Conference Paper

Exploring the Virtuality Continuum Frontiers: Multisensory and Magical Experiences in Interactive Art

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This article is an effort to approach certain aspects of the evolution of user interface design, as well as the design and aesthetics of interactive works of art. Interactive works attempt to connect the viewer with the work and invite him to deploy his senses and his body. But many researchers and artists are concerned by the fact that interface technologies tend to put us out of touch with ourselves, so they try to create interactions that take place in our periphery, drawing our attention rather than demanding it. Taking as a starting point the sense of touch, whose importance has been widely analysed in philosophy, phenomenology and aesthetics, we describe the modalities of active touch and active sensing. We then propose that with the use of physical materials and tangible interfaces in interactive artworks we can achieve more magical experiences that engage us in a multi sensorial way. As an example we are describing the concepts around the mixed reality installation VitRails.

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... Such are the experiences people observe when entering Josef Rehrl Schule, a school for Deaf, hard-of-hearing, and hearing children and personnel. Our three installations, integrated in the school's entrance hall, celebrate all senses and especially full-body spatial interaction; the natural way humans traverse, explore, and experience the built environment [20]. ...
... As a way of comprehending and managing people's reactions to novel technology, De Jongh Hepworth introduces four magicalexperience elements (surprise, unordinary, unnatural, and exciting) [11]. On a similar note, Georgakopoulou et al. blend magic (unexpected, non-ordinary behaviour of physical objects) with their mixed reality (MR) tangible interface [20]. ...
... The use of this metaphor encapsulates a set of particular attributes that could foster this desired experience. Specifically, we reflect on the characteristics of our designs based on De Jongh Hepworth's four ingredients for magical experiences [11], and both Georgakopoulou et al. [20] and Subbotsky's definition of magic (anything breaching the laws of physical reality) [44]. De Jongh Hepworth's Manuscript submitted to ACM magical experiences' ingredients are unordinary (different from prior experiences), surprise (something unexpected), unnatural (to do something one cannot), exciting (something one anticipates) [11]. ...
Conference Paper
An ocular-centric fixation governs the majority of examples in both traditional and media architecture. Stepping away from this predominance, the three technology-augmented installations described in this contribution focus primarily on multi-sensory spatial interactions. To trigger curiosity and establish engagement, we make use of magic as a metaphor to encourage playful exploration of the installations' possibilities and speculation on their modus-operandi enigmas. This combination elevates the exhibition space as it appoints the human body as the key constituent of the experience. Placed at the entrance hall of an integration school (for Deaf, hard-of-hearing and hearing children and staff), our installations are aimed at raising population awareness by highlighting this population's particularities. In this paper, we detail the constellation of magical design characteristics of our artifacts and propose a set of considerations that could bring forth magical media architecture experiences.
... In their work, they introduced the concept of the reality-virtuality continuum. They proposed the concept of a virtuality continuum in the context of visual displays, but their ideas have since been adopted and extended to fit all domains of research around virtual and mixed reality, whether scientific or artistic (Georgakopoulou et al., 2019). ...
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... What is apparent from our empirical work, and supported by others as above (Georgakopoulou et al., 2019;Kumari et al., 2018;Rasmussen, 2013), is that as interaction design extends multi-dimensionally into the physical environment including through augmentation and tangible user interfaces, there are myriad new opportunities to create surprise, delight, excitement International Journal of Design Vol. 14 No. 3 2020 T-Shifting Identities and Practices: Interaction Designers in the Fourth Industrial Age and apparent magic. Consequently, we say, there is a greater need, and responsibility to make available, simple explanations of how things work, while also avoiding the word 'magic' due to its inherent fuzziness. ...
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Actuated Interfaces are receiving a great deal of interest from the research community. The field can now present a range of point designs, illustrating the potential design space of Actuated Interfaces. However, despite the increasing interest in Actuated Interfaces, the research carried out is nevertheless primarily preoccupied with the technical challenges and potential application areas, rather than how users actually approach, experience, interpret and understand Actuated Interfaces. Based on three case studies, investigating how people experience Actuated Interfaces, we point to; magic, movement and ambiguity as fruitful perspectives for understanding users' experiences with Actuated Interfaces. The three perspectives are employed to reflect upon opportunities and challenges, as well as point to open questions and relevant areas for future research for Actuated Interfaces.
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The field of interaction design is littered with examples of artefacts, which seemingly do not adhere to well-known physical causalities and our innate expectations of how artefacts should behave in the world, thereby creating the impression of a magic reality; where things can float in mid-air, the usually inanimate TV can become animate, two separate objects can become physically connected, and we can move objects with our mind. The paper presents Subbotsky's [21] four types of magical causalities: mind-over-matter magic, animation magic, nonpermanence magic and sympathetic magic, as a way to reflect upon the magical realities constructed by technological artefacts.
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This paper is a description of design experiments performed to investigate the use of magical experiences in interaction design of consumer electronics. Magical experiences are usually associated with a passive audience watching a magician, but it is interesting to see if interaction can also be a magical experience. Using inspiration from stage magic, industrial design, the consumer electronics company Bang & Olufsen, and related research in interaction design a set of key topics for developing magical experiences are proposed. The key topics are used to develop three design experiments. The design experiments are tested and the results are analyzed and discussed.
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