Shared Experiences

Disciplines often approach phenomena from different perspectives and with different research tools. We offer this example of our efforts to embrace the wider CHI values through the exploration of emotive digital humans deployed in HCI. We designed and conducted an HCI experiment with mixed methods. In building an infrastructure that benefits from the strengths of both AIS SIGHCI and ACM SIGCHI research communities, we chose an approach that could reveal undisclosed worlds, hard to see from just one perspective. As technology offers HCI digital humans, new combined shared approaches may be needed to gain insights, especially prior to their wide scale deployment. As bridging related disciplines has failed in the past, perhaps a new approach is needed, one of shared experiences, especially when exploring new technological phenomeno

The Irrational Element of Self and Creation in the Time of the Plague

In this paper I discuss how I went beyond commonplace, rational ways of theater-making and relied on certain “extreme”, irrational gestures to create my production of Charles Mee’s Orestes 2.0. I discuss the circumstances that led me to unlock my subjective artistry, the manner in which I tackled and fulfilled my “directorial concept”, and how I created a production that challenged the tyranny of rationality both on the stage and within the culture of the theater department. I relate personal experiences entering school during a time of national suspicion, and I discuss how a more expansive artistic outlook developed in response to my environment. I go through the execution of my directorial concept and show how I “projected a world” from my interior into the theatrical concrete, drawing on the work of master Polish director Tadeusz Kantor. I describe the “rules” of my theatrical world in terms of its diegetic reality, its method of construction, and its aims. I then describe the rehearsal process, highlighting the ways that irrational methods and a focus on body and imagination drove the process. I discuss my creative state of mind, my performance as the character Farley, and the way in which I hoped authority and sense-making functioned in the audience experience of the performance.Throughout, I accompany my ideas with supporting quotations from Mee’s play and the writing of French theorist, poet, and director Antonin Artaud, situating my use of the power of the irrational inside the theatrical tradition and the play-text

A 3D virtual environment for social telepresence

We examine OnLive Traveler as a case study. Traveler is a clientserver application allowing real-time synchronous communication between individuals over the Internet. The Traveler client interface presents the user with a shared virtual 3D world, in which participants are represented by avatars. The primary mode of communication is through multi-point, full duplex voice, managed by the server. Our design goal was to develop a virtual community system that emulates natural social paradigms, allowing the participants to sense a tele-presence, the subjective sensation that remote users are actually co-located within a virtual space. Once this level of immersive "sense of presence" and engagement is achieved, we believe an enhanced level of socialization, learning, and communication are achievable. We examine a number of very specific design and implementation decisions that were made to achieve this goal within platform constraints. We also will detail some observed results gleaned from the virtual community userbase, which has been online for several year

Second Life and the role of educators as regulators

Regulation, governance and harms stemming from the use of virtual worlds and other Massive Multi Media Online Role Playing Games (MMMORPGs) in higher education, are poorly understood and under-researched issues. Second Life, developed by Linden Labs, provides users with a series of generic &lsquo;terms of service&rsquo; and codes of conduct, yet place the bulk of responsibility on individual users or groups to report misbehaviour or develop their own behavioural codes, enforcement procedures and punishments suited to their particular needs. There is no guidebook to assist users in the processes of risk identification and management. As such, the various benefits of MMMORPG technologies could be offset by the risks to users and user-groups from a range of possible harms, including the impact of actual or perceived violence within teaching and learning settings.While cautioning against the direct translation of real-world regulatory principles into the governance of virtual worlds, this paper suggests theoretical and practical guidance on these issues can be taken from recent criminological developments. Using Lawrence Lessig&rsquo;s (1999) landmark work on cyber-regulation as a starting point, this paper examines the literature on video-game violence to illustrate the need for educators show awareness of both real and perceived risks in virtual worlds as a core element of an emerging educational pedagogy. We identify how the multiple roles of the virtual-world educator become useful in framing this pedagogy to improve student learning, to dispel myths about the risks of immersive technologies and advocate for their adoption and acceptance in the educational community.<br /

Evaluation Report of Prospero’s Island: an Immersive Approach to Literacy at Key Stage 3.

Prospero's Island is an immersive theatre project created by Punchdrunk Enrichment and sponsored by Learning Partner, London Borough of Hackney (Hackney Learning Trust). The project sought to inspire and motivate students’ engagement with the English curriculum, and to develop an immersive approach to teaching literacy that would improve students’ learning. Prospero’s Island took place in a secondary academy in Hackney, London over two school terms (autumn 2014-spring 2015). The project was embedded in existing schemes of work, and included the following elements: • An immersive theatre installation for Year 7-8 students (aged 11-13 years); this took the form of an interactive game based on The Tempest; over a two-week period groups of students participated in this experience for a morning or afternoon (autumn term); • A Teaching and Learning Day (TALD) and eight twilight CPD sessions on immersive learning techniques for school staff and teachers across London (autumn term); • A return to the installation for one lesson, led by English teachers (autumn term); • Follow-on work by teachers to develop immersive learning in English lessons (spring term); • An independent evaluation of the project (autumn and spring terms)

Authoring the Intimate Self: Identity, Expression and Role-playing within a Pioneering Virtual Community

We examine Traveler, a social-based 3D online virtual community with over ten years of continuous community use, as a case study. Traveler is a client-server application allowing real-time synchronous communication between individuals over the Internet. The Traveler client interface presents the user with a shared, user created, virtual 3D world, in which participants are represented by avatars. The primary mode of communication is through multi-point, full duplex voice, managed by the server. This paper reflects on the initial design goals of the developers in the mid 1990s to emulate natural social paradigms and, more recently, reports on how the online community uses distance attended multi-point voice and open-ended 3D space construction to express themselves both on a personal level and collaborative level to facilitate a tight socially based community. This paper situates the historical importance of Traveler within the framework of contemporary virtual worlds and provides insights into the ways that this software platform might influence next-generation virtual communities

Beyond the Electronic Connection: The Technologically Manufactured Cyber-Human and Its Physical Human Counterpart in Performance: A Theory Related to Convergence Identities

This thesis is an investigation of the complex processes and relationships between the physical human performer and the technologically manufactured cyber-human counterpart. I acted as both researcher and the physical human performer, deeply engaged in the moment-to-moment creation of events unfolding within a shared virtual reality environment. As the primary instigator and activator of the cyber-human partner, I maintained a balance between the live and technological performance elements, prioritizing the production of content and meaning. By way of using practice as research, this thesis argues that in considering interactions between cyber-human and human performers, it is crucial to move beyond discussions of technology when considering interactions between cyber-humans and human performers to an analysis of emotional content, the powers of poetic imagery, the trust that is developed through sensory perception and the evocation of complex relationships. A theoretical model is constructed to describe the relationship between a cyber-human and a human performer in the five works created specifically for this thesis, which is not substantially different from that between human performers. Technological exploration allows for the observation and analysis of various relationships, furthering an expanded understanding of ‘movement as content’ beyond the electronic connection. Each of the works created for this research used new and innovative technologies, including virtual reality, multiple interactive systems, six generations of wearable computers, motion capture technology, high-end digital lighting projectors, various projection screens, smart electronically charged fabrics, multiple sensory sensitive devices and intelligent sensory charged alternative performance spaces. They were most often collaboratively created in order to augment all aspects of the performance and create the sense of community found in digital live dance performances/events. These works are identified as one continuous line of energy and discovery, each representing a slight variation on the premise that a working, caring, visceral and poetic content occurs beyond the technological tools. Consequently, a shift in the physical human’s psyche overwhelms the act of performance. Scholarship and reflection on the works have been integral to my creative process throughout. The goals of this thesis, the works created and the resulting methodologies are to investigate performance to heighten the multiple ways we experience and interact with the world. This maximizes connection and results in a highly interactive, improvisational, dynamic, non-linear, immediate, accessible, agential, reciprocal, emotional, visceral and transformative experience without boundaries between the virtual and physical for physical humans, cyborgs and cyber-humans alike.College of Fine Arts at the University of Texas at Austin, Department of Theatre & Dance at the University of Texas at Austi

Virtual Cultural Identities

Virtual environments and the Internet provide an important medium for interactive collaborative learning. Immersive Virtual Environments appear able to support intuitive interaction techniques and metaphors. Our Identity Authoring Approach is aimed at our multicultural global society, and allows for multiple identities / persona to be created and used as interaction metaphors by users. The approach can be used to generate virtual environments in which the interaction is both intuitive and adaptable to the cultural background of the user, taking into account issues such as gendered and age-based identities. The approach is exemplified by focusing on interaction in virtual learning environments that engage and facilitate the introduction and experience of different cultures, by different users