Modeling of Performance Creative Evaluation Driven by Multimodal Affective Data

Performance creative evaluation can be achieved through affective data, and the use of affective featuresto evaluate performance creative is a new research trend. This paper proposes a “Performance Creative—Multimodal Affective (PC-MulAff)” model based on the multimodal affective features for performance creative evaluation. The multimedia data acquisition equipment is used to collect the physiological data of the audience, including the multimodal affective data such as the facial expression, heart rate and eye movement. Calculate affective features of multimodal data combined with director annotation, and defined “Performance Creative—Affective Acceptance (PC-Acc)” based on multimodal affective features to evaluate the quality of performance creative. This paper verifies the PC-MulAff model on different performance data sets. The experimental results show that the PC-MulAff model shows high evaluation quality in different performance forms. In the creative evaluation of dance performance, the accuracy of the model is 7.44% and 13.95% higher than that of the single textual and single video evaluation

Contours of Inclusion: Inclusive Arts Teaching and Learning

The purpose of this publication is to share models and case examples of the process of inclusive arts curriculum design and evaluation. The first section explains the conceptual and curriculum frameworks that were used in the analysis and generation of the featured case studies (i.e. Understanding by Design, Differentiated Instruction, and Universal Design for Learning). Data for the cases studies was collected from three urban sites (i.e. Los Angeles, San Francisco, and Boston) and included participant observations, student and teacher interviews, curriculum documentation, digital documentation of student learning, and transcripts from discussion forum and teleconference discussions from a professional learning community.The initial case studies by Glass and Barnum use the curricular frameworks to analyze and understand what inclusive practices look like in two case studies of arts-in-education programs that included students with disabilities. The second set of precedent case studies by Kronenberg and Blair, and Jenkins and Agois Hurel uses the frameworks to explain their process of including students by providing flexible arts learning options to support student learning of content standards. Both sets of case studies illuminate curricular design decisions and instructional strategies that supported the active engagement and learning of students with disabilities in educational settings shared with their peers. The second set of cases also illustrate the reflective process of using frameworks like Universal Design for Learning (UDL) to guide curricular design, responsive instructional differentiation, and the use of the arts as a rich, meaningful, and engaging option to support learning. Appended are curriculum design and evaluation tools. (Individual chapters contain references.

Evaluating Audience Engagement of an Immersive Performance on a Virtual Stage

Presenting theatrical performances in virtual reality (VR) has been an active area of research since the early 2000\u27s. VR provides a unique form of storytelling, which is made possible through the use of physically and digitally distributed 3D worlds. We describe a methodology for determining audience engagement in a virtual theatre performance. We use a combination of galvanic skin response (GSR) data, self-reported positive and negative affect schedule (PANAS), post-viewing reflection, and a think aloud method to assess user reaction to the virtual reality experience. In this study, we combine the implicit physiological data from GSR with explicit user feedback to produce a holistic metric for assessing immersion. Although the study evaluated a particular artistic work, the methodology of the study provides a foundation for conducting similar research. The combination of PANAS, self reflection, and the think aloud in conjunction with GSR data constitutes a novel approach in the study of live performance in virtual reality. The approach is also extendable to include other implicit measures such as pulse rate, blood pressure, or eye tracking. Our case study compares the experience of viewing the performance on a computer monitor to viewing with a head mounted display. Results showed statistically significant differences based on viewing platform in the PANAS self-report metric, as well as GSR measurements. Feedback obtained via the think aloud and reflection analysis also emphasized qualitative differences between the two viewing scenarios

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

Improvisation Pedagogy: An Epistemological Perspective of the 4‘E’ Model within Digital Musical Instruments

Recent years have witnessed the appearance of many new digital musical instruments (DMIs) and other interfaces for musical expression (NIME). This paper highlights a well-established music educational background theory that we believe may help DMI developers and users better understand DMIs in the context of music cognition and education. From an epistemological perspective, we present the paradigm of enactive music cognition related to improvisation in the context of the skills and needs of 21st century music learners. We hope this can lead to a deeper insertion of DMIs into music education, as well as to new DMIs to be ideated, prototyped and developed within these concepts and theories in mind. We specifically address the theory generally known as the 4E model of cognition (embodied, embedded, extended and enactive) within DMIs. The concept of autopoiesis is also described. Finally, we present some concrete cases of DMIs and NIMEs, and we describe how the experience of musical improvisation with them may be seen through the prism of such theories

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

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

I Don\u27t Know: An Artistic Inquiry Self-Study of Clinical Decision Making in Dance/Movement Therapy

The purpose of this artistic inquiry self-study was to engage in an embodied, in-depth process of exploration regarding how I engage in clinical decision-making. My research question was: “how do I, as an emerging dance/movement therapist, approach the clinical decision-making process?” Data was recorded through written journaling and video recorded improvisational movement. Journaling and movement were elicited through the visualization of a moment in a dance/movement therapy session in which I was caught off guard and needed to make a clinical decision. Such moments provoked anxiety and a freeze response that interfered with effective clinical intervention. Data was analyzed through dialogue with a research consultant, and through creative synthesis, resulting in a choreographic piece. Findings indicate that my freeze response to clinical decision making was a two-cycle process. Findings indicated that this freeze response happened when a supervisor was observing, or a client brought up intense material and my inner-critic interfered with intervention. The cycles were identified as follows: Cycle A: 1. Exploration, 2. Fear and self-doubt, 3. Perceived or imagined disapproval, 4. Shedding, 5. Resentment, 6. Distancing and grounding and Cycle B: 1. Autopilot, 2. Anger and rebellion, 3. Shedding/dissociation/loss of identity/perceived approval. The use of autonomy and inner-wisdom, hope, and self-regulation were themes generated that interfered with the cycle and generated more positive feeling states. Future research on exploring autonomy, hope, and self-regulation in relation to clinical decision making and intervention may help to manage clinician anxiety. It is my hope that these insights will positively influence my effectiveness as a clinician and allow my future clients to experience safety and trust in having a self-regulated and decisive clinician. 65 pages