SA '23: SIGGRAPH Asia 2023 Art Papers

"Dissolution” and “Cunabula” are experimental animation projects that explore the potential of artistic style transfer with neural networks in animation filmmaking. The objective is to discover novel production methods using fast, arbitrary, and stroke-adjustable style transfer networks that allow for unconventional technical approaches during the production process and the creation of unique and unexplored aesthetics in moving images powered by deep learning. These projects exemplify a creative approach to leveraging existing neural style transfer techniques to create compelling animations that go beyond mere passive pastiches of certain artistic styles, thereby advancing the aesthetics of contemporary animation.

The transition from film to digital has influenced photography techniques, with implications for both cultural and technical aspects. By examining the history and concepts of classical photography and incorporating computer intervention in revitalizing alternative photographic processes, we aim to expand aesthetic expressions in art, computer graphics, and our understanding of photography’s cultural significance. Integrating computer processing with techniques such as salt print, platinum print, and cyanotype, this study seeks to create a new photographic experience that embraces the joy of materializing scenery and highlights the interconnectedness of technology and art.

This paper references the painting theory of the "three distances" concept from the Southern Song Dynasty. It introduces a contemporary reinterpretation termed "Computational Three Distances," which employs computer algorithms as the means of painting, departing from traditional ink-brush techniques. The three distances encompass "micro-distance, volume-distance," and "time-distance." This study reexamines the adjustability of microscopic world units, the density of medium within volumes along with light-scattering effects, and the accumulation and erosion of time. It then puts this theory into practice, offering illustrative methods for each aspect.

This paper presents “AI Nüshu," an emerging language system inspired by Nüshu (women’s scripts), the unique language created and used exclusively by ancient Chinese women who were thought to be illiterate under a patriarchal society. In this interactive installation, two artificial intelligence (AI) agents are trained in the Chinese dictionary and the Nüshu corpus. By continually observing their environment and communicating, these agents collaborate towards creating a standard writing system to encode Chinese. It offers an artistic interpretation of the creation of a non-western script from a computational linguistics perspective, integrating AI technology with Chinese cultural heritage and a feminist viewpoint.

This paper examines the classification of digital images created by generative AI systems and their emergence as art. The term ‘art’ defies precise definition, but there is a growing tendency to label AI-generated images as such. The current discourse on AI-generated imagery as art lacks the nuanced understanding of traditional artistic media. To address this, we introduce some philosophical considerations. By applying existing frameworks and theories of language, we argue that certain AI-generated images possess properties aligned with ‘readymades’, qualifying them for consideration as art.

AI systems analyze vast amounts of data, uncover patterns, and make decisions - emulating a semblance of intelligence despite lacking qualia and embodiment that form the basis of the human condition. In this paper, we expound on "Ghost in the Machine", an interactive installation that delves into our pervasive tendency to anthropomorphize AI, ascribing human-like qualities, intentions, and even consciousness. Participants engage in dialogue with the AI as it collaboratively materializes the AI's thoughts in moving image and generative sound. The installation attempts to forge embodiment for an amorphous AI, revealing errors in its comprehension, represented by the metaphor of hallucinations.

Wassily Kandinsky is considered as one of the pioneers of abstract painting in Europe. In this paper, our goal is to develop a user interface that models Kandinsky's analytical drawing process within a computational context to advance research in artificial intelligence and the arts. A user first chooses a photograph from the ObjectNet3D database, objects of which are aligned with the 3D shapes. Using the 3D shape information, the software extracts 2D projection contours. Then, it performs corner detection and finds structural networks. Lastly, the software transforms the photograph into an abstract image based on a student example.

This paper details Environmental Inversion, a collection of artworks that propose a critical examination of climate change, waste creation and removal. “Inversion” is defined and its relevance to climate change research, followed by detailed descriptions of projects by the author that examine this exploratory integration. Each project consists of an energy source that reverses its intended use. Examples include creating pollution through green energy to contaminating air through filtering hardware powered by fossil fuels. The works act as a critical reminder of attempts to greenify our planet, why they are pursued, and the energy-wasteful methods employed to reach these solutions.

Artistic practices influenced by philosophical understandings that extend ‘beyond the human’, such as posthuman and post-Anthropocene approaches, partially connect on a qualitative level with ancient understandings of an expanded nature that engulfs both human and nonhuman kin. Preserved in Indigenous epistemes, such as mātauranga Māori (Māori knowledge), this research brings selected aspects of this complex knowledge system into contact with artistic practice generated with networked technologies, to manifest speculative methods of data visualization and signal flow. While there are many different approaches of the eco-digital currently at play, this research looks at practices engaging plants as co-composers. Articulating various situational assemblages that entangle humans, plants, and data, this paper explores theoretical positions that cross-pollinate natural ecology and digital technology. We do this through the prism of two iterative works by the authors: Contact/Sense (2019) and Nga manawataki o te koiora: Biorhythms (2022).

see-saw is a kinetic installation unfolding silently, driven by the behavior of liquid flowing inside the objects. A group of these objects, shaped like seesaws, are aligned. By changing the position of the center of gravity of the liquid inside, each see-saw alters its inclination dynamically. The behavior of liquid is realized using the Electrohydrodynamics (EHD) phenomenon. We generate these movements that appear to depart from conventional physics by electrically manipulating an invisible driving force to move the liquid against gravity. This installation embodies a natural and smooth kinetic aesthetic that blends seamlessly into the surrounding environment through silent movement.

This paper reexamines the work of Marshall McLuhan and Ant Farm, highlighting their enduring relevance for contemporary mediated urbanism and architecture. By exploring their historical context, connections, and influences, the authors provide insights for architects and artists navigating the complex interplay between media, technology, and the built environment. The analysis bridges the gap between historical context and contemporary practice, focusing on the motivations, possibilities, and limitations of media interpretation as a critical and creative practice. The paper addresses the pressing questions concerning the future design of architectural spaces and urban forms, ultimately fostering innovative approaches that challenge conventional design thinking

The paper describes an art installation based on a local cooperative cross platform VR/PC game for three players. The story is based on the historical story of a nuclear power plant, which was built, but never turned on because of a public referendum. The game mechanics are built upon the interaction of three playable historical characters: engineer, activist, and politician. The main goal was to foster empathy in the players by replaying the game from each character’s perspective. We present the story implementation, custom-made interfaces, physical setup, and an evaluation of recordings from a four-month display in a public gallery.

Increasingly, intangible cultural heritage (ICH) dance is being performed interactively through immersive experiences. However, these experiences often leaving participants isolated and lacking the connection to the cultural context of ICH dances. This project focuses on designing interactive mechanism that combine collaborative multi-players interactions with the collective nature of ICH dance. It explores the advantage of bio-signals as visual feedback in multi-player dance interactions. The project aims to create an immersive social space where participants can be fully immersed in the dance atmosphere and gain a deeper understanding of intangible heritage.