INTER/her is an immersive installation and virtual reality artwork highlighting (post)reproductive diseases that women over 30 frequently experience, including endometriosis, fibroids, polyps, ovarian and other cysts and growths, as well as the more serious cervical, ovarian, uterine and endometrial cancers. The artwork presents an abstract, intimate immersive journey within the inner world of women’s bodies, exposing the diseases they can suffer. INTER/her is intended as a personal exploration, conversation starter and community builder. This article discusses the development experience, exhibition and discoveries from INTER/her since its inception to the present. It explores the nature, staging and significance of the piece and what is implicated for future work in this area for art, design and research. It reveals the design process, visual and narrative elements made to represent, convey and understand the emotional and bodily/sensorial experience intended for visitors, as well as the visual metaphors representing the different organs and ailments. It covers the collaborative approach of the design team, using various technologies and the storytelling techniques used in the work during the lockdowns of the COVID-19 pandemic, from autumn 2020 to May 2021.
{"title":"INTER/her: An immersive journey inside the female body – Experience reflections","authors":"Camille C. Baker","doi":"10.1386/vcr_00067_1","DOIUrl":"https://doi.org/10.1386/vcr_00067_1","url":null,"abstract":"\u0000 INTER/her is an immersive installation and virtual reality artwork highlighting (post)reproductive diseases that women over 30 frequently experience, including endometriosis, fibroids, polyps, ovarian and other cysts and growths, as well as the more serious cervical, ovarian, uterine and endometrial cancers. The artwork presents an abstract, intimate immersive journey within the inner world of women’s bodies, exposing the diseases they can suffer. INTER/her is intended as a personal exploration, conversation starter and community builder. This article discusses the development experience, exhibition and discoveries from INTER/her since its inception to the present. It explores the nature, staging and significance of the piece and what is implicated for future work in this area for art, design and research. It reveals the design process, visual and narrative elements made to represent, convey and understand the emotional and bodily/sensorial experience intended for visitors, as well as the visual metaphors representing the different organs and ailments. It covers the collaborative approach of the design team, using various technologies and the storytelling techniques used in the work during the lockdowns of the COVID-19 pandemic, from autumn 2020 to May 2021.","PeriodicalId":52193,"journal":{"name":"Virtual Creativity","volume":"3 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84218515","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 subreddit r/FutureCompasses is an online community where users play with the notion of a computationality engineered futurity. Future compasses are intricate 4 × 4 grids that imagine different futures. Each grid offers sixteen different futuristic scenarios thematically structured around concepts such as ecology or technology. These compasses combine computationality with experimental aesthetics through play. As per Roger Callois, play here crucially involves the creation of a new universal reality The authors of these compasses participate in the making of new social reality by applying a computational lens to the future and offering speculative scenarios about what the future could be. However, these scenarios do not reflect a realistic future for humanity. Instead, they subvert the idea of being able to calculate the future. Through creative play and experimental aesthetics, users who produce future compasses contrast computationality with human creativity. In this way, future compasses take their place in the artistic tradition of the New Aesthetic as defined by James Bridle. This article argues that future compasses contrast what can be technologically calculated and what should be creatively imagined.
{"title":"Beyond computationality: Radical play and aesthetics in future compasses","authors":"Lucie Chateau","doi":"10.1386/vcr_00065_1","DOIUrl":"https://doi.org/10.1386/vcr_00065_1","url":null,"abstract":"The subreddit r/FutureCompasses is an online community where users play with the notion of a computationality engineered futurity. Future compasses are intricate 4 × 4 grids that imagine different futures. Each grid offers sixteen different futuristic scenarios thematically structured around concepts such as ecology or technology. These compasses combine computationality with experimental aesthetics through play. As per Roger Callois, play here crucially involves the creation of a new universal reality The authors of these compasses participate in the making of new social reality by applying a computational lens to the future and offering speculative scenarios about what the future could be. However, these scenarios do not reflect a realistic future for humanity. Instead, they subvert the idea of being able to calculate the future. Through creative play and experimental aesthetics, users who produce future compasses contrast computationality with human creativity. In this way, future compasses take their place in the artistic tradition of the New Aesthetic as defined by James Bridle. This article argues that future compasses contrast what can be technologically calculated and what should be creatively imagined.","PeriodicalId":52193,"journal":{"name":"Virtual Creativity","volume":"12 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76677381","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}
Drawing on in-depth interviews, as well as digital and real-life participant observation, this article deals with the question of why many people are eager to embody something evil in the context of staged, digital photography – that is, to depict evil creatures and/or evil deeds. After looking at the general fascination for the evil and the way it is staged, the moment of embodiment is considered, a process of specific importance in times of digitalization: during the embodiment, the model can try out the evil quasi as a test without consequence and is able to physically express negative or socially undesired feelings such as not fitting in, disgust or anger and feel empowered while doing so. Furthermore, the resulting photographs offer the possibility to shape and form the evil and thus, to subject it to art, to aestheticize it and to make it presentable and manageable.
{"title":"I’m bad: The fascination of embodying the evil in a virtual world","authors":"M. Jerrentrup","doi":"10.1386/vcr_00066_1","DOIUrl":"https://doi.org/10.1386/vcr_00066_1","url":null,"abstract":"Drawing on in-depth interviews, as well as digital and real-life participant observation, this article deals with the question of why many people are eager to embody something evil in the context of staged, digital photography – that is, to depict evil creatures and/or evil deeds. After looking at the general fascination for the evil and the way it is staged, the moment of embodiment is considered, a process of specific importance in times of digitalization: during the embodiment, the model can try out the evil quasi as a test without consequence and is able to physically express negative or socially undesired feelings such as not fitting in, disgust or anger and feel empowered while doing so. Furthermore, the resulting photographs offer the possibility to shape and form the evil and thus, to subject it to art, to aestheticize it and to make it presentable and manageable.","PeriodicalId":52193,"journal":{"name":"Virtual Creativity","volume":"11 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87549510","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}
Noah Miller, John Desnoyers-Stewart, Ekaterina R. Stepanova, Alexandra Kitson, Jim Bizzocchi, B. Riecke
Self-transcendent experiences are often an integral component of ancient cultural practices that use psychedelic substances during spiritual ceremonies, such as ayahuasca ceremonies. Yet, ayahuasca contains dimethyltryptamine (DMT), which is illegal in many countries. Due to its illegality, ayahuasca experiences are scarce despite potential benefits of increased quality of life and reduced psychopathology. Virtual reality (VR) can provide a safe and legal glimpse of psychedelic experiences, such as an ayahuasca ceremony. These experiences may in turn evoke self-transcendent emotions without hallucinogenic substances, extending the power of art and technology to stimulate self-transcendence. To explore the potential, limits and experiential qualities that immersive experience design can afford for cyberdelic experiences, we conducted an autoethnographic close reading analysis of Atlas V’s Ayahuasca Kosmik Journey. Autoethnography allowed us to study complex and personal experiences while close reading connected those experiences to the design of the artefact. This allowed us to gain insights into the connections between design and experience and critically analyse the experience. The resulting reflection unveiled prominent psychological lenses in our subjective experience, including agency, embodiment, discomfort and self-transcendent emotions. Our analysis explicates the paramount role of spatiality, the sensorium and theme with embodied interaction for the self-transcendent effects of vastness, the role of contrast in narrative transitions and how meaning is rooted in previous experiences. Our analysis unveils the potential and the limitations of immersive technology to emulate self-transcendent experiences through extending our senses and transcending the self.
{"title":"Sipping the virtual elixir: An autoethnographic close reading of Ayahuasca Kosmik Journey, a self-transcendent virtual experience","authors":"Noah Miller, John Desnoyers-Stewart, Ekaterina R. Stepanova, Alexandra Kitson, Jim Bizzocchi, B. Riecke","doi":"10.1386/vcr_00059_1","DOIUrl":"https://doi.org/10.1386/vcr_00059_1","url":null,"abstract":"Self-transcendent experiences are often an integral component of ancient cultural practices that use psychedelic substances during spiritual ceremonies, such as ayahuasca ceremonies. Yet, ayahuasca contains dimethyltryptamine (DMT), which is illegal in many countries. Due to its illegality, ayahuasca experiences are scarce despite potential benefits of increased quality of life and reduced psychopathology. Virtual reality (VR) can provide a safe and legal glimpse of psychedelic experiences, such as an ayahuasca ceremony. These experiences may in turn evoke self-transcendent emotions without hallucinogenic substances, extending the power of art and technology to stimulate self-transcendence. To explore the potential, limits and experiential qualities that immersive experience design can afford for cyberdelic experiences, we conducted an autoethnographic close reading analysis of Atlas V’s Ayahuasca Kosmik Journey. Autoethnography allowed us to study complex and personal experiences while close reading connected those experiences to the design of the artefact. This allowed us to gain insights into the connections between design and experience and critically analyse the experience. The resulting reflection unveiled prominent psychological lenses in our subjective experience, including agency, embodiment, discomfort and self-transcendent emotions. Our analysis explicates the paramount role of spatiality, the sensorium and theme with embodied interaction for the self-transcendent effects of vastness, the role of contrast in narrative transitions and how meaning is rooted in previous experiences. Our analysis unveils the potential and the limitations of immersive technology to emulate self-transcendent experiences through extending our senses and transcending the self.","PeriodicalId":52193,"journal":{"name":"Virtual Creativity","volume":"22 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82152055","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 Special Issue is a series of articles generated from the Extended Senses Symposium 2022, held at University of Greenwich, 8–9 September 2022, including an exhibition (8–10 September in the Stephen Lawrence Gallery). The main theme of the symposium was to explore ways to extend and expand the body through new and emerging modalities and technologies. Focusing primarily on the body as a site of knowledge production within this field, it highlighted immersion, haptic engagement and evolving body led interfaces to understand and enable the bridge between the analogue and the digital realms. Participants were encouraged to present socially responsible work engaged with issues such as: the climate crisis and environmental sustainability, data ethics, personal data ownership, surveillance and privacy, women’s health and equality and other urgent issues that affect the body. Talks and artwork traversed between the physical and the virtual, including but not limited to, electronic or smart textiles, research exploring multimodal interfaces and human–technology interaction, dance, theatre, music and other performance modes, as well all work that engages with technology to translate different embodied senses and experiential sensations.
{"title":"‘Extended Senses: Embodying Technology’","authors":"G. Boddington, Camille C. Baker","doi":"10.1386/vcr_00057_2","DOIUrl":"https://doi.org/10.1386/vcr_00057_2","url":null,"abstract":"This Special Issue is a series of articles generated from the Extended Senses Symposium 2022, held at University of Greenwich, 8–9 September 2022, including an exhibition (8–10 September in the Stephen Lawrence Gallery). The main theme of the symposium was to explore ways to extend and expand the body through new and emerging modalities and technologies. Focusing primarily on the body as a site of knowledge production within this field, it highlighted immersion, haptic engagement and evolving body led interfaces to understand and enable the bridge between the analogue and the digital realms. Participants were encouraged to present socially responsible work engaged with issues such as: the climate crisis and environmental sustainability, data ethics, personal data ownership, surveillance and privacy, women’s health and equality and other urgent issues that affect the body. Talks and artwork traversed between the physical and the virtual, including but not limited to, electronic or smart textiles, research exploring multimodal interfaces and human–technology interaction, dance, theatre, music and other performance modes, as well all work that engages with technology to translate different embodied senses and experiential sensations.","PeriodicalId":52193,"journal":{"name":"Virtual Creativity","volume":"10 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87567132","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 article considers dance performances that utilize immersive technologies, in particular those that result in comparatively different experiences for the performer and the audience. The article proposes that with the incorporation of technology, creators and audiences may become so engrossed by the effects of technology and what can be achieved that we perhaps overlook what is omitted when technology takes centre stage. By analysing three aspects of technology-mediated dance performances, this article highlights how technology alters and extrapolates the dance experience for performers and audiences. The differing experiences of performer and audience, the dancer’s perception of their environment and the audience’s immersion are in some ways enhanced, but also arguably hindered, by the mediation of technology. The article aims to provoke questions about technology-mediated performances and proposes more theoretical discussions on the communication of dance through technology.
{"title":"Performer/audience experience, performer perception and audience immersion","authors":"Emily Kirwan","doi":"10.1386/vcr_00060_1","DOIUrl":"https://doi.org/10.1386/vcr_00060_1","url":null,"abstract":"This article considers dance performances that utilize immersive technologies, in particular those that result in comparatively different experiences for the performer and the audience. The article proposes that with the incorporation of technology, creators and audiences may become so engrossed by the effects of technology and what can be achieved that we perhaps overlook what is omitted when technology takes centre stage. By analysing three aspects of technology-mediated dance performances, this article highlights how technology alters and extrapolates the dance experience for performers and audiences. The differing experiences of performer and audience, the dancer’s perception of their environment and the audience’s immersion are in some ways enhanced, but also arguably hindered, by the mediation of technology. The article aims to provoke questions about technology-mediated performances and proposes more theoretical discussions on the communication of dance through technology.","PeriodicalId":52193,"journal":{"name":"Virtual Creativity","volume":"5 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78687460","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 article explores how communication and interaction design were used in the augmented reality experience, Donate Yourself. It aims to demystify some of the ethical and personal concerns around the donation of organs, tissue and body data for scientific and medical research. The research finds different modes of provoking thought around a central question: can augmented reality be used to open debates on who has access to our biological and digital traces beyond death? Taking into account how COVID-19 has made the public deeply reconsider their biological and data bodies, the paper documents and contextualizes the making of Donate Yourself, which was created in collaboration with interactive design collective body>data>space and scientists from the Human Cell Atlas project (HCA). In doing so, it explores the contested histories of human tissue in research and contemporizes these relations by looking at the way HCA members use and care for human tissue and data in their work. A range of methods that were used to capture diverse public attitudes and ethical concerns about donation using participatory approaches included: the co-creation of design probes with HCA scientists, online workshops, qualitative interviews, a documentation zine and public maker jam. These methodological lenses, and the data they produce, were used to construct a non-linear narrative and digital bricolage that is experienced as a hybrid public walking tour. Five themes were generated for the augmented reality experiences: care, trust, immortal, consent, future. This triangulation of science, technology and the arts was materialized in a webAR walking trail that ran during November 2021, which was accessed by the public via QR codes as part of the larger One Cell At A Time online exhibition, funded by the Wellcome Trust.
本文探讨了如何在增强现实体验中使用沟通和交互设计。它旨在揭开有关为科学和医学研究捐赠器官、组织和身体数据的一些伦理和个人问题的神秘面纱。这项研究发现，围绕一个核心问题，人们可以用不同的方式引发人们的思考:增强现实能否被用来展开辩论，讨论谁能在死后获得我们的生物和数字痕迹?考虑到COVID-19如何使公众深刻地重新考虑他们的生物和数据体，本文记录并介绍了“捐赠自己”的制作过程，该项目是与互动设计集体>数据>空间和人类细胞图谱项目(HCA)的科学家合作创建的。在此过程中，它探索了人类组织研究中有争议的历史，并通过观察HCA成员在工作中使用和照顾人体组织和数据的方式，将这些关系当代化。使用参与式方法捕捉公众对捐赠的不同态度和道德关切的一系列方法包括:与HCA科学家共同创建设计探针，在线研讨会，定性访谈，文档杂志和公众制造者jam。这些方法论镜头，以及它们产生的数据，被用来构建一个非线性叙事和数字拼凑，作为混合公共徒步旅行的体验。增强现实体验产生了五个主题:关怀、信任、不朽、同意、未来。这种科学、技术和艺术的三角关系在2021年11月运行的webAR步行道中得以实现，公众可以通过QR码访问该步行道，这是由Wellcome Trust资助的更大的One Cell At a Time在线展览的一部分。
{"title":"Donate Yourself: An AR trail exploring the future of organ, tissue and body data donation","authors":"Stacey Pitsillides, G. Boddington, Tadej VindiŠ","doi":"10.1386/vcr_00064_1","DOIUrl":"https://doi.org/10.1386/vcr_00064_1","url":null,"abstract":"This article explores how communication and interaction design were used in the augmented reality experience, Donate Yourself. It aims to demystify some of the ethical and personal concerns around the donation of organs, tissue and body data for scientific and medical research. The research finds different modes of provoking thought around a central question: can augmented reality be used to open debates on who has access to our biological and digital traces beyond death? Taking into account how COVID-19 has made the public deeply reconsider their biological and data bodies, the paper documents and contextualizes the making of Donate Yourself, which was created in collaboration with interactive design collective body>data>space and scientists from the Human Cell Atlas project (HCA). In doing so, it explores the contested histories of human tissue in research and contemporizes these relations by looking at the way HCA members use and care for human tissue and data in their work. A range of methods that were used to capture diverse public attitudes and ethical concerns about donation using participatory approaches included: the co-creation of design probes with HCA scientists, online workshops, qualitative interviews, a documentation zine and public maker jam. These methodological lenses, and the data they produce, were used to construct a non-linear narrative and digital bricolage that is experienced as a hybrid public walking tour. Five themes were generated for the augmented reality experiences: care, trust, immortal, consent, future. This triangulation of science, technology and the arts was materialized in a webAR walking trail that ran during November 2021, which was accessed by the public via QR codes as part of the larger One Cell At A Time online exhibition, funded by the Wellcome Trust.","PeriodicalId":52193,"journal":{"name":"Virtual Creativity","volume":"127 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88150072","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 article gathers and analyses research on biosensing user-interface design strategies and empirical research approaches in human-computer interaction (HCI). Placing human experience at the core of the primary investigation, this research article will explore Soma Design strategies developed by researcher and computer scientist Kristina Höök and comparable approaches in human computer mediations. In addition, this article investigates the peculiarities of creating a container and expressive model for architectonic media based on WorldMaker Universe (WMU) schematic, a software framework for the development of computational artworks, created by scholar and artist Mark-David Hosale and explores works and research that intersect the art and science domains. This research document also offers a unique angle on the creative and technical processes of creating a bio-art installation and virtual sculpture called Somatic Interventions, developed as a group assignment for the Vertical Studio Lab course taught by Professor Mark-David Hosale at York University, Toronto, Canada. It will critically examine and question the sculpture design’s architectural choices and evaluate the biosignal feedback system that connects human participants to internally built artificial chemistry and multiple layers of unique state machines.
{"title":"When hearts speak","authors":"Ilze Briede","doi":"10.1386/vcr_00063_1","DOIUrl":"https://doi.org/10.1386/vcr_00063_1","url":null,"abstract":"This article gathers and analyses research on biosensing user-interface design strategies and empirical research approaches in human-computer interaction (HCI). Placing human experience at the core of the primary investigation, this research article will explore Soma Design strategies developed by researcher and computer scientist Kristina Höök and comparable approaches in human computer mediations. In addition, this article investigates the peculiarities of creating a container and expressive model for architectonic media based on WorldMaker Universe (WMU) schematic, a software framework for the development of computational artworks, created by scholar and artist Mark-David Hosale and explores works and research that intersect the art and science domains. This research document also offers a unique angle on the creative and technical processes of creating a bio-art installation and virtual sculpture called Somatic Interventions, developed as a group assignment for the Vertical Studio Lab course taught by Professor Mark-David Hosale at York University, Toronto, Canada. It will critically examine and question the sculpture design’s architectural choices and evaluate the biosignal feedback system that connects human participants to internally built artificial chemistry and multiple layers of unique state machines.","PeriodicalId":52193,"journal":{"name":"Virtual Creativity","volume":"43 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78498926","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：