Spectators’ aesthetic experiences of sound and movement in dance performance

In this paper we present a study of spectators’ aesthetic experiences of sound and movement in live dance performance. A multidisciplinary team comprising a choreographer, neuroscientists and qualitative researchers investigated the effects of different sound scores on dance spectators. What would be the impact of auditory stimulation on kinesthetic experience and/or aesthetic appreciation of the dance? What would be the effect of removing music altogether, so that spectators watched dance while hearing only the performers’ breathing and footfalls? We investigated audience experience through qualitative research, using post-performance focus groups, while a separately conducted functional brain imaging (fMRI) study measured the synchrony in brain activity across spectators when they watched dance with sound or breathing only. When audiences watched dance accompanied by music the fMRI data revealed evidence of greater intersubject synchronisation in a brain region consistent with complex auditory processing. The audience research found that some spectators derived pleasure from finding convergences between two complex stimuli (dance and music). The removal of music and the resulting audibility of the performers’ breathing had a significant impact on spectators’ aesthetic experience. The fMRI analysis showed increased synchronisation among observers, suggesting greater influence of the body when interpreting the dance stimuli. The audience research found evidence of similar corporeally focused experience. The paper discusses possible connections between the findings of our different approaches, and considers the implications of this study for interdisciplinary research collaborations between arts and sciences

Exploiting popular culture : exploring pedagogical and motivational approaches for design and technology education

This paper describes a case study of pedagogical developments carried out with teachers and secondary school students in response to new curriculum content in Product Design courses presented in Scottish secondary schools. The pedagogy attempts to challenge the anti-commercial manufacturing attitude that prevails among teachers and students and is based on motivational principles. It makes explicit use of the language and tools of popular media culture, specifically 'ask the audience' interaction and investigative forensic science. An electronic voting system is incorporated as an introduction to detailed product evaluation and technical analysis collaborative activities. It examines the educational potential of such ICT systems to help students explore emotional response, product semantics and value judgements and make connections to commercial manufacturing detail design

An aesthetics of touch: investigating the language of design relating to form

How well can designers communicate qualities of touch? This paper presents evidence that they have some capability to do so, much of which appears to have been learned, but at present make limited use of such language. Interviews with graduate designer-makers suggest that they are aware of and value the importance of touch and materiality in their work, but lack a vocabulary to fully relate to their detailed explanations of other aspects such as their intent or selection of materials. We believe that more attention should be paid to the verbal dialogue that happens in the design process, particularly as other researchers show that even making-based learning also has a strong verbal element to it. However, verbal language alone does not appear to be adequate for a comprehensive language of touch. Graduate designers-makers’ descriptive practices combined non-verbal manipulation within verbal accounts. We thus argue that haptic vocabularies do not simply describe material qualities, but rather are situated competences that physically demonstrate the presence of haptic qualities. Such competencies are more important than groups of verbal vocabularies in isolation. Design support for developing and extending haptic competences must take this wide range of considerations into account to comprehensively improve designers’ capabilities

Transportable Applications Environment (TAE) Plus: A NASA tool used to develop and manage graphical user interfaces

The Transportable Applications Environment (TAE) Plus was built to support the construction of graphical user interfaces (GUI's) for highly interactive applications, such as real-time processing systems and scientific analysis systems. It is a general purpose portable tool that includes a 'What You See Is What You Get' WorkBench that allows user interface designers to layout and manipulate windows and interaction objects. The WorkBench includes both user entry objects (e.g., radio buttons, menus) and data-driven objects (e.g., dials, gages, stripcharts), which dynamically change based on values of realtime data. Discussed here is what TAE Plus provides, how the implementation has utilized state-of-the-art technologies within graphic workstations, and how it has been used both within and without NASA

Creation of Interactive VR Application that Supports Reasoning Skills in Anatomy Education

For our creative work thesis, we developed a VR (Virtual Reality) Program that allows a user to view and interact with muscles and nerves of a canine leg that would support students to understand the relationships between nerves and muscles. Using an industry-style pipeline, we developed anatomically accurate models of canine muscles and nerves, which we textured, rigged, and animated for use in an educational virtual reality platform. The end goal of the project is to create and measure the efficacy of a visually dynamic experience for the user, allowing them to generally explore canine limb anatomy, and to specifically visualize deficits in muscle movement, produced by user interaction with the canine nervous system. This tool explores the possibilities of Virtual Reality and seek to improve upon existing methods of higher-level anatomy education. Traditionally, higher level anatomy education is taught through the use of cadaver dissections, two-dimensional anatomical diagrams and didactic lectures. However, these traditional methods of teaching anatomy have many limitations and are not enough to build a visual-spatial understanding of anatomical structures. Virtual reality is a strong tool that allows students to directly manipulate anatomical models and observe movements in a three-dimensional space. While the literature has been filled with VR applications that aim to fill this need, many existing tools offer only a static model for the user to explore by rotation, adding and subtracting layers, and viewing labels to learn about the anatomical structure. We seek to increase the level of dynamic interaction that the user has, by allowing the user’s touch of the models to change the animation and movement of the three-dimensional models in their environment. Our outcome is a VR learning tool that has potential for further exploration in higher level anatomy education. Our creative work employs the methodologies of “art-based research”. Art based research can be defined as the systematic use of the artistic process, the actual making of artistic expressions as a primary way of understanding. The project was created iteratively while working with content experts, specifically anatomy experts from Dept. of Veterinary Sciences at Texas A&M University. Implementing anatomy education using virtual reality and developing a universal pipeline for asset creation allows us the freedom to dynamically build on our application. This means that our tool can accommodate for the addition of new muscle and nerves. By continuing to develop our virtual reality application in future works, we can expand the breadth of knowledge a user can gain from interacting with our application

Design and semantics of form and movement (DeSForM 2006)

Design and Semantics of Form and Movement (DeSForM) grew from applied research exploring emerging design methods and practices to support new generation product and interface design. The products and interfaces are concerned with: the context of ubiquitous computing and ambient technologies and the need for greater empathy in the pre-programmed behaviour of the ‘machines’ that populate our lives. Such explorative research in the CfDR has been led by Young, supported by Kyffin, Visiting Professor from Philips Design and sponsored by Philips Design over a period of four years (research funding £87k). DeSForM1 was the first of a series of three conferences that enable the presentation and debate of international work within this field: • 1st European conference on Design and Semantics of Form and Movement (DeSForM1), Baltic, Gateshead, 2005, Feijs L., Kyffin S. & Young R.A. eds. • 2nd European conference on Design and Semantics of Form and Movement (DeSForM2), Evoluon, Eindhoven, 2006, Feijs L., Kyffin S. & Young R.A. eds. • 3rd European conference on Design and Semantics of Form and Movement (DeSForM3), New Design School Building, Newcastle, 2007, Feijs L., Kyffin S. & Young R.A. eds. Philips sponsorship of practice-based enquiry led to research by three teams of research students over three years and on-going sponsorship of research through the Northumbria University Design and Innovation Laboratory (nuDIL). Young has been invited on the steering panel of the UK Thinking Digital Conference concerning the latest developments in digital and media technologies. Informed by this research is the work of PhD student Yukie Nakano who examines new technologies in relation to eco-design textiles