論文アブストラクト： In the 1920s, Oskar Schlemmer, artist in the Bauhaus movement, created the Triadic Ballet costumes. These re-strict movement of dancers, creating new expressions. In-spired by this, we designed an interactive wire costume. It restricts lower body movements, and emphasizes arm movements spurring LED-light 'sparks' and 'waves' wired in a tutu-like costume. The Wire Costume was introduced to a dancer who found that an unusual bond emerged be-tween her and the costume. We discuss how sensory altera-tion (sight, kinesthetic awareness and proprioception) and bodily training to adjust to the new soma, can result in nov-el, evocative forms of expression. The interactive costume can foster a certain mood, introduce feelings, and even embody a whole character -- only revealed once worn and danced. We describe a design exploration combining cul-tural and historical research, interviews with experts and material explorations that culminated in a novel prototype.
論文アブストラクト： Interactive storybooks, such as those available on the iPad, offer multiple ways to convey a story, mostly through visual, textual and audio content. How to effectively deliver this combination of content so that it supports positive social and educational development in pre-literate children is relatively underexplored. In order to address this issue we introduce the "Counterpointed Triad Technique". Drawing from traditional literary theory we design visual, textual and audio content that each conveys different aspects of a story. We explore the use of this technique through a storybook we designed ourselves called "How Far Is Up?". A study involving 26 kindergarten children shows that "How Far Is Up?" can engage pre-literature children while they are reading alone and also when they are reading with an adult. Based on our craft knowledge and study findings, we present a set of design strategies that aim to provide designers with practical guidance on how to create engaging interactive digital storybooks.
論文アブストラクト： We report on the design, premiere and public evaluation of a multifaceted audience interface for a complex non-linear musical performance called Climb! which is particularly suited to being experienced more than once. This interface is designed to enable audiences to understand and appreciate the work, and integrates a physical instrument and staging, projected visuals, personal devices and an online archive. A public premiere concert comprising two performances of Climb! revealed how the audience reoriented to the second performance through growing understanding and comparison to the first. Using trajectories as an analytical framework for the audience 'journey' made apparent: how the trajectories of a single performance are embedded within the larger trajectories of a concert and the creative work as a whole; the distinctive demands of understanding and interpretation; and the potential of the archive in enabling appreciation across repeated performances.
論文アブストラクト： Procedural art, or art made with programming, suggests opportunities to extend traditional arts like painting and drawing; however, this potential is limited by tools that conflict with manual practices. Programming languages present learning barriers and manual drawing input is not a first class primitive in common programming models. We hypothesize that by developing programming languages and environments that align with how manual artists work, we can build procedural systems that enhance, rather than displace, manual art. To explore this, we developed Dynamic Brushes, a programming and drawing environment motivated by interviews with artists. Dynamic Brushes enables the creation of ad-hoc drawing tools that transform stylus inputs to procedural patterns. Applications range from transforming individual strokes to behaviors that draw multiple strokes simultaneously, respond to temporal events, and leverage external data. Results from an extended evaluation with artists provide guidelines for learnable, expressive systems that blend manual and procedural creation.