The Translocal Event and the Polyrhythmic Diagram

This thesis identifies and analyses the key creative protocols in translocal performance practice, and ends with suggestions for new forms of transversal live and mediated performance practice, informed by theory. It argues that ontologies of emergence in dynamic systems nourish contemporary practice in the digital arts. Feedback in self-organised, recursive systems and organisms elicit change, and change transforms. The arguments trace concepts from chaos and complexity theory to virtual multiplicity, relationality, intuition and individuation (in the work of Bergson, Deleuze, Guattari, Simondon, Massumi, and other process theorists). It then examines the intersection of methodologies in philosophy, science and art and the radical contingencies implicit in the technicity of real-time, collaborative composition. Simultaneous forces or tendencies such as perception/memory, content/ expression and instinct/intellect produce composites (experience, meaning, and intuition- respectively) that affect the sensation of interplay. The translocal event is itself a diagram - an interstice between the forces of the local and the global, between the tendencies of the individual and the collective. The translocal is a point of reference for exploring the distribution of affect, parameters of control and emergent aesthetics. Translocal interplay, enabled by digital technologies and network protocols, is ontogenetic and autopoietic; diagrammatic and synaesthetic; intuitive and transductive. KeyWorx is a software application developed for realtime, distributed, multimodal media processing. As a technological tool created by artists, KeyWorx supports this intuitive type of creative experience: a real-time, translocal “jamming” that transduces the lived experience of a “biogram,” a synaesthetic hinge-dimension. The emerging aesthetics are processual – intuitive, diagrammatic and transversal

Design and semantics of form and movement (DeSForM 2006)

Design and Semantics of Form and Movement (DeSForM) grew from applied research exploring emerging design methods and practices to support new generation product and interface design. The products and interfaces are concerned with: the context of ubiquitous computing and ambient technologies and the need for greater empathy in the pre-programmed behaviour of the ‘machines’ that populate our lives. Such explorative research in the CfDR has been led by Young, supported by Kyffin, Visiting Professor from Philips Design and sponsored by Philips Design over a period of four years (research funding £87k). DeSForM1 was the first of a series of three conferences that enable the presentation and debate of international work within this field: • 1st European conference on Design and Semantics of Form and Movement (DeSForM1), Baltic, Gateshead, 2005, Feijs L., Kyffin S. & Young R.A. eds. • 2nd European conference on Design and Semantics of Form and Movement (DeSForM2), Evoluon, Eindhoven, 2006, Feijs L., Kyffin S. & Young R.A. eds. • 3rd European conference on Design and Semantics of Form and Movement (DeSForM3), New Design School Building, Newcastle, 2007, Feijs L., Kyffin S. & Young R.A. eds. Philips sponsorship of practice-based enquiry led to research by three teams of research students over three years and on-going sponsorship of research through the Northumbria University Design and Innovation Laboratory (nuDIL). Young has been invited on the steering panel of the UK Thinking Digital Conference concerning the latest developments in digital and media technologies. Informed by this research is the work of PhD student Yukie Nakano who examines new technologies in relation to eco-design textiles

To Affinity and Beyond: Interactive Digital Humans as a Human Computer Interface

The field of human computer interaction is increasingly exploring the use of more natural, human-like user interfaces to build intelligent agents to aid in everyday life. This is coupled with a move to people using ever more realistic avatars to represent themselves in their digital lives. As the ability to produce emotionally engaging digital human representations is only just now becoming technically possible, there is little research into how to approach such tasks. This is due to both technical complexity and operational implementation cost. This is now changing as we are at a nexus point with new approaches, faster graphics processing and enabling new technologies in machine learning and computer vision becoming available. I articulate the issues required for such digital humans to be considered successfully located on the other side of the phenomenon known as the Uncanny Valley. My results show that a complex mix of perceived and contextual aspects affect the sense making on digital humans and highlights previously undocumented effects of interactivity on the affinity. Users are willing to accept digital humans as a new form of user interface and they react to them emotionally in previously unanticipated ways. My research shows that it is possible to build an effective interactive digital human that crosses the Uncanny Valley. I directly explore what is required to build a visually realistic digital human as a primary research question and I explore if such a realistic face provides sufficient benefit to justify the challenges involved in building it. I conducted a Delphi study to inform the research approaches and then produced a complex digital human character based on these insights. This interactive and realistic digital human avatar represents a major technical undertaking involving multiple teams around the world. Finally, I explored a framework for examining the ethical implications and signpost future research areas

Proceedings of the 3rd International Mobile Brain/Body Imaging Conference : Berlin, July 12th to July 14th 2018

The 3rd International Mobile Brain/Body Imaging (MoBI) conference in Berlin 2018 brought together researchers from various disciplines interested in understanding the human brain in its natural environment and during active behavior. MoBI is a new imaging modality, employing mobile brain imaging methods like the electroencephalogram (EEG) or near infrared spectroscopy (NIRS) synchronized to motion capture and other data streams to investigate brain activity while participants actively move in and interact with their environment. Mobile Brain / Body Imaging allows to investigate brain dynamics accompanying more natural cognitive and affective processes as it allows the human to interact with the environment without restriction regarding physical movement. Overcoming the movement restrictions of established imaging modalities like functional magnetic resonance tomography (MRI), MoBI can provide new insights into the human brain function in mobile participants. This imaging approach will lead to new insights into the brain functions underlying active behavior and the impact of behavior on brain dynamics and vice versa, it can be used for the development of more robust human-machine interfaces as well as state assessment in mobile humans.DFG, GR2627/10-1, 3rd International MoBI Conference 201

The Augmented Learner : The pivotal role of multimedia enhanced learning within a foresight-based learning model designed to accelerate the delivery of higher levels of learner creativity

The central theme for this dissertation lies at the intersection of multisensory technology enhanced learning, the field of foresight and transformative pedagogy and their role in helping to develop greater learner creativity. These skills will be key to meeting the needs of the projected growing role of the creative class within the emerging global workforce structure and the projected growth in R&D and the advancement of human-machine resource management. Over the past two decades, we have traversed from the Industrial Age through the Information Age into what we now call postnormal times, manifested partly in Industry 4.0. It is widely considered that the present education system in countries with developed economies is not optimised for delivering the much-needed creative skills, which are prominent amongst the critical 21st C skills required by the creative class, (also known as creatives), which will be increasingly dominant in terms of near future employability. Consequently, there will be a potential shortfall of creatives unless this issue is rapidly addressed. To ensure that the creative skills I aimed to enhance were relevant and aligned with emerging demands of the changing landscape, I deconstructed the critical dimensions, context, and concept of creativity in postnormal times as well as undertaking in-depth research on the potential future workscape and the future of education and learning, applying a comprehensive foresight approach to the latter using a 2030-2040 horizon. Based upon the outcomes of these studies I designed an experimental integrative learning system that I have applied, researched, and evolved over the past 4 years with over 150 students at PhD and master’s level. The system is aimed at generating higher levels of creative engagement and development through a focus on increased immersion and creativity-inducing approaches. The system, which I call the Living Learning System, is based upon eight integrated elements, supported by course development pillars aimed at optimizing learner future skill competencies and levels of creativity for which I apply severalevaluation techniques and metrics. Accordingly, as the central hypothesis of this dissertation, I argue that by integrating the critical elements of the Living Learning System, such as emerging multisensory technology enhanced learning coupled with optimised transformative and experiential learning approaches, framed within the field of foresight, with its futures focus and decentralised thinking approaches, students increase their ability to be creative. This increased ability is based on the student attaining a richer level of personal ambience through deeper immersion generated through higher incidence of self-direction, constructivism-based blended pedagogy, futures literacy, and a balance of decentralised and systems-based thinking, as well as cognitive and social platforms aimed at optimizing learner creative achievement. This dissertation demonstrates how the application of the combined elements of the Living Learning System, with its futures focus and its ensuing transdisciplinary curricula and courses, can provide a clear path towards significantly increased learner creativity. The findings of the quantitative, questionnaire-based research set out in detail in Chapter 9, together with the performance and creativity evaluation models applied against the selected case studies of student projects substantiate the validity of the hypothesis that the application of the Living Learning System with its futures focus leads to increased creativity in line with the needs of the postnormal era.publishedVersio

Interactive Art and the Action of Behavioral Aesthetics in Embodied Philosophy

https://digitalmaine.com/academic/1004/thumbnail.jp

Designing for self-transcendent experiences in virtual reality

This thesis contributes to Psychology and Human-Computer Interaction (HCI) research with a focus on the design of immersive experiences that support self-transcendence. Self-transcendence is defined as a decrease in a sense of self and a increase in unity with the world. It can change what individuals know and value, their perspective on the world and life, evolving them as a grown person. Consequently, self-transcendence is gaining attention in Psychology, Philosophy, and Neuroscience. But, we are still far from understanding the complex phenomenological and neurocognitive aspects of self-transcendence, as well as its implications for individual growth and psychological well-being. In reviewing the methods for studying self-transcendence, we found differing conceptual models determine different ways for understanding and studying self-transcendence. Understanding self-transcendence is made especially challenging because of its ineffable qualities and extraordinary conditions in which it takes place. For that reason, researchers have began to look at technological solutions for both eliciting self-transcendence to better study it under controlled and replicable conditions as well as giving people greater access to the experience. We reviewed immersive, interactive technologies that aim to support positive experiences such as self-transcendence and extracted a set of design considerations that were prevalent across experiences. We then explored two different focuses of self-transcendence: awe and lucid dreaming. First, we took an existing VR experience designed specifically to support the self-transcendent experience of awe and looked at how the mindset and physical setting surrounding that VR experience might better support the experience of and accommodation of awe. Second, we delved deep into lucid dreaming to better understand the aspects that could help inform the design of an immersive experience that supports self-transcendence. We put those design ideas into practice by developing a neurofeedback system that aims to support lucid dreaming practices in an immersive experience. Through these review papers and design explorations, we contribute to the understanding of how one might design and evaluate immersive technological experiences that support varieties of self-transcendence. We hope to inspire more work in this area that holds promise in better understanding human nature and living our best lives

USING INTERACTIVE SOFTWARE AS A CONCEPTUAL TOOL: AN EXAMINATION OF COGNITION IN IMPROVISED MUSICAL PERFORMANCE

Viewing musical improvisation in the light of psychology and cognitive science, this thesis will explicate the rationale behind the development of a software based audiovisual interface for use in improvised solo instrumental performance. The evolution of the performance environment is presented along with the theories and concepts that have shaped its progress. The opening chapter will review the terms of reference used throughout the work and will set a boundary around the area of examination. Chapter two will place musical improvisation within the context of human behaviour and in so doing will draw upon theoretical discourse from the fields of evolutionary psychology and cognitive science. This chapter will explore the nature of volition and its relationship with subconscious processing, drawing upon anecdotal evidence from improvising musicians as linkage between theory and practice. Chapter 3 augments the study of the inner world of the improvising musician by encompassing the communicative functions of this activity. The boundary of this study does not embrace musical interactions between musicians in a dialogic sense, my remit here is to explore behavioural response to sensory information and the mechanism by which this may or may not manifest itself in conscious thought. Chapter 4 sees the development of a theoretical model with which to contextualise the practice of musical improvisation and to provide the foundation from which to evolve the architecture for an experimental performance environment. This leads in Chapter 5 to a discussion around the function and nature of tools as problem solving devices looking at conceptual and physical tools and the mapping of functionality. The discourse in this chapter is aimed at providing a rationale for the development of a software based tool to address some of the issues raised previously in the study. The concluding chapter will document the evolution of a software based audio-visual performance environment, mapping its various incarnations and its relationship to the theoretical model developed over the course of the pervious chapters. This chapter will refer to documentation and audio visual material on CD Rom and DVD found in Appendix l