11,628 research outputs found

    An interface for the interactive design of artistic screens

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    The article presents the concepts and the tools involved in the interactive design of artistic screens. The screen elements are derived from a small set of analytical contours provided by the screen designer. We present the requirements that these contours must satisfy in order to generate consistent screens. Software tools have been developed which provide automatic means for verifying and enforcing these constraints. They include a way of specifying the periodicity of the screen dot and a graphical interface offering a convenient way of specifying and tuning the growth of the screen do

    Liberate your avatar; the revolution will be social networked

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    This paper brings together the practice-based creative research of artists Charlotte Gould and Paul Sermon, culminating in a collaborative interactive installation that investigates new forms of social and political narrative in multi-user virtual environments. The authors' artistic projects deal with the ironies and stereotypes that are found within Second Life in particular. Paul Sermon’s current creative practice looks specifically at the concepts of presence and performance within Second Life and 'first life', and attempts to bridge these two spaces through mixed reality techniques and interfaces. Charlotte Gould’s Ludic Second Life Narrative radically questions the way that users embody themselves in on-line virtual environments and identifies a counter-aesthetic that challenges the conventions of digital realism and consumerism. These research activities and outcomes come together within a collaborative site-specific public installation entitled Urban Intersections for ISEA09, focusing on contested virtual spaces that mirror the social and political history of Belfast. The authors' current collaborative practice critically investigates social, cultural and creative interactions in Second Life. Through these practice-based experiments the authors' argue that an enhanced social and cultural discourse within multi-user virtual environments will inevitably lead to growth, cohesion and public empowerment, and like all social networking platforms, contribute to greater social and political change in first life

    Wearable performance

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    This is the post-print version of the article. The official published version can be accessed from the link below - Copyright @ 2009 Taylor & FrancisWearable computing devices worn on the body provide the potential for digital interaction in the world. A new stage of computing technology at the beginning of the 21st Century links the personal and the pervasive through mobile wearables. The convergence between the miniaturisation of microchips (nanotechnology), intelligent textile or interfacial materials production, advances in biotechnology and the growth of wireless, ubiquitous computing emphasises not only mobility but integration into clothing or the human body. In artistic contexts one expects such integrated wearable devices to have the two-way function of interface instruments (e.g. sensor data acquisition and exchange) worn for particular purposes, either for communication with the environment or various aesthetic and compositional expressions. 'Wearable performance' briefly surveys the context for wearables in the performance arts and distinguishes display and performative/interfacial garments. It then focuses on the authors' experiments with 'design in motion' and digital performance, examining prototyping at the DAP-Lab which involves transdisciplinary convergences between fashion and dance, interactive system architecture, electronic textiles, wearable technologies and digital animation. The concept of an 'evolving' garment design that is materialised (mobilised) in live performance between partners originates from DAP Lab's work with telepresence and distributed media addressing the 'connective tissues' and 'wearabilities' of projected bodies through a study of shared embodiment and perception/proprioception in the wearer (tactile sensory processing). Such notions of wearability are applied both to the immediate sensory processing on the performer's body and to the processing of the responsive, animate environment. Wearable computing devices worn on the body provide the potential for digital interaction in the world. A new stage of computing technology at the beginning of the 21st Century links the personal and the pervasive through mobile wearables. The convergence between the miniaturisation of microchips (nanotechnology), intelligent textile or interfacial materials production, advances in biotechnology and the growth of wireless, ubiquitous computing emphasises not only mobility but integration into clothing or the human body. In artistic contexts one expects such integrated wearable devices to have the two-way function of interface instruments (e.g. sensor data acquisition and exchange) worn for particular purposes, either for communication with the environment or various aesthetic and compositional expressions. 'Wearable performance' briefly surveys the context for wearables in the performance arts and distinguishes display and performative/interfacial garments. It then focuses on the authors' experiments with 'design in motion' and digital performance, examining prototyping at the DAP-Lab which involves transdisciplinary convergences between fashion and dance, interactive system architecture, electronic textiles, wearable technologies and digital animation. The concept of an 'evolving' garment design that is materialised (mobilised) in live performance between partners originates from DAP Lab's work with telepresence and distributed media addressing the 'connective tissues' and 'wearabilities' of projected bodies through a study of shared embodiment and perception/proprioception in the wearer (tactile sensory processing). Such notions of wearability are applied both to the immediate sensory processing on the performer's body and to the processing of the responsive, animate environment

    Pervasive Displays Research: What's Next?

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    Reports on the 7th ACM International Symposium on Pervasive Displays that took place from June 6-8 in Munich, Germany

    Multiple Media Interfaces for Music Therapy

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    This article describes interfaces (and the supporting technological infrastructure) to create audiovisual instruments for use in music therapy. In considering how the multidimensional nature of sound requires multidimensional input control, we propose a model to help designers manage the complex mapping between input devices and multiple media software. We also itemize a research agenda

    Big Tent: A Portable Immersive Intermedia Environment

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    Big Tent, a large scale portable environment for 360 degree immersive video and audio artistic presentation and research, is described and initial experiences are reported. Unlike other fully-surround environments of considerable size, Big Tent may be easily transported and setup in any space with adequate foot print, allowing immersive, interactive content to be brought to non-typical audiences and environments. Construction and implementation of Big Tent focused on maximizing portability by minimizing setup and tear down time, crew requirements, maintenance costs, and transport costs. A variety of different performance and installation events are discussed, exploring the possibilities Big Tent presents to contemporary multi-media artistic creation

    The screen as boundary object in the realm of imagination

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    As an object at the boundary between virtual and physical reality, the screen exists both as a displayer and as a thing displayed, thus functioning as a mediator. The screen's virtual imagery produces a sense of immersion in its viewer, yet at the same time the materiality of the screen produces a sense of rejection from the viewer's complete involvement in the virtual world. The experience of the screen is thus an oscillation between these two states of immersion and rejection. Nowadays, as interactivity becomes a central component of the relationship between viewers and many artworks, the viewer experience of the screen is changing. Unlike the screen experience in non-interactive artworks, such as the traditional static screen of painting or the moving screen of video art in the 1970s, interactive media screen experiences can provide viewers with a more immersive, immediate, and therefore, more intense experience. For example, many digital media artworks provide an interactive experience for viewers by capturing their face or body though real-time computer vision techniques. In this situation, as the camera and the monitor in the artwork encapsulate the interactor's body in an instant feedback loop, the interactor becomes a part of the interface mechanism and responds to the artwork as the system leads or even provokes them. This thesis claims that this kind of direct mirroring in interactive screen-based media artworks does not allow the viewer the critical distance or time needed for self-reflection. The thesis examines the previous aesthetics of spatial and temporal perception, such as presentness and instantaneousness, and the notions of passage and of psychological perception such as reflection, reflexiveness and auratic experience, looking at how these aesthetics can be integrated into new media screen experiences. Based on this theoretical research, the thesis claims that interactive screen spaces can act as a site for expression and representation, both through a doubling effect between the physical and virtual worlds, and through manifold spatial and temporal mappings with the screen experience. These claims are further supported through exploration of screen-based media installations created by the author since 2003.Ph.D.Committee Chair: Mazalek, Ali; Committee Member: Bolter, Jay David; Committee Member: Do, Ellen Yi-Luen; Committee Member: Nitsche, Michael; Committee Member: Winegarden, Claudia R

    Exploring heritage through time and space : Supporting community reflection on the highland clearances

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    On the two hundredth anniversary of the Kildonan clearances, when people were forcibly removed from their homes, the Timespan Heritage centre has created a program of community centred work aimed at challenging pre conceptions and encouraging reflection on this important historical process. This paper explores the innovative ways in which virtual world technology has facilitated community engagement, enhanced visualisation and encouraged reflection as part of this program. An installation where users navigate through a reconstruction of pre clearance Caen township is controlled through natural gestures and presented on a 300 inch six megapixel screen. This environment allows users to experience the past in new ways. The platform has value as an effective way for an educator, artist or hobbyist to create large scale virtual environments using off the shelf hardware and open source software. The result is an exhibit that also serves as a platform for experimentation into innovative ways of community co-creation and co-curation.Postprin

    The kinesfield : a study of movement-based interactive and choreographic art

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    Merged with duplicate record 10026.1/680 on 14.03.2017 by CS (TIS)Through the exploration of practice and theory, this thesis aims to elucidate the characteristics of movement-based interactive art and the kinesfield, a term developed during the course of the research to describe the publics' body-medium. Movement-based interactive art is based on choreographed movements of the body, media and specialized technologies which facilitate new forms of participatory movement experience. This emergent art form has initiated new methods of experiencing and presenting dance in the public domain. lt is argued that this leads to new artistic developments which may constitute a paradigm shift of the concept of the body-medium in the field of dance. To understand whether the shift is indeed paradigmatic, and to contribute to the development of dance and technology, this study introduces and applies the concept of the kinesfield to extend the theory of the body-medium as kinesphere, first proposed by Laban, and to challenge its characteristics in the context of movement-based interactive art. The concept of the kinesfield is employed to describe the relational dynamic of movement interactions which traverse the body and material forms in unbounded space. By this account, the body-medium is not defined geometrically, as in Laban's theory, but as a temporal and spatial field. The kinesfield accounts for a complexity of movement characteristics which pertain to the dynamic and relational experiences which occur between the biological body and its natural and atmospheric surroundings, natural forces, and its socio-cultural milieu. The argument unfolds as a triangulation of three movement-based interactive artworks (Shifting Ground, trajets, and Raumspielpuzzle) presented during the course of the thesis, my physical and experiential knowledge in the field of dance and an interdisciplinary literature investigation in the fields of dance, physiology/psychology/cognitive science, philosophy and sociology, plastic arts and cinema. This written document is accompanied by a CD-ROM which serves as an electronic appendix including images, videos and diagrams of the works referenced in the written thesis.This thesis is a discussion of the experiential and conceptual characteristics which underpin the choreographic research of three movement-based interactive artworks I, Shifting Ground ( 1999), trajets (2000) and Raumspielpuzzle (2003). 2 In addition to elucidating an emergent mode of choreographic practice,3 this thesis proposes a new term which offers a description of the body-medium4 materialised in choreographic movement-based interactive art, namely the kinesfield
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