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Sci-fi Novel - The Dream Artist - Part 17

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last yearBusy7 min read


Part 1
Part 2
Part 3
Part 4
Part 5
Part 6
Part 7
Part 8
Part 9
Part 10
Part 11
Part 12
Part 13
Part 14
Part 15
Part 16

Part 17

"Kim Bub-min who you will meet today was one of the gifted children chosen by the Communist Party. In the childhood period, he had been the subject of news many times with headlines such as '5-year-old child who speaks five languages'. He was a figure the whole country knew before he was ten years old. Nature tends to limit some abilities while giving a gift. Although important pedagogues trained him, he was never good at communicating with people. He managed to create several businesses around the world. We worked together in a project to bring talented young people to the Ministry of Foreign Affairs. That's why I know him well. It has not been easy to convince him to meet with you, as he is sensitive to the use of his time. Fortunately, at the end of our conversation, I was able to make him understand the importance of the matter. Please follow a very cautious, sensitive attitude in the interview. If he becomes defensive against you, he will be blocked entirely and may not answer any questions,” said Qian Chen.

“Do you know if he met Selim Özben personally?" Peri asked.

“The dream software produced by Kim Bub-min's company was effective in the popularity of dream art, they probably have met,” said Qian Chen.

"Who developed the technology that allowed dreams to be broadcast in hypernet?” I asked.

“Kim Bub-Min did not invent this technology, but equipped it with artificial intelligence algorithms that allow for a more dramatic presentation of dreams.”

I liked the sour soup I had and the vegetable pasta I had eaten.

“When will you return to Istanbul?" Qian Chen asked.

I said, “if we knew we'd be having this good time, we wouldn't have set our tickets back tomorrow morning.”

“Tonight I want to take you to a modernized version of our traditional opera. Although it can not be compared with Selim Özben dreams, it is one of the most ambitious shows you can watch on Earth. Moreover, the technology required by this show is also produced by Kim Bub-min's company,” said Qian Chen.

It was as if she was pulling me towards her with the energy as she was talking. I felt the relief of my heart when I was with my dead wife before. I could have been happy with her forever.

Two androids met us in Kim Bub-min's high-ceiling, western-style furnished building's entrance.

“We had an appointment with Kim Bub-min,” said Peri.

”Let me escort you to the elevator, " said the tall one of the androids.

“You're going to hit the top button,” said the android.

We got into the elevator and pressed the button at the top, the door closed, and the display of the elevator began to change rapidly. When the elevator stood on the 58. floor and opened the door, another android greeted us.

“Mr. Kim Bub-min will be able to accept you in 18 minutes, meanwhile, what can I offer you?” asked the android. I thought about asking for a Turkish coffee with less sugar, but as I thought it would be more accessible, I asked for a filtered coffee. This time Peri asked for tea instead of freshly squeezed fruit juice or filtered coffee. “You can sit in the corner and watch the view,” said the android, pointing to the seats overlooking the North China Sea.

“I suspect that Kim Bub-min is also an android, there's no one around."

"I have a bit of anxiety."

Just before 18 minutes, the android assistant reported that Kim Bub-min was waiting for us. When we entered his room, it was a great disappointment for me to see his hologram of the same size as Kim Bub-min, but I was not sure.

"You wanted to meet with me, how can I help you, " said Kim Bub-min's hologram.

“Perhaps you have heard, your old friend Selim Özben has been missing for some time, and we thought that the information we would receive from you could contribute to his discovery,” I said.

“Please, let's sit down,” said Kim Bub-min's hologram.

We sat on the seats on both sides next to the hologram.

”I can't remember Selim Özben very well; I worked with Galip Salik more in the dream art development project."

Peri opened the portrait of Selim Özben on her pocket computer and showed it to Kim Bub-min's hologram. On the side wall of the room, a door opened, a man in a suit walked in, the real Kim Bub-min stood by the hologram smiling at us.

“I liked it more,” I said.

Kim Bub-min closed his hologram, sitting in the seat emptied by the hologram, “Selim Özben was a great artist,” he said.

“So you've met him?" Peri asked.

“Yes, he has explained to me that the main element of a dream is not the sound or the image, but the feeling it creates, and that it would be a great mistake to think that a dream is being broadcast in hypernet by transmitting images or sounds. Galip said it is not a new problem, there are similar challenges in the movies, there are ways to overcome these difficulties. "It is not the same thing, emotions in dreams are much more decisive," Selim Özben said. I've never seen him since then. Then we had a few more meetings with Galip Salik on how emotions can be conveyed to the audience in the art of dreams, and we successfully concluded the project,” said Kim Bub-min.

“Do you remember the date you met Selim Özben?" Peri asked.

“It was about five years ago.”

“If it's not a professional secret, can you tell us what changes you made in dream cast software to reflect emotions?” I said.

“It was one of the most difficult problems I encountered in my career.” He stood up as if he remembered something. “In dreams, we face the feelings we miss or want to calm. The fiction of our dreams is developed by our brain to reflect these feelings. When we dream, we feel the emotion that our brain wants to be processed, and we have the chance to experience the scenario with reflection. So when we dream, we feel the emotions that make up the material of the dream, both directly and indirectly. When we try to transfer the dream via hypernet, it is impossible to feel the emotion directly because it is a different person who is dreaming. As the dream artist rarely saw his own face in dreams, it was impossible to convey his emotions to the audience through the expression of his face. To convey the feeling of the dream artist to the audience, we added expressions reflecting feelings to his face. When the dream artist experienced the intensity of emotion, we made the camera close to his face. Dreamcast software can model the dream image in three dimensions and present it to the audience from any angle. It's something computer games can do for decades. By playing with the angles, we discovered ways to reflect the mood of the dream artist. For example, in scenes where the artist feels humiliated, we used camera angles from above. We played with the light of dreams and made the scenes bright where the artist was happy. In addition to three-dimensional images and sound, we have added elements such as heat, smell, humidity, wind. We did whatever we could to make the dream experience richer for the audience.”

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