Diffusion is an area of research exploring the interactive relationship between human consciousness and computational practice by analyzing human brain data from electroencephalogram (EEG)-based ...brain-computer interfaces and interactive devices that can generate music and synchronized visual images by biofeedback. Although interactive experience is not a new topic in computational art, it has provoked thought due to the significant influence of technology on human ideology, emotions, morality, ethics, etc. Diffusion is the result of attempts to establish a connection between human physiological information and digital technology. As well as experimental research, it based on the ethical level of artificial intelligence (AI). Diffusion uses music visualization to transform intangible brain activity (thoughts or emotions) into perceivable things (sounds or objects). The research emphasizes human consciousness in AI and points out the blurred boundaries between AI and human creativity. Therefore, the installation evaluates human motivation, which can present as abstract structures—like creativity, emotion, and insight—which enhance the interactive experience of participants and deconstructs the inherent meaning of the material and spiritual, reality and virtual reality or humans and machines. By reviewing and contextualizing EEG and digital music development research, we finally outline a future research area that will involve deep collaboration across interdisciplinary and multiple technologies to realize emotion recognition.
Diffusion is an area of research exploring the interactive relationship between human consciousness and computational practice by analyzing human brain data from electroen-cephalogram (EEG)-based ...brain-computer interfaces and interactive devices that can generate music and synchronized visual images by biofeedback. Although interactive experience is not a new topic in computational art, it has provoked thought due to the significant influence of technology on human ideology, emotions, morality, ethics, etc. Diffusion is the result of attempts to establish a connection between human physiological information and digital technology. As well as experimental research, it based on the ethical level of artificial intelligence (AI). Diffusion uses music visualization to transform intangible brain activity (thoughts or emotions) into perceivable things (sounds or objects). The research emphasizes human consciousness in AI and points out the blurred boundaries between AI and human creativity. Therefore, the installation evaluates human motivation, which can present as abstract structures—like creativity, emotion, and insight—which enhance the interactive experience of participants and deconstructs the inherent meaning of the material and spiritual, reality and virtual reality or humans and machines. By reviewing and contextualizing EEG and digital music development research, we finally outline a future research area that will involve deep collaboration across interdisciplinary and multiple technologies to realize emotion recognition.
This dialogic exchange discusses the development and outcomes of an interactive installation that uses live-animated digital effects to projection-map viral “shadowpox” onto the player’s body. The ...project was developed by Alison Humphrey, then a Vanier Scholar and York University PhD candidate in cinema and media studies, in collaboration with Caitlin Fisher, director of York University’s Immersive Storytelling Lab, and Steven J. Hoffman, director of the Global Strategy Lab and scientific director of the Canadian Institutes of Health Research’s Institute of Population and Public Health, with support from technical director and creative coder LaLaine Ulit-Destajo, epidemiologist Susan Rogers Van Katwyk, and website programmer Sean Sollé, as part of the three-year interdisciplinary project , and culminated with an exhibition at UNAIDS during the 70th World Health Assembly in Geneva, Switzerland.
How do we design for intersubjective, digitally-mediated encounters in the museum? We report on the process of designing a digital interactive installation called Sit with Me for a permanent museum ...exhibition on migration in Newcastle upon Tyne, UK. Focussing on this case-study, the article aims to unpick the tensions, challenges and opportunities arising from designing for intersubjectivity in the context of migration exhibitions. It particularly explores how perspectives from the past may be brought into a relation with contemporary visitor perspectives through the design of interaction spaces that enable dialogicality and other-oriented perspective taking. Our aim is to enrich current museological discourse on exhibiting and experiencing migration in museums, contributing much needed understandings on the use and role of digital interactive technologies in these contexts; we further contribute methodological insight about a research-through-design practice that critically addressed the museum's desire to foster intersubjectivity in the encounters between Self and Other.
Project MindCatcher is an art/research project which has the intention to explore the potential of interactive artistic environments for measuring and a better understanding of creative experience ...and contribute to further development of co-creative artistic/design process. For that purpose, we created the Floor Interface and collected a set of data from its interactive points such as: personal information from the login process, abstract multi-sensory artefacts created by visitors, visitors’ walking paths from the floor interface, video shooting of their behaviour on the floor interface during the sessions, results from the interviews which were done with visitors and personal observations.
Interactive art installations might engage nursing home residents with dementia. The main aim of this article was to describe the challenging design process of an interactive artwork for nursing home ...residents, in co-creation with all stakeholders and to share the used methods and lessons learned. This process is illustrated by the design of the interface of VENSTER as a case.
Nursing home residents from the psychogeriatric ward, informal caregivers, client representatives, health care professionals and members of the management team were involved in the design process, which consisted of three phases: (1) identify requirements, (2) develop a prototype and (3) conduct usability tests. Several methods were used (e.g. guided co-creation sessions, "Wizard of Oz"). Each phase generated "lessons learned", which were used as the departure point of the next phase.
Participants hardly paid attention to the installation and interface. There, however, seemed to be an untapped potential for creating an immersive experience by focussing more on the content itself as an interface (e.g. creating specific scenes with cues for interaction, scenes based on existing knowledge or prior experiences). "Fifteen lessons learned" which can potentially assist the design of an interactive artwork for nursing home residents suffering from dementia were derived from the design process.
This description provides tools and best practices for stakeholders to make (better) informed choices during the creation of interactive artworks. It also illustrates how co-design can make the difference between designing a pleasurable experience and a meaningful one. Implications for rehabilitation Co-design with all stakeholders can make the difference between designing a pleasurable experience and a meaningful one. There seems to be an untapped potential for creating an immersive experience by focussing more on the content itself as an interface (e.g. creating specific scenes with cues for interaction, scenes based on existing knowledge or prior experiences). Content as an interface proved to be a crucial part of the overall user experience. The case-study provides tools and best practices (15 "lessons learned") for stakeholders to make (better) informed choices during the creation of interactive artworks.
Shadowpox: The Antibody Politic is a game-based interactive installation that renders visible the forces our immunization decisions exert not just on our personal health but on the health of others. ...Part fact, part science fantasy, this full-body video game combines real-world statistical data with motion-tracking, live-animated digital effects to imagine a vaccine-preventable disease composed of viral shadows. The author explains how her initial design choices were rooted in a widespread misunderstanding: that our vaccination decisions have purely individual and private consequences. Once she became aware of her own blind spot, the game’s design, and the wider Shadowpox science fiction storyworld of which it was a part, came into focus, framing community immunity as a metaphor for the power we each have to make choices that will have a destructive or constructive effect on the world around us.
Culture, as an intangible piece of heritage, is one of the priorities of sustainable conservation. With the rapid modernization of science and technology, traditional culture that is expressed in the ...form of sound is facing prominent problems related to inheritance and development. Thinking about how to integrate traditional culture into the daily life of the public is an important way of solving sustainability problems related to traditional culture. This study took Guqin culture as its research object, explored the possibility of using sound as an interactive medium, and considered how to present traditional culture to the public in public space to broaden the inheritance and development mode of Guqin culture. Therefore, this study proposes a public Sound Interaction Design Model oriented to sound and presents a public sound-interactive installation with different levels based on the model. The feasibility of the model is verified through an interactive design evaluation method, and the role of the model in sustainable cultural development is discussed.
Tinker: a relational agent museum guide Bickmore, Timothy W.; Vardoulakis, Laura M. Pfeifer; Schulman, Daniel
Autonomous agents and multi-agent systems,
09/2013, Volume:
27, Issue:
2
Journal Article
Peer reviewed
A virtual museum guide agent that uses human relationship-building behaviors to engage museum visitors is described. The computer animated agent, named “Tinker”, uses nonverbal conversational ...behavior, empathy, social dialogue, reciprocal self-disclosure and other relational behavior to establish social bonds with users, and encourage continued interaction and repeated visits. Tinker describes exhibits in the museum, gives directions, and discusses technical aspects of her own implementation. Tinker also recognizes returning visitors through biometric analysis of their hand shapes and dialogue cues. Results from two experiments using Tinker are described. In the first, 29 returning visitors are randomized to interact with the agent with the biometric identification turned on or off. In the second experiment, 1,607 visitors are randomized to interact with versions of Tinker that have relationship-building behavior turned on or off. Results indicate that the use of relational behavior leads to significantly greater engagement by museum visitors, measured by session length, number of sessions, and self-reported attitude, as well as learning gains, as measured by a knowledge test, compared to the same agent that does not use relational behavior. Implications for museum exhibits and intelligent tutoring systems are discussed.
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