JINPEI HUANG (Max Penny)

Adapted from the Science Fiction World IP novel “2039: Brain‑Computer Interface,” this film is a featured entry for the 2026 “Sensory Future” AIGC category. Set in 2039, it follows Ethan, the CEO of biotech giant NeoBody, as he pushes human limits through BCI technology—only to trigger unintended collective consciousness. Produced with a collaborative AI workflow (Midjourney, Runway Gen‑2, Pika), it explores self‑identity and technological ethics through sci‑fi cinema.

This experimental AIGC short film explores an AI-empowered animation production pipeline while examining the "Persona" and virtual habitats of modern individuals. The project establishes a full-process automated AI pipeline: utilizing Isaac AI for screenplay and storyboard generation, Stable Diffusion (LoRA) for character consistency and artistic style customization, and Runway Gen-2 alongside integrated AI video synthesis tools for layered dynamic creation. This non-linear empirical approach breaks traditional linear workflows, significantly optimizing production costs and cycles. Conceptually, the film reflects on the definitions of "home" and "identity" in the digital age through alternating perspectives between a girl and a fish. This research and its empirical findings were published in the journal Moving Image & Technology (MINT), Vol. 4, No. 2, 2024.

Presented as part of the 2023 "Looking for Ms. Gwanhee" group exhibition in Gwanak-gu, Seoul, this project was recognized and supported by the Gwanak Cultural Foundation as outstanding cultural content. The work focuses on exploring urban identity and the multimodal digital reconstruction of geographic data. By integrating Google Earth data with GIS and 3D modeling tools, public datasets are transformed into 3D visual representations with an oil-painting texture. This project serves as both an artistic practice and a digital transcription of urban public data, redefining the intersection of technology and city narratives.

Exhibited at the 2023 Jeonju International Photo Festival in Korea, this work explores the deep fusion and regeneration of traditional Chinese symbols—Paper Cutting and Peking Opera—within the framework of generative art. Using Peking Opera facial masks as initial inputs, the project employs algorithms that respond to the real-time dynamic changes of operatic vocalizations to automatically generate 2D paper-cutting imagery in a new cultural context. This work utilizes new media art paradigms to expand the dimension and influence of traditional heritage within the digital realm.

Meta-Voice is an experimental work designed to visualize the sound signals generated during conversations between Meta-humans. Utilizing ChatGPT with specific prompts, the project creates dialogue between two virtual entities regarding themes of hometown, friendship, and love, while their visual identities are crafted via Midjourney. The installation employs projection mapping to cast Meta-human faces onto physical mannequins. Simultaneously, custom Processing code captures the rhythm, volume, and noise of the audio, transforming these sonic attributes into evolving flower-like geometric patterns, achieving a seamless cross-modal sensory translation.

Stick Man is a generative music and visual interaction project that explores the dual-modal transcription of sight and sound. The project captures the participant's body movements as input data, which is then transformed into new audio signals through string function transformations and resets. Simultaneously, the fluctuations in sound drive the displacement and reorganization of lines within the visual frame. This project creates an immediate, synesthetic connection between physical movement, sound generation, and visual dynamics through non-linear interactive feedback.