3D (embodied) projection mapping and sensing bodies : a study in interactive dance performance

This dissertation identifies the synergies between physical and virtual environments when designing for immersive experiences in interactive dance performances. The integration of virtual information in physical space is transforming our interactions and experiences with the world. By using the body and creative expression as the interface between real and virtual worlds, dance performance creates a privileged framework to research and design interactive mixed reality environments and immersive augmented architectures. The research is primarily situated in the fields of visual art and interaction design. It combines performance with transdisciplinary fields and intertwines practice with theory. The theoretical and conceptual implications involved in designing and experiencing immersive hybrid environments are analyzed using the reality–virtuality continuum. These theories helped frame the ways augmented reality architectures are achieved through the integration of dance performance with digital software and reception displays. They also helped identify the main artistic affordances and restrictions in the design of augmented reality and augmented virtuality environments for live performance. These pervasive media architectures were materialized in three field experiments, the live dance performances. Each performance was created in three different stages of conception, design and production. The first stage was to “digitize” the performer’s movement and brain activity to the virtual environment and our system. This was accomplished through the use of depth sensor cameras, 3D motion capture, and brain computer interfaces. The second stage was the creation of the computational architecture and software that aggregates the connections and mapping between the physical body and the spatial dynamics of the virtual environment. This process created real-time interactions between the performer’s behavior and motion and the real-time generative computer 3D graphics. Finally, the third stage consisted of the output modality: 3D projector based augmentation techniques were adopted in order to overlay the virtual environment onto physical space. This thesis proposes and lays out theoretical, technical, and artistic frameworks between 3D digital environments and moving bodies in dance performance. By sensing the body and the brain with the 3D virtual environments, new layers of augmentation and interactions are established, and ultimately this generates mixed reality environments for embodied improvisational self-expression.Radio-Television-Fil

CERN for AGI: A Theoretical Framework for Autonomous Simulation-Based Artificial Intelligence Testing and Alignment

This paper explores the potential of a multidisciplinary approach to testing and aligning artificial general intelligence (AGI) and LLMs. Due to the rapid development and wide application of LLMs, challenges such as ethical alignment, controllability, and predictability of these models have become important research topics. This study investigates an innovative simulation-based multi-agent system within a virtual reality framework that replicates the real-world environment. The framework is populated by automated 'digital citizens,' simulating complex social structures and interactions to examine and optimize AGI. Application of various theories from the fields of sociology, social psychology, computer science, physics, biology, and economics demonstrates the possibility of a more human-aligned and socially responsible AGI. The purpose of such a digital environment is to provide a dynamic platform where advanced AI agents can interact and make independent decisions, thereby mimicking realistic scenarios. The actors in this digital city, operated by the LLMs, serve as the primary agents, exhibiting high degrees of autonomy. While this approach shows immense potential, there are notable challenges and limitations, most significantly the unpredictable nature of real-world social dynamics. This research endeavors to contribute to the development and refinement of AGI, emphasizing the integration of social, ethical, and theoretical dimensions for future research.Comment: 32 pages, 4 figures, 2 table

Digital Ecosystems: Ecosystem-Oriented Architectures

We view Digital Ecosystems to be the digital counterparts of biological ecosystems. Here, we are concerned with the creation of these Digital Ecosystems, exploiting the self-organising properties of biological ecosystems to evolve high-level software applications. Therefore, we created the Digital Ecosystem, a novel optimisation technique inspired by biological ecosystems, where the optimisation works at two levels: a first optimisation, migration of agents which are distributed in a decentralised peer-to-peer network, operating continuously in time; this process feeds a second optimisation based on evolutionary computing that operates locally on single peers and is aimed at finding solutions to satisfy locally relevant constraints. The Digital Ecosystem was then measured experimentally through simulations, with measures originating from theoretical ecology, evaluating its likeness to biological ecosystems. This included its responsiveness to requests for applications from the user base, as a measure of the ecological succession (ecosystem maturity). Overall, we have advanced the understanding of Digital Ecosystems, creating Ecosystem-Oriented Architectures where the word ecosystem is more than just a metaphor.Comment: 39 pages, 26 figures, journa

The Augmented Learner : The pivotal role of multimedia enhanced learning within a foresight-based learning model designed to accelerate the delivery of higher levels of learner creativity

The central theme for this dissertation lies at the intersection of multisensory technology enhanced learning, the field of foresight and transformative pedagogy and their role in helping to develop greater learner creativity. These skills will be key to meeting the needs of the projected growing role of the creative class within the emerging global workforce structure and the projected growth in R&D and the advancement of human-machine resource management. Over the past two decades, we have traversed from the Industrial Age through the Information Age into what we now call postnormal times, manifested partly in Industry 4.0. It is widely considered that the present education system in countries with developed economies is not optimised for delivering the much-needed creative skills, which are prominent amongst the critical 21st C skills required by the creative class, (also known as creatives), which will be increasingly dominant in terms of near future employability. Consequently, there will be a potential shortfall of creatives unless this issue is rapidly addressed. To ensure that the creative skills I aimed to enhance were relevant and aligned with emerging demands of the changing landscape, I deconstructed the critical dimensions, context, and concept of creativity in postnormal times as well as undertaking in-depth research on the potential future workscape and the future of education and learning, applying a comprehensive foresight approach to the latter using a 2030-2040 horizon. Based upon the outcomes of these studies I designed an experimental integrative learning system that I have applied, researched, and evolved over the past 4 years with over 150 students at PhD and master’s level. The system is aimed at generating higher levels of creative engagement and development through a focus on increased immersion and creativity-inducing approaches. The system, which I call the Living Learning System, is based upon eight integrated elements, supported by course development pillars aimed at optimizing learner future skill competencies and levels of creativity for which I apply severalevaluation techniques and metrics. Accordingly, as the central hypothesis of this dissertation, I argue that by integrating the critical elements of the Living Learning System, such as emerging multisensory technology enhanced learning coupled with optimised transformative and experiential learning approaches, framed within the field of foresight, with its futures focus and decentralised thinking approaches, students increase their ability to be creative. This increased ability is based on the student attaining a richer level of personal ambience through deeper immersion generated through higher incidence of self-direction, constructivism-based blended pedagogy, futures literacy, and a balance of decentralised and systems-based thinking, as well as cognitive and social platforms aimed at optimizing learner creative achievement. This dissertation demonstrates how the application of the combined elements of the Living Learning System, with its futures focus and its ensuing transdisciplinary curricula and courses, can provide a clear path towards significantly increased learner creativity. The findings of the quantitative, questionnaire-based research set out in detail in Chapter 9, together with the performance and creativity evaluation models applied against the selected case studies of student projects substantiate the validity of the hypothesis that the application of the Living Learning System with its futures focus leads to increased creativity in line with the needs of the postnormal era.publishedVersio

Two conceptions of the mind

Since the cognitive revolution during the last century the mind has been conceived of as being computer-like. Like a computer, the brain was assumed to be a physical structure (hardware) upon which a computational mind (software) was built. The mind was seen as a collection of independent programs which each have their own specific tasks, or modules. These modules took sensory input data and transduced it into language-like representations which were used in mental computations. Recently, a new conception of the mind has developed, grounded cognition. According to this model, sensory stimulus is saved in the original format in which it was received and recalled using association mechanisms. Rather than representations being language-like they are instead multimodal. The manipulation of these multimodal representations requires processing distributed throughout the brain. A new holistic model for mental architecture has developed in which the concerted activity of the brain\u27s modal systems produces functional systems which are intimately codependent with one another. The purpose of this thesis is to explore both the modular and multimodal theories of mental architecture. Each will be described in detail along with their supporting paradigms, cognitivism and grounded cognition. After my expositions I will offer support for my own position regarding these two theories before suggesting avenues for future research

Backwards is the way forward: feedback in the cortical hierarchy predicts the expected future

Clark offers a powerful description of the brain as a prediction machine, which offers progress on two distinct levels. First, on an abstract conceptual level, it provides a unifying framework for perception, action, and cognition (including subdivisions such as attention, expectation, and imagination). Second, hierarchical prediction offers progress on a concrete descriptive level for testing and constraining conceptual elements and mechanisms of predictive coding models (estimation of predictions, prediction errors, and internal models)

The Vanishing Line

This thesis is an exploratory effort to bridge the rift that political and monetary powers created between art and technology. In my practice, these socio-political motivations are exposed through the creation of non-utilitarian inventions that use different technologies as charged metaphors. I research mass media language and construct interactive pieces while borrowing strategies from the entertainment industry to make environmental, social, and political issues more palatable than documentary films or raw data could. In my work, technology is regarded as a semidivine entity with supernatural powers that can both elevate and reduce the human experience. My work functions differently according to its audience: it encourages technology experts to consider the moral ramifications of their creations, and artists to recognize technology as one of the leading influencing factors in contemporary society