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Planting Disabled Futures – A call for artists to collaborate

Planting Disabled Futures

OPen Call for Artist Collaborators

Author

Petra Kuppers

Petra Kuppers is disability culture activist and a community performance artist. She creates participatory community performance environments that think/feel into public space, tenderness, site-specific art, access and experimentation. Petra grounds herself in disability culture methods, and uses ecosomatics, performance, and speculative writing to engage audiences toward more socially just and enjoyable futures.


Her latest project, Planting Disabled Futures, is funded by a Just Tech fellowship.

In the Planting Disabled Futures project, Petra aims to use live performance approaches and virtual reality (and other) technologies to share energy, liveliness, ongoingness, crip joy and experiences of pain. 

In the development of the Virtual Reality (VR) components of the project, we will ask: How can VR allow us to celebrate difference, rather than engage in hyper-mobile fantasies of overcoming and of disembodied life? How can our disabled bodymindspirits develop non-extractive intimacies, in energetic touch, using VR as a tool toward connecting with plants, with the world, even in pain, in climate emergency, in our ongoing COVID world?

A watercolor mock-up of the Crip Cave, with Moira Williams’ Stim Tent, two VR stations, a potential sound bed, and a table for drawing/writing.

Petra envisions a sensory art installation equipped with a VR experience, stimming tent, a soundbed and a drawing and writing table. The VR experience would be supplemented by actors providing opportunities to engage with unique taste, touch and smell sensations as the environment is navigated.

A cyanotype (blue) and watercolor mock-up of what the VR app might look like: a violet leaf with sensation hubs, little white ink portals, that might lead to an audio dream journey

The VR experience involved in the Crip-Cave is expected to be tree-like environment that allows participants to select either a visual or an auditory experience. Participants can travel down to the roots and experience earth critters or up to the branches and into the leafy canopy. In both locations, “sensory hubs” would take participants on a journey to other worlds – worlds potentially populated with content produced by fellow artists.

A cyanotype/watercolor mock-up of little critters that might accompany you on your journey through the environment.

Artist collaborators are welcome to contribute their talents generating 3d worlds in Unreal Engine, reciting poetry, animating or composing music to create a dream journey in virtual reality. Artists generating digital content they would like considered for inclusion in this unique art installation can reach out to: [email protected]

To learn more about Planting Disabled Futures, visit:
 https://www.petrakuppers.com/planting-disabled-futures

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Fall 2024 XR Classes

Fall 2024 XR Classes

Looking for Classes that incorporate XR?

EECS 440 – Extended Reality for Social Impact (Capstone / MDE)

More Info Here
Contact with Questions:
Austin Yarger
[email protected]

Extended Reality for Social Impact — Design, development, and application of virtual and augmented reality software for social impact. Topics include: virtual reality, augmented reality, game engines, ethics / accessibility, interaction design patterns, agile project management, stakeholder outreach, XR history / culture, and portfolio construction. Student teams develop and exhibit socially impactful new VR / AR applications.

ENTR 390.005 & 390.010 – Intro to Entrepreneurial Design, VR Lab

More Info Here
Contact with Questions:
Sara ‘Dari’ Eskandari
[email protected]

In this lab, you’ll learn how to develop virtual reality content for immersive experiences in the Meta Quest, MIDEN or for Virtual Production using Unreal Engine and 3d modeling software. You’ll also be introduced to asset creation and scene assembly by bringing assets into the Unreal Engine & creating interactive experiences. At the end of the class you’ll be capable of developing virtual reality experiences, simulations, and tools to address real-world problems.

Students will have an understanding of how to generate digital content for Virtual Reality platforms; be knowledgeable on versatile file formats, content pipelines, hardware platforms and industry standards; understand methods of iterative design and the creation of functional prototypes using this medium; employ what is learned in the lecture section of this course to determine what is possible, what is marketable, and what are the various distribution methods available within this platform; become familiar with documenting their design process and also pitching their ideas to others, receiving and providing quality feedback.

UARTS 260 – Empathy in Pointclouds

More Info Here
Contact with Questions:
Dawn Gilpin
[email protected]

Empathy In Point Clouds: Spatializing Design Ideas and Storytelling through Immersive Technologies integrates LiDAR scanning, photogrammetry, and Unreal Engine into education, expanding the possible methodologies and processes of architectural design. Entering our third year of the FEAST program, we turn our attention to storytelling and worldbuilding using site-specific point cloud models as the context for our narratives. This year the team will produce 1-2 spatial narratives for the three immersive technology platforms we are working with: Meta Quest VR headset, MiDEN/VR CAVE, and the LED stage.

ARTDES 217 – Bits and Atoms

More Info Here
Contact with Questions:
Sophia Brueckner
[email protected]

This is an introduction to digital fabrication within the context of art and design. Students learn about the numerous types of software and tools available and develop proficiency with the specific software and tools at Stamps. Students discuss the role of digital fabrication in creative fields.

ARTDES 420 – Sci-Fi Prototyping

More Info Here
Contact with Questions:
Sophia Brueckner
[email protected]

This course ties science fiction with speculative/critical design as a means to encourage the ethical and thoughtful design of new technologies. With a focus on the creation of functional prototypes, this course combines the analysis of science fiction with physical fabrication or code-based interpretations of the technologies they depict.

SI 559 – Introduction to AR/VR Application Design

More Info Here
Contact with Questions:
Michael Nebeling
[email protected]

This course will introduce students to Augmented Reality (AR) and Virtual Reality (VR) interfaces. This course covers basic concepts; students will create two mini-projects, one focused on AR and one on VR, using prototyping tools. The course requires neither special background nor programming experience.

FTVM 394 / DIGITAL 394 – Topics in Digital Media Production, Virtual Reality

More Info Here
Contact with Questions:
Yvette Granata
[email protected]

This course provides an introduction to key software tools, techniques, and fundamental concepts supporting digital media arts production and design. Students will learn and apply the fundamentals of design and digital media production with software applications, web-based coding techniques and study the principals of design that translate across multiple forms of media production.

UARTS 260/360/460/560 – THE BIG CITY: Lost & Found in XR

More Info Here
Contact with Questions:
Matthew Solomon & Sara Eskandari
[email protected] / [email protected]

No copies are known to exist of 1928 lost film THE BIG CITY, only still photographs, a cutting continuity, and a detailed scenario of the film. This is truly a shame because the film featured a critical mass of black performers — something extremely uncommon at the time. Using Unreal Engine, detailed 3D model renderings, and live performance, students will take users back in time into the fictional Harlem Black Bottom cabaret and clubs shown in the film. Students will experience working in a small game development team to create a high-fidelity, historical recreation of the sets using 3D modeling, 2D texturing skills, level design, and game development pipelines. They will experience a unique media pipeline of game design for live performance and cutting-edge virtual production. This project will also dedicate focus towards detailed documentation in order to honor the preservation of THE BIG CITY that allows us to attempt this endeavor and the black history that fuels it.

MOVESCI 313 – The Art of Anatomy

Contact with Questions:
Melissa Gross & Jenny Gear
[email protected] / [email protected]

Learn about human anatomy and how it has historically been taught through human history covering a variety of mediums including the recent adoption of XR tools. Students will get hands-on experience with integrating and prototyping AR and VR Visualization technologies for medical and anatomical study.

ARCH 565 – Research in Environmental Technology

Contact with Questions:
Mojtaba Navvab
[email protected]

The focus of this course is the introduction to research methods in environmental technology. Qualitative and quantitative research results are studied with regard to their impact on architectural design. Each course participant undertakes an investigation in a selected area of environmental technology. The experimental approach may use physical modeling, computer simulation, or other appropriate methods (VR).

FTVM 455.004 – Topics in Film: Eco Imaginations
WGS 412.001 – Fem Art Practices

Contact with Questions:
Petra Kuppers
[email protected]

These courses will include orientations to XR technologies and sessions leveraging Unreal Engine and Quixel 3d assets to create immersive virtual reality environments.

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Fall 2023 XR Classes

Fall 2023 XR Classes

Looking for Classes that incorporate XR?

EECS 498 – Extended Reality & Society


Credits : 4
More Info Here
Contact with Questions:
Austin Yarger
[email protected]

From pediatric medical care, advanced manufacturing, and commerce to film analysis, first-responder training, and unconscious bias training, the fledgling, immersive field of extended reality may take us far beyond the realm of traditional video games and entertainment, and into the realm of diverse social impact.

“EECS 498 : Extended Reality and Society” is a programming-intensive senior capstone / MDE course that empowers students with the knowledge and experience to…

    • Implement medium-sized virtual and augmented reality experiences using industry-standard techniques and technologies.
    • Game Engines (Unreal Engine / Unity), Design Patterns, Basic Graphics Programming, etc.
    • Design socially-conscious, empowering user experiences that engage diverse audiences.
    • Contribute to cultural discourse on the hopes, concerns, and implications of an XR-oriented future.
    • Privacy / security concerns, XR film review (The Matrix, Black Mirror, etc)
    • Carry out user testing and employ feedback after analysis.
    • Requirements + Customer Analysis, Iterative Design Process, Weekly Testing, Analytics, etc.
    • Work efficiently in teams of 2-4 using agile production methods and software.
    • Project Management Software (Jira), Version Control (Git), Burndown Charting and Resource Allocation, Sprints, etc.

Students will conclude the course with at least three significant, socially-focused XR projects in their public portfolios.

 

ENTR 390 – Intro to Entrepreneurial Design, VR Lab


Credits : 3
More Info Here
Contact with Questions:
Sara ‘Dari’ Eskandari
[email protected]

In this lab, you’ll learn how to develop virtual reality content for immersive experiences in the Oculus Rift, MIDEN or for Virtual Production using Unreal Engine and 3d modeling software. You’ll also be introduced to asset creation and scene assembly by bringing assets into the Unreal Engine & creating interactive experiences. At the end of the class you’ll be capable of developing virtual reality experiences, simulations, and tools to address real-world problems.

Students will have an understanding of how to generate digital content for Virtual Reality platforms; be knowledgeable on versatile file formats, content pipelines, hardware platforms and industry standards; understand methods of iterative design and the creation of functional prototypes using this medium; employ what is learned in the lecture section of this course to determine what is possible, what is marketable, and what are the various distribution methods available within this platform; become familiar with documenting their design process and also pitching their ideas to others, receiving and providing quality feedback.

 

FTVM 307 – Film Analysis for Filmmakers


Credits : 3
More Info Here
Contact with Questions:
Matthew Solomon
[email protected]

 Filmmakers learn about filmmaking by watching films. This course reverse engineers movies to understand how they were produced. The goal is to learn from a finished film how the scenes were produced in front of the camera and microphone and how the captured material was edited. Students in this class use VR to reimagine classic film scenes – giving them the ability to record and edit footage from a virtual set.

 

UARTS 260 / EIPC FEAST – Empathy in Pointclouds


Credits: 1-5
More Info Here
Contact with Questions:
Dawn Gilpin
[email protected]

Empathy In Point Clouds: Spatializing Design Ideas and Storytelling through Immersive Technologies integrates LiDAR scanning, photogrammetry, and UnReal Engine into education, expanding the possible methodologies and processes of architectural design. Entering our third year of the FEAST program, we turn our attention to storytelling and worldbuilding using site-specific point cloud models as the context for our narratives. This year the team will produce 1-2 spatial narratives for the three immersive technology platforms we are working with: VR headset, MiDEN/VR CAVE, and the LED stage.

 

 

ARTDES 217 – Bits and Atoms


Credits: 3
More Info Here
Contact with Questions:
Sophia Brueckner
[email protected]

This is an introduction to digital fabrication within the context of art and design. Students learn about the numerous types of software and tools available and develop proficiency with the specific software and tools at Stamps. Students discuss the role of digital fabrication in creative fields.

 

ARTDES 420 – Sci-Fi Prototyping


Credits: 3
More Info Here
Contact with Questions:
Sophia Brueckner
[email protected]

This course ties science fiction with speculative/critical design as a means to encourage the ethical and thoughtful design of new technologies. With a focus on the creation of functional prototypes, this course combines the analysis of science fiction with physical fabrication or code-based interpretations of the technologies they depict.

 

SI 559 – Introduction to AR/VR Application Design

Credits: 3
More Info Here
Contact with Questions:
Michael Nebeling
[email protected]

This course will introduce students to Augmented Reality (AR) and Virtual Reality (VR) interfaces. This course covers basic concepts; students will create two mini-projects, one focused on AR and one on VR, using prototyping tools. The course requires neither special background nor programming experience.

 

FTVM 394 – Digital Media Production, Virtual Reality

Credits: 4
More Info Here
Contact with Questions:
Yvette Granata
[email protected]

This course provides an introduction to key software tools, techniques, and fundamental concepts supporting digital media arts production and design. Students will learn and apply the fundamentals of design and digital media production with software applications, web-based coding techniques and study the principals of design that translate across multiple forms of media production.

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Learning to Develop for Mixed Reality – The ENTR 390 “VR Lab”

Learning to Develop for Virtual Reality – The ENTR 390 “VR Lab”

XR Prototyping

For the past several years, students enrolled in the Center for Entrepreneurship’s Intro to Entrepreneurial Design – Virtual Reality course have been introduced to programming and content creation pipelines for XR development using a variety of Visualization Studio resources. Their goal? Create innovative applications for XR. From creating video games to changing the way class material is accessed with XR capable textbooks, if you have an interest in learning how to make your own app for Oculus Rift, MIDEN or even a smart phone, this might be a class to enroll in. Students interested in this course are not required to have any prior programming or 3d modeling knowledge, and if you’ve never used a VR headset that’s OK too. This course will teach you everything you need to know.

Henry Duhaime presents his VR game for Oculus Rift, in which players explore the surface of Mars in search of a missing NASA rover.
Michael Meadows prototypes AR capable textbooks using a mobile phone and Apple’s ARKit.
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Students Learn 3D Modeling for Virtual Reality

Students Learn 3D Modeling for Virtual Reality

making tiny worlds

Stephanie O’Malley

ArtDes240 is course offered by the Stamps School of Art & Design and taught by Stephanie O’Malley that teaches students 3D modeling & animation.  As one of only a few 3D digital classes offered at the University of Michigan, AD240 sees student interest from several schools across campus with students looking to gain a better understanding of 3D art as it pertains to the video game industry.

The students in AD240 are given a crash-course in 3D modeling in 3D Studio Max and level creation within the Unreal Editor. It is then within Unreal that all of their objects are positioned, terrain is sculpted, and atmospheric effects such as time of day, weather, or fog can be added.

“Candyland” – Elise Haadsma & Heidi Liu, developed using 3D Studio Max and Unreal Engine
“Candyland” – Elise Haadsma & Heidi Liu, developed using 3D Studio Max and Unreal Engine

With just 5 weeks to model their entire environment, bring it into Unreal,  package it as an executable, and test it in the MIDEN (or on the Oculus Rift), the resulting student projects were truly impressive. Art & Design Students Elise Haadsma & Heidi Liu took inspiration from the classic board game, “Candyland” to create a life-size game board environment in Unreal consisting of a lollipop forest, mountains of Hershey’s kisses, even a gingerbread house and chocolate river.

Lindsay Balaka  from the School of Music, Theater & Dance, chose to create her scene using the Duderstadt Center’s in-house rendering software “Jugular” instead of Unreal Engine-Her creation, “Galaxy Cakes”, is a highly stylized (reminiscent of an episode of the 1960’s cartoon, The Jetson’s) cupcake shop, complete with spatial audio emanating from the corner Jukebox.

Lindsay Balaka’s “Galaxy Cakes” environment
An abandoned school, created by Vicki Liu in 3D Studio Max and Unreal Engine

Vicki Liu, also of Art & Design, created a realistic horror scene using Unreal. After navigating down a poorly lit hallway of an abandoned nursery school, you will find yourself in a run down classroom inhabited by some kind of mad man. A tally of days passed has been scratched into the walls, an eerie message scrawled onto the chalkboard, and furniture haphazardly barricades the windows.

While the goal of the final project was to create a traversible environment for virtual reality, some students took it a step further.

Art & Design student Gus Schissler created an environment composed of neurons in Unreal intended for viewing within the Oculus Rift. He then integrated data from an Epoch neurotransmitter (a device capable of reading brain waves) to allow the viewer to telepathically interact with the environment. The viewers mood when picked up by the Epoch not only changed the way the environment looked by adjusting the intensities of the light being emitted by the neurons, but also allowed the viewer to think specific commands (push, pull, etc) in order to navigate their way past various obstacles in the environment.

Students spend the last two weeks of the semester scheduling time with Ted Hall and Sean Petty to test their scenes and ensure everything runs and looks correctly on the day of their presentations. This was a class that not just introduced students to the design process, but to also allowed them to get hands on experience with upcoming technologies as virtual reality continues to expand in the game and film industries.

Student Gus Schissler demonstrates his Neuron environment for Oculus Rift that uses inputs from an Epoch neurotransmitter to interact.
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Duderstadt Center Joins Local Artist to Re-Create the Gateway Bridge for Michigan Engineering

Duderstadt Center Joins Local Artist to Re-Create the Gateway Bridge for Michigan Engineering

In June the Duderstadt Center was contacted by Michigan Engineering to assist with a special gift for an alumni donor. Their donor had been the designer of several bridges in the area, including the famous Michigan Gateway Bridge. The Gateway Bridge carries I-94 over eight lanes of US 24, Telegraph Road and is well recognized by commuters for it’s vibrant blue arches.

The Duderstadt Center was provided reference images and the original plans and specifications of the Gateway bridge. From this a 3D model was built and segmented to be printed on two different 3D printers: Our Dimension Elites were used to print the base, allowing for a sturdy, cost effective platform to hold the delicate arches in place. The arches, which required a much higher fidelity, were then printed in pieces using our new Projet 3D printer. The Projet is able to print at a much finer resolution and utilizes a wax support structure that can be melted away, making it the perfect printer for generating the tiny features that would be required for threading the suspension cables of the bridge.

These parts were then passed off to a very talented local diorama artist, Eric Hasiak, for further detailing, where the model was assembled, mounted, painted, had foliage placed and the delicate suspension cables strung.

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