Ground
Works

Our team of forest scientists, landscape architecture faculty and students, and communications staff collectively develops virtual, embodied forest experiences. These experiences enable us to invite those who care about forest landscapes to think together with us about positive futures for our working landscape. Conventional decision making processes often aim to communicate static scientific information to constituents through data and written form, limiting the agency of individual recipients who are not offered avenues for meaningful contribution to the ideas they receive. Our work is a direct challenge to this dynamic, developing an alternative way of working that uses three-dimensional, visually immersive, artistic virtual reality models to create a shared space for iterative idea generation. In this shared space we welcome community members, landowners, policymakers, and many others to experience the virtual forest and share ideas about ways of sustainably managing the land towards a more sustainable climate future. Each of these groups has different and often competing goals that are not easily resolved through discussion and feedback processes such as community meetings or stakeholder focus groups. In contrast, the virtual forest has allowed participants to identify shared values about the working landscape which result in buy-in and connection to the land, its management, and others who care about the working forest. This has resulted in advocacy for sustainable forest management, adoption of sustainable forest management practices, and critical feedback which has helped the academic team to hone and refine our virtual forest models.

Watching and Dreaming is a body of work that enables the viewer to peer inside the “mind” of a machine to observe its perceptions, mind wanderings, and dreams. This is not a metaphorical representation of dreams, nor a technical exercise in AI such as DeepDream [1] but the realization of a computational model of dreaming informed by cognitive neuroscience. This level of description avoids biases towards Jungian and Freudian psychology that assume dreaming is exclusively human. Dreams should not be considered independently of the perceptual capacities of the dreamer, and thus comparing this model to human perceptual abilities is problematic. For the audience, these artworks function as entry-points to consider the constructed nature of perceptions and the continuity of waking, mind wandering, and dreaming. For the artist, the artworks are sites of knowledge-making; it is through the making of artistic works that the model (computational formalization) and theory (argument that situates the model in empirical knowledge) are developed. The research underlying these artworks integrates knowledge in multiple disciplinary dimensions: (a) The computational modeling of dreaming processes (Zhang 2009; Treur 2011), (b) generative and media artworks engaging with the concept of memory and dreaming (Franco 2007; Dörfelt 2011), and (c) the conception of dreaming as imagination (Nir and Tononi 2010). In this text, Watching and Dreaming (2001: A Space Odyssey) (2014) serves as an exemplar of the Watching and Dreaming body of work. The machine attempts to learn and predict Stanley Kubrick’s film 2001: A Space Odyssey through the construction of its own subjective perception that is the basis of dreaming. “Mental” images generated during perception, mind wandering, and dreaming are subjective constructions bound to the peculiarities of the machine’s way of seeing. The body of work constitutes various manifestations of the cognitive model, not attempts to communicate the model’s mechanisms.