WEBVTT 0 00:00:00.000 --> 00:00:08.039 There's just another panel at 11.30, but if we just wait the first 15 minutes and start at 10.15, that would also be a possibility. 1 00:00:08.300 --> 00:00:09.859 So the schedule stays the same. 2 00:00:11.119 --> 00:00:14.359 In case the rules come really on point, I'm not sure. 3 00:00:16.239 --> 00:00:17.420 We have to be flexible. 4 00:00:18.559 --> 00:00:19.719 I'm sorry about it. 5 00:00:19.859 --> 00:00:20.940 No, no, no, it doesn't. 6 00:00:21.039 --> 00:00:23.000 It's not much we can do. 7 00:00:23.480 --> 00:04:05.000 It's not much. Not much we can do. Ford. Thank you. Vielen Dank. E aí Vielen Dank. Vielen Dank.お待ちしておりますスタートします今から15分ほどです 8 00:04:05.000 --> 00:04:09.000 10時15分からセッション3を始めます 9 00:04:09.000 --> 00:04:13.000 どうぞ休憩してください 10 00:04:13.000 --> 00:16:36.580 すみません Thank you. Vielen Dank. Obrigada. Thank you. E aí Vielen Dank. Thank you. E aí Thank you. Obrigada. Thank you. Obrigado. Thank you. E aí Obrigado. Vielen Dank. Thank you. Obrigada.... Vielen Dank. Vielen Dank. Tekstet av Nicolai Winther I'm going to go get some food. Thank you.おはようございます 11 00:16:36.580 --> 00:16:40.379 エクスパンデータコンフェンス セッション3 コントロール 12 00:16:40.379 --> 00:16:42.639 私はゆうちろかつもとです 13 00:16:42.639 --> 00:16:45.740 このセッションを担当しています 14 00:16:45.740 --> 00:16:48.860 コントロールは何かとも言えます 15 00:16:48.860 --> 00:16:50.659 システムをコントロールすること 16 00:16:50.659 --> 00:16:51.919 マシンをコントロールすること 17 00:16:51.919 --> 00:16:53.559 物資をコントロールすること 18 00:16:53.559 --> 00:16:55.399 コントロールを失うこと 19 00:16:55.399 --> 00:17:01.159 今日の5つのプレゼンテーションは 20 00:17:01.159 --> 00:17:05.000 コントロールを非常に違�なる方向からコントロールを取り入れています。 21 00:17:05.000 --> 00:17:09.000 クリエーションの練習によって、インタラクティブシステム、 22 00:17:09.000 --> 00:17:13.000 物理、ロボティック、そしてエンボディーエクスペリエンスについてです。 23 00:17:13.000 --> 00:17:17.000 では、まずは、初めてのプレゼンテーションに行きましょう。 24 00:17:17.000 --> 00:17:23.000 まずは、マグダ・ハミルトンです。 25 00:17:23.000 --> 00:17:28.500 彼女は、インタラクティブシステムの知らない能力をデザインします 26 00:17:28.500 --> 00:18:48.720 マグダ・ハミルトンさんをお迎えください Thank you. Encountering something whose interior stays close to the viewer. 27 00:18:48.720 --> 00:18:56.180 I'll show you how I tried to do that and where it broke. 28 00:18:56.180 --> 00:19:02.779 The question comes from Stanislaw Lem Solaris, a novel from 1961 that also gives this piece 29 00:19:02.779 --> 00:19:04.279 its name. 30 00:19:04.279 --> 00:19:06.619 The ocean in the book covers the entire planet, 31 00:19:07.000 --> 00:19:12.700 and the premise is that it's some kind of intelligence. What matters here isn't the 32 00:19:12.700 --> 00:19:18.759 premise, it's the situation around it. In the novel, generations of researchers have observed 33 00:19:18.759 --> 00:19:27.140 the ocean and cataloged its behaviors, classified the formations, and produced a whole scientific literature 34 00:19:27.140 --> 00:19:29.039 which fills the station. 35 00:19:29.039 --> 00:19:32.079 None of it has yielded an interpretation. 36 00:19:32.079 --> 00:19:35.619 They had the time, the access, and the methods. 37 00:19:35.619 --> 00:19:39.420 The description accumulates, the access doesn't. 38 00:19:39.420 --> 00:19:42.859 Lamb argues elsewhere that this isn't a problem 39 00:19:42.859 --> 00:19:44.960 awaiting a better method, 40 00:19:44.960 --> 00:19:46.480 but an impossibility 41 00:19:46.480 --> 00:19:52.440 in principle. 42 00:19:52.440 --> 00:19:57.500 Assimilation can't reproduce that impossibility, but it can stage it, which means I need a 43 00:19:57.500 --> 00:20:00.900 more careful word than mysterious. 44 00:20:00.900 --> 00:20:03.259 Unpredictability is about the next state. 45 00:20:03.259 --> 00:20:06.079 On its own, it reads as malfunction. 46 00:20:06.079 --> 00:20:10.039 Complexity is about how much there is to understand. 47 00:20:10.039 --> 00:20:14.839 Exposing more of the system can, at least in principle, 48 00:20:14.839 --> 00:20:17.079 make it more tractable. 49 00:20:17.079 --> 00:20:19.119 Ambiguity is about meaning. 50 00:20:19.119 --> 00:20:22.119 The work withholds an interpretation, 51 00:20:22.119 --> 00:20:23.960 so you can supply one. 52 00:20:23.960 --> 00:20:26.339 What I'm after is none of those. 53 00:20:26.339 --> 00:20:27.720 The system is lawful. 54 00:20:27.720 --> 00:20:29.940 You can feel that it's lawful. 55 00:20:29.940 --> 00:20:35.700 And the law isn't recoverable within the attention you have. 56 00:20:35.700 --> 00:20:40.960 That makes it a property of a relation, not only of a thing, which is useful, because 57 00:20:40.960 --> 00:20:46.180 you can build a relation. 58 00:20:46.180 --> 00:20:49.140 The first decision was not to stimulate water. 59 00:20:49.140 --> 00:20:53.279 Water in real-time graphics has a settled language. 60 00:20:53.279 --> 00:20:57.920 However stylized it lands inside a category you already own. 61 00:20:57.920 --> 00:21:00.839 So the ocean is a viscoelastic gel. 62 00:21:00.839 --> 00:21:06.119 It resists being deformed, holds the load for a beat, and lets go in a wobble rather 63 00:21:06.119 --> 00:21:14.119 than a wave. But gel is a category 2, which is why there are two more fields. Memory, 64 00:21:14.119 --> 00:21:20.740 the rest position each cell returns toward isn't fixed. It's a slow average of how 65 00:21:20.740 --> 00:21:26.619 that cell has recently been pushed. So the surface doesn't come back to the shape 66 00:21:26.619 --> 00:21:30.480 it started from because the shape it returns to 67 00:21:30.480 --> 00:21:32.420 has itself moved. 68 00:21:32.420 --> 00:21:36.240 Intent, cells reach toward internally assigned target 69 00:21:36.240 --> 00:21:40.460 heights and that reach decays, motion with no observable 70 00:21:40.460 --> 00:21:42.200 external curves. 71 00:21:42.200 --> 00:21:44.500 Those are names for fields in a solver, 72 00:21:44.500 --> 00:21:50.400 neither one models cognition. 73 00:21:50.400 --> 00:21:53.859 Knowing what something is made of doesn't tell you what it's doing. 74 00:21:53.859 --> 00:21:58.039 A system that makes patterns invites you to look for the cipher. 75 00:21:58.039 --> 00:22:00.160 So the ocean doesn't signal. 76 00:22:00.160 --> 00:22:03.299 It works, and the work is made visible. 77 00:22:03.299 --> 00:22:05.279 Two suns on scripted paths. 78 00:22:05.279 --> 00:22:10.240 The orbit is on rails, not an orbital simulation. 79 00:22:10.240 --> 00:22:14.019 And the ocean isn't stabilizing anything. 80 00:22:14.019 --> 00:22:16.539 What's computed each frame is the consequence 81 00:22:16.539 --> 00:22:18.319 of those positions. 82 00:22:18.319 --> 00:22:20.799 The tidal load on every cell. 83 00:22:20.799 --> 00:22:23.079 Then the load is split. 84 00:22:23.079 --> 00:22:25.920 A small fraction reaches the surface as displacement. 85 00:22:27.259 --> 00:22:32.240 The rest is treated by stipulation as the effort of holding position. 86 00:22:33.019 --> 00:22:34.539 No counterforce is computed. 87 00:22:35.539 --> 00:22:39.539 It accumulates as stress and comes back as glow beneath the surface. 88 00:22:40.539 --> 00:22:42.180 It never feeds into the physics. 89 00:22:43.299 --> 00:22:47.339 The light makes that computed internal effort visible. 90 00:22:47.339 --> 00:22:50.059 When the signs align, it concentrates. 91 00:22:50.059 --> 00:22:51.960 When they oppose, it spreads. 92 00:22:51.960 --> 00:22:57.579 You can see that something is happening and when it intensifies, nothing turns that into 93 00:22:57.579 --> 00:23:17.240 meaning. Both of those run whether or not anyone is watching. 94 00:23:17.240 --> 00:23:18.240 That's the effort. 95 00:23:18.240 --> 00:23:24.980 It makes the work visible without making it readable. 96 00:23:24.980 --> 00:23:30.980 The contact is real. The cursor is a genuine disturbance and the surface response. 97 00:23:30.980 --> 00:23:38.279 But the character of that response is governed by an internal state that changes on its own 98 00:23:38.279 --> 00:23:46.940 schedule independently of anything you do. It re-parameterizes the same physics. The material properties themselves 99 00:23:46.940 --> 00:23:56.339 change. This isn't randomness. Randomness reads as broken. The behavior is lawful. And 100 00:23:56.339 --> 00:24:01.279 the response follows from the state. But you're building a model out of responses produced 101 00:24:01.279 --> 00:24:05.500 under conditions that can change for reasons that have nothing to 102 00:24:05.500 --> 00:24:07.160 do with you. 103 00:24:07.160 --> 00:24:12.140 You can't tell whether what you just saw came from your gesture or from a state you cannot 104 00:24:12.140 --> 00:24:13.660 observe. 105 00:24:13.660 --> 00:24:15.059 The law is real. 106 00:24:15.059 --> 00:24:21.859 It just isn't exposed. 107 00:24:21.859 --> 00:24:27.119 Three mechanisms across three layers, but the same refusals keep recurring. 108 00:24:27.119 --> 00:24:30.319 And they overlap rather than divide neatly. 109 00:24:30.319 --> 00:24:32.660 No single layer holds this alone. 110 00:24:32.660 --> 00:24:36.759 Strange physics with a legible channel invites decoding. 111 00:24:36.759 --> 00:24:42.740 Any constitutive layer that yields a stable explanation becomes the entry point from which 112 00:24:42.740 --> 00:24:46.099 the rest gets reduced. Not all of it refuses. 113 00:24:46.680 --> 00:24:50.660 There is a terminal, a mission brief, logs from earlier researchers. 114 00:24:51.759 --> 00:24:54.740 That frame is legible, so the ocean does not have to be. 115 00:24:55.400 --> 00:24:58.299 It sustains the encounter without constituting it. 116 00:24:58.859 --> 00:25:00.779 That's a proposition, not a measurement. 117 00:25:05.759 --> 00:25:07.400 There is a fourth subsystem. 118 00:25:07.400 --> 00:25:12.619 In the novel, my modes are structures the ocean produces that imperfectly copy things 119 00:25:12.619 --> 00:25:14.400 near it. 120 00:25:14.400 --> 00:25:16.039 And the copies are legible. 121 00:25:16.039 --> 00:25:17.779 You see what they're doing. 122 00:25:17.779 --> 00:25:20.299 In the simulation, the results vary. 123 00:25:20.299 --> 00:25:21.960 Sometimes the form is nothing. 124 00:25:21.960 --> 00:25:39.619 Sometimes it catches. 125 00:25:39.619 --> 00:25:47.240 Once you recognize the hand, the encounter changes. The question stops being what is this and becomes how well 126 00:25:47.240 --> 00:26:01.180 is it doing a hand. And when the hand goes, recognition doesn't. So that's the problem. 127 00:26:01.180 --> 00:26:06.880 The moment there is a recognizable reference, you have a stable model for comparison. 128 00:26:06.880 --> 00:26:11.940 The encounter becomes legible, not because the system changed, but because you found 129 00:26:11.940 --> 00:26:19.359 something to measure it against. 130 00:26:19.359 --> 00:26:22.880 The MIMO gave the viewer a stable comparison model. 131 00:26:22.880 --> 00:26:25.400 The other mechanisms are designed to deny that 132 00:26:25.400 --> 00:26:31.240 kind of closure. Unknowability is a property of the encounter and it has to be altered 133 00:26:31.240 --> 00:26:37.400 in the logic, not on the surface. None of these requires randomness. The systems I've 134 00:26:37.400 --> 00:26:42.640 described are deterministic. What matters is where you're standing. From the viewer's 135 00:26:42.640 --> 00:26:45.640 position, an unsolvable system cannot 136 00:26:45.640 --> 00:26:52.059 be distinguished from one that simply remains unsolved. That gap is the design condition 137 00:26:52.059 --> 00:26:59.779 and that's the argument I want to leave you with. Thank you. 138 00:26:59.779 --> 00:27:06.000 Thank you for a wonderful presentation, Magda. Now is the time for the Q&A. 139 00:27:06.000 --> 00:27:09.000 Any questions from the audience? 140 00:27:09.000 --> 00:27:12.000 Come on. 141 00:27:12.000 --> 00:27:15.000 I prepared one. 142 00:27:15.000 --> 00:27:18.000 Yes, please. 143 00:27:24.000 --> 00:27:33.359 Naturally, since you're using a computer, there is some internal logic, but you're trying 144 00:27:33.359 --> 00:27:41.720 to obfuscate it to the level that to a person, there might as well not be a coherent, understandable 145 00:27:41.720 --> 00:27:43.380 internal logic. 146 00:27:43.380 --> 00:27:47.180 What do you think the importance of that experience is? 147 00:27:49.380 --> 00:27:51.019 Thank you for the question. 148 00:27:52.019 --> 00:27:56.420 I think that the main importance here 149 00:27:56.420 --> 00:28:01.720 is the boundaries of human cognition 150 00:28:01.720 --> 00:28:10.539 and also our relationship with computers and machines, especially in 151 00:28:10.539 --> 00:28:14.240 the times of AI. 152 00:28:14.240 --> 00:28:17.500 Hi. 153 00:28:17.500 --> 00:28:27.759 Yeah, I'd like to expand a little bit on that question as well. 154 00:28:27.759 --> 00:28:35.740 I definitely got the link with AI and how this could explain our relationship with AI 155 00:28:35.740 --> 00:28:39.259 and the fact that we don't know what's going on under the surface. 156 00:28:39.259 --> 00:28:43.160 But I guess there's a difference if we know that there's a logic behind and if there's 157 00:28:43.160 --> 00:28:51.000 some sort of randomness. In your example, is there a difference from the viewer's perspective if something is random 158 00:28:51.000 --> 00:28:58.000 or not? Because they can't tell. They won't know. It just might as well be random. So 159 00:28:58.000 --> 00:29:02.859 is there a difference in or are they told that there's a logic? Like with me struggling 160 00:29:02.859 --> 00:29:08.039 with computers, when I'm programming, I know that there's a logic. like with me struggling with computers I when I'm programming I know that there is a logic I can't find the mistake I can't find 161 00:29:08.039 --> 00:29:12.240 the book but I know I'll find it if I just keep searching for it but if it's 162 00:29:12.240 --> 00:29:17.339 random I won't know so is there a way that the viewer knows what's happening I 163 00:29:17.339 --> 00:29:25.000 think the main difference between randomness and unknowability is coherence. 164 00:29:27.539 --> 00:29:32.539 In case of random systems, there's no underlying logic, 165 00:29:32.819 --> 00:29:36.920 and in case of unknowability, there is a logic. 166 00:29:36.920 --> 00:29:39.680 It's just not accessible to the viewer. 167 00:29:39.680 --> 00:29:42.799 Of course, the viewer can make models and hypotheses 168 00:29:42.799 --> 00:29:46.539 about what they are experiencing, 169 00:29:46.539 --> 00:29:51.539 but they are unable to reach that logic underneath. 170 00:29:53.819 --> 00:29:54.660 Good. 171 00:29:55.500 --> 00:29:56.700 Good. 172 00:29:56.700 --> 00:29:59.779 We still have one more question time. 173 00:29:59.779 --> 00:30:02.420 Do you have any comments? 174 00:30:03.660 --> 00:30:05.839 I'm sorry, I can't see the audience because 175 00:30:05.839 --> 00:30:08.079 of the writings. 176 00:30:08.079 --> 00:30:10.160 Well, OK, all right. 177 00:30:10.160 --> 00:30:10.940 So, yeah. 178 00:30:13.980 --> 00:30:17.240 I only have a really practical question. 179 00:30:17.240 --> 00:30:31.480 Do you, is it artistic research in a practical sense? Or do you also write texts about this topic? 180 00:30:31.480 --> 00:30:36.240 Is it becoming paper or something else? 181 00:30:36.240 --> 00:30:40.880 Yes, the artwork became a subject of papers. 182 00:30:40.880 --> 00:30:49.000 And this is the first paper here at Expanded. But there are more to follow. 183 00:30:49.000 --> 00:30:57.000 Okay. Are they already visible somewhere or do you work on it? 184 00:30:57.000 --> 00:31:12.140 Yes, you can read my author's copy of the manuscript on my website, which is in my conference bio. 185 00:31:12.140 --> 00:31:13.140 Thank you. 186 00:31:13.140 --> 00:31:19.099 Thank you very much. 187 00:31:19.099 --> 00:31:33.079 So let's continue with our next presentation.次のプレゼンテーションに入ります次のプレゼンテーションは高文森太です 188 00:31:33.079 --> 00:31:38.660 高文森太さんはフェロフルードベースの 189 00:31:38.660 --> 00:31:40.000 フィジカルディスプレイを 190 00:31:40.000 --> 00:31:41.720 人間のコントロールを通して 191 00:31:41.720 --> 00:31:43.640 人間の物理のコクリエーションを 192 00:31:43.640 --> 00:31:44.440 ご紹介します 193 00:31:44.440 --> 00:31:46.500 高文森太さんをお迎えください 194 00:31:46.500 --> 00:31:48.500 ありがとうございます 195 00:32:02.000 --> 00:32:04.500 皆さんこんにちは 高文守太です 196 00:32:04.500 --> 00:32:08.000 東京エキスラボの教授です Hi, hello everyone. My name is Takafumi Morita. I'm an assistant professor at the University of Tokyo, X Lab. 197 00:32:08.000 --> 00:32:18.000 Today I'm going to present my work, MOF Works, a kinetic installation of a ferroclite-based physical display beyond human control through human-material co-creation. 198 00:32:18.000 --> 00:32:25.940 Actually, this is my third time participating in ARAS Electronica. I really love this atmosphere. 199 00:32:25.940 --> 00:32:29.319 In 2022, we exhibited Seesaw, 200 00:32:29.319 --> 00:32:31.920 and last year we exhibited Entangled Liquidity 201 00:32:31.920 --> 00:32:35.599 as a part of an exhibition by the Yasaki-Hakurei Laboratory. 202 00:32:36.579 --> 00:32:40.319 Across these works, I have continuously explored liquid 203 00:32:40.319 --> 00:32:43.039 as an artistic material. 204 00:32:44.160 --> 00:32:47.640 So this is MOFRAX. Before going into the details, 205 00:32:47.640 --> 00:32:52.500 I'd like to show you a short video of this work. 206 00:33:00.000 --> 00:33:11.000 This is a short version. Yesterday I uploaded the full version of video on YouTube. If you have interest, please check it. 207 00:33:12.000 --> 00:33:20.000 MOFLAX is a kinetic installation in which the forms and growth of ferrocluid continuously transform. 208 00:33:34.000 --> 00:33:54.000 By controlling an array of electromagnets, the ferrocarril rises into circular shapes and generates ripple-like waves. These waves spread across the surface and interfere with each other, creating continuously changing patterns. 209 00:34:01.000 --> 00:34:06.400 First, why do I focus on liquid? Liquid is a very distinct material. It has no fixed form, and it continuously changes its shape depending on surrounding conditions. 210 00:34:06.400 --> 00:34:11.400 I am particularly interested in this formless and changeable nature of liquid. 211 00:34:12.400 --> 00:34:16.400 Liquid has already been explored in many different ways. 212 00:34:16.400 --> 00:34:26.000 For example, previous works have used droplets, bubbles, colored liquids, tubes, and various fluid phenomena to create physical and interactive expressions.色の液体、実、そしていろいろなフルイティックフェノメナを作るためのフィジカルとインタラクティブな表現を作ることができました。 213 00:34:26.000 --> 00:34:32.000 この作品は、液体がフィジカル表現の豊富な中心となることを示しています。 214 00:34:32.000 --> 00:34:36.000 フェロフルイティックフェノメナは、特に面白い例です。 215 00:34:36.000 --> 00:34:46.280 マグネティックフィーズによる形を変えることで、メディアアートフィールドで広く発見されています。 and has been widely explored in media art fields. In many iconic works, 216 00:34:46.280 --> 00:34:48.940 such as Professor Sachiko Kodama's works, 217 00:34:48.940 --> 00:34:52.400 spike-like formations have been a central form 218 00:34:52.400 --> 00:34:53.800 of the expression. 219 00:34:55.460 --> 00:34:59.920 This leads to the motivation behind more works. 220 00:34:59.920 --> 00:35:02.539 Recent computer science has largely developed 221 00:35:02.539 --> 00:35:07.539 around the precious control of the digital bits, 0 and 1. 222 00:35:07.539 --> 00:35:13.659 However, physical materials, especially liquids, are affected by their own properties and surrounding 223 00:35:13.659 --> 00:35:18.800 environments so unpredictable variations naturally emerge. 224 00:35:18.800 --> 00:35:21.699 So I started with this question. 225 00:35:21.699 --> 00:35:27.139 Should physical materials be controlled with the same exactness as digital 226 00:35:27.139 --> 00:35:35.679 bits? Based on this question, I created MOFRACS. Instead of using the conventional spike-like 227 00:35:35.679 --> 00:35:42.619 expression of a ferrofluid, MOFRACS uses rounded pixel-like elevation and ripple waves. These 228 00:35:42.619 --> 00:35:45.280 ripples spread across the liquid surface 229 00:35:45.280 --> 00:35:48.880 and interfere with each other. 230 00:35:48.880 --> 00:35:52.239 MOFRAC consists of the container filled with the ferrochlorite 231 00:35:52.239 --> 00:35:57.500 and an array of maximum 319 electromagnets. 232 00:35:57.500 --> 00:36:00.460 Each electromagnet works like a physical pixel 233 00:36:00.460 --> 00:36:03.840 and generates a raised shape on the liquid surface. 234 00:36:06.500 --> 00:36:09.000 This is the material selection.水を吸い込み、水面に形を描き出します。こちらが、物理の選択です。 235 00:36:09.500 --> 00:36:13.500 私は、フェルフルイドの2つの要素に集中しています。 236 00:36:13.500 --> 00:36:17.500 まず、フェルフルイドを使って、低サトラシャルマグネタリゼーションで、 237 00:36:17.500 --> 00:36:23.000 普通のスパイクの代わりに、スムーズな、丸い形を作ることができます。 238 00:36:23.000 --> 00:36:28.000 普通のスパイクの代わりに、このような形状を作ることができます。2つ目は、低微粗度の水を使って、 239 00:36:28.000 --> 00:36:32.000 リップル波をより簡単に発生することを選びました。 240 00:36:32.000 --> 00:36:34.000 この材料の選択で、 241 00:36:34.000 --> 00:36:37.000 このフェルフルイとそのフェルフルイは、 242 00:36:37.000 --> 00:36:40.000 丸いピクセル形状と、 243 00:36:40.000 --> 00:36:43.000 リップル表現を続けています。 244 00:36:46.000 --> 00:36:48.539 この材料を使って、 shapes and continuous ripple expression. Using these material properties, I 245 00:36:48.539 --> 00:36:52.159 designed two main types of fluid animation. 246 00:36:52.159 --> 00:36:55.219 The first is raised circular pixel shapes 247 00:36:55.219 --> 00:36:58.800 based on relatively discrete pixel control. 248 00:36:58.800 --> 00:37:02.099 The second is ripple generation, which 249 00:37:02.099 --> 00:37:07.000 creates continuous expressions through wave propagation and interference.リプル・ジェネレーションは、波のプロパガーションとインタフィレンスを通して、常に表現されます。 250 00:37:09.000 --> 00:37:39.000 まず、マグネティックラックスして、リップル波を生成することができます。 251 00:37:39.000 --> 00:37:46.480 波が表面に広がり、 相互に影響を受けます。 spread across the surface and interfere with each other. So the final pattern is not simply 252 00:37:46.480 --> 00:37:48.980 a collection of independently controlled pixels. 253 00:37:54.280 --> 00:37:56.480 The surrounding environment also strongly 254 00:37:56.480 --> 00:37:59.440 affects the appearance of mockworks. 255 00:37:59.440 --> 00:38:02.760 On the left, I use indirect lighting 256 00:38:02.760 --> 00:38:05.000 reflected from the white wall. 257 00:38:05.260 --> 00:38:09.760 This emphasized the shapes of the laser pixels and ripples. 258 00:38:09.760 --> 00:38:13.420 On the light, the natural light becomes the main light source. 259 00:38:13.420 --> 00:38:17.380 Because the liquid surface acts like a mirror, 260 00:38:17.380 --> 00:38:19.179 its appearance continuously changes 261 00:38:19.179 --> 00:38:22.780 depending on the surrounding light and the time of day. 262 00:38:22.780 --> 00:38:24.380 So the environment itself 263 00:38:24.380 --> 00:38:28.400 becomes a part of the visual expression. 264 00:38:28.400 --> 00:38:33.699 Now, I would like to return to the question I introduced earlier. 265 00:38:33.699 --> 00:38:40.460 Should physical materials be controlled with the same exactness as digital bits? 266 00:38:40.460 --> 00:38:49.000 After working with systems, the liquid, and the exhibition environment, my approach is actually not to eliminate this uncertainty. 267 00:38:50.000 --> 00:38:57.000 Instead, I actually incorporate this uncertainty as a part of the artwork. 268 00:38:57.000 --> 00:39:01.000 I framed this relationship as human-material co-creation. 269 00:39:12.239 --> 00:39:18.119 In MOFUX, the human side designs the magnetic field and animation. At the same time, the material contributes its own properties such as viscosity, lipopropagation, interference, 270 00:39:18.119 --> 00:39:23.820 and gradual evaporation. And the environment, including light, temperature, humidity, 271 00:39:23.820 --> 00:39:27.599 and time also affects the behavior and appearance of the liquid. 272 00:39:27.599 --> 00:39:33.199 Therefore, the final expression is not determined by human control alone. 273 00:39:33.199 --> 00:39:40.800 So, it emerges through the interaction among human intention, material behavior, and environmental conditions. 274 00:39:40.800 --> 00:39:47.059 Through this relationship, mock works also offer one perspective from reconsidering 275 00:39:47.059 --> 00:39:55.179 human-material relationships from the more-than-human perspective. 276 00:39:55.179 --> 00:40:00.400 Mock works have been exhibited in several different environments. Through these exhibitions, 277 00:40:00.400 --> 00:40:05.840 I observed how visitors engage with the changing behavior of the liquid. 278 00:40:07.280 --> 00:40:11.000 Because their appearance changes depending on the viewing angle, 279 00:40:11.000 --> 00:40:16.159 visitors often walk around the installation and observe it from different perspectives. 280 00:40:18.099 --> 00:40:24.800 Some visitors stay for a long time or return after a while to see how the exhibition has changed. 281 00:40:26.119 --> 00:40:33.519 long time or return after a while to see how the exhibition has changed. Some even revisited the work at a different time or different days. The 282 00:40:33.519 --> 00:40:37.619 appearance of morph works also changed across exhibitions depending on the 283 00:40:37.619 --> 00:40:46.360 surrounding space or lighting conditions. The same work could look quite different depending on how the rig reflected 284 00:40:46.360 --> 00:40:50.619 to the surrounding environment. 285 00:40:50.619 --> 00:40:56.519 In this way, mock works continue to change depending on where and when it is presented. 286 00:40:56.519 --> 00:41:05.679 I see these changes not as something to eliminate, but as a part of the expression of the work. 287 00:41:10.039 --> 00:41:13.940 To conclude, Moffrax explores the spherical expression through rounded pixels and ripple interference. 288 00:41:14.599 --> 00:41:18.079 Rather than eliminating ascentity, 289 00:41:18.960 --> 00:41:22.099 Moffrax incorporates it as part of its expression. 290 00:41:22.840 --> 00:41:27.719 Through this approach, I explore human-material co-creation 291 00:41:27.719 --> 00:41:31.119 and reconsider our relationship with physical materials. 292 00:41:31.119 --> 00:41:35.559 That's all for my presentation. Thank you very much. 293 00:41:35.559 --> 00:41:45.000 Thank you. Actually, I have one question about controls. You allow the materials to escapeコントロールについての質問です。人間のコントロールを逃すために、 物質を使用することを求めるのです。 294 00:41:45.000 --> 00:41:51.000 どうやってコントロールを保つのか、 物質にどのくらいを与えるのかを決めるのですか。 295 00:41:51.000 --> 00:41:53.000 素晴らしい質問です。 296 00:41:53.000 --> 00:42:07.000 実は、私は人間と物質の位置を決めるのが 難しいです。 human material. So before controlling the material regarding my artwork, so firstly 297 00:42:07.000 --> 00:42:15.099 I usually observe the material itself. After that I find the unique site including some 298 00:42:15.099 --> 00:42:24.099 randomness and unsanitary. So after that I make some animation and control the art space. 299 00:42:24.099 --> 00:42:25.000 So the material drives your expression? Yes.アニメーションを作ることで 地球の物理を操作することができます 300 00:42:25.000 --> 00:42:28.000 物理があなたの表現を導いているのですね 301 00:42:28.000 --> 00:42:29.000 はい 302 00:42:29.000 --> 00:42:32.000 他に質問はありますか? 303 00:42:32.000 --> 00:42:34.000 はい、どうぞ 304 00:42:35.000 --> 00:42:37.000 私の質問は 305 00:42:37.000 --> 00:42:41.000 人間のコクレーションと 訪問者が戻って 306 00:42:41.000 --> 00:42:46.380 ライトニングシナリオからの インスタレーションを見ることができるのですが coming back and seeing the installation from different lightning scenarios, for example. 307 00:42:46.380 --> 00:42:53.019 Did you also think about a visitor, a spectator being able to control actually what is happening 308 00:42:53.019 --> 00:42:58.960 with the electromagnets during the installation, or is this something you scraped out by design? 309 00:42:58.960 --> 00:43:07.340 Yeah, so to some extent, I designed from the broad direction of the contourness. 310 00:43:07.340 --> 00:43:10.900 After that, material is react 311 00:43:10.900 --> 00:43:12.619 depending on the surrounding environment 312 00:43:12.619 --> 00:43:14.139 or material conditions. 313 00:43:14.139 --> 00:43:19.139 So, yes, so, I thought I forgot. 314 00:43:21.099 --> 00:43:29.280 Yeah, so, it depends on the situation and the places, so I decided observing the material's 315 00:43:29.280 --> 00:43:30.280 conditions. 316 00:43:30.280 --> 00:43:32.280 Right, so... 317 00:43:32.280 --> 00:43:47.940 Okay, Ehei, you talked about being inspired and working with the material and its properties and being a big part of the material also having its abilities. 318 00:43:48.659 --> 00:43:54.440 But the fluid you use this time is specifically made by humans 319 00:43:54.440 --> 00:44:00.360 and it's very designed and you optimize the property. 320 00:44:01.059 --> 00:44:06.440 And I'm not sure also about the recycling or how to clean the fluid. 321 00:44:06.440 --> 00:44:12.659 So how do you work with this fluid which is extremely artificial? 322 00:44:12.659 --> 00:44:25.000 Yeah I think a lot of materials have different, many factors that materials have. So, yeah, so, of course, there is some specific situation, 323 00:44:28.519 --> 00:44:33.519 but if I think about the, yeah, some space, 324 00:44:35.280 --> 00:44:38.360 so it's possible to recycle and circulate, 325 00:44:40.420 --> 00:44:43.719 sorry, yeah, it depends on the material, 326 00:44:43.719 --> 00:44:46.639 so if I make some artwork with material, 327 00:44:46.639 --> 00:44:51.119 so I face the material itself and find the idea, 328 00:44:51.119 --> 00:44:54.559 optimize the direction that I want to make. 329 00:44:57.059 --> 00:44:57.900 Okay. 330 00:44:59.159 --> 00:45:00.579 Yep. 331 00:45:00.579 --> 00:45:02.900 We still have one more question time? 332 00:45:04.360 --> 00:45:05.000 Anyone else?もう1問ありますか?他にも? 333 00:45:07.000 --> 00:45:10.000 では次のプレゼンテーションに移りましょう 334 00:45:10.000 --> 00:45:11.000 ありがとうございました 335 00:45:16.000 --> 00:45:19.000 3番目のスピーカーは高幸徹です 336 00:45:19.000 --> 00:45:23.000 ここでDynamics of Talk on a leashを紹介します 337 00:45:23.000 --> 00:45:25.000 高幸徹さんにどうぞ 338 00:45:37.000 --> 00:45:38.000 こんにちは 高幸徹です 339 00:45:38.000 --> 00:45:43.000 すみません 前10分前にスライドを作っていたので 340 00:45:47.380 --> 00:45:50.380 準備ができません I was making my slides 10 minutes before, so I'm not ready for this. But okay. 341 00:45:50.380 --> 00:45:52.380 Wait. 342 00:45:52.380 --> 00:45:54.380 Relax. 343 00:45:54.380 --> 00:45:55.380 So. 344 00:45:55.380 --> 00:45:56.380 Okay. 345 00:45:56.380 --> 00:46:16.880 So, I'm going to my latest artwork, the dynamics of a dog on a leash. 346 00:46:16.880 --> 00:46:26.539 Some of you may have seen this in the last year's Ars Electronica festival and this is a 347 00:46:28.239 --> 00:46:34.599 chained strange by a chain for like robots and it's trying to attack people and we will 348 00:46:35.219 --> 00:46:38.199 watch it from the safe zone and 349 00:46:39.519 --> 00:46:42.280 Yeah, it's trying to keep 350 00:46:43.039 --> 00:46:48.320 launch to audiences and keep standing up and fall. 351 00:46:49.300 --> 00:46:53.099 Finally, it collapsed from overheating. 352 00:46:55.159 --> 00:47:05.000 So I'm talking about the concept building history of this project over 15 years. 353 00:47:09.099 --> 00:47:12.380 So the title, Dynamics of a Dokonarish, 354 00:47:12.380 --> 00:47:17.380 is of course a reference to a famous painting 355 00:47:19.880 --> 00:47:21.480 of Giacomo Balla. 356 00:47:21.480 --> 00:47:25.000 I changed the term dynamism into dynamics. 357 00:47:25.960 --> 00:47:30.960 But the original, the true origin of this project 358 00:47:33.480 --> 00:47:38.480 goes back to very different context around 2010. 359 00:47:40.159 --> 00:47:43.639 This is it, the Big Dog by Boston Dynamics. 360 00:47:44.639 --> 00:47:49.159 So this video was super viral on YouTube, 361 00:47:49.159 --> 00:47:54.820 and we were shocked when this robot appeared. 362 00:47:55.960 --> 00:48:02.760 And we feel that it's apparently a military-oriented quad-group robot, 363 00:48:09.500 --> 00:48:20.239 military-oriented quad-grouped robot and we feel it's the new age of warfare is coming. The autonomous weapons comes to kill us. We imagined it. So many 364 00:48:20.239 --> 00:48:29.860 people got scared and frightened from this robot, but at the same time, many people laughed at this video 365 00:48:30.679 --> 00:48:33.940 because of this robot's movements. 366 00:48:33.940 --> 00:48:38.119 It looks goofy, awkward, and cartoon-like movements. 367 00:48:39.820 --> 00:48:40.659 Wait. 368 00:48:41.960 --> 00:48:42.800 So, 369 00:48:44.619 --> 00:48:48.000 why could we laugh at it?なぜ笑うことができるのか? 370 00:48:48.000 --> 00:48:51.000 私たちは安全だと思っていたからです。 371 00:48:51.000 --> 00:48:53.000 私たちは隣にいないので、 372 00:48:53.000 --> 00:48:56.000 殺害や襲撃を受けたことができません。 373 00:48:56.000 --> 00:49:09.579 そのため、当時のロボットとの距離を感じました。 from this robot at the time. At the time, yeah, so I got the idea of the artwork 374 00:49:09.719 --> 00:49:14.719 at the time to chain up this robot 375 00:49:14.800 --> 00:49:18.860 and exhibit it in front of us in a gallery space. 376 00:49:21.639 --> 00:49:24.139 As long as we can keep a safe distance, 377 00:49:28.380 --> 00:49:29.340 we can afford to laugh at it or even play with it. 378 00:49:34.940 --> 00:49:46.179 But the thing already has enough power to kill us. So what keeps us safe is only a thin, fragile chain of ethics. 379 00:49:47.300 --> 00:49:47.440 Yeah. 380 00:49:48.179 --> 00:49:50.719 Once it breaks, it's game over. 381 00:49:50.719 --> 00:49:57.239 So that's my initial idea of this, 382 00:49:57.960 --> 00:50:02.179 as a reaction to this robot at the time. 383 00:50:02.420 --> 00:50:12.320 But I was just a humanities student, so I got just an idea. It's a speculative 384 00:50:12.320 --> 00:50:35.619 idea or imagination practice. So I need 15 years more until realization. Now this consumer model for robots is available. We can buy it. 385 00:50:35.619 --> 00:50:45.719 And also physical AI became a major contemporary context. So I rebooted this idea to make it. 386 00:50:49.280 --> 00:50:51.079 But the social context has been changed. 387 00:50:56.440 --> 00:50:57.219 At the time, it was distant future, but now it's a present reality. 388 00:51:05.000 --> 00:51:07.860 And now in the real warfare, the drones killed soldiers or civilians. 389 00:51:11.960 --> 00:51:15.440 So now we don't underestimate the impact of the robots or AI's development. 390 00:51:17.440 --> 00:51:22.059 So the original idea, original warning concept 391 00:51:22.059 --> 00:51:25.000 is no longer makes sense. 392 00:51:26.820 --> 00:51:31.320 On the other hand, the Boston Dynamics robots 393 00:51:31.320 --> 00:51:36.320 has different public reactions around 2015. 394 00:51:37.900 --> 00:51:42.280 They always shows the kicking demo, 395 00:51:43.400 --> 00:51:46.619 but the public reaction has been changed. 396 00:51:46.619 --> 00:51:48.000 Don't kick the robot. 397 00:51:48.000 --> 00:51:53.000 Some people claimed that it's pity. 398 00:51:53.400 --> 00:51:57.260 Don't kick, it's pity, poor robot. 399 00:51:57.260 --> 00:52:01.840 So the perspective is changing. 400 00:52:01.840 --> 00:52:09.159 Also, my own questions have been changed. This is my previous artwork 401 00:52:09.159 --> 00:52:25.000 exhibited in 2018 Ars Electronica. I started making media artist career as a robotics creation. 402 00:52:29.280 --> 00:52:34.280 So my theme around this humanoids 403 00:52:37.199 --> 00:52:42.199 is how can we make the robots into a real living other 404 00:52:44.380 --> 00:52:51.079 by building an interactive relationship, dynamic relationship 405 00:52:51.079 --> 00:52:53.400 between human and robots. 406 00:52:53.400 --> 00:53:05.000 So these changes influence the actual creation of this, realization of this artwork. 407 00:53:09.280 --> 00:53:14.280 So what should I put the new concept is empathic stresses. 408 00:53:20.820 --> 00:53:24.860 We feel pity for these robots. 409 00:53:24.860 --> 00:53:28.940 It's struggling and it looks painful. 410 00:53:29.840 --> 00:53:34.019 But it doesn't feel any pain and we control it. 411 00:53:34.280 --> 00:53:36.840 But we project ourselves onto the robots. 412 00:53:36.840 --> 00:53:42.639 So this is a theme of this new artwork. 413 00:53:43.940 --> 00:53:48.059 Actually, it's not autonomous. 414 00:53:48.059 --> 00:53:50.219 It's a big spoiler. 415 00:53:50.219 --> 00:53:54.380 Many people believe that it's autonomous robot, 416 00:53:54.380 --> 00:53:57.179 but there is a hidden operator. 417 00:53:57.179 --> 00:54:01.179 We call them pilots of this. 418 00:54:03.380 --> 00:54:12.760 There is a term, the Wizard of Oz method. That's it. People believe this is 419 00:54:12.760 --> 00:54:28.940 a, people perceive it's autonomous, but it's actually controlled. Then, but the pilots does the simple direction control with a gamepad-like controller. 420 00:54:29.719 --> 00:54:34.159 And the robot itself has a posture stabilization system. 421 00:54:34.159 --> 00:54:40.699 So if you kick it, it's trying to bear and stance again. 422 00:54:53.760 --> 00:55:05.000 again. So then we restrain by chain and make it entangled to our legs. So there it's a hacking of the posture stabilization system. It causes the動作が動物的に動くことを防ぐために 423 00:55:05.000 --> 00:55:09.000 動作を動かすことができるのです。 424 00:55:10.000 --> 00:55:15.000 このテクニックで動作を動かすことができると 425 00:55:15.000 --> 00:55:21.000 私は思っていました。 426 00:55:22.000 --> 00:55:24.139 the humanoid robots. 427 00:55:26.139 --> 00:55:30.960 And I think that's a very good technique. 428 00:55:34.159 --> 00:55:36.159 And so I made in the previous work, I made humanoid robots with a gaze interaction and face mirroring. 429 00:55:38.900 --> 00:55:40.900 But this robot, this consumer robot, doesn't have any eyes or 430 00:55:40.900 --> 00:55:42.900 face. 431 00:55:49.679 --> 00:55:56.139 But I believe that I can make people feel it's targeting me, it's looking at me, and stares at me, only by its movement. 432 00:56:01.420 --> 00:56:10.500 So we feel intention and the murderous gaze or hatred against us from this robot. 433 00:56:11.599 --> 00:56:19.159 And in the artwork, it collapses at the last time. 434 00:56:20.039 --> 00:56:25.000 It's not performance. It's actual death of the robot. 435 00:56:27.780 --> 00:56:32.780 In the overload performances, 436 00:56:33.679 --> 00:56:36.039 the robot's motors heat up, 437 00:56:36.039 --> 00:56:40.420 and in its safety systems works, 438 00:56:40.420 --> 00:56:44.239 and then it shut down by overheating. 439 00:56:44.239 --> 00:56:48.320 So as an artwork exhibition, it's critical. 440 00:56:49.559 --> 00:56:53.239 But I found it very impressive, 441 00:56:53.239 --> 00:56:56.800 so I changed my plan to make it 442 00:56:56.800 --> 00:57:00.440 theatrical performance around 10 minutes. 443 00:57:00.440 --> 00:57:04.559 And show it dies in front of them. 444 00:57:04.559 --> 00:57:09.559 So we feel the life likeness of this, 445 00:57:16.159 --> 00:57:18.679 yeah, the robots function. 446 00:57:20.559 --> 00:57:22.260 Yeah, okay, so, 447 00:57:27.159 --> 00:57:27.960 this is last slide. 448 00:57:32.400 --> 00:57:33.099 Thank you for listening. 449 00:57:35.340 --> 00:57:35.699 I'm satisfied with this achievement. 450 00:57:41.900 --> 00:57:42.639 The public reactions are very heated up, 451 00:57:45.000 --> 00:57:45.360 and some people blame me, 452 00:57:47.760 --> 00:57:50.719 condemned me as a robot abuser. But many people comes to this exhibition 453 00:57:50.719 --> 00:57:55.719 and many people enjoy this and yeah, get interested. 454 00:57:57.619 --> 00:58:01.679 Yeah, I succeeded to prove that robots 455 00:58:01.679 --> 00:58:11.000 can scratch our empathy nerve and it meansロボットは エンパティの根を抜けることができるとロボットと動物を 理解できないといけないといけない 456 00:58:11.000 --> 00:58:17.000 ロボットとの未来のストレスを 準備しなければならない 457 00:58:17.000 --> 00:58:20.000 辛いけどストレスがある 458 00:58:20.000 --> 00:58:25.000 そういう作品です。 459 00:58:25.000 --> 00:58:26.000 ありがとうございました。 460 00:58:26.000 --> 00:58:27.000 ありがとうございます。 461 00:58:29.000 --> 00:58:30.000 高幸さん、ありがとうございます。 462 00:58:30.000 --> 00:58:32.000 私に1つの質問があります。 463 00:58:32.000 --> 00:58:38.000 今、ロボットはパイロットで操作されています。 464 00:58:38.000 --> 00:58:46.460 もし変更できるときに、ロボットは完全に自動的に動くことはどうでしょうか? If you can change the robot, can be auto, actually the perfect read autonomous. 465 00:58:51.539 --> 00:58:52.579 I gave up. 466 00:58:53.800 --> 00:58:58.639 Because I was funded by the government fund, 467 00:58:58.639 --> 00:59:00.920 by the cultural ministry of Japan. 468 00:59:11.699 --> 00:59:21.960 I have just six months to develop it so we tried but gave up but if you could yeah and I'm still wants to want to make autonomous 469 00:59:21.960 --> 00:59:26.320 but on the other hand the pilots are very good 470 00:59:26.320 --> 00:59:27.440 at controlling. 471 00:59:28.119 --> 00:59:30.300 They have technique and talent 472 00:59:30.300 --> 00:59:31.519 of controlling. 473 00:59:31.960 --> 00:59:33.119 So I 474 00:59:33.119 --> 00:59:36.199 chose 475 00:59:36.199 --> 00:59:37.559 to make it performance, 476 00:59:37.980 --> 00:59:38.760 live performance. 477 00:59:39.960 --> 00:59:42.320 Got it. So thank you very much. 478 00:59:42.579 --> 00:59:44.119 Any questions or comments 479 00:59:44.119 --> 00:59:44.760 from audiences? 480 00:59:44.760 --> 00:59:45.139 Yes, hi. It's That's it. So thank you very much. Any questions or comments from audiences, please? 481 00:59:45.139 --> 00:59:58.619 Yes, hi. It's more a comment and a question at the same time, because one of the things that I can see through your work, which is amazing, thank you, 482 00:59:59.139 --> 01:00:07.559 is the fact that back then in 2005, when robotics showed the first robot I think 483 01:00:07.559 --> 01:00:13.260 people also thought the robot was dumb and it reminds me of the of the 484 01:00:13.260 --> 01:00:18.659 difference of the relationship between a Roomba and chat GBT I think people 485 01:00:18.659 --> 01:00:27.739 start to have more empathy towards an artificial being, when the artificial being can show some intelligence, 486 01:00:27.739 --> 01:00:37.179 because there's also some human feeling of fear when that being is intelligent. 487 01:00:37.179 --> 01:00:43.320 So the more intelligent they become, we become more respectful of them, and I think your 488 01:00:43.320 --> 01:00:46.039 work is showing exactly that. 489 01:00:46.039 --> 01:00:47.639 So thank you for that. 490 01:00:47.639 --> 01:00:48.780 Thank you. 491 01:00:48.780 --> 01:00:49.679 Comments? 492 01:00:49.679 --> 01:00:51.059 Any other questions or comments? 493 01:00:51.059 --> 01:00:51.900 Yes, please. 494 01:00:53.539 --> 01:00:55.179 Thank you for your presentation. 495 01:00:55.179 --> 01:00:56.019 Thank you. 496 01:00:56.019 --> 01:00:58.199 I was thinking about telepresence 497 01:00:58.199 --> 01:01:01.539 and driving Waymo cars or people working in factories, 498 01:01:01.539 --> 01:01:02.760 things like this. 499 01:01:02.760 --> 01:01:07.860 And this Wizard of Oz factor, I can see the appeal of having it be completely autonomous, 500 01:01:08.179 --> 01:01:10.219 but there's also something interesting to think about, 501 01:01:10.280 --> 01:01:15.880 that complicated relationship between the human operator and the robot. 502 01:01:15.880 --> 01:01:43.340 Can you say more about how you think about that relationship? I can't answer in an interesting way, but I... 503 01:01:43.340 --> 01:01:45.000 Can I say about another context of this artwork? 504 01:01:47.500 --> 01:01:50.579 I got the honorary mention prize 505 01:01:50.579 --> 01:01:52.380 in Pre-Ars Electronica last year, 506 01:01:52.380 --> 01:01:57.380 but I originally submitted to a new animation category, 507 01:01:58.280 --> 01:02:03.280 but they chose this work as an artificial life 508 01:02:03.420 --> 01:02:05.000 and intelligence category. 509 01:02:05.619 --> 01:02:09.719 They change, but for me, it's an animation. 510 01:02:09.719 --> 01:02:13.780 An animation is a tech technique or technology 511 01:02:13.780 --> 01:02:18.780 to grab people's heart and force to feel it's alive. 512 01:02:22.679 --> 01:02:31.619 Yeah, so I think that I want to answer to you the same thing. 513 01:02:31.619 --> 01:02:37.519 The Roomba or the other robots, we feel 514 01:02:37.519 --> 01:02:54.000 we can have some philosophy to treat robots. 로봇을 대신하는 것입니다. 하지만 로봇은 인생을 느끼는 것에 강력한 역할을 합니다. 515 01:02:54.000 --> 01:03:00.000 그리고 저처럼 작가가 이 일을 할 수 있습니다. 516 01:03:05.000 --> 01:03:05.699 So this is the, yeah. 517 01:03:10.699 --> 01:03:11.880 So I feel responsibility to, 518 01:03:16.420 --> 01:03:18.739 why should I make the life like robots? Yeah, it's gonna be stressful. 519 01:03:18.739 --> 01:03:23.739 And we, our empathy nerve will be scratched more 520 01:03:24.980 --> 01:03:25.760 in the future life. 521 01:03:27.360 --> 01:03:28.059 Thank you. 522 01:03:28.380 --> 01:03:28.719 Good. 523 01:03:29.719 --> 01:03:30.719 Okay, so one last question. 524 01:03:31.920 --> 01:03:33.119 Maybe it's a quick one. 525 01:03:33.179 --> 01:03:36.900 So you've talked a lot about how audience perceive the robots, 526 01:03:37.000 --> 01:03:38.519 but how do pilots perceive the robots? 527 01:03:38.519 --> 01:03:40.400 How do they connect to the robots, 528 01:03:40.599 --> 01:03:43.960 and how do they connect to the audience through robots? 529 01:03:44.340 --> 01:03:45.940 It's like a very broad question 530 01:03:45.940 --> 01:03:52.300 which also kind of dwells into whole drone debate, I would say. But in this case, when 531 01:03:52.300 --> 01:03:56.099 you operate this dog, you operate the dog, or do you operate the robot, do you operate 532 01:03:56.099 --> 01:03:56.599 the machine? 533 01:04:14.539 --> 01:04:28.639 Maybe each pilot has different perspectives, but some pilots said they, he project himself into the robot and another one is trying to make the lively action. He built the technique how to make big motions. 534 01:04:31.139 --> 01:04:33.480 So it's totally different. 535 01:04:33.480 --> 01:04:35.480 Yeah, but of course, 536 01:04:38.519 --> 01:04:41.019 they repeat it so many times. 537 01:04:42.260 --> 01:04:51.000 So maybe they lose some empathy into the action.多くの回で、ロボットにエンパイアを与えることができるかもしれません。 538 01:04:51.000 --> 01:04:56.000 もっとコントロールできるものが変わるでしょう。 539 01:04:58.000 --> 01:05:00.000 ありがとうございます。 540 01:05:00.000 --> 01:05:05.000 素晴らしいプレゼンテーションは 541 01:05:05.000 --> 01:05:10.000 ロールシフトのフレーミングの認知についての 542 01:05:10.000 --> 01:05:12.000 VLトーリー問題です 543 01:05:12.000 --> 01:05:15.000 強制的な描写と心の不安 544 01:05:15.000 --> 01:05:18.000 Payin Linと彼のコリーグに 545 01:05:18.000 --> 01:05:21.000 プレゼンテーションをさせていただきます 546 01:05:21.000 --> 01:05:40.260 Payinとチームにどうぞ and his colleagues. Please welcome to Pei Ying and his team. 547 01:05:41.280 --> 01:05:43.360 Hello. Okay, hello, good morning everyone. 548 01:05:43.360 --> 01:05:53.019 My name is Tzu Mu Yang and we are a student group from National Tsinghua University in Taiwan, and I am the main presentation of this group. 549 01:06:04.079 --> 01:06:08.039 classical moral dilemma on the trolley problem in VR, transforming it into an embodied aesthetics experience 550 01:06:08.039 --> 01:06:11.159 which surfaces the difficulties of being implicated 551 01:06:11.159 --> 01:06:12.860 in one's moral decisions. 552 01:06:14.000 --> 01:06:17.059 Here are some of the keywords of our project. 553 01:06:36.699 --> 01:06:41.440 This project is developed over four months as a project for the XR extended reality course, and it stems from a shared observation that people have difficulties putting themselves 554 01:06:41.440 --> 01:06:43.320 into other's shoes. 555 01:06:43.320 --> 01:06:45.440 So we choose a classic moral dilemma, 556 01:06:45.440 --> 01:06:49.019 the trolley problem to develop on. 557 01:06:49.019 --> 01:06:51.679 The classic trolley problem is usually on paper 558 01:06:51.679 --> 01:06:55.960 and participants can judge from a distance, disembodied. 559 01:06:55.960 --> 01:06:59.139 We have designed RoadShift against this idea. 560 01:06:59.139 --> 01:07:01.800 With repeated decision and collision cycle 561 01:07:01.800 --> 01:07:04.079 and shifting information, RoadShift attempts 562 01:07:04.079 --> 01:07:06.039 to resurface the difficulties 563 01:07:06.039 --> 01:07:08.519 of being implicated in once more decisions. 564 01:07:10.340 --> 01:07:12.460 Our key design concepts can be summarized 565 01:07:12.460 --> 01:07:14.400 into the following points. 566 01:07:14.400 --> 01:07:16.980 One, VR perspective taking. 567 01:07:16.980 --> 01:07:21.000 VR perspective taking, no, the Proteus effect 568 01:07:21.000 --> 01:07:23.599 states that people might shift their behavior 569 01:07:23.599 --> 01:07:26.880 and self-perception to the avatar they embodied. 570 01:07:26.880 --> 01:07:32.820 In practice, virtual reality works mostly invites audiences to inhabit vulnerable positions 571 01:07:32.820 --> 01:07:35.440 to invoke empathy. 572 01:07:35.440 --> 01:07:40.639 Rowshift inverts this convention and first gives the audiences the position of agency 573 01:07:40.639 --> 01:07:43.179 and then take that role away immediately. 574 01:07:43.179 --> 01:07:46.039 Two, Somatic Marker. 575 01:07:46.039 --> 01:07:53.420 Our work based on our haptic feedback design on Damasio's Somatic Marker hypothesis, which 576 01:07:53.420 --> 01:07:58.659 states that cognition is shaped by perception and environmental interaction. 577 01:07:58.659 --> 01:08:03.920 We treat each train collision as a sensory motor event rather than a cognitive task to 578 01:08:03.920 --> 01:08:07.099 let the body remember or embody the event, if you will. 579 01:08:08.679 --> 01:08:09.780 Three, identity framing. 580 01:08:10.599 --> 01:08:13.739 In addition to perspective taking and bodily perception, 581 01:08:13.980 --> 01:08:16.300 we've also made the identity's framing itself 582 01:08:16.300 --> 01:08:18.399 a manipulatable temporal dimension 583 01:08:18.399 --> 01:08:21.239 and reveal narrative information across time. 584 01:08:24.960 --> 01:08:25.460 Now, I will briefly go through a structure of the experience. information across time. 585 01:08:25.460 --> 01:08:29.359 Now I will briefly go through a structure of the experience. 586 01:08:29.359 --> 01:08:35.279 The experience can be summarized into three stages or cycles and an extra stage for it 587 01:08:35.279 --> 01:08:39.659 acting as a resolving theme. 588 01:08:39.659 --> 01:08:44.680 At the start of the experience, the audience will find themselves on an empty rail track 589 01:08:44.680 --> 01:08:46.539 with a track switch lever. 590 01:08:46.539 --> 01:08:51.060 After pulling the lever, the audience will be teleported into the cabin as a driver. 591 01:08:51.060 --> 01:08:54.920 He will then try to stop the train, but with no prevail. 592 01:08:54.920 --> 01:09:00.680 Then there will be a conductor shoving the audience onto the railway tracks as a one-person 593 01:09:00.680 --> 01:09:08.760 group, then soon followed by the train's impact or near-miss, depending on the first decision. 594 01:09:08.760 --> 01:09:13.239 Then in stage two, just before the decision can be made, a newspaper will reveal that 595 01:09:13.239 --> 01:09:19.760 the three men are actually thieves, and one person, the character audience embodied, is 596 01:09:19.760 --> 01:09:22.220 a renowned social actor. 597 01:09:22.220 --> 01:09:31.739 After the decision is made, the audience will be teleported onto the tracks to experience the second collision. Then in stage three, another newspaper revealed 598 01:09:31.739 --> 01:09:36.840 crucial information before the switch. The one person is actually a pharmaceutical executive 599 01:09:36.840 --> 01:09:42.939 for profit, and the three men are in reality righteous outlaws stealing medicines for patients. 600 01:09:43.539 --> 01:09:45.500 The audience will then make a decision 601 01:09:45.500 --> 01:09:46.760 according to their choice. 602 01:09:46.760 --> 01:09:50.680 They experience the last collision on the tracks. 603 01:09:50.680 --> 01:09:52.859 Finally, in stage four, the audience will meet 604 01:09:52.859 --> 01:09:55.359 all the casualties they've caused as ghosts 605 01:09:55.359 --> 01:09:57.659 and the survivors together on the platform 606 01:09:57.659 --> 01:09:59.260 to resolve the intense emotions 607 01:09:59.260 --> 01:10:02.600 and let them reflect on their decisions. 608 01:10:04.180 --> 01:10:06.579 Next, let's reflect on our structure. 609 01:10:06.579 --> 01:10:09.079 We've organized the cycles into three layers, 610 01:10:09.079 --> 01:10:12.760 cognitive layer, embodied layer, and a sensory layer. 611 01:10:12.760 --> 01:10:16.920 The pivotal events of each layer happens on different cycles. 612 01:10:18.659 --> 01:10:22.079 The cognitive layer is focused on identity framing. 613 01:10:22.079 --> 01:10:24.840 We've disclosed more information each cycle. 614 01:10:24.840 --> 01:10:28.060 As a result, the audience do not face the same dilemma 615 01:10:28.060 --> 01:10:30.920 by shifting logics under different identities. 616 01:10:30.920 --> 01:10:34.079 This temporality and accumulated information 617 01:10:34.079 --> 01:10:38.159 is what we mean by identity framing. 618 01:10:38.159 --> 01:10:41.100 The embodied layer is centered around forced perspective 619 01:10:41.100 --> 01:10:41.880 shifts. 620 01:10:41.880 --> 01:10:44.600 The experience anchors the perspective shift 621 01:10:44.600 --> 01:10:47.920 with a conductor shoving the audience onto the rails. 622 01:10:47.920 --> 01:10:50.600 By removing the choice to switch perspectives, 623 01:10:50.600 --> 01:10:53.420 we are confronting the audience with a symmetry 624 01:10:53.420 --> 01:10:57.680 of deciding to harm and being harmed without consent. 625 01:10:59.220 --> 01:11:01.979 This diagram captures the role transitions. 626 01:11:01.979 --> 01:11:04.899 The audience will only occupy the driver's perspective 627 01:11:04.899 --> 01:11:05.039 at the start of cycle one. Then will be alternated embodied perspectives captures the road transitions. The audience will only occupy the driver's perspective 628 01:11:05.039 --> 01:11:06.720 at the start of cycle one. 629 01:11:06.720 --> 01:11:09.899 Then will be alternated embodied perspectives 630 01:11:09.899 --> 01:11:13.199 between trackside observer and being a victim on the tracks. 631 01:11:16.319 --> 01:11:19.920 Finally, the sensory layer is about multisensory saturation. 632 01:11:19.920 --> 01:11:22.100 Across the cycles, we are treating the impacts 633 01:11:22.100 --> 01:11:28.159 as a sensory motor event to attach a semantic marker to let the body remember. 634 01:11:28.159 --> 01:11:33.239 Also, our choice of using halftone aesthetics are worth mentioning. 635 01:11:33.239 --> 01:11:37.579 By avoiding a realistic art style, we can prevent triggering traumatic responses between 636 01:11:37.579 --> 01:11:39.079 collisions. 637 01:11:39.079 --> 01:11:43.840 Using a stylized visual, we are telling the cognitive system that this is a fictional 638 01:11:43.840 --> 01:11:47.359 work, while semantic feedback still anchors the body with an intensity. 639 01:11:51.239 --> 01:11:54.460 Next, let's talk about the audience reception and their feedback. 640 01:11:55.520 --> 01:11:59.380 Roadship was shown to 14 audience members in the controlled settings, 641 01:11:59.380 --> 01:12:04.140 and they are asked to complete a questionnaire and pose experience conversation. 642 01:12:04.680 --> 01:12:05.039 From their feedback, we can observe three main patterns. and they are asked to complete a questionnaire and post experience conversation. 643 01:12:05.039 --> 01:12:09.520 From their feedback, we can observe three main patterns. 644 01:12:09.520 --> 01:12:13.000 One, audiences frequently describe physical sensations 645 01:12:13.000 --> 01:12:15.060 before discussing the dilemma itself, 646 01:12:15.060 --> 01:12:17.260 suggesting that semantic feedback function 647 01:12:17.260 --> 01:12:19.100 as an experiential anchor, 648 01:12:19.100 --> 01:12:22.020 allowing audiences to revisit the moral situation 649 01:12:22.020 --> 01:12:24.020 through embodied memory. 650 01:12:24.020 --> 01:12:28.880 Two, audience interpretations vary depending on their engagement with the narrative, 651 01:12:29.319 --> 01:12:33.939 and a final decision in stage three shows no dominant strategy. 652 01:12:34.479 --> 01:12:35.920 Rather than guiding the audiences, 653 01:12:35.920 --> 01:12:42.420 role-shift aims to reveal how personal experience and perspectives can shape ethical decisions. 654 01:12:44.000 --> 01:12:46.460 Three, audiences suggest that stylized 655 01:12:46.460 --> 01:12:49.119 and exaggerated visuals prove productive. 656 01:12:49.119 --> 01:12:51.380 The abstraction allow the audiences to engage 657 01:12:51.380 --> 01:12:53.319 with the fictional logic of the work, 658 01:12:53.319 --> 01:12:55.399 suggesting that our visual feedback 659 01:12:55.399 --> 01:12:57.479 and haptic feedback work together 660 01:12:57.479 --> 01:13:00.539 to balance immersion and emotional distance. 661 01:13:03.439 --> 01:13:08.180 Upon those feedbacks, we recognize the potential advancements of the project. 662 01:13:08.180 --> 01:13:12.960 We are planning on making exhibition-oriented refinements, such as quieter onboarding and 663 01:13:12.960 --> 01:13:16.060 accessibility problems such as subtitles. 664 01:13:16.060 --> 01:13:20.979 And we are also planning on exploring workshop formats where we can have more discussion 665 01:13:20.979 --> 01:13:25.920 and more reflection, and education can be held. 666 01:13:28.000 --> 01:13:30.239 Also, although we've done experiments, but the data set size is not sufficient 667 01:13:30.239 --> 01:13:32.460 for any statistic conclusions, 668 01:13:32.460 --> 01:13:34.760 we are looking to improve narrative 669 01:13:34.760 --> 01:13:37.060 and structural clarity for future research. 670 01:13:39.420 --> 01:13:40.500 To broadly summarize, 671 01:13:40.500 --> 01:13:42.619 RoadShift aims to utilize embodiment, 672 01:13:42.619 --> 01:13:44.180 not to generate empathy, 673 01:13:44.180 --> 01:13:46.520 but to challenge habitual judgments 674 01:13:46.520 --> 01:13:50.220 and encourage audiences to reconsider ethical decisions 675 01:13:50.220 --> 01:13:52.300 from multiple perspectives. 676 01:13:54.359 --> 01:13:55.880 That is the end of our presentation. 677 01:13:55.880 --> 01:13:57.020 Thank you very much. 678 01:13:57.020 --> 01:13:58.020 Thank you very much. 679 01:14:00.600 --> 01:14:04.020 Don't you want to speak something? 680 01:14:04.020 --> 01:14:05.420 Is punishment? Okay, all right, yeah. Don't you want to speak something? It's punishment 681 01:14:05.460 --> 01:14:10.520 Okay. All right. Yeah, so any questions or comments for this presentation? 682 01:14:13.180 --> 01:14:15.180 Yes, please 683 01:14:16.060 --> 01:14:18.060 Did you also experiment with 684 01:14:18.819 --> 01:14:22.460 hyper-realistic VR experience where it's not a comic like look? 685 01:14:23.100 --> 01:14:26.060 I tried, but after we made the decisions 686 01:14:26.060 --> 01:14:30.020 and we have discussions with our other professors leading 687 01:14:30.020 --> 01:14:34.119 the work, and they suggest that actually our decision 688 01:14:34.119 --> 01:14:37.380 of using a cell-like view actually benefits the project, 689 01:14:37.380 --> 01:14:41.939 because it can avoid being too immersed or being too afraid 690 01:14:41.939 --> 01:14:44.500 to make the moral decisions. 691 01:14:44.500 --> 01:14:49.500 Like, the audience will be afraid of making a decision to avoid impact. 692 01:14:49.500 --> 01:14:52.000 And maybe that will alter some kind of... 693 01:14:52.000 --> 01:14:59.000 That will alter the moral reflections that we don't want in this project. 694 01:14:59.000 --> 01:15:00.000 Yes. 695 01:15:00.000 --> 01:15:01.000 Thank you. 696 01:15:04.000 --> 01:15:05.180 Okay. 697 01:15:07.180 --> 01:15:07.880 Any other questions? Yes, please. 698 01:15:09.680 --> 01:15:14.180 I'm just wondering, as you said, the main goal was to make the decision feel more real, 699 01:15:14.180 --> 01:15:17.180 to close the distance that people have 700 01:15:17.180 --> 01:15:20.180 when they decide on paper who they're going to kill 701 01:15:20.180 --> 01:15:22.180 rather than when they actually feel it. 702 01:15:22.680 --> 01:15:26.579 So wouldn't, in that sense, make it more real if it's realistic 703 01:15:26.579 --> 01:15:28.159 because then you're even closer? 704 01:15:28.800 --> 01:15:30.880 Or is that then too close for you? 705 01:15:31.479 --> 01:15:35.180 In a sense, that is why we're using haptic feedback. 706 01:15:35.180 --> 01:15:41.319 And in person, the experience feels a lot more intense 707 01:15:41.319 --> 01:15:43.960 even with the stylized visuals. 708 01:15:44.500 --> 01:15:47.399 And we can visually see a lot of the audiences 709 01:15:47.399 --> 01:15:52.279 shake upon the impact and for the happy feedback. 710 01:15:52.279 --> 01:15:56.899 So we actually think that is the right amount of intensity 711 01:15:56.899 --> 01:16:00.659 that we are looking for, yes. 712 01:16:00.659 --> 01:16:01.939 Great. 713 01:16:01.939 --> 01:16:05.880 We still have one more question this time? 714 01:16:05.880 --> 01:16:06.880 No? 715 01:16:06.880 --> 01:16:08.020 All right. 716 01:16:08.020 --> 01:16:10.619 So thank you very much. 717 01:16:10.619 --> 01:16:16.199 Thank you very much. 718 01:16:16.199 --> 01:16:23.159 And thank you again to all our speakers and thank you for everyone for joining this discussion. 719 01:16:23.159 --> 01:16:25.979 So this concludes session three control, and 720 01:16:25.979 --> 01:16:30.720 the next AdPaper session will start 11.30, so stay tuned. 721 01:16:30.720 --> 01:18:00.020 Thank you. Thank you.