A framework for human-like behavior in an immersive virtual world

Just as readers feel immersed when the story-line adheres to their experiences, users will more easily feel immersed in a virtual environment if the behavior of the characters in that environment adheres to their expectations, based on their life-long observations in the real world. This paper introduces a framework that allows authors to establish natural, human-like behavior, physical interaction and emotional engagement of characters living in a virtual environment. Represented by realistic virtual characters, this framework allows people to feel immersed in an Internet based virtual world in which they can meet and share experiences in a natural way as they can meet and share experiences in real life. Rather than just being visualized in a 3D space, the virtual characters (autonomous agents as well as avatars representing users) in the immersive environment facilitate social interaction and multi-party collaboration, mixing virtual with real

The intercultural virtual dancing subject: a choreographic investigation of spatio structures In Japanese-Western cultural practice

A thesis submitted to the University of Bedfordshire in partial fulfilment of the requirements for the degree of Master of Philosophy (Research Institute for Media, Arts and Performance)The aim of this practice-led research is to question and examine the notion of a dancing body in two and three-dimensional spaces within the context of intercultural performance. The research will draw upon comparative analyses of Japanese and Western cultural tenets, and on how these inform specific examples of dance making. The overarching goal is to test choreographically and then theorize an intercultural meeting point in relation to space and time, which highlights exchanges and tension between Japanese and Western in modern day dance making. It is hoped that such test and theorization will stimulate, in turn, advancements in the creation of a unique form of Japanese-Western dance performance. As reported above, this research is practice-based, and develops from questioning a number of issues relating to conflicted discourses which inform current notions of dance and technology. Firstly, it explores the presentation and identity of a dancing body in two dimensions, questioning whether the creative process of choreographic experiences of three dimensions can be negotiated and presented in two dimensions - so that ‘actual’ and ‘virtual’ spaces can be blurred. Said questioning, will both move from and rely on an intercultural perspective in negotiating the spatial interplay between the live performance and screen, to then formulate the mentioned intercultural meeting point within the dance works, where two distinctive cultures can co-exist and share their own values and characteristics without any hierarchical placing. Secondly, the research questions and challenges the applicability of Western theories and practices to Japanese culture. Being based on a process of active dialogue between theory and practical experimentation, and being written by a citizen of Japan who lives in Western Europe, this research constantly reflects on how the non-Western author needs to negotiate Western cultural forms and practices with her embodied cultural preference as a dance artist. Consequently, this work suggests a potentially different approach by formulating a model of a virtual dancing body that both resides within and goes beyond boundaries of existing intercultural performance theory

Transferring principles: the role of physical consciousness in Butoh and its application within contemporary performance praxis.

This thesis addresses the role of physical consciousness in contemporary performance training praxis, outlining my position as a performance maker involved in a range of dance and theatre training disciplines, with particular recourse to the Japanese contemporary movement expression of Butoh. The term praxis refers to a set of practical aims put forward throughout the writing, as well as referencing an ethos of self governed practice within independent movement training and performance. The arguments posed draw from a personal critical understanding based on different training programs with European and Japanese butoh artists. Through evolving my performance training praxis towards certain choreographic as well as metapractical aims, I seek to challenge the notion of 'performance mastery' - a term which, within a traditional western performance context might imply control, virtuosity and technical discipline - in response to an anti-aesthetical approach to dance, as found in what I argue to be the dysfunctional, non-kinetic body of the butoh dancer. In making explicit the connections between studio practice, anatomical and somatic investigation and outdoor environmental exploration, I examine the role of 'physical consciousness' in butoh as a contemporary movement approach which might shift current established discourses surrounding western theatrical dance training towards an open investigation of movement practice and repertoire through transdisciplinary approaches which interface the languages of ecology, geology and cartography. Physical consciousness refers to an internal dialogue held by the butoh dancer between a range of visual images, or actual experiences gained through direct contact with specific environments, and his or her means of physicalising these images and experiences in movement. Thus, physical consciousness requires the butoh dancer to constantly engage in a double exposure between the internal image, as fed through language, and those external forms presented. The experiential mode of practice is prioritised throughout as the writing seeks to stabilise empiricist notions of practice as contingent on both first hand and collated accounts of perceptual mechanisms, while research methods used here draw on social science practices with the aim of producing an embedded critique of physical consciousness. Within my dance research and production methods, physical consciousness articulates an internal awareness of the body's movement potential which questions the how rather than the why or where of the dancer's movement capabilities, minimising the distance between internal awareness and aesthetic form, between the dancer and the danc

THE HYBRONAUT AND THE UMWELT: WEARABLE TECHNOLOGY AS ARTISTIC STRATEGY

This dissertation explores the use of irony in networked wearable technology art as a strategy to emphasise the complexity of conjunction between techno-organic human and the techno-organic world. The research addresses the relationship between technologically enhanced human and networked hybrid environment, and speculates on the impact of technological enhancements to the subjective construction of Umwelt through ironic interventions. The project employs both artistic practice and critical theory. The practice-based part of the dissertation is comprised of three wearable technology artworks produced during the study. These concrete artefacts employ irony as a means to expose the techno-organic relationship between humans and their environment under scrutiny. The works highlight the significance of technological modifications of the human for the formation of subjective worldview in an everyday hybrid environment. The theoretical part navigates between the fields of art, design, technology, science and cultural studies concerning the impact of technology and networks on human experience and perception of the world. In the background of this research is biologist Jakob von Uexküll’s concept of the Umwelt, which is a subjective perception created by an organism through its active engagement with the everyday living environment. This dissertation focuses on the Umwelt that is formed in an interaction between hybrid environment and the technologically enhanced human, the Hybronaut. 4 Hybrid environment is a physical reality merged with technologically enabled virtual reality. The Hybronaut is an artistic strategy developed during the research based on four elements: wearable technology, network ability, irony and contextualised experience for the public. Irony is one of the prominent characteristics of the Hybronaut. Irony functions as a way to produce multiple paradoxical perspectives that enable a critical inquiry into our subjective construction of Umwelt. The research indicates that ironic networked wearable technology art presents an opportunity to re-examine our perception concerning the human and his environment

The Poetics of Self-fashioning: Between nonsense and meaning

This paper reflects on the role of garments in the changing sense of self through the literary notions of “estrangement/ defamiliarisation” (Shklovsky) and “poetic function” (Jakobson). What are the poetic or prosaic qualities of artefacts: what is it that renders some garments mundane and others captivating, auratic, and ‘disruptive’? How and why certain clothes tell us much more about human’s need of protection or decency? I suggest that it is contingent on the relationship between self and other articulated through the notion of defamiliarisation. Shklovsky suggests that poetic language is structured, impeded, distorted speech, as opposed to economical and correct prose, that it removes the perceiver from the domain of automatic, or conventional, perception, making them pause and dwell on what is being perceived. Applying this to other domains of art, Shklovsky proposes that artistic practice aims to make objects foreign and unfamiliar, to increase the difficulty of perception, because the process of perception itself is the main purpose. (Shklovsky 1991, 12-3) The physical proximity and ubiquity often render cloth and clothing invisible, ‘nonsensical’ material. Yet precisely because of this proximity, once estranged, garments can be effective means of self-objectification. With the material qualities showing ourselves to us and touching us, garments are powerful metaphorical as well as mimetic representation of the self, at once the trace and symbol the self. Depending on our perceptiveness as a wearer, the materiality of garment can trigger a “disruption of rhythm” (ibid., 14), or defamiliarisation, allowing us a ‘poetic experience’, as Shklovsky would put it. The ambiguity, or the disrupted meanings, brought on by the estrangement however, is quickly settled into a new meaning: our need for the immutable reality, the unique unchanging self, inevitably draws a new distinct boundary. This sequential steps—the garment as a poetic device, estrangement, ambiguity, the generation of new meaning and self—is potentially unending, as the authentic unchanging self, lying in a never-attainable beyond, is faithfully pursued, but also constantly doubted and subverted. This understanding of garment as a poetic device unsettles the deep-seated surface/depth dichotomy: the self is not anything ‘hidden,’ ‘underneath’ or ‘behind’ to uncover, but transient, multiple, and constantly self-generating. Dressing practice as self-making is thus an iterative, poetic process, the constant oscillation between self and other, between nonsense and renewed meaning. This permanent passage is conducted through bodily engagement, the visceral and emotional process of interacting with the material other. The multiple realities experienced in this passage is materialized in our dressed selves, the constantly self-fashioning bodies

Investigating Real-time Touchless Hand Interaction and Machine Learning Agents in Immersive Learning Environments

The recent surge in the adoption of new technologies and innovations in connectivity, interaction technology, and artificial realities can fundamentally change the digital world. eXtended Reality (XR), with its potential to bridge the virtual and real environments, creates new possibilities to develop more engaging and productive learning experiences. Evidence is emerging that thissophisticated technology offers new ways to improve the learning process for better student interaction and engagement. Recently, immersive technology has garnered much attention as an interactive technology that facilitates direct interaction with virtual objects in the real world. Furthermore, these virtual objects can be surrogates for real-world teaching resources, allowing for virtual labs. Thus XR could enable learning experiences that would not bepossible in impoverished educational systems worldwide. Interestingly, concepts such as virtual hand interaction and techniques such as machine learning are still not widely investigated in immersive learning. Hand interaction technologies in virtual environments can support the kinesthetic learning pedagogical approach, and the need for its touchless interaction nature hasincreased exceptionally in the post-COVID world. By implementing and evaluating real-time hand interaction technology for kinesthetic learning and machine learning agents for self-guided learning, this research has addressed these underutilized technologies to demonstrate the efficiency of immersive learning. This thesis has explored different hand-tracking APIs and devices to integrate real-time hand interaction techniques. These hand interaction techniques and integrated machine learning agents using reinforcement learning are evaluated with different display devices to test compatibility. The proposed approach aims to provide self-guided, more productive, and interactive learning experiences. Further, this research has investigated ethics, privacy, and security issues in XR and covered the future of immersive learning in the Metaverse.<br/

Investigating Real-time Touchless Hand Interaction and Machine Learning Agents in Immersive Learning Environments

The recent surge in the adoption of new technologies and innovations in connectivity, interaction technology, and artificial realities can fundamentally change the digital world. eXtended Reality (XR), with its potential to bridge the virtual and real environments, creates new possibilities to develop more engaging and productive learning experiences. Evidence is emerging that thissophisticated technology offers new ways to improve the learning process for better student interaction and engagement. Recently, immersive technology has garnered much attention as an interactive technology that facilitates direct interaction with virtual objects in the real world. Furthermore, these virtual objects can be surrogates for real-world teaching resources, allowing for virtual labs. Thus XR could enable learning experiences that would not bepossible in impoverished educational systems worldwide. Interestingly, concepts such as virtual hand interaction and techniques such as machine learning are still not widely investigated in immersive learning. Hand interaction technologies in virtual environments can support the kinesthetic learning pedagogical approach, and the need for its touchless interaction nature hasincreased exceptionally in the post-COVID world. By implementing and evaluating real-time hand interaction technology for kinesthetic learning and machine learning agents for self-guided learning, this research has addressed these underutilized technologies to demonstrate the efficiency of immersive learning. This thesis has explored different hand-tracking APIs and devices to integrate real-time hand interaction techniques. These hand interaction techniques and integrated machine learning agents using reinforcement learning are evaluated with different display devices to test compatibility. The proposed approach aims to provide self-guided, more productive, and interactive learning experiences. Further, this research has investigated ethics, privacy, and security issues in XR and covered the future of immersive learning in the Metaverse.<br/