No full-text available
To read the full-text of this research,
you can request a copy directly from the authors.
Motions and Experiences in a Multiuser Interactive Installation: Towards an Embodied Account of Visitors' Journey
Abstract
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.
Lo que denomino arqueodiseño consolida en parte una práctica para la recuperación de técnicas y tecnologías ancestrales bajo la perspectiva del Diseño del Sur, corresponde a una propuesta original para avanzar con sostenimiento, para caminar mirando el futuro – pasado (42, 43), aprendiendo de los pueblos Abya-yala en las sociedades contemporáneas. ¿Hacia dónde caminar? una alternativa es acercarse al tejido
de los diseños vernáculos, otrora descalificados, hilos del fieltro de culturas originarias, armónicas con la pachamama. Es plausible esta aproximación futurada y con ello andar-
desandar, tejer-fieltrar otras posibilidades de prácticas re-directivas en/del/para el diseño. Entender la cadena de defuturación que ha conllevado ideales implantados por la colonización, en especial del modelo neoliberal desigual, tienen un particular significado para desmantelarlos y optar por esta alternativa. Saberes y prácticas ancestrales se pueden reivindicar con el diseño del Sur mediante la praxis del arqueodiseño. En ese sentido, una propuesta en ciernes de la industriosidad del diseño del Sur, propende por Allwiya kamay como chakana para un allin kausay1, que pueden contribuir al campo del diseño y en complemento, a la construcción de otro devenir social, simbólico y técnico con sostenimiento. ¿Cómo opera y en qué consiste la apuesta por el arqueodiseño como un promisorio campo del Diseño del Sur, en especial, diseño desde la filosofía andina? Es parte de la aproximación del presente trabajo.
In contemporary art, a new type of artworks use motion as a material from which to create the illusion of life. These autonomous robotic artworks have a behavioral specificity; they tend to be perceived as living, and by some account intentional entities. To account for this behavioral specifity and how it affects the audience experience, we propose a data-driven approach to reveal specific visit patterns. Through a cluster analysis performed on visitors' path inside an installation involving autonomous objects, we highlight four different attitudes characterized by patterns of approach or withdrawal, passive observation and exploration.
Museos de ciencias intentan cambiar su oferta museologica proponiendo exposiciones espectaculares, que favorecen emociones fuertes y experiencias memorables. Asi se utilizan cada vez mas tecnologias de inmersion para hacer que los visitantes « vivan directamente » lo que es tratado por la exposicion. Pero lo que puede suscitar concretamente el senti- miento de la inmersion, y las razones por las cuales los visitantes se pueden sentir sumergidos en una experiencia fuerte, quedan dificiles de analizar. Algunos ejemplos de museografias pueden illustrar la diversidad de la tecnicas utilizadas para favorecer la inmersion. Sin embargo, son investigaciones acerca de la recepcion que nos permitieron modelizar esta nueva forma de mediacion. Nuestra metodologia basada en entrevistas profundizadas, permitio proponer configuraciones de visita, que muestran una tension entre un efecto de inmersion y un efecto de distanciamiento. Un analisis de la extension de este tipo de museografia en museos de ciencias muestra un cambio de paradigma : pasamos de la « cultura cientifica » al « entretenimiento cientifico ».
This paper focuses on the design of pleasurably playful interfaces within an interactive art context. It describes the development of a framework of thirteen pleasures of play and outlines the application of this framework during the design process of three interactive artworks. These processes included both initial conceptual development stages and later user evaluation studies. The paper compares the artist's view of the pleasures that might be experienced in each work with the actual pleasures experienced by users during evaluation sessions. The results suggest that the pleasure framework is a useful tool to aid in the design of playful interfaces.
Interactive art has become much more common as a result of the many ways in which the computer and the Internet have facilitated it. Issues relating to human–computer interaction (HCI) are as important to interactive art making as issues relating to the colours of paint are to painting. It is not that HCI and art necessarily share goals. It is just that much of the knowledge of HCI and its methods can contribute to interactive art making. This paper reviews recent work that looks at these issues in the art context. 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 paper looks at these issues and brings together a collection of research results and art practice experiences that together help to illuminate this significant new and expanding area. In particular, it is suggested that this work points towards a much needed critical language that can be used to describe, compare and discuss interactive digital art.
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.
This paper describes the development and use of a set of design representations of moving bodies in the design of Bystander, a multi-user, interactive, immersive artwork built on video-based, motion-sensing technology. We extended the traditional user-centred design tools of personas and scenarios to explicitly address human movement characteristics embedded in social interaction. A set of corresponding movement schemas in Labanotation was constructed to visually represent the spatial and social interaction of multiple users over time. Together these three design representations of moving bodies were used to enable the design team to work with the aspects of human movement relevant to Bystander and to ensure that the system could respond in a coherent and robust manner to the shifting configurations of visitors in the space. They also supported two experiential methods of design reflection-in-action—enactment and immersion—that were vital for grounding designers’ understandings of the specific interactive nature of the work in their own sensing, feeling and moving bodies.
RQDA: R-Based Qualitative Data Analysis. R Package Version 0.2-7
- Ronggui Huang
Huang, Ronggui. 2014. "RQDA: R-Based Qualitative Data
Analysis. R Package Version 0.2-7."
Ethnographie de l'exposition: l'espace, le corps et le sens
- Eliséo Véron
- Martine Levasseur
Véron, Eliséo, and Martine Levasseur. 1989. Ethnographie de
l'exposition: l'espace, le corps et le sens. Centre Georges
Pompidou, Bibliothèque publique d'information.
Centre Georges Pompidou Bibliothèque publique d'information. Véron Eliséo and Martine Levasseur
- Véron Eliséo
- Martine Levasseur