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HyperBody uses Unity. Unity and Unity logos are trademarks or registered trademarks of Unity Technologies or its affiliates in the U.S. and elsewhere. Copyright 2024 Unity Technologies. All rights reserved.

HyperBody is an academic project that forms part of a practice-based PhD project. Its purpose is entirely educational and does not involve any commercial interest. It is available for free download.

The game's two levels, "Pinkray" and "Seventeen/Sixty-one", where specific copyrighted sound clips and excerpts have been remixed and used as ambient sounds in the immersive space. These sound remixes have been done following the code of best practices in fair use and transformative, encouraging players to critically reflect on their contextualized understanding of culture, technology, and affection. The artist grannysmilkproductsplant has supported the sound remixes.

In "Pinkray," the following sound remixes have been acknowledged:

- Dead J. "Modern China Is Too Complicated." On Ting Tai Lou Ge. 2018.
- Idol Producer. "Ei Ei." 2018.
- Liu Huan and Na Ying. "Guo Ba Yin." 1995.
- Liu Huan and Wei Wei. "Asian Mighty Winds." 1990.
- Lu Cai. "Capturing Enemies in the Air." On Black Cat Detective Theme. 1984.
- New Pants. "Bye Bye Disco." On Dragon Tiger Panacea. 2006.
- Snow Jiang. "Love River - 8-bit Version (Ying Liu Zhi Zhu)." 2019.

In "Seventeen/Sixty-one," the following sound remixes have been acknowledged:

- Pinkray. "Let It Rain." On Attack. 2019.
- Qian Yuting. "The Peony Pavilion." 2019
- Shaorong, Qingbodejiangxiang and Huanger117. "True Love." 2011.
- Shudder to Think. "Ballad of Maxwell Demon." On Velvet Goldmine. 1998.
- Tat Ming Pair. "Yi Ge Ren Zai Tu Shang." On Tat Ming Pair Zhen Jin Dian. 1987.
- Tora. "Pieces of Ice." On Tora. 1983.

HyperBody would like to acknowledge the contributions of Emma, Tang Fei, Aristo, Jingzhi, CheeseTalk, Linn, and Tianqi. Their work on digital ethnographic studies from 2019-2023 provided context and inspiration for VR gamespace design.

HyperBody would like to express gratitude to Nora O Murchú, the artistic director of Transmediale; Michael Connor, director of Rhizome; Živa Kleindienst and Tadej Vindiš, curators of KIBLA, and Liyan Han, curator of UCCA Edge. Their invaluable guidance, trust, and facilitation have enabled HyperBody to conduct art residencies and installations, providing platforms for showcasing the HyperBody VR game.

HyperBody would like to extend its appreciation to Maximilien Simard-Poirier from Audiokinetic for the academic license of the Wwise sound engine.

Finally, HyperBody would like to thank Alaric, Jiashun, Summer, Yufei, Morgan, Binbin, Yaqi, and the anonymous participants who kindly volunteered their time and expertise to evaluate the HyperBody VR game.

HyperBody would like to express our sincere appreciation to Professor Atau Tanaka, Professor Sylvia Pan, Professor Helen Pritchard, Dr Olli Tapio Leino and the entire team, named and unnamed, in and out of Goldsmiths' Computing Department.