Hyper-Lutan Jiang
WEEK1
I watched the video and read the article, and also briefly skimmed through the optional articles. I found the concept of "deep listening" mentioned in the TED talk to be the most insightful. The explanation in the talk was somewhat vague and general, so I did further research on this concept myself.
Here are my thoughts:
First, listening is a subjective experience, influenced by each person's background, and differs from purely physical "hearing." If I were to define "deep listening," I would say it is an acquired ability to perceive and understand; but I prefer its philosophical meaning: it is a way of observing the world and experiencing one's own existence by transcending personal biases and integrating one's limited life experiences into a broader historical and environmental context.
Deep listening should encompass both time and space dimensions:
Time encompasses both the past and the future. For example, the sound of a piano isn't just a present-moment occurrence; it originates from someone playing it, and the piano itself is made of wood. We can imagine events that occurred before that moment, both in the recent past and in the distant history of the piano's creation. What will happen after the music stops? Will there be applause? What will the pianist say? All sounds in space should be considered equally important. The way sound travels through space is crucial. For example, the sound of a car driving by. The relationship between sound and its environment is also vital. I believe that sound can, to some extent, complement our sense of touch and sight; through sound, I can judge the size of a space, and even discern the material of objects.
The biggest takeaway for me from this article is the idea of enriching the auditory experience by layering different sounds, and creating a "soundscape" (in my opinion) by combining sounds from different distances.
question:
I've listened to many soundscapes designed for deep listening, but gradually, they became monotonous and even started to annoy me. These soundscapes usually consist of artificial sounds—man-made noises, perhaps from musical instruments or synthesizers. If I were to listen to a soundscape for an extended period, I would prefer natural sounds, such as the sound of wind, water, or animals. I feel that listening to these sounds won't make me feel bored.
WEEK2
Definition of comics:Images (even just two) → sequence → comic strip
The spatial aspect of a comic is like the temporal aspect of a film.
Distinction: Comic art: possesses the visual vocabulary of comics, but is static and lacks a narrative sequence.
Images & icons: convey meaning through a combination of elements (flow + multiple images), and have a different level of abstraction.
comics: When people see abstract faces, they tend to think that it represents themselves.
Non-visual self-awareness
!!!The real world = the sensory world + the conceptual world!!!Cartoons represent concepts; abstract and conceptual ideas resonate more easily with people.
close：When our senses cannot perceive the entire world, we use experience to supplement our perception.
(I think this is a kind of stereotypical portrayal.)
WEEK3
VOCATION：
The most challenging aspect of creating the audio for "vocation" was capturing the three different perspectives on what a holiday means to each person. My inspiration came from the traditional Chinese garden design technique of "shifting views with every step." This technique uses rocks, buildings, and pathways to create a zigzag pattern, subtly obscuring the view as one walks through the garden. With each step, the surrounding scenery and layout subtly changes. We used the sounds of the subway as a metaphorical barrier, connecting the three different locations and creating a cohesive narrative for the entire "Holiday" experience. Furthermore, we particularly enjoyed the sound effect of the ticking clock, which was cleverly created using the sound of chopping carrots. This sound emphasizes the passage of time, adding a touch of urgency to the otherwise relaxed holiday atmosphere.
WEEK4
Reading notes：
I skimmed through the book, and the cases that struck me most were Margaret Atwood's Oryx and Crake and Ian McEwan's Machines Like Me.
One of these cases explores the ethical issues of future biotechnology, and the other addresses the ethical dilemmas of AI.
I've had some exposure to bioethics before. I've seen numerous examples of C57 lab mice used in experiments on social media, some undergoing sleep deprivation, others undergoing tumor studies, and so on. In many experiments, even the control mice (those not subjected to drug treatments) are sacrificed at the end of the experiment. I find them incredibly pitiful, but advances in pharmaceuticals and biology are essential, so I strongly support care measures like providing painkillers to improve their well-being. However, in Oryx and Crake, the situation is taken to an extreme, with the victims being highly intelligent creatures, which, in some ways, can be considered "quasi-human." This sparked some reflection.
I did a quick search on "Machines Like Me" and discovered that it contains a complex interplay of character relationships and emotional entanglements. I've pondered this question before: how do we define whether AI truly possesses its own consciousness and is a true life? I actually strongly agree with Turing's final statement about "murder." I'm not an expert in biology or computers, and I wouldn't judge whether AI possesses consciousness from a scientific perspective. But I think many times, such judgments aren't necessary. I believe we humans should instead base our judgments on our own feelings and our inner compassion. Do lab mice have emotions? I don't know, but I respect their immense efforts. I can't bear to see a life suffer, regardless of whether it suffers itself. Does AI possess genuine thinking and consciousness, independent of human endowment? I don't know. But if, as the book describes, it can communicate with me smoothly, care for all my emotions, and even have sex with me, then in my heart, it's a person, a person closest to me, and deserves to be treated like a human.
Speculative design has truly enlightened me, but it's also left me perplexed. I don't know the answer. But at the same time, I'm increasingly convinced that we should approach these issues with equality, gratitude, and compassion.
STOP MOTION:
WEEK5
AE practice:
story board:
WEEK6
My primary responsibility is storyboarding and the subsequent creation of image and video assets. During the editing phase, my primary role is to help my teammates identify gaps and provide revision suggestions.
I use Jimeng AI and Runway for the creation process. I also make extensive use of Photoshop and After Effects to help me refine images/videos that are generally satisfactory, but with minor issues.
The most rewarding part is that I feel I've established a foundation for my own AI workflow. For example, in the first step, I use actual filming/found footage websites/AI-generated base images to create Runway videos. In the second step, I use Photoshop/After Effects to further refine the Runway-generated images/videos, using them as reference base images for another AI creation. This repetitive process allows me to quickly achieve satisfactory images/videos, typically requiring only three or four iterations.
WEEK8
I believe that interactivity means not prescribing a single behavioral pattern, allowing participants to control their interactive experience according to their own wishes.
I think it has both advantages and disadvantages. High interactivity also means high freedom, so if people's behavior doesn't follow the pre-set trajectory, it could lead to errors or undesirable results.
On the other hand, I believe its advantage is that it can significantly improve participant engagement and experience. I think this is very good, with the benefits far outweighing the drawbacks. As for how to mitigate the uncontrollable consequences brought about by high freedom, that should be considered by the designers, not by the participants. Since the number of participants far exceeds the number of developers, I believe the benefits are more widespread.
In the game, we gather information by searching through items and gradually piece together the whole story. At first, I thought the game was a horror game, but as the mystery was revealed, I gradually discovered that the story was about a beautiful yet secret love story. I found this interactive experience of gradually solving puzzles very captivating, and time flew by without me even realizing it.
WEEK10
如何使用shader营造表面波光粼粼的效果
解决级联阴影错误的问题
解决材质贴图无法导入unity的问题：自己重新烘焙贴图和法线
如何使用shader制作真实的投影和投影接受效果
顶点动画shader制作海葵和海柳的摆动效果
体积光体积雾制作
How to import textures and control animations.
How to use shaders to create a shimmering surface effect.
Solving cascading shadow errors.
Solving the problem of textures not importing into Unity: Re-baking textures and normal maps.
How to use shaders to create realistic projection and shadow receiving effects.
Creating swaying effects for sea anemones and sea whips using vertex animation shaders.
Creating volumetric lighting and volumetric fog effects.
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