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Experience evaluation of interactive art: Study of GEO landscapes
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.
... Bilda and Edmonds noted that interactive art has been considered a deep connection between the user and the work. During the interaction process, the theme of a work is narrated [7]. Kim. ...
In this research, we propose innovative ideas for digital art combined with educational applications for the library. It also presents the library’s information services to be more humane and interesting. By taking interactive devices as the basis, this research integrates college library borrowing data and an interactive artwork in order to perform an information visualization service for a user in the library by using their own smart phone. This research uses an instant data operation to carry out the information inquiry applications to present three years of library borrowing data, from 2013 to 2015, obtained from the Hsih Shin University library Data Access Protocol. Finally, a usability evaluation for the interactive art is conducted. To testify that this interactive art design meets the principle of user acceptance, a questionnaire survey is used for the statistical verification. The research findings show that a positive explanation value was achieved for user acceptance. The research model proposed by this research acts as a usability evaluation of the integrated application of an interactive artwork and library information service. The research model also corresponded to the user’s emotional feedback in the HCI research field. The value of this research is that we provide usability-verified models for cross-domain applications.
... On the other hand, the understanding of art as an experience has lead digital artists to include evaluations within their works with several purposes: mostly, to understand how the artwork is perceived by the audience and get a broad view of the visitor experience [10,11,6,7]. The approximations to evaluate interactive art vary from documented reflective practice to evidence-based methods [10,11]. ...
The last decades have shown us a growing interest in different fields of how interactive art transforms the position of the viewer into a participant and how audiences engage and relate to interactive artwork. This article presents a visual analysis of the content shared on Instagram by the audience of Default –an interactive art installation presented in Santiago, Chile in 2017. The analysis shows that people reacted and engaged differently with various aspects of the installation, as shown by the strategies they used to share it. We argue that the analysis of the visual content of Instagram posts opens avenues to understanding the relationship between installation and audience, giving clues on the audience experience and, therefore, providing feedback for developers, who could use them in the design process of future installations.
... New approaches are being developed to provide valuable feedbacks from participants [4]. Interdisciplinary research teams experiment various methodologies where the exhibit itself is the experimental space [2]. Qualitative methods such as video-recalls, interviews, and observations are used to qualify the visitor's experience as a whole [3]. ...
The creation of interactive installations is a process which implies to bring back together phenomenological evaluations of visitors' experiences and motion analyses which inherently highlight the core material of interaction design. In this paper, we present an interactive and immersive work, See me through you, which ambition to provide a rich experience where enlightenment, hedonism and social elements coexist. We present the first steps toward a multidimensional evaluation of the visitor's experience. Focus-groups evaluations are presented and some elements about future motion analyses are provided.
... It has also been used to help understand technology which has already been designed [149]. The framework has also been linked to other conceptual frameworks, producing larger entities that can inform the process of design. ...
Stroke is a major cause of physical disability. Recovery is possible, and can continue indefinitely. As such, much of it will take place at home, often with minimal support from professional therapists. As computing becomes more pervasive and familiar, opportunities exist to design technology to support rehabilitation in the home environment. However, given the varied nature of disabilities caused by stroke, there is a need for a greater understanding of how to design technology that is sufficiently tailored to the needs of individuals and which is appropriate for usage in their homes. This thesis offers an exploration of these issues, through a series of research activities constructed around the direct participation of stroke survivors and their families.
The core of this thesis begins with a consideration of a focus group which was attended by survivors of stroke and their partners. Recorded discussions provide a rich insight into their collective experience of living with stroke, and the implications of these findings for the design of effective rehabilitation technologies are considered. The design of bespoke technologies which were directly tailored to the rehabilitational needs and personal motivations of four stroke survivors is then described. Prototypes of these technologies were deployed for periods ranging from one to seven months. Data recorded throughout this entire process provides a detailed understanding of the factors that have influenced their design, use and impact.
Through an analysis of material collected during all of these engagements, this thesis presents a set of contributions which can support the design of better home-based rehabilitation technologies in the future. These contributions support a more general understanding of the interactional needs of individuals who have experienced a dramatic and potentially traumatic change in their life, and of mechanisms for tailoring persuasive computing technologies to the specific motivations of those who use them.
The merits of user-driven design have long been acknowledged in the field of human-computer interaction (HCI): Closely involving target users throughout the lifecyle of a project can vastly improve their experiences with the final system. Thus, it comes as no surprise that a growing number of music technology researchers are beginning to incorporate user-driven techniques into their work, particularly as a means of evaluating their designs from the perspectives of their intended users. Many, however, have faced the limitations that arise from applying the task-based, quantitative techniques typically encountered in classical HCI research to the evaluation of nonutilitarian applications. The nature of musical performance requires that designers reevaluate their definitions of user "goals," "tasks," and "needs." Furthermore, within the context of performance, the importance of creativity and enjoyment naturally supersedes that of efficiency, yet these concepts are more difficult to evaluate or quantify accurately. To address these challenges, this article contributes a set of key principles for the user-driven design and evaluation of novel interactive musical systems, along with a survey of evaluation techniques offered by new directions in HCI, ludology, interactive arts, and social-science research. Our goal is to help lay the foundation for designers of new musical interfaces to begin developing and customizing their own methodologies for measuring, in a concrete and systematic fashion, those critical aspects of the user experience that are often considered too nebulous for assessment.
An audience's direct physical intervention is widely believed to be instrumental in the field of interactive art. However, this long established expectation faces new challenges through the increasing accessibility of a growing diversity of interactive technologies and ubiquitous smart media. Such innovations are often fully integrated components of interactive public artworks, many of which do not directly involve audiences or individuals as key agents in the functional or aesthetic realisation of the work. Based on three case studies of interactive artworks in public places, this article identifies an important characteristic of interactivity in interactive art, through the largely unexplored concept of “Ambient Interaction” in which artworks are embodied and enacted through environmental conditions and situational influences rather than exclusively through people's intentional and direct physical engagement.
This paper describes a collaboration that resulted in the development of a coding scheme for the analysis of interactive art experience. The collaboration involved a multidisciplinary team of analysts who went through an iterative process of coding development in order to reach agreement on what to code, how to code and what to expect from the outcomes. The present paper discusses the influence that this collaborative process had on the final scheme and provides a general description of the coding scheme. The paper concludes with a discussion of the potential value of the scheme for the analysis of interactive art experience.
Interactive art is said to be ‘created’ by the people engaged in the active experience of it. Works are conceived and first tried out in the studio environment by the artist and then introduced to a wider audience whose behaviour influences its particular visual and auditory manifestations. Research into this kind of process presents interesting challenges that require interdisciplinary collaboration. Artists, technologists, curators, museum organizers are seeking new ways to understand what is effective and engaging about the interactive experience. The practice-led research process is one of co-evolution between creative acts and research knowledge drawn from both informal experiences and organized studies. The present paper describes practice-led strategies for research that have been developed at the Creativity and Cognition Studios and put into effect in Beta_space, an exhibiting space in a major public museum.
Abstract This paper describes the development,of laboratory concepts,in the making and curating of interactive art, in which the exhibition becomes a site for collaboration between curators, artists, and audiences. It describes Beta_space, an experimental public venue that seeks to realise the concept,of the exhibition as living laboratory through the participatory qualities of interactive computer-based,art. The paper places this initiative within an emerging phenomenon,of hybrid production and exhibition spaces. It argues that the evolution of such concepts has been hampered by the continued distinctions, within traditional cultural institutions, among art, science and tech- nology, object and experience, creation and consumption. Keywords Interactive art, curatorial practice, audience research, practice-based research, Beta_space.
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.
Usability can be broadly defined as quality of use. However, even this broad definition neglects the contribution of perceived fun and enjoyment to user satisfaction and preferences. Therefore, we recently suggested a model taking "hedonic quality" (HQ; i.e., non-task-oriented quality aspects such as innovativeness, originality, etc.) and the sub-jective nature of "appealingness" into account (Hassenzahl, Platz, Burmester, & Leh-ner, 2000). In this study, I aimed to further elaborate and test this model. I assessed the user perceptions and evaluations of 3 different visual display units (screen types). The results replicate and qualify the key findings of Hassenzahl, Platz, et al. (2000) and lend further support to the model's notion of hedonic quality and its importance for subjective judgments of product appealingness.
Interactive art is, by its very nature, concerned with audience experience. The interaction is the essence the meaning of the work to the participant. An embodied cognition framework may be used to explore individual's cognition within a cognitive system while he or she is engaged in an interactive art experience. A cognitive system is identified as a system of interactions between the participants, the tools and the environment engaged in the experience. The aim of this paper is to characterize a person's interactive experience of different artworks using an embodied cognition framework in which bodily interaction, thought and perception of feedback are examined. The protocol analysis used to characterize participant experiences is shown to be an appropriate method for investigating interactivity in the art context. The results showed that identifying the presence of interactions between body and feedback, body and thought and thought and feedback provides an effective way to characterize each artwork experience. We discuss how these modes of interactions can be used as a measure for investigating other interactive artwork experiences in future work.
Fairground: Thrill Laboratory was a series of live events that augmented the experience of amusement rides. A wearable telemetry system captured video, audio, heart-rate and acceleration data, streaming them live to spectator interfaces and a watching audience. In this paper, we present a study of this event, which draws on video recordings and post-event interviews, and which highlights the experiences of riders, spectators and ride operators. Our study shows how the telemetry system transformed riders into performers, spectators into an audience, and how the role of ride operator began to include aspects of orchestration, with the relationship between all three roles also transformed. Critically, the introduction of a telemetry system seems to have had the potential to re-connect riders/performers back to operators/orchestrators and spectators/audience, re-introducing a closer relationship that used to be available with smaller rides. Introducing telemetry to a real-world situation also creates significant complexity, which we illustrate by focussing on a moment of perceived crisis.
Ecological approaches to psychology suggest succinct accounts ofeasily-used artifacts. Affordances are properties of the world that are compatible with and relevant for people's interactions. When affordances are perceptible, they offer a direct link between perception and action; hidden and false affordances lead to mistakes. Complex actions can be understood in terms of groups of affordances that are sequential in time or nested in space, and in terms of the abilities of different media to reveal them. I illustrate this discussion with several examples of interface techniques, and suggest that the concept of affordances can provide a useful tool for user-centered analyses of technologies.
HCI evaluation methods are useful for improving the design of interactive systems, yet they may be rejected by nontraditional technology disciplines such as media art. We have developed a two-tiered evaluation model that responds to the concerns of interactive artists and have used it to improve the design of an interactive artwork, the Influencing Machine, exploring issues in affective computing. The method was interpretive, focusing on giving the artists a grounded feeling for how the machine was interpreted and their message was communicated. We describe the resulting design of the Influencing Machine and the reactions of users. The study itself is part of the art piece - together these activities achieve the goal of the artists: to provoke our cultural notions of whether a machine can "have emotions".
Mobile experiences that take place in public settings such as on city streets create new opportunities for interweaving the fictional world of a performance or game with the everyday physical world. A study of a touring performance reveals how designers generated excitement and dramatic tension by implicating bystanders and encouraging the (apparent) crossing of normal boundaries of behaviour. The study also shows how designers dealt with associated risks through a process of careful orchestration. Consequently, we extend an existing framework for designing spectator interfaces with the concept of performance frames, enabling us to distinguish audience from bystanders. We conclude that using ambiguity to blur the frame can be a powerful design tactic, empowering players to willingly suspend disbelief, so long as a safety-net of orchestration ensures that they do not stray into genuine difficulty.
Interaction is increasingly a public affair, taking place in our theatres, galleries, museums, exhibitions and on the city streets. This raises a new design challenge for HCI, questioning how a performer s interaction with a computer experienced is by spectators. We examine examples from art, performance and exhibition design, comparing them according to the extent to which they hide, partially reveal, transform, reveal or even amplify a performerts manipulations. We also examine the effects of these manipulations including movements, gestures and utterances that take place around direct input and output. This comparison reveals four broad design strategies: `secretive,' where manipulations and effects are largely hidden; `expressive,' where they are revealed, enabling the spectator to fully appreciate the performer's interaction; `magical,' where effects are revealed but the manipulations that caused them are hidden; and finally `suspenseful,' where manipulations are apparent, but effects only get revealed when the spectator takes their turn.
The advent of computing stimulates a desire to re-examine the subject of creativity. Though the computer can replace man in the production of graphic images, its function in the arts is seen as assisting in the specification of art systems and in their subsequent real-time management. An art of system or process is placed in the context of primarily the visual or plastic arts but the authors disavow concern with any 'new' or 'modern technological' art. Various types of art systems are mentioned and advantages of the fully interactive one are considered. It is pointed out that the inclusion of complex real-time responses in an interactive art system can frequently make use of a computer. In such work, the artist and the viewer play an integral part. The traditional role of the artist, composer or writer is thus called into question; it may no longer be necessary to assume that he is a specialist in art--rather he is a catalyst of creative activity. Three cases are discussed to illustrate the applications of this approach. /// L'avènement de l'informatique exige que l'on reconsidère le problème de la créativité. Bien que l'ordinateur puisse remplacer l'homme dans la production d'images graphiques, on peut penser que sa fonction dans les arts est d'aider à spécifier les systèmes artistiques, et à les répartir ultérieurement dans le temps réel. Un art du système et du processus se situe d'abord dans le contexte des arts visuels ou plastiques; cependant la préoccupation des auteurs n'est d'aucune manière un art 'nouveau' ou 'technologique'. Ils citent plusieurs sortes de systèmes artistiques et décrivent les avantages de celui qui est entièrement 'interactif'. Ils font remarquer que l'inclusion de réponses complexes du temps réel dans un système artistique interactif peut souvent appeler l'utilisation d'un ordinateur. Dans une telle œuvre, l'artiste et le spectateur jouent un rôle à part entière. Le rôle traditionnel de l'artiste, du compositeur ou de l'écrivain est ainsi remis en question; il n'est plus nécessaire d'affirmer que l'artiste est un spécialiste--il est plutôt le catalyseur d'une activité créatrice. Trois exemples illustrent les applications de cette approche.
There is a growing interest amongst both artists and curators in designing artworks which create new forms of visual communication and enhance interaction in museums and galleries. Despite extraordinary advances in the analysis of talk and discourse, there is relatively little research concerned with conduct and collaboration with and around aesthetic objects and artefacts, and to some extent the social and cognitive sciences have paid less attention to the ways in which conduct both visual and vocal is inextricably embedded within the immediate ecology, the material realities at hand. In this paper, we examine how people in and through interaction with others, explore, examine and experience a mixed-media installation. Whilst primarily concerned with interaction with and around an art work, the paper is concerned with the ways in which people, in interaction with each other (both those they are with and others who happen to be in the same space), reflexively constitute the sense and significance of objects and artefacts, and the ways in which those material features reflexively inform the production and intelligibility of conduct and interaction.
An experiment was conducted to test the relationships between users' perceptions of a computerized system's beauty and usability.
The experiment used a computerized application as a surrogate for an Automated Teller Machine (ATM). Perceptions were elicited
before and after the participants used the system. Pre-experimental measures indicate strong correlations between system's
perceived aesthetics and perceived usability. Post-experimental measures indicated that the strong correlation remained intact.
A multivariate analysis of covariance revealed that the degree of system's aesthetics affected the post-use perceptions of
both aesthetics and usability, whereas the degree of actual usability had no such effect. The results resemble those found
by social psychologists regarding the effect of physical attractiveness on the valuation of other personality attributes.
The findings stress the importance of studying the aesthetic aspect of human–computer interaction (HCI) design and its relationships
to other design dimensions.
Creativity research is a large and varied field in which the subject is characterized on many different levels. The arrival of digital media and computational tools has opened up new possibilities for creative practice. The cutting edge in the digital arts is a highly fertile ground for the investigation of creativity and the role of new technologies. The demands of such work often reveal the limitations of existing technologies and open the door to developing new approaches and techniques. This provides the creativity researcher with opportunities to understand the multi-dimensional characteristics of the creative process. At the same time, it places new demands upon the creators of the technological solutions and pushes forward our understanding of the future requirements of creative technologies. This paper is concerned with the nature of creativity and the design of creativity enhancing computer systems. The research has multi-disciplinary foundations in human–computer interaction and creative practice in Art, Design, Science and Engineering. As a result of a series of studies of creative people and the associated developments in technology, a strategy for practice-based research has evolved in which research and practice are interdependent activities that have mutual benefits as well as distinctive outcomes. This paper charts the development of that co-evolutionary process from the foundation studies to recent outcomes of a major project in art and technology collaboration. The notion of the Studio as a laboratory in the field is introduced and a new methodology for systematic practice-based research is presented. From the results of the investigations that took place, opportunities for the development of technology environments for creative collaboration are proposed.
This paper presents an in-depth case study of the collaborative process of a creative art-technology project. We begin by providing a brief description of art-technology collaboration research and go on to describe the particular art-technology collaboration project called "GEO Narrative Landscapes". This is followed by an account of a novel method for the analysis of the interaction between artists and technologists based on five communication modes. Findings include common types of conversation topics of communication modes, how these modes related to each other and how they were distributed in terms of frequencies and duration across meetings. Finally, we discuss the contribution of this work to our understanding of art-technology collaboration.
Engage: Interaction, Art and Audience Experience
- E A Edmonds
- L Muller
- D Turnbull
- Edmonds E. A.
Evaluating Audience Experience. in Engage: Interaction, Art and Audience Experience
- Z Bilda
- Bilda Z.