2,709 research outputs found
What do Collaborations with the Arts Have to Say About Human-Robot Interaction?
This is a collection of papers presented at the workshop What Do Collaborations with the Arts Have to Say About HRI , held at the 2010 Human-Robot Interaction Conference, in Osaka, Japan
Interactive Audio Augmented Reality in Participatory Performance
Interactive Audio Augmented Reality (AAR) facilitates collaborative storytelling and human interaction in participatory performance. Spatial audio enhances the auditory environment and supports real-time control of media content and the experience. Nevertheless, AAR applied to interactive performance practices remains under-explored. This study examines how audio human-computer interaction can prompt and support actions, and how AAR can contribute to developing new kinds of interactions in participatory performance.This study investigates an AAR participatory performance based on the theater and performance practice by theater maker Augusto Boal. It draws from aspects of multi-player audio-only games and interactive storytelling. A user experience study of the performance shows that people are engaged with interactive content and interact and navigate within the spatial audio content using their whole body. Asymmetric audio cues, playing distinctive content for each participant, prompt verbal and non-verbal communication. The performative aspect was well-received and participants took on roles and responsibilities within their group during the experience
Software Defined Media: Virtualization of Audio-Visual Services
Internet-native audio-visual services are witnessing rapid development. Among
these services, object-based audio-visual services are gaining importance. In
2014, we established the Software Defined Media (SDM) consortium to target new
research areas and markets involving object-based digital media and
Internet-by-design audio-visual environments. In this paper, we introduce the
SDM architecture that virtualizes networked audio-visual services along with
the development of smart buildings and smart cities using Internet of Things
(IoT) devices and smart building facilities. Moreover, we design the SDM
architecture as a layered architecture to promote the development of innovative
applications on the basis of rapid advancements in software-defined networking
(SDN). Then, we implement a prototype system based on the architecture, present
the system at an exhibition, and provide it as an SDM API to application
developers at hackathons. Various types of applications are developed using the
API at these events. An evaluation of SDM API access shows that the prototype
SDM platform effectively provides 3D audio reproducibility and interactiveness
for SDM applications.Comment: IEEE International Conference on Communications (ICC2017), Paris,
France, 21-25 May 201
Choreographic and Somatic Approaches for the Development of Expressive Robotic Systems
As robotic systems are moved out of factory work cells into human-facing
environments questions of choreography become central to their design,
placement, and application. With a human viewer or counterpart present, a
system will automatically be interpreted within context, style of movement, and
form factor by human beings as animate elements of their environment. The
interpretation by this human counterpart is critical to the success of the
system's integration: knobs on the system need to make sense to a human
counterpart; an artificial agent should have a way of notifying a human
counterpart of a change in system state, possibly through motion profiles; and
the motion of a human counterpart may have important contextual clues for task
completion. Thus, professional choreographers, dance practitioners, and
movement analysts are critical to research in robotics. They have design
methods for movement that align with human audience perception, can identify
simplified features of movement for human-robot interaction goals, and have
detailed knowledge of the capacity of human movement. This article provides
approaches employed by one research lab, specific impacts on technical and
artistic projects within, and principles that may guide future such work. The
background section reports on choreography, somatic perspectives,
improvisation, the Laban/Bartenieff Movement System, and robotics. From this
context methods including embodied exercises, writing prompts, and community
building activities have been developed to facilitate interdisciplinary
research. The results of this work is presented as an overview of a smattering
of projects in areas like high-level motion planning, software development for
rapid prototyping of movement, artistic output, and user studies that help
understand how people interpret movement. Finally, guiding principles for other
groups to adopt are posited.Comment: Under review at MDPI Arts Special Issue "The Machine as Artist (for
the 21st Century)"
http://www.mdpi.com/journal/arts/special_issues/Machine_Artis
Testing a Shape-Changing Haptic Navigation Device With Vision-Impaired and Sighted Audiences in an Immersive Theater Setting
Flatland was an immersive “in-the-wild” experimental theater and technology project, undertaken with the goal of developing systems that could assist “real-world” pedestrian navigation for both vision-impaired (VI) and sighted individuals, while also exploring inclusive and equivalent cultural experiences for VI and sighted audiences. A novel shape-changing handheld haptic navigation device, the “Animotus,” was developed. The device has the ability to modify its form in the user's grasp to communicate heading and proximity to navigational targets. Flatland provided a unique opportunity to comparatively study the use of novel navigation devices with a large group of individuals (79 sighted, 15 VI) who were primarily attending a theater production rather than an experimental study. In this paper, we present our findings on comparing the navigation performance (measured in terms of efficiency, average pace, and time facing targets) and opinions of VI and sighted users of the Animotus as they negotiated the 112 m2 production environment. Differences in navigation performance were nonsignificant across VI and sighted individuals and a similar range of opinions on device function and engagement spanned both groups. We believe more structured device familiarization, particularly for VI users, could improve performance and incorrect technology expectations (such as obstacle avoidance capability), which influenced overall opinion. This paper is intended to aid the development of future inclusive technologies and cultural experiences
From rituals to magic: Interactive art and HCI of the past, present, and future
The connection between art and technology is much tighter than is commonly recognized. The emergence of aesthetic computing in the early 2000s has brought renewed focus on this relationship. In this article, we articulate how art and Human–Computer Interaction (HCI) are compatible with each other and actually essential to advance each other in this era, by briefly addressing interconnected components in both areas—interaction, creativity, embodiment, affect, and presence. After briefly introducing the history of interactive art, we discuss how art and HCI can contribute to one another by illustrating contemporary examples of art in immersive environments, robotic art, and machine intelligence in art. Then, we identify challenges and opportunities for collaborative efforts between art and HCI. Finally, we reiterate important implications and pose future directions. This article is intended as a catalyst to facilitate discussions on the mutual benefits of working together in the art and HCI communities. It also aims to provide artists and researchers in this domain with suggestions about where to go next
Machine Performers: Agents in a Multiple Ontological State
In this thesis, the author explores and develops new attributes for machine
performers and merges the trans-disciplinary fields of the performing arts and artificial
intelligence. The main aim is to redefine the term “embodiment” for robots on the
stage and to demonstrate that this term requires broadening in various fields of
research. This redefining has required a multifaceted theoretical analysis of
embodiment in the field of artificial intelligence (e.g. the uncanny valley), as well as
the construction of new robots for the stage by the author. It is hoped that these
practical experimental examples will generate more research by others in similar
fields.
Even though the historical lineage of robotics is engraved with theatrical
strategies and dramaturgy, further application of constructive principles from the
performing arts and evidence from psychology and neurology can shift the perception
of robotic agents both on stage and in other cultural environments. In this light, the
relation between representation, movement and behaviour of bodies has been further
explored to establish links between constructed bodies (as in artificial intelligence)
and perceived bodies (as performers on the theatrical stage). In the course of this
research, several practical works have been designed and built, and subsequently
presented to live audiences and research communities. Audience reactions have been
analysed with surveys and discussions. Interviews have also been conducted with
choreographers, curators and scientists about the value of machine performers.
The main conclusions from this study are that fakery and mystification can be
used as persuasive elements to enhance agency. Morphologies can also be applied that
tightly couple brain and sensorimotor actions and lead to a stronger stage presence. In
fact, if this lack of presence is left out of human replicants, it causes an “uncanny”
lack of agency. Furthermore, the addition of stage presence leads to stronger
identification from audiences, even for bodies dissimilar to their own. The author
demonstrates that audience reactions are enhanced by building these effects into
machine body structures: rather than identification through mimicry, this causes them
to have more unambiguously biological associations. Alongside these traits,
atmospheres such as those created by a cast of machine performers tend to cause even
more intensely visceral responses.
In this thesis, “embodiment” has emerged as a paradigm shift – as well as
within this shift – and morphological computing has been explored as a method to
deepen this visceral immersion. Therefore, this dissertation considers and builds
machine performers as “true” performers for the stage, rather than mere objects with
an aura. Their singular and customized embodiment can enable the development of
non-anthropocentric performances that encompass the abstract and conceptual patterns
in motion and generate – as from human performers – empathy, identification and
experiential reactions in live audiences
The Migration Of Forms: Bullet Time As Microgenre
Rehak considers the ways in which the film The Matrix branded bullet time both as technical process and stylistic convention, and discusses bullet time\u27s ancestry in image experimentation of the 1980s and 1990s. In his analysis, Rehak uses the conceptual framework of the microgenre to explore the cultural lifespan of bullet time, treating it less as a singular special effect than a package of photographic and digital techniques whose fortunes were shaped by a complex interplay of technology, narrative and style. Rehak\u27s goal is to shed light not just on bullet time, but on the changing behavior of visual texts in contemporary media. He examines an overview of special effects scholarship to date, most notably the indication that the repetition of special effects dulls their effectiveness, in part due to the changing competencies of audiences. Rehak also looks at the struggle of the filmmakers of The Matrix to craft sequels that simultaneously preserved bullet time\u27s appeal while varying it enough to ensure another breakthrough
The status and function of Inanimate \u27object-actors\u27 in cyborg theatre
This practice-led research investigates the relationships between human and technological actors in theatre with specific reference to theatrical presence.The research proposes to advance knowledge in the fields of directing and theatre making by putting forward new strategies for directing actors who perform with computer-based technologies
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