BEGIN:VCALENDAR VERSION:2.0 PRODID:Linklings LLC BEGIN:VTIMEZONE TZID:Asia/Tokyo X-LIC-LOCATION:Asia/Tokyo BEGIN:STANDARD TZOFFSETFROM:+0900 TZOFFSETTO:+0900 TZNAME:JST DTSTART:18871231T000000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTAMP:20250110T023300Z LOCATION:Hall E\, E Block\, Level B2 DTSTART;TZID=Asia/Tokyo:20241204T110000 DTEND;TZID=Asia/Tokyo:20241204T170000 UID:siggraphasia_SIGGRAPH Asia 2024_sess183@linklings.com SUMMARY:Art Gallery DESCRIPTION:Art Gallery\n\nAt SIGGRAPH Asia 2024 in Tokyo, the Art Gallery seeks to present groundbreaking and impactful creations that intersect ar t, science, technology, society, and the environment. In an era of informa tion saturation, where the essence and veracity of matters may blur, we ch ampion concrete expressions to reaffirm our reality, moving beyond mere id ealism.\nThe theme “Neither Utopia Nor Dystopia” eschews the stark dichoto my often portrayed between utopian and dystopian extremes, crafting a real m for patient engagement with the manifold aspects of reality and fosterin g the gradual maturation of values. This thematic direction nudges artists to uncover the subtle allure, intricacy, and profundity inherent in our d ay-to-day lives, urging them to craft palpable visions.\n\nThrough the dis tinctive lenses of artists, we aspire to recalibrate our perception of the interplay between society, the environment, and technology, thereby enric hing our collective comprehension. We envisage a tapestry of works that, a t times, unveil hidden truths and beauties, and at other times, navigate t he intricate web of emotions and relationships, culminating in a corporeal portrayal of our world. In alignment with these themes, the SIGGRAPH Asia 2024 Art Gallery casts a wide net, eagerly soliciting a spectrum of artis tic endeavors, spanning artworks, projects, performances, platforms, and c ommunities.\n\nJoin us at the SIGGRAPH Asia 2024 Art Gallery in Tokyo, Jap an, as we question, explore, and engage with the intricate and multifacete d realities of our times.\n\n1 & ∞ ⑁\n\nText-to-image Ai model generated i mages via the prompt 'a single chair on a white background'. Retraining th e model on this dataset led to the chair image turning into non-figurative digital noise after six iterations, highlighting the likelihood for corru ption in computational ontology through data...\n\n\nGeorgy Ègor Kraft (Ac ademy of Fine Arts Vienna, Tokyo University of the Arts)\n---------------- -----\nMatrix Model and Uberbau\n\n"Matrix Model and Uberbau" is a real-ti me simulation about the parallel histories of computer graphics technology , AI, and financial crisis. In a space half sports stadium and half constr uction site, various scripted events were driven by deep learning “predict ions” of the 2007-08 Shangh...\n\n\nRui Hu (Hong Kong University of Scienc e and Technology (Guangzhou), Hong Kong University of Science and Technolo gy) and Susan Yingshu Chen (Hong Kong University of Science and Technology )\n---------------------\nCarbon Farm\n\nContribute your CO2 to Carbon Gar dener. Our system captures and feeds it to algae, which we harvest and con vert into bioplastics. Our system transforms the hot-air statements of gov ernments and corporations into a powerful grassroots bio-production ingred ient.\n\n\nJiabao Li (University of Texas at Austin, University of Tokyo) and Ben Evanson (University of Texas at Austin)\n---------------------\nRe cognition: capture(scene)\n\n"Recognition: capture(scene)" uses an iPhone to create a gap between what the user sees on the screen while taking a pa norama shot and the final result. This aims to encourage new visual experi ences and perspectives by challenging familiar perceptions of a commonly u sed function.\n\n\nRintaro Fujita and Scott Allen (Kyoto Seika University) \n---------------------\nSemantic See-through Goggles\n\nSemantic See-thro ugh Goggles are a kind of spectacles, through which the view is once total ly verbalized and then re-imaged. The view, in which much of the spatial p ositioning and material has been reworked, however, does indeed convey the meaning of the scene in front of it.\n\n\nGoki Muramoto (University of To kyo), Yuri Yasui (University of British Columbia), and Hirosuke Asahi (Uni versity of Tokyo)\n---------------------\nWhere Are We Now?\n\nWhere Are W e Now? is an interactive 360-degree photography-based artwork weaving toge ther horizontal and vertical scrolls to reflect on the intense, congested and dynamic histories and present moments of Hong Kong.\n\n\nPeter William s and Chui Ying Wong (California State University, Sacramento)\n---------- -----------\nContent Aware Studies Series\n\nThe series includes sculpture s, videos and texts as inquiries into reverse-archeology via Ai models and 3d scans datasets. Aimed at reconstructing missing fragments within the s culptures of classical antiquities and paleontological objects these compu tational systems are exercised at speculative obj...\n\n\nÈgor Kraft (Acad emy of Fine Arts Vienna, China Academy of Art)\n---------------------\nEve nt Modeling\n\nEvent Modeling consists of two works (#dump and AI Fossil) that scrape social media text to generate 3d sculptures within simulated v irtual and interactive environments. Real-time social media posts trigger corresponding 3D model dumps into a virtual landfill and crystallize into AI generated fossi...\n\n\nMark Ramos (Pratt Institute, New York Universi ty) and Ziyang Wu (China Academy of Art)\n---------------------\nIn Vivo / In Vitro - Trial 1.4\n\nIn Vivo / In Vitro - Trial 1.4 is an interactive new media installation. It leverages machine learning to understand the mo ment a viewer blinks, ephemerally displaying generative embryonic imagery during this brief moment of unconsciousness.\n\n\nJoey Verbeke and Koi Ren (Independent Artist)\n---------------------\nMe vs. You\n\nIn this queer multi-channel installation, footage from a wrestling match between the art ists is fed through a generative AI pipeline to expose the limits of surve illance-oriented machine vision systems in interpreting human interaction. \n\n\nAdam Cole (Creative Computing Institute, Creative Computing Institut e, University of the Arts London); Gregor Petrikovič (Independent); and Mi ck Grierson (Creative Computing Institute, Creative Computing Institute, U niversity of the Arts London)\n---------------------\nAttraction of image\ n\nThis work contrasts AI generated images of "Enoshima", a famous tourist destination in Japan, with photos taken by imitating them locally. These images are uploaded to SNS. The cycle of AI generating ideal realities and returning images that imitate them back to the Internet accelerates bias and ide...\n\n\nAsuka Ishii and Kazuki Nagata (Keio University)\n--------- ------------\nTAI_ON: Audible Body and Its Enveloping Rhythm\n\n"TAI_ON" i s an immersive installation that invites participants to reconnect with th eir bodily rhythms within a sculpted, 300-year-old tree. Using a non-conta ct millimeter-wave radar, the artwork encourages participants to tune into their inner signals, fostering a harmonious relationship with their...\n\ n\nSEIOH EZAKI (Ichihara hospital, University of Tsukuba) and KEIICHI ZEMP O (University of Tsukuba; Xtrans tech, Inc.)\n---------------------\nDiver se and Universal Camera\n\nThis video installation collages footage from t he Encyclopedia Cinematographica (EC) using a hybrid system of AI-based au tomatic and manual tagging. It explores connections between different eras and regions, visualizing EC's encyclopedic nature.\n\n\nYasushi Noguchi a nd Yuta Ogai (Tokyo Polytechnic University)\n---------------------\nPeep\n \n"Peep," inspired by reality dating shows, explores how the internet fuel s voyeurism. The entire piece comprises three parallel threads, represente d by surveillance footage, window, and mirror, converging into a single co nclusion. Through this work, we hope to convey that contributing to the in ternet...\n\n\nChuan Tsai and An Jung Huang (National Tsing Hua University )\n---------------------\nMid Tide #3\n\nVideo Installation. This work tra nsforms video footage of waves into a 3D object with time as the depth dim ension. By deviating from linear playback, it explores the unique percepti on of floating on the sea's surface, merging the body with the waves, and altering the viewer's perception of time and ...\n\n\nRyu Furusawa (Tokyo University of the Arts)\n---------------------\n"Pla-tsugi: Modern Kintsug i through Digital Fabrication"\n\n"Pla-tsugi" is a modern restoration meth od using 3D printing and VR technology to reassemble and recreate broken o bjects, inspired by traditional Japanese Kintsugi and Yobitsugi.\n\n\nAKIO HARADA (Independent)\n---------------------\nPatriotic Stamp Machine\n\nP atriotic Stamp Machine draws inspiration from a series of recent incidents in Hong Kong. It features a real-time, CNC-controlled stamp painting mach ine alongside a column of CRT TVs displaying a series of three-channel vid eos.\n\n\nMiu Ling Lam (City University of Hong Kong)\n------------------- --\nSynCocreate\n\nSynCocreate is a neurofeedback co-creation virtual expe rience where paired users synchronize their brainwaves to collaboratively create art in a 3D environment. This immersive experience explores the pot ential of brainwave interaction to enhance co-creativity, emotional connec tion, and social well-b...\n\n\nTiange Wang (VLab, Independent Designer) a nd Xin Feng (Independent Researcher)\n\nRegistration Category: Enhanced Ac cess, Exhibit & Experience Access, Experience Hall Exhibitor, Full Access, Full Access Supporter, Trade Exhibitor END:VEVENT END:VCALENDAR