Tag Archives: ACCAD

A guerrilla future realized.

This week my brilliant students in Collaborative Studio 4650 provided a real word guerrilla future for the Humane Technologies: Livable Futures Pop-Up Collaboration at The Ohio State University. The design fiction was replete with diegetic prototypes and a video enactment. Out goal was to present a believable future in 2024 when ubiquitous AR glasses are the part of our mundane everyday. We made the presentation in Sullivant Hall’s Barnett Theater, and each member of the team had a set of mock AR glasses. The audience consisted of about 50 students ranging from the humanities to business. It was an amazing experience. It has untold riches for my design fiction research, but there were also a lot of revelations about how we experience, and enfold technology. After the presentation, we pulled out the white paper and markers and divided up into groups for a more detailed deconstruction of what transpired. While I have not plowed through all the scrolls that resulted from the post-presentation discussion groups, it seems universal that we can recognize how technology is apt to modify our behavior. It is also interesting to see that most of us have no clue how to resist these changes. Julian Oliver wrote in his (2011) The Critical Engineering Manifesto,

“5. The Critical Engineer recognises that each work of engineering engineers its user, proportional to that user’s dependency upon it.”

The idea of being engineered by our technology was evident throughout the AugHumana presentation video, and in discussions, we quickly identified the ways in which our current technological devices engineer us. At the same time, we feel more or less powerless to change or effect that phenomenon. Indeed, we have come to accept these small, incremental, seemingly mundane, changes to our behavior as innocent or adaptive in a positive way. En masse, they are neither. Kurzweil stated that,

‘We are not going to reach the Singularity in some single great leap forward, but rather through a great many small steps, each seemingly benign and modest in scope.’

History has shown that these steps are incrementally embraced by society and often give way to systems with a life of their own. An idea raised in one discussion group was labeled as effective dissent, but it seems almost obvious that unless we anticipate these imminent behavioral changes, by the time we notice them it is already too late, either because the technology is already ubiquitous or our habits and procedures solidly support that behavior.

There are ties here to material culture and the philosophy of technology that merits more research, but the propensity for technology to affect behavior in an inhumane way is powerful. These are early reflections, no doubt to be continued.

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Step inside The Lightstream Chronicles

Some time ago I promised to step inside one of the scenes from The Lighstream Chronicles. Today, to commemorate the debut of Season 5—that goes live today—I’m going to deliver on that promise, partially.

 

Background

The notion started after giving my students a tour of the Advanced Computing Center for Arts and Design (ACCAD)s motion-capture lab. We were a discussing VR, and sadly, despite all the recent hype, very few of us—including me—had never experienced state-of-the-art Virtual Reality. In that tour, it occurred to me that through the past five years of continuous work on my graphic novel, a story built entirely in CG, I have a trove of scenes and scenarios that I could in effect step into. Of course, it is not that simple, as I have discovered this summer working with ACCADs animation specialist Vita Berezina-Blackburn. It turns out that my extreme high-resolution images are not ideally compatible with the Oculus pipeline.

The idea was, at first, a curiosity for me, but it became quickly apparent that there was another level of synergy with my work in guerrilla futures, a flavor of design fiction.

Design fiction, my focus of study, centers on the idea that, through prototypes and future narratives we can engage people in thinking about possible futures, discuss and debate them and instill the idea of individual agency in shaping them. Unfortunately, too much design fiction ends up in the theoretical realm within the confines of the art gallery, academic conferences or workshops. The instances are few where the general public receives a future experience to contemplate and consider. Indeed, it has been something of a lament for me that my work in future fiction through the graphic novel, can be experienced as pure entertainment without acknowledging the deeper issues of its socio-techno themes. At the core of experiential design fiction introduced by Stewart Candy (2010) is the notion that future fiction can be inserted into everyday life whether the recipient has asked for them or not. The technique is one method of making the future real enough for us to ask whether this is the future we want and if not what might we do about it now.

Through my recent meanderings with VR, I see that this idea of immersive futures could be an incredibly powerful method of infusing these experiences.

The scene from Season 1 that I selected for this test.
The scene from Season 1 that I selected for this test.

 

About the video
This video is a test. We had no idea what we would get after I stripped down a scene from Season 1. Then we had a couple of weeks of trial and error re-making my files to be compatible with the system. Since one of the things that separate The Lightstream Chronicles from your average graphic novel/webcomic is the fact that you can zoom in 5x to inspect every detail, it is not uncommon, for example for me to have more than two hundred 4K textures in any given scene. It also allows me as the “director” to change it up and dolly in or out to focus on a character or object within a scene without a resulting loss in resolution. To me, it’s one of the drawbacks in many video games of getting in and inspecting a resident artifact. They usually start to “break up” into pixels the closer you get. However, in a real-time environment, you have to make concessions, at least for now, to make your textures render faster.

For this test, we didn’t apply all two hundred textures, just some essentials. For example the cordial glasses, the liquid in the bottle and the array of floating transparent files that hover over Techman’s desk. We did apply the key texture that defines the environment and that is the rusty, perforated metal wall that encloses Techman’s “safe-room” and protects it from eavesdropping. There are lots of other little glitches beyond unassigned textures, such as intersecting polygons and dozens of lighting tweaks that make this far from prime time.

In the average VR game, you move your controller forward through space while you are either seated or standing. Either way, in most cases you are stationary. What distinguishes this from most VR experiences is that I can physically walk through the scene.In this test, we were in the ACCAD motion capture lab.

Wearing the Oculus in the MoCap lab.
Wearing the Oculus in the MoCap lab while Lakshika manages the tether.

I’m sure you have seen pictures of this sort of thing before where characters strap on sensors to “capture their motions” and translate them to virtual CG characters. This was the space in which I was working. It has boundaries, however. So I had to obtain those boundaries, in scale to my scene so that I could be sure that the room and the characters were within the area of the lab. Dozens of tracking devices around the lab read sensors on the Oculus headset and ensure that once I strap it on, I can move freely within the limits of virtual space, and it would relate my movements to the context of the virtual scene.

Next week I’ll be going back into the lab with a new scene and take a look at Kristin Broulliard and Keiji in their exchange from episode 97 (page) Season 3.

Next time.
Next time.

Respond, reply, comment. Enjoy.

 

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Powerful infant.

In previous blogs (such as this one), I have discussed the subject of virtual reality. Yesterday, I tried it. The motivation for my visit to The Advanced Computing Center for the Arts and Design (ACCAD), Ohio State’s cutting-edge technology and arts center, was a field trip for my junior Collaborative Studio design students. Their project this semester is to design a future system that uses emerging technologies. It is hard to imagine that in the near-future VR will be commonplace. We stepped inside the a large, empty performance stage rigged with a dozen motion capture cameras that could track your movements throughout virtual space. We looked at an experimental animation in which we could stand amidst the characters and another work-in-progress that allowed us to step inside a painting. It wasn’t my first time in a Google cardboard device where I could look around at a 360-degree world (sensed by my phone’s gyroscope), but on an empty stage where you could walk amongst virtual characters, the experience took on a new dimension—literally. I found myself concerned about bumping into things that weren’t there and even getting a bit dizzy. (I did not let on in front of my students).

I immediately saw an application for The Lightstream Chronicles and realized that I could load up one of my scenes from the graphic novel, bring it over to ACCAD’s mocap studio and step into this virtual world that I have created. I build all of my scenes (including architecture) to scale, furnish the rooms and interiors and provide for full 360º viewing. Building sets this way allows me to revisit them at any time, follow my characters around or move the camera to get a better angle without having to add walls that I might not have anticipated using. After the demo, I was pretty excited. It became apparent that this technology will enable me to see what my characters see, and stand beside them. It’s a bit mind-blowing. Now the question becomes which scene to use. Any ideas?

Clearly VR is in its infancy, but it is a very powerful infant. The future seems exciting, and I can see why people can get caught up in what the promises could be. Of course, I have to be the one to wonder at what this powerful infant will grow up to be.

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Concept art for a new graphic novel

It has been about a week since I posted my concept art for the upcoming graphic novel. Thanks to all the encouraging emails and Facebook messages from friends. Response from outside the “circle of friends” has been slow. Possibly it wasn’t such a great idea to slide this out over Labor Day weekend. My rationale for getting this out so far in advance is to get some conversation going about both the project and academic paper that goes along with it. Patience is a virtue. If there was a magical formula for social networking, I suppose, everyone would be going viral, all the time. response has been 99% positive, with some reservations about my 7th character Marie. It’s difficult to explain when you haven’t read the script but one thing you need to keep in mind is that the story takes place 148 year in the future. If you think things have changed since you were in school, think about that kind of time frame. We’re looking at major upheavals in politics, religion, even the human body. We’re grappling with epic shifts in the way people look at the world and their lives, their perceptions, their lifespans, their ethics, their technology, their taboos, and their existential struggles. Even though the story falls somewhere in the sci-fi, crime thriller genre, all of this other is the swirling cultural backdrop that becomes part of the story’s texture. I think it makes a good narrative doubly fun to jump into.

Since posting I have attempted to take care of some other business, like getting ready to teach Design 251 in about 10 days, and general life stuff.

As the production schedule goes, I still have a few characters to tweak and I have been modeling away at more 22nd century props that will be part of my future design world. The next major undertaking is thumbnails for the hundred-some pages that will comprise the book.  I think this is an essential phase. (In fact, I am taking a sequential imaging class at ACCAD in the fall where storyboarding is on the docket.) Putting my people into a sequential narrative format is where the rubber meets the road. Thumbnails will provide a visual roadmap for the project, essentially telling me what I need to render, what will be in each scene and the overall flow of the story.

I hope to have this phase complete, or at least well underway by December so that I can focus on rendering the imagery.

If you have comments on the art or story, (here’s the links again:1. DeviantArt, 2. the CGSociety, 3. scottdenison.com Ultra hi-res images are on DeviantArt which is set up for big files), please join the discussion.

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