ARTIFICIAL AGENTS MODELING FOR INTIMATE TELEPRESENCE

Ph.DDOCTOR OF PHILOSOPH

Attention and Social Cognition in Virtual Reality:The effect of engagement mode and character eye-gaze

Technical developments in virtual humans are manifest in modern character design. Specifically, eye gaze offers a significant aspect of such design. There is need to consider the contribution of participant control of engagement. In the current study, we manipulated participants’ engagement with an interactive virtual reality narrative called Coffee without Words. Participants sat over coffee opposite a character in a virtual café, where they waited for their bus to be repaired. We manipulated character eye-contact with the participant. For half the participants in each condition, the character made no eye-contact for the duration of the story. For the other half, the character responded to participant eye-gaze by making and holding eye contact in return. To explore how participant engagement interacted with this manipulation, half the participants in each condition were instructed to appraise their experience as an artefact (i.e., drawing attention to technical features), while the other half were introduced to the fictional character, the narrative, and the setting as though they were real. This study allowed us to explore the contributions of character features (interactivity through eye-gaze) and cognition (attention/engagement) to the participants’ perception of realism, feelings of presence, time duration, and the extent to which they engaged with the character and represented their mental states (Theory of Mind). Importantly it does so using a highly controlled yet ecologically valid virtual experience

How to do Grindr :sensory, visceral and haptic geographies of men who use Grindr in Newcastle-upon-Tyne

PhD ThesisThis thesis explores how Grindr – a location-based dating app used mainly by men – mediates the everyday lives of the men who use it in Newcastle-upon-Tyne, England, UK. I take a feminist corporeal approach that aligns with assemblage thinking, enabling an exploration of how sexualities and masculinities emerge in and through multiple bodies, objects and places. I explore Grindr as a digital screen, space and technology. I focus on emotional, sensory, visceral and haptic experiences of Grindr. The thesis is based on analysis of 30 semi-structured interviews and four participant research diaries with men who use Grindr living in Newcastle-upon-Tyne. I focus on the ways discourses of gender and sexuality work to shape the lives of men who use Grindr, and how they emerge differently through digitally mediated lives. I argue that using Grindr has the capacity –in work to disorientate and reorientate users in their everyday spaces and places, shaping the ways men perform and embody gender and sexuality differently. Different men are learning how to do Grindr in different ways. There are multiple ways that gender, sexuality and bodies emerge through Grindr. Therefore, there are different bodily and spatial disorientations and reorientations. Exploring the ways the body feels, I bring feminist corporeal scholarship in conversation with geographies of sexualities and digital geographies. I attend to calls for materially grounded studies of the digital, highlighting the complex entanglements of flesh, skin, screens, emotions, desires, and discourses. I explore how geographic concepts such as public/private, home, mobility, sexual citizenship and proximity and distance are being reorientated as bodies become entangled with digital technologies. I conclude by suggesting three ways that future research can enhance understandings of the ways the digital is (re)shaping everyday spaces, places and bodies

Examining the sense of agency in human-computer interaction

Humans are agents, we feel that we control the course of events on our everyday life. This refers to the Sense of Agency (SoA). This experience is not only crucial in our daily life, but also in our interaction with technology. When we manipulate a user interface (e.g., computer, smartphone, etc.), we expect that the system responds to our input commands with feedback, as we desire to feel that we are in charge of the interaction. If this interplay elicits a SoA, then the user will perceive an instinctive feeling of “I am controlling this”. Although research in Human-Computer Interaction (HCI) pursuits the design of intuitive and responsive systems, most of the current studies have been focussed mainly on interaction techniques (e.g., software-hardware) and User Experience (UX) (e.g., comfort, usability, etc.), and very little has been investigated in terms of the SoA i.e., the conscious experience of being in control regarding the interaction. In this thesis, we present an experimental exploration of the role of the SoA in interaction paradigms typical of HCI. After two chapters of introduction and related work, we describe a series of studies that explore agency implication in interaction with systems through human senses such as vision, audio, touch and smell. Chapter 3 explores the SoA in mid-air haptic interaction through touchless actions. Then, Chapter 4 examines agency modulation through smell and its application for olfactory interfaces. Chapter 5 describes two novel timing techniques based on auditory and haptic cues that provide alternative timing methods to the traditional Libet clock. Finally, we conclude with a discussion chapter that highlights the importance of our SoA during interactions with technology as well as the implications of the results found, in the design of user interfaces

Virtual Aesthetics and Ethical Communication: Towards Virtuous Reality Design

This thesis argues that ethics can and should be applied to Second Life avatar design and behavior. Second Life is a unique virtual reality due to its connection to the physical world primarily through financial devices. Users buy and sell virtual and physical goods over these networks; the avatar, it is argued, is the primary instrument for persuasion in these contexts. Avatars facilitate a virtual aesthetic that is primarily \u27natural.\u27 By creating aesthetic avatars, the developers of Second Life enable audiences to affectively associate with other \u27residents.\u27 Not only is the avatar designed for aesthetic appeal, but it enables users to move, act, and interact in an online environment--to vicariously experience the emotions that accompany those actions. In the real world, individuals\u27 actions have ethical consequences. Behavior in Second Life, it is argued, should be subject to ethics as determined by democratic communities of users

Coding Christianity: Negotiating Religious Dialogue in Online Participatory Spaces

This dissertation examines rhetorical conditions and internet-mediated communication strategies that open and close dialogue between individuals with diverse and conflicting worldviews. The author illustrates this tension through sacred-secular interactions in college composition classrooms and online environments, positing that navigating conflict between these discourses—namely those espoused by religiously committed students and public university instructors—often requires stepping outside of adversarial communication frameworks. This project makes a case for models of civic engagement that use more deliberative rhetorical approaches prioritizing empathy over defensiveness and understanding before persuasion. To develop these non-adversarial communication approaches for the composition classroom, the author looks to participatory media for insights and studies the negotiation strategies of Christian and atheist YouTube users who leverage the affordances of the video medium, internet logics, and invitational rhetorical strategies to engage ideological differences in their respective online communities. Through mixed methods research involving in-depth interviews with five YouTube vloggers, netnographic study of over 3,000 videos, and statistical analysis of 76,000+ user comments, Coding Christianity finds that perspective-taking in conflict-ridden environments can happen between netizens when content creators opt out of “flame wars” and, instead, explicitly model critical openness and charitable listening to perceived “others.” The author ultimately suggests that sacred-secular tension in both academic and digital environments be used, not diffused, to negotiate conflicting values and engage in rigorous, civil dialogues

Experimental Museology

Experimental Museology scrutinizes innovative endeavours to transform museum interactions with the world. Analysing cutting-edge cases from around the globe, the volume demonstrates how museums can design, apply and assess new modes of audience engagement and participation. Written by an interdisciplinary group of researchers and research-led professionals, the book argues that museum transformations must be focused on conceptualizing and documenting the everyday challenges and choices facing museums, especially in relation to wider social, political and economic ramifications. In order to illuminate the complexity of these challenges, the volume is structured into three related key dimensions of museum practice - namely institutions, representations and users. Each chapter is based on a curatorial design proposed and performed in collaboration between university-based academics and a museum. Taken together, the chapters provide insights into a diversity of geographical contexts, fields and museums, thus building a comprehensive and reflexive repository of design practices and formative experiments that can help strengthen future museum research and design. Experimental Museology will be of great value to academics and students in the fields of museum, gallery and heritage studies, as well as architecture, design, communication and cultural studies. It will also be of interest to museum professionals and anyone else who is interested in learning more about experimentation and design as resources in museums

Vernacular Posthumanism: Visual Culture and Material Imagination

Vernacular Posthumanism: Visual Culture and Material Imagination uses a theory of image vernaculars in order to explore the ways in which contemporary visual culture both reflects on and constructs 21st century cultural attitudes toward the human and the nonhuman. This project argues that visual culture manifests a vernacular posthumanism that expresses a fundamental contradiction: the desire to transcend the human while at the same time reasserting the importance of the flesh and the materiality of lived experience. This contradiction is based in a biodeterminist desire, one that fantasizes about reducing all actants, both human and nonhuman, to functions of code. Within this framework, actants become fundamentally exchangeable, able to be combined, manipulated, and understood as variations of digital code. Visual culture – and its expression of vernacular posthumanism – thus functions as a reflection on contemporary conceptualizations of the human, a rehearsal of the posthuman, and a staging ground for encounters between the human and the nonhuman. Each chapter of this project begins in the field of film studies and then moves out toward a broader analysis of visual culture and nonhumanist theory. This project relies on the theories and methodologies of phenomenology, materialism, posthumanism, object-oriented ontology, actor-network theory, film and media studies, and visual culture studies. Visual objects analyzed include: the films of Stanley Kubrick, David Cronenberg, and Krzysztof Kieślowski; Fast, Cheap & Out of Control (1997); the film 300 (2006); the TV series Planet Earth (2006); DNA portraits, the art of Damien Hirst; Body Worlds; human migration maps; and remote surgical machinery