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 Diolch yn fawr iawn am wylio'r fideo. Thank you. Thank you. Teksting av Nicolai Winther The Thank you. Welcome to the Birds of a Federal session, connecting media art research.

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 We'll come back to expand it.

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 This Birds of a Federal session is focusing on media art research. As you all know,

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 Ars Electronica has three pillars, art, technology and society. And with

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 EXPANDED, the conference on animation and interactive art, we are also tackling a

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 fourth pillar, research. And that brings us to the very simple question,

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 what is media art research?

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 And I'm very happy to have on stage

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 great representatives from different institutions

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 and festivals and conferences

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 with the same focus,

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 with the focus on media art and media art research.

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 So there is, of course course a lot of different approaches, disciplines, how to collaborate with different

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 researchers, how can media artists collaborate with computer scientists for instance, etc.

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 So there are a lot of interesting questions and what we will do in this Börsever Feder session

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 is that we will have presentations by great representatives and at the end we

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 will have a discussion and we will discuss what is media art research right

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 now how should we collaborate between the institutions, between the big institutions, between the smaller initiatives and

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 to share our

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 findings. So here we will have, I will shortly introduce the program, Victoria Szabo, who will introduce the ACM

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 SIGGRAPH digital arts community, a big initiative within

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 SIGGRAPH digital arts community, a big initiative within SIGGRAPH

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 conference. Then we have

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 Arandi Vergas and also Everardo Ries,

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 representatives from ISEA International. That's very great and Everardo will also talk about

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 the ACM

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 SIGGRAPH 26 art gallery because he was the chair or is the chair for the art gallery and then we have

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 Yurichiro Katsumoto, he will talk about Seagraph

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 Asia art gallery so

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 very international and then we also have Baiyuan Cheng who will provide insight into the Chinese

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 perspective on evolving media art. And

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 finally, we have James Shi. He will introduce the Vinci

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 ACM conference and will also talk about

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 the journey across technology, media and culture. So

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 with that I would like to start with Victoria Szabo. She is a research professor in the Department of

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 Art, History and Visual Studies at Duke University where she works at the

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 intersection of digital humanities, visual culture, computational media,

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 immersive technologies. She is a founding director of Duke's Computational Media Immersive Technologies. He is a founding director of Duke's Computational Media Arts and Cultures PhD program and has held

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 several leadership roles at Duke including director of the Digital

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 Humanity Initiatives, co-director of the Game Lab and director of the Information

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 Science Studies program. And a lot of other things I would only highlight that

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 Victoria please come on stage is the co-general chair together with me for on

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 the expanded conference as you see we already have a strong collaboration and

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 you are heavily involved in Seacraft as well because you are the executive

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 committee of ACM SeIGGRAPH. I

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 think that's not in your current bio because that's brand new. It's breaking

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 news. Is it official? It is official. Okay, everyone.

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 It's a pleasure to be here and talking to you about ACM SIGGRAPH. You know,

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 as you've already heard from Juergen, we have a lot of intersections and crossovers already,

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 and we'll talk a little bit about those. So today, I'm here to talk about an organization

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 I've been involved with for more than 20 years, ACM SIGGRAPH. The long acronym stands for the

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 Association for Computing Machineries Special Interest Group on Computer Graphics and Interactive Techniques.

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 If you don't know, we have large annual conferences in North America and in the Asia-Pacific regions.

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 And there are usually art gallery, art papers, and other arts-related events at the conferences.

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 But for the most part, that's really not what I'm going to be talking about today, because what I'm talking about is the year-round digital arts community. The mission of the ACM SIGGRAPH digital arts

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 community is to foster year-round engagement and dialogue within the digital, electronic,

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 computational, and media arts. We facilitate dynamic scholarship and creative programming

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 within the ACM SIGGRAPH organization. Our goal is to promote collaboration between artists

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 and the larger computer graphics and interactive techniques community.

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 We are a small but important part of the conferences,

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 which really originated in technical papers,

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 and we serve academics and professionals in those worlds,

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 as well as industry partners.

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 This situation, this placing, gives us a great advantage

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 in that we can communicate directly with possible interdisciplinary

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 collaborators and learn more about the latest discoveries and inventions in the field.

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 But we, as the digital arts community, are also an underdog, a somewhat niche community in a wider ecosystem.

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 This makes us different from programs like Expanded and Ars Electronica or Isaiah, our frequent collaborative partners.

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 I want to highlight that we're all volunteers doing this for the love of the thing,

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 but being part of the digital arts community also provides a space to create community and connection

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 around topics of shared interest in a variety of modalities and sometimes in an experimental, exploratory sort of way.

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 The core group is small, with each of us focusing on specific areas that we work together on our projects and we extend out with a network of

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 collaborators in a variety of ways. One of our signature activities in the DAC

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 are the monthly SPARC sessions. SPARCs are short presentations of artwork and

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 research for the kindred spirit. These take place online and are moderated by

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 digital arts community members along with

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 invited guest facilitators. We have a call for proposals, maybe eight to ten speakers

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 per session, and five minute lightning talks followed by a group discussion. We have worldwide

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 engagement with these. People do get up at 3 a.m. to be part of it, which is really extraordinary.

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 And a lot of people who've gotten involved in some of our projects started out as a Sparks presenter.

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 We also record the sessions and the recordings have a long tail.

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 We're currently trying to get all of our videos into the main SIGGRAPH YouTube channel

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 so that they're more distributable to the rest of the community.

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 Here's some examples of recent topics.

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 I don't know well how you can read this,

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 but you'll note that each one has a different focus than a guest co-moderator. In fact, this Friday night,

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 if you aren't busy at 10 p.m., consider joining a new assemblage, Rethinking Audiovisual Creativity

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 with Generative AI. This session is moderated by Wei-Di Zhang and Wailu Ge, artists you

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 may know from other contexts. I encourage you to check this out if you're not doing something else.

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 One of our other major year-round activities

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 are our exhibitions.

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 These can take a few different forms.

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 Some are purely online, though they're showcased

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 on kiosks at the conferences and are sometimes,

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 we're sometimes able to bring in speakers into the sessions.

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 I organized an exhibition called

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 The Future of Reality Post-Truths, Digital Twins,

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 and Doppelgangers in 2024, for example.

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 That was the theme that I then revisited as Art Papers Chair.

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 You're starting to sense a theme of weaving through these different modalities.

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 And this is one of several types of recurring themes in my own research and others that becomes part of the SIGGRAPH ecosystem.

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 We also use the exhibition format as an occasion to showcase the work of students through student

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 competitions.

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 For the last few years, we've used the evergreen theme of speculative futures to organize this

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 event and bring student winners to the conference.

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 Another way we engage is through ancillary events at the SIGGRAPH conferences themselves.

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 For the last couple of years, we've had events alongside the conference with partners in

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 the city.

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 Last July, we worked with the Texpressionist group to co-organize a show at the LA

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 Center for Digital Arts, LACTA. This event was an interesting initiative

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 that celebrated both print-based digital art and added an extra layer of

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 interactivity by curating partnerships between composers and AR artists with

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 some of the featured artists in the show, so layers and layers of interaction.

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 Gustavo Rincon, one of our DAC members, was one of the key organizers there.

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 The result was an exciting on-site and multimodal experience. I've been chatting with people all

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 along during Expanded about how important it is to come together and have the liveness of

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 lived experience together. The year before in Denver, we were able to organize a projection

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 mapping show, thanks to local connections that DAC member Johannes Young had in the city.

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 An opening night party brought together artists and community members

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 within the SIGGRAPH community and more broadly.

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 A little picture, video of the projection mapping.

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 Our newest on-site exhibition is different in that it isn't tied to a specific conference.

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 We're working closely with the art group Chewing Theory in China

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 to produce the Urban Digital Canvas Shanghai

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 as part of the Shanghai Light Festival.

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 This is opening in a couple weeks.

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 This event will bring more than 80 artists' works

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 to screens around the city.

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 Together with the DAC chair, Rebecca Xu,

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 I've been working with Weihang and Chewing Theory

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 to organize and manage a very complex intervention.

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 As I said, it opens 24th of September and will be open for a few weeks.

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 We'll also be documenting it online afterwards, which is part of our recurring theme of having

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 a live event, but then also documentation and also discussion.

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 There's a little promo video, maybe? So So part of what's exciting about this is that we're really thinking about how to be in dialogue

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 with a specific place and at the same time bringing to light digital arts of various

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 kinds and from people around the world.

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 We need to watch that again.

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 So we promised a few computational media arts research threads and themes. I'm going to just telegraph a few of them here, and hopefully at the end we'll have

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 time to have a broader conversation. As you've seen, there's lots of different ways in which

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 the digital arts community has worked as a larger organization. We've taken advantage of our own

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 networks and provided ways to create real-time lived experiences together. But thinking forward

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 and looking ahead, some of the key themes I'd like to highlight are as follows.

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 History, heritage, archives and documentary, multimodal publication and exhibition formats,

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 digital divides, access and authority, media art histories, theories and cultures, experience,

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 affect, liveness, play and corporeality, data, information, translation, adaptation, and aesthetics, human and non-human co-production,

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 and ethical, legal, environmental, and social implications of computation.

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 So these are just a few, a few things we might choose to tackle together.

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 In terms of pragmatic tactics, I hope we can continue to develop cross-organizational connections.

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 I got involved and expanded in part through connections made at SIGGRAPH.

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 The kinds of events we've organized invite global participation across modes and locales with people who are both established scholars and researchers, community members, and then

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 also students and younger people. I personally like to continue to explore real-time physical

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 and virtual connections as well, and to think more about how persistent third spaces, galleries,

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 publications, and archives can play a part in our ongoing activities.

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 And I look forward very much to hearing all of your ideas. You can feel free to

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 contact me here in my Duke identity or my ACM SIGGRAPH identity or maybe even

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 in my expanded identity. So thank you all. Thank you, Victoria.

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 We will continue with

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 Arandi Bergarras Vargas.

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 She curates,

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 teaches, and writes on contemporary

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 and media art.

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 She is

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 assistant professor in the École des M's right. My French is not good. UQAM

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 Her main research interests include global art history, climate responsibility, cultural studies,

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 internet culture and widespread biases in algorithms.

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 Internet Culture and Widespread Biases in Algorithms.

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 She earned an M.E. at the Concordia University and a Ph.D. in Art History at McGill University,

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 and she is the chair of ISEA International Board.

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 Stitches, you're welcome.

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 Thank you.

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 Hello, everyone.

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 Thank you so much for being here. Thank you, Expanded Conference, for

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 the invitation. And it gives us an excuse to gather together and reflect on ways of

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 connecting. So thank you. It's a pleasure also to be in ours. When I started my undergrad

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 and I was interviewing these artists with this curator in Mexico City,

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 where I'm from, he said, get this catalog, you need to know about Ars Electronica. And it's been

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 my dream to be here and ever since this is a reference. And so I feel this is ways today we're

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 going to be talking about two events that are connecting our communities. So thank you, Ars, for that.

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 All right. So I'm here standing representing ICA International. I joined the board in 2022 with

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 my colleague here, Everardo Reyes.

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 We're both part of the board.

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 Everardo is the treasurer.

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 And I organized ASEA in Montreal.

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 So maybe I know some of you that participated but didn't get to meet in person because this is when the pandemic hit.

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 And so, as you know, ASEA is the International Symposium on Electronic, and now we add emerging art.

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 The first symposium took place in 1988 in Holland.

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 And ever since this event has grown,

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 to answer a bit about the question about research,

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 I say I started as a symposium

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 where people gathered together to share research and to

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 share ideas and there was no name for most of the things that were happening but there

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 was the curiosity, there was the research, there was the impulse to try to find ways

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 to gather together and share not only the research but also the questions that were

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 shaping our world related to technologies. So there has been 30 symposiums.

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 The last year, we started with 30.

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 This year, Dubai will be the 31st.

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 And so, as you know, we have academic conferences,

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 we have artist talks, we have exhibitions,

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 we have performances, we have workshops.

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 And the idea is that we gather together

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 to share research in different ways.

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 And ICA has always brought together communities that are both scholars working at universities,

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 artists working at universities, but also independent artists.

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 And so I think that's one of the things that makes the dialogue and the community strong.

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 We are a nomadic event.

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 We are hosted in a different country every year.

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 And the HQ is at the University of the Creative Arts in the UK.

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 And so our mission, as I said,

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 is a non-for-profit organization

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 fostering interdisciplinary discussion and knowledge exchange among both organizations and individuals working at the intersection of our science

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 and technology.

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 And so the way it works is like we have a structure, we have a board of directors that

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 Iberardo and I represent here today.

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 We have a HQ that basically executes the board's decisions and ensures to give follow up with every new host.

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 We also have an advisory committee.

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 These are all voluntary memberships.

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 As Victoria was saying, for us too,

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 we are in a voluntary basis

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 and we want to be part of that community.

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 We have special advisors,

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 people who have been associated with

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 ASEA and have played an important role. We also have a physical archive, the online archives,

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 and we have subcommittees and task forces that shape or answer to different questions or things

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 that we are working on every year it changes. And so the way it works is we have an open call for a bid.

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 It's around September.

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 And the idea is that every country,

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 every organization is invited to put on a bid.

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 We call it the expression of interest.

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 It's on the website, the on how to bid section.

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 You can find it.

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 And the call is open every year.

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 The deadline is February 15 every year.

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 And so organizations are invited to put together a bid where they develop an idea of a theme.

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 And they also kind of map out the infrastructure. What we are looking at here is what is that

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 this country, this host, this organization can bring to the community. We're interested to see the areas of the world that this venue will bring together.

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 Usually if the event is in South America, in Asia, these are the communities that

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 are gonna join and so we are going to, we're trying to find a diversity in that

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 way too. These are the countries that have hosted

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 ASEA in the past. So you can see it's been everywhere. There are some hosts

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 that really ASEA make such an impact in the community that they want to bring it

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 back because it really shaped the landscape. I can speak for my experience

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 in Montreal. Every Montrealer who was alive around the 90s,

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 they said, Isaiah changed my life.

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 This is when I knew that what I was doing on my own,

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 that in my university nobody understood.

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 This is what I knew that other people were doing it.

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 And we have organizations, major organizations like MUTEC

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 or DESAT that you might have heard of

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 that actually started out of this impulse,

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 this energy that formed in Isaiah.

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 The last edition was in Seoul,

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 and so here I will try to see if I learned, yes.

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 All right, because I've been talking about Isaiah,

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 but obviously we couldn't do anything without the artist,

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 so I wanted to give you a hint

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 of what happened in Seoul last year. I'm sorry. Thank you. Thank you so much.

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 You shut the sound please.

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 Thank you.

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 All right.

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 So 800 delegates from 47 countries.

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 They received 49 submissions from 60 different countries.

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 And so this is kind of the energy that got into ASEA.

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 The picture on the side, it's the proceedings.

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 What's interesting is, again, when communities put together a bid,

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 what they do is develop a theme.

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 And we are looking at how people are responding to the urgent themes of the time, but also what they want to bring from their communities.

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 I bring this example of Brisbane because this is an event in Manjin that they wanted it to be reflecting on the local community of indigenous peoples.

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 So for them it was very important that, for instance, have all women keynote speakers.

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 They also had a massive amount of indigenous artists from across the world that came to present their work.

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 So again, every country gave its own vision.

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 The picture on the right side is

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 gathering that was only by invitation.

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 It was for indigenous people working around AI,

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 but they are looking at protocols in a very different way.

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 And so this is what every organization,

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 every host brings to ASEA, its own power and its

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 own way of thinking and its own epistemologies.

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 We have an international program committee, maybe some of you have served already.

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 We have had around 1,200 members throughout the years.

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 There's different profiles.

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 Again, this is where research intersects with our end society.

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 So obviously the submissions are peer review and every paper, every presentation has a

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 double-blind process.

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 I wanted to share a list of the IPC from the first edition of EISEA.

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 Look, I think there were like, what, 17 names reviewing proposals for the first edition of Isaiah. Look, I think there were like, what, 17 names

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 reviewing proposals for the first edition of Isaiah.

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 And look at this now.

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 Again, we went from here to 1,200 people reviewing proposals.

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 So again, we exist because of the community that volunteer

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 and are happy to share their skills and review

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 papers.

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 Keynote speakers throughout the year, maybe you know some of these names.

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 A lot of artists I've also met always tell me, like, you know, I was an undergrad, my

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 prof bring me, and then years later I was giving a keynote.

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 So these are kind of the impulses and the ideas that shape the community.

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 We have a physical archive. For those of you who don't know, actually, the archives of ICA are

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 hosted at the Montfort University in the UK, and it's under the supervision of the computer's

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 archives. So this is a major thing for us. We also have an online archive,

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 and these are volunteers who are working every edition of ICA. They're taking pictures, grabbing

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 everything that they can, and then they're documenting that. And this is like the archive.

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 This serves as just a measurement of what's happening every year and the research

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 and the ideas that are growing in our communities.

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 And it's all available online for free.

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 We also, and this is the last part, we are trying to be in conversation and always collaborating

305
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 with our partners, Ars Electronica and ACM Seagraph.

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 We think it's very important.

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 We're all doing different things, but we are also working with the same community,

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 and we have the same mission.

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 It aligns in the intersection of our science technology and, I think, society for all of us.

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 And so I'd like now to ask Maite to join me.

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 As you know, the next edition, it's going to take place in Dubai from the 6th to the 15th of November.

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 So Maida, he's representing Dubai and he's going to tell us about it.

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 Thank you, Maida.

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 Hello, everyone. I'm Maythal Blushi, Director of Emerging Arts Department in Dubai Culture and Arts Authority

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 and the Executive Director for the IZEA 2026.

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 So I'll give you a glimpse of IZEA's edition, 31 edition this year. فبالنسبة لأهمية الياه، وهي أميرة أميرة في العام، كانت تستخدمها لتسليم المشاركة أن نكون مستمرةً على المستقبل لأننا نحتاج إلى أن نرى بكل ما يتعلق بالمجرد

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 خاصة عندما يتعلق بالتكنولوجيا والإنجليزية

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 لذا،

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 تحت تهم إليا

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 تنظر إلى المكان والإدارة والإدارة

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 سيكون هذا الموضوع موضوعاً 10 أياماً

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 في كل مدينة.

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 لذلك، لأول مرة نحن نظهر موقعات

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 عزيزية عام ٢٠٢٦.

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 بعض الموقعات الآن

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 ونحن نشارك بعض الموقعات الآن

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 ونحن نشارك بعض الموقعات الآن

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 ونحن نشارك بعض الموقعات الآن

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 ونحن نشارك بعض الموقعات الآن

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 ونحن نشارك بعض الموقعات الآن

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 ونحن نشارك بعض الموقعات الآن

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 ونحن نشارك بعض الموقعات الآن

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 ونحن نشارك بعض الموقعات الآن

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 ونحن نشارك بعض الموقعات الآن

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 ونحن نشارك بعض الموقعات الآن

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 ونحن نشارك بعض الموقعات الآن

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 ونحن نشارك بعض الموقعات الآن

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 ونحن نشارك بعض الموقعات الآن

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 ونحن نشارك بعض الموقعات الآن

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 ونحن نشارك بعض الموقعات الآن

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 ونحن نشارك بعض الموقعات الآن

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 ونحن نشارك بعض الموقعات الآن

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 ونحن نشارك بعض الموقعات الآن

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 ونحن نشارك بعض الموقعات الآن

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 ونحن نشارك بعض الموقعات الآن ونحن نشارك بعض الموقعات الآن ونحن نشارك بعض الموقعات الآن ونحن نشارك بعض الموقعات الآن ونحن نشارك بعض الموقع وفي عملية إيزياء سيكون عملية عملة

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 سيكون لدينا مجموعة عامة لبرنامج الأكاديمي ومعظم المواضيع المتحدة في المنطقة المتحدة

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 ومعظم المواضيع المتحدة في المنطقة المتحدة

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 ومعظم المواضيع المتحدة في المنطقة المتحدة

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 ومعظم المواضيع المتحدة في المنطقة المتحدة

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 ومعظم المواضيع المتحدة في المنطقة المتحدة

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 ومعظم المواضيع المتحدة في المنطقة المتحدة and it's open for the public. So it will include also exhibitions, installations,

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 immersive experiences, and performances.

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 So when it comes to artistic program,

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 we'll say it's physical plus digital.

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 It's a physical program.

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 So here are some numbers, IZEA's numbers.

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 We've received 1,014 submissions, and we are revealing those numbers right now.

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 We've selected 96 artworks and 148 مرات عامة عامة عامة ويمكنكم رؤية التفاصيل في المنطقة الأسفل

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 لذلك

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 في المنطقة المتحدة سيكون هناك تنظيم مفتوح

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 في 30 سبتمبر

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 وقد أعطنا أيضاً، أعطنا المعرضات للشخصين، وذلك يمتلك المالات لتحسين عملهم المهارة.

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 ونحن أيضاً نود أن نجعل الجميع يتجمعون في هذه المجالات لنتجمع معاً ونحن نتجمع

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 على

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 المجالات الإنوويتية والخاصة

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 ونحن نكتشف

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 المجالات المتخصصة

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 ونحن نقوم

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 بإشارة

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 المجالات

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 التي تتخلص

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 عندما تتخلص العلم والعلم

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 والتكنولوجيا نحن نرحب بكم that emerge when art, science, and technology intersects.

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 We welcome you in Dubai,

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 and we're looking forward to see you all,

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 and to have this experience together.

377
00:33:14.940 --> 00:33:16.019
 Thank you so much.

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 Colors, shapes, and textures.

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 Let's take a look at some of the examples.

380
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 Thank you for the great presentation and

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 also the insight into IC Dubai. So we are really looking forward to the event

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 and without any further ado I will not introduce Everardo. He's already a

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 friend of ours, electronic current. current we are collaborating he was on

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 stage already last year with this initiative to bring Isaiah and as

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 electronic are a little bit closer together and I think you will also talk

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 about some initiatives that had have already been in the last year.

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 Let's see the trailer.

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00:34:08.000 --> 00:34:09.000
 Let's roll the clip.

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 Everado was on a jury for a Prius Electronica category computer animation art last year

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 and we are collaborating I think since two, three years and I'm a professor of computer art and I'm a professor of computer art and I'm a professor of computer art and

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 I graduated from the Department of Computer

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 Animation Art last year and we are collaborating I think

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 since two or three years and I'm really looking forward to

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 your insight into C-Graph Art Gallery Plus.

395
00:34:34.000 --> 00:34:36.000
 Thank you.

396
00:34:36.000 --> 00:34:38.000
 Thank you, Juergen.

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 And well, you were there so you know how was the art

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 gallery and some of you as well, Victoria.

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 Or some others have been, Martina.

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 So I'm happy to be here and to show a little bit of what we did.

401
00:35:01.420 --> 00:35:01.619
 And kind of, it's amazing how to see the history, you know, that 30 years of Aicia.

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 Now that generation, we are into this new generation and seeing how new words and students and we have a lot of

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 energy right happening. So I will not come back to what

404
00:35:19.219 --> 00:35:20.179
 Victoria has already said about what is ACM, what is SIGGRAPH, those are like really

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 all-time institutions, very prestigious from the computing science perspective.

406
00:35:25.840 --> 00:35:34.320
 But that's also great that they are open to artists and creative practices, right?

407
00:35:34.500 --> 00:35:38.079
 So this has happened since the beginning.

408
00:35:38.559 --> 00:35:46.000
 Let me show you a couple of images from what was the first art show 45 years ago.

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 45 years ago in 81, David M. was writing software to show.

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 This is what the first art show looked like.

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 It was like a curtain, like hiding the big, of course, computers, servers, graphics, there was no GPUs, right? But it was an

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 effort by those some very important contributors, Jim Blim, Julian

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 Gomez, all from the NASA's Jet Propulsion Lab. Some of the images that you might

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 recognize because some were very famous, right, it was even the cover of jazz pianist Harvey Hancock,

415
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 for instance, Rebecca Allen, those are some of the works

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 that were there in 81, 45 years ago again.

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00:36:37.199 --> 00:36:40.699
 So what we've done, I was very fortunate

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 to be this year art gallery chair,

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 next to other previous chairs who have been like keep trying to keeping I mean to who have kept alive right the

420
00:36:55.900 --> 00:37:10.380
 tradition so themes each year has like a topic's say, and since some years ago, since 2018, the art gallery is juried.

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 That means that it's an open call and submissions are received.

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00:37:15.400 --> 00:37:26.619
 And as the chair, let's say, I thought that one word would be easy to get and perhaps inspiring for submissions.

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 So the topic was in-betweens in this case.

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00:37:30.500 --> 00:37:33.880
 So what is in-betweens and what for in-betweens?

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 The idea to me was that I said, well, let's try to find connections between the works.

426
00:37:41.940 --> 00:37:46.059
 Of course, there are many, let's say, similar technologies or similar

427
00:37:46.059 --> 00:37:51.159
 models or similar languages, I don't know, but what else? What else? How can we like

428
00:37:51.159 --> 00:37:58.219
 highlight, uncover, show those hidden, let's say, or implicit interconnections?

429
00:37:58.219 --> 00:38:11.840
 So just to be very very brief, we this year received a record number of submissions, more than 200, 211 to be precise,

430
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 and in the end there were 12 selected works and two curated works. These are some of the I mean, documentation is also on site, online, at the SIGGRAPH website, right?

431
00:38:31.480 --> 00:38:41.239
 So this is like a map of every, when you submit to SIGGRAPH, there's a field where you can

432
00:38:41.239 --> 00:38:48.099
 put your own keywords, the keywords that you think that define your submission.

433
00:38:48.679 --> 00:38:51.099
 So this is what it looks like, more or less.

434
00:38:51.460 --> 00:38:53.559
 It was an initial idea, right?

435
00:38:53.639 --> 00:38:56.760
 So it became later a big poster.

436
00:38:57.179 --> 00:38:59.400
 So I think that together,

437
00:38:59.579 --> 00:39:04.280
 those pieces created naturally some sub-themes.

438
00:39:04.599 --> 00:39:08.380
 Some were related to space, right?

439
00:39:08.380 --> 00:39:13.139
 Some others were related to, let's say, culture.

440
00:39:13.139 --> 00:39:18.860
 Weidi Zhang who is chairing this Friday, it's a small community, we're all connected.

441
00:39:18.860 --> 00:39:23.719
 And let's try to keep it that way, like to nourish these connections.

442
00:39:23.719 --> 00:39:25.980
 Shirley from data visualization,

443
00:39:25.980 --> 00:39:28.139
 she did an amazing, amazing job.

444
00:39:29.000 --> 00:39:32.639
 Some others were working on memory, for instance.

445
00:39:34.059 --> 00:39:37.219
 And well, I don't know if artworks

446
00:39:37.219 --> 00:39:40.119
 or artists are later seeing this video.

447
00:39:40.119 --> 00:39:44.340
 I'm really also thankful to everybody who committed

448
00:39:44.340 --> 00:39:47.000
 and put a huge amount of dedication.

449
00:39:47.460 --> 00:39:56.000
 This is fantastic also because you can even experience this piece at the FC venue this year at Ars Electronica.

450
00:39:57.059 --> 00:40:01.380
 Joey and Koi, they are there and you can experience that one.

451
00:40:03.139 --> 00:40:05.280
 Shihua, and this is about nature,

452
00:40:06.440 --> 00:40:09.699
 some examples, right?

453
00:40:11.480 --> 00:40:18.199
 What were the two curated? It's again an effort to like trying to give ours...

454
00:40:19.099 --> 00:40:26.639
 I mean, if not everybody can come to ours every year. Well, let's try to bring Ars Electronica to Sigra.

455
00:40:26.699 --> 00:40:29.119
 So we got a screening of the festival

456
00:40:29.119 --> 00:40:32.400
 and a couple of prints that, if you remember,

457
00:40:32.980 --> 00:40:36.239
 were some of those written 45 years ago

458
00:40:36.239 --> 00:40:39.760
 for the first art gallery show, right?

459
00:40:39.760 --> 00:40:48.940
 David M. kindly lent these prints for the gallery, so they were exhibited there.

460
00:40:48.940 --> 00:41:12.980
 So to conclude and to end, I'd like to just say that there is an online art gallery archive. I mean, because the project was being done, let's say,

461
00:41:13.500 --> 00:41:18.579
 it was important to me to try to take photos, pictures, document,

462
00:41:19.079 --> 00:41:23.340
 the whole process behind what the installation was.

463
00:41:23.860 --> 00:41:27.000
 So I am just screen recording the website.

464
00:41:27.000 --> 00:41:29.800
 You can go if you want later,

465
00:41:29.800 --> 00:41:37.400
 but there are some images from what does it look like

466
00:41:37.400 --> 00:41:42.400
 to be at the gallery and install your own work, right?

467
00:41:42.400 --> 00:41:46.360
 So it's a huge, well, it's behind the scenes perhaps.

468
00:41:47.280 --> 00:41:49.460
 It's some details, right?

469
00:41:49.460 --> 00:41:52.760
 But then afterwards there is the exhibition,

470
00:41:52.760 --> 00:41:54.880
 some documentation, right?

471
00:41:54.880 --> 00:41:58.559
 And I think that's it for me.

472
00:41:58.559 --> 00:42:00.340
 Thank you again for inviting me

473
00:42:00.340 --> 00:42:03.440
 and let's try to continue chatting, yeah.

474
00:42:04.300 --> 00:42:05.599
 Everardo, thank you so much.

475
00:42:06.599 --> 00:42:07.179
 So great.

476
00:42:08.139 --> 00:42:12.159
 The documentation is already available. You saw the link.

477
00:42:12.880 --> 00:42:15.239
 So we will continue with

478
00:42:15.239 --> 00:42:17.280
 Shurichiro Katsumoto.

479
00:42:18.139 --> 00:42:20.920
 He is an artist and educator based in Japan.

480
00:42:21.039 --> 00:42:23.980
 His practice explores the relationship between

481
00:42:23.980 --> 00:42:26.880
 letters and images through

482
00:42:26.880 --> 00:42:36.119
 materials such as strings, ribbons, springs, chains and needles. His pieces have been exhibited

483
00:42:36.119 --> 00:42:47.579
 worldwide also at ACM Seagraph, Seagraph Asia, Ars Electronica, Sona, File, Tokyo Game Show, etc. He received a couple of prizes with his artwork and

484
00:42:48.639 --> 00:42:52.099
 together we are both involved in Seacraft Asia.

485
00:42:52.420 --> 00:42:59.099
 So Yuri Chiro is the art gallery chair for Seacraft Asia.

486
00:42:59.280 --> 00:43:07.019
 That will, you still need time, SeacPH Asia will take place at the beginning of December.

487
00:43:07.019 --> 00:43:16.579
 So what you will show is probably, hopefully official, because the program is not announced.

488
00:43:16.579 --> 00:43:26.099
 And together we will host the art gallery and the art papers and that's really great to see the

489
00:43:27.619 --> 00:43:29.619
 evolution of SIGGRAPH Asia, SIGGRAPH.

490
00:43:30.400 --> 00:43:36.000
 SIGGRAPH Asia is so to speak a spin-off since 2008 and we already heard that

491
00:43:36.980 --> 00:43:38.900
 ISEER has some

492
00:43:38.900 --> 00:43:40.900
 spin-offs like

493
00:43:41.239 --> 00:43:44.099
 other initiatives, that's really great.

494
00:43:44.099 --> 00:43:46.719
 Jirijiro, do you need more time? Should I?

495
00:43:46.719 --> 00:43:51.679
 Yeah, I'm doing my best.

496
00:43:51.679 --> 00:43:56.139
 SIGGRAPH Asia is in Kuala Lumpur this year,

497
00:43:56.139 --> 00:43:58.760
 so it's also a nomadic conference like

498
00:43:58.760 --> 00:44:03.639
 SIGGRAPH and it's the first time in

499
00:44:03.639 --> 00:44:08.300
 Malaysia and we are very looking forward to also engage

500
00:44:08.300 --> 00:44:10.900
 with the local community there.

501
00:44:10.900 --> 00:44:13.099
 So it's fine.

502
00:44:13.099 --> 00:44:18.599
 Thank you for your patience.

503
00:44:18.599 --> 00:44:19.599
 Stage is yours.

504
00:44:19.599 --> 00:44:20.599
 Hello.

505
00:44:20.599 --> 00:44:25.000
 I still need some time to show my work. Thank you for waiting.こんにちは。仕事を見る時間がかかるので、まだ時間がかかります。

506
00:44:26.000 --> 00:44:28.000
待ってくれてありがとう。

507
00:44:31.000 --> 00:44:33.000
私は、ゆうちろかつもとです。

508
00:44:33.000 --> 00:44:39.000
2008年に初のシーグラフ・エイジアに 関係しています。

509
00:44:39.000 --> 00:44:49.000
最近、オーガナイザーの参加しています今日はシーラフエイジアを 私の視点で紹介したいと思います

510
00:44:49.000 --> 00:44:51.000
この経験に基づいて

511
00:44:51.000 --> 00:44:56.000
シーラフはインターネットで コンピュータグラフィックスとインタラクティブテクニックの

512
00:44:56.000 --> 00:44:58.000
インターネットでのインターネット会議です

513
00:44:58.000 --> 00:45:00.000
主に南アメリカで開催されていますが

514
00:45:00.000 --> 00:45:10.239
研究者やアーティストは世界中から来ています2006年にリ・ヨンツィと他のアジアの研究者が

515
00:45:10.239 --> 00:45:14.500
ACMシーラフのリーダーシップにアイデアを提出しました

516
00:45:14.500 --> 00:45:19.159
なぜアジアにはシーラフが全てあるのですか

517
00:45:19.159 --> 00:45:23.239
私のカーソルが見えません

518
00:45:23.239 --> 00:45:29.000
2008年にシーラフア8年にシンガポールでシーラフアジアがあります。

519
00:45:29.000 --> 00:45:31.000
横浜が続いて、

520
00:45:31.000 --> 00:45:34.000
ソウル、香港、シンガポール、香港、

521
00:45:34.000 --> 00:45:36.000
シェンセン、神戸、

522
00:45:36.000 --> 00:45:40.000
19年にクアラノンポールが開催されます。

523
00:45:41.000 --> 00:45:44.000
参加者数は多く、

524
00:45:44.000 --> 00:45:46.719
ホストシティは多く変わります

525
00:45:46.719 --> 00:45:52.860
東京は2024年に8000人の参加者があり

526
00:45:52.860 --> 00:45:57.619
香港は2025年に6000人の参加者があり

527
00:45:57.619 --> 00:46:01.760
西グラフアジアは西グラフアメリカよりも小さくなっています

528
00:46:01.760 --> 00:46:04.960
しかし、参加者数は小さくなっていません

529
00:46:04.960 --> 00:46:05.000
技術書は参加必要なく小さくなっています。

530
00:46:05.000 --> 00:46:08.000
技術書は大量の出版を受け、

531
00:46:08.000 --> 00:46:11.000
芸術館や芸術書は

532
00:46:11.000 --> 00:46:16.000
西アメリカでの対戦力が高いです。

533
00:46:16.000 --> 00:46:19.000
これは私の個人的な印象ですが、

534
00:46:19.000 --> 00:46:23.000
西アメリカでは、大学や研究所から

535
00:46:23.000 --> 00:46:26.000
人数が高いようです

536
00:46:26.000 --> 00:46:32.000
西アメリカでは 企業や企業の人数が 増えています

537
00:46:32.000 --> 00:46:41.000
私は シーグラフのアジアの 主な国が年々変わります

538
00:46:41.000 --> 00:46:47.400
アジアは 文化が異なることで 変わることがあります年に一度にこれはエイディアのために重要ではありません

539
00:46:47.400 --> 00:47:05.840
文化は異なり適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な適切な�インタープレートすることはとても違います数年前に私は

540
00:47:05.840 --> 00:47:31.000
仕事をしたことで仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕事の中に仕。しかし、仏教の文化関係は台湾や日本とはかなり違います。

541
00:47:31.000 --> 00:47:36.000
次年は東京でシーグラフ・エイジアで同じ作品が展示されます。

542
00:47:36.000 --> 00:47:38.000
問題ありません。

543
00:47:38.000 --> 00:47:42.000
私にとってシーグラフ・エイジアについての魅力的なことは、

544
00:47:42.000 --> 00:47:46.000
文化の違いを直接体験できます

545
00:47:46.000 --> 00:47:51.000
もちろんアジアの国々の 政治的な違いもありますが

546
00:47:51.000 --> 00:47:56.000
研究者やアーティストは シーグラフ・アジアに一緒に来ています

547
00:47:56.000 --> 00:48:02.000
アメリカに旅行する人たちにとって 難しい国から来る人たちもいます

548
00:48:03.000 --> 00:48:08.000
シーグラフはコンフィルタグラフィックスに 集まraphはコンフェンスに集まっているので、

549
00:48:08.000 --> 00:48:12.000
最初に研究を行う技術課の中で、

550
00:48:12.000 --> 00:48:15.000
最新の研究を行うことができるようになりました。

551
00:48:15.000 --> 00:48:20.000
同時に、CGraphはアニメーション、VFX、

552
00:48:20.000 --> 00:48:23.000
技術の興味を持っていることにも関連しています。

553
00:48:23.000 --> 00:48:26.500
大型の展示やプロデュースや

554
00:48:26.500 --> 00:48:29.000
会社からのプレゼントもあります

555
00:48:29.000 --> 00:48:31.199
この2つの大規模な展示の中で

556
00:48:31.199 --> 00:48:34.000
技術 アート アニメーション 教育

557
00:48:34.000 --> 00:48:36.000
そしてメディアからの

558
00:48:36.000 --> 00:48:38.000
多くのプログラムがあります

559
00:48:38.000 --> 00:48:40.000
私自身の場所は

560
00:48:40.000 --> 00:48:42.000
アートサイトで

561
00:48:42.000 --> 00:48:46.239
特にアートギャラリーやアート紙の中での活動を 見ることができるようになりました

562
00:48:53.599 --> 00:48:54.239
芸術館は2008年に初の編集によって シーグラフアジアにも収集されました

563
00:48:57.699 --> 00:48:58.059
しかし 当時は開発されていない2年間でした

564
00:49:04.300 --> 00:49:10.000
当時は芸術館と現代技術ジーの 間違いはあまり明確ではありませんでしたアート デザイン クラフト 技術は 多くのことを混ぜ合わせたのです

565
00:49:10.000 --> 00:49:14.000
それによって アジアについても 意味があります

566
00:49:14.000 --> 00:49:20.500
クラフトとデザインは 多くのことは アートとは近づいています

567
00:49:20.500 --> 00:49:24.000
クラフトとは クリアに分かれていません

568
00:49:24.000 --> 00:49:28.000
今日のディスティンクションはより明確になりました

569
00:49:28.000 --> 00:49:33.000
人々は何をアートとして表すのかに 意味をもっと知っています

570
00:49:33.000 --> 00:49:40.000
今は特にアートワークを 作るものを見ることができました

571
00:49:41.000 --> 00:49:45.599
アートギャラリーの他にも重要な特徴は、オープンコールです。

572
00:49:45.599 --> 00:49:51.400
シーグラフアジアは、オープンコールを通して、 アートワークを選択することが続いています。

573
00:49:51.400 --> 00:49:55.800
これは、南アメリカのシーグラフの歴史とは異なります。

574
00:49:55.800 --> 00:50:05.679
2010年の数年間、シーグラフアートギャラリーは オープンサービスを受け止め主に開催されました

575
00:50:05.679 --> 00:50:12.920
2016年に シーグラフ・アート・ギャラリーは 北アメリカで開催されました

576
00:50:12.920 --> 00:50:18.960
シーグラフ・エイジアは 開催されました

577
00:50:18.960 --> 00:50:24.400
シーグラフ・エイジアは オープンコールを継続し

578
00:50:24.400 --> 00:50:26.000
開催されましたCGRAPHASIAがアートギャラリーを持って オープンコールを保つことに感謝しています。

579
00:50:26.000 --> 00:50:31.000
その機会が私のキャリアにとって大切になりました。

580
00:50:31.000 --> 00:50:39.000
今日、CGRAPHASIAとCGRAPHASIAアートギャラリーは オープンコールを使っています。

581
00:50:39.000 --> 00:50:43.000
その場合、競争は強いです。

582
00:50:43.000 --> 00:50:46.000
受け取り率は約10%で、

583
00:50:46.000 --> 00:50:48.000
時々、少し低いです。

584
00:50:48.000 --> 00:50:50.000
選択肢については、

585
00:50:50.000 --> 00:50:52.000
シーグラフとシーグラフエイジアは

586
00:50:52.000 --> 00:50:54.000
結構似ています。

587
00:50:54.000 --> 00:50:56.000
しかし、一つの違いがあります。

588
00:50:56.000 --> 00:50:58.000
面白い違いがあります。

589
00:50:58.000 --> 00:51:00.000
最近、シーグラフは

590
00:51:00.000 --> 00:51:02.000
北アメリカでは

591
00:51:02.000 --> 00:51:04.000
オープンコールから

592
00:51:04.000 --> 00:51:06.000
約12枚の作品を選択しています。

593
00:51:06.000 --> 00:51:10.000
西アメリカでは、多くの作品を受け取ることができますが、

594
00:51:10.000 --> 00:51:13.000
多くの作品を受け取ることができます。

595
00:51:13.000 --> 00:51:19.000
なぜかわからないですが、

596
00:51:19.000 --> 00:51:26.000
アメリカ人よりも、西アメリカ人よりも小さなスペースを使っているようです。

597
00:51:31.000 --> 00:51:34.000
なので、少ないスペースで、もっと効果を見せようとしています。

598
00:51:34.000 --> 00:51:41.000
シーグラフアジア2026年に200個のサービスを受け、12個の作品を選びました。

599
00:51:42.000 --> 00:51:46.000
今年も、もっとアートを

600
00:51:46.000 --> 00:51:48.000
少なくなっていきたいと考えています。

601
00:51:48.000 --> 00:51:50.000
次に、

602
00:51:50.000 --> 00:51:52.000
アートペーパーを紹介します。

603
00:51:52.000 --> 00:51:54.000
アートペーパーは

604
00:51:54.000 --> 00:51:56.000
CGraphでとても若いです。

605
00:51:56.000 --> 00:51:58.000
CGraphアートペーパーは

606
00:51:58.000 --> 00:52:00.000
2009年に始まりました。

607
00:52:00.000 --> 00:52:02.000
CGraph Asiaアートペーパーは

608
00:52:02.000 --> 00:52:04.000
もっと若いです。

609
00:52:04.000 --> 00:52:06.000
2019年に始まりましたが、

610
00:52:06.000 --> 00:52:10.000
ちょっとずつ休憩して、2023年に再開しました。

611
00:52:10.000 --> 00:52:16.000
Victoriaが2023年に再開されたプログラムを主催しています。

612
00:52:16.000 --> 00:52:21.000
その後、サミッション数は急速に増えてきました。

613
00:52:21.000 --> 00:52:24.000
実際、サミッション数はとても増えてきています。

614
00:52:24.000 --> 00:52:27.000
なので、良いプログラムが始まっています。

615
00:52:27.000 --> 00:52:32.000
もっともっとサービスをすることで、 更にレビューの仕事ができるようになっています。

616
00:52:32.000 --> 00:52:36.000
今後も伸びるようになっています。

617
00:52:36.000 --> 00:52:54.699
今年のシーグラフ・エイジアの アートペーパーの座席はユーゲンです。 chair is Yu-Gun.

618
00:52:54.699 --> 00:52:58.739
 So this year, Sea Graph Asia will be held in Kuala Lumpur, Malaysia.

619
00:52:58.739 --> 00:53:02.760
 So this will be the first Sea Graph Asia in Malaysia.

620
00:53:02.760 --> 00:53:06.000
 I visited Kuala Lumpur for the first time last summer to do some research for the conference.マレーシアのシーグラフィゼアです。私はクアラロンプールに来て、コンフェンスに行くことを

621
00:53:06.000 --> 00:53:08.000
実験したことを

622
00:53:08.000 --> 00:53:10.000
初めてしました。

623
00:53:10.000 --> 00:53:12.000
もちろん、天気に関しては

624
00:53:12.000 --> 00:53:14.000
暑いですが、

625
00:53:14.000 --> 00:53:16.000
私は、

626
00:53:16.000 --> 00:53:18.000
都市は文化的にとても微妙です。

627
00:53:18.000 --> 00:53:20.000
私の自分の作品は

628
00:53:20.000 --> 00:53:22.000
カリグラフィーや

629
00:53:22.000 --> 00:53:24.000
ジオメトリックパターンに

630
00:53:24.000 --> 00:53:25.300
よく関わっています。クアラロンプールのカリグラフィーやジオメトリックパターンを使ってアーキテクチャーやデコレーションに

631
00:53:25.300 --> 00:53:28.400
魅力を与えました

632
00:53:29.400 --> 00:53:32.400
でも、それは伝統的な文化だけではなく

633
00:53:32.699 --> 00:53:35.599
多くの面白い映画館や

634
00:53:35.599 --> 00:53:38.599
カフェや本屋があります

635
00:53:38.699 --> 00:53:41.699
だから、ディセンバーに来てください

636
00:53:41.699 --> 00:53:44.699
そして、寒いヨーロッパに戻りたいことはありません

637
00:53:52.000 --> 00:53:57.000
今年のアート�年の主テーマを選びました。未来を描くシーグラフの主テーマです。

638
00:53:57.000 --> 00:54:04.000
シーグラフの古い時代は、 アーティストとエンジニアの間の線があまり切れず、

639
00:54:04.000 --> 00:54:06.500
アーティストはロードコードや 機械を作り

640
00:54:06.500 --> 00:54:09.500
たくさんのことを 新しい技術を発想しています

641
00:54:09.500 --> 00:54:15.000
私は今後も 新しい技術や 芸術のギャラリーに参加しました

642
00:54:15.000 --> 00:54:19.500
そのような意味を 戻していきたいと思います

643
00:54:19.500 --> 00:54:23.000
スレッドにファイバーを 回していくようなものです

644
00:54:23.000 --> 00:54:27.320
技術とアーティスト的な表現が 共に生まれます So like spinning fibers into threads, technology and artistic expression can grow together.

645
00:54:27.320 --> 00:54:32.000
 Please come to KL this December and see the work for yourself.

646
00:54:32.000 --> 00:54:34.460
 Thank you very much.

647
00:54:34.460 --> 00:54:37.639
 Thank you so much.

648
00:54:37.639 --> 00:54:42.980
 Now we know that Ars Electronica is cold.

649
00:54:42.980 --> 00:54:48.159
 Thank you so much. So we need time for the panel discussion

650
00:54:48.159 --> 00:54:51.539
 with a short introduction.

651
00:54:52.480 --> 00:54:54.119
 Ouyang Cheng, please come on stage,

652
00:54:54.400 --> 00:54:57.940
 is an artist and researcher who works with AI and robotics.

653
00:54:59.019 --> 00:55:01.139
 And if you haven't seen it,

654
00:55:01.139 --> 00:55:03.639
 in the basement, minor three, in this building,

655
00:55:03.840 --> 00:55:05.179
 there is a big robotic installation that he brought to it, in the basement, minor three, in this building, there is a big robotic

656
00:55:05.179 --> 00:55:13.000
 installation that he brought to us, electronica, and will be exhibited until end of October

657
00:55:13.000 --> 00:55:15.219
 here.

658
00:55:15.219 --> 00:55:19.219
 His work has been shown internationally.

659
00:55:19.219 --> 00:55:25.000
 You are a professor and heavily involved in media art in China.

660
00:55:25.679 --> 00:55:29.780
 And that's the main topic to give you the stage

661
00:55:29.780 --> 00:55:34.199
 to talk about the evolving field in China and media art.

662
00:55:34.199 --> 00:55:35.039
 Thank you.

663
00:55:47.360 --> 00:55:48.679
 That's a fancy intro. Okay.

664
00:55:48.679 --> 00:55:51.380
 So, yeah.

665
00:55:51.380 --> 00:56:13.139
 Here I want to share with you guys and what they and the researchers have been involved.

666
00:56:13.500 --> 00:56:20.860
 So first is this thing called EAST, Education, Arts, Science, and Technology Conference,

667
00:56:20.860 --> 00:56:26.880
 which we founded at CAFA, Central Academy of Fine Arts, 2027.

668
00:56:26.880 --> 00:56:33.260
 That's the first edition. We managed through five editions and unfortunately

669
00:56:33.260 --> 00:56:39.659
 because of the pandemic it didn't continue but it built an early

670
00:56:39.659 --> 00:56:51.280
 platform. In the photo perhaps some of you will recognize some people like Jeffrey Schell and so on.

671
00:56:51.280 --> 00:57:01.639
 And also, we bring some friends from the Ars Electronica to our conference 2018.

672
00:57:01.639 --> 00:57:08.420
 And another thing I've been involved with is since 2019, we have been doing this Asia Digital

673
00:57:08.420 --> 00:57:11.159
 Art Exhibition.

674
00:57:11.159 --> 00:57:15.619
 And this is the thing we continue to do so far.

675
00:57:15.619 --> 00:57:25.039
 We just closed this year's exhibition three weeks ago.

676
00:57:28.360 --> 00:57:29.619
 Of this show,

677
00:57:33.679 --> 00:57:37.360
 from 2020 we have this open call, just like what you probably see

678
00:57:37.360 --> 00:57:41.380
 at the SIGGRAPH and SIGGRAPH Asia,

679
00:57:41.380 --> 00:57:49.179
 that we want the artist to submit their work then through a curatorial process.

680
00:57:50.219 --> 00:57:55.219
 The reason we had this is because of the pandemic,

681
00:57:55.880 --> 00:57:58.079
 it will be difficult for the curators

682
00:57:58.079 --> 00:58:01.800
 to go to artist's studios and to look at their work

683
00:58:01.800 --> 00:58:04.300
 and have face-to-face conversation.

684
00:58:04.300 --> 00:58:07.500
 So we decided to learn from SIGGRAPH and SIGGRAPH Asia,

685
00:58:07.500 --> 00:58:09.239
 the art gallery.

686
00:58:09.239 --> 00:58:12.719
 We have this open call and have the artists to come to us.

687
00:58:15.079 --> 00:58:20.079
 And then if you know about the China's art scene,

688
00:58:20.639 --> 00:58:24.880
 you will recognize this place called 798 Art Zoom,

689
00:58:24.880 --> 00:58:27.719
 which since the early 2000s

690
00:58:27.719 --> 00:58:31.420
 has been the center of China's contemporary art.

691
00:58:32.460 --> 00:58:41.500
 There are many, many programs there, many famous galleries there, and starting from

692
00:58:41.500 --> 00:58:45.039
 last year, they have this Art and Tech Week,

693
00:58:49.320 --> 00:58:50.139
 which is happening every September, just like here,

694
00:58:55.559 --> 00:58:55.719
 Arts Electronica, which is in two weeks,

695
00:58:57.880 --> 00:58:58.400
 they will have this Art and Tech Week in Beijing.

696
00:59:02.440 --> 00:59:08.239
 So, any of you who fancy traveling to Beijing, please do so. Then another vivid spot in China now

697
00:59:08.239 --> 00:59:11.559
 is the HKUST and HKUST Guangzhou campus.

698
00:59:12.840 --> 00:59:16.699
 I believe both of them have campus exhibition

699
00:59:16.699 --> 00:59:17.900
 here this year.

700
00:59:18.900 --> 00:59:22.619
 The reason I want to highlight them is

701
00:59:22.619 --> 00:59:30.039
 so art in China in the past have been vivid in those art schools, famous art

702
00:59:30.039 --> 00:59:34.059
 schools such as Central Academy of Fine Arts, China Academy of Fine Arts, and so on.

703
00:59:34.840 --> 00:59:41.519
 But since the inauguration of the Computational Media and Arts, CMA, in Guangzhou campus,

704
00:59:41.519 --> 00:59:47.760
 I believe seven, eight years ago, which actually they bring together the technologists,

705
00:59:47.760 --> 00:59:52.760
 the scientists, and artists to work on creative endeavor.

706
00:59:53.519 --> 00:59:57.400
 So, yeah, so almost the same time,

707
00:59:57.400 --> 01:00:00.119
 CAFA, the school I am at,

708
01:00:00.119 --> 01:00:04.980
 submit the application to the Ministry of Education

709
01:00:04.980 --> 01:00:07.500
 to have a major called SciTech Arts,

710
01:00:07.500 --> 01:00:12.400
 basically Art and Tech, but with a different name.

711
01:00:12.400 --> 01:00:17.280
 And the CMA is actually one step ahead of us.

712
01:00:18.139 --> 01:00:21.159
 They set a very great example

713
01:00:21.159 --> 01:00:24.519
 for the Chinese Ministry of Education to see,

714
01:00:24.519 --> 01:00:29.119
 okay, this fusion of art and tech is doable.

715
01:00:30.019 --> 01:00:32.960
 Yeah, that's the reason I highlight them there.

716
01:00:32.960 --> 01:00:37.960
 And I want to share a few things that you will observe

717
01:00:40.780 --> 01:00:43.800
 in the Chinese art and tech scene.

718
01:00:43.800 --> 01:00:47.219
 One is the looking through the lens

719
01:00:47.219 --> 01:00:49.519
 of the present to the past.

720
01:00:49.519 --> 01:00:53.159
 So you use the new technology such as VR and AI

721
01:00:53.159 --> 01:00:55.639
 to look back the cultural roots.

722
01:00:55.639 --> 01:00:59.639
 So here is an example we did since 2018

723
01:01:02.920 --> 01:01:05.000
 that use AI to generate Chinese calligraphy,

724
01:01:07.099 --> 01:01:08.860
 basically Chinese writing.

725
01:01:10.139 --> 01:01:14.619
 I want to share a bit of experience there.

726
01:01:14.619 --> 01:01:18.360
 So our first paper was submitted to, I believe,

727
01:01:20.599 --> 01:01:25.639
 Ichika, 2018, and it's got a horrible

728
01:01:32.039 --> 01:01:33.059
 review feedbacks because at the time no one understand like why you are using this AI doing

729
01:01:35.059 --> 01:01:35.280
 generating some random

730
01:01:36.900 --> 01:01:38.900
 characters But we finally got in

731
01:01:39.760 --> 01:01:40.940
 2019

732
01:01:40.940 --> 01:01:45.360
 Which the conference was held in Macau. Perhaps that's the reason they finally

733
01:01:45.360 --> 01:01:47.320
 look at something Asia.

734
01:01:48.679 --> 01:01:51.900
 Yeah, and the reason we want to use the Chinese

735
01:01:51.900 --> 01:01:56.900
 choreography as a starting point to look at how AI

736
01:01:57.559 --> 01:02:02.219
 and those generative networks at the time was GAN can do

737
01:02:02.219 --> 01:02:07.619
 is very often at the time when GAN produce an image of cat it will be

738
01:02:07.619 --> 01:02:11.099
 difficult to tell if it's a cat or not.

739
01:02:11.099 --> 01:02:17.639
 Then we decided to use the writing as a way because we feel like if the writing is readable

740
01:02:17.639 --> 01:02:22.539
 then it passed the basic minimum bar.

741
01:02:22.539 --> 01:02:25.000
 And this all take on the controllable image generation

742
01:02:26.239 --> 01:02:29.019
 at the time, although we have better things now.

743
01:02:30.219 --> 01:02:34.519
 So it's gradually to this research and the conversation

744
01:02:34.519 --> 01:02:37.059
 into the co-authorship and so on.

745
01:02:37.059 --> 01:02:42.059
 And to me, it's less about what we artists do and think

746
01:02:45.000 --> 01:02:48.000
 it's less about what we artists do and think

747
01:02:52.619 --> 01:02:55.820
 than how this AI has been rapidly, even crazily changed our understanding.

748
01:02:59.440 --> 01:03:01.579
 So when we are doing GAN,

749
01:03:01.579 --> 01:03:05.199
 it's always about training a new model with new data sets.

750
01:03:10.280 --> 01:03:10.980
 So if we want a CAD, it means a CAD data set and a new model and so on.

751
01:03:13.920 --> 01:03:14.139
 Then the diffusion model came in.

752
01:03:21.940 --> 01:03:28.420
 And at the time, we were thinking, can we see the model itself as an artwork rather than the end results? Because the end results is always about if Picasso is better than AI or the versa versa, right?

753
01:03:28.420 --> 01:03:30.239
 So, at the time we think, okay,

754
01:03:30.239 --> 01:03:32.260
 that's for the diffusion model,

755
01:03:32.260 --> 01:03:34.860
 it's the first time we can train a model,

756
01:03:34.860 --> 01:03:39.719
 tune it, and have it to produce different kinds of images.

757
01:03:39.719 --> 01:03:42.340
 So we can finally say, okay, this is the model,

758
01:03:42.340 --> 01:03:43.780
 this is the end results,

759
01:03:43.780 --> 01:03:48.780
 because at the GAN, the GAN time was,

760
01:03:49.840 --> 01:03:51.920
 because I guess the results and the model

761
01:03:51.920 --> 01:03:53.400
 is almost the same.

762
01:03:54.780 --> 01:03:58.760
 So, but then, as Transformer came in,

763
01:03:58.760 --> 01:04:02.079
 it becomes very difficult for artists to train a model.

764
01:04:02.079 --> 01:04:11.000
 It's impossible now even for a university or a mid-sized company to train a transformer-based model.

765
01:04:11.000 --> 01:04:19.980
 So here we see is we try to coin the term AI and art or we're trying to

766
01:04:19.980 --> 01:04:28.679
 say what is the difference AI brings into art and each time we think okay

767
01:04:28.679 --> 01:04:33.340
 perhaps this perhaps that and as the technology changes and there are new

768
01:04:33.340 --> 01:04:42.000
 question arises yeah so at the time we were thinking if the training process is

769
01:04:42.000 --> 01:04:46.760
 the creation process now if you use say OpenAI Image 2

770
01:04:46.760 --> 01:04:55.500
 just released I believe one or two days ago, you play around on your phone or on the website,

771
01:04:55.500 --> 01:05:09.400
 you think okay, I'm creating something, but the model is trained, it's frozen way before you even know it. So, does it like use such open AI model,

772
01:05:09.400 --> 01:05:11.860
 create an image, is a creation process,

773
01:05:11.860 --> 01:05:15.719
 or who trains the model is the creator?

774
01:05:16.840 --> 01:05:20.019
 Because when the ways are frozen,

775
01:05:20.019 --> 01:05:22.960
 basically the latent space are decided.

776
01:05:22.960 --> 01:05:26.280
 But I guess any AI scientist can correct me.

777
01:05:27.780 --> 01:05:30.219
 Okay, yeah, so more and more,

778
01:05:30.219 --> 01:05:33.800
 like we creators arrange context, tools,

779
01:05:33.800 --> 01:05:35.699
 and the feedbacks and so on,

780
01:05:35.699 --> 01:05:38.659
 rather than, okay, I'm going to be Picasso

781
01:05:38.659 --> 01:05:40.360
 and create this image.

782
01:05:43.219 --> 01:05:50.239
 So again, I guess this is nothing new that when the technology finally becomes the medium,

783
01:05:50.239 --> 01:05:59.039
 whereas in the media as history we observe this time and time again, but can a new production

784
01:05:59.039 --> 01:06:07.079
 tool, AI, can still make a film or image of what is the different from if the one using AI to create

785
01:06:07.079 --> 01:06:18.059
 an image than holding a phone or holding a camera and so on. So I guess from generating images to

786
01:06:18.059 --> 01:06:28.840
 organize different actions we are as artists or researchers start to think what can appear to what can happen.

787
01:06:28.840 --> 01:06:35.039
 So that's I get thanks for Juergen's introduction of my work in the basement.

788
01:06:35.039 --> 01:06:37.900
 I guess later on you can check it out.

789
01:06:37.900 --> 01:06:52.360
 So the work itself was two robotic arms swinging a very light silk. The idea is the silk itself is the visual appearance

790
01:06:52.360 --> 01:07:08.239
 of how the robotic arms collaborating or competing with each other. Time is. And I want to show this is, this is another attempt

791
01:07:08.239 --> 01:07:11.380
 that perhaps can show the collaboration

792
01:07:11.380 --> 01:07:13.300
 in the Chinese art and tech scene.

793
01:07:13.300 --> 01:07:17.699
 Is, so it's Chinese Academy of Science, CAFA,

794
01:07:17.699 --> 01:07:21.480
 the art school, and the HKUST VisLab.

795
01:07:21.480 --> 01:07:25.739
 We are working together together looking at if,

796
01:07:29.860 --> 01:07:32.519
 well our initial question is trivial but interesting is

797
01:07:36.599 --> 01:07:39.099
 if the embodied AI is more dangerous than say a web-based chatbot.

798
01:07:39.099 --> 01:07:42.599
 So we start to, inside this virtual arena,

799
01:07:43.559 --> 01:07:49.519
 in this Unreal Engine scene, we have nine agents to play

800
01:07:49.519 --> 01:07:51.719
 a game.

801
01:07:51.719 --> 01:07:55.559
 It's like a deception game.

802
01:07:55.559 --> 01:08:03.000
 And they are not talking, but only use behavior, embodied behavior, and to see if they can

803
01:08:03.000 --> 01:08:08.980
 do that. So here is different researchers from different backgrounds.

804
01:08:10.340 --> 01:08:14.219
 They may have different questions, but in this project,

805
01:08:14.219 --> 01:08:18.960
 they are trying to do different things in one testbed,

806
01:08:18.960 --> 01:08:20.520
 in one project.

807
01:08:22.060 --> 01:08:27.659
 Yep, I guess I will skip a few slides.

808
01:08:27.659 --> 01:08:33.680
 So what we are doing is we want to do the public value prototyping.

809
01:08:33.680 --> 01:08:37.720
 This is a concept we learned from the bioengineering.

810
01:08:37.720 --> 01:08:44.760
 So if something is produced or tested in the lab, the next step is try to scale it up.

811
01:08:44.760 --> 01:08:49.260
 So they call this prototyping in a way.

812
01:08:49.260 --> 01:08:54.260
 So here is we see or we feel there is

813
01:08:54.399 --> 01:08:58.140
 this rapid developing technology.

814
01:08:58.140 --> 01:09:03.140
 We want to see how it will interact with the public

815
01:09:03.619 --> 01:09:05.119
 through making art.

816
01:09:07.119 --> 01:09:12.119
 At this level, we are not doing those kind of HCI

817
01:09:12.600 --> 01:09:17.020
 or scientific experiments, but we create works

818
01:09:17.020 --> 01:09:21.699
 and put them in a gallery and see how audience reacts

819
01:09:21.699 --> 01:09:22.539
 to them.

820
01:09:24.699 --> 01:09:26.239
 So we have this feedback process

821
01:09:26.239 --> 01:09:28.180
 within the research of course.

822
01:09:28.180 --> 01:09:30.819
 And the reason I'm talking about this is

823
01:09:30.819 --> 01:09:35.420
 I want to introduce potential artists or researchers

824
01:09:35.420 --> 01:09:38.279
 to come to my center in Shenzhen,

825
01:09:38.279 --> 01:09:42.659
 which is a very large

826
01:09:43.720 --> 01:09:45.000
 synthetic biology research institute.

827
01:09:46.300 --> 01:09:50.100
 I believe they're among the top few around the global.

828
01:09:51.420 --> 01:09:54.020
 Because if you ever interact with bio art,

829
01:09:54.020 --> 01:09:56.920
 you interact with wet material,

830
01:09:56.920 --> 01:10:01.579
 which means those labs are not exist in art schools.

831
01:10:02.640 --> 01:10:07.640
 At least it needs to be a large research institution.

832
01:10:07.739 --> 01:10:11.119
 So here we are doing international residencies,

833
01:10:11.119 --> 01:10:14.100
 artists with proposals and so on,

834
01:10:14.100 --> 01:10:17.439
 they were coming and in that lab

835
01:10:17.439 --> 01:10:20.159
 they will spend a few months there.

836
01:10:21.560 --> 01:10:25.000
 Yeah, I'm not sure if I put the website address on there.

837
01:10:27.359 --> 01:10:29.899
 But yeah, I mean if you research it,

838
01:10:29.899 --> 01:10:32.319
 you search on Google, it will come up.

839
01:10:32.319 --> 01:10:35.479
 So yeah, I guess my time goes up, running up.

840
01:10:35.479 --> 01:10:38.300
 So yes, if you are interested in doing bio art,

841
01:10:38.300 --> 01:10:42.720
 please research for it and submit your proposal.

842
01:10:42.720 --> 01:10:44.340
 Or you can talk to me later on.

843
01:10:45.340 --> 01:10:49.619
 Okay, I guess that's it. Thank you.

844
01:10:52.319 --> 01:10:54.319
 Thank you so much.

845
01:10:55.319 --> 01:10:57.779
 We will stay in Szechen and

846
01:10:59.020 --> 01:11:04.920
 it's a great pleasure to introduce James Shih. He's a tenured associate professor of

847
01:11:07.000 --> 01:11:15.939
 pleasure to introduce James Shi. He's a tenured associate professor of computational media and arts at the Hong Kong University for Science and Technology. His work appears in top tier

848
01:11:15.939 --> 01:11:27.000
 venues including SIGGRAPH, ACM Multimedia, Leonardo, IEEE conferences. And James is also heavily involved in ACM Vinci, a

849
01:11:27.000 --> 01:11:30.000
 conference that you organized together with Günter

850
01:11:30.000 --> 01:11:36.000
 Wallner from JKU here in Linz a year ago.

851
01:11:36.000 --> 01:11:40.000
 And I'm looking forward to see what you are doing and

852
01:11:40.000 --> 01:11:42.000
 planning with Vinci.

853
01:11:42.000 --> 01:11:44.000
 Great that you are here.

854
01:11:44.000 --> 01:11:46.000
 Thank you.

855
01:11:46.000 --> 01:11:48.000
 Thank you.

856
01:11:48.000 --> 01:11:53.000
 First of all, thanks for the invitation by Expanded Animation and Jürgen for me being here.

857
01:11:53.000 --> 01:11:55.000
 And thanks for everyone being here as well.

858
01:11:55.000 --> 01:12:01.000
 And also thanks for Bao Yang just introducing CMA.

859
01:12:01.000 --> 01:12:06.000
 So actually I can save some time to talk more about Vinci. But I just want to talk a bit add-ons. 제가 지금 CMA를 사용하고 있습니다. 그래서 제가 더 많은 시간을 제공할 수 있도록 더 많은 이야기를 해드리겠습니다.

860
01:12:06.000 --> 01:12:08.000
 하지만 제가 조금 더 추가적으로 이야기하고 싶습니다.

861
01:12:08.000 --> 01:12:14.000
 HKUST는 정말 공학, 미디어, 디자인 학교를

862
01:12:14.000 --> 01:12:17.000
 기획하는 학교를 만들기 위해

863
01:12:17.000 --> 01:12:22.000
 기획자의 기획을 하고 있습니다.

864
01:12:22.000 --> 01:12:27.239
 그래서 저희가 도입하고 싶은 기획은 engineering faculty. So it is really like a start-up we are trying to do because we

865
01:12:27.239 --> 01:12:36.600
 hire faculty from art history, from architecture, from all different arts and design media areas

866
01:12:36.600 --> 01:12:41.340
 within engineering faculty. So we need to keep answer how you get tenure and then I'm

867
01:12:41.340 --> 01:12:52.539
 in the search committee and very challenging but we manage it and and also we are a graduate school really giving scholarship for

868
01:12:52.539 --> 01:12:58.119
 student doing PhD and M field we don't have undergrad program yet because we

869
01:12:58.119 --> 01:13:08.460
 treasure the partnership with all the art school, design school, CAVA, Central Academy of Arts, and all major media schools

870
01:13:08.460 --> 01:13:09.939
 in China or Asia.

871
01:13:09.939 --> 01:13:17.119
 So that's actually the plan we have been doing, trying to put research on arts, technology,

872
01:13:17.119 --> 01:13:18.460
 and even culture together.

873
01:13:18.460 --> 01:13:20.640
 So I think I would just add on this.

874
01:13:20.640 --> 01:13:36.340
 So now, in the coming few 10 minutes, I really want to explain Vinci, this conference, especially how we actually move a very tech-oriented conference, especially like the story, like SIGGRAPH.

875
01:13:36.340 --> 01:13:44.300
 It is actually a conference focusing on visualization research, especially scientific visualization, data visualization.

876
01:13:45.399 --> 01:13:53.079
 research, especially scientific visualization, data visualization. And believe it or not, Vinci is a very small computing community focusing on visualization,

877
01:13:53.079 --> 01:13:58.880
 but it has a long history, 19 years, since 2008.

878
01:13:58.880 --> 01:14:03.140
 And I think also thanks for what Bauer mentioned, that actually there's quite a bit of our colleague

879
01:14:03.140 --> 01:14:12.720
 working on visualization. They really appreciate arts and design or even media making kind of area because these are the people.

880
01:14:12.720 --> 01:14:15.520
 They're not just interpreting data.

881
01:14:15.640 --> 01:14:22.119
 They want to interpret data artistically or aesthetically and also intuitive.

882
01:14:23.699 --> 01:14:24.260
 aesthetically and also intuitive. So that's actually the

883
01:14:31.779 --> 01:14:33.859
 the reason why the conference started moving on from more tech oriented focusing on visualization. They tried to bring in some

884
01:14:34.579 --> 01:14:36.579
 track including art

885
01:14:37.399 --> 01:14:38.859
 oriented

886
01:14:38.859 --> 01:14:40.859
 focus and then

887
01:14:41.359 --> 01:14:43.859
 over the years they're getting more and more

888
01:14:44.800 --> 01:14:51.000
 consideration and topics related to art and media, like SIGGRAPH, ARTRACT, or ISEER.

889
01:14:51.000 --> 01:15:02.000
 And all the submitted, accepted paper and also gallery submissions, because of the partnership with ACM and get the index under ACM.

890
01:15:02.000 --> 01:15:06.239
 So just in case, I think people, most of the people understand the visualization,

891
01:15:06.239 --> 01:15:11.680
 why they care about arts, right? This is actually an example, simple example about Vinci through

892
01:15:11.680 --> 01:15:19.180
 a simple visualization showing Vinci has been actually running around the world, east and

893
01:15:19.180 --> 01:15:25.319
 west. And when we have this practice, we hope that one year in Asia, one year anywhere outside 이 연습을 하고 있습니다 한 달 동안 아시아에서 한 달 동안 아시아에서

894
01:15:25.319 --> 01:15:26.380
 그 모든 게 전부입니다

895
01:15:26.380 --> 01:15:29.460
 다음 년에는 아시아로 돌아올 겁니다

896
01:15:29.460 --> 01:15:33.640
 지난 년에는 린스에 있었습니다

897
01:15:33.640 --> 01:15:40.399
 이번 년에는 아시아에서 한 소위의 관객을 데려오고 있습니다

898
01:15:40.399 --> 01:15:49.000
 하지만 올해의 변화에 대해 말씀드리고 싶습니다 지난 몇 년 동안 몇 가지 변화가 있었습니다

899
01:15:49.000 --> 01:15:55.000
 2023년, 제가 CMA에 참여한 직장인 시즌 전,

900
01:15:55.000 --> 01:16:19.020
 제가 빈치의 참가자와 스피커였죠 And we already noticed that we're inviting more and more people, especially media artists, designers, to serve in the committee so that we can actually attract more good quality submission but also able to evaluate.

901
01:16:36.239 --> 01:16:36.479
 I think this is something, I think, for people in ICA, expanded animation, SIGGRAPH, we all know that you can't just expect a computer scientist to review a submission in ArtTrack without people who really understand art and design media.

902
01:16:44.560 --> 01:16:46.420
 And then the next year, in 2024, we're also bringing more international media artists and also we

903
01:16:46.420 --> 01:16:52.500
 provide the gallery exhibition with a guided tour because we

904
01:16:52.500 --> 01:16:57.739
 really appreciate those people who submitted the artwork and all the way

905
01:16:57.739 --> 01:17:02.659
 bring their artwork to the location and set it up. So we really want to make the

906
01:17:02.659 --> 01:17:05.520
 audience to appreciate those submitted work

907
01:17:05.520 --> 01:17:06.359
 and exhibited work.

908
01:17:07.359 --> 01:17:09.539
 And last year in here,

909
01:17:09.859 --> 01:17:12.319
 since this is one of the major hub

910
01:17:12.319 --> 01:17:13.460
 of our tech people,

911
01:17:13.979 --> 01:17:15.439
 we raised the bar further.

912
01:17:15.439 --> 01:17:20.340
 With the help from Lugan and also Kunta

913
01:17:20.340 --> 01:17:21.600
 and many people here,

914
01:17:22.039 --> 01:17:23.439
 we tried to create...

915
01:17:24.039 --> 01:17:27.020
 First of all, we get a very nice space,

916
01:17:27.020 --> 01:17:31.699
 same as the space as for us electronicares.

917
01:17:31.699 --> 01:17:34.319
 Because of that, we need to have really professional

918
01:17:34.319 --> 01:17:37.180
 curation for those gallery submission,

919
01:17:37.180 --> 01:17:39.380
 and also a guided tour as well.

920
01:17:39.380 --> 01:17:43.100
 So we keep on raising the requirements.

921
01:17:44.100 --> 01:17:44.939
 So,

922
01:17:49.420 --> 01:17:54.579
 beside that, we also separate the space, instead of just having like many academic or scientific conference, we usually have

923
01:17:54.579 --> 01:18:00.819
 the conference at a university space or in the hotel space, and in the past we

924
01:18:00.819 --> 01:18:08.960
 may just leave the gallery work at the lobby, but now, no, we want to have a professional, dedicated exhibition space.

925
01:18:09.720 --> 01:18:12.340
 Also, we want to bring in more experience

926
01:18:12.340 --> 01:18:16.039
 to bring in the computer scientists together with the artists

927
01:18:16.039 --> 01:18:21.199
 to have a more social discussion so that they can get connected.

928
01:18:21.600 --> 01:18:23.760
 Of course, we choose the Art Electronica Center

929
01:18:23.760 --> 01:18:25.760
 as one of the meeting point here.

930
01:18:25.760 --> 01:18:29.800
 So we try to make Vinci actually have multiple dimension

931
01:18:29.800 --> 01:18:31.920
 of the venue so that people can talk

932
01:18:31.920 --> 01:18:34.300
 and experience different perspective.

933
01:18:34.300 --> 01:18:36.819
 And these are the gallery works

934
01:18:36.819 --> 01:18:40.819
 that we have exhibited before just to get it,

935
01:18:40.819 --> 01:18:43.520
 everyone have a taste on it, right?

936
01:18:43.520 --> 01:18:47.960
 Many beautiful works, that's why we really want to have a dedicated space

937
01:18:47.960 --> 01:18:51.779
 and also professional tours

938
01:18:51.779 --> 01:18:54.420
 and also the arrangements

939
01:18:54.420 --> 01:18:56.260
 so that people and the audience

940
01:18:56.260 --> 01:18:59.699
 and the offers of the artists

941
01:18:59.699 --> 01:19:01.260
 and the artwork can be appreciated.

942
01:19:01.960 --> 01:19:05.439
 So just to have everyone glimpse through the works here.

943
01:19:07.279 --> 01:19:10.960
 And of course we will have the regular type of activity

944
01:19:10.960 --> 01:19:14.779
 like seminars and also presentation for Vinci

945
01:19:14.779 --> 01:19:16.779
 because we also have the tag papers.

946
01:19:18.520 --> 01:19:19.760
 I skipped it too fast.

947
01:19:19.760 --> 01:19:24.760
 Actually for all the Vinci in historically

948
01:19:24.760 --> 01:19:26.079
 we always have some

949
01:19:26.079 --> 01:19:28.140
 selected work for the Art Track paper

950
01:19:28.140 --> 01:19:29.380
 to be invited to

951
01:19:29.380 --> 01:19:31.539
 extend and then

952
01:19:31.539 --> 01:19:34.119
 to have further review for

953
01:19:34.119 --> 01:19:35.359
 some partnering journals.

954
01:19:36.119 --> 01:19:37.899
 So that's actually one way we also

955
01:19:37.899 --> 01:19:40.199
 try to work

956
01:19:40.199 --> 01:19:42.159
 on it for Art Paper. So far

957
01:19:42.159 --> 01:19:44.000
 we didn't

958
01:19:44.000 --> 01:19:46.000
 make it yet in case someone here can help. 아직은 이 기술을 공부하지 못했지만

959
01:19:46.000 --> 01:19:47.840
 여기에서 도움이 될 수 있는 경우에

960
01:19:47.840 --> 01:19:52.199
 우리가 더 정밀하게 그 사람들에게

961
01:19:52.199 --> 01:19:54.399
 기술과 기술을 함께 만들고 싶어요

962
01:19:54.399 --> 01:19:55.399
 믿을 수 없지만

963
01:19:55.399 --> 01:19:58.579
 빅토리아는

964
01:19:58.579 --> 01:19:59.319
 류호가 말했지만

965
01:19:59.319 --> 01:20:01.279
 사실은 이 시기에

966
01:20:01.279 --> 01:20:04.960
 제가 시크라프트 에이쉽의

967
01:20:04.960 --> 01:20:07.460
 기술 검사에 참여한 경우가 매우 경쟁적입니다 acceptance rate, like I also involved in this year, SIGGRAPH Asia paper review, it's very competitive.

968
01:20:07.460 --> 01:20:11.699
 I think it's even more competitive than the tech track,

969
01:20:11.699 --> 01:20:15.159
 and I can see the same pattern happen in Vinci as well.

970
01:20:15.159 --> 01:20:18.939
 So I think they deserve to have some partnering journal

971
01:20:18.939 --> 01:20:21.079
 to get the extension to go further,

972
01:20:21.079 --> 01:20:25.000
 so that we'll gain more the communities,

973
01:20:25.199 --> 01:20:27.300
 especially the younger researcher, the student,

974
01:20:27.300 --> 01:20:30.220
 we really dedicate to put the effort on it, right?

975
01:20:30.220 --> 01:20:33.119
 And of course the supervisor will be willing to pay for it,

976
01:20:33.119 --> 01:20:35.579
 for their trip, right?

977
01:20:35.579 --> 01:20:38.180
 Now, with the remaining time,

978
01:20:38.180 --> 01:20:40.899
 I just want to share with everyone.

979
01:20:40.899 --> 01:20:44.779
 So this year, Vinci 2026 will be in Hangzhou.

980
01:20:47.619 --> 01:20:56.460
 Like I mentioned, we need to upkeep the bar or even raising the bar more. So this year, we are able to manage to do similar arrangement

981
01:20:56.460 --> 01:21:07.279
 like what we have successfully did in Linz here. We have a nice venue for the academic presentation for the for all various track

982
01:21:07.279 --> 01:21:15.279
 from tech track cultural computing track and also the art paper but on the other side we secure a

983
01:21:15.279 --> 01:21:27.680
 very beautiful exhibition venue in one of the most artsy and popular place in Hangzhou called Tengmuli. These are the shopping complex

984
01:21:27.680 --> 01:21:32.600
 that let the audience not just shopping over there,

985
01:21:32.600 --> 01:21:36.239
 but experiencing the arts installation, the setup over there.

986
01:21:36.840 --> 01:21:42.060
 So this is what we have able to manage this year

987
01:21:42.060 --> 01:21:45.539
 to match what we have achieved the last year. But there's something very, very special this year to match what we have achieved the last year.

988
01:21:45.739 --> 01:21:48.020
 But there's something very, very special this year.

989
01:21:48.600 --> 01:21:51.779
 Instead of just putting the gallery work

990
01:21:51.779 --> 01:21:55.479
 only for those few days of the conference day periods,

991
01:21:56.060 --> 01:21:58.880
 we successfully to convince to work together

992
01:21:58.880 --> 01:22:00.020
 with the local government

993
01:22:00.020 --> 01:22:05.579
 to let our gallery exhibition to stay for two weeks

994
01:22:05.579 --> 01:22:09.319
 so that that will be much more meaningful

995
01:22:09.319 --> 01:22:12.420
 for the author to bring all the way the artwork

996
01:22:12.420 --> 01:22:13.319
 and set up the artwork

997
01:22:13.319 --> 01:22:16.899
 and also for all the committee curation effort, right?

998
01:22:17.020 --> 01:22:19.119
 On the other side, after the conference,

999
01:22:19.359 --> 01:22:20.500
 because during the conference,

1000
01:22:20.500 --> 01:22:22.500
 we have the exclusive access

1001
01:22:23.079 --> 01:22:27.779
 for the conference register audience. But after the conference, we have the exclusive access for the conference registered audience.

1002
01:22:27.779 --> 01:22:31.979
 But after the conference, we will make the exhibition open to the public, and that will

1003
01:22:31.979 --> 01:22:39.880
 also overlap with Hangzhou Arts Festival on the same month, so that we can make the effort

1004
01:22:39.880 --> 01:22:46.500
 from the authors, the artists, and also the committee, worth their day and night preparation.

1005
01:22:46.500 --> 01:22:51.140
 I know how it is these few days for Jürgen.

1006
01:22:51.819 --> 01:22:56.579
 So this will happen this year.

1007
01:22:57.579 --> 01:22:58.579
 Another thing to share.

1008
01:22:59.600 --> 01:23:03.279
 I think because of the last few years of changes,

1009
01:23:03.859 --> 01:23:08.159
 we also see Vinci also become one of the,

1010
01:23:08.159 --> 01:23:13.880
 another conference that actually other than ICR, expanded animations, SIGGRAPH, SIGGRAPH

1011
01:23:13.880 --> 01:23:21.119
 Asia for sure, and there are actually more submissions to Vinci.

1012
01:23:21.119 --> 01:23:27.260
 And so is more work as well. I think we all know. So basically we delayed our

1013
01:23:28.140 --> 01:23:33.619
 notification for two weeks because in the very last minute we need to get more

1014
01:23:35.100 --> 01:23:40.399
 qualified reviewers. Well, it's easy to get reviewers from the tech communities

1015
01:23:40.720 --> 01:23:46.260
 but with people actually understand tech and media and art, it's not easy, like

1016
01:23:46.260 --> 01:23:53.100
 Victoria just mentioned, right? It's really hard. And for us, we need to maintain, like,

1017
01:23:53.100 --> 01:23:58.300
 three reviews for each submission work, so that is making more work for us. I can see

1018
01:23:58.300 --> 01:24:03.359
 some of the people actually also get involved to help the review. So we luckily managed

1019
01:24:03.359 --> 01:24:05.659
 we just delayed it for two weeks,

1020
01:24:05.659 --> 01:24:08.239
 so the announcement, the notification actually just

1021
01:24:08.239 --> 01:24:09.600
 went out for the last few days.

1022
01:24:09.600 --> 01:24:12.239
 So don't blame me if you don't get accepted.

1023
01:24:12.239 --> 01:24:15.859
 It's very, very competitive because of the increase

1024
01:24:15.859 --> 01:24:18.760
 of the submission.

1025
01:24:18.760 --> 01:24:48.260
 Like last few years, we always invite speaker for the conference, but we also try to about arts and culture, how the technology can interplay

1026
01:24:48.260 --> 01:24:52.020
 so that to make more interesting arts that influence culture.

1027
01:24:52.500 --> 01:24:54.680
 And of course, we also always have the keynote speaker

1028
01:24:54.680 --> 01:25:00.239
 talking about how the future visualization technology evolve, right?

1029
01:25:01.460 --> 01:25:06.100
 So this year, Vinci, we also have special speaker, right?

1030
01:25:07.460 --> 01:25:08.220
 Stay tuned.

1031
01:25:08.659 --> 01:25:10.140
 We will make the announcement soon.

1032
01:25:10.239 --> 01:25:14.359
 Of course, this speaker, we're also focusing on the visualization technology,

1033
01:25:14.600 --> 01:25:16.279
 media arts, and cultural computing.

1034
01:25:16.720 --> 01:25:20.800
 For the last two years, actually since last year, Vinci,

1035
01:25:21.180 --> 01:25:24.720
 we already introduced a special track about culture.

1036
01:25:25.399 --> 01:25:30.779
 But this year, we officially make it as a new track called Cultural Computing.

1037
01:25:30.779 --> 01:25:36.939
 So we also have looking for some, well we already know, I need to wait for some more

1038
01:25:36.939 --> 01:25:41.020
 confirmation then next two weeks we can announce.

1039
01:25:41.020 --> 01:25:46.600
 All right, so that's pretty much, I would love to... Sorry, there's one more thing I want to mention.

1040
01:25:46.779 --> 01:25:47.859
 Why Hangzhou?

1041
01:25:48.699 --> 01:25:51.600
 Well, if some of you are actually interested in travel,

1042
01:25:51.760 --> 01:25:54.699
 you know how beautiful this city is.

1043
01:25:54.800 --> 01:25:55.880
 They have the West Lake.

1044
01:25:56.899 --> 01:25:58.159
 And believe it or not, actually,

1045
01:25:58.159 --> 01:26:02.500
 Hangzhou is also one of the major civilizations in China,

1046
01:26:02.739 --> 01:26:04.699
 which is called the Liangzhu Heritage.

1047
01:26:05.000 --> 01:26:05.720
 And, of course, in Hangzhou, major civilization in China, which is called the Liangzhu heritage.

1048
01:26:10.000 --> 01:26:10.199
 And of course, in Hangzhou, we also have a very interesting,

1049
01:26:15.279 --> 01:26:15.399
 very strong arts community, especially with the Chinese Academy of Arts

1050
01:26:17.239 --> 01:26:17.760
 and also different galleries over there.

1051
01:26:22.760 --> 01:26:22.880
 And also now they are having more interesting shopping complex

1052
01:26:24.720 --> 01:26:25.060
 with a very artsy setup.

1053
01:26:27.460 --> 01:26:29.800
 So this is actually one of the reasons we picked this place next to our conference venue as well

1054
01:26:29.800 --> 01:26:34.060
 to be the gallery exhibit venue.

1055
01:26:34.880 --> 01:26:37.739
 And also, I don't know, some of you may already know,

1056
01:26:37.739 --> 01:26:40.960
 like Alibaba, NetEase,

1057
01:26:41.100 --> 01:26:44.939
 these are the, I would say, the major tech companies

1058
01:26:44.939 --> 01:26:46.579
 since dot-com, e-commerce.

1059
01:26:47.220 --> 01:26:52.340
 But these days, talking about AI, deep-seek, the robots, Uriji,

1060
01:26:53.020 --> 01:26:54.800
 they're all in Hangzhou.

1061
01:26:54.979 --> 01:27:00.739
 So it's a city that's mixing arts, culture, and technology.

1062
01:27:01.039 --> 01:27:02.720
 So it's a city that you shouldn't miss.

1063
01:27:04.720 --> 01:27:07.960
 So that's pretty much I want to share,

1064
01:27:07.960 --> 01:27:12.100
 and see you all in Vinci, and Hangzhou, thank you so much.

1065
01:27:13.159 --> 01:27:14.680
 James, thank you so much.

1066
01:27:14.680 --> 01:27:18.439
 So we have five minutes, and so many questions.

1067
01:27:18.439 --> 01:27:19.920
 I would propose, please,

1068
01:27:21.159 --> 01:27:28.760
 I would like to invite all the speakers here. We will do a roughly 10-minute discussion.

1069
01:27:30.000 --> 01:27:32.720
 And then, of course, we have a coffee break.

1070
01:27:32.899 --> 01:27:34.760
 But during the coffee break, we are around,

1071
01:27:34.880 --> 01:27:37.180
 and you can address the questions directly.

1072
01:27:37.699 --> 01:27:38.939
 And there is also tomorrow,

1073
01:27:39.239 --> 01:27:41.699
 after the keynote by Catherine Espister,

1074
01:27:42.340 --> 01:27:45.340
 a gathering, and then you can also ask a question, because

1075
01:27:45.340 --> 01:27:56.979
 I have so many questions, there is no chair for me.

1076
01:27:56.979 --> 01:27:59.760
 You can start with the first question.

1077
01:27:59.760 --> 01:28:02.260
 Yes?

1078
01:28:02.260 --> 01:28:07.000
 How is everyone paying for everything?

1079
01:28:07.000 --> 01:28:25.680
 Sorry. From what aspect? Well, so are you doing collaborations with the city

1080
01:28:25.680 --> 01:28:28.039
 in order to be able to use the facilities

1081
01:28:28.039 --> 01:28:29.340
 to run the conference?

1082
01:28:29.340 --> 01:28:30.180
 Yes.

1083
01:28:30.180 --> 01:28:31.000
 Et cetera.

1084
01:28:32.279 --> 01:28:36.920
 This is very, I think, challenging question actually.

1085
01:28:36.920 --> 01:28:39.840
 Of course, from academic perspective,

1086
01:28:39.840 --> 01:28:42.159
 we try to not to pay.

1087
01:28:43.819 --> 01:28:45.939
 No, actually because we have limited budget,

1088
01:28:45.939 --> 01:28:50.399
 so we try to see whether we get the support and sponsorship.

1089
01:28:50.399 --> 01:28:57.060
 So for most of the, I think, major costs is the values.

1090
01:28:57.060 --> 01:28:59.500
 So we don't want to do it in the university.

1091
01:28:59.500 --> 01:29:01.319
 If we go outside, then definitely we

1092
01:29:01.319 --> 01:29:03.680
 need to cover the costs.

1093
01:29:03.680 --> 01:29:06.479
 So we were lucky to have some

1094
01:29:06.479 --> 01:29:12.239
 sponsorship I think due to the the general chair this year they have a very

1095
01:29:12.239 --> 01:29:15.779
 strong connection with different industry and also because in Hangzhou so

1096
01:29:15.779 --> 01:29:20.399
 I think every year is a bit different story so I get involved in the committee

1097
01:29:20.399 --> 01:29:24.239
 as well so this year they were lucky to have sponsorship so last year when we

1098
01:29:24.239 --> 01:29:29.960
 were in Linz we mainly rely on the registration. So that's how we actually, so that's why,

1099
01:29:29.960 --> 01:29:36.960
 but we were lucky to have the venue to be supported by us, and also like JKU. So every

1100
01:29:37.899 --> 01:29:41.899
 year is a bit different, but mainly we counting on this sponsorship.

1101
01:29:41.899 --> 01:29:46.939
 I have so many questions, but this is a very good point

1102
01:29:46.939 --> 01:29:49.180
 that you mentioned in your talk,

1103
01:29:49.840 --> 01:29:52.560
 open access and open for the public.

1104
01:29:52.560 --> 01:29:56.500
 As a brilliant panel,

1105
01:29:56.699 --> 01:29:59.260
 I really appreciate these different insights.

1106
01:29:59.479 --> 01:30:03.300
 We have a conference, we have a media festival,

1107
01:30:03.659 --> 01:30:04.920
 we have hybrid formats.

1108
01:30:06.220 --> 01:30:07.619
 I'm thinking about

1109
01:30:09.539 --> 01:30:16.939
 bringing the community to places to be here and to exchange and also to invite the local community and to

1110
01:30:17.699 --> 01:30:22.100
 start the conversation. That's very very important. So from my perspective in

1111
01:30:23.500 --> 01:30:29.699
 conferences are usually very inclusive in terms of registration

1112
01:30:29.699 --> 01:30:37.279
 free fee, it's a very short period of time and thinking about that also bringing an intersection

1113
01:30:37.279 --> 01:30:39.880
 to cultural institutions.

1114
01:30:39.880 --> 01:30:46.479
 So I think ICER had always this kind of vision to work with local institutions

1115
01:30:46.479 --> 01:30:53.619
 and being a hybrid festival symposium conference since its beginning.

1116
01:30:54.180 --> 01:30:58.340
 So my question is, when we think about media at research,

1117
01:30:58.340 --> 01:31:07.920
 how important is it to support young researchers in terms of funding to come to the events but also

1118
01:31:07.920 --> 01:31:18.779
 to give them access to the papers. So ACM has changed the policy open access but

1119
01:31:18.779 --> 01:31:31.239
 on the other hand the artists have to pay that it's open access. So the emerging artists have to pay that it's accessible.

1120
01:31:31.239 --> 01:31:36.359
 So how do we handle it to embrace?

1121
01:31:36.359 --> 01:31:37.899
 Quick answer.

1122
01:31:37.899 --> 01:31:39.960
 I think different ways.

1123
01:31:39.960 --> 01:31:40.979
 I'm a professor, too.

1124
01:31:40.979 --> 01:31:47.100
 I think it's part of my role to bring my students, maybe if they don't feel comfortable to present,

1125
01:31:47.260 --> 01:31:48.260
 but at least to see.

1126
01:31:48.439 --> 01:31:50.060
 And that is a major exposure.

1127
01:31:50.760 --> 01:31:54.020
 So I think that's one that we try to bring our undergrads

1128
01:31:54.020 --> 01:31:55.239
 because it starts there.

1129
01:31:55.420 --> 01:31:56.439
 Then they will continue.

1130
01:31:58.260 --> 01:32:00.460
 The financial thing for the open papers,

1131
01:32:00.539 --> 01:32:02.520
 I think, is a debate for everyone.

1132
01:32:03.159 --> 01:32:05.779
 I think in Canada, we have a lot of support. If you ask for grants and then you I think, is a debate for everyone. I think in Canada we have a lot of support.

1133
01:32:06.000 --> 01:32:08.039
 If you ask for grants and then you get grants,

1134
01:32:08.159 --> 01:32:11.060
 it has to be 50% at least for your students.

1135
01:32:11.239 --> 01:32:13.159
 So the system is there to support,

1136
01:32:13.739 --> 01:32:17.920
 but I think the challenge is how you make operational for everyone.

1137
01:32:18.579 --> 01:32:23.720
 It is inclusive, and as it is exclusive on places

1138
01:32:23.720 --> 01:32:25.399
 where there is no funding structures.

1139
01:32:26.279 --> 01:32:29.359
 But I think we can play different roles.

1140
01:32:29.539 --> 01:32:31.739
 I say, for instance, we have a policy.

1141
01:32:31.979 --> 01:32:38.140
 We ask hosts to have a reduced registration fee for artists and independent artists and

1142
01:32:38.140 --> 01:32:38.680
 students.

1143
01:32:39.779 --> 01:32:43.319
 We have been suggesting hosts to have deals.

1144
01:32:44.060 --> 01:32:46.460
 So write to universities and say you have a package.

1145
01:32:46.460 --> 01:32:50.739
 If you register 10 students or 20 people, you have discounts.

1146
01:32:51.060 --> 01:32:52.539
 So, you know, we're trying to find systems.

1147
01:32:56.140 --> 01:33:06.060
 Yeah, I think that also what I do as a professor, like many of us are working at

1148
01:33:06.060 --> 01:33:08.460
 universities is working

1149
01:33:08.460 --> 01:33:10.380
 with local associations and local

1150
01:33:10.380 --> 01:33:12.340
 institutions like trying to

1151
01:33:12.340 --> 01:33:14.420
 offer a real let's say

1152
01:33:14.420 --> 01:33:16.300
 world opportunity to students

1153
01:33:16.300 --> 01:33:18.159
 to like present or

1154
01:33:18.159 --> 01:33:20.239
 showcase or partnering in my case with

1155
01:33:20.239 --> 01:33:22.560
 BNF, Bibliothèque Nationale de France

1156
01:33:22.560 --> 01:33:24.039
 for instance like a real

1157
01:33:24.039 --> 01:33:26.039
 framework but also I think that we also commit a lot with BNF, Bibliothèque Nationale de France, for instance, like a real framework.

1158
01:33:26.039 --> 01:33:31.039
 But also I think that we also commit a lot in,

1159
01:33:31.060 --> 01:33:32.939
 we are volunteers, no, right?

1160
01:33:32.939 --> 01:33:34.539
 We volunteer a lot.

1161
01:33:34.539 --> 01:33:37.380
 All the work that I am doing for SIGGRAPH,

1162
01:33:37.380 --> 01:33:41.960
 Aisia, or Leonardo, or any other, has been volunteering.

1163
01:33:41.960 --> 01:33:45.000
 So I think that energy is also like a good, I don't know.

1164
01:33:52.760 --> 01:33:57.500
 We do it because we love to do it, right?

1165
01:33:57.500 --> 01:34:01.159
 So I think that sometimes we transmit that in our classes.

1166
01:34:07.260 --> 01:34:10.000
 One thing I brought up, and I think we have like zero time left,

1167
01:34:10.000 --> 01:34:12.920
 but that I've been trying to figure out is what to do about the virtual and

1168
01:34:12.920 --> 01:34:13.859
 the online.

1169
01:34:13.859 --> 01:34:16.960
 I know you have virtual options for Isaiah, for example, and

1170
01:34:16.960 --> 01:34:20.579
 I talked about the Sparks program, which is online.

1171
01:34:20.579 --> 01:34:23.840
 But it also, there's something deeply satisfying about

1172
01:34:23.840 --> 01:34:25.880
 being co-present in real space and time

1173
01:34:25.880 --> 01:34:30.479
 so do any of us have strategies for thinking about that maybe some of the answer is the local

1174
01:34:30.479 --> 01:34:37.779
 one thing that I've seen that works is to have a separate events no hybrid at the same time

1175
01:34:37.779 --> 01:34:48.100
 because then it really cuts the vibe of the in person so I have seen in other conference is having a online symposium

1176
01:34:48.100 --> 01:34:54.760
 on days or week prior to the event and then the in person and they don't mix

1177
01:34:54.760 --> 01:34:58.760
 for production reasons too. This is something that if you have done at one

1178
01:34:58.760 --> 01:35:02.960
 of these events you know it's just not a Zoom and it's not easy. You need an

1179
01:35:02.960 --> 01:35:05.979
 infrastructure for it to run well and so the presenters can

1180
01:35:05.979 --> 01:35:07.920
 be heard properly and stuff.

1181
01:35:08.060 --> 01:35:09.899
 So that's a model that I have seen

1182
01:35:09.899 --> 01:35:12.079
 works in both ways

1183
01:35:12.079 --> 01:35:14.000
 and you are bringing communities

1184
01:35:14.000 --> 01:35:16.020
 together but when we are online then everyone

1185
01:35:16.020 --> 01:35:16.699
 is online.

1186
01:35:17.479 --> 01:35:20.060
 I totally agree. Sparks is a good

1187
01:35:20.060 --> 01:35:21.539
 example. There is

1188
01:35:21.539 --> 01:35:23.880
 a great community

1189
01:35:23.880 --> 01:35:26.960
 that is since the pandemic so to speak

1190
01:35:28.560 --> 01:35:34.720
 participating and there is an exchange and we're also thinking about revisiting expanded and

1191
01:35:34.720 --> 01:35:40.720
 having an online discussion but what is so important is of course also when we talk about

1192
01:35:40.720 --> 01:35:45.520
 art papers and artworks also to have the option to see the artworks

1193
01:35:45.520 --> 01:35:50.859
 itself so if it's an online format you only see the documentation you have a

1194
01:35:50.859 --> 01:35:56.699
 video but experience the pieces is so important even if we talk about

1195
01:35:56.699 --> 01:36:05.000
 screenings it has a big impact if is a huge screen and if it's a great opportunity to have a conversation with the community.

1196
01:36:05.000 --> 01:36:10.000
 It's a huge screen and if it's just online, so I

1197
01:36:10.000 --> 01:36:14.000
 really appreciate the local activities.

1198
01:36:14.000 --> 01:36:19.000
 Plus also giving video documentations and live

1199
01:36:19.000 --> 01:36:22.000
 streams as an option for those who cannot come.

1200
01:36:22.000 --> 01:36:30.000
 Ruchiro. I'm sorry.

1201
01:36:32.000 --> 01:36:36.000
 I continuously submitted art galleries for a long time

1202
01:36:38.000 --> 01:36:40.000
 because I don't know if you guys know, art gallery, when

1203
01:36:42.000 --> 01:36:46.140
 the art piece was accepted at art galleries, the registration fee is free. That's the reason why I can't receive some

1204
01:36:46.140 --> 01:36:55.460
 of these art galleries. Well, so the money is a quite big issue for the young artists.

1205
01:36:55.460 --> 01:37:03.159
 But if the registration fee is free, then we can spend our budget for the proper cost.

1206
01:37:03.159 --> 01:37:05.800
 So going to Ars Electronica or going to the US

1207
01:37:05.800 --> 01:37:08.640
 is quite costly for young Asians.

1208
01:37:09.300 --> 01:37:11.779
 That's why the city of Asia is still there.

1209
01:37:13.659 --> 01:37:18.899
 Well, I don't know what exactly is the answer

1210
01:37:18.899 --> 01:37:19.840
 of your questions,

1211
01:37:19.840 --> 01:37:23.960
 but the money is an issue always.

1212
01:37:24.619 --> 01:37:27.380
 And I'd like to see more of us.

1213
01:37:27.380 --> 01:37:32.079
 And if we have a, and in my point of view,

1214
01:37:32.079 --> 01:37:34.399
 I'd like to reduce the acceptance rate,

1215
01:37:34.399 --> 01:37:39.399
 I know, increase the acceptance ratio to the 10% to 30%.

1216
01:37:40.979 --> 01:37:44.140
 Then we can make a huge community in Asia

1217
01:37:44.140 --> 01:37:46.100
 and communicate this each other. And then we can make a huge community in Asia and communicate with each other.

1218
01:37:46.100 --> 01:37:48.220
 And then we can make a new conference,

1219
01:37:48.220 --> 01:37:54.779
 a new type of organization for make a good media art

1220
01:37:54.779 --> 01:37:59.560
 study in Asia or in some areas.

1221
01:37:59.560 --> 01:38:03.100
 That's my aspect of the point.

1222
01:38:06.359 --> 01:38:09.039
 I have a question and also suggestion.

1223
01:38:09.039 --> 01:38:10.800
 I don't know if any one of us can answer,

1224
01:38:10.800 --> 01:38:15.319
 because I remember when I was still a PhD graduate student,

1225
01:38:15.319 --> 01:38:19.640
 if we submitted, for example, ACM gallery works

1226
01:38:19.640 --> 01:38:22.039
 together with, might be a paper,

1227
01:38:22.039 --> 01:38:26.239
 one registration can cover two works but seems like

1228
01:38:26.239 --> 01:38:33.260
 recently they only limited to one registration to one paper or one work.

1229
01:38:33.260 --> 01:38:39.880
 I don't know whether this can be reverse or is there any way for gallery track

1230
01:38:39.880 --> 01:38:45.000
 can have the committee can have the discount for the offers

1231
01:38:47.180 --> 01:38:50.880
 so that to lower the cost for the R track.

1232
01:38:54.279 --> 01:38:58.819
 Yeah, well I guess that's how research has been set up

1233
01:39:00.119 --> 01:39:01.579
 for long, long time.

1234
01:39:04.140 --> 01:39:08.359
 Yeah, well I guess conference registration fee is high,

1235
01:39:08.359 --> 01:39:13.359
 but if you factor in, submit to any APC general now,

1236
01:39:14.500 --> 01:39:19.039
 like it's $6,000, $8,000 US dollars.

1237
01:39:20.140 --> 01:39:24.720
 It might not be much for a engineering lab,

1238
01:39:24.720 --> 01:39:26.279
 because they have the tons of budget,

1239
01:39:26.500 --> 01:39:29.920
 but in terms of humanities or arts,

1240
01:39:30.180 --> 01:39:32.159
 that's a huge budget.

1241
01:39:32.159 --> 01:39:36.060
 But since we are talking about media arts

1242
01:39:36.060 --> 01:39:37.640
 and art and technology,

1243
01:39:38.119 --> 01:39:43.279
 there's this need for artists or researchers in arts

1244
01:39:43.279 --> 01:39:49.420
 to submit articles in broader, wider venues, right?

1245
01:39:49.420 --> 01:39:53.800
 So that's even another problem I have encountered

1246
01:39:53.800 --> 01:39:55.739
 and foresee in the future more and more people

1247
01:39:55.739 --> 01:40:00.739
 will run into that, so not only if SIGGRAPH is expensive.

1248
01:40:01.380 --> 01:40:04.779
 Well, but I guess SIGGRAPH is expensive

1249
01:40:04.779 --> 01:40:05.340
 because it's

1250
01:40:05.340 --> 01:40:07.079
 a computer

1251
01:40:07.079 --> 01:40:09.159
 graphics conference.

1252
01:40:12.159 --> 01:40:13.520
 Yeah, I think those are

1253
01:40:13.520 --> 01:40:15.680
 very good questions, and I think

1254
01:40:15.680 --> 01:40:17.800
 we do need a dedicated

1255
01:40:17.800 --> 01:40:20.079
 panel or half-day conference

1256
01:40:20.079 --> 01:40:21.800
 to tackle those

1257
01:40:21.800 --> 01:40:23.439
 issues, because

1258
01:40:23.439 --> 01:40:25.100
 personally, I don't...

1259
01:40:25.100 --> 01:40:28.100
 We also need more support from institutions,

1260
01:40:28.319 --> 01:40:30.100
 or I mean a department, something like that,

1261
01:40:30.119 --> 01:40:32.800
 because we keep saying, in my case,

1262
01:40:33.399 --> 01:40:36.380
 I won't commit again to do this again,

1263
01:40:36.939 --> 01:40:39.600
 but one month later, I am there again.

1264
01:40:39.720 --> 01:40:40.659
 So I'm saying...

1265
01:40:40.659 --> 01:40:42.659
 So the things will stay here, no?

1266
01:40:44.439 --> 01:40:48.760
 That's a good... I think that's also, I have so many questions.

1267
01:40:48.760 --> 01:40:52.359
 So we should of course discuss what is an art paper,

1268
01:40:52.359 --> 01:40:58.079
 how do we do research in an interdisciplinary way to embrace

1269
01:40:59.399 --> 01:41:04.359
 computer scientists, archeologists, etc., biotech, etc.

1270
01:41:04.359 --> 01:41:26.439
 There is many different conferences and platforms and we see a lot of increasing numbers with a focus on media art. Vinci, cultural, great, great, great, great initiatives.

1271
01:41:27.319 --> 01:41:29.960
 But we also have to be critical on that,

1272
01:41:30.420 --> 01:41:33.560
 thinking about, we talked about that already,

1273
01:41:34.140 --> 01:41:35.899
 how do we handle the review?

1274
01:41:36.119 --> 01:41:39.140
 There are experts from different disciplines.

1275
01:41:40.880 --> 01:41:42.520
 From a media art perspective,

1276
01:41:42.699 --> 01:41:44.420
 the media art is very, very important

1277
01:41:44.420 --> 01:41:46.000
 and should be in the center.

1278
01:41:46.000 --> 01:41:54.000
 But on the other hand, it could be a very, very scientific interdisciplinary urgent topic with an artistic input.

1279
01:41:54.000 --> 01:42:14.000
 So there is so many things, so many to discuss and, to embrace other institutions to discuss finding platforms and exchange and support the initiative.

1280
01:42:14.000 --> 01:42:31.939
 And with that, I would like to close, because now we have thousands of further questions that we have to continue in maybe a Sparks or in a specific track where

1281
01:42:31.939 --> 01:42:34.800
 we have more time and more perspectives.

1282
01:42:34.800 --> 01:42:39.720
 So thank you so much also for joining and as I mentioned before we are still around

1283
01:42:39.720 --> 01:42:43.460
 and you can ask us the question what is an art paper for example.

1284
01:42:43.460 --> 01:43:05.000
 Thank you. can ask us the question what is an art paper for example thank you Yeah. Let's do it. I hope I can get you sure.

1285
01:43:05.000 --> 01:43:10.039
.