12.600
 So it's some kind of poetic justice

1155
01:31:13.100 --> 01:31:14.859
 that you guys have built this.

1156
01:31:15.319 --> 01:31:16.399
 I love it.

1157
01:31:16.539 --> 01:31:18.079
 So thank you for that.

1158
01:31:19.300 --> 01:31:21.399
 And my question is,

1159
01:31:21.979 --> 01:31:23.539
 the gameplay design,

1160
01:31:23.640 --> 01:31:27.560
 the core gameplay design for those games was extremely

1161
01:31:27.560 --> 01:31:29.520
 difficult.

1162
01:31:29.520 --> 01:31:31.939
 And that was part of the engagement back then.

1163
01:31:31.939 --> 01:31:38.060
 And I'm curious if in the adaptation of trying to make a game for people who don't have the

1164
01:31:38.060 --> 01:31:44.819
 level of gameplay experience or gameplay skill, was it that difficult in order to create a

1165
01:31:44.819 --> 01:31:46.239
 compelling game, or how

1166
01:31:46.239 --> 01:31:47.560
 was that work process?

1167
01:31:47.560 --> 01:31:49.319
 Yeah, you're completely right.

1168
01:31:49.319 --> 01:31:54.819
 I mean, the first session, we've been playing the original games from the 80s, and it was

1169
01:31:54.819 --> 01:31:55.819
 madness.

1170
01:31:55.819 --> 01:32:00.300
 It was just, you were in the game over again, again, again, and very quickly.

1171
01:32:00.300 --> 01:32:06.960
 It was because they wanted you to put the coin inside the machine, so that's why the game mechanics were really hard.

1172
01:32:07.399 --> 01:32:09.800
 But in this case, we decided to transform this,

1173
01:32:10.220 --> 01:32:13.359
 not as we say video game, but they are mini games.

1174
01:32:13.939 --> 01:32:17.039
 And I have with me the teacher of game design from my center,

1175
01:32:17.039 --> 01:32:20.619
 so I will just let him explain the mini games mechanics.

1176
01:32:22.779 --> 01:32:29.880
 I think it was surprising to me the knowledge they had about the 80s game as well.

1177
01:32:29.880 --> 01:32:34.239
 So we started with the premise that they wouldn't know them, it would be difficult for them,

1178
01:32:34.239 --> 01:32:35.500
 but no.

1179
01:32:35.500 --> 01:32:39.640
 Some of them picked the game, Bubble Bobble, because she liked it in the session we were

1180
01:32:39.640 --> 01:32:40.640
 playing.

1181
01:32:40.640 --> 01:32:49.220
 Lemmings, we didn't even try it out, but she said she came, I wanted to be based on Lemmings, definitely. So she had that clear from her own knowledge as well, so

1182
01:32:49.220 --> 01:32:54.560
 shouldn't underestimate them. And one was Tanya, the destroying game, she

1183
01:32:54.560 --> 01:33:01.039
 didn't want any game as a base, it was all from scratch. Yeah, the last one

1184
01:33:01.039 --> 01:33:06.819
 is sort of a combination of a classical jump and run and Donkey Kong.

1185
01:33:06.819 --> 01:33:12.600
 She pictured it on the MACBA in the museum because there's sort of that diagonal stairs

1186
01:33:12.600 --> 01:33:15.819
 and she really saw, I see it there, I want to go up there.

1187
01:33:15.819 --> 01:33:19.760
 So it was the combination of the physical place helped a lot as well, no?

1188
01:33:19.760 --> 01:33:24.619
 Was the three things, the game starting point, their imagination and put it into a physical

1189
01:33:24.619 --> 01:33:25.060
 place is something I didn't say. Thank you. with the three things, the game's starting point, their imagination, and put it into a physical place.

1190
01:33:25.300 --> 01:33:26.279
 That's something I didn't say.

1191
01:33:26.840 --> 01:33:27.220
 Thank you.

1192
01:33:29.220 --> 01:33:30.260
 Other questions?

1193
01:33:32.340 --> 01:33:33.439
 Okay, so I have one.

1194
01:33:34.579 --> 01:33:38.260
 So the games that you created show crack smoking,

1195
01:33:38.619 --> 01:33:40.060
 cutting police people in two.

1196
01:33:41.619 --> 01:33:44.939
 Did you ever say no to an idea that was brought up?

1197
01:33:44.939 --> 01:33:45.000
 No. No, that's the whole thing. Did you ever say no to an idea that was brought up?

1198
01:33:45.000 --> 01:33:48.000
 No. No, that's the whole thing.

1199
01:33:48.000 --> 01:33:52.000
 The only thing we said no was technical limitations

1200
01:33:52.000 --> 01:33:54.000
 or to protect myself somehow.

1201
01:33:54.000 --> 01:33:57.000
 If you said, I want to do a multiplayer game,

1202
01:33:57.000 --> 01:34:00.000
 I said, sorry, no, I have a life.

1203
01:34:00.000 --> 01:34:04.000
 So at some point if it was sort of too hard to implement,

1204
01:34:04.000 --> 01:34:07.039
 or one side, I want 11 levels is no

1205
01:34:08.060 --> 01:34:14.239
 One level. Okay, so that was the only possible no, but no censorship at all

1206
01:34:16.359 --> 01:34:20.880
 I think that it was a reward for them just to see that everything that they said

1207
01:34:20.880 --> 01:34:24.600
 Maybe it was something stupid or maybe it was something that for them

1208
01:34:24.600 --> 01:34:25.779
 They they just love it,

1209
01:34:25.840 --> 01:34:29.560
 but when they saw the next session that it was a reality in the video game,

1210
01:34:29.619 --> 01:34:33.260
 it was like, oh, look at that, that thing, it's in the video game.

1211
01:34:33.359 --> 01:34:34.640
 So it was something that...

1212
01:34:34.640 --> 01:34:37.739
 It was nice not to say no to anything

1213
01:34:37.739 --> 01:34:39.659
 because it's something that they really enjoyed.

1214
01:34:42.600 --> 01:34:46.960
 I'll just add to that because I think it ties back to the ethical issues and I think that

1215
01:34:46.960 --> 01:34:48.840
 ties back to the Metsenderes goals.

1216
01:34:48.840 --> 01:34:50.899
 It's not about what you'd expect, right?

1217
01:34:50.899 --> 01:34:54.119
 It's not about cleaning them up or something like that.

1218
01:34:54.119 --> 01:34:58.420
 No, it's very much accepting their life situation and helping them within that and the game

1219
01:34:58.420 --> 01:35:00.079
 reflects that.

1220
01:35:00.079 --> 01:35:03.560
 Understanding more about their life situation and giving them the agency within that.

1221
01:35:03.560 --> 01:35:04.560
 Yeah.

1222
01:35:04.560 --> 01:35:08.899
 And it's very one to one. the animation of smoking a crack pipe. She

1223
01:35:08.899 --> 01:35:15.000
 was smoking a crack pipe. So it's it is true there.

1224
01:35:15.000 --> 01:35:22.500
 Great project. Any other questions from your sides? Okay.

1225
01:35:22.500 --> 01:35:27.340
 Yes, so once again thank you for your great presentation and yeah, let's

1226
01:35:27.340 --> 01:35:33.180
 get to the last speaker for today. Thank you.

1227
01:35:33.180 --> 01:35:41.659
 Okay, so yeah, the last talk has the title from screen to space, rethinking how interactive

1228
01:35:41.659 --> 01:35:50.380
 markers reshape physical digital interaction in theGames and this was written by Vinaya Tade, Nicole Dostalova and Simone Kegelstein.

1229
01:35:50.380 --> 01:35:55.659
 So welcome Vinaya on stage.

1230
01:36:10.760 --> 01:36:11.760
 Okay. That was weird.

1231
01:36:11.760 --> 01:36:12.760
 Cool.

1232
01:36:12.760 --> 01:36:13.760
 Hi.

1233
01:36:13.760 --> 01:36:14.760
 My name is Vinaya.

1234
01:36:14.760 --> 01:36:20.539
 And in this presentation, I'm going to be discussing about what happens when there's

1235
01:36:20.539 --> 01:36:25.140
 physical interaction that happens in mobile augmented reality games.

1236
01:36:31.020 --> 01:36:31.560
 Now, we've known that augmented reality is bridging digital content onto the physical world, right?

1237
01:36:39.359 --> 01:36:39.579
 But there's a real problem there, which is, although augmented reality is a hybrid version of reality,

1238
01:36:42.520 --> 01:36:51.100
 it's still very screen-centric when we talk about interaction. I can probably emphasize more about this problem through two interaction paradigms.

1239
01:36:51.100 --> 01:36:56.319
 There's the window of the world interaction paradigm where there is the world and the

1240
01:36:56.319 --> 01:37:06.159
 screen acts as the window through which perception and action is experienced by a player. And there is the window of the world as support,

1241
01:37:06.420 --> 01:37:09.960
 where the world acts as a place for interaction,

1242
01:37:10.359 --> 01:37:13.699
 where interaction is primarily the space

1243
01:37:13.699 --> 01:37:15.340
 where things can get manipulated,

1244
01:37:15.979 --> 01:37:19.439
 and there's movement and space as a context is used.

1245
01:37:20.020 --> 01:37:24.300
 At the same time, digital content is still superimposed

1246
01:37:24.300 --> 01:37:26.819
 into the space, making it more AR-like.

1247
01:37:28.279 --> 01:37:34.039
 Having said that, these two interaction paradigms help to create different kinds of interactions,

1248
01:37:34.619 --> 01:37:39.619
 depending on whether you want to focus on physical interactions or digital in AR games.

1249
01:37:41.079 --> 01:37:48.340
 Now, speaking about more interaction, I would like to maybe focus on embodied interaction

1250
01:37:48.340 --> 01:37:53.180
 because that's the whole basis of where physical reality comes into being.

1251
01:37:53.180 --> 01:37:57.399
 So embodied interaction is really going beyond the screen.

1252
01:37:57.399 --> 01:38:02.500
 So there is the space, there is the body, the objects and the artifacts around us that

1253
01:38:02.500 --> 01:38:05.819
 really help everything get embodied.

1254
01:38:08.600 --> 01:38:12.340
 And tangible interaction really helps create a very specific vocabulary for embodied interaction.

1255
01:38:12.960 --> 01:38:15.659
 So this is the space where tangible materials

1256
01:38:15.659 --> 01:38:17.739
 can get manipulated, they can be moved,

1257
01:38:17.859 --> 01:38:19.579
 the orientation can be shifted,

1258
01:38:19.579 --> 01:38:23.500
 and there is more space for agency,

1259
01:38:24.039 --> 01:38:25.979
 like you guys already spoke about,

1260
01:38:26.439 --> 01:38:28.020
 which really helps my presentation.

1261
01:38:29.500 --> 01:38:34.899
 So the space where our research comes in is,

1262
01:38:34.899 --> 01:38:39.460
 yes, a mobile augmented reality game can be a window on the world,

1263
01:38:39.640 --> 01:38:42.020
 but it doesn't necessarily have to focus

1264
01:38:42.020 --> 01:38:43.760
 and make screen-heavy interactions.

1265
01:38:44.060 --> 01:38:47.359
 We can move beyond and have physical space

1266
01:38:47.359 --> 01:38:49.779
 as a part of meaningful interactions.

1267
01:38:51.180 --> 01:38:55.819
 So markers can be one way of finding a solution

1268
01:38:55.819 --> 01:38:57.960
 to this exchange.

1269
01:38:57.960 --> 01:39:00.619
 Now as we know about image markers

1270
01:39:00.619 --> 01:39:03.020
 and there are QR codes that you scan

1271
01:39:03.020 --> 01:39:07.340
 and they give you augmented objects on your screen.

1272
01:39:07.899 --> 01:39:09.439
 And we already know about this.

1273
01:39:09.699 --> 01:39:11.640
 And there's recently a lot of work

1274
01:39:11.640 --> 01:39:15.659
 that is using intermarker relations

1275
01:39:15.659 --> 01:39:17.939
 and understanding how interaction works there.

1276
01:39:18.399 --> 01:39:21.420
 There's also a really interesting research done

1277
01:39:21.420 --> 01:39:23.000
 on stackable markers,

1278
01:39:23.560 --> 01:39:26.859
 where there are sort of transparent markers that you sort

1279
01:39:26.859 --> 01:39:30.920
 of stack on each other and they help you in their interaction.

1280
01:39:30.920 --> 01:39:34.979
 Now if you really see, even though we are talking about markers, these are all still

1281
01:39:34.979 --> 01:39:37.159
 2D in nature.

1282
01:39:37.159 --> 01:39:47.180
 So what we understood in our systematic literature review is using 3D markers is still an unexplored space and it's still

1283
01:39:47.180 --> 01:39:54.220
 not being explored as a medium for using the physical world for interacting.

1284
01:39:54.220 --> 01:40:00.359
 Now this gives us an interesting proposition of using interactive markers as a configuration

1285
01:40:00.359 --> 01:40:09.399
 to help get the physical reality back into augmented reality. So our question was what kind of behavior patterns can emerge if

1286
01:40:09.880 --> 01:40:14.720
 players start engaging with interactive markers in a mobile augmented reality game. And

1287
01:40:15.239 --> 01:40:21.380
 second is when they are interacting with these markers, what are these interaction patterns that might emerge?

1288
01:40:23.000 --> 01:40:30.359
 So to understand this we created a research prototype, which is Roo.

1289
01:40:30.359 --> 01:40:36.300
 In Roo, it's really necessary to use physical construction to go ahead in digital progression.

1290
01:40:36.300 --> 01:40:42.420
 So a marker in this game in the first picture, you see you get a clue, and your riddle is

1291
01:40:42.420 --> 01:40:45.960
 to help understand which material to use and what to build.

1292
01:40:46.420 --> 01:40:51.239
 In your second picture, you see there's a silhouette. So you have to create a marker

1293
01:40:51.239 --> 01:40:57.579
 based on the silhouette and then you scan it and there's an augmented object that appears on it

1294
01:40:57.579 --> 01:41:00.880
 and that's how you progress. So it's an interaction loop that keeps

1295
01:41:00.880 --> 01:41:05.920
 helping the user educate on how to really move from the physical world

1296
01:41:05.920 --> 01:41:09.239
 to the digital world.

1297
01:41:09.239 --> 01:41:16.199
 Now we presented this at Expanded Play in 2024 and it was an exploratory study because

1298
01:41:16.199 --> 01:41:21.119
 we still don't know how users were going to interact with jumping in from the physical

1299
01:41:21.119 --> 01:41:30.239
 reality to the digital reality and back and so on. So we had about 12 participants out of the 70 participants who engaged with the entire

1300
01:41:30.239 --> 01:41:31.239
 game.

1301
01:41:31.239 --> 01:41:34.000
 12 of them consented to the qualitative study.

1302
01:41:34.000 --> 01:41:39.500
 The sessions approximately lasted for about 20 minutes and the age range was between 19

1303
01:41:39.500 --> 01:41:40.500
 to 45.

1304
01:41:40.500 --> 01:41:48.100
 We collected data from post-play questionnaires and there was a lot of discussion about it.

1305
01:41:48.100 --> 01:41:55.760
 So the first really obvious finding was construction of these interactive markers really redistributed

1306
01:41:55.760 --> 01:41:59.579
 the interaction from continuous screen device usage.

1307
01:41:59.579 --> 01:42:04.760
 So we're not saying that the markers were great and they got attention.

1308
01:42:04.760 --> 01:42:07.140
 It was important to know that the participants

1309
01:42:07.140 --> 01:42:10.920
 kept their phone aside while they were constructing objects

1310
01:42:10.920 --> 01:42:13.060
 and when they were done constructing,

1311
01:42:13.060 --> 01:42:15.979
 they picked up their phone and went back to play the game.

1312
01:42:15.979 --> 01:42:18.420
 So there was a continuous distribution

1313
01:42:18.420 --> 01:42:22.760
 of physical reality engagement to digital and so on.

1314
01:42:24.239 --> 01:42:27.500
 The second finding that we understood was recognition

1315
01:42:27.500 --> 01:42:32.939
 constrained the tasks. And when I say that, I mean the silhouettes that you saw, we needed to have

1316
01:42:32.939 --> 01:42:39.319
 them because we couldn't afford to give our players complete agency because we had recognition

1317
01:42:39.319 --> 01:42:45.520
 and computational issues because this space is still currently being studied.

1318
01:42:45.520 --> 01:42:47.720
 Therefore, we needed to give them constraints.

1319
01:42:47.720 --> 01:42:50.560
 But even in these constraints, what was interesting to see

1320
01:42:50.560 --> 01:42:53.279
 was the players still found a way

1321
01:42:53.279 --> 01:42:57.460
 to help themselves make their markers more customized.

1322
01:42:57.460 --> 01:42:59.979
 So in some of these images, you can see there are some markers

1323
01:42:59.979 --> 01:43:02.979
 that are being constructed horizontally, vertically.

1324
01:43:02.979 --> 01:43:06.579
 Some participants were actually completely rejected

1325
01:43:06.579 --> 01:43:09.159
 the table and started constructing right on the ground,

1326
01:43:09.159 --> 01:43:11.560
 which was very interesting to also see.

1327
01:43:12.699 --> 01:43:15.359
 Some of the participants also really appreciated

1328
01:43:15.359 --> 01:43:19.479
 using specific colors that you can see in the last image.

1329
01:43:19.479 --> 01:43:21.760
 And there were some participants

1330
01:43:21.760 --> 01:43:23.539
 who created extreme miniatures

1331
01:43:23.539 --> 01:43:27.279
 and very maximalistic versions of markers.

1332
01:43:29.199 --> 01:43:34.960
 And like I said, because this is a new form of interaction where you're jumping in and out of

1333
01:43:34.960 --> 01:43:43.119
 physical and digital reality, there was challenges that the participants faced. So this was more

1334
01:43:43.119 --> 01:43:47.520
 related to participants who were older compared to the ones who were younger,

1335
01:43:47.960 --> 01:43:54.340
 where they first tried to move their phones around in searching for the actual material,

1336
01:43:54.340 --> 01:44:00.479
 for example, bag. So they would go and try to scan the bag because they were unaware that they had to

1337
01:44:00.479 --> 01:44:07.260
 go in the physical space and engage with it. Now because their prior knowledge of mobile augmented reality games

1338
01:44:07.260 --> 01:44:09.319
 was everything is screen centric,

1339
01:44:09.319 --> 01:44:11.939
 they just happened to keep doing stuff on the screen

1340
01:44:11.939 --> 01:44:15.279
 and they were just unaware of being involved

1341
01:44:15.279 --> 01:44:16.619
 in the physical space.

1342
01:44:16.619 --> 01:44:20.439
 So five of them explicitly asked for help

1343
01:44:20.439 --> 01:44:23.840
 and the others managed to eventually figure out.

1344
01:44:25.539 --> 01:44:29.439
 So understanding these sort of behaviors

1345
01:44:29.439 --> 01:44:32.619
 that have emerged from physical digital loop,

1346
01:44:33.079 --> 01:44:35.399
 we have some implications that we derived

1347
01:44:35.399 --> 01:44:37.680
 when designing with interactive markers

1348
01:44:37.680 --> 01:44:39.520
 and mobile augmented reality games.

1349
01:44:40.100 --> 01:44:42.640
 So we want to encourage hands-on engagement,

1350
01:44:43.140 --> 01:44:46.020
 which is although markers interrupt continuous

1351
01:44:46.020 --> 01:44:50.680
 screen usage, they're not disengaging players.

1352
01:44:50.680 --> 01:44:53.079
 Second is to enable creative autonomy.

1353
01:44:53.079 --> 01:44:58.060
 So, recognition boundaries still persist because of computational limitations, but they still

1354
01:44:58.060 --> 01:45:03.439
 let players choose sizes, colors, orientation, and placement.

1355
01:45:03.439 --> 01:45:05.520
 And third is accommodating diverse interaction

1356
01:45:05.520 --> 01:45:10.079
 patterns. Now this is specifically with the age group. Depending on what age

1357
01:45:10.079 --> 01:45:14.859
 group you're working with, they might be more tech savvy or less. It's important

1358
01:45:14.859 --> 01:45:20.819
 to help them with digital cues and strategies that can help them shuffle

1359
01:45:20.819 --> 01:45:26.859
 from the interaction of physical and digital worlds. So to conclude my presentation,

1360
01:45:27.560 --> 01:45:30.159
 we don't argue that you need to be moving away

1361
01:45:30.159 --> 01:45:32.319
 from screen usage in mobile AR.

1362
01:45:32.739 --> 01:45:36.859
 What we're trying to ask or start discussions about is

1363
01:45:36.859 --> 01:45:40.600
 how do we change where meaningful interaction really happens?

1364
01:45:41.600 --> 01:45:43.439
 And that's my talk. Thank you.

1365
01:45:45.619 --> 01:45:47.439
 Thank you, Minaya, for this amazing talk.

1366
01:45:49.060 --> 01:45:51.720
 So, questions from your side.

1367
01:45:54.579 --> 01:45:56.100
 Okay, I have one.

1368
01:45:57.359 --> 01:46:01.960
 So, you mentioned that 10 out of 12 players first tried to solve everything

1369
01:46:01.960 --> 01:46:10.060
 on the screen and 5 needed help. Is it a problem you want to fix with better onboarding or should it be part of the experience basically?

1370
01:46:10.060 --> 01:46:18.000
 Is it something interesting for you? So when I said that 10 out of 12 were struggling,

1371
01:46:18.000 --> 01:46:27.159
 it wasn't because of the onboarding. They read it, they just did not anticipate engaging in the physical world.

1372
01:46:27.479 --> 01:46:31.140
 They didn't anticipate that they had to construct something in the physical world.

1373
01:46:31.479 --> 01:46:37.279
 They kept searching for puzzles around in the physical space, so more augmented objects, so they

1374
01:46:37.279 --> 01:46:45.859
 would move around, you know, trying to search for these augmented objects. And then when I helped them understand

1375
01:46:45.859 --> 01:46:48.340
 that you actually have to engage in the physical world,

1376
01:46:48.680 --> 01:46:50.439
 that was something probably novel,

1377
01:46:50.680 --> 01:46:51.939
 which they hadn't anticipated.

1378
01:46:52.359 --> 01:46:54.239
 And because they came with prior knowledge

1379
01:46:54.239 --> 01:46:56.720
 of AR has to be screen-centric,

1380
01:46:56.779 --> 01:46:58.720
 and we just move around with our screen.

1381
01:46:59.100 --> 01:47:01.079
 So the window of the world paradigm

1382
01:47:01.079 --> 01:47:03.619
 is where their focus was on.

1383
01:47:03.859 --> 01:47:06.840
 Hence, they just did not anticipate that they

1384
01:47:06.840 --> 01:47:11.260
 would have to leave their phone down, which was really surprising that they had to do

1385
01:47:11.260 --> 01:47:12.260
 that.

1386
01:47:12.260 --> 01:47:22.260
 Interesting. Yes. Any other questions? So I have another one. Everyone got the same

1387
01:47:22.260 --> 01:47:25.399
 materials in this control setting that you have.

1388
01:47:25.399 --> 01:47:28.279
 What happens when players use whatever they find at home?

1389
01:47:28.279 --> 01:47:32.399
 So does the scanning still work or will it feel the same?

1390
01:47:32.399 --> 01:47:36.979
 So is it part of this basic experience that you designed?

1391
01:47:36.979 --> 01:47:43.199
 I didn't have the answer to this till last year because people were just doing, you know,

1392
01:47:43.199 --> 01:47:52.420
 they had the materials in front of them. But I think last year when I was presenting the other game, there were these three really interesting participants.

1393
01:47:53.100 --> 01:47:55.539
 And they had to create, like, Lego markers.

1394
01:47:56.180 --> 01:48:01.239
 And somehow they saw a paper and started making Lego instead of, like, constructing them.

1395
01:48:01.960 --> 01:48:06.699
 And it actually recognized the pattern

1396
01:48:06.699 --> 01:48:08.960
 because it looked like the Lego blocks.

1397
01:48:09.039 --> 01:48:11.039
 They were extremely accurately doing it right.

1398
01:48:12.000 --> 01:48:14.640
 So I guess there are different ways

1399
01:48:14.640 --> 01:48:16.039
 of how you can play with it.

1400
01:48:16.819 --> 01:48:18.180
 Cool. Fascinating. Great.

1401
01:48:19.659 --> 01:48:23.619
 Yeah, so if there are no further questions,

1402
01:48:24.060 --> 01:48:26.140
 many thanks, Vinayaaya for this great talk and

1403
01:48:26.899 --> 01:48:28.899
 Yep, one big applause, please

1404
01:48:32.779 --> 01:48:38.979
 Yeah, so this concludes our last session for today thanks again for the fantastic talks

1405
01:48:39.739 --> 01:48:41.739
 the speaker gave and

1406
01:48:42.119 --> 01:48:45.760
 Yeah, so perhaps is a good idea to hand over to jürgen there he is

1407
01:48:51.680 --> 01:48:59.920
 thank you so uh first day of the expanded conference we will continue tomorrow 10 o'clock

1408
01:49:00.640 --> 01:49:06.399
 you probably know that there is an opening tonight and another thing

1409
01:49:06.399 --> 01:49:08.939
 will also be happening

1410
01:49:08.939 --> 01:49:10.960
 so it will be a very intense

1411
01:49:10.960 --> 01:49:12.939
 week as I already mentioned

1412
01:49:12.939 --> 01:49:14.840
 at the beginning but tomorrow

1413
01:49:14.840 --> 01:49:16.760
 you should be here again

1414
01:49:16.760 --> 01:49:18.579
 at 10 o'clock with the next

1415
01:49:18.579 --> 01:49:19.779
 academic session

1416
01:49:19.779 --> 01:49:22.619
 and we will have a

1417
01:49:22.619 --> 01:49:24.899
 birds of a feather, the doctoral consortium

1418
01:49:24.899 --> 01:49:25.960
 will also continue

1419
01:49:25.960 --> 01:49:34.920
 upstairs on the fourth floor uh yeah and we also invite you to stay with us at the cube here at

1420
01:49:34.920 --> 00:00:00.000
 the restaurant to reflect the first day and also talk to the speakers so I'll see you tomorrow. Thank you.