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Cailean Finn
2024-07-04 15:36:27 +01:00
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content/posts/beauty-and-the-beep.md
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@@ -27,6 +27,8 @@ Wondering who would buy an automated mechanical pet to assist and live in their
For this work, I collaborated with Simone C Niquille as a Creative Technologist. In the process of creating Beauty and The Beep, the chair was trained using reinforcement learning alogrthims in the Unity game engine. The training process took inspiration from Boston Dynamic's approach in the training of their SpotMini, as well as tradiontional (DeepMimic)[https://www.youtube.com/watch?v=vppFvq2quQ0] environments for Reinforcement Learning research. We chose to use Unity for this project, as it allowed us to work with the (ML-Agents Package)[https://github.com/Unity-Technologies/ml-agents] - an experimental Reinforcement Learning framework, which wraps complex reinforcement learning algorithms/methods into components which are more acessible for developers. Even though this package has been forgotten by Unity, for the most part, working with a user-friendly game engine was key in creating simuated environments for the 🪑 to explore.
Supported by Stimuleringsfonds Digital Culture Grant Scheme & the Canadaian Centre For Architecture.
![Beauty and the Beep - Treadmill](/images/beauty-and-the-beep/d_beep_9.jpg "Beauty and the Beep - Treadmill")
![Beauty and the Beep - Dumb Objects](/images/beauty-and-the-beep/d_beep_8.jpg "Beauty and the Beep - Dumb Objects")

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content/posts/dwelling.md
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@@ -32,6 +32,8 @@ Dwelling is a dynamic live performance and theatre installation created by (Pete
The virtual world was created entirely within Unity. Data was captured from Robyn's movement through various methods, such as the Perception Neuron mo-cap suit, as well as emerging monocular 3d human pose detection models. Unity's particle system was used extensively in the project, converting point cloud and positional data into emergent movement, and ethereal landscapes.
Supported by the Arts Council. Presented by Sparsile Collective and Once Off Productions. In association with Beta Festival, Cork Midsummer Festival and Carlow Arts Festival.
![Dwelling](/images/dwelling/dwelling-dancer.png "Dwelling")
![Dwelling](/images/dwelling/d_dwelling_10.JPEG "Dwelling")

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content/posts/moloch.md
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@@ -17,7 +17,11 @@ In a simulation sculpted by algorithms, Moloch emerges – a digital artefact cr
The sculpture contemplates the algorithm’s hidden desires that drive the agent to optimise endlessly in pursuit of a flawless policy - examining the computational sacrifice made in service to its inscrutable objectives. By examining Moloch’s influence, the work reflects on the irrational and self-destructive behaviours born from our digital entanglement with such relentless forces where the boundaries between human and machine desires converge.
The simulation runs in real-time and was created in the Unity game-engine. The simulation observes an agent while it trains to walk using various reinforcement learning algorithms commonly employed in early physically-based animation research. The script includes extracts from Howl (1955) by Allen Ginsberg, with the sound design by (Inwoo Jung)[https://www.instagram.com/_inwoo.j/].
The simulation runs in real-time and was created in the Unity game-engine. The simulation observes an agent while it trains to walk using various reinforcement learning algorithms commonly employed in early physically-based animation research. The script includes extracts from Howl (1955) by Allen Ginsberg.
Sound design by (Inwoo Jung)[https://www.instagram.com/_inwoo.j/].
Supported by the Arts Council, University College Dublin, Sample-studios, & Artlinks.
![Moloch](/images/moloch/moloch_3.png "Moloch")