Research and Critical Reflection： "Future World: AI Apocalypse" and "The Golden Age."

 

My Unit 3 research and critical reflection focus on the following questions, which have shaped my practice and will guide my future development.

 

1..Reflection on the selection and production process of unit 3 works.

2..Reflection on the problem existing in Unit 3 works.

3..Reflecting, Guiding, and Formulating Future Plans.

 

 

1..Reflection on the selection and production process of unit 3 works.

1.1. Why choose digital technology over traditional media?

Studying and researching during Unit 1 and Unit 2, continuously delving into production and research has broadened my perspective. I began contemplating the temporal limitations of traditional artistic media. The advent of the Internet era, coupled with the advancement of high technologies led by AI, has altered the societal landscape, exerting a profound impact on the realm of traditional arts. I came to realize that the transformations brought about by high technology and emerging technologies will fundamentally reshape contemporary art. This spurred my exploration into new domains.

 

The use of digital technology in the traditional field of art has gained certain advantages in contemporary society. Compared to traditional artistic media, digital technology offers a more expedient and convenient means of presentation, as well as a wider range of interactive possibilities. A series of new technologies led by VR and AI have expanded the scope that art can encompass, introducing additional potentialities. For me, the utilization of these new technologies not only aligns with my interests but also constitutes the pursuit of my research direction.

 

Studying game engines, AI painting, VR painting, and 3D modeling has solidified my confidence in using new technologies rather than traditional media. I aspire to be an explorer in this new era, venturing into uncharted territories, and creating novel and intriguing settings and content through the application of innovative technologies and concepts. Simultaneously, in the academic development of my work, I am determined not to limit my exploration of interests and imagination based on my specific field of study. I consider this aspect crucial, as it has always been the driving force behind my exploration and progress. Nevertheless, I still aim to integrate my creations with the knowledge and skills acquired in my field of expertise, thereby fully leveraging the strengths of my education.

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1.2. Why choose electronic gamification?

The gamification of art has been an integral part of my plans since before I embarked on my MA studies. My initial inspiration to explore gamification came from a critical reflection on my earlier work, "AI Apocalypse 2100". This piece, utilizing a game as its medium, employed visual outputs and gameplay positioning to convey its worldview and background story.

 

Upon further reflection, I recognized its shortcomings in terms of a limited understanding of gamification and incomplete utilization of digital technology. This realization prompted me to delve deeper into the process of gamification. Ultimately, in Unit 3, I chose to employ a computer game engine for the creation of my project.

 

After conducting a preliminary exploration of the gamification process in Unit 1 and Unit 2, I have come to realize the transformative impact it has on interactive methods and the enhancement of the overall interactive experience, marking a departure from the traditional art encounter. It can be contended that this constitutes an entirely novel mode of interaction hitherto unprecedented in the realm of pure art.

 

Within the gamified mode, visitors are steered into the perspective of "players," as opposed to their previous role as mere "observers." This implies that visitors can directly engage with the core content of the artwork, interact with it, and even effect changes, allowing them to evaluate, critique, and appreciate the work from the standpoint of a "creator."

 

The efficacy of this mode is patently evident: the immersive quality of adopting the identity of a "player" enables visitors to truly cast aside external distractions and fully immerse themselves in the world of the artwork. They can dedicate their full attention to listening, experiencing, and contemplating the comprehensive content presented by the artwork. This level of immersion is akin to participating in a game in earnest, representing the foremost advantage inherent in both the game itself and the process of gamification. As the depth of gamified content deepens, this advantage will continue to intensify.

 

Furthermore, the process of creating gamified works and the subsequent retrospective reflection has revealed to me another crucial function of games: the ability to simulate the real world. This simulation of the real world extends beyond the typical representation of a phenomenon from reality in games, experienced through gameplay design and balance. It entails a genuine contemplation of why a game exists and gains popularity, originating from the essence of the game itself—a contemplation of human nature.

 

As we know, the principles of light reflection have led to the emergence of puzzle games centered around this phenomenon. Similarly, the advent of firearms and historical forms of warfare has given rise to games with themes revolving around war and shooting. The popularity of these themed games stems from their ability to tap into attributes of human nature such as curiosity, greed, and brutality. The formulation of game rules further reinforces this effect. This implies that games can easily engage in dialogue with and empathize with humans. Moreover, they can potentially alter human thought processes through metaphor and implication. While this may sound somewhat daunting, viewed from a different perspective, it endows games with the capacity to offer more compelling, constructive suggestions and contributions to the alteration, influence, and cautionary aspects of human societal development through dialogue.

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1.3. What is AI misuse? What potential consequences can arise from AI misuse? How might it impact future societal structures?

In Unit 1 and Unit 2, I realized the potentially catastrophic consequences of AI misuse but did not delve into the motivations and underlying causes behind such misuse. The answer lies in the research presented in Unit 3. The paper titled "AI Assistance in Rebalancing the Labor Market in an Aging Society" by Hu Yin Yan and Chen Mo (DOI: 10.16775/j.cnki.10-1285/d.2022.06.013) examines the impact of the aging population on the development of the AI market. The paper argues that an aging society poses challenges to labor market equilibrium, while the rapid advancement of artificial intelligence makes it possible for humans to tackle the issues posed by an aging population in the future. The paper analyzes the opportunities brought about by the rapid development of artificial intelligence in the labor market, as well as how this technological tool can be leveraged to support labor market reform.

 

It can be argued that utilizing AI as a solution to address the challenges of an aging population is a forward-looking and enticing proposal that addresses a pressing contemporary societal issue. However, it also represents one of the greatest risks of AI misuse. Therefore, I have chosen it as the starting point for the worldview and background story of my work. By intensifying the issue of an aging population, I aim to create a resonant and authentic worldview and background story that implicitly encourages individuals to proactively contemplate the root causes and development of AI misuse.

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1.4. Why create a background worldview? What kind of thinking do I want to convey through the background and worldview?

The purpose of creating a background and a worldview is to convey specific thoughts or concepts through them. By establishing a unique background and worldview, I can create a distinct environment that guides the audience or players to explore and understand the work within specific modes of thinking or emotional states. This approach allows for a more profound and impactful conveyance of the message I intend to communicate to the audience. The background and worldview serve as the foundation of the work, providing it with depth and emotional resonance, enabling it to transcend surface-level interpretations, and prompting individuals to contemplate and experience specific themes or concepts.

 

The "Golden Age" serves as the subsequent development of the story, carrying the climax and marking the onset of conflicts. The efficiency and safety brought about by AI in production illustrate the potential of technological advancement in addressing practical problems, while also introducing a dialectical discussion on the use of AI.

 

Subsequent awakenings of AI, the struggle between humans and AI, and the existence of the Mechanical Church provoke reflections on the societal status and ethical issues concerning AI, highlighting the current ethical and power distribution dilemmas in technology.

 

In summary, I aim to trigger discussions on crucial topics such as the interaction between humans and technology, power distribution, and ethical considerations by reflecting on real-world societal issues and technological developments. Through the twists and turns of the plot's development, a profound narrative is presented, encouraging individuals to contemplate the intersection of future technology and society.

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1.5. Why do the faction images differ? How can the faction images be connected to the social ideologies they convey?

Human beings are social creatures, and individual individuals form connections with numerous other individuals in their daily activities. Recognized individuals form different groups. Social Identity Theory suggests that a person's self-identity is influenced by the group they belong to, thereby affecting their behavior and interaction within the group.

 

Different groups give rise to different voices and values, ranging from nations and regions to families and circles of friends. Once values are established, inevitable conflicts arise with other value systems, leading to wars and politics.

 

The differentiation in the images of different factions has been shown to originate from human social identity and group identification, as indicated by research in history and social psychology (Tajfel, H., & Turner, J. C., "Group Identity and Its Impact on Perceptions and Behavior," British Journal of Social Psychology, 1979). The disparities in faction images primarily stem from the ideologies, values, and historical backgrounds unique to each faction.

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 In the field of game design, the differentiation between factions is often more pronounced, expressed through distinct styles of clothing, color schemes, and even different biological characteristics, creating many future-style totems with distinctive features. In Unit 2, I summarized these future styles.

 

In Unit 3, starting from the different values, beliefs, and cultural traditions of each faction in the background story, I gathered various visual symbols that represent the values and beliefs of each faction through the internet, exhibitions, and books. Additionally, it is important to consider how each faction forms different organizational and value systems based on their beliefs, cultural traditions, and survival needs when facing a world in collapse and scarce resources. This ultimately results in visually distinct unit images that can be easily recognized.

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1.6. How to Engage in a Dialogue with the Audience Through Gameplay?

Pippin Barr is a game designer and artist known for his ability to engage with audiences through gameplay. He is renowned for creating art games with distinctive mechanics and thoughtful content.

 

One of his works is "Let's Play: Ancient Greek Punishment: Edition." In this game, players assume the roles of characters from ancient Greek mythology undergoing various forms of punishment, offering a firsthand experience of ancient punitive practices.

 

 

 

 

 

 

 

 

 

 

 

The gameplay and rules of the game are relatively straightforward. Players take on the roles of different mythological figures subjected to specific ancient punishments. Control over the characters' actions is achieved through input devices such as keyboards or mice. For example, in one scenario, players play as Prometheus, who is imprisoned within a boulder. Players use keyboard inputs to simulate Prometheus' struggles and efforts. The game's rules are not overly complex, primarily requiring corresponding actions based on each character's circumstances. Through this game, the artist aims to provide players with a direct experience of the narratives within ancient Greek mythology, thereby creating an art piece with a distinctive experiential and contemplative quality. The game's simple mechanics and unique theme enable players to gain a more intuitive understanding of ancient culture and history.

More about "Let's Play: Ancient Greek Punishment: Edition.": https://www.youtube.com/watch?v=4JZmr6WBMk0

 

His works, including but not limited to the aforementioned game, have inspired and shaped my approach to gameplay design. Building upon my research in Unit 2 regarding game design direction, I have begun to develop simple yet engaging gameplay.

 

To excel in gameplay design, I began conducting independent research in the field of game design. This aspect will be elaborated further in the additional context section. I won't go into extensive detail here. In summary, after thorough research and exploration, I concluded that the gameplay concept of a strategy board game aligns best with the world and background story I have created. Drawing from my own gaming experience and research findings, I began to formulate specific designs for the gameplay.

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Stemming from the reasons behind conflicts arising from survival and conflicting values among the five factions, I have designed the gameplay to center around flag-based battles. Additionally, I have implemented basic numerical distinctions for units within each faction to enhance the game's enjoyment and strategic depth. Rather than focusing on the combat system, I have emphasized resource acquisition in the game design. I aim to convey the narrative of humanity's unwavering belief and courage when confronted with a collapsing world and scarce resources, by encouraging players to continuously vie for resource points.

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1.7. Why choose to create a large-scale digital print? What does this artwork aim to convey? How does it relate to gamification?

During discussions with my instructor regarding the exhibition pieces for the MA show, I received valuable inspiration for an exhibition that integrates both gaming and printmaking expertise. Specifically, starting from the images of different factions, I aim to explore their respective living environments and historical backgrounds. Through a large and intricate artwork, I intend to comprehensively convey the worldview and background story I introduced in the game.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

"The 'Dürer Maximilian Triumphal Archs' refers to a series of woodcut prints created by the renowned German artist Albrecht Dürer in the early 16th century. These prints were commissioned by the Holy Roman Emperor Maximilian I to commemorate his life and achievements. The series consists of 36 individual woodcuts, each showcasing different aspects of Maximilian's reign. The designs are characterized by their meticulous attention to detail, intricate ornamentation, and skilled craftsmanship, which are typical of Dürer's artistic style."

 

The immense woodcut artwork captivates me not only with its intricate details and refined design, but more significantly, by its depiction of the life, military conquests, and achievements of the Holy Roman Emperor Maximilian I, seamlessly integrating his life's accomplishments into a singular composition framed within a grand "triumphal arch" structure. For me, my creative endeavors similarly spring from the narrative concept, of telling legendary tales. Dürer's practice aligns remarkably well with my vision for personal work, spurring thoughts on expanding the worldview. I embarked on exploring the emergence of different factions and the development of societal concepts within the worldview I created. Ultimately, I settled on the period referred to in the storyline as the "Golden Age," aspiring to depict a futuristic urban life scene to complete my artistic creation.

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The choice to depict the urban life scene from the "Golden Age" of humanity is aimed at reimagining the envisioned future urban life, incorporating images of the five factions into the composition. This endeavor seeks to imply and guide viewers to unleash their imagination, envisioning the emergence and development process of factions during the "Golden Age" period, as well as the roles, value systems, and positions they assume.

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Eduardo Paolozzi (1924-2005) was a Scottish sculptor and artist considered one of the pioneers of the Pop Art movement. Born in Leith, Edinburgh, Paolozzi's work spanned a wide range of media including sculpture, collage, printmaking, ceramics, and film. Paolozzi's art often incorporated elements of consumer culture, machinery, and popular imagery. He was known for his innovative use of found objects and collage techniques, which played a significant role in the development of Pop Art.

 

His works excel in using rich colors to piece together everyday urban life through techniques like collage, creating a complex, map-like overall picture. In his creations, he greatly enjoys conveying a storytelling experience to the audience through the utilization of urban architecture, daily life objects, and depictions of human figures. This creative philosophy of his significantly supplements my lack of understanding in artistic expressions related to the contemporary and modern fields. It provides me with a much more abundant pool of reference experiences and theoretical guidance in further developing my work, "Golden Age," which primarily revolves around the theme of futuristic cities.

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Another Artist：

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Paul Noble is a prominent contemporary artist from the United Kingdom, known for his unique painting style and works. His creations are renowned for their intricate and complex details, absurd humor, and profound insights into contemporary society.

Noble is acclaimed for his meticulous attention to detail, often featuring intricate cityscapes, architectural structures, or enigmatic fantasy worlds in his works. Each piece is filled with precise and subtle details, inviting viewers to carefully savor and explore.

His works also often exhibit a sense of absurd humor and exaggeration, providing viewers with a peculiar and entertaining visual experience through exaggerated forms and scenarios.

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Pablo Bronstein is a highly acclaimed contemporary artist known for his diverse range of artistic expressions and unique interpretations of historical architecture. Born in Argentina, he currently resides in London.

Bronstein's works incorporate various art forms including architecture, painting, sculpture, and performance, showcasing his profound understanding of both historical architecture and contemporary spaces. He is recognized for his distinctive approach to reimagining and reinterpreting ancient architectural elements, placing them within modern contexts to create a unique artistic experience.

His pieces are characterized by precise geometric shapes, symmetrical structures, and intricate lines, presenting a unique visual aesthetic. Through his reimagining of space and structure, Bronstein prompts viewers to contemplate the relationships between architecture and society, history, and the present day.

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1.8. How Do I Utilize AI-generated Art to Enhance the Production of Personal Works in Practice? What Are the Advantages of This Approach?

In Unit 2, I discussed the potential of AI painting as a tool, and I attempted to incorporate AI painting as an inspirational aid and assistant in my work production in Unit 3. In the realm of gaming, I utilized the AI's image generation function to input the images of faction units that I had drawn, iterating them into illustrative character portraits and background story visuals.

 

This idea is inspired by the Turkish artist Refik Anadol, who is known for creating artworks by leveraging the advantages of AI-generated imagery.

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This is part of his notable work "Machine Hallucination," he utilizes deep learning algorithms and processes over 100 million images of New York City, resulting in a captivating and ever-evolving visual projection. He repeatedly transfers these images to different AI for iterations and expresses them in forms such as images, music, scenes, animations, etc. Although the outcome may be quite different from the feeling I originally envisioned, this production process provided me with valuable guidance.

 

Due to the difference in software and technical proficiency, I may not be able to generate over a million images using AI deep learning algorithms like he does at the moment. However, it's still very feasible and worthwhile to use the basic image generation mode with my inputted artwork. I can continuously iterate and generate outputs using this method, allowing me to expand from a single piece to a hundred.

 

In this process, a significant aspect is that I not only need to input image data, but also provide a segment of text to constrain the logic and content generation of the AI, specifying details such as form, color, composition, proportion, and other meticulous elements. The writing of this text is a repetitive process throughout the iterative generation. It refines and improves continuously based on the generated results. This process happens to be a continuous critique and self-reflection, much like what I am currently writing in this critical reflection. Through the continuous feedback patterns, the AI compels me to constantly reflect on the scope and precision defined by the text, leading to ongoing improvements. Expanding the content of the text provides me with a deeper understanding of my ideas and practices and a clearer sense of direction.

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Therefore, when creating the artwork depicting the "Golden Age" cityscape, To fully harness my imagination and creativity, I chose not to engage in direct hand drawing. Instead, I employed AI painting and autonomous learning akin to the artist Refik Anadol's approach to iterate, assemble, and fuse the city images present in the scene. The latter, being an artist in the field of machine learning, builds art by iterating images using AI and combining them.

 

I manually sketched out some rudimentary original forms of architectural images. Simultaneously, I fed the generated game character images and past works into the painting AI, instructing it to imitate and iterate in my painting style. The iterated image materials, after undergoing my selection, were ultimately fused with other elements through assembly. Since this artwork was created through digital drawing, it had no boundaries. After completing all the content in the center, I continuously expanded the dimensions of the entire piece. In my conception, this artwork could continue to expand until it encompassed the entire world.

 

This approach encouraged my exploration of the potential of AI painting. I realized that the judicious use of AI painting enables me to more efficiently and boldly experiment with innovative ideas, affording me more opportunities for trial and error, reflecting on my ideas and goals to make them more precise.

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1.9. What makes my work effective/exciting? How is its originality manifested? How does it differ from the external environment?

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My perspective is that evaluating whether a work is exhilarating depends on five key aspects:

1. Uniqueness and Originality: Assessing if the work possesses distinctiveness and originality.

2. Emotional Resonance: Examining if the work can evoke emotional connections.

3. High Level of Technical and Artistic Skills: Gauging if the work showcases advanced technical and artistic proficiency.

4. Alignment with Theme: Considering if the work harmonizes with its intended theme.

5. Engagement with the External Context: Evaluating how the work interacts with its broader context.

In my practice, I endeavored to integrate gameplay itself, rather than a mere gaming framework, with artistic practice. This fusion, relatively unexplored in my previous artistic endeavors, aimed to dissolve the boundaries between game design and artistic expression. Regarding originality, I effectively amalgamated existing resources from artists and various facets of game design into a creation fueled by personal imagination. For instance, I drew inspiration from the design principles of the game "Into the Breach," establishing a wholly new game system based on a core rule. However, this system differs fundamentally from "Into the Breach" and is rooted in my research and the world I constructed.

Notably, the inspirations drawn from artists' works were all driven by this core principle. A significant divergence lies in the use of digital media versus traditional paper-based media. The former allows for extensive experimentation and expands constraints on composition, affording me greater freedom in unleashing imagination. However, my work falls short of achieving groundbreaking originality, fundamentally relying on the repurposing of existing resources.

In terms of artistic expression, my work effectively portrays the visage of a futuristic world through vivid colors and complex, diverse unit/architectural imagery. About the theme, the work demonstrates a high degree of alignment, characterized by a rigorous world-building backdrop and scientifically designed factions. However, in terms of conveying ideas, the work leans excessively on textual description or sound. It lacks in presenting a complete narrative through visual representation. This issue serves as a pivotal factor influencing the work's engagement with the external context and necessitates significant attention.

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In summary, my work provides an exciting experience in terms of unique conceptualization, thematic depth, and content presentation. However, there are significant shortcomings in terms of originality and the work's engagement with external dialogues.

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2..3..Reflection on the problem existing in Unit 3 works. & Reflecting, Guiding, and Formulating Future Plans.

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1. The work faces significant challenges in balancing game design and fine art, prompting deep self-reflection in my pursuit.

While engaging in the process of gamification, I acquired a wealth of new knowledge and theories. However, I found a deficiency in contemplating the integration of fine art and even printmaking into my work. Through discussions with various instructors, I embarked on a process of reflection, redefining my perspectives through an examination of my works in unit 3. This allowed me to reshape my understanding of myself, as well as refine my plans for future directions.

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Primarily, I discerned a disparity in the interpretation of personal work presentation between the games I create and the realm of fine art. To gain deeper insights into this discrepancy, I conducted an in-depth investigation into the personal works of artist Ian Cheng, encompassing his philosophies and methodologies.

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The core concept of artist Ian Cheng's work can be summarized as "Ecosystem Art". His creations aim to explore dynamic, ever-changing ecosystems and provoke the audience's thoughts and emotions by simulating and portraying the characteristics of these ecosystems.

Ian Cheng's works are typically based on virtual worlds or artificial intelligence entities, which are endowed with autonomy and decision-making abilities. He employs complex algorithms and programs to simulate the behavior of these entities, resulting in a presentation of self-evolution and self-adjustment.

In this way, Ian Cheng seeks to delve into the uncertainty, variability, and interactions within ecosystems. His works emphasize the intricate relationships among various factors in the natural world and reflect this complexity in the virtual realm, thereby prompting contemplation of similar dynamics within ecosystems.

 

I have found that the gamified elements utilized in Ian Cheng's works do not merely present the artwork in the form of a game. Instead, a series of technical components required for creating computer games, such as game engines, 3D modeling, animation, interactive game forms, and visual effects, are employed to achieve visual outcomes aligned with the artist's conceptual intentions. While it is true that visual elements in conventional games can be categorized to a certain extent as art, the fundamental distinction from Ian Cheng's expressive approach lies in the fact that all visual imagery in a game serves the game itself, whereas the gamified essence of art continues to serve artistic representation. This distinction in subject matter engenders different ideologies and visual effects. Consequently, an inevitable reality arises: to emphasize artistic quality necessarily entails a sacrifice of gameplay, and conversely, prioritizing gameplay unavoidably diminishes artistic merit. Due to my work's emphasis on gameplay, artistic elements have been somewhat lacking. This complex and challenging issue has prompted a reconsideration of my future direction, leading me to contemplate more deeply what I aspire to, wish to convey, and aim to create.

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As I mentioned at the outset, I am inclined towards not constraining the unfurling of my imagination and points of interest. It is crucial to engage in activities that I genuinely desire, rather than being influenced by external forces. I believe this is of paramount importance. The MA program has afforded me this opportunity. From the outset, the interdisciplinary nature of the program, particularly the courses on fine art and printmaking, emphasized the importance of uncovering personal interests and aided me in exploring and identifying my fascination with gamification and gameplay. Discussions with my tutor and critical reflection further reinforced these thoughts. Through continuous critical introspection of my work, I have gained a clearer understanding of my aspirations and expectations. In retrospect, I possess a strong inclination towards the field of game design. I plan to systematically study game design theory in the future to enhance my proficiency. Simultaneously, I have no intention of relinquishing the skills and knowledge acquired throughout the entirety of the MA printmaking course. I believe these skills can be invaluable to me. As mentioned earlier, through elevated artistic sensibilities and critical insights, I can garner a more potent wellspring of creative impetus, thus producing works of greater value. In my future endeavors, I still hope to explore gamified content that seamlessly integrates gameplay and artistic elements, leveraging my strengths to the fullest extent.

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2. The artwork lacks sufficient creativity, but it has provided me with a direction for exploration.

Upon reviewing the creative process of the artwork "Golden Age," it is discerned that it lacks a distinctive advantage in terms of creativity. While incorporating AI-assisted painting for iterative image generation in the realm of new technology, the fundamental process remains rooted in image rendering, without integration of interactive or influential techniques, resulting in a limited scope for surprising effects. In terms of content quality, despite the abundance of content, there is a deficiency in creativity and breakthroughs in architectural form, content representation, and overall composition. Consequently, it lacks sufficient narrative allure, and from any perspective, the work lacks novelty and standout features. Similar issues are evident in the production of game content.

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Despite these identified shortcomings, the emerging interest sparked by urban and architectural depictions combined with gamification offers a promising avenue for exploration. To address the creativity deficit, I conducted more in-depth research in this direction. Following numerous exploratory endeavors, the game "Monument Valley" provided a new perspective.

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"Monument Valley" is a puzzle game ingeniously employing pseudo-3D optical illusions. Its adept fusion, interweaving, deformation, and perspective manipulation of diverse architectural structures, complemented by vibrant and harmonious color schemes, endows it with both gameplay and strong artistic appeal. This paradigm largely guided my theoretical framework, prompting me to seek similar points of integration between gameplay and artistry. Examples include embedding clues and puzzle elements within a vast, intricate artistic image, akin to the gameplay in "Dürer Maximilian Triumphal Arches," employing a unitary dramatic structure, or incorporating interactive question-answer formats for progression. This approach appears to be an effective means of amalgamating gameplay and artistry. Although rooted in gameplay, I can leverage the skills and knowledge acquired from fine art courses. This represents a pivotal direction for my future explorations.

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3. The issues regarding the dimensions and media utilization of the exhibition pieces have prompted me to contemplate new media.

In the final exhibition of Unit 3, I became aware of the previous oversight in the initial planning of the exhibition layout. I initially planned to present the work through large-scale digital printing, hoping to communicate my ideas in this format. However, after discussions with my instructor, I decided to switch to presenting the work through television screens. Yet, regardless of which method I employed, there were still issues and shortcomings. The use of digital printing would lead to a disjointed appearance with other works in the exhibition due to issues of scale and content. On the other hand, using television screens presented drawbacks such as inaccurate color rendering and limited screen size. Furthermore, the exhibition piece was unable to fully convey the content of the gamified work. These deficiencies directly stemmed from the choice of medium I utilized. I had overly relied on the use of two-dimensional, static media, whereas gamification often leans towards three-dimensional and dynamic media.

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Rebecca Allen is an acclaimed artist known for her pioneering work in the field of digital and interactive art. Born in the United States, Allen has made significant contributions to the realm of new media art, particularly in the use of 3D environments to create immersive and interactive experiences for viewers.

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Ian Cheng "Life After BOB"：https://lifeafterbob.io/

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What captivated me most about artist Rebecca Allen was her utilization of 3D environments in creating personal works. Her pieces resemble a "level" in a game, allowing visitors to freely navigate within this pre-designed 3D space, much like players in a game. The entire 3D environment is constructed by the artist herself and, when coupled with music and sound effects, enables visitors to immerse themselves in the exhibition through various means such as projection, room envelopment, and virtual reality. Additionally, the use of 3D technology significantly reduces repetitive labor in the utilization of dynamic media. For instance, artist Ian Cheng's recent work "Life After BOB" created a 3D animation akin to a game demo using game engines and 3D modeling. The vivid animation narrates the story of an artificial intelligence existing in a virtual world created by virtual reality technology. This form of artistic expression brings about a remarkably notable breakthrough in visual effects. Therefore, I plan to delve further into the realm of 3D content, seeking to break away from my reliance on traditional media through the study of 3D modeling, computer programming, and other emerging technologies.