A research that processes English tweets with emojis and a data visualization on the use of Emojis on twitter, with regard to Sentiment, Spam, Combination & Position.
The project is based on a raw dataset of 18 million unprocessed English tweets with at least one emojis, as well as a file about the how these emojis are used in Twitter: how many are used in positive, neutral and negative tweets.
For the analyze of the data, I calculated the sentiment score for each emoji – if it is used more in negative tweets, then it is more negative than positive. Then, using Python's VADER and NLTK library, I get the text sentiment for each tweet. Other than that, I processed the data to get the average Position of each emoji, Combinations of emojis in each text, the number of times one emoji is Spammed in each text.
Therefore, for the project, it is a visualization of my result of the research mainly using d3.js library. It includes five different interactive graphs, each represents one aspect of my result.
“家” is a multimedia art book that chronicles my experience with intergenerational trauma within my Chinese American family.
Maya Yanjie Wang
My book exposes and chronicles intergenerational trauma within my Chinese American family. Three generations of my family’s history are recounted through interviews, poetry, photos, and paintings. Topics such as parent/child relationships, domestic abuse, mourning, and diaspora are addressed. I created this book not only to document and spark discussion about difficult and painful familial relationships, but also to reconcile my own experiences in an act of catharsis. The narrative progresses and regresses in a nonlinear way to reflect the true process of healing.
I invite viewers to interact with my work and think about their own experiences in tandem. Discussing family trauma is stigmatized, and when left unresolved, trauma manifests in dysfunction that is inherited by the next generation. The conception of this project stemmed from a desire to reconcile my own experiences, but it has developed into the creation of a metaphorical space where people can discuss and reflect on the shared issues and experiences of a minority identity. Art that comes from an honest and personal place has the ability to resonate with people and be a medium for self-reflection – despite the deeply varied human experience – because of universal themes.
The way home is a web-based interactive board game. In this game, players would play a character who was sent to an unknown world by accident and try to find the way home. The main goal for the player is to throw dice to move to different blocks and interact with upcoming events before reaching the terminal. This project presents multiple interactive methods including choices, mouse click, key press and more to lead players to diverse storylines and ends. In the process of the adventure, players would get to know more about this strange world and the character.
From Border to Border is an immersive Virtual Reality experience that explores nostalgia, growing up, and being ensnared by the past. The experience takes the form of a journey in three parts: The Sandbox, The City, and The Sea. Throughout this journey, the visitor is both propelled forward by a vision of the sea and called back by an idealistic picture of the sand. In the end, the visitor finds the sea and realizes it was not what they envisioned. They are adrift and helpless, with only one way out.
Please visit the project website to watch the film and learn more. This experience is best viewed through a VR headset on YouTube VR, but may also be viewed as a 360 video in browser.
An interactive face fortune telling/plastic surgery consultation that reflects on lookism and gwansang in South Korea.
Inspired by the cultural phenomena of lookism and gwansang, A Reflection on Lookism serves as a medium for users to question the significance of appearance in their daily lives. Lookism is appearance-based discrimination, while gwansang is Korean face fortune telling. Both are significant cultural aspects of South Korea, and I was particularly moved by the connection between the two. People feel the need to succeed and believe that they need to meet specific beauty standards to do so. As they undergo cosmetic procedures to improve their appearance and seek reassurance that their looks will be accepted by society, face fortune tellers cannot reaffirm this fortune, as their natural faces have been altered. I convey this irony through my consultation that is hosted on a simulated plastic surgery clinic website I created. The consultation is held virtually in a tent that is meant to mimic a fortune telling stall in South Korea, but with more “high-end” elements to give the professional feel of a clinic consultation.
The reason I combine both a clinic and stall is because when I enter fortune telling tents in Korea, there is a mixed feeling of hesitation and excitement because fortune telling, I believe, is mysterious in itself. As for the hesitation, trying to experience something that is so “powerful” and mystifying in such an unexpected tent seems strange. I want users to feel this emotion to capture the fortune telling experience. On the other hand, I also wanted to recreate the intimidation I feel when entering medical clinics. At times, I find going to a doctor intimidating. Everything is pristine and you’re suddenly hyper-aware of your medical knowledge and lifestyle habits. I want users to also feel this type of uncertainty that I feel when I go to medical clinics.
We all gotta get involved. As victims, participants, and spectators.
“Break the Silence” is a video installation that recreates the scenario of the seemingly harmless interactions with strangers in our life could have significant and pervasive psychological costs for women that they might not even be aware of.
That attempts to bring awareness of the concept that as a result of these seemingly harmless interactions, the sense of comfort and security of our daily life became the desperate needs for some people.
Shape of Memory is an introspective VR piece explores what shapes of memory your loved ones take and the stories that become entwined.
Shape of Memory is an introspective VR piece based around the events leading to my grandparent’s marriage. Central to this narrative is the act of dwelling, waiting, and patience in the face of the unknown – an act that has defined our lives within this global pandemic.
I chose to build out this narrative for two reasons, one as a homage to the past, and two, as a message for the future. My grandfather passed this fall and I developed a tiny ritual of holding this red jade necklace he gave me the last time I saw him. When I hold this necklace, our histories overlay, the conclusion of his illuminating my current state, what seems to be my intermission.
You start this experience by entering my room and sitting at my desk, making sure not to hit your head on the frame of my lofted bed, under which you will sit. Once seated, you turn to face the wall, the headset on a thin white desk that spans the width of the room. To your right, from the undercarriage of my bed frame, hangs the red jade necklace. You put the headset on and the room transforms into it’s virtual self, the majority of the clutter and detail absent. What does remain is the necklace. You go to pull it, both virtually and physically. As you hold onto the necklace, the wall in front of you begins to shift to the side, revealing a long hallway with cloth draped on either side. The narration begins, and you begin to glide slowly down the memory lane of my grandparent’s story, as remembered by my mother in loving detail, and virtually reconstructed and distorted by yours, truly. Although I don't ask you outright, I am curious to know what shapes of memory your loved ones take and the stories that become entwined.
A social VR experience where you are challenged to identify if the interaction is with a human or with a pre-programmed robot .
Artifice uses virtual reality technology to explore human connection.
Two players are invited to participate in Artifice. At the beginning of the experience, both players put on their VR headset in separate rooms. A narrator explains their individual missions. Player One is asked to serve as the judge to observe three robots' movements with the goal of identifying the other human player. Player Two serves as a performer in one of the robot avatar's body. Their crucial task is to perform different activities in the hope of demonstrating humanness and distinguishing him/herself from other pre-programmed robots.Hopefully this experience will spark a conversation about the reasoning behind their decision-making and share their uncanny valley experience together.
Artifice invites two participants to explore an alternate reality that takes place in a post-epidemic world.. At Artifice lab, a tech company provides a service allowing human consciousness to be uploaded to a robot. This service is often utilized by family members of the deceased who are not ready to let go of their loved ones. After consciousness is uploaded to a new body, the person no longer has to worry about aging and illness. However, there are overwhelming demands for this service. In the beta program, the company could only select a few candidates to be uploaded. The candidates need to go through quality control calibration to make sure they are able to maintain their human movement with their new robot body. The company selects judges to observe their movement and make a decision on who is the most human human deserving to go out of this lab with a new body.
An interactive website features typography animation that inspires audiences to review why and how certain birds in modern urban life aren't living as birds but being objectified as food or products.
Vince MingPu Shao
Birds are everywhere in our cities. We eat chicken as food, keeping parrots as pets, and we see sparrows flying across the streets. Between all the living beings, birds are such a unique group of which that's so close to urban humans as three distinct roles: food, pets, and neighbors.
Though humans' needs for birds as products might never be gone, I hope one day all birds could just be flapping their wings as they're born to do. To achieve this wild goal, this interactive website – Chicken, Parrot, and Sparrow – is created to intrigue audiences to review and rethink why and how some birds are objectified as products, compared to the ones living as our neighbors, despite the fact that all of them are all birds born with wings.
Designed to target graphic design lovers, the backbone of this interactive website is a series of hand-coded typography animations consisting of the typeface Helvetica to visualize the processes of objectifying birds. In addition to the animations, the interactions and information on the website are designed and curated for audiences to keep thinking about our relationships with the birds after experiencing the website.