The Experts below are selected from a list of 38073 Experts worldwide ranked by ideXlab platform

Peta Mitchell - One of the best experts on this subject based on the ideXlab platform.

  • Building sensitising terms to understand free-play in open-ended Interactive Art environments
    2011
    Co-Authors: Ann Morrison, Stephen Viller, Peta Mitchell
    Abstract:

    In this paper we introduce and discuss the nature of free-play in the context of three open-ended Interactive Art installation works. We observe the interaction work of situated free-play of the pArticipants in these environments and, building on precedent work, devise a set of sensitising terms derived both from the literature and from what we observe from pArticipants interacting there. These sensitising terms act as guides and are designed to be used by those who experience, evaluate or report on open-ended Interactive Art. That is, we propose these terms as a common-ground language to be used by pArticipants communicating while in the Art work to describe their experience, by researchers in the various stages of research process (observation, coding activity, analysis, reporting, and publication), and by inter-disciplinary researchers working across the fields of HCI and Art. This work builds a foundation for understanding the relationship between free-play, open-ended environments, and Interactive installations and contributes sensitising terms useful for the HCI community for discussion and analysis of open-ended Interactive Art works.

  • CHI - Building sensitising terms to understand free-play in open-ended Interactive Art environments
    Proceedings of the 2011 annual conference on Human factors in computing systems - CHI '11, 2011
    Co-Authors: Ann Morrison, Stephen Viller, Peta Mitchell
    Abstract:

    In this paper we introduce and discuss the nature of free-play in the context of three open-ended Interactive Art installation works. We observe the interaction work of situated free-play of the pArticipants in these environments and, building on precedent work, devise a set of sensitising terms derived both from the literature and from what we observe from pArticipants interacting there. These sensitising terms act as guides and are designed to be used by those who experience, evaluate or report on open-ended Interactive Art. That is, we propose these terms as a common-ground language to be used by pArticipants communicating while in the Art work to describe their experience, by researchers in the various stages of research process (observation, coding activity, analysis, reporting, and publication), and by inter-disciplinary researchers working across the fields of HCI and Art. This work builds a foundation for understanding the relationship between free-play, open-ended environments, and Interactive installations and contributes sensitising terms useful for the HCI community for discussion and analysis of open-ended Interactive Art works.

  • Evoking gesture in Interactive Art
    2008
    Co-Authors: Ann Morrison, Peta Mitchell, Stephen Viller
    Abstract:

    In this paper, we describe an Interactive Artwork that uses large body gestures as its primary Interactive mode. The Artist intends the work to provoke active reflection in the audience by way of gesture and content. The technology is not the focus, rather the aim is to provoke memory, to elicit feelings of connective human experiences in a required-to-pArticipate audience. We find the work provokes a diverse and contradictory set of responses. The methods used to understand this include qualitative methods common to evaluating Interactive Art works, as well as in-depth discussions with the Artist herself. This paper is relevant to the Human - Centered Computing track because in all stages of the design of the work - as well as the evaluation - the focus is on the human aspect; the computing is designed to enable all-too-human responses.

  • HCC - Evoking gesture in Interactive Art
    Proceeding of the 3rd ACM international workshop on Human-centered computing - HCC '08, 2008
    Co-Authors: Ann Morrison, Peta Mitchell, Stephen Viller
    Abstract:

    In this paper, we describe an Interactive Artwork that uses large body gestures as its primary Interactive mode. The Artist intends the work to provoke active reflection in the audience by way of gesture and content. The technology is not the focus, rather the aim is to provoke memory, to elicit feelings of connective human experiences in a required-to-pArticipate audience. We find the work provokes a diverse and contradictory set of responses. The methods used to understand this include qualitative methods common to evaluating Interactive Art works, as well as in-depth discussions with the Artist herself. This paper is relevant to the Human--Centered Computing track because in all stages of the design of the work--as well as the evaluation--the focus is on the human aspect; the computing is designed to enable all-too-human responses.

  • The lens of ludic engagement : evaluating pArticipation in Interactive Art installations
    2007
    Co-Authors: Ann Morrison, Peta Mitchell, Margot Brereton
    Abstract:

    Designers and Artists have integrated recent advances in Interactive, tangible and ubiquitous computing technologies to create new forms of Interactive environments in the domains of work, recreation, culture and leisure. Many designs of technology systems begin with the workplace in mind, and with function, ease of use, and efficiency high on the list of priorities. [1] These priorities do not fit well with works designed for an Interactive Art environment, where the aims are many, and where the focus on utility and functionality is to support a playful, ambiguous or even experimental experience for the pArticipants. To evaluate such works requires an integration of Art-criticism techniques with more recent Human Computer Interaction (HCI) methods, and an understanding of the different nature of engagement in these environments. This paper begins a process of mapping a set of priorities for amplifying engagement in Interactive Art installations. I first define the concept of ludic engagement and its usefulness as a lens for both design and evaluation in these settings. I then detail two fieldwork evaluations I conducted within two exhibitions of Interactive Artworks, and discuss their outcomes and the future directions of this research.

Ann Morrison - One of the best experts on this subject based on the ideXlab platform.

  • Building sensitising terms to understand free-play in open-ended Interactive Art environments
    2011
    Co-Authors: Ann Morrison, Stephen Viller, Peta Mitchell
    Abstract:

    In this paper we introduce and discuss the nature of free-play in the context of three open-ended Interactive Art installation works. We observe the interaction work of situated free-play of the pArticipants in these environments and, building on precedent work, devise a set of sensitising terms derived both from the literature and from what we observe from pArticipants interacting there. These sensitising terms act as guides and are designed to be used by those who experience, evaluate or report on open-ended Interactive Art. That is, we propose these terms as a common-ground language to be used by pArticipants communicating while in the Art work to describe their experience, by researchers in the various stages of research process (observation, coding activity, analysis, reporting, and publication), and by inter-disciplinary researchers working across the fields of HCI and Art. This work builds a foundation for understanding the relationship between free-play, open-ended environments, and Interactive installations and contributes sensitising terms useful for the HCI community for discussion and analysis of open-ended Interactive Art works.

  • CHI - Building sensitising terms to understand free-play in open-ended Interactive Art environments
    Proceedings of the 2011 annual conference on Human factors in computing systems - CHI '11, 2011
    Co-Authors: Ann Morrison, Stephen Viller, Peta Mitchell
    Abstract:

    In this paper we introduce and discuss the nature of free-play in the context of three open-ended Interactive Art installation works. We observe the interaction work of situated free-play of the pArticipants in these environments and, building on precedent work, devise a set of sensitising terms derived both from the literature and from what we observe from pArticipants interacting there. These sensitising terms act as guides and are designed to be used by those who experience, evaluate or report on open-ended Interactive Art. That is, we propose these terms as a common-ground language to be used by pArticipants communicating while in the Art work to describe their experience, by researchers in the various stages of research process (observation, coding activity, analysis, reporting, and publication), and by inter-disciplinary researchers working across the fields of HCI and Art. This work builds a foundation for understanding the relationship between free-play, open-ended environments, and Interactive installations and contributes sensitising terms useful for the HCI community for discussion and analysis of open-ended Interactive Art works.

  • Evoking gesture in Interactive Art
    2008
    Co-Authors: Ann Morrison, Peta Mitchell, Stephen Viller
    Abstract:

    In this paper, we describe an Interactive Artwork that uses large body gestures as its primary Interactive mode. The Artist intends the work to provoke active reflection in the audience by way of gesture and content. The technology is not the focus, rather the aim is to provoke memory, to elicit feelings of connective human experiences in a required-to-pArticipate audience. We find the work provokes a diverse and contradictory set of responses. The methods used to understand this include qualitative methods common to evaluating Interactive Art works, as well as in-depth discussions with the Artist herself. This paper is relevant to the Human - Centered Computing track because in all stages of the design of the work - as well as the evaluation - the focus is on the human aspect; the computing is designed to enable all-too-human responses.

  • HCC - Evoking gesture in Interactive Art
    Proceeding of the 3rd ACM international workshop on Human-centered computing - HCC '08, 2008
    Co-Authors: Ann Morrison, Peta Mitchell, Stephen Viller
    Abstract:

    In this paper, we describe an Interactive Artwork that uses large body gestures as its primary Interactive mode. The Artist intends the work to provoke active reflection in the audience by way of gesture and content. The technology is not the focus, rather the aim is to provoke memory, to elicit feelings of connective human experiences in a required-to-pArticipate audience. We find the work provokes a diverse and contradictory set of responses. The methods used to understand this include qualitative methods common to evaluating Interactive Art works, as well as in-depth discussions with the Artist herself. This paper is relevant to the Human--Centered Computing track because in all stages of the design of the work--as well as the evaluation--the focus is on the human aspect; the computing is designed to enable all-too-human responses.

  • The lens of ludic engagement : evaluating pArticipation in Interactive Art installations
    2007
    Co-Authors: Ann Morrison, Peta Mitchell, Margot Brereton
    Abstract:

    Designers and Artists have integrated recent advances in Interactive, tangible and ubiquitous computing technologies to create new forms of Interactive environments in the domains of work, recreation, culture and leisure. Many designs of technology systems begin with the workplace in mind, and with function, ease of use, and efficiency high on the list of priorities. [1] These priorities do not fit well with works designed for an Interactive Art environment, where the aims are many, and where the focus on utility and functionality is to support a playful, ambiguous or even experimental experience for the pArticipants. To evaluate such works requires an integration of Art-criticism techniques with more recent Human Computer Interaction (HCI) methods, and an understanding of the different nature of engagement in these environments. This paper begins a process of mapping a set of priorities for amplifying engagement in Interactive Art installations. I first define the concept of ludic engagement and its usefulness as a lens for both design and evaluation in these settings. I then detail two fieldwork evaluations I conducted within two exhibitions of Interactive Artworks, and discuss their outcomes and the future directions of this research.

Christian Jacob - One of the best experts on this subject based on the ideXlab platform.

  • swarmArt Interactive Art from swarm intelligence
    ACM Multimedia, 2004
    Co-Authors: Jeffrey E Boyd, Gerald Hushlak, Christian Jacob
    Abstract:

    This paper describes SwarmArt, a collaborative project between computer science and Art, which resulted in two installations of Interactive Art that incorporates swarm intelligence. We describe the scientific context of the Artwork, technical details of the video system, through which user interaction is controlled, and the realization of the swarm-based simulations, which were projected onto a large screen. Finally, we explain and illustrate our two recent SwarmArt installations in a Calgary gallery.

  • ACM Multimedia - SwarmArt: Interactive Art from swarm intelligence
    Proceedings of the 12th annual ACM international conference on Multimedia - MULTIMEDIA '04, 2004
    Co-Authors: Jeffrey E Boyd, Gerald Hushlak, Christian Jacob
    Abstract:

    This paper describes SwarmArt, a collaborative project between computer science and Art, which resulted in two installations of Interactive Art that incorporates swarm intelligence. We describe the scientific context of the Artwork, technical details of the video system, through which user interaction is controlled, and the realization of the swarm-based simulations, which were projected onto a large screen. Finally, we explain and illustrate our two recent SwarmArt installations in a Calgary gallery.

Matthias Rauterberg - One of the best experts on this subject based on the ideXlab platform.

  • HCI (1) - Scripting Interactive Art Installations in Public Spaces
    Lecture Notes in Computer Science, 2014
    Co-Authors: Yu Zhang, Joep Frens, Mathias Funk, Matthias Rauterberg
    Abstract:

    Traditional dynamic Arts have much to offer and it is time to explore how the elements and techniques from stage performances could contribute to interaction design. We try to apply performance techniques and elements from dynamic Art forms in the design process of Interactive Art installations for public spaces. Currently we try not to identify new technologies; instead we investigate how the installation would blossom when approached from a performance Art perspective that essentially includes the users as well as a broader physical or social context. This paper introduces the role and function of script in the field of Interactive Art installation in public spaces. Script inspired from traditional dynamic Art forms opens up new design opportunities. This paper discusses these opportunities, followed by an example how this approach can be applied in the design of a public Art installation.

Ernest Edmonds - One of the best experts on this subject based on the ideXlab platform.

  • The Art of Interaction: What HCI Can Learn from Interactive Art
    2018
    Co-Authors: Ernest Edmonds
    Abstract:

    What can Human-Computer Interaction (HCI) learn from Art? How can the HCI research agenda be advanced by looking at Art research? How can we improve creativity support and the amplification of that important human capability? This book aims to answer these questions. Interactive Art has become a common pArt of life as a result of the many ways in which the computer and the Internet have facilitated it. HCI is as important to Interactive Art as mixing the colours of paint are to painting. This book reviews recent work that looks at these issues through Art research. In Interactive digital Art, the Artist is concerned with how the Artwork behaves, how the audience interacts with it, and, ultimately, how pArticipants experience Art as well as their degree of engagement. The values of Art are deeply human and increasingly relevant to HCI as its focus moves from product design towards social benefits and the support of human creativity. The book examines these issues and brings together a collection of research results from Art practice that illuminates this significant new and expanding area. In pArticular, this work points towards a much-needed critical language that can be used to describe, compare and frame research in HCI support for creativity.

  • The Art of Interaction: What HCI Can Learn from Interactive Art
    Synthesis Lectures on Human-Centered Informatics, 2018
    Co-Authors: Ernest Edmonds
    Abstract:

    What can HCI learn from Art? How can the HCI research agenda, be advanced by looking at Art research? How can we improve creativity support and the amplification of that important human capability? This book aims to answer these questions. Interactive Art has become a common pArt of life as a result of the many ways in which the computer and the Internet have facilitated it. Human-Computer Interaction is as important to Interactive Art as mixing the colors of paint are to painting. This book reviews recent work that looks at these issues through Art research. In Interactive digital Art, the Artist is concerned with how the Artwork behaves, how the audience interacts with it and, ultimately, in pArticipant experience and their degree of engagement. The book examines these issues and brings together a collection of research results from Art practice that illuminates this significant new and expanding area. In pArticular, this work points towards a much-needed critical language that can be used to describe, compare and frame research in HCI support for creativity

  • IE - Experience evaluation of Interactive Art: study of GEO landscapes
    Proceedings of the 5th Australasian Conference on Interactive Entertainment - IE '08, 2008
    Co-Authors: Zafer Bilda, Cp Bowman, Ernest Edmonds
    Abstract:

    The cutting edge in the digital Arts is a highly fertile ground for the investigation of engagement and the role of new technologies. The nature of audience interaction with Artworks and the implication for the consequential nature of the Interactive Art system is itself important. This paper examines the process of experience evaluation of Interactive Art and its role in improving design of Interactive Art systems. The experience evaluation was based upon the case-study of an Interactive Artwork entitled GEO Landscapes .01 -- a gallery installation prototype which commenced development in 2006 and was exhibited in a public space in 2007. The experience evaluation study demonstrated how the novice versus expert profiles of interaction behaviours influenced the nature of the Artwork experience. The research findings improved our understanding of how people experience Artworks and also had an impact on the experience design of GEO Landscapes and the future direction of the project.

  • Living laboratories for Interactive Art
    CoDesign, 2006
    Co-Authors: Lizzie Muller, Ernest Edmonds, Matthew Connell
    Abstract:

    This paper explores the idea of the exhibition as a living laboratory in the making and curating of Interactive Art. It suggests that museums can act as living laboratories where curators, Artists and audiences collaborate in real-world settings. Such laboratories are shown to be essential for the study of the audience experience of Interactive Art, a key pArt of understanding interactivity as a medium. The paper describes Beta_space: an experimental public exhibition venue and research environment for Interactive Art. It places this initiative within a historical continuum of transversal cultural display and the use of the museum as laboratory. It identifies an emerging phenomenon of hybrid research, production and exhibition spaces, and argues that such initiatives work to overcome the continued distinctions, within traditional cultural institutions, between Art, science and technology, object and experience, creation and consumption.

  • Understanding the experience of Interactive Art: Iamascope in Beta_space
    2005
    Co-Authors: Brigid Costello, Lizzie Muller, Shigeki Amitani, Ernest Edmonds
    Abstract:

    This paper describes a study into the situated experience of Interactive Art. The study was conducted with audiences of the Artwork Iamascope and is framed by the four categories of embodied experience that have been proposed by its Artist Sidney Fels. The video-cued recall method we employed was shown to reveal rich detail about situated Interactive Art experience. The results provide a detailed account of how the categories of embodiment manifest themselves in audience experience and lead to the proposal of a blueprint for the trajectory of interaction produced by Iamascope which may be generalisable to other Interactive Artworks.