Category: capstone2023

 
Beyond Human is a project that explores the ways in which the philosophical framework of posthumanism can illuminate new paths of music perception and composition. As technology continues to advance, there is an increasing need for tech to be seamlessly integrated into our daily lives. This will inevitably lead to the incorporation of technology into our physical bodies, interlinking with the human sensory experience. The potential future in which this may occur has led artists to experiment with the incorporation of these concepts into their own artwork. For example, projects such as the Cyborg Foundation, led by Neil Harbisson, researches the connections between the human body, technology and art through the use of biosensors. Adhering to principles of posthumanism, artists like Harbisson utilize their biosensors to create unique ways of perceiving and creating art, illustrating the new ways in which these technologies can enhance artistic practices. Similarly, this project seeks to investigate how these new biosensing technologies can help artists, specifically musicians, find new ways to perceive and arrange music.
Beyond Human takes form as a live audiovisual performance, consisting of two participants. One participant wears an EEG sensor which feeds their brainwave signal into Ableton (Digital Audio Workstation), allowing them to control parameters on a software synthesizer purely through brain activity. Their signal is visualized through a DMX light bar, allowing the participant to see their brain wave response in real time. The other participant facilitates the signal, changing the arrangement as they are influenced by the signals created by the other participant. The result is an interdependent process in which both participants rely on each other to continue producing the visual, auditory, and bodily changes of the performance.
As technology continues to advance, the lines that divide a creator and their tools will become increasingly harder to differentiate. The idea that the process of making art will be automated or dictated by biosensing technology is not far-fetched. The existence of groups like the Cyborg Foundation are proof that there is not only a demand but also a validity to these forms of artistic creation. Thus, Beyond Human not only serves as a demonstration of implementing biosensors within a musical context, but also illustrates the new forms of artistic expression that can be created through the framework of posthumanism.

 
Bhavacakra is an interactive VR experience that puts the audience in the perspective of a virtual avatar’s spiritual existence to go through the multiple stages of death, bardo, and rebirth under a Buddhism context in VR. With the advancement of virtual-related technology(eg: Snapchat camera filters, Metaverse, Massive Multiplayer Online Game, etc), people are getting more used to creating their virtual avatars on various platforms and this trend has become an essential part of our daily lives. However, the server capacity and people’s initial desire of pursuing newer things determine that these virtual avatars are short-lived, either abandoned or dead with the server shut down. Such irrefutable facts provide people with the opportunity to envision what these artificial lives will experience after death or abandonment and to reflect on it, thus reshaping their relationship with virtual avatars. This project, hence, provides one possibility of examining this process in the Buddhism context, a religion well-known for its inclusiveness and philosophical thinking.
The project includes a three-stage experience structure that allows the audience to immerse themselves in the setting. The first scene featured sandy environments and boulder formations allowing the audience to experience the accumulation process of karma, getting prepared for the later storytelling. The second stage of void forces players to wear the shoes of virtual avatars to overcome what they were emotionally attached to in the past life, which is followed by the conversation with King Yan, the one in charge of the impermanence of reincarnation, to come to a trial. Eventually, the audience will be shown the six domains representing the possibility of reincarnation to get inspired as the way to attain nirvana in this endless cycle of suffering.
By constructing this reincarnation process under the Buddhism context in VR, compared with other religions which might be exclusive to the creature of modern technology, it’s possible to discuss the issue more from a highly-conceptual level, benefiting from Buddhism’s nature of delivering all creatures from torment. Moreover, the VR setting, by comparison with other traditional mediums like film, music, broadcasting, etc, provides the audience with a more immersive experience, thus more likely to provoke their reflection towards their relationship with virtual avatars and reshape it.

 
“I saw the Aleph from every point and angle, and in the Aleph I saw the earth and in the earth the Aleph and in the Aleph the earth; I saw my own face and my own bowels; I saw your face; and I felt dizzy and wept, for my eyes had seen that secret and conjectured object whose name is common to all men but which no man has looked upon — the unimaginable universe.”
— Aleph, Jorge Luis Borges
The research begins by identifying the “Aleph” as a literary foresight of Borges on virtual reality. Jorge Luis Borges introduces the concept of the Aleph, a point in space “that contains all other points” (Borges 9). This metaphor has often been connected to the idea of a perfect simulated world just like “Alice in Wonderland” as described by Ivan Sutherland in his writing “The Ultimate Display” (Sutherland 2). According to Borges, the Aleph is a shimmering point located in the main character’s room, allowing individuals to see everything from every perspective in the universe (Borges 9). Through the Aleph, the protagonist is able to view “daybreak and nightfall,” “the delicate bone structure of a hand,” and “the coupling of love and the modification of death,” among other things (Borges 9). Borges playfully explores the possibility of seeing every perspective of the world at all times through the use of the Aleph.
The omniscience depicted in Borges’ Aleph can be seen as analogous to certain core features of virtual reality. Both the Aleph and VR provide immersive experiences that cut into and supplement real life, offering continuous coverage of every corner of the world. Additionally, the comprehensive nature of both the Aleph and VR allows them to simulate reality to some extent, giving the viewer a sense of complete understanding and awareness.
Therefore, the project applies VR as the medium for exploring the controversies on “simulation”, while experimenting with its possibilities for reviving and reconstructing literature works with interactive media solutions.

 
Fly Me To the Moon is a Virtual Reality project that investigates the intersection between narrative psychology and media therapy in treating depression for Chinese college students. It’s a narrative-based emotional experience for working through one’s self-narrative and achieving greater resilience toward depression. VR intervention in mental health is an emerging field with promising therapeutic benefits. However, there’s a lack of translation from research to reality, especially concerning depression, a growingly significant issue for Chinese youngsters. This project aims to explore the field through the lens of narrative psychology, applying key concepts such as externalization and re-authoring of oneself in a narrative-focused VR experience. It hopes to help reconstruct a healthier self-narrative and build resilience for Chinese students who have depressive symptoms. Overall, it aims to explore the effectiveness of a VR-based narrative experience in treating depression, which could potentially address the lack of efficacy and accessibility in depression therapy in Chinese colleges and beyond.
The project is an immersive, linear VR narrative experience featuring the protagonist’s childhood and unpleasant memories through back-and-forth dialogues in one’s mind. The protagonist is stuck in the panopticon, a metaphor referring to depression patients who are trapped by one’s own imaginary standards. By reconstructing the interpretations of the past trauma, the protagonist is guided towards a more resilient self-narrative and ends up escaping the self-restricted panopticon. The project utilizes darkness, lighting, and silhouette representations to manipulate the user’s perception of the depressed patient’s world, with powerful audiovisual elements employed to depict the narrative reconstruction process. The protagonist’s light becomes brighter as they become more resilient, and all the guided dialogues end in a celebration stage where all the past traumas of the protagonist come into reconciliation, echoing the title “Fly Me To the Moon”.
By integrating narrative psychology principles into an emotionally captivating VR narrative experience, the project establishes a participatory narrative structure that allows users to protect themselves. The metaphorical design draws a parallel between depression and the philosophy of human connection. The final scene, where the protagonist is congratulated by people who hurt him/her before, is inspired by the Japanese anime Neo Evangelion. It symbolizes self-acceptance, reconciliation with others, and the end of isolation. As the climax of the experience, it encourages users to reflect on the importance of human connection and self-awareness. By fusing art and psychology through emotions, this project aims to effectively address the break in one’s self-narrative and contributes to the field of VR interventions for mental health in an innovative way.

 
“Shadow Behind” is an innovative and thought-provoking interactive artwork that directly addresses the pervasive issue of greenwashing in the fast fashion industry. Through the seamless integration of Shadow Art and Physical Computing, this project provides viewers with a distinctive opportunity to explore the concealed realities behind sustainability claims and encourages critical thinking.
The installation comprises ten meticulously crafted fabrications suspended against a white wall, with moving words commonly used in greenwashing projected onto it. Initially, only the green sustainable words are visible, symbolizing the industry’s superficial promises. However, upon closer inspection, the words disappear, exposing the stark contrast between sustainable claims and actual impact. By combining Shadow Art and Physical Computing, “Shadow Behind” creates an immersive experience that prompts profound introspection. What sets “Shadow Behind” apart is its fusion of art, technology, and critical inquiry to confront the issue of greenwashing head-on. It challenges viewers to question the practices of the fast fashion industry and reflect on the broader consequences of their consumption choices. The captivating display and interactive nature of the project aim to raise awareness, foster critical thinking, and inspire a shift towards more sustainable behaviors. By promoting an informed and responsible approach to green advertising, “Shadow Behind” empowers individuals and seeks positive change within the fashion industry.
The significance of “Shadow Behind” reaches beyond academia, resonating with a wide audience and making it suitable for mainstream media publication. Its language is clear, concise, and engaging, capturing and retaining the audience’s attention throughout. By offering a compelling critique of greenwashing in the fast fashion industry, this project challenges existing norms. Through its fusion of art, technology, and critical inquiry, “Shadow Behind” aims to transform perceptions and behaviors, encouraging a more sustainable and responsible approach to fashion consumption. With its immersive installation and thought-provoking design, “Shadow Behind” represents a pivotal step towards cultivating a more informed and conscientious society.