Preface
Contents
1 New Media Arts—The Thinking Space for Digitality
1.1 Emphasis
1.2 ART + COM—An Interdisciplinary Media Lab in West-Berlin (1987–1992)
1.2.1 Home of the Brain (1990–91)—Philosophers Houses
1.3 VisWiz—Visual Wizzards at the GMD: The German National Research Center for Information Technology (1992–95)
1.3.1 Liquid Views (1992)—Narcissus’ Digital Mirror. Ovid’s Metamorphosis as a Real-Time Wave Algorithm
1.3.2 Responsive Workbench (1993)—Thinking with Your Hand
1.3.3 The Virtual Balance (1995)—Looking with Your Feet
1.3.4 Virtual Striptease—First Networked Virtual Studio TV Production (1995)
1.4 MARS—the Media Arts Research Studies at GMD (1995–2001) and at Fraunhofer (2001–2012)
1.4.1 Netzspannung.org—One of the First Media Art Online Archives (1998–2010)
1.4.2 Faces of the Archive
1.4.3 Semantic Map—A Navigation System for the Data Space (1999–2002)
1.4.4 MediaFlow—Thoughts in the Flow (2005)
1.4.5 Digital Sparks Matrix (2001–08) on the Web and on PointScreen (1996–2002)
1.4.6 Energy Passages—A Public Thinking Space (2004)
1.5 Digitality for Good or Bad
2 Pick My Brain: Thoughts on Anatomical Representations of the Human Inner Body from the Renaissance, Baroque Paintings, and Book Illustrations of the Modern Age to Current Medical Imaging Visualizations
2.1 Act 1. Pictorial Bodies: Anatomy Lesson’s Mise-en-Scènes
2.2 Act 2. Paper Bodies: The Body-Corpse Unbound
2.3 Act 3. A Portrait in Absence: Pieter Claesz’s Vanitas Still Life (Figure 2.6)
2.4 Coda. ‘Bodies Without Organs’, or Another (Book) Anatomy Lesson
2.4.1 Recollections
2.4.2 To Image and the Self-imaginary
2.4.3 Paper Sculptures and the Vanitas Series
2.4.4 A Portrait in Absence
References
3 A Framework of Networked Art as a Diagram that is an Image as a Map that is a Plan and that is a Space as a Territory
3.1 How Did I Get Where?
3.2 And from There?
3.3 Wayfinding
3.4 “I Looked, and, Behold, a New World!” [34]
3.5 “A Map Is Not the Territory It Represents” [40]
References
4 Exercising Digitally: A Multi-Perspective Analysis of Exergames for Physical Activity and Health Promotion
4.1 A New Approach to Physical Activity and Health Promotion?
4.2 History of Exergaming: A Brief Overview of Products and Developers
4.2.1 Trial and Error
4.2.2 “Gamification” Versus “Sportification”
4.3 Status Quo: A Clustering Approach to Current Exergaming Products
4.3.1 Console-Based Exergaming
4.3.2 Virtual Reality (VR)-Based Exergaming
4.3.3 Cube-Based Exergaming
4.3.4 Smartphone-Based or Mobile Device-Based Exergaming
4.3.5 Ergometer-Based Exergames
4.3.6 Wall-Based Exergames
4.3.7 Exergaming Room Concepts
4.4 Potential Effects of Exergaming
4.4.1 Exercise Intensity and Energy Expenditure
4.4.2 Enjoyment
4.4.3 Health-Related Parameters
4.4.4 Exergaming and Cognitive Performance
4.4.5 Limitations of Current Literature
4.4.6 Conclusion
4.5 Considerations for the Design of Exergames
4.6 Summary and Future Directions
4.6.1 In a Nutshell
4.6.2 Future Directions
4.6.3 Trends: Exercising in the Metaverse for a Healthy (Real)-Life?
References
5 Close Encounters of the Immersive Kind: Embodied Fundamentals and Future Directions of Affective Virtual Reality (VR) Design
5.1 Introduction
5.1.1 Affect and the Future of Virtual Reality Design
5.2 Embodied Fundamentals of VR Narrative Design
5.2.1 Research Methodology: Tuning into My Intuitive First-Person Perspective
5.2.2 Findings: Proposing an Embodiment Grammar
5.3 The Encounter State as Pivotal to VR Design
5.3.1 Framing Encounters Through Dialogic Possibilities
5.3.2 Structuring Encounters Through Performative and Ludic Techniques
5.3.3 Choreographing Encounters to Generate Character Embodiment
5.3.4 VR Narrative Design Contributions to Conceptualisations of Presence, Immersion and Embodiment
5.4 Conclusion: The Future of VR Design
5.4.1 The Future of VR Design
5.4.2 Conclusion
References
6 Creating Digitally: Computer Films/Screenlife/Zoom
6.1 Introduction
6.2 Screenlife Origins
6.3 From Desktop to #Screenlife
6.4 Zoom Films
6.5 #Sidiadoma [7]
6.6 Searching [25]
6.7 Conclusion
References
7 Designing Interrogative Robot Theater: A Robot Who Won't Take No for an Answer
7.1 A Theoretical Framework
7.2 Robot Theater: A New or Old Practice?
7.2.1 Robot Theater and Human Robot Interaction
7.2.2 Robotic Performances and Performers
7.3 Interrogative Robot Theater: A Practice-Based Approach from Character Design to Staging
7.3.1 Staging/Blocking: Interaction Design (Director's Role)
7.3.2 Building a Character: Character Design (Actor's Role)
7.3.3 Script Writing: Dialogue Design (Playwright's Role)
7.4 Research Methodology Implemented: Come Hither to Me!
7.4.1 Character Design: ROVERita
7.4.2 Interaction Design (with Space and Audience): Staging and Designing Interactivity
7.4.3 Dialogue Design: Playwriting + Dramaturgy
7.5 An Epilogue
7.5.1 Interrogative Design and Robot Forum Theater
7.5.2 A Double Negative Identity of a Robotic Performer
References
8 Actor-Flower-Mesh-Work: Making Environments Together
8.1 Introduction
8.1.1 The Lichtsuchende
8.2 Starting to Make Things
8.2.1 Becoming a Thing
8.3 Material Qualities, Performances, Flows and Mattering
8.3.1 Different Things
8.4 Things and Environments
8.5 Actors at Work: ANT Briefly Unpacked
8.6 The Active Mesh at Work
8.6.1 Ingold’s Lines in the Meshwork
8.6.2 Latour’s Actors in the Network
8.7 Bringing Things Together
References
9 Generative Video Art
9.1 Introduction
9.2 Roots
9.3 Process
9.3.1 Vocabulary Identification
9.3.2 Structuring Device
9.3.3 Recomposition and Amplification
9.3.4 Event Detection
9.4 Poetics
9.5 Conclusion
References
10 A Guide to Evaluating the Experience of Media and Arts Technology
10.1 Introduction
10.1.1 Principles of Quality Research
10.1.2 HCI, UX, and Interactive Arts
10.2 Types of MAT Study
10.2.1 Example Proof-of-Concept Studies
10.2.2 Comparative Studies
10.2.3 From Proof-of-Concept to Comparative Study: The Chaos Bells
10.3 Designing a MAT Study
10.3.1 Choosing a Study Type
10.3.2 Designing the MAT Itself
10.4 Conducting and Reporting Your MAT Study
10.4.1 Section: Background
10.4.2 Section: Research Questions
10.4.3 Section: Study Methodology
10.4.4 Section: Data Analysis
10.4.5 Section: Results
10.4.6 Section: Discussion
10.4.7 Other Presentation Components
10.5 Conclusion
References
11 haptic HONGI: Reflections on Collaboration in the Transdisciplinary Creation of an AR Artwork
11.1 Introduction
11.2 Background and Motivation
11.3 The haptic HONGI Experience
11.3.1 The Technology Behind haptic HONGI
11.4 User Feedback from the Experience
11.4.1 Quantitative Assessment
11.4.2 Qualitative Assessment—A Discursive Approach
11.4.3 Māori Responses
11.4.4 Immigrant Responses
11.5 Reflections on Design
11.5.1 Intention: What’s a Discursive Designer to Do?
11.5.2 Understanding: What’s a Discursive Designer to Know?
11.5.3 Message: What’s a Discursive Designer to Say?
11.5.4 Scenario: How Does a Discursive Designer Set the Stage for Discourse?
11.5.5 Artifact: What’s a Discursive Designer to Make?
11.5.6 Audience: To Whom Does a Discursive Designer Speak?
11.5.7 Context: How Does a Discursive Designer Disseminate?
11.5.8 Interaction: How Does a Discursive Designer Connect?
11.5.9 Impact: What Effect Can a Discursive Designer Have?
11.6 Lessons Learned
11.7 Conclusion and Directions for Future Work
References
12 Connecting Past and Present Through a Multisensory Toolkit—A Non-pharmacological Intervention for People Living with Dementia
12.1 Introduction
12.2 Impact of Dementia
12.3 Reminiscence Therapy
12.4 Multisensory Stimulation
12.5 The AMuSED Toolkit
12.5.1 Themes
12.5.2 Stimulation
12.5.3 Activity Booklet and Prompt Questions
12.6 Evaluation and Feedback
12.6.1 Development Process and Expert Input
12.6.2 Evaluation of Use in Care Facilities
12.6.3 Positive Feedback
12.6.4 Challenges and Improvements
12.7 Conclusion
References
13 Extended Digital Musical Instruments to Empower Well-Being Through Creativity
13.1 Extended Digital Musical Instruments
13.1.1 Music Therapy and the Mirroring Phase
13.1.2 EDMIs with Therapeutic Purposes
13.1.3 Embodiment, the Environment and EDMIs
13.1.4 Sensorimotor Contingencies, Creativity and Sensory Integration
13.1.5 BehCreative
13.1.6 Phases of the User’s Creative Involvement Within an EDMI
13.1.7 Future Perspectives
13.2 Note
References
14 The Evolution of the Virtual Production Studio as a Game Changer in Filmmaking
14.1 Introduction
14.2 A Brief History of Composite Images
14.3 The Evolution of Game Engines
14.4 A Brief History of the Virtual Camera
14.5 The Performance of Machinima
14.6 From Front Projection to LED Volume
14.7 A Brief History of the Virtual Production Studio
14.8 Key Technological Components of a Virtual Production Studio
14.9 The Virtual Production Studio and Qualitative Shifts in Filmmaking
14.10 Conclusions
14.11 Domains that Require Further Investigation
References
15 Interactive Film: Forking Paths to a Complete Audiovisual Experience
15.1 A Brief Preamble—From Prehistory to the Present Day
15.2 The Forking Paths
15.3 Models and Levels of Film Interactivity
15.4 Results
15.5 A Proposal to a Final Path of Walking on Ice
References
16 Design for Science: Proposing an Interactive Circular 2-Level Algorithm
16.1 Introduction
16.2 Circular Layouts: Definition and Contextualization
16.3 Designing and Implementing a 2-Level Circular Layout
16.3.1 Interaction Techniques
16.4 Preliminary Results
16.5 Conclusion and Future Work
References
17 Children’s Generative Play with a Combination of Analogue and Digital Resources
17.1 Introduction
17.2 Generative Play—Playing with Meaning Potentials
17.3 Multimodal Communication and Representation
17.4 Creating Cross-Over Modalities—A Case Study
17.5 Analysis
17.5.1 Excerpt 1 (June 19th, 2019)
17.5.2 Excerpt 2 (December 12th, 2018)
17.5.3 Excerpt 3 (December 12th, 2018)
17.6 Discussion
17.6.1 Action Potentials
17.6.2 Characteristics of Analogue and Digital Resources
17.6.3 Aligning Design Goal, Resource, and Play Actions
17.7 Conclusion
References
18 Empowering Creativity and Feedback: Lessons Learned from the Development of an App to Assist Game-Based Learning Activities
18.1 Introduction
18.2 Octalysis Framework
18.2.1 Empowerment of Creativity and Feedback
18.3 A Research Roadmap Based on a Communicative Design Paradigm
18.4 An App for Supporting the Selection of Educational Games
18.5 Final Considerations
References
19 Virtual Reality Prosumers on YouTube and Their Motivation on Digital Design Students
19.1 Introduction
19.2 Motivation
19.3 Problem Statement
19.4 Literature Review
19.5 Materials and Methods
19.6 Procedure
19.6.1 Video Game Design Survey
19.6.2 VR Technology Survey
19.7 Results and Discussion
19.8 Conclusions
References
20 Design of a Bespoke Web-Based 3D Virtual Venue and Video Streaming Event Platform
20.1 Introduction
20.2 Literature Review
20.2.1 Moving Towards the Metaverse
20.2.2 From Virtual Tours to Virtual Campuses and Beyond
20.3 Proposed Methodology
20.3.1 Interior Design
20.3.2 2D/3D Floor Plan
20.3.3 Mood Boards, Furniture, and Lighting
20.3.4 Information Technology
20.3.5 Digital Design
20.3.6 Graphic Design
20.4 Results
20.5 Conclusion
References