Creative Practice-Based Research In Interaction Design (original) (raw)
Related papers
Performing perception—staging aesthetics of interaction
ACM Transactions on Computer-Human Interaction, 2008
In interaction design for experience-oriented uses of technology, a central facet of aesthetics of interaction is rooted in the user's experience of herself “performing her perception.” By drawing on performance (theater) theory, phenomenology and sociology and with references to recent HCI-work on the relation between the system and the performer/user and the spectator's relation to this dynamic, we show how the user is simultaneously operator, performer and spectator when interacting. By engaging with the system, she continuously acts out these three roles and her awareness of them is crucial in her experience. We argue that this 3-in-1 is always already shaping the user's understanding and perception of her interaction as it is staged through her experience of the object's form and expression. Through examples ranging from everyday technologies utilizing performances of interaction to spatial contemporary artworks, digital as well as analogue, we address the notio...
"Digital Art Live: Exploring the Aesthetics of Interactivity"
While technologies and theories of interactive media have developed exponentially over the past twenty five years, an aesthetics of interactivity, as a philosophy of perception and validation of interactivity as a form of art, has been slower to emerge. While aesthetic inquiry has expanded to investigate the sensuous perception of many forms of electronic art, interactivity as an expressive medium, challenges many fundamental assumptions of traditional aesthetics This paper addresses the performative aesthetics of interactivity through a consideration of a programme of interactive art works presented through the Digital Art Live (DAL) project in Auckland. The DAL initiative is New Zealand’s only specialised, ongoing, interactive art programme. It has engaged both public and private entities, artists, developers, community organizations, staff and students from three universities. The location of the DAL screen in a performing arts complex introduces some new perspectives into the emerging discourse about interaction, aesthetics and creative practices. Nine DAL projects are considered in relation to issues raised in Simon Penny’s critical interrogation of the performative aesthetics of interactivity (2010) and literature on contemporary aesthetics. Key issues including the importance of aesthetic inquiry; the notion of performativity as meaningful, embodied practice; object/veiwer spatial relationships; synesthetics and the interdisciplinarity of interactve art; and the relationship between representation and interaction are adressed as part of ongoing research into interactive art that is being conducted through the DAL project.
Interaction criticism and aesthetics
Proceedings of the 27th international conference on …, 2009
As HCI becomes more self-consciously implicated in culture, theories from cultural studies, in particular aesthetics and critical theory, are increasingly working their way into the field. However, the use of aesthetics and critical theory in HCI remains both marginal and uneven in quality. This paper explores the state of the art of aesthetics and critical theory in the field, before going on to explore the role of these cultural theories in the analysis and deployment of the twin anchors of interaction: the user and the artifact. In concludes with a proposed mapping of aesthetics and critical theory into interaction design, both as a practice and as a discipline.
Interaction design and the critics
Proceedings of the 5th Nordic conference on Human-computer interaction building bridges - NordiCHI '08, 2008
This paper describes the development and evaluation of "weegie" an audio-photography desk featuring sounds and images inspired by the Govan area of Glasgow. It was intended to be an interactive artwork that would challenge negative preconceptions about the area. The paper describes two techniques used to consider the extent to which the piece achieved these aims. The first technique is the "personal meaning map" and taken from museum studies. The second is cultural critique drawn from the arts. Building on Gaver's [24] strategy of using cultural commentators for 'polyphonic' assessment it considers the extent to which perspectives drawn from the humanities and the arts can be useful in evaluating design. It argues that a more rigorous understanding of critical theory is necessary to the development of interaction design criticism.
Interactive Design: Designing Sensorial, Dialogical Spaces
Civil Engineering and Architecture, 2014
In this short paper, we describe an ongoing research project which is mainly based on the realization of several installations using interaction design as an essential quality. In Arts, the digital art, which is part of the so called new media art, represents a topic of actuality together while raising issues regarding its curation. Interactive installations, mainly artistic endeavors with intriguing outcomes and some using artificial lighting as a tool, introduce a different kind of experience than artworks exhibited and forbidden to be touched. Thanks to their interactive aspects, the user becomes a participant either willingly or unwillingly and influences the overall scene. These immersive installations have the potential to challenge the notions and perception of space, as well as to enrich any activity within that space. The interactive space becomes a place with intriguing qualities, an icon of human interaction and one that has the ability to adapt to our needs, while at the same time shaping our experiences. This interaction is not only with the installation itself, but also between individuals, thus fulfilling the evolving individual and social demands or intentions. Rezumat În acest scurt articol descriem proiectul de cercetare în curs, bazat în principiu pe realizarea unor multiple instalaţii care utilizează "interaction design" ca şi caracteristică de bază. În Arte, arta digitală parte a aşa numitei "new media art" reprezintă un subiect de actualitate alături de aspectele pe care le ridică în ceea ce priveşte aspectul curatorial. Instalaţiile interactive, in general încercări artistice cu remarcabile rezultate si unele utilizând iluminatul artificial ca instrument, introduc o experienţă diferită faţă de obiectele de artă expuse şi a căror atingere este interzisă. Datorită aspectului interactiv, utilizatorul devine participant atât voluntar cât şi involuntar şi are o influenţă asupra scenei globale. Captivante, aceste instalaţii au potenţialul de a provoca noţiunile şi percepţia de spaţiu, precum şi de a îmbogăţi orice activitate din acel spaţiu. Spaţiul interactiv devine un loc cu calităţi remarcabile, o pictogramă de interacţiune umană şi una care are capacitatea de a se adapta la nevoile noastre şi totodată formează experienţele noastre. Interacţiunea în cauză nu se referă doar la instalaţia în sine, cât şi între noi de asemenea, deci îndeplinind cereri sau intenţii individuale şi sociale.
Digital Creativity, 2010
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 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.
2020
This artwork exploits recent research into augmented reality systems, such as the HoloLens, for building creative interaction in augmented reality. The work is being conducted in the context of interactive art experiences. The first version of the audience experience of the artwork, "H Space", was informally tested in the SIGGRAPH 2018 Art Gallery context. Experiences with a later, improved, version was evaluated at Tsinghua University. The latest distributed version will be shown in Sydney. The paper describes the concept, the background in both the art and the technological domain and points to some of the key computer human interaction art research issues that the work highlights.