Evaluating audience experience with interactive art (original) (raw)
Related papers
Eliciting Audience’s Experience to Improve Interactive Art Installation
Hanif Baharin, Ann Morrison esigning with the users in mind is one of the widely accepted design practices in the Interaction Design field. On the other hand, it can be said that audience's experience is the heart of an interactive art. Since Interaction Design has shown that user's involvement in the design process can be beneficial, it is speculated that involving the audiences in the creative process of developing an interactive art piece can make the artist improve the art in general and the audience's experience in particular.
Audience Participation in Interactive Art Systems
ACM, 2017
Interactive Art deals with audience participation (visitor-madeinteractor), something that the artist devises and incorporates into the piece since its conception. This research deals with the challenges of audience engagement that such endeavor represents. In particular, we address the use of instructional signage as a way to increase visitors’ participation, through a field experiment research approach (taking place on a natural occurring environment) combining practice-based research, observation and a questionnaire. An interactive art piece using QR Code technology was created as part of the experimental procedure. Results showed that the interaction using smartdevices and QR Codes was successfully accomplished and audience engagement significantly improved when instructional signage was used.
Interaction Models for Audience-Artwork Interaction: Current State and Future Directions
Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering, 2012
Interactive art is of great relevance to the arts, sciences and technology alike. A common field of interest among researchers of dif- ferent disciplines, practising artists and art institutes is the interaction between audience and artwork. This paper reviews existing research con- cerning interaction in interactive art and discusses its applicability for describing and classifying audience-artwork interaction. In pointing out possible future directions, we identify a need for models describing the relation between the audience’s and artwork’s actions and reactions as well as the necessity for future research looking at interaction as a con- tinuous bi-directional process between work and audience.
Interactive art as embodied inquiry: working with audience experience
Engage: Interaction, Art and Audience Experience, 2007
Interactive arts practice is considered here as a medium for critical enquiry. An experience-centred approach is used to explore how interactive art works facilitate processes of inquiry and reflection. While it is often said that the role of an artwork is to raise questions, my interest here is in art’s capacity to help us develop understanding. Given that it is people and not artworks that are asking these questions, and that meanings evolve through audience experience and interaction, it follows that a more detailed understanding of audience experience can help arts practitioners understand some of the ways these forms of inquiry and experience can be afforded by their works. Two frameworks for understanding user experience, drawn from the fields of Human-Computer Interaction and experience-centred- design are used to examine audience experience in Cardiomorphologies, an interactive artwork that explores the experience of subjectivity as a physiologically embodied phenomenon.
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.
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.
The aesthetic zone of interaction. How are aesthetic design qualities experienced
2005
The aim of the present position paper is to raise issues concerning aesthetic experience in relation to an ongoing work of designing an artefact encouraging video reporting of personal experiences. The work serves as an example of a design experiment where aesthetic qualities are emphasized, but where the resulting interactions have not yet been analyzed in relation to these qualities. Our position is that the aesthetics of an interactive artefact evolves in the interactive zone between people who use it and the artefact itself. The aesthetic qualities are, thus, crystallized in the use of the artefact – whether it ranks high on a usability scale or not. Just as usability qualities, the aesthetic qualities contain contextual factors of its users, such as their pre-comprehension of the artefact, their cultural background and their emotional states. Furthermore, they include the context of the artefact, such as its physical design and the environment of its use. Our standpoint is cons...
Interaction design as catalyzer of creative and interpretative praxes in museum context
GCH 2023 - Eurographics Workshop on Graphics and Cultural Heritage, 2023
This paper argues that interaction design (IxD) can suggest valid solutions in rethinking museum mediation, focusing on conservation data as reference case study. Eliciting interest, it is possible to conceive meaningful and authentic experiences, aimed at activating a transformative dialogue with the visitors: with this approach, audiences are creatively engaged to reconsider their own expectations, behaviours and beliefs. To support this hypothesis, major attention will be paid to describe the set up and the results of a first proof of concept, conceived in the framework of the PERCEIVE Project and based on Les demoiselles à la rivière by Matisse, now exhibited at the Art Institute of Chicago. CCS Concepts • Human-centered computing → Interaction design process and methods; Empirical studies in interaction design; • Applied computing → Arts and humanities;