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\noindent
Helsinki University of Technology \hspace{6.0cm} 10.4.2000\\
Telecommunications Software and Multimedia Laboratory \\
Tik-111.080 Seminar on content creation \\
Spring 2000 Art@Science

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\LARGE{Telecommunications}

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\large{Tommi Ilmonen \\
43116F}

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\title{Telecommunications}

\author{Tommi Ilmonen \\
HUT, Telecommunications Software and Multimedia Laboratory\\ \\
\tt{Tommi.Ilmonen@hut.fi}}
\date{}

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\begin{abstract}

{\it Telecommunication technology has a major effect on the modern society.
Information systems are embedded in the objects of our everyday
life. With the emergence of the internet and wireless communication
virtual communities, companies, cultures are proliferating. It has
already been seen that the technology in question has been used for
purposes not originally imagined. Peoples' imagination exceeds the
design specs and aims of engineers. At the same time, artists are
scrambling to the new field. Age-old questions about reality,
virtuality, representation and presence are considered in relation to
the new transmission media and culture. At the same time engineers are
out to create ever more life-like models of reality.
}
\end{abstract}

\section{INTRODUCTION}

In our modern world telecommunication technology is having a major
impact on the society. Telecommunications -- the ability to
communicate quickly over vast distances -- is shrinking the world. It
is no longer necessary to go to a particular place to deal with
people. We have different channels available to us (mobile- and
traditional telephones, GSM short messages, www, gopher, e-mail,
ICQ...). These transmission channels support new ways to approach
people. Global communities are born in the Internet. People can be
online at home, work, bus, train -- seemingly anywhere. While the
engineering feat behind these changes is obvious artists also see the
new transmission media as an enabling factor. At the same time it can
be seen that co-operation between scientists and artists can provide
better art and better products. Better art, because artists get
cutting edge technology and better science, because artists can give
more meaning to the research and its goals - even facilitate in
creating new applications for technology.

This paper is based on the first chapter in the book
``Art@Science''. The chapter contains three essays -- ``Virtual
Communities: The Art of Presence'' by Philippe Quéau
(\cite{Queau_AS}). This essay considers the experienced presence of
communication. Maria Grazia Mattei examines some examples art that
uses telecommunication technology in her essay ``Telematic Art''
(\cite{Mattei_AS}). Ryohei Nakatsu advocates more thorough
consideration of the human aspects -- emotions in particular -- in
communication technology in the essay ``Image/Speech Processing
Adopting an Artistic Approach -- Toward Integration of Art and
Technology'' (\cite{Nakatsu_AS}). As the essays have different
background each essay is discussed in a separate section.

\section{THE ART OF PRESENCE}

Philippe Quéau takes up the topic of presence. Presence is one the
basic component of being together. Traditionally, we are used to being
physically present. In the current Internet people are being virtually
together in virtual environments. Such environments are multi-user
dungeons (MUDs), various chat and news services. These environments
have spurred virtual networks of artists, virtual companies and other
communities.

One approach to supporting these communities is to make more realistic
and life-like communication systems. Projects aiming for telepresence
via advanced 3D image reproduction techniques are working heavily on
this field. Quéau how-ever focuses on more philosophical questions
such as: What is presence, how can it be described and enhanced? How
do virtual reality and virtual communities relate to presence? Who is
present?

With the advent of virtual- and augmented reality tools and
communities these questions are becoming more important. Before we can
describe the difference between real and virtual we should know what
they are -- what is real? What is ``real'' value of yen? How is some
object real? How does representation relate to presence? An avatar can
be dematerialized and dislocated. Yet they provide us with a sense of
presence. How can this be?  We ``meet'' avatars that are mere
representations. 

Language itself is binding us here. In many languages (such as English
and French) these concepts are markedly different. As a
counterexample, Japanese has several words with more finegrained -
but still markedly granular -- meanings that cover the area between
presence and representation better.

Another topic is the existence of a mask. Mask gives as the aura of
being some one else.  Mask can represent anything, even that which
cannot be represented (god, universe).  What happens when one enters
virtual reality as an avatar? The avatar is a mask. To other people in
the environment the mask represents us. But the mask is not me. It
turns its carrier to someone else, diminishing the presence of the
person.

At the latter quarteer of the article Philippe describes exemplar art
works that comment the various forms of presence. He sees that art
might give answers about the nature of presence and
representation. One example are the photographs of Emmanuel
Carlier. Using multiple cameras, he freezes motion of bodies. His
pictures seek to find new territories from human body. Kitsou Dubois
in turn exposes bodies to abnormal environments like free fall (zero
gravity).

Quéau spends asks a lot of questions, but provides little
answers. Instead, he provokes discussion on the topic hoping that
people would turn to themselves and think about reality,
virtuality and communication.

\section{TELEMATIC ART}

Maria Grazia Mattei examines examples of telematic art. Telematic art
is the aesthetics of communication. The new media and digital
technology bring about a new phase the research of aesthetics. New
topics that are brought about are the transformation of various forms
of presence, the delineanation of a new phenomenology of time-space
and the creation of new kind of events.  Simultaneously the
relationship between man and machine is a topic often debated by
critiques and artists alike. Telematic art has sparked a lot of
discussion on many current themes: psychophysical mutation, the right
to wide-spread creativity, the development of pluralistic culture,
virtual images and objects and cultural mutations.

Mattei sees the new art is challenging the old. The new art is the
interactive, thought-provoking, multidisciplinary, ever-changing
art. Old is the top-down art -- the artist making a static work of art
and audience being a passive receiver. At the same time the new media
art is taking a different approach to technology. Rather than opposing
technology artists utilize newest technology to create new forms of
art. It is also often felt that keeping up with the society requires
the most modern tools and mechanisms \cite{Barrier_1998}. In this way
artists can lead -- rather than follow -- the direction of society
with their works. The technology should be the means, not the goal or
content.

Mattei examines older telematic art performances from the seventies
and eighties that are largely unknown today. The first project was
unleashed in 1976 -- Douglas Davis gave a performance that was cast
with satellites all over the world. The bold aim was to achieve global
real-time distribution of free thoughts from Houston Observatory. In
1977 fifteen hours of interactive transmission between New York and
San Francisco was cast. At the same time ``Satellite Ars Project''
created the first distributed performance between the east- and the
west coast of United States. At both ends there was a dance group. The
image of the groups was transmitted to the other location and
displayed there. In Europe, at the same time a program was cast to
more than thirty countries via satellite link.

From 1975 Sherrie Rabinowitz and Kit Galloway have worked on creating
new models of enjoyment where the performing arts were combined with
public participation.  Their work also derived the ``Electronic Café
International'' in Santa Monica, Los Angeles. There are plenty of other
examples as well in the article, but going thru each one is of little
interest. It is of interest to note that there is large number of them
- over twenty. All of the works are real-time systems and often
distributed with the aid of the telecommunications technology. Another
common feature is the heaviness of the systems -- they took a lot of
effort (money, time, work). This is partially caused by the age in
which they were made. What can now be done with a personal budget and
resources was once limited to people capable of getting direct control
of satellites and other costly high-end resources.

As a conclusion it might be said that telematic art has been with us
since the birth of the computer networks and modern information
distribution platforms (satellites etc.). While the art form has not
gathered too great audience it has had major effect as a creator of
debate and discussion.

\section{IMAGE AND SPEECH PROCESSING}

Ryohei Nakatsu discusses the possibilities that might emerge by
combining image/ speech processing techniques. These technologies are
developed at rapid pace by scientists. While the technical progress is
fast the human factors have been largely ignored.  This has caused
society-wide fear that technology will eventually make this planet a
grim and gray place to live in. Artists could reverse this development
by adding the human touch to technology. At many cases technology is
coming closer to human. Such applications are image and speech
processing. Image and speech are communication channels that carry not
only the obvious messages, but also tacit information -- emotions. New
communication technologies are needed to include human factors in the
communication model.

Taking human factors into account can also benefit the
technology. Current speech and character recognition systems treats
non-logical information like emotion and context as noise. In
character- and speech recognition the context of symbols is an
important cue in detecting the proper symbols. Using human factors can
improve the recognition results. Also one might be able to create
agents that can conduct hearty communication with humans.

Current systems are based on top-down approach that ignores great part
of human communication -- the deeper, more animistic parts. Artificial
intelligence (AI) researchers have always taken the top-down approach
-- studying only the highest levels of communication (language). When
one views human communication model (figure
\ref{f_communication_model}) it is obvious that that such a view is
limited. Logical information is only one part of communication. The
deeper levels of communication are interaction and reaction.  The
interaction layer maintains communication channels. It makes us nod,
control speech rhythm and tone. The reaction level is even further
down. It controls the most direct biological reactions like turning
away from strong light sources.

\begin{figure}[ht]
\centering
\epsfxsize=10.0cm
\epsffile{ communication_model.eps}
\caption{Human communication model.}
\label{f_communication_model}
\end{figure}

Systems should be designed with also the bottom-up approach in mind,
starting from the biological fundamental nature of human. Nakatsu sees
that combining these two strategies can yield better results than
either alone (Unfortunately he does not provide examples of such
research).

While scientists have isolated themselves from human experience, so
have artists. Artists have often taken the role of superior
creator. The information flow from the artist the audience has been
one-way. First artist does the work, then the audience experiences the
work. In the long history of art this approach has been refined and
improved, but the fundamentals have not changed. The emergence of
interactive art is challenging this is paradigm how-ever (figure
\ref{f_art_view}). Now artists are closer to the audience and also
listening to their reactions. The audience becomes active member in
the creation of art. As a result the information flow is two-ways and
true interaction is achieved.

\begin{figure}[ht]
\centering
\epsfxsize=10.0cm
\epsffile{art_view.eps}
\caption{Traditional art versus interactive art.}
\label{f_art_view}
\end{figure}

At same time the interactive art is in its infancy. User feedback is
usually limited to very mechanical channels -- pushing buttons for
example. The image- and speech processing technologies could help
achieve deeper and more natural communication between the art-work and
the audience. Thus time is ripe for collaboration between artists and
scientists in this field.

Scientists benefit since they can make systems with higher
performance. Artists benefit since they get new tools for the
interactive art works. These approaches also supplement each
other. Engineers have strong background for making analytical models
and observations of reality. In contrast artists can shed light on the
more ambiguous and deeper levels of existence.

Nakatsu gives examples of how they have combined the strong points of
scientists and artists in the ATR laboratory. In ATR laboratory there
are four kinds of teams. 1) Artists only -- artists that have
technical expertise to carry out their work. 2) Artists and engineers
-- artist-led teams where engineers provide technical expertise and
cutting-edge knowledge. 3) Engineers and artists -- Artists provide
final touch to the system to make it more human.  4) Engineers only --
typical engineering teams.

The first examples are the interactive installations done by Christa
Sommerer and Laurent Mignonneau. In these installations an interactive
environment acts as stage-setting and the audience can effect the
installation (typically artificial life systems). The mode of
interaction differs from normal computer user interfaces. In one work
the audience participated by touching living plants. The plants had
hidden sensors which were used by the system as control signal
generators. The visitors could grow the virtual plants with the motion
of their hands. All works of Sommerer and Mignonneau deal with giving-
and taking of life. As such they deal with the great myths birth and
death.

Another example is an emotion agent ``MIC \& MUSE'' (figure
\ref{f_mic}). In this project a virtual emotional character was
created. The agent is visualized in the form of a little child. While
many agent projects aim for intelligent and smart agent the MIC \&
MUSE agent aims to more human -- an affective and sensitive
personality. Besides emotions the character can communicate via
music. It can react to the voices of the people with piano
melodies. The agent uses various technologies to extract the emotional
content of the human's actions. These include neural networks and
speech processing. The agent is visualized with the aid of computer
graphics.

\begin{figure}[ht]
\centering
\epsfxsize=10.0cm
\epsffile{mic.ps}
\caption{Surprised MIC.}
\label{f_mic}
\end{figure}

Finally there has been a virtual Kabuki actor project. Scientists
created a model of a Kabuki actor's face movements. Another technique
was developed to extract the facial expression of any user. The user's
facial expressions can then be used to animate the Kabuki actor's
face. This way anyone can become a Kabuki actor. 

Face modeling is a difficult engineering problem; Signal processing
expertise and different data analysis methods are used when
transforming the user's face to Kabuki actor's face. This field is the
scientific challenge of the system. Artists created the face model to
add the artistic touch to the system. While the touch is small, it may
have the final polishing effect to turn the system from mediocre of
good. This is an example of engineering-led system with artists
providing the final touch.

In general it can be said, that co-operation between artists and
scientists can improve both the art and the technology. The makers
also benefit since get feedback from people who can give a truly
different view of the problem at hand.


\section{CONCLUSIONS}

There is a multitude of activity going on in the interactive/telematic
art- and science fields. When the two meet there is room for
extraordinary collaboration and unexpected results. We can expect the
see more fruits of such collaboration as new teams are working on the
area. Even now the art works are having major effect on how people
relate to both art and science.

\section{PERSONAL OBSERVATIONS}

Reading the articles I found some points I could not accept. In many cases
the authors' vision about art was narrow. Both in cultural and
historical view. An example can be found in Nakatsu's text. The
comparison between traditional art and interactive art requires more
thought. Nakatsu's view is illustrated in figure \ref{f_art_view}.

Throughout the book -- and highlighted in this example --
``traditional art'' equals western academic high art. Such view of
traditional art does not fit folk art or many performing arts -- which
certainly are traditional. Any conclusions based on such view is
likely to have limitations. At the same time the concept of art seems
to be largely limited to pictorial arts. In the same essay Nakatsu
claims that the audience is passive in traditional art.  Modern art
theorists certainly disagree with him. According to them nothing can
be received passively.  Even when reading a book the reader (audience)
is actively interpreting the work. One should also remember that the
artist is not alone. In the society artists are a group of people who
interact amongst themselves and with others. Communication models of
different media do vary. Figure \ref{f_alternate_views} displays some
alternate communication models. The first one might characterize many
interactive art works. Such diagrams are easy to draw and
permutate. There is little point in claiming one particular model is
the one that should be used. This is one reason we do have different
communication tools.

\begin{figure}[ht]
\centering
\epsfxsize=13.0cm
\epsffile{alternate_views.eps}
\caption{Alternate communication models with varying number of arrows
for communication.}
\label{f_alternate_views}
\end{figure}

Nakatsu wants to move the AI research away from the simple top-down
approach. The given communication model does not tell in an obvious
way what is ``up'' and what is ``down''. The image can be constructed in
different ways. One can claim the language level is really the lowest
level of communication since it is governed by the higher -- more
universal -- levels (interaction and reaction). To be fair, it is not
too important which way is up and which one is down. That they are
different approaches is the key point. An interesting tangent related
to speech processing is natural language processing. Natural language
processing (automatic translation, conversation agents) is very
concerned with the context and environment of the
communication. Besides art one could also apply this branch of science
with speech processing.

Mattei characterizes the new art as being capable of giving birth to
wide-spread creativity and pluralistic culture. Both claims need
justification. It is not at all clear that more people will be
creative in the future due to the new media.  Rather, more people will
be able to distribute the creative work they have done (for example in
the form of WWW-pages). The explanation behind the ``new pluralistic
culture'' is lacking. New subcultures and societies are born globally
in the Internet. Is this what is meant by the author ?

While the authors aim to discuss the focal point of art and science
there is tendency to accept technical aims as the most relevant
aims. Such concepts as photo-realism, real-time and low-latency do
describe the aim of many scientists and engineers. Such approach can
be found in Nakatsu's paper as he describes the advances in graphical
rendering techniques. Whether these are the things that are necessary
or required is not at all obvious. Symbols and metaphors can be used
to convey realism just as well as high-tech tools. This might well be
a worthy road for an artist-scientist to pursue. Other reality -- such
as virtual reality -- can be rendered with the pixels coming from
NVIDIA TNT2 chipset, but also with the voice of an experienced
story-teller. While the author seems to agree with such idea most of
the described systems are still clearly engineering-led.

Also the terms global and multi-cultural are often used in an
ambiguous way. These concepts are accepted and given as valid targets,
but the justification of such goal-setting remains open. Being global
has good and bad points that deserve consideration. What one really
wants is to maximize of the good features and minimize of the bad
ones. How to achieve this is one of the critical points in any
cross-cultural relationship.

In addition, the artworks presented as multi-cultural and global seem
to be tied to western industrial culture with little attempt to adapt
them to local culture and way of life. In her essay Mattei limits the
scope of consideration to such works of art. There are articles in the
book which use the terms global and USA-wide as synonyms.

Quéau's considerations do touch many important questions. He brings up
the convoluted concepts of reality, presence, representation and
virtuality. Besides asking questions it might be useful to give an
approach or two to them. While final answers do not exist the most
common approaches might be worth going thru. Again, comparisons with
older technology and social structures could be beneficial. Technology has 
brought about social changes before. Similar hopes and fears were raised at 
those times.

If I talk to someone on the phone I am listening to the speaker. We
are not physically together, but there is a link between us. Few doubt
the reality value of such conversation. This is well comparable to
meeting someone in virtual reality. It may not be necessary to rethink
everything as we enter the digital age. In virtual reality the
technology may brake down and the link may disappear. Such behaviour
describes all too well the normal operation of a mobile phone.

Another case: What is the impact of a mask ? While avatar is a mask so
are clothes and make-up. People assume different roles every day. One
can claim that role is a mask. The mask offered by virtual reality
avatar is technically different, yet it has the same purpose as the
age-old masks. Besides, mask is a two-way concept. While one can claim
that the mask is not me it can be equally well argued that the mask is
me. Without a mask, no one can perceive me -- I do not exist. Mask is
the face, the voice, the representation -- physical (body) or
electrical (avatar).  The topic has more threads than Quéau appears to
realize.

Let us then ask: What is virtual ? Is one of the following
communication channels more real than one other ? Talking to a person,
shaking hands, sending e-mail, chatting in IRC. Is one more virtual
than another ? It is not obvious that real and virtual are
opposites. Since the ``virtual'' has not been defined too well it is a
difficult subject and potential cause for major confusion. Prime
example is the use over-use of term virtual. While the tools use
virtual-reality technology the people doing it are just as real as any
other people. There no obvious need -- besides marketing hype -- for
terms like ``virtual networks'' or ``virtual friends''.

Giving definition of some kind does keep the considerations more
focused.


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