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From YouTube: How do you feel something you can't touch, and other questions in XR - GitHub Universe 2020
Description
Presented by Eliza Struthers-Jobin, artist & programmer, Independent
While imagining the hidden spaces that exist in the overlap between the physical and the digital, Eliza discovered a place neither quite here or there where she has set up shop. Using devices and digital intelligence as her tools, she explores our sense of play, and challenges our sense of presence and perception to bring us back to ourselves.
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A
All
right
so
hi
welcome
to
my
talk.
I'm
eliza,
I'm
an
artist
and
a
programmer
as
well
as
a
researcher
and
an
educator,
and
some
of
my
past
lives
include
a
brief
but
illuminating
stint
in
advertising,
as
well
as
a
fascinating
period.
I
spent
working
as
a
journalist.
I
was
there
on
the
cusp
of
social
media,
so
it
was
definitely
interesting
to
witness
the
shift
in
how
things
were
done
in
a
newsroom,
and
I
worked
for
quite
a
while
in
video
two.
I
wore
many
hats
in
that
industry.
A
So
that's
kind
of
the
overarching
theme
for
me
as
someone
who
is
a
self-taught
programmer
for
the
most
part.
Definitely
when
it
comes
to
you
know:
cg
I've
learned
to
really
appreciate
the
science
of
math,
and
you
know
all
the
funky
things
that
we
can
do
thanks
to
numbers
and
any
past
math
teacher
of
mine
would
probably
spit
their
coffee
out.
A
Hearing
me
say
that
but
yeah
and
I
can
go
in
so
many
different
directions
with
this,
but
in
particular
right
now
what
I'm
talking
about
is
shaders,
which
are
definitely
up
there.
For
me,
when
it
comes
to
things,
I'm
excited
about
and
kind
of
forever
obsessed
with
shaders
make
things
look
pretty
or
I
should
say,
shaders
make
things
look.
A
A
It's
just
so
crazy
to
me
to
think
that
I
can
use
like
the
rhythm
of
a
sine
wave
to
create
patterns
on
a
screen
so
yeah
and
just
a
quick
shout
out
because
she's
in
the
gift
with
me
to
aletheia
the
lovely
lovely
friend
of
mine,
with
whom
I
often
code
shaders
yeah.
We
get
together
and
kind
of
record
snippets
of
ourselves
coding
shaders
and
it's
a
lot
of
fun.
So
yeah,
I'm
equally
a
big
fan
of
collaboration
and
pair
programming.
A
I
use
this
tool
called
orca,
which
was
created
by
hundred
rabbits,
and
I
love
it
because
there's
just
very
sparse
kind
of
documentation,
it
kind
of
forces
you
to
just
play
around
and
explore
which
are
two
guiding
principles
in
my
work.
I
guess
it's
probably
become
pretty
clear
at
this
point,
but
yeah,
because
we're
not
here
for
rules
at
least
I'm
not
and
not
all
play
needs
rules
right
and
again
here
the
same
math
that
kind
of
governs
shader
coding
also
governs
the
frequencies
that
I
use.
A
A
So,
let's
talk
about
the
overlap
for
a
second,
I
spend
a
lot
of
time
playing
around
with
merging
the
digital,
with
the
real
I'm
really
interested
in
kind
of
hijacking,
or
I
guess,
repurposing
the
tools
that
I
use,
that
being
code
and
the
computer,
and
you
know
other
otherwise
binary
digital
tools
to
create
things.
That
kind
of
encourage
a
broadening
of
our
conception
of
what
here
versus
there
might
mean
as
well
as
you
know,
what
actually
generates
sensation
in
our
bodies,
we're
so
used
to
thinking
of
sensation
through
the
conduit
of
physical
touch.
A
But
things
are
not
always
so
explicit,
I'm
very,
very
curious
about
how
technology
can
be
used
to
get
us
back
in
touch
with
ourselves,
our
bodies,
our
present
kind
of
state.
So
often
we
hear
about
all
the
ways
that
technology
disconnects
us
from
each
other
and
from
ourselves,
and
so
I
became
interested
over
the
years
in
exploring
the
ways
in
which
it
might
also
be
used
to
kind
of
do
the
opposite
in
particular,
I'm
really
into
textures
and
playing
around
with
the
look
and
feel
of
things.
A
So
again,
shaders
come
in
handy
here,
but
you
know
making
something
that
simultaneously
generates
both
a
feeling
of
like
familiarity
but
also
alien,
like
it
feels
alien
enough
that
we're
provoked
in
some
way,
and
so
the
idea
is
to
confront
those
two
feelings:
those
two
sensations
and
there's
a
certain
charm
too.
I
think
to
creating
something
that
evokes
the
natural
world,
even
if
it's
just
like
really
subtly
but
doing
that
was
such
a
clunky
tool
as
like
code
and
a
computer,
you
know
but
yeah.
A
A
And
so
you
know
back
to
what
I
was
saying
like.
I
found
a
key
but
the
key
to
what,
while
to
jarring
people,
essentially
just
enough
that
their
head
kind
of
like
the
side
a
bit
and
maybe
their
senses
tingle,
you
know
in
such
a
way
that
that
they
find
themselves
called
back
to
present,
even
if
it's
just
for
like
one.
Second,
it's
that
second,
that
destabilizes
the
psyche
and
kind
of
tickles
our
intuition
and
makes
us
wanna.
You
know
reach
out
and
touch
what
we
see
and
yeah.
A
So
the
digital
hands
in
these
images
are
projections
of
my
own
hands
being
tracked
in
real
time
by
a
sensor.
You'll
also
probably
have
noticed
a
bit
of
a
bubble
theme
throughout
my
work.
I
really
like
soft
squishy
things
touchability.
If
that's
a
word
is
really
important
to
me.
There's
also
this
quality
to
bubbles.
A
There's
such
a
moment
of
pure
happiness.
It
was
like
just
really
cute
and
nice
to
see
and
so
bubbles
I
mean
they
kind
of
have
this
really
irresistible
pull
to
them.
So
yeah,
that's
the
hope.
Basically,
the
hope
is
that
people
are
enticed
into
reaching
out
and
reaching
into
or
feeling
drawn
in.
You
know
in
a
way,
and
maybe
it's
that
feeling
that
they
can't
quite
describe
they
don't
really
know
what
it
is
that
they're
feeling,
but
they
know
that
they're
feeling
something.
I
got
that
a
lot
with
this
demo
too.
A
This
is
to
furry
bubbles
and
the
different
textures
of
fur
of
hair
really
threw
people
off.
So
I'd
say
that
so
far,
I'm
not
you
know
totally
failing
in
my
endeavor
I've
gotten
a
lot
of
fun
feedback
from
people
that
my
work
made
them
feel
weird
which
to
me,
is
the
highest
compliment,
and
I've
also
gotten
that
same
kind
of
feedback
from
people
who
have
seen
but
not
directly
experienced
having
their
hands
projected
into
the
parallel
world,
which
is
so
great.
I
mean
to
me.
A
It
means
that
I
really
kind
of
accessed
that
asmr
space
and
yeah
having
a
physics
engine
to
mess
around
with
definitely
helps
with
that,
because
you
can,
you
know,
take
the
rules
of
the
natural
world
and
just
kind
of
mess
with
them.
You
know,
but
on
the
topic
of
touch
some
people,
actually
don't
you
know
like
being
touched
and
still
want
that
proximity
that
closeness
to
others.
A
A
A
So
it
was
just
a
lot
of
fun
to
work
on
this
all
together
and
we
ended
up
designing
something
that
basically
allows
us
to
draw
the
makeup
right
onto
our
faces,
as
well
as
on
each
other's
faces,
without
ever
touching
them,
so
that
physical
boundary
is
maintained
and
yeah.
This
is
a
bit
of
a
departure
from
the
face
filters
that
social
media
has
made
us
all
so
familiar
with.
A
We
chose
three
types
of
makeup.
Let
me
go
back
the
previous
slide,
because
I
think
it's
clearer
yeah.
We
chose
three
types
of
makeup:
each
with
their
own
kind
of
vibe,
like
stiff
diamonds,
jiggly
bubbles,
because
of
course,
insinuous
kind
of
flowery
vines,
yeah,
there's
something
just
really
special
about
applying
it
yourself
and
yeah.
It's
been
a
really
wild
ride,
trying
to
get
all
of
this
to
render
in
real
time
properly,
but
it's
been
really
fun
and
we
all
learned
a
lot
and
so
yeah
digital
playgrounds.
A
So
the
sensations
are
super
personal
and
individual,
like
here
you're
going
to
see
enos
and
I
connect
to
each
other
via
the
same
kind
of
little
tendril
there,
and
then
we
can
pull
it
apart
and
it
just
wants.
It
wants
to
touch
so
yeah.
That
was
a
fun
little
detail.
We
discovered
so
yeah.
Another
idea,
that's
pretty
front
of
mind.
A
You
know
worlds
just
beyond
so
to
me,
xr,
as
a
concept
really
allows
for
that
to
exist
and
be
explored
to
be
able
to
be
where
I
am
here
now,
but
also
be
in
there
in
that
somewhere
in
that
scene,
touching
something
which
creates
a
sensation
that
I
can
feel
in
my
body
here
now
right
like
that's
what
I'm
talking
about.
Let
me
show
you
a
clip
from
from
a
show
that
I
did
in
san
francisco.
A
A
So
it's
it's
nice
to
see
that
kind
of
like
letting
go,
and
you
see
it
a
lot
in
interactive
pieces
that
play
on
mirroring
movement
back
to
you
in
a
slightly
off-kilter
way,
adults
kind
of
turn
into
kids
again,
and
it's
just
so
great
like
for
a
moment.
They
access
this
really
inquisitive
kind
of
intuitive
space
of.
A
A
Yeah,
so
here's
a
little
montage
of
people's
hands
from
the
show
that
you
just
saw
a
video
of
to
showcase
the
many
approaches
people
have
when
confronted
by
something
like
you
know,
the
furry
bubbles
you
just
saw.
I
get
a
kick
out
of
this
slide
because
it's
always
super
fun
to
see
how
people
engage
with
your
work
and
also
it
just
kind
of
drives
home
the
point
that
everyone
approaches
things
so
differently
and
plays
differently
and
that
that's
totally
fine
and
in
fact
that's
kind
of
the
point.
A
A
But
part
of
your
body
is
in
there,
but
it
doesn't
quite
move
the
same,
and
so
it
might
solicit
some
surprising
feelings
from
you
again,
like
that's
the
goal
right
and
yeah.
I
have
a
really
great
clip
I'd
like
to
share
an
extended
clip
from
the
same
show
of
one
of
the
attendees
kind
of
experiencing
all
of
the
feels
like
she
goes
through
the
gamut,
and
I
think
it
just
really
illustrates
what
I'm
trying
to
say
properly.
A
A
I
made
them
extra
thick
for
the
occasion
it
was
a
lot
of
fun
and
it
was,
as
I
was
starting
to
play
around
with
looking
glass
that
I
really
started
kind
of
toying
with
this.
This
notion
that
I
kind
of
demo
with
this
example
the
idea
of
breaking
the
fourth
wall,
it
kind
of
started
creeping
into
my
work
slowly.
You
know
just
this
idea
that
the
camera
lens
in
three
the
3d
scene
might
also
be
like
a
window
right
in
both
directions,
because
why
not
like?
A
Why
is
it
just
us
looking
in?
Isn't
that?
How
portals
usually
work
anyways
like
they
go
in
both
directions?
So
yeah?
I
just
like
the
idea
of
that
world
also
kind
of
being
able
to
at
least
feel
the
border
between
our
two
worlds,
so
yeah.
Maybe
it
isn't
just
about
us
kind
of
reaching
in
only,
but
also
of
them
kind
of
understanding
that
there's
a
reaching
happening
and
that
there
might
be
something
beyond
that
wall.
This
is
kind
of
a
smaller
looking
glass
device
and
yeah.
A
A
I'll
show
you
a
clip
from
burning
man
from
last
year
where
I
was
able
to
put
my
hands
up
on
a
huge
surface
and,
and
it
really
worked
out
with
the
play
on
on
scale,
it
was
pretty
fun
so
yeah.
We
basically
set
up
a
leap
motion
sensor
on
a
tiki
torch
and
I
found
some
really
long
cables
and
got
every
work.
A
Everything
working
and
it
was
just
a
really
special
place
to
show
art
and
especially
being
that
I
chose
to
put
the
eyeball
up
on
the
pyramid
and
the
nature
of
the
gathering
yeah
it
made
for
some
really
funny
conversations.
I
got
a
lot
of
hugs
tonight,
but
yeah,
given
the
nature
of
the
screens
for
the
exhibit
at
episodes.
I
opted
to
kind
of
swap
out
human
hands
and
use
the
building
as
the
interactive
element
instead
of
humans.
It
felt
like
the
perfect
place
to
kind
of
try
out
that
idea.
A
A
I
saw
I
saw
it
almost
as
kind
of
like
a
labyrinth
where
bubbles
could
kind
of,
like
you
know,
wander
and
bounce
around
and
sneak
past
corners
and
come
up
against
the
street
side
of
of
the
the
screen
as
well
or
kind
of.
I
guess
what
appears
to
be
like
a
window
between
our
two
worlds
and
just
kind
of
experiencing
it.
From
that
vantage
point,
I
just
like
the
idea
of
it
not
being
one-sided.
I
guess-
and
you
know,
there's
also.
A
I
guess
this
theme
of
like
bouncing
off
the
walls
that
just
became
ever-present
over
the
last
year.
In
my
work
and
at
one
point
yeah
over
the
last
couple
months
or
I
guess
over
the
last
year,
I
got
kind
of
overwhelmed
with
everything
that
was
happening
around
me
right
in
the
world
and
it
seemed
like
life
had
kind
of
turned
into
this
weird
bad
blockbuster.
A
A
I
guess
that's
like
an
artist's
choice
right,
but
at
burning
man
you
could
definitely
see
that
it
works.
You
can
definitely
like
throw
your
hands
up
and
have
them
be
like
eight
times
as
big
as
your
body
and
that'd
be
an
amazing
experience.
Scale
is
like
a
really
fun
fun
parameter
to
play
with
when
it
comes
to
eliciting
weird
feelings
in
people
so
yeah
using
technology
to
kind
of
trigger
our
own
awareness
of
our
senses,
depth
perception
of
space
scale.
A
I
almost
honestly
like
to
think
of
it
as
kind
of
like
tearing
a
hole
in
reality
and
kind
of
getting
a
peek
at
like
what's
beyond
the
veil
or
like
the
facade,
literally
right
and
also
kind
of
just
from
an
imaginative
space,
there's
so
much.
We
can
do
with
that,
especially
these
days,
like
everything
feels
so
unreal.
So
surreal,
like
whatever
your
brand
of
real,
is
at
the
moment
there
are
all
kinds
of
conversations
floating
around
about.
I
don't
know
how
we're
living
a
simulation
or
whatever
and
again
like.
A
A
I
guess
like
make
it
fun,
make
it
colorful
approach
things
playfully
highlight
the
ways
that
we
can
use
technology
in
more
playful
ways
that
connect
us
to
ourselves,
because
we
get
to
decide
how
we
use
it
and
what
we
make
with
it
and
working
with
3d
and
xr
and,
like
all
the
gadgets
and
devices
in
that
way,
like
rethinking
how
we
can
kind
of
be
in
this
overlap
and
how
we
can
move
within
it.
To
me,
it's
a
very
free
and
open
kind
of
space,
or
at
least
like
it
can
be.
A
For
me,
I
choose
you,
know
more
of
a
playful
intuitive
kind
of
space
and
just
you
know
opting
to
push
back
a
bit.
I
guess
against
all
the
ways
that
we
use
technology
against
ourselves
consciously
or
not,
and
just
kind
of
choosing
to
flip
the
script
in
my
own
little
way
and
putting
technology
at
the
service
of
our
senses
so
yeah.
Thank
you
for
coming
to
my
session.