Pub Date : 2020-06-23DOI: 10.1080/14626268.2020.1781195
E. Edmonds
ABSTRACT The paper reviews abstract films and the notions of time that occur in them, contrasting them with the use of time in digital art. Developments by the author in making various generative digital abstract, or concrete, works are described and compared to film. The generation of the time element of the works described is integral with the generation of images. It is shown how different approaches to dealing with time in the digital context have emerged. In particular, an integrated constructivist approach has built from concepts in abstract film to go beyond cinema in a way that makes significant use of digital media. It has been possible to develop these works into interactive pieces by using artificial intelligent methods in various ways. True to the spirit of the early work described, these interactive works are also concrete rather than virtual. The art uses artificial intelligence to make real realities.
{"title":"A journey from abstract film to concrete interaction","authors":"E. Edmonds","doi":"10.1080/14626268.2020.1781195","DOIUrl":"https://doi.org/10.1080/14626268.2020.1781195","url":null,"abstract":"ABSTRACT The paper reviews abstract films and the notions of time that occur in them, contrasting them with the use of time in digital art. Developments by the author in making various generative digital abstract, or concrete, works are described and compared to film. The generation of the time element of the works described is integral with the generation of images. It is shown how different approaches to dealing with time in the digital context have emerged. In particular, an integrated constructivist approach has built from concepts in abstract film to go beyond cinema in a way that makes significant use of digital media. It has been possible to develop these works into interactive pieces by using artificial intelligent methods in various ways. True to the spirit of the early work described, these interactive works are also concrete rather than virtual. The art uses artificial intelligence to make real realities.","PeriodicalId":54180,"journal":{"name":"DIGITAL CREATIVITY","volume":"31 1","pages":"147 - 155"},"PeriodicalIF":1.1,"publicationDate":"2020-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14626268.2020.1781195","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46658182","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-22DOI: 10.1080/14626268.2020.1782944
B. Costello
ABSTRACT Interviews with three dancers and three percussionists about performing, perceiving and composing rhythms are used to develop insights into ways that interaction designers might understand and shape the rhythmic experiences of their users. These insights coalesce around three themes: feeling your way into a rhythm, performing rhythms and the dance of synchrony. The article argues that a user’s experience of the rhythms within a design will play a significant role in its affective impact.
{"title":"Moving in rhythms: what dancers and drummers can teach us about designing digital interactions","authors":"B. Costello","doi":"10.1080/14626268.2020.1782944","DOIUrl":"https://doi.org/10.1080/14626268.2020.1782944","url":null,"abstract":"ABSTRACT Interviews with three dancers and three percussionists about performing, perceiving and composing rhythms are used to develop insights into ways that interaction designers might understand and shape the rhythmic experiences of their users. These insights coalesce around three themes: feeling your way into a rhythm, performing rhythms and the dance of synchrony. The article argues that a user’s experience of the rhythms within a design will play a significant role in its affective impact.","PeriodicalId":54180,"journal":{"name":"DIGITAL CREATIVITY","volume":"31 1","pages":"181 - 191"},"PeriodicalIF":1.1,"publicationDate":"2020-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14626268.2020.1782944","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48486675","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-19DOI: 10.1080/14626268.2020.1778730
Yanai Toister
ABSTRACT The term generative art is mostly reserved for practices in which artists construct systems containing various degrees of autonomy. This is designed to generate results that would otherwise be unlikely. In contrast, photography is understood as a situation wherein an agent, the photographer, uses a pre-existing system constructed by other agents with the sole purpose of yielding results that must always be predictable. One strand of photography wherein such conceptions of the medium prove inadequate is generative photography. This unique exploration is characterized by three qualities: (1) Extensive use of self-constructed apparatuses for harnessing technologies explicitly dedicated to the creation of photographs; (2) Uncompromising insistence the seriality principle in producing photographs; and (3) The integration of chance or randomicity as an important creative factor. This paper traces the history of generative photography from its origins in the near-forgotten philosophical movement of information aesthetics. It argues that generative photographs elucidate a concept of artistic constructivism onto which may be grafted the numerical programming of apparative art systems. Thus, generative photography, with its precision of production and concise visual expression, can be understood as the final phase of photography, or, through Max Bense’s concept of ‘programming the beautiful’, as a precursor of generative computer art.
{"title":"Programming the beautiful","authors":"Yanai Toister","doi":"10.1080/14626268.2020.1778730","DOIUrl":"https://doi.org/10.1080/14626268.2020.1778730","url":null,"abstract":"ABSTRACT The term generative art is mostly reserved for practices in which artists construct systems containing various degrees of autonomy. This is designed to generate results that would otherwise be unlikely. In contrast, photography is understood as a situation wherein an agent, the photographer, uses a pre-existing system constructed by other agents with the sole purpose of yielding results that must always be predictable. One strand of photography wherein such conceptions of the medium prove inadequate is generative photography. This unique exploration is characterized by three qualities: (1) Extensive use of self-constructed apparatuses for harnessing technologies explicitly dedicated to the creation of photographs; (2) Uncompromising insistence the seriality principle in producing photographs; and (3) The integration of chance or randomicity as an important creative factor. This paper traces the history of generative photography from its origins in the near-forgotten philosophical movement of information aesthetics. It argues that generative photographs elucidate a concept of artistic constructivism onto which may be grafted the numerical programming of apparative art systems. Thus, generative photography, with its precision of production and concise visual expression, can be understood as the final phase of photography, or, through Max Bense’s concept of ‘programming the beautiful’, as a precursor of generative computer art.","PeriodicalId":54180,"journal":{"name":"DIGITAL CREATIVITY","volume":"31 1","pages":"223 - 233"},"PeriodicalIF":1.1,"publicationDate":"2020-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14626268.2020.1778730","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49445691","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-19DOI: 10.1080/14626268.2020.1778729
Saulius Keturakis
ABSTRACT The paper focuses on the concept of technical word or technical text having similar meaning to the concept of technical image defined by the Czech media theorist Vilém Flusser, who described the change in visual media from traditional to mechanical, digital or technology dependent. To justify the possibility of a similar term in linguistic arts, the ideas about the involvement of various technical devices in (literary) writing are discussed. The paper begins with Ada Byron’s insights that meaning can be calculated. In addition, speed is discussed as a determinant of the characteristics of writing influenced by the mechanical algorithm-based typewriter along with a possibility to manipulate, which relates to writing on a computer. Finally, the paper presents the most recent version of technical literary words telling how natural languages are rejected as the main medium and programming languages are used as the sign systems.
{"title":"Literary writing as a technological function: from Ada Byron’s calculation as writing to writing in programming languages","authors":"Saulius Keturakis","doi":"10.1080/14626268.2020.1778729","DOIUrl":"https://doi.org/10.1080/14626268.2020.1778729","url":null,"abstract":"ABSTRACT The paper focuses on the concept of technical word or technical text having similar meaning to the concept of technical image defined by the Czech media theorist Vilém Flusser, who described the change in visual media from traditional to mechanical, digital or technology dependent. To justify the possibility of a similar term in linguistic arts, the ideas about the involvement of various technical devices in (literary) writing are discussed. The paper begins with Ada Byron’s insights that meaning can be calculated. In addition, speed is discussed as a determinant of the characteristics of writing influenced by the mechanical algorithm-based typewriter along with a possibility to manipulate, which relates to writing on a computer. Finally, the paper presents the most recent version of technical literary words telling how natural languages are rejected as the main medium and programming languages are used as the sign systems.","PeriodicalId":54180,"journal":{"name":"DIGITAL CREATIVITY","volume":"31 1","pages":"192 - 199"},"PeriodicalIF":1.1,"publicationDate":"2020-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14626268.2020.1778729","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46373717","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-18DOI: 10.1080/14626268.2020.1782438
P. Veiga
The Everywhere Museum of Everything is a research and action proposal founded on the array of aestheticised online content, which can be purposefully and critically curated in order to create a mea...
{"title":"Curating the Everywhere Museum of Everything","authors":"P. Veiga","doi":"10.1080/14626268.2020.1782438","DOIUrl":"https://doi.org/10.1080/14626268.2020.1782438","url":null,"abstract":"The Everywhere Museum of Everything is a research and action proposal founded on the array of aestheticised online content, which can be purposefully and critically curated in order to create a mea...","PeriodicalId":54180,"journal":{"name":"DIGITAL CREATIVITY","volume":"31 1","pages":"171-180"},"PeriodicalIF":1.1,"publicationDate":"2020-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14626268.2020.1782438","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59798607","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-18DOI: 10.1080/14626268.2020.1779091
Camilla Jaller, Stefania Serafin
ABSTRACT Cinematic virtual reality (CVR) experiences are increasingly expanding their use of additional media outside the VR headset, including scenography, spatial sound, and live performance, to successfully transition their audience into the experience. As such, they promote a heightened interest in transition design to secure experience continuity. In this paper, the authors argue that returning to the Human–Computer Interaction (HCI) concept of trajectories provides a fruitful starting point for considering transition design in CVR installations. However, explicit explorations of transitions and their design in HCI literature are limited. This contrasts with a strong design focus ‘in the wild’ across immersive genres including performance art, theme parks, video games, and live-action roleplay. Therefore, this paper advances the trajectory framework by returning to existing case studies with a transition design focus in order to discuss two existing design strategies and to mark future directions for research in the context of CVR.
{"title":"Transitioning into states of immersion: transition design of mixed reality performances and cinematic virtual reality","authors":"Camilla Jaller, Stefania Serafin","doi":"10.1080/14626268.2020.1779091","DOIUrl":"https://doi.org/10.1080/14626268.2020.1779091","url":null,"abstract":"ABSTRACT Cinematic virtual reality (CVR) experiences are increasingly expanding their use of additional media outside the VR headset, including scenography, spatial sound, and live performance, to successfully transition their audience into the experience. As such, they promote a heightened interest in transition design to secure experience continuity. In this paper, the authors argue that returning to the Human–Computer Interaction (HCI) concept of trajectories provides a fruitful starting point for considering transition design in CVR installations. However, explicit explorations of transitions and their design in HCI literature are limited. This contrasts with a strong design focus ‘in the wild’ across immersive genres including performance art, theme parks, video games, and live-action roleplay. Therefore, this paper advances the trajectory framework by returning to existing case studies with a transition design focus in order to discuss two existing design strategies and to mark future directions for research in the context of CVR.","PeriodicalId":54180,"journal":{"name":"DIGITAL CREATIVITY","volume":"31 1","pages":"213 - 222"},"PeriodicalIF":1.1,"publicationDate":"2020-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14626268.2020.1779091","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45189115","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-04-02DOI: 10.1080/14626268.2020.1762664
Youngsil Sohn, Yoenyong Park, Long Lin, Moon-Gyo Jung
ABSTRACT ‘Eternal Recurrence’ is a large-scale installation work consisting of a 3D water curtain and projection mapping systems. A 3D water curtain, water drop generation and control program, fog screen and computer program for recognizing visitors were developed for this work. The water curtain, implemented using an array of solenoid valves, creates ephemeral sculptures in real time; the continuous evolution of shapes and images is used as a metaphor of Eternal Recurrence. We developed a method of controlling the solenoid valves that avoids problematic vertical shape distortion caused by gravity and noisy satellite water droplets around the main water drops. The motion of the falling water drops at the centre of the installation is mirrored by the motion of baby-like shapes projected on to the floor and ceiling of the space in which this work is installed. This gives the impression of a full or completed circle. Visitors enter the exhibition through a fog screen, which acts as an entrance port to this immersive experience. ‘Eternal Recurrence’ is a convergence of digital images (3D shape projections) with natural phenomena (falling water drops), which are carefully blended and controlled. As an example of systems art, the installation embodies a process in which all of the separate elements are seamlessly blended through a mechanical–electrical–computer system. The creation and experience of this harmonious system help us to reconsider our existence and networked relations in contemporary society.
{"title":"‘Eternal Recurrence’: development of a 3D water curtain system and real-time projection mapping for a large-scale systems artwork installation","authors":"Youngsil Sohn, Yoenyong Park, Long Lin, Moon-Gyo Jung","doi":"10.1080/14626268.2020.1762664","DOIUrl":"https://doi.org/10.1080/14626268.2020.1762664","url":null,"abstract":"ABSTRACT ‘Eternal Recurrence’ is a large-scale installation work consisting of a 3D water curtain and projection mapping systems. A 3D water curtain, water drop generation and control program, fog screen and computer program for recognizing visitors were developed for this work. The water curtain, implemented using an array of solenoid valves, creates ephemeral sculptures in real time; the continuous evolution of shapes and images is used as a metaphor of Eternal Recurrence. We developed a method of controlling the solenoid valves that avoids problematic vertical shape distortion caused by gravity and noisy satellite water droplets around the main water drops. The motion of the falling water drops at the centre of the installation is mirrored by the motion of baby-like shapes projected on to the floor and ceiling of the space in which this work is installed. This gives the impression of a full or completed circle. Visitors enter the exhibition through a fog screen, which acts as an entrance port to this immersive experience. ‘Eternal Recurrence’ is a convergence of digital images (3D shape projections) with natural phenomena (falling water drops), which are carefully blended and controlled. As an example of systems art, the installation embodies a process in which all of the separate elements are seamlessly blended through a mechanical–electrical–computer system. The creation and experience of this harmonious system help us to reconsider our existence and networked relations in contemporary society.","PeriodicalId":54180,"journal":{"name":"DIGITAL CREATIVITY","volume":"31 1","pages":"133 - 142"},"PeriodicalIF":1.1,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14626268.2020.1762664","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46467812","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-04-02DOI: 10.1080/14626268.2020.1767654
S. Bender, B. Sung
ABSTRACT This article presents the Data-Driven Creativity Project (DDCP) materials designed to enhance screen students’ understandings of how aesthetic choices impact the audience. The project first collected data on audience attention (eye-tracking), arousal (skin conductance level) and emotion (using facial expression). This data was then used in pedagogical materials delivered to two student cohorts in both lecture format and as an e-learning package. Self-reported survey data on the student experience indicates significant increase in Learning Interest toward the concepts of the DDCP, as well as strong ratings of the material’s Useability and Application to Knowledge. We also report on focus group discussions of the strengths and weaknesses of the DDCP. We show that the DDCP offers an innovative and novel intervention into contemporary screen creativity pedagogy, forging a valuable teaching-research nexus between the findings of the research field of cognitive media theory and their application in the field of student production.
{"title":"Data-driven creativity for screen production students: developing and testing learning materials involving audience biometrics","authors":"S. Bender, B. Sung","doi":"10.1080/14626268.2020.1767654","DOIUrl":"https://doi.org/10.1080/14626268.2020.1767654","url":null,"abstract":"ABSTRACT This article presents the Data-Driven Creativity Project (DDCP) materials designed to enhance screen students’ understandings of how aesthetic choices impact the audience. The project first collected data on audience attention (eye-tracking), arousal (skin conductance level) and emotion (using facial expression). This data was then used in pedagogical materials delivered to two student cohorts in both lecture format and as an e-learning package. Self-reported survey data on the student experience indicates significant increase in Learning Interest toward the concepts of the DDCP, as well as strong ratings of the material’s Useability and Application to Knowledge. We also report on focus group discussions of the strengths and weaknesses of the DDCP. We show that the DDCP offers an innovative and novel intervention into contemporary screen creativity pedagogy, forging a valuable teaching-research nexus between the findings of the research field of cognitive media theory and their application in the field of student production.","PeriodicalId":54180,"journal":{"name":"DIGITAL CREATIVITY","volume":"31 1","pages":"113 - 98"},"PeriodicalIF":1.1,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14626268.2020.1767654","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45448491","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-04-02DOI: 10.1080/14626268.2020.1764978
Boram Noh, Sangsu Jang, K. Kim, Y. Park
ABSTRACT The colour of a photo helps to visually communicate with us at an emotional level and remember the mood of the moment. We designed LightPalette to reinstate the direct reflex toward colour in personal photos through a tangible lighting artifact within the users’ everyday environment. LightPalette works by retrieving major colours from a photo in smartphones and expresses them into the light on the acrylic shade enabling tangible adjustment of colours. We deployed LightPalette in 10 participants’ homes for a week to investigate how they interpret the mood of a photo by expressing its colours through a lamp. Findings showed that LightPalette supported users in visualizing the invisible atmosphere of each moment and discovered its potential to be used as a colour diary for reflecting on the day. Our findings imply possibilities for future lighting that provides self-perception by portraying personal visual records stored in digital space into the lighting.
{"title":"Bringing the colour senses of personal photos to everyday living environment: the design and deployment of a tangible interactive lighting artifact","authors":"Boram Noh, Sangsu Jang, K. Kim, Y. Park","doi":"10.1080/14626268.2020.1764978","DOIUrl":"https://doi.org/10.1080/14626268.2020.1764978","url":null,"abstract":"ABSTRACT The colour of a photo helps to visually communicate with us at an emotional level and remember the mood of the moment. We designed LightPalette to reinstate the direct reflex toward colour in personal photos through a tangible lighting artifact within the users’ everyday environment. LightPalette works by retrieving major colours from a photo in smartphones and expresses them into the light on the acrylic shade enabling tangible adjustment of colours. We deployed LightPalette in 10 participants’ homes for a week to investigate how they interpret the mood of a photo by expressing its colours through a lamp. Findings showed that LightPalette supported users in visualizing the invisible atmosphere of each moment and discovered its potential to be used as a colour diary for reflecting on the day. Our findings imply possibilities for future lighting that provides self-perception by portraying personal visual records stored in digital space into the lighting.","PeriodicalId":54180,"journal":{"name":"DIGITAL CREATIVITY","volume":"31 1","pages":"114 - 132"},"PeriodicalIF":1.1,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14626268.2020.1764978","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45321469","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-04-02DOI: 10.1080/14626268.2020.1761834
Richard Chulwoo Park, Donghyeon Ko, Hyunjung Kim, Seung Hyeon Han, Jee Bin Lim, Jiseong Goo, Geehyuk Lee, Woohun Lee
ABSTRACT Despite the emergence of advanced technologies, the behavioural complexities remain underexplored, especially from the viewpoint of their potential in interactive installations. This study aims to explore the future interactivity of an agent’s behaviour by envisioning speculative future human operations using a human-controlled interactive installation called LumiLand. This empirical study reveals that an agent can craft a user experience by (1) controlling the plot, (2) cocreating content with a user in a social manner, and (3) promptly adjusting undefined behaviours and situations. Based on Janlert and Stolterman’s interaction model, we present an interaction flow with four primary classifications: Leading, Responding, Poking, and Linking. We believe that a human-centered approach for understanding agent interactivity could help create entertaining human–computer interactions (HCI) by improving the agent design and exploring the challenges that will be faced during such interactions.
{"title":"Defining basic archetypes of an intelligent agent’s behaviour in an open-ended interactive environment","authors":"Richard Chulwoo Park, Donghyeon Ko, Hyunjung Kim, Seung Hyeon Han, Jee Bin Lim, Jiseong Goo, Geehyuk Lee, Woohun Lee","doi":"10.1080/14626268.2020.1761834","DOIUrl":"https://doi.org/10.1080/14626268.2020.1761834","url":null,"abstract":"ABSTRACT Despite the emergence of advanced technologies, the behavioural complexities remain underexplored, especially from the viewpoint of their potential in interactive installations. This study aims to explore the future interactivity of an agent’s behaviour by envisioning speculative future human operations using a human-controlled interactive installation called LumiLand. This empirical study reveals that an agent can craft a user experience by (1) controlling the plot, (2) cocreating content with a user in a social manner, and (3) promptly adjusting undefined behaviours and situations. Based on Janlert and Stolterman’s interaction model, we present an interaction flow with four primary classifications: Leading, Responding, Poking, and Linking. We believe that a human-centered approach for understanding agent interactivity could help create entertaining human–computer interactions (HCI) by improving the agent design and exploring the challenges that will be faced during such interactions.","PeriodicalId":54180,"journal":{"name":"DIGITAL CREATIVITY","volume":"31 1","pages":"65 - 81"},"PeriodicalIF":1.1,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14626268.2020.1761834","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46265031","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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