Wearable performance

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

Game Transfer Phenomena in video game playing: a qualitative interview study

Video game playing is a popular activity and its enjoyment among frequent players has been associated with absorption and immersion experiences. This paper examines how immersion in the video game environment can influence the player during the game and afterwards (including fantasies, thoughts, and actions). This is what we describe as Game Transfer Phenomena (GTP). GTP occurs when video game elements are associated with real life elements triggering subsequent thoughts, sensations and/or player actions. To investigate this further, a total of 42 frequent video game players aged between 15 and 21 years old were interviewed. Thematic analysis showed that many players experienced GTP, where players appeared to integrate elements of video game playing into their real lives. These GTP were then classified as either intentional or automatic experiences. Results also showed that players used video games for interacting with others as a form of amusement, modeling or mimicking video game content, and daydreaming about video games. Furthermore, the findings demonstrate how video games sometimes triggered intrusive thoughts, sensations, impulses, reflexes, optical illusions, and dissociations

Audience Reactions to Repeating A Piece on A Concert Programme

Repetition of a piece on a concert programme is a well-established, but uncommon performance practice. Musicians have presumed that repetition benefits audience enjoyment and understanding but no research has examined this. In two naturalistic and one lab study, we examined audience reaction to repeated live performances of contemporary pieces played by the same ensemble. In all studies, we asked listeners to rate their enjoyment and willingness to hear the piece again (Affective), and perceived understanding and predicted memory of the piece (Cognitive). In Study 3, we assessed immediate recognition memory of each excerpt. In all studies, Cognitive variables increased significantly. Affective reaction also increased except for one piece that was well liked at first hearing. Memory performance was low and not related to predicted memory, nor increased after a second hearing. Being informed or not had no systematic effect on reaction. Audience and performer reaction was mixed. We discuss the implications for musical directors when considering repeat performances

Communicating through sound in museum exhibitions: unravelling a field of practice

The twentieth century was the stage for several phenomena which have paved the way for museums to start exhibiting sound and to nurture a vivid and increasing interest in its potentialities. The burgeoning of sound recording technologies stands as a milestone in this respect. These have allowed sound to become a physical object and, hence, new understandings and conceptualizations to emerge. In the wake of these developments, the ways in which museum curators look at sound has gone into a huge reconfiguration. The fact that both new museology and museum practice have been turning their attention to and focus on the visitor has similarly accelerated the curators’ interest in sound as a means to build museum exhibitions. One of the latest and most striking instances in this process has been the role of ethnomusicology and sound studies in demonstrating the cultural, social, political, economic and ethical significance of sound thereby stimulating museum’s interest in dealing with sound as a mode to build both individual subjectivities and communities in museum settings. The development of audio technologies and digital and multisensorial technologies (Virtual Reality, Augmented Reality and Mixed Reality) also plays a part in this process. These have the merit to provide ways to deal with the elusiveness of sound when exhibited in museum galleries and to facilitate interactions underpinned by rationales such as experience, embodiment, and emplacement. During at least the last ten years, there has been a boost in the development of sound-based multimodal museum practices. These practices, nonetheless, have yet to be mapped, and their representational and experiential (emotional and sensorial) opportunities to be closely analysed. My thesis strives to start closing this gap by taking two analytical steps. Based on the analysis of 69 sound-based multimodal museum exhibitions staged in Europe and in the United States of America, I provide a five-use framework categorizing sound-based multimodal museum practices into sound as a “lecturing” mode, sound as an artefact, sound as “ambiance”/soundtrack, sound as art, and sound as a mode for crowd-curation. The case-study of sound art The Visitors, it unravels the communicative potential of sound for museums. In detail, the analysis stresses how sound and space comingle to articulate individual subjectivities and a sense of “togetherness.” The scope of the thesis is clearly multidisciplinary, encompassing ethnomusicology, sound studies, museum studies, and social semiotics. Overall, I seek to contribute towards the development of the study of sound in museums to develop and establish as a cohesive research field. I moreover seek to foster a sensory formation shift from a visual epistemology to one that merges the visual and the auditory.O século XX foi palco de vários fenómenos que conduziram a que os museus começassem a expor o som e a demonstrar um interesse crescente pelas suas potencialidades comunicativas. O aparecimento das tecnologias de gravação sonora constitui-se como um momento fundamental neste processo. Ao permitirem que o som se estabeleça enquanto objeto físico, vieram potenciar o aparecimento de novos entendimentos e conceptualizações sobre o som. Na sequência destes acontecimentos, a forma como os curadores de exposições começaram a olhar para o som sofreu grandes alterações. Simultaneamente, o facto de tanto os estudos museológicos como a prática museológica estarem cada vez mais preocupados com o visitante veio também acelerar o interesse dos curadores pelo som como meio para construir exposições museológicas. Os estudos musicais, em particular a etnomusicologia e os estudos de som, tiveram igualmente um papel preponderante: ao demonstrarem o valor cultural, social, político, económico e ético do som vieram claramente estimular o interesse dos curadores em usar o som como material para trabalhar noções de identidade, subjectividade e “comunhão.” É ainda de destacar o papel que o desenvolvimento de tecnologias áudio, digitais e multisensoriais (Realidade Virtual, Realidade Aumentada e Realidade Mista) têm no processo. Ao proporcionarem formas de lidar com a imaterialidade do som quando exposto em galerias, vieram também fomentar interações museológicas sustentadas pela experiência. Nos últimos dez anos, os museus têm, pois, assistido ao incrementar das práticas museológicas multimodais baseadas no som. O mapeamento e a categorização destas práticas, bem como o estudo das suas potencialidades narrativas e experienciais (emocionais e sensoriais), no entanto, está claramente por determinar. A minha tese visa dar início ao colmatar desta lacuna através de dois passos: providenciar uma estrutura classificativa das práticas multimodais baseadas em som com base na análise de 69 exposições que tiveram lugar nos últimos dez anos na Europa e nos Estados Unidos da América. A estrutura compreende as seguintes categorias: som como um modo "discursivo," som como artefacto, som como "ambiance"/banda sonora, som como arte, e som como curadoria partilhada. Simultaneamente, dar início ao desvendar do potencial comunicativo do som para exposições museológicas através do estudo de caso de arte sonora The Visitors. A análise deste estudo de caso veio demonstrar que som, em articulação com o espaço permitem trabalhar noções de identidade, subjetividade, e ainda de “comunhão.” O âmbito da tese é claramente multidisciplinar e engloba a etnomusicologia, os estudos de som, os estudos museológicos e a semiótica social. De uma forma geral, com a minha dissertação procuro contribuir para o desenvolvimento e o estabelecimento do estudo do uso do som nos museus como um campo de investigação multidisciplinar e coeso. Procuro ainda potenciar uma mudança de formação sensorial nos museus, em particular, estimular a passagem de uma epistemologia visual para uma epistemologia simultaneamente visual e auditiva

MovieRemix: Having Fun Playing with Videos

The process of producing new creative videos by editing, combining, and organizing pre-existing material (e.g., video shots) is a popular phenomenon in the current web scenario. Known as remix or video remix, the produced videomay have new and different meanings with respect to the sourcematerial. Unfortunately, whenmanaging audiovisual objects, the technological aspect can be a burden for many creative users.Motivated by the large success of the gaming market, we propose a novel game and an architecture to make the remix process a pleasant and stimulating gaming experience. MovieRemix allows people to act like amovie director, butinstead of dealing with cast and cameras, the player has to create a remixed video starting from a given screenplay and from video shots retrieved from the provided catalog. MovieRemix is not a simple video editing tool nor is a simple game: it is a challenging environment that stimulates creativity. To temp to play the game, players can access different levels of screenplay (original, outline, derived) and can also challenge other players. Computational and storage issues are kept at the server side, whereas the client device just needs to have the capability of playing streaming videos

Personal Ideals as Metaphors

What is it to have and act on a personal ideal? Someone who aspires to be a philosopher might imaginatively think “I am a philosopher” by way of motivating herself to think hard about a philosophical question. But doing so seems to require her to act on an inaccurate self-description, given that she isn’t yet what she regards herself as being. J. David Velleman develops the thought that action-by-ideal involves a kind of fictional self-conception. My aim is to expand our thinking about personal ideals by developing another way of understanding them. On this view action-by-ideal involves a kind of metaphorical self-conception. I investigate some salient differences between these views with the aim of understanding the different perspectives they take on the rationality of action-by-ideal. Where the fiction view runs into problems of literary coherence, the metaphor view exploits the richness of poetic invention. But action-by-ideal is a complex phenomenon about which there may be no tidy story to be told. This paper is an attempt to clarify and understand more of this messy terrain