Curating Interactive Art for Online Conferences: Artist, Curator and Technologist Experiences in Gather.Town

We present the results of a reflective, practice-based study with creative practitioners who contributed to the Art Track at Creativity & Cognition 2021. We investigate curating an interactive online gallery in the context of the COVID-19 pandemic, focusing on the opportunities afforded and design constraints imposed by the Gather.Town platform and the experiences of the participating practitioners. We present auto-ethnographic reflections from Author 1, who created the online gallery space. We draw on the experience of Author 2 in curatorial research to analyze the experience of emerging practice through interviews with participating artists and curators. Results show that many of the artists were positively surprised by the platform engagement opportunities and conference attendees' engagement with the artworks at the gallery opening, and appreciated the equitable, global reach. Further analysis reveals a desire for future iterations, and an exploration of the platform in a hybrid context, alongside an in-person exhibition

A Symmetric Interaction Model for Bimanual Input

People use both their hands together cooperatively in many everyday activities. The modern computer interface fails to take advantage of this basic human ability, with the exception of the keyboard. However, the keyboard is limited in that it does not afford continuous spatial input. The computer mouse is perfectly suited for the point and click tasks that are the major method of manipulation within graphical user interfaces, but standard computers have a single mouse. A single mouse does not afford spatial coordination between the two hands within the graphical user interface. Although the advent of the Universal Serial Bus has made it possible to easily plug in many peripheral devices, including a second mouse, modern operating systems work on the assumption of a single spatial input stream. Thus, if a second mouse is plugged into a Macintosh computer, a Windows computer or a UNIX computer, the two mice control the same cursor. Previous work in two-handed or bimanual interaction techniques has often followed the asymmetric interaction guidelines set out by Yves Guiard's Kinematic Chain Model. In asymmetric interaction, the hands are assigned different tasks, based on hand dominance. I show that there is an interesting class of desktop user interface tasks which can be classified as symmetric. A symmetric task is one in which the two hands contribute equally to the completion of a unified task. I show that dual-mouse symmetric interaction techniques outperform traditional single-mouse techniques as well as dual-mouse asymmetric techniques for these symmetric tasks. I also show that users prefer the symmetric interaction techniques for these naturally symmetric tasks

The Impact of COVID-19 on the CS Student Learning Experience

Students have experienced incredible shifts in their learning environments, brought about by the response of universities to the ever-changing public health mandates driven by waves and stages of the coronavirus pandemic (COVID-19). Initially, these shifts in learning (mode of course delivery, course availability, etc.) were considered emergency responses. However, as the pandemic pressed on, students have had to repeatedly adapt to the continuously evolving educational landscape. This working group builds upon foundations and structure created by a 2021 ITiCSE Working Group exploring the effects of COVID-19 on teaching and learning from a faculty perspective. That working group identified the incorporation of some pandemic-induced changes into future teaching practices. This working group examines the existing literature and insights gained from responses to a multi-national survey to explore the new student experience emerging from the continuously evolving teaching practices catalyzed by the global pandemic. Traditionally, computing is a subject full of experiential learning opportunities, rich with in-person labs and exercises. We investigate how the changes within the COVID-affected academic landscape have altered that student experience. The current group of computing students will have had experiences under both typical (i.e. pre-pandemic) and COVID-affected teaching practices. It is, therefore, timely that we understand how each has impacted how they perceive their learning environment and educational experience. In turn, identifying those practices that have most benefited the student learning experience will help computing faculty improve their educational methods going forward

Enhancing emotional experiences to dance through music: the role of valence and arousal in the cross-modal bias

It is well established that emotional responses to stimuli presented to one perceptive modality (e.g., visual) are modulated by the concurrent presentation of affective information to another modality (e.g., auditory)-an effect known as the cross-modal bias. However, the affective mechanisms mediating this effect are still not fully understood. It remains unclear what role different dimensions of stimulus valence and arousal play in mediating the effect, and to what extent cross-modal influences impact not only our perception and conscious affective experiences, but also our psychophysiological emotional response. We addressed these issues by measuring participants' subjective emotion ratings and their Galvanic Skin Responses (GSR) in a cross-modal affect perception paradigm employing videos of ballet dance movements and instrumental classical music as the stimuli. We chose these stimuli to explore the cross-modal bias in a context of stimuli (ballet dance movements) that most participants would have relatively little prior experience with. Results showed (i) that the cross-modal bias was more pronounced for sad than for happy movements, whereas it was equivalent when contrasting high vs. low arousal movements; and (ii) that movement valence did not modulate participants' GSR, while movement arousal did, such that GSR was potentiated in the case of low arousal movements with sad music and when high arousal movements were paired with happy music. Results are discussed in the context of the affective dimension of neuroentrainment and with regards to implications for the art community

Lettre de Joseph Latulipe à M. O’sullivan

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