Let's Resonate! How to Elicit Improvisation and Letting Go in Interactive Digital Art

Participatory art allows for the spectator to be a participant or a viewer able to engage actively with interactive art. Real-time technologies offer new ways to create participative artworks. We hereby investigate how to engage participation through movement in interactive digital art, and what this engagement can awaken, focusing on the ways to elicit improvisation and letting go. We analyze two Virtual Reality installations, ''InterACTE'' and ''Eve, dance is an unplaceable place,'' involving body movement, dance, creativity and the presence of an observing audience. We evaluate the premises, the setup, and the feedback of the spectators in the two installations. We propose a model following three different perspectives of resonance: 1. Inter Resonance between Spectator and Artwork, which involves curiosity, imitation, playfulness and improvisation. 2. Inner Resonance of Spectator him/herself, where embodiment and creativity contribute to the sense of being present and letting go. 3. Collective Resonance between Spectator/Artwork and Audience, which is stimulated by curiosity, and triggers motor contagion, engagement and gathering. The two analyzed examples seek to awaken open-minded communicative possibilities through the use of interactive digital artworks. Moreover, the need to recognize and develop the idea of resonance becomes increasingly important in this time of urgency to communicate, understand and support collectivity

Immersive Participation:Futuring, Training Simulation and Dance and Virtual Reality

Dance knowledge can inform the development of scenario design in immersive digital simulation environments by strengthening a participant’s capacity to learn through the body. This study engages with processes of participatory practice that question how the transmission and transfer of dance knowledge/embodied knowledge in immersive digital environments is activated and applied in new contexts. These questions are relevant in both arts and industry and have the potential to add value and knowledge through crossdisciplinary collaboration and exchange. This thesis consists of three different research projects all focused on observation, participation, and interviews with experts on embodiment in digital simulation. The projects were chosen to provide a range of perspectives across dance, industry and futures studies. Theories of embodied cognition, in particular the notions of the extended body, distributed cognition, enactment and mindfulness, offer critical lenses through which to explore the relationship of embodied integration and participation within immersive digital environments. These areas of inquiry lead to the consideration of how language from the field of computer science can assist in describing somatic experience in digital worlds through a discussion of the emerging concepts of mindfulness, wayfinding, guided movement and digital kinship. These terms serve as an example of how the mutability of language became part of the process as terms applied in disparate disciplines were understood within varying contexts. The analytic tools focus on applying a posthuman view, speculation through a futures ethnography, and a cognitive ethnographical approach to my research project. These approaches allowed me to examine an ecology of practices in order to identify methods and processes that can facilitate the transmission and transfer of embodied knowledge within a community of practice. The ecological components include dance, healthcare, transport, education and human/computer interaction. These fields drove the data collection from a range of sources including academic papers, texts, specialists’ reports, scientific papers, interviews and conversations with experts and artists.The aim of my research is to contribute both a theoretical and a speculative understanding of processes, as well as tools applicable in the transmission of embodied knowledge in virtual dance and arts environments as well as digital simulation across industry. Processes were understood theoretically through established studies in embodied cognition applied to workbased training, reinterpreted through my own movement study. Futures methodologies paved the way for speculative processes and analysis. Tools to choreograph scenario design in immersive digital environments were identified through the recognition of cross purpose language such as mindfulness, wayfinding, guided movement and digital kinship. Put together, the major contribution of this research is a greater understanding of the value of dance knowledge applied to simulation developed through theoretical and transformational processes and creative tools

Towards higher sense of presence: a 3D virtual environment adaptable to confusion and engagement

Virtual Reality scenarios where emitters convey information to receptors can be used as a tool for distance learning and to enable virtual visits to company physical headquarters. However, immersive Virtual Reality setups usually require visualization interfaces such as Head-mounted Displays, Powerwalls or CAVE systems, supported by interaction devices (Microsoft Kinect, Wii Motion, among others), that foster natural interaction but are often inaccessible to users. We propose a virtual presentation scenario, supported by a framework, that provides emotion-driven interaction through ubiquitous devices. An experiment with 3 conditions was designed involving: a control condition; a less confusing text script based on its lexical, syntactical, and bigram features; and a third condition where an adaptive lighting system dynamically acted based on the user’s engagement. Results show that users exposed to the less confusing script reported higher sense of presence, albeit without statistical significance. Users from the last condition reported lower sense of presence, which rejects our hypothesis without statistical significance. We theorize that, as the presentation was given orally and the adaptive lighting system impacts the visual channel, this conflict may have overloaded the users’ cognitive capacity and thus reduced available resources to address the presentation content.info:eu-repo/semantics/publishedVersio

3D (embodied) projection mapping and sensing bodies : a study in interactive dance performance

This dissertation identifies the synergies between physical and virtual environments when designing for immersive experiences in interactive dance performances. The integration of virtual information in physical space is transforming our interactions and experiences with the world. By using the body and creative expression as the interface between real and virtual worlds, dance performance creates a privileged framework to research and design interactive mixed reality environments and immersive augmented architectures. The research is primarily situated in the fields of visual art and interaction design. It combines performance with transdisciplinary fields and intertwines practice with theory. The theoretical and conceptual implications involved in designing and experiencing immersive hybrid environments are analyzed using the reality–virtuality continuum. These theories helped frame the ways augmented reality architectures are achieved through the integration of dance performance with digital software and reception displays. They also helped identify the main artistic affordances and restrictions in the design of augmented reality and augmented virtuality environments for live performance. These pervasive media architectures were materialized in three field experiments, the live dance performances. Each performance was created in three different stages of conception, design and production. The first stage was to “digitize” the performer’s movement and brain activity to the virtual environment and our system. This was accomplished through the use of depth sensor cameras, 3D motion capture, and brain computer interfaces. The second stage was the creation of the computational architecture and software that aggregates the connections and mapping between the physical body and the spatial dynamics of the virtual environment. This process created real-time interactions between the performer’s behavior and motion and the real-time generative computer 3D graphics. Finally, the third stage consisted of the output modality: 3D projector based augmentation techniques were adopted in order to overlay the virtual environment onto physical space. This thesis proposes and lays out theoretical, technical, and artistic frameworks between 3D digital environments and moving bodies in dance performance. By sensing the body and the brain with the 3D virtual environments, new layers of augmentation and interactions are established, and ultimately this generates mixed reality environments for embodied improvisational self-expression.Radio-Television-Fil

A Design Exploration of Affective Gaming

Physiological sensing has been a prominent fixture in games user research (GUR) since the late 1990s, when researchers began to explore its potential to enhance and understand experience within digital game play. Since these early days, it has been widely argued that “affective gaming”—in which gameplay is influenced by a player’s emotional state—can enhance player experience by integrating physiological sensors into play. In this thesis, I conduct a design exploration of the field of affective gaming by first, systematically exploring the field and creating a framework (the affective game loop) to classify existing literature; and second by presenting two design probes, to probe and explore the design space of affective games contextualized within the affective game loop: In the Same Boat and Commons Sense. The systematic review explored this unique design space of affective gaming, opening up future avenues for exploration. The affective game loop was created as a way to classify the physiological signals and sensors most commonly used in prior literature within the context of how they are mapped into the gameplay itself. Findings suggest that the physiological input mappings can be more action-based (e.g., affecting mechanics in the game such as the movement of the character) or more context-based (e.g., affecting things like environmental or difficulty variables in the game). Findings also suggested that while the field has been around for decades, there is still yet to be any commercial successes, so does physiological interaction really heighten player experience? This question instigated the design of the two probes, exploring ways to implement these mappings and effectively heighten player experience. In the Same Boat (Design Probe One) is an embodied mirroring game designed to promote an intimate interaction, using players’ breathing rate and facial expressions to control movement of a canoe down a river. Findings suggest that playing In the Same Boat fostered the development of affiliation between the players, and that while embodied controls were less intuitive, people enjoyed them more, indicating the potential of embodied controls to foster social closeness in synchronized play over a distance. Commons Sense (Design Probe Two) is a communication modality intended to heighten audience engagement and effectively capture and communicate the audience experience, using a webcam-based heart rate detection software that takes an average of each spectator’s heart rate as input to affect in-game variables such as lighting and sound design, and game difficulty. Findings suggest that Commons Sense successfully facilitated the communication of audience response in an online entertainment context—where these social cues and signals are inherently diminished. In addition, Commons Sense is a communication modality that can both enhance a play experience while offering a novel way to communicate. Overall, findings from this design exploration shows that affective games offer a novel way to deliver a rich gameplay experience for the player

Differentiation of the Causal Characteristics and Influences of Virtual Reality and the Effects on Learning at a Science Exhibit

Within the context of the informal science center, exhibits are the main interface for public learning. Essential to the success of a science center is how well exhibits model effective strategies for learning. Virtual Reality (VR) technology with its flexible, adaptive, multimedia, and immersive-learning capabilities is emerging for use by science centers in exhibits; however, research on learning in virtual environments at exhibits is scarce. To support the future development of VR science exhibits it is critical to investigate VR\u27s pedagogical value and effects on science learning. Research investigated the Smoke & Mirrors VR exhibit at the Reuben H. Fleet Science Center in San Diego, California. Inquiry focused on the interplay between elements of the exhibit\u27s design, assessing the separate and interactive effects of visual imagery, moving images, sound, narration, and interactive tools to differentiate the causal characteristics and influences that enhanced and detracted from learning. Case study methodology was employed utilizing visitor observations and interviews with 14 participants. Findings indicated that realistic visual elements with text were the primary sources of content learning; however, positive results were limited to only a few participants. High cognitive load due to interactive tools; instructional design; and movement of visual images were found to be significant detracting characteristics of participant learning. Other characteristics and influences of VR were also found that directly effected learning. Research results will inform the forthcoming design of a new VR exhibit at the Reuben H. Fleet Science Center and to the design and development of future VR exhibits at informal science centers. A prior brief mixed-methods evaluation of Smoke & Mirrors was conducted in 2003, contributing background to the study and its future implications and strategies

Towards a heuristic model for experiential AI:analysing the Zizi Show in the new real

Based on the rapid pace of evolving creative practice in AI arts, we identify and respond to an urgent need to develop frameworks for analysing the critical dimensions (including social/political) of this emerging field. This paper offers a comprehensive case study of The Zizi Show, by Jake Elwes, developed as part of The New Real and Experiential AI programme at the Edinburgh Futures Institute within the University of Edinburgh. Based on this case study analysis, we propose the structuring of distinct project characteristics into four categories (socio-cultural and institutional aspects; technology and media; experience and affect; and audience and impact) which form the basis for a heuristic model. The statements/descriptors collected in each category serve to capture creative and design strategies that can lead design processes from cultural and technological perspectives, enable projects’ cross-examination and evaluation and surface blindspots in the creative process