Thesis I – Project Blog 6

Below are the screenshots of my procedural bridge for procedural art course. This bridge has numerous parameter which can be edited in Unreal. The curve which determines the bridges length can be moved as well. Extended or shrunk. I did noticed Houdini seems to be buggy at times and crashes. UVing is going to prove difficult but I shall see. Hopefully it all comes out well.


Defense 3: Uncanny Valley

As artists, designers, and creators, we often to explore the boundaries of our art. Traversing through different type of styles in search of what calls to us. Nevertheless, an artist will sooner or later stumble upon the style of realism. Realism in art can be defined as “the theory or practice of fidelity in art and literature to nature or to real life and to accurate representation without idealization”. (Merriam-Webster) The desire to create accurate representations of real life has no doubly changed the way we think and interact with digital art in the last couple of decades. Visuals in movies has been inching closer to visually mimicking life. Robotic customer support has progressed in mimicking human voice and expressions. These advancements in technology is remarkable but there is a problem with achieving visual realism. Humans have a high awareness and understanding in recognizing differences between living and non-living. (Angela Tinwell)

As humans are social beings, we are driving by social cues. With these cues, we are aware and can make predictions about interactions we might come across. If these cues are disrupted, mismatched, or inconsistent, we will spot them. Visually speaking, as we increase the realism, the more the information we receive. With the increase of information, the greater chance of error will be spotted. Creating a sense of eeriness or disgust. (Pollick) This phenomenon is called the uncanny valley.

In 1970, the Japanese professor and robotics, Dr. Masahiro Mori, discovered (Hsu) (Pollick) that as an object, such as an robot or a digital character, becomes more humanlike or anthropomorphic, it’s attraction will increase until a point in which there is a drastic negative effect. (Pollick) Examples of objects that lie within the uncanny valley, as Dr. Mori included, was corpse, prosthetics limbs and zombies. (Angela Tinwell) When a viewer experiences the phenomenon, they will feel an eerie sensation, uneased and/or feel disgusted. (Rouse) To avoid such symptoms, Dr. Mori, suggested designer to work until the first peak of the uncanny valley and not to seek out the second peak. (Angela Tinwell) Despite his suggestions, artists have striding to achieve the second peak. Films such as Tin Toy (Hsu), Final Fantasy (Pollick), and The Polar Express (Jakub A. Zlotowski) have failed because of the reactions were negative due to them falling into the valley. Researchers have been studying on what causes this phenomenon. No one is exactly sure what trigger this effect, but multiple hypothesis has been created and might explain why we can experience this phenomenon.

One concept is a survival instinct to help us avoid pathogens. (Shensheng Wang) Some researchers have speculated that humans evolved to predict and react to minor changes in appearances of others. This feeling disgust is might to avoid people that have diseases and prevent us from such disease. (Hsu) This avoidance could be considered as survival tactic deeming the inconsistences in the anthropomorphic character as repulsive. Another concept that could explain what triggers the uncanny valley is our perceptual processing ability. (Shensheng Wang)

As noted in this paper, we instinctually recognize facial features. We are highly sensitive to this information because of the familiarity of it. Researchers suggest that with this heighten awareness we are attracted to certain physical features, shapes, and the health. If the actor is inconsistent to what we know, we instantly become unattracted to it. (Shensheng Wang) If a voice is mismatched to a face or appearance, can trigger this effect as we expect certain features to relate with one another. Movements can drastically increase the effect. As noted earlier, I explained how important biological movements are to humans. Born with the preference to viewing the motions, are naturally familiar with them. If visual appearance and movements mismatch, the eeriness increases because we are unable to predict the outcome correctly. (Shensheng Wang) This disruption of information causes humans to fail at categorizing the other actor. (Pollick) I noted before if we can not categorize another person or actor, we become uncertain and start to fall back on stereotypes to process and understand them. Most likely relying on features we are familiar with. This concept is interesting as it relates to theory of mind and our social cognitive.

So could the uncanny valley occur because we predict, and try to comprehend everything we observe or interact with? Is it because we are social beings seeking out connections with others? I believe it is all the above. We can assume failure to reach total realism of an anthropomorphic character can cause problems with our ability to predict and comprehend. This inability and failed expectations will cause us to begin to panic and feel nervous but not all characters will fall into uncanny valley. There is research that the more an individual interacts with anthropomorphic characters, even if they are eerie, the more they gradually become more familiar. (Angela Tinwell) This repeating habit could circumvent and reducing the effect of the uncanny valley. As we interact more often with anthropomorphic characters, maybe we our perspective will change, and the valley will shrink. Desensitizing us from noticing the inconsistencies between what is living and nonliving.

Thesis I – Project Blog 5

This week, I worked on my studio project. My task was to start the blendshapes and get most done. I got most created and have about 12 left. I plan on working this week on wrapping it up and importing it into Unity and attaching LipSync. Also reminder to me: both top & bottom teeth are not UVed. Copy UVs from the combined game mesh for the final piece.

Here are some tests:


ROUGH ROUGH DRAFT of defense 2: Social cognition

Defense 2: Social Cognition

            Anthropomorphism and theory of mind intertwine with one another. As noted earlier, they trigger the temporoparietal junction in our brains highlighting the connection between, but anthropomorphism goes further than theory of mind. The phenomena can affect our cognitive function that processes how we perceive others, and how we view the surrounding world. (Cherry, Social Cognition in Psychology) Psychologists who study this process called it social cognition.

Social cognition is the “mental processes that (are) involved in perceiving, remembering, thinking about, and attending to the other people in our social world.” (Cherry, Social Cognition in Psychology) These processes influence how people behave, form impressions, and react to others. Simply put, it is the way we store, process, and interact with other living and non-living entities. Many things can encourage the develop of our social abilities such as culture, ideologies, experiences and so on. With anthropomorphism in mind, this cognitive ability grants humans an efficient way for our minds to process social stimulus that engulfs us every day. Predicting, and comprehending is important to us hence why we anthropomorphize the unknown. It puts the current unknown entity into context reducing uncertainty and allows for a simple way to communicate and socially reason to others about them. (Atherton) Therefore, anthropomorphism allows for an efficient way to socially predict and comprehend. Unfortunately, this mental efficiency can come at a cost.

Visually, we are highly sensitive to humanlike characteristics. (Agnieszka Wykowska) Our awareness of the difference between living and inanimate is impressive. As earlier, I explain how we naturally favor smooth human-like movements, called biological motions and how we are born with facial recognition but even with those traits, we make assumptions on what we observe. (Susan R. Fussell) When we interact with entities, we assign categories based on stimuli such as facial features and shapes, body shapes, gender, etc. When humans cannot understand the actor, we unknowingly rely on stereotypes we have learned to process their behaviors, and traits. (Susan R. Fussell) As the actor becomes more similar in appearance to oneself, the more we are likely to reference ourselves and anthropomorphize the non-human entity. (Atherton) Either anthropomorphizing or not, we judge because it allows us to create make assumptions. This assumption allows for forecast of behaviors of the entity and the environment that we are surrounded in. Another important aspect of social cognition is the need for connection that we draw from when we interaction with others.

Human beings desire and crave for some type of interaction that has the potential to produce a connection, emotionally and/or physically. From infants to adults, the social connection between others is a survival instinct. Plucking a person out of their social life, or rather, banish an individual would be a “death sentence for one’s genetic inheritance”. (Atherton) This type of punishment can have an enormous effect to an individual. Lacking or being withdrawn from social connections can influence and trigger the same neural functions that can induce physical pain. (Atherton) This pain may lead the individual to seek for a connection elsewhere. Requiring the person to seek a social connection and will start to anthropomorphize nonhuman entities to satisfy their lust. This basic motivation has been researched and found out that the lonelier a person is, the more they have connected with anthropomorphize objects. (Adam Waytz) Satisfying our need for a connection is important whether its fulfilled by living or nonliving entities. We need “someone” to survive.

Anthropomorphizing has its benefits. It allows us to be able to predict, to comprehend, and to make assumptions about the uncertainty. Lonely individuals that are deprived from social connection and interaction will anthropomorphize and feel at ease. Anthropomorphizing, to me, is about efficiency. This efficiency enables us to expect future actions from others. Removing the uncertainty that we as humans try so hard to unveil and learn what lies within.

 

Works Cited

Adam Waytz, Nicholas Epley, and John T. Cacioppo. "Social Cognition Unbound: Insights Into Anthropomorphism and Dehumanization." Psychological Science. 19 February 2010.

Agnieszka Wykowska, Thierry Chaminade, and Gordon Cheng. "Embodied Artificial Agents for Understanding Human Social Cognition." Philosophical Transacations B, 19 February 2016.

Airenti, Gabriella. "The Development of Anthropomorphism in Interaction: Intersubjectivity, Imagination, and Theory of Mind." (2018). <https://www.ncbi.nlm.nih.gov/pmc/articles/PMC6231421/>.

Atherton, Gray and Cross, Liam. "Seeing More Than Human: Autism and Anthropomorphic Theory of Mind." (2018). <https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5932358/>.

Cherry, Kendra. How the Theory of Mind Helps Us Understand Others. 26 July 2019. <https://www.verywellmind.com/theory-of-mind-4176826>.

—. "Social Cognition in Psychology." Very Well Mind, 13 August 2019. <www.verywellmind.com/social-cognition-2795912>.

Drubach, Daniel A. "The Purpose and Neurobiology of Theory of Mind Functions." Blanton-Peale Institute, 18 December 2007. Online.

Karolina Zawieska, Brian R. Duffy, and Agnieszka Spronska. "Understanding Anthropomorphisation in Social Robots." Pomiary Automatyka Robotyka. November 2012.

Leslie, A.M. "Theory of Mind." International Encyclopedia of the Social & Behavioral Sciences. Elsevier Ltd, 2001. <https://www.sciencedirect.com/topics/neuroscience/theory-of-mind>.

Nauert, Dr. Rick. PsychCentral. 15 June 2019.

Nicholas Epley, Adam Waytz, and John T. Cacioppo. "On Seeing Human: A Three-Factor Theory of Anthropomorphism." Psychological Review. The American Psychological Association, 2007.

Susan R. Fussell, Sara Kiesler, Leslie D. Setlock, and Victoria Yew. "How People Anthropomorphize Robots." Carnegie Mellon University, 12 March 2008.

Thompson, Brittany N. Psychology Today. 03 July 2017. Website. <https://www.psychologytoday.com/us/blog/socioemotional-success/201707/theory-mind-understanding-others-in-social-world>.


 

Thesis I – Project Blog 2

Character background meeting

  • Alone does not like people
  • Needs people to survive and thrive
  • Grumpy / Scroogey
  • He knows he is in the painting
  • Has regrets – like missing out on his family because of work, past experiences
  • Likes to talk about his perspective of what he sees from as a painting
  • He is an Artist! Who loves his work, the painting, so much his soul is attached to it
  • Goes by his pen name

 

  • Take away message of the painting – Take a step back from work every once awhile and make time for yourself & your family.
    • Like a warning to visitors through the interact
  • Based locally in a distance Victorian era

Background Art

  • Canvas painting in BG
    • Happy – painting of family
    • Sad – distorted self portrait
    • Uses the same canvas but distorts and blends between the two

 

Thesis Topic:

Interacting with anthropomorphic A.Is can create and intensify participators’ connections, emotionally and physically, towards synthetic beings. Giving an artist the flexibility to communicate straight to their audience.


RESEARCH NOTES

Anthropomorphism research

 

https://psychcentral.com/news/2018/03/01/why-do-we-anthropomorphize/11766.html

Giving human characteristics to animals, inanimate objects or natural phenomena is a human trait called “to anthropomorphize.”

The term anthropomorphism was coined by the Greek philosopher Xenophanes when describing the similarity between religious believers and their gods

Neuroscience research has shown that similar brain regions are involved when we think about the behavior of both humans and of nonhuman entities, suggesting that anthropomorphism may be using similar processes as those used for thinking about other people.

Human brains are tuned to try to understand other human’s intentions, thoughts and feelings. This concept is called Theory of Mind.

Specific regions of the brain contain populations of ‘mirror’ neurons are the same regions of the brain that are active when a person is anthropomorphizing.

Predicting the actions of animals and inanimate objects employs the same brain regions as predicting the behavior of another human. Though we can consciously differentiate between human and non-human, the same mechanisms in our brain are activated when we are observing actions of both.”

What accounts for this selectivity? One factor is similarity. An entity is more likely to be anthropomorphized if it appears to have many traits similar to those of humans (for example, through humanlike movements or physical features such as a face).

Various motivations may also influence anthropomorphism. For example, lacking social connections with other people might motivate lonely individuals to seek out connections from nonhuman items. Anthropomorphism helps us to simplify and make more sense of complicated entities.

https://www.theguardian.com/science/2016/jan/15/anthropomorphism-danger-humans-animals-science

Patricia Ganea, a psychologist at Toronto University, ran a series of experiments on three- to five-year-olds in which they were given information about animals in straight factual form and then in a more fantastical anthropomorphized way.

children were likely to attribute human characteristics to other animals and were less likely to retain factual information about them when told they lived their lives as furry humans.

attributing human-like intentions and beliefs is a “very natural way to explain certain animal behaviors”

lead to inappropriate behaviors

https://www.sciencedirect.com/science/article/pii/S0003347215003085

Proposed to be a result of a cognitive default state. The main idea behind this hypothesis is that the human brain evolved to efficiently process social information.

automatic response to any human-like behaviour (Caporael & Heyes, 1997) or human-like feature (Guthrie, 1997) that requires a swift identification or interpretation, which cannot be accounted for using the knowledge at hand.

Epley, Waytz, and Cacioppo (2007) proposes that anthropomorphizing has strong motivational triggers, particularly effectance and sociality.

The first is described as the need to make sense of the actions of other agents to reduce uncertainty concerning their behavior

he second refers to the need of people to maintain social connections

increased tendency to anthropomorphize in situations of high cognitive load (e.g. situations in which a lot of information needs to be processed at the same time) and in social isolation (Waytz, Gray, Epley, & Wegner, 2010).

rooted in social cognition,

Automatic processes such as motor matching mechanisms will probably be engaged as a result of observing animals displaying behaviours that are familiar to humans, especially if their anatomy and general configuration resemble those of a person (Buccino et al., 2004Kupferberg et al., 2012)

Anthropomorphic interpretations of nonhuman entities, especially animals, are supported by a set of cognitive mechanisms. Some of these processes, including motor matching mechanisms, evolved schemata and empathy for pain from the social cognition domain, are probably engaged in anthropomorphizing and mind attribution in an automatic way.

https://www.edge.org/response-detail/27219

anthropomorphism provides an alternative “model” to help us to interpret behavior.

 

https://www.cs.cmu.edu/~kiesler/anthropomorphism-org/psychology2.html

https://prowritingaid.com/art/812/anthropomorphism-%26-personification%3A-what-s-the-difference.aspx

  • Personification: The attribution of a personal nature or human characteristics to something non-human, or the representation of an abstract quality in human form.
  • Anthropomorphism is literal. Speaking animals or objects who talk, think, or behave like humans are all anthropomorphic. Think of Thomas the Tank Engine, Winnie the Pooh, or Peter Rabbit. They literally act as if human.
  • Personification is figurative. Do you sometimes feel like your computer hates you, especially when it’s not working right? Well, it can’t literally hate you because it’s not human.

https://medium.com/emergent-future/technical-human-problems-with-anthropomorphism-technopomorphism-13c50e5e3f36

Technopomorphism is the attribution of technological characteristics to human traits, emotions, intentions, or biological functions.

This brings to mind a third major problem with anthropomorphism: the uncanny valley. While adding humanlike interactions can contribute to good UX, too much (but not quite enough) similarity to a human can result in frustration, discomfort, and even revulsion.

http://becker.idm.oclc.org/login?url=https://search-proquest-com.becker.idm.oclc.org/docview/1422064525?accountid=35619.

Animism (i.e., perceiving life in nonliving entities)

WHEN WE NEED A HUMAN: MOTIVATIONAL DETERMINANTS OF ANTHROPOPMORPHISM

Recipe for supreme happiness was other people

People need other humans in daily life for reasons ranging from the practical to the existential

Need is so strong that people sometimes create humans out of non-humans

Humanlike characteristics

Physical appearance

Emotional states perceived to be uniquely human

Inner mental states and motivations

Anthropomorphism does not include behavioral descriptions of observable actions

Requires going beyond what is directly observable to make inferences about unobservant humanlike characteristics

Does not merely entail animism

Animate life is not a uniquely human property

Does not include any requirement of reasoned or reflective endorsement of an inference

Anthropomorphism is no necessarily inaccurate

Considering an inference anthropomorphic only when it is clearly a mistake is itself a mistake

Some people anthropomorphize more than others, some situations induce anthropomorphism more than others, children tend to anthropomorphize more than adults, some cultures are notorious for their anthropomorphic religions and worldview

People reason about an unknown stimulus based on a better-known representation of a related stimulus, in this case reasoning about a nonhuman agent based on representations of the self or humans

Socially and effectance motivation

Sociality motivation is the fundamental need for social connection with other humans. When lacking social connection with other humans, people may compensate by creating humans out of nonhuman agents through anthropomorphism-increasing belief in anthropomorphized religious agents, GOD, or perceiving nonhumans to be more humanlike, PETS

Anthropomorphism can satisfy effectance motivation by providing a sense of understanding and control of a nonhuman agent, and should therefore increase as effectance motivation increases.

Participants in study1 who felt more chronically disconnected provided higher rankings of the supportive anthropomorphic traits than participants who felt more socially connected.

Participants who were chronically lonely would create agents of social support by anthropomorphizing their pets

Satisfy sociality needs

How effectance motivation may influence anthropomorphism

Dispositional tendency to seek understanding and control is facilitated by as stimulus that enables anthropomorphism

Seeing a nonhuman agent as humanlike not only entails the attribution of humanlike characteristics, but it also carries the consequence of moral agency

 

ANTHROPOMORPHISM AND SERIVEC HUAMNOID ROBOTS: AN AMBIGUOUS RELATIONSHIP

Due to the negative effect of anthropomorphism, right up to 2004, Pittsburgh Zoo did no publicly give name to its inhabitants – zoo decided to reverse policy and give animals name” because anthropomorphism can give rise to positive alternative effects

Use of the Paro robot in a nursing home: beyond the ethical question of quthenticity of the human-robot relationship, it clearly appeared that this therapeutic robot, developed by the Japanese AIST industrial consortium, was found especially comforting to patients with dementia

 

 

 

Thesis I – Project Blog 1

Main visual interactions:

  • At Attention – character interacting/listening
  • Present – Detected people
  • Alone/Idle – no one is visible and in idle mode

Audio interactions:

  • Silence – No real understanding and quite.
  • Understands the audio – move down the story
  • Bright/loud sounds – startles/stumbles the character

Interaction pipeline:

  • Starter Convo
  • General Questions – FILLERS Basic small talk with key words – gives hints of why and what he has saw (about people, and envirnoment). Could reply with a question to get info.
  • Rambling – He talks about his life stories, his time, his places, things about his personally. If someone questions the story, he stops explains in a little depth and then ramble about something else. *If loud noise detected or used keyword goes back to the main starter convo.
  • Keyword for fallback/home to starter convo

Life stories are randomly picked – Stories will have different audio with the same story but said differently.

IDLE modes should have different states – get attention, show emotion, move, look.

NEED indicator to tell if he is idle or not – candle could be flickering when active and static when not.

Other Notes:

  • Does not seem interested in people
  • He needs people to move and he likes the ability but hates to interact with people
    • In static could show discomfort, and want attention.
  • Think of different participators experiences – think of 4 words that they would say about the character personality.
  • How long should the interaction should be – MAX experience TIME????

Thesis Proposal Form

Thesis Proposal Form


What is your area of focus for your thesis research?

My area of focus for my thesis research is the uncanny valley and the experience of human-robot/A.I. interactions.

Please provide 3-5 artists whose work inspires you or that you plan to research as part of your thesis work.

Golan Levin, Edward Ihnatowicz, Kenneth Rinaldo, Lozano-hemmer

 

What type of work is your thesis project? (Game, installation, ARG, etc.)AND What technology needs does it require? Will you be using your own technology or Becker’s resources?

Installation. It will require a PC using Unity, Monitor, speakers, and Kinect V2.

Describe your project idea and how it ties into your thesis research in 1-2 paragraphs.

“Project Frame” is a dynamic interactive experience featuring a hanging oil painting that responses to visual and audio inputs. It will detect the presence of the viewers, follow faces and body movements, and listen for speech responses. All of which, will advance down a fixed “script” that the A.I. continuously references. The final presentation will consist of an environment that will be build around the frame for maximum immersion.

This project ties into my thesis because it involves human-A.I. interaction. I want to research the effect of the uncanny valley, positive or negative. Is there a usable use for it? Also, can different physical spaces promote this effect? Researching deeper into this, will help me heighten the overall experience of the project.

 

Describe your planned presentation method for your thesis project, (keeping in mind the gallery showcase at the end of the year).

I envision a space that mimics a Victorian library (with scope in mind). The main piece, the painting, is hung on the center wall. I plan to adapt the lighting in the space to hide the Kinect and any other sensors that are used in the piece. The painting itself will be a monitor with a frame built around the screen. Rest of the electronics, such as the computer, will be located behind in the walls.

 

Please list 4 major project milestones for your interactive work for this (You may also want to list your milestones for next semester but clarify especially where you want your project to be at the end of this 3-month semester)

  1. Programming A.I. branch layout/designed  *Me: character rigged and blendshapes done
  2. MIDTERM – Rough draft of the basic script finished. A.I. tree interacting with inputs. Alpha demo where users can say hello and have it hello back. Some character movements – eyes, etc. *Me: character textured, connect/import blendshapes with lipsync. | Help on the script
  3. Character face animated, have lipSync working with correct responses. Background done.
  4. FINAL – Ground work down for a interaction demo – Detects users and voice input affects the A.I. interaction using the script. *Basic interactions (audio, and visual) are smooth!

Detailed list:

  1. Art: Character is imported with textured, rigged, and blendshapes are applied. Prog: Must have branch structure designed which allows for input data effect the output visually. Such as (eyes follow detected user or head follows detected user)
  2. Art: Fill out the background of the scene and get lighting close to final. Prog: Have vocal input effect output.
  3. Art: Have basic on animations imported. (Arm movements on interaction, etc.) Prog: Have lipSync working, and Animations linked with the correct responses.
  4. Art: Post effects – overlays and any other polish work. Prog: Add more interactions with the data. Expand the tree and make sure it does not break during run time.

 

What are your project needs as far studio teams (ex- 2 artists, 3 programmers)?

  • 2 artists for background modeling, texturing and animations.
  • Writer for interaction mapping script
  • 2-3 programmers for hardware working, and basic A.I. work.
  • 1 audio engineer for voice and other ambient sounds.

* These numbers are guessed +/-. As I am not sure what help I may need.

Blog Entry – Museum Visit Responses

  1. how does fashion play a role in your work — if you have a character(s) then those design decisions are important OR if you have no humans in your work, discuss the fashion of your favorite game with people in it.

Fashion is important within my work on characters. Depending on how the styles are designed and used, the wardrobes can influence the audience. We can use fashion in many ways as to describe who the character is, when is the character from, and why do they look the way they do. Most of the time, I use fashion to set a setting for the model to reside within. For example, I might pick a certain suit that would set a place and time that would relate to a certain time period. This could evolve into something else as I add elements of clothes that I personally like. Having my own personal preferences influence my characters, allows me to experiment with the endless possibilities that can create a unique character.

 

  1. how could you make fashion interactive and what statement would that make to wear it?

Today, there are numerous pieces of clothing that is interactive. Programmable LED tshirts, Air-Filtering scarves, heated sports clothing, posture-correcting shirts, app-enabled LED jacks, reactive feather jackets, etc. The list goes on and on. I believe that is the most important part about fashion. Allowing the individual to express themselves through clothing. Most of the interactive clothing seems to be corny or practical. Something that could be interesting would be a coat that can be modularized. Each piece (arms, pockets, collar) can be swapped out with whatever design the individual. Attaching the parts together would be an issue though. Velcro would be the easiest, but durability would be the main issue.

Another unique possibility to make fashion interactive would be a “mood ring” clothing. The clothing would react to external and internal temperature and change color. I imagine the clothing being filled with a liquid to make this happen. The liquid would be the one reacting to the temps. Both designs would give the individual a personalitzed piece of clothing, one being based on their own preferences, and one being affected by the surrounding elements.

 

  1. Find the piece pictured below, in the Eunice and Julian Cohen Galleria (Gallery 163). Note the name of the piece and then describe your impression of the piece — what are questions it draws forth from you upon viewing?

“Flicker” by Ian Sommerville (1959), 2004 Glass chandelier, flat-screen monitor, Morse code unit, and computer. Unfortunately, this piece was not working as intended. As the blinking was not working. The Morse code unit was not attached as well. With that said, the initial impression of the piece was bland. Without the blink, the piece is only a glass chandelier. At first, I did not even notice it hanging up until someone else pointed it out. If it was lit, even without the blink, I believe it would have caught my eye. If it was working as intended, I would have been curious of the blinks. I might have tried to decode the Morse to figure out what the message was. This would have been a fun piece to experience. Although the name of the piece is confusing. It is straight forward, this chandelier is about Ian Sommerville’s dreamachine “Flicker” as it will blink Morse code text of the piece. I think the title is a weak part of the piece but I wonder if the reason Evans called it that because he imagined that these lights are only talking about Flicker and Sommerville.

Other questions that came to mind are:

What is it trying to say?

How can I figure it out? Without cheating….

Could I use this interaction in one of my pieces?

Would it be a better experience if it eye level? Or is the experience better because it is higher up and massive?

Would lowering the ambient light, and putting it into a darker room, create a better environment (more immersive) to experience this piece?

Would anyone notice the Morse code blinks if the chandelier was piece among other items that resemble its style?

 

  1. Discuss how you can imagine taking one of the pieces in the exhibit and if you were asked to contribute a work with a similar look/feel/message now, how could you make it into something interactive? Keep in mind the stated message of the Bauhaus as well as the individual feel/reading you get from the piece you choose.

In the Bauhaus exhibit, I was fascinated by the abstract shapes. I wanted to pull them apart and visualize the prints in 3 dimensions. I want to walk around the work in space and see them with depth. The way I would do this would be to create an AR experience. I would create bigger versions of the postcards with the abstract shapes, and balanced forms. The viewers would open an app on a tablet that would allow the user to aim at the prints and the prints would come alive. Depending on the image, the shapes could rotate, scale, dotted lines might move, etc. The viewer could walk around and see the in-betweens of the print in 3D. Allowing them to the freedom to experience the forms that create the Bauhaus style.

 

 

Blog Entry – Research and Project Updates – 2019 #13

This week I have been working numerous projects. First project is my human interaction final. As of now, I am struggling to get an heart rate from skin conductivity. I believe I will have to redesign the project to simulate the heart rate when the box is touched and held. Although I do have some time to develop it before the need to redesign it.

The other project I worked on this week was the 3d digital art final. I finally got a character that “fits” my requirement for the project. Here is a screenshot:

I am going to do a polish pass of the face and detail it out with wrinkles, defects, and to make the face asymmetrical. Also the character’s face has multiple layers that allows me to remove the beard and make the face fuller or not but the only thing I am deciding on is the clothes.  I haven’t figured out the style yet but I am feeling something Victorian or Gothic suit.

 

Tutorials/Interesting Videos:

 

Blog Entry – Research and Project Updates – 2019 #11

This week, I have been working on more shapes of the head for my 3d digital art course and my thesis. This character will be fully sculpted so I am trying to find a shape I like. As of now, I am leanings towards the second head. (longer skull, and droopy chin) I do like the fourth one day as well but I believe it is too close to Picard from Star Trek. Nevertheless, I will find the shape and go along with it to finish the project.