The uncanny valley of a virtual animal.

Virtual robots, including virtual animals, are expected to play a major role within affective and aesthetic interfaces, serious games, video instruction, and the personalization of educational instruction. Their actual impact, however, will very much depend on user perception of virtual characters as the uncanny valley hypothesis has shown that the design of virtual characters determines user experiences. In this article, we investigated whether the uncanny valley effect, which has already been found for the human-like appearance of virtual characters, can also be found for animal-like appearances. We conducted an online study (N = 163) in which six different animal designs were evaluated in terms of the following properties: familiarity, commonality, naturalness, attractiveness, interestingness, and animateness. The study participants differed in age (under 10–60 years) and origin (Europe, Asia, North America, and South America). For the evaluation of the results, we ranked the animal-likeness of the character using both expert opinion and participant judgments. Next to that, we investigated the effect of movement and morbidity. The results confirm the existence of the uncanny valley effect for virtual animals, especially with respect to familiarity and commonality, for both still and moving images. The effect was particularly pronounced for morbid images. For naturalness and attractiveness, the effect was only present in the expert-based ranking, but not in the participant-based ranking. No uncanny valley effect was detected for interestingness and animateness. This investigation revealed that the appearance of virtual animals directly affects user perception and thus, presumably, impacts user experience when used in applied settings

Minds in the Matrix: Embodied Cognition and Virtual Reality

The present chapter discusses the implications of virtual reality for the theory and practice of embodied cognitive science. The chapter discusses how recent technological innovations are poised to reshape our understanding of the materially-embodied and environmentally-situated mind, providing us with a new means of studying the mechanisms responsible for intelligent behavior. The chapter also discusses how a synthetically-oriented shift in our approach to embodied intelligence alters our view of familiar problems, most notably the distinction between embedded and extended cognition. The chapter concludes by challenging the idea that virtual worlds ought to be seen as nothing more than a scientific ‘sandpit’ for the study of the embodied mind. Some forms of embodied intelligence can, I suggest, exist solely in virtual reality. In this sense, the ‘Matrix’ is not just a means of testing ideas about the forms of embodied intelligence that inhabit our own physical reality; it is also a means of creating entirely new forms of embodied intelligence. It is by building virtual worlds that we open the door to a new reality—one that is home to a potentially infinite variety of embodied, embedded, and perhaps even extended beings

Gameworlds

Game studies is a rapidly developing field across the world, with a growing number of dedicated courses addressing video games and digital play as significant phenomena in contemporary everyday life and media cultures. Seth Giddings looks to fill a gap by focusing on the relationship between the actual and virtual worlds of play in everyday life. He addresses both the continuities and differences between digital play and longer-established modes of play. The 'gameworlds' title indicates both the virtual world designed into the videogame and the wider environments in which play is manifested: social relationships between players; hardware and software; between the virtual worlds of the game and the media universes they extend (e.g. Pokémon, Harry Potter, Lego, Star Wars); and the gameworlds generated by children's imaginations and creativity (through talk and role-play, drawings and outdoor play). The gameworld raises questions about who, and what, is in play. Drawing on recent theoretical work in science and technology studies, games studies and new media studies, a key theme is the material and embodied character of these gameworlds and their components (players' bodies, computer hardware, toys, virtual physics, and the physical environment). Building on detailed small-scale ethnographic case studies, Gameworlds is the first book to explore the nature of play in the virtual worlds of video games and how this play relates to, and crosses over into, everyday play in the actual world

Abstracts: HASTAC 2017: The Possible Worlds of Digital Humanities

The document contains abstracts for HASTAC 2017

The Quest for Life and Intelligence in Digital Puppets.

Performers and artists wishing to make collaborative improvisations using three-dimensional computer graphics will encounter the following difficulty: the animation process lacks the functionality required for spontaneous, serendipitous, real-time interaction. While human motion capture makes such real-time interaction and the corresponding spontaneity possible, it lacks the expressivity required for non-realistic characterisation. My practice-based research study proposes digital puppetry as a solution to this problem. My focus is on credibility as opposed to realism: the expectation is that the characters will behave in a puppet-like manner as opposed to manifesting the aesthetics – in terms of both movement and visual design – found in human actor-based motion capture and three- dimensional animated cartoons. The practical element is motivated by three imperatives: to improvise, to collaborate and to perform live. The primary question this study sets out to answer is: Is it possible to achieve the same spontaneity and animation[1] in digital puppets as it is with tangible puppets and, if so, what are the mechanisms involved? Unable to find a three-dimensional computer graphics digital puppetry software and hardware solution, I have devised what I call the GLOPPID[2] method, where GLOPPID is an acronym for Goniometric[3] Live Organic Performance Puppetry Improvisation Digitalia. The GLOPPID method comprises an artistic approach and a practical solution in the form of a Human Digital Puppetry Interface. It uses off-the-shelf three-dimensional computer animation software, which I have incorporated into a pipeline customised to suit my creative process. This pipeline is configured to transform ready-made computer graphics models into digital puppets that can be used as collaborators, thereby allowing the performer to experience the same kind of spontaneity as is possible in physical puppet performance. My thesis asserts that it is possible to improvise with digital puppets, and I have devised my own solution in order to do this. I argue that the real-time, improvised manipulation of digital puppets offers creatively advantageous opportunities for spontaneity and expressivity. My research presents the technique of digital puppetry as an expansion of what I call the pro- puppetry thesis – the idea that puppets have dramatic advantages over human actors. It also contributes to the ontological discourses surrounding the Human-Machine Interface (HMI), trans-embodiment, the post-human, the illusion of life, and cybernetics. In addition, it explores how algorithms can be used in the arts, particularly in performance (see Kleber & Trojanowska 2019, p.101). It makes a timely contribution to the pool of knowledge, because I see digital puppets as zeitgeists – apt vehicles for human hopes and fears surrounding the digital and existential angst that is part of the fabric of 21st-century life. The professional digital puppetry practice undertaken and discussed in this study requires both general, transferable human-machine interacting skills, and the specific digital puppetry skills necessary for project phases such as rigging and manipulation. This practical approach prioritises the physical, as opposed to the psycho-physical. Informed by the theories and practice of human dramatic technique practitioners such as Decroux and Lecoq, it takes the basic building blocks of movement identifiable in the segmented anatomy and rotational articulations of the actor-as-puppet, rod, glove and string puppets, and configures them in their digital counterpart in order to accentuate the odd by means of atypical combinations, economy of motion, and asymmetry. My approach is underpinned by the idea that a puppet is uninhibited or influenced by its own ego, backstory, or emotions. Nevertheless, these properties are present in a channeled, and therefore changed, form that emanates from the Human in the Loop, namely, the digital puppeteer. In digital puppetry, the protagonist is a digital puppet operated by a human who is embedded at the core of the activity, and who simultaneously witnesses their own emotional responses as they are acted out in front of them. My work demonstrates that non-realistic, expressive approaches to movement performance derived from human physical theatre techniques (including theatre clowning), combined with the use of algorithm-assisted techniques of rigging and manipulation, mean that the puppets are not under the complete control of their puppeteers. Instead, their rogue nature and irrationality enables digital puppets to satirise and subvert notions surrounding computer-generated imagery and artificial general intelligence, while avoiding exile in the “uncanny valley” (Mori 1970). In this study the term puppet is used both literally and metaphorically. Deployed literally, puppet refers to a figure or object that is manipulated in real time in the presence of a puppeteer, in both tangible and intangible material formats. The term is used metaphorically in the sense that a puppet can be seen as an analogue of a human being that acts as a mirror, reflecting aspects of the human condition or predicament. My work expands upon an understanding of the quest for ‘life’ in physical puppets and the corresponding development of their ur-narrative – as described by Kohler & Jones (2009, p.346) – and extends this to include digital puppets. By combining the concept of this quest with Rokeby’s idea of technology as a “prosthetic of philosophy” (2019, p.107) and with the notion of art as a mirror, I explore how distinctive features present in digital puppetry practice can be used to express truths about being human. The work employs a practice-as-research methodology that provides moments for reflection during the creative process, and reflection on the creative outcomes: reflection-in-action and reflection-on-action. The thesis can be expressed in the form of the following formula: Extemporising with puppets + the ur-narrative of puppets + art as a mirror + technology as a mirror = a pro-digital-puppetry thesis on HMI, AGI + what it is to be human [1] The term animation used here refers not to the techniques of incremental, frame-by-frame posing of characters, but to the act of bringing them to life. [2] ‘Gloppid’ is also the name of a glove-puppet character invented for an ecologically-based travelling show performed during the 1980s (Childs 1988). [3] Goniometric refers to the measurement of the range of motion in a joint

Placing Birds On A Dynamic Evolutionary Map: Using Digital Tools To Update The Evolutionary Metaphor Of The Tree Of Life

This dissertation describes and presents a new type of interactive visualization for communicating about evolutionary biology, the dynamic evolutionary map. This web-based tool utilizes a novel map-based metaphor to visualize evolution, rather than the traditional tree of life. The dissertation begins with an analysis of the conceptual affordances of the traditional tree of life as the dominant metaphor for evolution. Next, theories from digital media, visualization, and cognitive science research are synthesized to support the assertion that digital media tools can extend the types of visual metaphors we use in science communication in order to overcome conceptual limitations of traditional metaphors. These theories are then applied to a specific problem of science communication, resulting in the dynamic evolutionary map. Metaphor is a crucial part of scientific communication, and metaphor-based scientific visualizations, models, and analogies play a profound role in shaping our ideas about the world around us. Users of the dynamic evolutionary map interact with evolution in two ways: by observing the diversification of bird orders over time and by examining the evidence for avian evolution at several places in evolutionary history. By combining these two types of interaction with a non-traditional map metaphor, evolution is framed in a novel way that supplements traditional metaphors for communicating about evolution. This reframing in turn suggests new conceptual affordances to users who are learning about evolution. Empirical testing of the dynamic evolutionary map by biology novices suggests that this approach is successful in communicating evolution differently than in existing tree-based visualization methods. Results of evaluation of the map by biology experts suggest possibilities for future enhancement and testing of this visualization that would help refine these successes. This dissertation represents an important step forward in the synthesis of scientific, design, and metaphor theory, as applied to a specific problem of science communication. The dynamic evolutionary map demonstrates that these theories can be used to guide the construction of a visualization for communicating a scientific concept in a way that is both novel and grounded in theory. There are several potential applications in the fields of informal science education, formal education, and evolutionary biology for the visualization created in this dissertation. Moreover, the approach suggested in this dissertation can potentially be extended into other areas of science and science communication. By placing birds onto the dynamic evolutionary map, this dissertation points to a way forward for visualizing science communication in the futur

FROM CELLULOID REALITIES TO BINARY DREAMSCAPES: CINEMA AND PERCEPTUAL EXPERIENCE IN THE AGE OF DIGITAL IMMERSION

Technologies in digital cinema are quickly changing the way contemporary filmmakers create films and how audiences currently perceive them. As we move onward into the digital turn, it becomes ever more apparent that the medium of film has been emancipated from its dependence on the photograph. Directors are no longer required to capture the objectively real as it sits before the photographic lens, but can essentially construct it via groundbreaking advancements in computer-generated imagery, motion capture technology, and digital 3D camera systems and display technologies. Since the origins of film, spectators and filmmakers have assumed an existing relationship between reality and the photographic image. Yet digital film technologies now provide us with hyper-facsimiles of reality that are perceived as photographic, but are often created by way of computer processes. Digital cinema currently allows the viewer to inhabit and interact with cinematic realities in unprecedented ways, and it is this contemporary paradigmatic shift from the analog to the digital that has catalyzed fundamentally new ways of looking at the filmic image. In this paper, I will examine the perceptual complexities of contemporary digital film through the lens of these cinematic technologies by examining their impact on the viewer’s experience

Oikophilia: Relationships Among Life, Human Life, And Place in School Communities And Their Expressions in Curriculum

This naturalistic, non-experimental inquiry explored relationships among life, human life, and place in school communities along with their expressions in school curriculum. I used educational criticism and connoisseurship to richly describe, interpret meaning, evaluate significance, and discern thematics surrounding relationships and how those relationships were expressed in the curriculum. Postmodern ecology provided the framework for acknowledging ecological precarity and performing the critical, as in essential, work of deconstructing what harms life that could be reconstituted as nourishment. The first study question was: What relationships exist among life, human life, and place in school communities? To answer the question, ecological data collection included historical landscape changes, ecological observations outside the school building. The second research question was: How are those relationships expressed in the curriculum? To answer the question, four teachers in three suburban schools who included ecological relationships into curriculum, more-than-human life in curriculum, went outdoors with students, and/or taught interdisciplinary lessons. Initial interviews were conducted. Participant observations were bookended by pre/post interviews with teachers. Curriculum materials included planning documents, lessons, materials, and experiences. For both study questions, I maintained a field notebook and reflexive journal throughout the study. I found that ecological structure, lawns, and educational structure permeability played an important role in movement around the schoolyards and the curriculum. Teachers skillfully crafted curriculum where predetermined content met their own intentions. The resulting educational situation was fluid and cyclical. At the confluence of flows and cycles, I found that the schoolyard was an ambiguous place in the communities at large and that many lifeforms at the suburban schools. There were many relationships that existed in and around the schoolyard that were commonplace or every day. I propose a new type of curricula, the camouflage curriculum, that holds more opportunities to connect academic content to specific places. The significance of the findings was a reframed view of suburban schools. The findings supported the addition of place to Eisner’s ecology of school. The camouflage curriculum opens a portal to renewed relationships among life

Biologically-inspired control framework for insect animation.

Insects are common in our world, such as ants, spiders, cockroaches etc. Virtual representations of them have wide applications in Virtual Reality (VR), video games and films. Compared with the large volume of works in biped animation, the problem of insect animation was less explored. Their small body parts, complex structures and high-speed movements challenge the standard techniques of motion synthesis. This thesis addressed the aforementioned challenge by presenting a framework to efficiently automate the modelling and authoring of insect locomotion. This framework is inspired by two key observations of real insects: fixed gait pattern and distributed neural system. At the top level, a Triangle Placement Engine (TPE) is modelled based on the double-tripod gait pattern of insects, and determines the location and orientation of insect foot contacts, given various user inputs. At the low level, a Central Pattern Generator (CPG) controller actuates individual joints by mimicking the distributed neural system of insects. A Controller Look-Up Table (CLUT) translates the high-level commands from the TPE into the low-level control parameters of the CPG. In addition, a novel strategy is introduced to determine when legs start to swing. During high-speed movements, the swing mode is triggered when the Centre of Mass (COM) steps outside the Supporting Triangle. However, this simplified mechanism is not sufficient to produce the gait variations when insects are moving at slow speed. The proposed strategy handles the case of slow speed by considering four independent factors, including the relative distance to the extreme poses, the stance period, the relative distance to the neighbouring legs, the load information etc. This strategy is able to avoid the issues of collisions between legs or over stretching of leg joints, which are produced by conventional methods. The framework developed in this thesis allows sufficient control and seamlessly fits into the existing pipeline of animation production. With this framework, animators can model the motion of a single insect in an intuitive way by specifying the walking path, terrains, speed etc. The success of this framework proves that the introduction of biological components could synthesise the insect animation in a naturalness and interactive fashion