
UTC, Time Zone Fri, Feb 21, 2025 at 1:00 am
Los Angeles, USA Thu, Feb 20, 2025 at 5:00 pm PST
New York, USA Thu, Feb 20, 2025 at 8:00 pm EST
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Beijing, China Fri, Feb 21, 2025 at 9:00 am CST
Tokyo, Japan Fri, Feb 21, 2025 at 10:00 am JST
Brisbane, Australia Fri, Feb 21, 2025 at 11:00 am AEST
The conference theme, “Curious Minds,” applies to both artists exploring new technologies and critics evaluating their effectiveness and meaning. Following our curiosity, we artists have misused systems, hacked devices, devised unusual algorithms and processes, and expressed new colors and forms. What motivates our curiosity, and what are the consequences of our efforts? Why obsess over something that no one else seems to care about, or doesn’t have immediate or practical value? Why do something that someone else finds disturbing? Why here and now? Why you? What roles do artists and critics have in shaping the future of computer graphics and interactive techniques? Explore how technology can both disrupt and unify, offering new ways to understand and engage with our multifaceted existence and curiosity.
The Art Papers from SIGGRAPH Asia 2024 in Tokyo are published in the ACM Digital Library.
2024. SIGGRAPH Asia 2024 Art Papers. Association for Computing Machinery, New York, NY, USA.

Data surveillance has become more covert and pervasive with AI algorithms, which can result in biased social classifications. Appearance offers intuitive identity signals, but what does it mean to let AI observe and speculate on them? We introduce AI-rays, an interactive installation where AI generates speculative identities from participants‘ appearance which are expressed through synthesized personal items placed in participants’ bags. It uses speculative X-ray visions to contrast reality with AI-generated assumptions, metaphorically highlighting AI’s scrutiny and biases. AI-rays promotes discussions on modern surveillance and the future of human-machine reality through a playful, immersive experience exploring AI biases.

This article discusses the conceptual underpinnings, creative process, and research methods used to create the immersive installation titled “bug in my software”. “bug in my software” reflects on tensions between gender, labor, and technology, by drawing parallels from the engineered lifecycle and genetically modified DNA of a silkmoth to the womxn-dominated textile labor industry and gendered biases embedded in AI development. The project combines textile installation, XR, and a screen-based speculative ecosystem simulation. Here, the silkmoth – both organic and engineered for silk production creature – is a proxy to examine the relationship between gender, labor, human and non-human intelligence.


“Cinema Meowdiso” is a system that utilizes generative AI to transform daily footage captured by pets into short films across various genres. This project explores the potential of non-human entities as narrative agents and examines how AI can autonomously create stories with human guidance. An automated visual story generation system based on non-human perspectives is proposed, aiming to provide a novel fictional narrative experience that resonates with real-life footage.

Nature: Metaphysics + Metaphor (N:M+M) is an art experience and exhibition that explores the intersection of Nature, Art, Man, and Technology. This immersive experience aims to bridge physical and digital, tangible and intangible, and ephemeral and persistent in mixed reality arts through new interaction and visualization methods. The performance was presented in front of an audience of 50 people, during which the artists constructed a physical-digital artwork that became part of a subsequent exhibition. This paper describes the rationale, creative approach, and technical contribution behind this work while reflecting on audience feedback and future directions.


The “Pulse Memorial” is a participatory art installation exploring multichannel web audio streaming, data sonification, and field recordings to address queer grief and erasure. Inspired by Toni Morrison’s concept of “disremembrance,” it offers an immersive sonic experience fostering collective remembrance. Sound is generated by combining data sonification and field recordings into an 8-channel score, then transmitted via WebRTC to participants—one channel per device—for a multi-channel sonic event. This project transforms memorials from passive, site-specific events to community-driven experiences. It provokes curiosity about digital media’s role in preserving cultural memory and amplifying marginalized voices.

This paper explores an interdisciplinary art project centered on the history of the sugar industry in Taiwan and Japan. The project integrates sound, imagery, and performance installations to create an immersive experience. Central to the study is Tale of Tale, the musical component of two interconnected works, Another Capital Beneath the Waves and Crystal Seeding, which blend electronic music with historical soundscapes and traditional performances. The project employs newly designed instruments, real-time electronic music, and immersive audio, recontextualizing traditional elements such as Taiwanese glove puppetry and Japanese Bunraku music, offering a rich, multi-layered historical and cultural experience.

Figuratively speaking, when two surfaces, such as human skin and an object’s outsideness, deliberately interact – a third, collateral, and temporary surface is created. This work presents an artistic framing of tactility as a third surface: a tactile co-memory generated through tactile interactions in a Co-creative Practice between humans and nonhumans. In this practice, human and nonhuman tactility is documented through drawings and imprints, ultimately translated into haptic expressions. Understated Haptics demonstrates an artistic intersection where haptic artifacts and more-than-human prospects are critically considered in anticipated creative processes.

This research articulates a technical, artistic, and cultural evolution of Chinese Calligraphy Shufa 书法 from the traditional two-dimensional, material-based expression to a novel digital three-dimensional form within virtual reality. The paper is structured as a series of cross-disciplinary experiments amalgamating the essence of the traditional craft with today’s possibilities in computer-human-interactions. Each is evaluated and discussed with an established traditional calligraphy master Law Ching-Bor. We attempt to write calligraphy with choreographed whole-body gestures, translating these movements into dynamic, three-dimensional strokes of digital Shufa. The investigation details the scribing, interpreting, and experiencing multi-character calligraphy in a volumetric VR context.

Yuichiro Katsumoto is an artist and educator based in Saitama, Japan. He explores and expresses letters and images by experimenting with linear objects such as strings, ribbons, and springs.
Humanity has created art through writing and drawing. In this process, we have mastered the technique of compressing the world into two-dimensional lines. Katsumoto seeks to reverse this compression, bringing these lines back into physical space to create kinetic typography and motion graphics.

Victoria Szabo is a Research Professor of Visual and Media Studies at Duke University, and directs the PhD in Computational Media, Arts & Cultures and the Certificate in Information Science + Studies. Her work focuses on immersive and interactive media for digital humanities and computational media art. She is co-lead of Psychasthenia Studio, and artists’ games collective. She was Chair of Art Papers at SIGGRAPH Asia 2023 in Sydney and will be Art Papers Chair for SIGGRAPH Asia 2024 in Tokyo. She is also Chair of the Art Advisory Group for ACM SIGGRAPH and a member of the Digital Arts Community Committee.