The article explores new ways of written language aided by AI technologies, like GPT-2 and GPT-3. The question that is stated in the paper is not about whether these novel technologies will eventually replace authored books, but how to relate to and contextualize such publications and what kind of new tools, processes, and ideas are behind them. For that purpose, a new concept of synthetic books is introduced in the article. It stands for the publications created by deploying AI technology, more precisely autoregressive language models that are able to generate human-like text. Supported by the case studies, the value and reasoning of the synthetic books are discussed. The paper emphasizes that artistic quality is an issue when it comes to AI-generated content. The article introduces projects that demonstrate an interactive input by an artist and/or audience combined with the deep-learning-based language models. In the end, the paper focuses on understanding the neural aesthetics of written language in the art context.
{"title":"Synthetic Books","authors":"Varvara Guljajeva","doi":"10.1145/3483529.3483663","DOIUrl":"https://doi.org/10.1145/3483529.3483663","url":null,"abstract":"The article explores new ways of written language aided by AI technologies, like GPT-2 and GPT-3. The question that is stated in the paper is not about whether these novel technologies will eventually replace authored books, but how to relate to and contextualize such publications and what kind of new tools, processes, and ideas are behind them. For that purpose, a new concept of synthetic books is introduced in the article. It stands for the publications created by deploying AI technology, more precisely autoregressive language models that are able to generate human-like text. Supported by the case studies, the value and reasoning of the synthetic books are discussed. The paper emphasizes that artistic quality is an issue when it comes to AI-generated content. The article introduces projects that demonstrate an interactive input by an artist and/or audience combined with the deep-learning-based language models. In the end, the paper focuses on understanding the neural aesthetics of written language in the art context.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132328202","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article, the authors introduce the new educational curricula for Computing and Robotics in Andalusia [1], that will be offered as an optional subject for more than three hundred thousand students during 2021/2022 academic year and so on. This curriculum offers young students, aged 12-15 years old, with the opportunity to gain a better understanding on how our digital world works, as well as, developing a set of skills known as computational thinking. This term refers to a way of understanding and solving problems, in any discipline, with the help of computers.ç
{"title":"STEAM for all: New Computational Thinking Curricula in Spanish Formal Secondary Education","authors":"R. Robles, Santiago Fernández-Cabaleiro","doi":"10.1145/3483529.3483662","DOIUrl":"https://doi.org/10.1145/3483529.3483662","url":null,"abstract":"In this article, the authors introduce the new educational curricula for Computing and Robotics in Andalusia [1], that will be offered as an optional subject for more than three hundred thousand students during 2021/2022 academic year and so on. This curriculum offers young students, aged 12-15 years old, with the opportunity to gain a better understanding on how our digital world works, as well as, developing a set of skills known as computational thinking. This term refers to a way of understanding and solving problems, in any discipline, with the help of computers.ç","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129205228","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper aims to discuss extensively the system of relationships among several types of art and branches of science, under a political perspective discarding any theological/capitalist stance. Once established a quasi-equivalence between creativity and curiosity, a number of features of the creative process are examined, focused firstly on the mind of one individual, and lastly, on the web of interactions anchored in a group of people. Then, mainstream statistics – equated with some sort of commercial numerology – is criticized on the grounds of the unrealistic and unverifiable assumptions it relies upon. As opposed to this, Correspondence Analysis as a method for assumption-free data treatment is put forward, allowing to explore the qualitative variables that are dominant in the fuzzy areas of art and of science of complexity. Two examples of fresh artistic experiences are given, one in the realm of writing, the other, of painting, both demonstrating the concept of practical poetry. The first epitomizes the ways how self-imposed rules that preside over the creation of a literary text may be a source of joyful gratification, based on a cooperation involving the writer and reader. The second demonstrates a process for visual artwork production drew on the collective labor of a set of robots, each one of which can only communicate with the others across the canvas where they evolve. Specific examples of the recombination of science, art, architecture, and urbanism are presented, under a radical perspective that rejects all forms of capitalist power, as it appears in current crisis. Table of Contents Introduction Biological, anthropological, and social features of the creative process Numerology vs. exploratory data analysis Writing under constraints Unmanned paintings Science, art, architecture, and urbanism Contemporary political/sanitary issues Conclusions
{"title":"Immanent Curiosity/Creativity in Science, Art, and Politics","authors":"J. Ribeiro, H. Pereira, Leonel Moura","doi":"10.1145/3483529.3483690","DOIUrl":"https://doi.org/10.1145/3483529.3483690","url":null,"abstract":"This paper aims to discuss extensively the system of relationships among several types of art and branches of science, under a political perspective discarding any theological/capitalist stance. Once established a quasi-equivalence between creativity and curiosity, a number of features of the creative process are examined, focused firstly on the mind of one individual, and lastly, on the web of interactions anchored in a group of people. Then, mainstream statistics – equated with some sort of commercial numerology – is criticized on the grounds of the unrealistic and unverifiable assumptions it relies upon. As opposed to this, Correspondence Analysis as a method for assumption-free data treatment is put forward, allowing to explore the qualitative variables that are dominant in the fuzzy areas of art and of science of complexity. Two examples of fresh artistic experiences are given, one in the realm of writing, the other, of painting, both demonstrating the concept of practical poetry. The first epitomizes the ways how self-imposed rules that preside over the creation of a literary text may be a source of joyful gratification, based on a cooperation involving the writer and reader. The second demonstrates a process for visual artwork production drew on the collective labor of a set of robots, each one of which can only communicate with the others across the canvas where they evolve. Specific examples of the recombination of science, art, architecture, and urbanism are presented, under a radical perspective that rejects all forms of capitalist power, as it appears in current crisis. Table of Contents Introduction Biological, anthropological, and social features of the creative process Numerology vs. exploratory data analysis Writing under constraints Unmanned paintings Science, art, architecture, and urbanism Contemporary political/sanitary issues Conclusions","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123141470","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This is a proposal for an exhibition of an artistic work to be assembled in this edition of ARTECH (2021). The work is called “Lux Cortina”. It is an interactive sculpture. Some considerations are made about the technologies and materials used in the production of sculptures and installations by this author. They are notes of methods to printing in 3D, with a minimum of commitment to the environment. Also is demonstrating the difficulties of moving away from the use products critical for the nature, when is used computer technologies. However, some options for reducing the impact for the environment are presented. The focus is printing with PLA thermoplastic (Polylactic Acid), which is made from plants, is biodegradable and fully recyclable, being in the category of bioplastics. The second focus is the use of materials that have a certain scale of friendliness, in certain contexts, such as silicon. To contextualize, is pointed out some uses those artists are making of 3D printing technologies, trying to indicate potentialities that collaboration between artists, architects and engineers can have, in terms of social, ecological, and global benefits for humanity, both for life on earth, as well as on other planets, like Mars.
{"title":"Printing Art with plastic from plants: Printing Art with plastic from plants","authors":"Rosangella Leote","doi":"10.1145/3483529.3483772","DOIUrl":"https://doi.org/10.1145/3483529.3483772","url":null,"abstract":"This is a proposal for an exhibition of an artistic work to be assembled in this edition of ARTECH (2021). The work is called “Lux Cortina”. It is an interactive sculpture. Some considerations are made about the technologies and materials used in the production of sculptures and installations by this author. They are notes of methods to printing in 3D, with a minimum of commitment to the environment. Also is demonstrating the difficulties of moving away from the use products critical for the nature, when is used computer technologies. However, some options for reducing the impact for the environment are presented. The focus is printing with PLA thermoplastic (Polylactic Acid), which is made from plants, is biodegradable and fully recyclable, being in the category of bioplastics. The second focus is the use of materials that have a certain scale of friendliness, in certain contexts, such as silicon. To contextualize, is pointed out some uses those artists are making of 3D printing technologies, trying to indicate potentialities that collaboration between artists, architects and engineers can have, in terms of social, ecological, and global benefits for humanity, both for life on earth, as well as on other planets, like Mars.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122388187","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper proposes itself to investigate the sustainable environmental and energetic development and, with the aid of game design strategies, search for effective ways to communicate this knowledge. Trough game studies, the importance of the matters addressed in the text is revealed. It is investigated how the relation between the game itself and the player can generate positive actions in the real world. There is variety of titles que propose themselves to approach sustainable energetic production, education, and environmental awareness available in the market today. Trough the analysis of said products I aim to better understand success and failures elements of the pieces.
{"title":"Videogames as a tool for energetic and environmental awareness: state of the art and possible strategies","authors":"Daniel Prieto, Sérgio Nesteriuk","doi":"10.1145/3483529.3483657","DOIUrl":"https://doi.org/10.1145/3483529.3483657","url":null,"abstract":"This paper proposes itself to investigate the sustainable environmental and energetic development and, with the aid of game design strategies, search for effective ways to communicate this knowledge. Trough game studies, the importance of the matters addressed in the text is revealed. It is investigated how the relation between the game itself and the player can generate positive actions in the real world. There is variety of titles que propose themselves to approach sustainable energetic production, education, and environmental awareness available in the market today. Trough the analysis of said products I aim to better understand success and failures elements of the pieces.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"24 4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122868349","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This music performance starts with an inquiring about the possibility to generate sound and music elements using commercial and military satellites, established in a process of acquirement and conversion of satellite movement data sonified in real time, merged to midi-data language. Used to control hardware and software musical instruments. It`s importance, reflects on the autonomy of the satellites as objectual performers, actants that generate sonic content in an ecology of casual movements and programmed computational music rules. The routes and trajectories are mediated elements to think about composition in a performative dynamic environmental system, manipulated in real time by the performer in direct dialog with the external technological body. The satellite as an actant suspended in the edge of the human perceptive border that articulate a direct relation with the planet Earth as a place with external telematic objects. It represents the human activity in the boundaries of the universe limits. This performance starts with the production of hardware and software that captures the movement of public and military satellites. In technical collaboration and partnership with Christopher Zlaket (1992) from the Arizona State University who specializes in interface design and David Stingley (1993) of MIT who specializes in computer science. The sonic qualities are dependent of improvisational approaches developed in real time, pointing to aesthetic elements about dynamics, granulation, noise, and drone. Pointing to post-digital and micro sound aesthetics traditions and proposing ruptures.
{"title":"Orbital Eccentricity. Sound performance, using commercial and military satellites with real time tracking data","authors":"H. Paquete, Paulo Bernardino Bastos, A. Marcos","doi":"10.1145/3483529.3483748","DOIUrl":"https://doi.org/10.1145/3483529.3483748","url":null,"abstract":"This music performance starts with an inquiring about the possibility to generate sound and music elements using commercial and military satellites, established in a process of acquirement and conversion of satellite movement data sonified in real time, merged to midi-data language. Used to control hardware and software musical instruments. It`s importance, reflects on the autonomy of the satellites as objectual performers, actants that generate sonic content in an ecology of casual movements and programmed computational music rules. The routes and trajectories are mediated elements to think about composition in a performative dynamic environmental system, manipulated in real time by the performer in direct dialog with the external technological body. The satellite as an actant suspended in the edge of the human perceptive border that articulate a direct relation with the planet Earth as a place with external telematic objects. It represents the human activity in the boundaries of the universe limits. This performance starts with the production of hardware and software that captures the movement of public and military satellites. In technical collaboration and partnership with Christopher Zlaket (1992) from the Arizona State University who specializes in interface design and David Stingley (1993) of MIT who specializes in computer science. The sonic qualities are dependent of improvisational approaches developed in real time, pointing to aesthetic elements about dynamics, granulation, noise, and drone. Pointing to post-digital and micro sound aesthetics traditions and proposing ruptures.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"35 6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116527271","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
"Unreachable" is an artwork that explores the feelings caused by the absence of human closeness and social gathering, and the forced distancing imposed by the spread of the highly contagious virus COVID-19. Digital technologies allowed the continuity of some activities adapted to this new reality. Nevertheless, although we can see and hear through them, they do not fulfill the human need for touch nor replace the sensations of being physically close to other people and of live cultural and leisure moments. Through the display of images and videos that avoid the participants when they cross the minimum safety distance, this artwork addresses the feelings of the impossibility of physically reaching something important and meaningful through digital devices, even though these may simulate a sense of closeness.
{"title":"Unreachable: The physical impossibility of digital displays","authors":"Bruna Sousa, Nuno Coelho, Penousal Machado","doi":"10.1145/3483529.3483759","DOIUrl":"https://doi.org/10.1145/3483529.3483759","url":null,"abstract":"\"Unreachable\" is an artwork that explores the feelings caused by the absence of human closeness and social gathering, and the forced distancing imposed by the spread of the highly contagious virus COVID-19. Digital technologies allowed the continuity of some activities adapted to this new reality. Nevertheless, although we can see and hear through them, they do not fulfill the human need for touch nor replace the sensations of being physically close to other people and of live cultural and leisure moments. Through the display of images and videos that avoid the participants when they cross the minimum safety distance, this artwork addresses the feelings of the impossibility of physically reaching something important and meaningful through digital devices, even though these may simulate a sense of closeness.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"516 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133304724","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The brief article contemplates the conceptualization, conception and execution of the computer art project entitled “Make me up!”, a proposal for a self-expression experience of the digital genre make that unites facial recognition technology, urban art and activism, fashion as an expression of identity, performativity and (eco) feminism. Through the idea of the all-screen and the transmedia language, the SPARK AR application is used for modeling digital masks, based on graffiti images and paste up up by artivists feminists from Brazil, Portugal and Italy. Through the experience of creating the artifact based on a research project in artistic practice and digital culture, it is intended to contribute to the discussion on the convergence relations between aesthetics, digital technology, augmented reality and urban art in dialogue with the instagranism culture in a post-digital and post-pandemic context. The realization of the Make me up! is a proposal for collaboration by the authors and is limited to the objective of number five of the UN 2030 Agenda, to promote gender equity in the world, and in particular, to the indicator that aims to amplify the use of basic technologies, information and communication to promote women's empowerment.
这篇简短的文章思考了计算机艺术项目“Make me up!”的构思、构思和执行。，这是一个关于数字类型的自我表达体验的提议，它将面部识别技术、城市艺术和行动主义、作为身份表达的时尚、表演和(生态)女权主义结合起来。通过全屏和跨媒体语言的理念，SPARK AR应用程序基于巴西、葡萄牙和意大利的艺术家女权主义者的涂鸦图像和粘贴，用于建模数字面具。通过基于艺术实践和数字文化研究项目的创作经验，旨在与后数字和后流行病背景下的instagranism文化对话，探讨美学、数字技术、增强现实和城市艺术之间的融合关系。实现了《Make me up!》是由作者提出的合作建议，仅限于联合国2030年议程的第五个目标，即促进世界性别平等，特别是旨在扩大使用基本技术、信息和通信以促进妇女赋权的指标。
{"title":"Make me up!: Uma proposta de artefacto digital performativo em tempos de ressignificação da arte urbana pós-pandemia","authors":"Juliana Wexel, Selma Pereira","doi":"10.1145/3483529.3483767","DOIUrl":"https://doi.org/10.1145/3483529.3483767","url":null,"abstract":"The brief article contemplates the conceptualization, conception and execution of the computer art project entitled “Make me up!”, a proposal for a self-expression experience of the digital genre make that unites facial recognition technology, urban art and activism, fashion as an expression of identity, performativity and (eco) feminism. Through the idea of the all-screen and the transmedia language, the SPARK AR application is used for modeling digital masks, based on graffiti images and paste up up by artivists feminists from Brazil, Portugal and Italy. Through the experience of creating the artifact based on a research project in artistic practice and digital culture, it is intended to contribute to the discussion on the convergence relations between aesthetics, digital technology, augmented reality and urban art in dialogue with the instagranism culture in a post-digital and post-pandemic context. The realization of the Make me up! is a proposal for collaboration by the authors and is limited to the objective of number five of the UN 2030 Agenda, to promote gender equity in the world, and in particular, to the indicator that aims to amplify the use of basic technologies, information and communication to promote women's empowerment.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114257245","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Clément Caporal, Cecília de Lima, Michele Luceac, Rui Filipe Antunes
This demo combines performance, virtual reality, swarm simulation and genetic algorithms. The dance performers are in presence and move within swarms of virtual geometric shapes. They perform in a virtual reality environment populated by a swarm of pyramid-shaped elements that behave in the same way as a flock of birds, a school of fish or a swarm of insects. Developed as a collaboration with dancers, choreographers and computer scientists, the software developed creates new possibilities of expression by generating a non-static swarm movement that is simultaneously independent and influenced by the dancer. Performances can be recorded or watched live via virtual cameras on stage. The software tool can be configured through two interfaces: in VR and on the desktop, additionally it allows viewers to explore a dance scene using configurable virtual cameras.
{"title":"Boidance","authors":"Clément Caporal, Cecília de Lima, Michele Luceac, Rui Filipe Antunes","doi":"10.1145/3483529.3483736","DOIUrl":"https://doi.org/10.1145/3483529.3483736","url":null,"abstract":"This demo combines performance, virtual reality, swarm simulation and genetic algorithms. The dance performers are in presence and move within swarms of virtual geometric shapes. They perform in a virtual reality environment populated by a swarm of pyramid-shaped elements that behave in the same way as a flock of birds, a school of fish or a swarm of insects. Developed as a collaboration with dancers, choreographers and computer scientists, the software developed creates new possibilities of expression by generating a non-static swarm movement that is simultaneously independent and influenced by the dancer. Performances can be recorded or watched live via virtual cameras on stage. The software tool can be configured through two interfaces: in VR and on the desktop, additionally it allows viewers to explore a dance scene using configurable virtual cameras.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114486912","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Eman Al-Zubeidi, J. Seo, Julia DeLaney, Dominic Nguyen, Jonathan Konderla, Jaime Díaz
A Walk Alone is a virtual reality experience that simulates what it feels like to walk alone at night as a woman. The concept is inspired by recent events regarding the kidnapping and murder of Sarah Everard, a 33-year-old woman who went missing during her walk home from her friend's apartment in South London. It is one thing to discuss this universal issue and highlight the precautions women take when walking alone, but it is another thing to experience it. A Walk Alone focuses on displaying the vulnerability of the user by triggering multiple senses in the virtual reality environment. The experience is centered around a linear story involving (1) one night-city environment, (2) the user in first person point-of-view, (3) eerie sound design, and (4) dim street lighting.
“独自行走”是一种虚拟现实体验，它模拟了女性在夜间独自行走的感觉。这个概念的灵感来自于最近发生的关于Sarah Everard被绑架和谋杀的事件，这名33岁的女子在从伦敦南部朋友家回家的路上失踪了。讨论这个普遍的问题并强调女性在独自行走时采取的预防措施是一回事，但体验它是另一回事。A Walk Alone侧重于在虚拟现实环境中通过触发多种感官来展示用户的脆弱性。游戏体验围绕线性故事展开，包括(1)夜城环境，(2)用户第一人称视角，(3)怪异的音效设计，(4)昏暗的街灯。
{"title":"A Walk Alone: A Virtual Reality Simulation about the Dangers Women Face When Walking Alone at Night","authors":"Eman Al-Zubeidi, J. Seo, Julia DeLaney, Dominic Nguyen, Jonathan Konderla, Jaime Díaz","doi":"10.1145/3483529.3483733","DOIUrl":"https://doi.org/10.1145/3483529.3483733","url":null,"abstract":"A Walk Alone is a virtual reality experience that simulates what it feels like to walk alone at night as a woman. The concept is inspired by recent events regarding the kidnapping and murder of Sarah Everard, a 33-year-old woman who went missing during her walk home from her friend's apartment in South London. It is one thing to discuss this universal issue and highlight the precautions women take when walking alone, but it is another thing to experience it. A Walk Alone focuses on displaying the vulnerability of the user by triggering multiple senses in the virtual reality environment. The experience is centered around a linear story involving (1) one night-city environment, (2) the user in first person point-of-view, (3) eerie sound design, and (4) dim street lighting.","PeriodicalId":442152,"journal":{"name":"10th International Conference on Digital and Interactive Arts","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115868792","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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