In the dark – designing navigation for a haptic theatre experience

We describe the ongoing work of a collaborative theatre project, in which blind and sighted members of an interdisciplinary team are working on the creation of an immersive and accessible theatre experience. The theatre experience is set in pitch dark, and uses audio and haptic ubiquitous technologies to guide both blind and sighted members of the audience. During two sessions which explored the use of enactive navigation in the dark space, participants were able to locate areas of interest within the dark, using enactive explorative navigation, and some participants described this as a ‘dense’ experience

Projecting the voice : audience responses to ICT-mediated contemporary opera

This paper examines how audiences experience live opera performance and the behaviours they exhibit during live-streaming of the performance. It aims to contribute to our understanding of how audiences, who increasingly inhabit an environment saturated with digital media, respond to contemporary opera performance. Based on a comparative study of audience experiences and behaviours during a live opera performance and the streamed opera screening, we investigate whether digital mediation affects audience appreciation, and whether streaming live opera means the same thing to an audience as the unmediated performance. We firstly outline the conception, design and performance of a contemporary opera and its simultaneous streaming to nearby digital screens. Then, we report the evaluation of the project as measured by a mix of qualitative and quantitative methods during the rehearsals, the live performance and the screening. As one of the few social studies of contemporary classical music in Britain, our study of opera audience behaviours sheds light on the challenges and opportunities afforded by digital technologies for opera companies. Understanding how audiences appreciate digital operas offers practical advice on how theatres and opera companies could respond to new forms of digital activities

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

Digital communities: context for leading learning into the future?

In 2011, a robust, on-campus, three-element Community of Practice model consisting of growing community, sharing of practice and building domain knowledge was piloted in a digital learning environment. An interim evaluation of the pilot study revealed that the three-element framework, when used in a digital environment, required a fourth element. This element, which appears to happen incidentally in the face-to-face context, is that of reflecting, reporting and revising. This paper outlines the extension of the pilot study to the national tertiary education context in order to explore the implications for the design, leadership roles, and selection of appropriate technologies to support and sustain digital communities using the four-element model

JuxtaLearn D3.2 Performance Framework

This deliverable, D3.2, for Work Package 3 incorporating the pedagogy from WP2 and orchestration factors mapped in D3.1 reviews aspects of performance in the context of participative video making. It reviews literature on curiosity and engagement characteristics of interaction mechanisms for public displays and anticipates requirements for social network analysis of relevant public videos from WP6 task 6.3. Thus, to support JuxtaLearn performance it proposes a reflective performance framework that encompasses the material environment and objects required, the participants, and the knowledge needed

Evolution of digital marketing

The people who receive the information and buy products/services migrate, nowadays, from traditional to on-line media, a greater number of them is accessing the desired news from specialized sites and from mobile devices, anywhere and anytime. The fast adopting of new technologies affects – and transform – manufacturing, distribution and consume, but to optimize on-line channels is necessary to act objectively, and to found the decisions on performance key indicators. In the process of adapting to these market changes, the marketers have the opportunity to reach a different audience through on-line and mobile instruments. This approach based on real data, facilitated by web analysis, helps companies to focus the efforts and to have success with the new offer versions.digital marketing, blog, mobile marketing, interactive television

Museum Experience Design: A Modern Storytelling Methodology

In this paper we propose a new direction for design, in the context of the theme “Next Digital Technologies in Arts and Culture”, by employing modern methods based on Interaction Design, Interactive Storytelling and Artificial Intelligence. Focusing on Cultural Heritage, we propose a new paradigm for Museum Experience Design, facilitating on the one hand traditional visual and multimedia communication and, on the other, a new type of interaction with artefacts, in the form of a Storytelling Experience. Museums are increasingly being transformed into hybrid spaces, where virtual (digital) information coexists with tangible artefacts. In this context, “Next Digital Technologies” play a new role, providing methods to increase cultural accessibility and enhance experience. Not only is the goal to convey stories hidden inside artefacts, as well as items or objects connected to them, but it is also to pave the way for the creation of new ones through an interactive museum experience that continues after the museum visit ends. Social sharing, in particular, can greatly increase the value of dissemination

Player agency in interactive narrative: audience, actor & author

The question motivating this review paper is, how can computer-based interactive narrative be used as a constructivist learn- ing activity? The paper proposes that player agency can be used to link interactive narrative to learner agency in constructivist theory, and to classify approaches to interactive narrative. The traditional question driving research in interactive narrative is, ‘how can an in- teractive narrative deal with a high degree of player agency, while maintaining a coherent and well-formed narrative?’ This question derives from an Aristotelian approach to interactive narrative that, as the question shows, is inherently antagonistic to player agency. Within this approach, player agency must be restricted and manip- ulated to maintain the narrative. Two alternative approaches based on Brecht’s Epic Theatre and Boal’s Theatre of the Oppressed are reviewed. If a Boalian approach to interactive narrative is taken the conflict between narrative and player agency dissolves. The question that emerges from this approach is quite different from the traditional question above, and presents a more useful approach to applying in- teractive narrative as a constructivist learning activity