Pub Date : 2021-07-03DOI: 10.1080/14626268.2021.1954955
Jiun-Jhy Her
ABSTRACT This research proposes value correspondence, which posits that the value shared in correspondence between stakeholders is essential for the development of placemaking in rural areas. By investigating location-based media; particularly mobile augmented reality (MAR) apps aimed at both reviving local tourism in rural townships and soliciting opinions from major stakeholders, the author has determined that local residents play a vital role in the placemaking process. However, research in this field has often ignored local residents and instead focused on tourists’ perceptions and augmented reality technology. Various MAR apps have been designed as forms of self-service technology that benefits tourists but, to some extent, also hinders dialog between tourists and locals; this results in value noncorrespondence, which may lead to the failure of placemaking. Thus, the author advocates that more attention should be paid to how locals can generate value in correspondence with other stakeholders via the use of MAR.
{"title":"Engaging locals in rural areas: value correspondence in placemaking through mobile augmented reality","authors":"Jiun-Jhy Her","doi":"10.1080/14626268.2021.1954955","DOIUrl":"https://doi.org/10.1080/14626268.2021.1954955","url":null,"abstract":"ABSTRACT This research proposes value correspondence, which posits that the value shared in correspondence between stakeholders is essential for the development of placemaking in rural areas. By investigating location-based media; particularly mobile augmented reality (MAR) apps aimed at both reviving local tourism in rural townships and soliciting opinions from major stakeholders, the author has determined that local residents play a vital role in the placemaking process. However, research in this field has often ignored local residents and instead focused on tourists’ perceptions and augmented reality technology. Various MAR apps have been designed as forms of self-service technology that benefits tourists but, to some extent, also hinders dialog between tourists and locals; this results in value noncorrespondence, which may lead to the failure of placemaking. Thus, the author advocates that more attention should be paid to how locals can generate value in correspondence with other stakeholders via the use of MAR.","PeriodicalId":54180,"journal":{"name":"DIGITAL CREATIVITY","volume":"32 1","pages":"215 - 233"},"PeriodicalIF":1.1,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14626268.2021.1954955","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43939378","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 : 2021-04-03DOI: 10.1080/14626268.2021.1922458
Ho-Jun Ji, Jin-wan Park
ABSTRACT This article observes two objects of natural form through an electron microscope. The first object is an old paper; its beautiful texture is hardly visible on its surface and it resembles the nature that we commonly see. The second object is nanoflowers. Although it is a natural form, it is also an artificial chemical that is invisible to the human eye. This paper aims to present a new perspective on the action of seeing by collectively expressing two microworlds and elements of nature that are seen in everyday life, which are similar to the environment but utterly different from each other. Surrealist painter René Magritte's technique of dépaysement creates a stranger scene by removing a specific object from the context of common sense and placing it in a complicated situation, giving the observer a new shock. I intend to present a unique technique of artistic expression that has been grafted and evolved into the microscopic world.
{"title":"The dépaysement art of the new media era incorporating the microscopic world","authors":"Ho-Jun Ji, Jin-wan Park","doi":"10.1080/14626268.2021.1922458","DOIUrl":"https://doi.org/10.1080/14626268.2021.1922458","url":null,"abstract":"ABSTRACT This article observes two objects of natural form through an electron microscope. The first object is an old paper; its beautiful texture is hardly visible on its surface and it resembles the nature that we commonly see. The second object is nanoflowers. Although it is a natural form, it is also an artificial chemical that is invisible to the human eye. This paper aims to present a new perspective on the action of seeing by collectively expressing two microworlds and elements of nature that are seen in everyday life, which are similar to the environment but utterly different from each other. Surrealist painter René Magritte's technique of dépaysement creates a stranger scene by removing a specific object from the context of common sense and placing it in a complicated situation, giving the observer a new shock. I intend to present a unique technique of artistic expression that has been grafted and evolved into the microscopic world.","PeriodicalId":54180,"journal":{"name":"DIGITAL CREATIVITY","volume":"32 1","pages":"124 - 142"},"PeriodicalIF":1.1,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14626268.2021.1922458","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44180110","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 : 2021-04-03DOI: 10.1080/14626268.2021.1922459
Michaela Honauer
ABSTRACT Interactive costumes enrich performance concepts and means of artistic expression. However, their creation challenges costume designers and technicians because they demand expertise in interaction design and electronic engineering. This article aims at empowering performance professionals to exploit the full potential of interactive costumes by discussing the creation process from the creators’ perspectives. Insights from expert interviews highlight that costume design combined with interaction design underlies the profile of interactive costume designers, whilst costume construction combined with electronic engineering underlies the profile of interactive costume technicians. Together, these profiles are capable of creating interactive costumes if complemented with expertise in e-textiles and body-centred design and development approaches. The findings suggest that teamwork between disciplines is essential, resulting ideally in transcending disciplinarity through shared practices, and using diverse methods, materials, and knowledge. All of this might evoke a paradigm shift in the practice and education of costume creators and other respective professions.
{"title":"Beyond costume tradition and physical computing: characterizing the profile of interactive costume creators","authors":"Michaela Honauer","doi":"10.1080/14626268.2021.1922459","DOIUrl":"https://doi.org/10.1080/14626268.2021.1922459","url":null,"abstract":"ABSTRACT Interactive costumes enrich performance concepts and means of artistic expression. However, their creation challenges costume designers and technicians because they demand expertise in interaction design and electronic engineering. This article aims at empowering performance professionals to exploit the full potential of interactive costumes by discussing the creation process from the creators’ perspectives. Insights from expert interviews highlight that costume design combined with interaction design underlies the profile of interactive costume designers, whilst costume construction combined with electronic engineering underlies the profile of interactive costume technicians. Together, these profiles are capable of creating interactive costumes if complemented with expertise in e-textiles and body-centred design and development approaches. The findings suggest that teamwork between disciplines is essential, resulting ideally in transcending disciplinarity through shared practices, and using diverse methods, materials, and knowledge. All of this might evoke a paradigm shift in the practice and education of costume creators and other respective professions.","PeriodicalId":54180,"journal":{"name":"DIGITAL CREATIVITY","volume":"32 1","pages":"99 - 115"},"PeriodicalIF":1.1,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14626268.2021.1922459","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41991661","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 : 2021-04-03DOI: 10.1080/14626268.2021.1915339
Sylvain Fleury, Rishi Vanukuru, Charles Mille, K. Poinsot, Aurélien Agnès, S. Richir
ABSTRACT The field of Virtual Reality has been developing at a steady pace, and VR is finding new uses as a support for creative tasks. The objective of this study is to propose a theoretical model describing the links between user experience and creativity. Pre-existing theoretical links have been identified in relevant scientific literature. Two experiments were then conducted in order to identify new links and replicate results. These experiments involved respectively 76 and 42 participants who individually performed a task requiring divergent creativity using virtual reality drawing tools. The results indicate that cybersickness leads to a decrease in fluency, i.e. the number of ideas generated, but also shades the links between flow and the relevance of the ideas generated. On the basis of this result, we propose the CRUX model to lead to recommendations for the design of tools and simulations to support divergent creativity.
{"title":"CRUX: a creativity and user experience model","authors":"Sylvain Fleury, Rishi Vanukuru, Charles Mille, K. Poinsot, Aurélien Agnès, S. Richir","doi":"10.1080/14626268.2021.1915339","DOIUrl":"https://doi.org/10.1080/14626268.2021.1915339","url":null,"abstract":"ABSTRACT The field of Virtual Reality has been developing at a steady pace, and VR is finding new uses as a support for creative tasks. The objective of this study is to propose a theoretical model describing the links between user experience and creativity. Pre-existing theoretical links have been identified in relevant scientific literature. Two experiments were then conducted in order to identify new links and replicate results. These experiments involved respectively 76 and 42 participants who individually performed a task requiring divergent creativity using virtual reality drawing tools. The results indicate that cybersickness leads to a decrease in fluency, i.e. the number of ideas generated, but also shades the links between flow and the relevance of the ideas generated. On the basis of this result, we propose the CRUX model to lead to recommendations for the design of tools and simulations to support divergent creativity.","PeriodicalId":54180,"journal":{"name":"DIGITAL CREATIVITY","volume":"32 1","pages":"116 - 123"},"PeriodicalIF":1.1,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14626268.2021.1915339","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46820865","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 : 2021-03-19DOI: 10.1080/14626268.2021.1898987
Nicole Wragg, Carolyn Barnes
ABSTRACT This article examines how graphic designers’ innovations in web design revealed the potential and capabilities of interactivity as a communication experience tool. During the early World Wide Web (1995–2008), graphic designers’ practice-based contribution to interactivity enhanced how people experienced this new technological domain. Few designers contributed to the scholarly discussion of interactivity. The main academic fields that did—Human–Computer Interaction, Interaction Design and Communication Theory—disregarded graphic design's contribution, slowing knowledge production around the nature and potential of interactivity. The article compares the three fields’ main ideas about interactivity to an analysis of 47 websites from 2008. It argues that although the idea of interactivity emerged as a transdisciplinary phenomenon, graphic designers’ practical implementation of interactivity in web design through the development of qualities of intuitiveness, enablement, responsiveness, connectivity, intentionality and experience extended its conceptualization beyond technical standards, functionality and theorization.
{"title":"Advancing interactivity: graphic designers’ practice-based contribution to developing the Web","authors":"Nicole Wragg, Carolyn Barnes","doi":"10.1080/14626268.2021.1898987","DOIUrl":"https://doi.org/10.1080/14626268.2021.1898987","url":null,"abstract":"ABSTRACT This article examines how graphic designers’ innovations in web design revealed the potential and capabilities of interactivity as a communication experience tool. During the early World Wide Web (1995–2008), graphic designers’ practice-based contribution to interactivity enhanced how people experienced this new technological domain. Few designers contributed to the scholarly discussion of interactivity. The main academic fields that did—Human–Computer Interaction, Interaction Design and Communication Theory—disregarded graphic design's contribution, slowing knowledge production around the nature and potential of interactivity. The article compares the three fields’ main ideas about interactivity to an analysis of 47 websites from 2008. It argues that although the idea of interactivity emerged as a transdisciplinary phenomenon, graphic designers’ practical implementation of interactivity in web design through the development of qualities of intuitiveness, enablement, responsiveness, connectivity, intentionality and experience extended its conceptualization beyond technical standards, functionality and theorization.","PeriodicalId":54180,"journal":{"name":"DIGITAL CREATIVITY","volume":"32 1","pages":"143 - 164"},"PeriodicalIF":1.1,"publicationDate":"2021-03-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14626268.2021.1898987","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49133541","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 : 2021-02-22DOI: 10.1080/14626268.2021.1885449
Vivien Lin, Yu-Hsuan Lin, Min-Chai Hsieh, Gi‐Zen Liu, H. Lin
ABSTRACT This study presents the design of a multimodal ubiquitous learning application (MULA) with different augmenting effects for enhancing English as a Foreign Language (EFL) academic writing instruction. In a pilot project, 17 undergraduates engaged in ubiquitous learning and writing at a green building and provided survey responses and interview feedback about their ubiquitous writing experience. The survey results were categorized into perceptions about (a) the ubiquitous learning mode, (b) effective writing facilitation, (c) motivation, self-efficacy, and attitude, (d) self-regulation, and (e) system usability. Interview results further illustrated how using MULA led to positive and negative experiences during ubiquitous writing. A final synthesis on the findings led to the identification of seven affordances that made MULA a potential tool for enhancing writing instruction in EFL settings. The seven affordances were considered effective design elements for multimodal context-aware ubiquitous learning that served the purpose of enriching English academic writing instruction. Implications about creating multimodal ubiquitous learning applications in higher education are also provided.
{"title":"The design and evaluation of a multimodal ubiquitous learning application for EFL writers","authors":"Vivien Lin, Yu-Hsuan Lin, Min-Chai Hsieh, Gi‐Zen Liu, H. Lin","doi":"10.1080/14626268.2021.1885449","DOIUrl":"https://doi.org/10.1080/14626268.2021.1885449","url":null,"abstract":"ABSTRACT This study presents the design of a multimodal ubiquitous learning application (MULA) with different augmenting effects for enhancing English as a Foreign Language (EFL) academic writing instruction. In a pilot project, 17 undergraduates engaged in ubiquitous learning and writing at a green building and provided survey responses and interview feedback about their ubiquitous writing experience. The survey results were categorized into perceptions about (a) the ubiquitous learning mode, (b) effective writing facilitation, (c) motivation, self-efficacy, and attitude, (d) self-regulation, and (e) system usability. Interview results further illustrated how using MULA led to positive and negative experiences during ubiquitous writing. A final synthesis on the findings led to the identification of seven affordances that made MULA a potential tool for enhancing writing instruction in EFL settings. The seven affordances were considered effective design elements for multimodal context-aware ubiquitous learning that served the purpose of enriching English academic writing instruction. Implications about creating multimodal ubiquitous learning applications in higher education are also provided.","PeriodicalId":54180,"journal":{"name":"DIGITAL CREATIVITY","volume":"32 1","pages":"79 - 98"},"PeriodicalIF":1.1,"publicationDate":"2021-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14626268.2021.1885449","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43741997","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 : 2021-01-02DOI: 10.1080/14626268.2021.1882504
Doros Polydorou
ABSTRACT The tamarind forest is a virtual reality (VR) installation that explores shifts of perception through a somatic experience in a virtual space. As part of a larger show (kimosphere no.4) that explored immersion and an entwinement of real and virtual spaces, The Tamarind forest experiments with augmented virtuality and invites the audience to pay attention to their physical body while taking a journey through a virtual forest. This paper describes the piece, the technology and the design process as well as the main takeaways and reflections.
{"title":"The tamarind forest: an augmented virtuality experience","authors":"Doros Polydorou","doi":"10.1080/14626268.2021.1882504","DOIUrl":"https://doi.org/10.1080/14626268.2021.1882504","url":null,"abstract":"ABSTRACT The tamarind forest is a virtual reality (VR) installation that explores shifts of perception through a somatic experience in a virtual space. As part of a larger show (kimosphere no.4) that explored immersion and an entwinement of real and virtual spaces, The Tamarind forest experiments with augmented virtuality and invites the audience to pay attention to their physical body while taking a journey through a virtual forest. This paper describes the piece, the technology and the design process as well as the main takeaways and reflections.","PeriodicalId":54180,"journal":{"name":"DIGITAL CREATIVITY","volume":"32 1","pages":"71 - 77"},"PeriodicalIF":1.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14626268.2021.1882504","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44112010","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 : 2021-01-02DOI: 10.1080/14626268.2021.1876093
Bo A Rhee, Federico Pianzola, Nayea Oh, Gangta Choi, Jungho Kim
ABSTRACT This paper presents the remediation of a nineteenth century Korean manuscript (the 1809 Uigwe) as an interactive digital experience using creative algorithms and gesture recognition developed by LG Electronics. The interactive media project we created using sound visualization invites visitors to jointly experience Joseon’s royal music and the manuscript’s pictorial illustrations. We present the media development process and the results of a survey assessing users’ engagement. Our findings show that technological remediation can be a fruitful way to elicit interest for cultural heritage. The Uigwe media project enhanced the participants’ curiosity for the 1809 Uigwe, and the added sound of the traditional court music (Yeominlak) and the images of the musical instruments increased users’ understanding of the 1809 Uigwe and of royal court music. Overall, the study provides evidence about the use of multisensory digital media for fostering learning about and cultural appreciation of historical artefacts.
{"title":"Remediating tradition with technology: a case study of From Tangible to Intangible: A Media Showcase of Kisa chin p’yori chinch’an uigwe","authors":"Bo A Rhee, Federico Pianzola, Nayea Oh, Gangta Choi, Jungho Kim","doi":"10.1080/14626268.2021.1876093","DOIUrl":"https://doi.org/10.1080/14626268.2021.1876093","url":null,"abstract":"ABSTRACT This paper presents the remediation of a nineteenth century Korean manuscript (the 1809 Uigwe) as an interactive digital experience using creative algorithms and gesture recognition developed by LG Electronics. The interactive media project we created using sound visualization invites visitors to jointly experience Joseon’s royal music and the manuscript’s pictorial illustrations. We present the media development process and the results of a survey assessing users’ engagement. Our findings show that technological remediation can be a fruitful way to elicit interest for cultural heritage. The Uigwe media project enhanced the participants’ curiosity for the 1809 Uigwe, and the added sound of the traditional court music (Yeominlak) and the images of the musical instruments increased users’ understanding of the 1809 Uigwe and of royal court music. Overall, the study provides evidence about the use of multisensory digital media for fostering learning about and cultural appreciation of historical artefacts.","PeriodicalId":54180,"journal":{"name":"DIGITAL CREATIVITY","volume":"32 1","pages":"56 - 70"},"PeriodicalIF":1.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14626268.2021.1876093","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47864017","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 : 2021-01-02DOI: 10.1080/14626268.2020.1868535
Teemu Leinonen, Jaana Brinck, Henriikka Vartiainen, Nitin Sawhney
ABSTRACT Augmented Reality (AR) technology has provided a new technological platform for ‘mirror worlds’, where layers of information, meaning, and functions are integrated with a digital twin of the real world. To explore mirror worlds, we designed and developed +Andscape, an interactive AR sandbox. In this conceptual and empirical case study, we observed children’s (5–6-year-old, N = 16) collaborative play and storytelling with +Andscape. The qualitative content analysis from observational video-based data allows us to infer how children’s play with the AR sandbox engaged their questioning and reflections of both the real world events and the computational mirror worlds. The use of the tool triggered children’s imagination and opened for them a story world for exploration of current media events in a unique way. We conclude that when introducing mirror worlds, the focus should be on creative play, participation and storytelling through which the children can construct their own story worlds.
{"title":"Augmented reality sandboxes: children’s play and storytelling with mirror worlds","authors":"Teemu Leinonen, Jaana Brinck, Henriikka Vartiainen, Nitin Sawhney","doi":"10.1080/14626268.2020.1868535","DOIUrl":"https://doi.org/10.1080/14626268.2020.1868535","url":null,"abstract":"ABSTRACT Augmented Reality (AR) technology has provided a new technological platform for ‘mirror worlds’, where layers of information, meaning, and functions are integrated with a digital twin of the real world. To explore mirror worlds, we designed and developed +Andscape, an interactive AR sandbox. In this conceptual and empirical case study, we observed children’s (5–6-year-old, N = 16) collaborative play and storytelling with +Andscape. The qualitative content analysis from observational video-based data allows us to infer how children’s play with the AR sandbox engaged their questioning and reflections of both the real world events and the computational mirror worlds. The use of the tool triggered children’s imagination and opened for them a story world for exploration of current media events in a unique way. We conclude that when introducing mirror worlds, the focus should be on creative play, participation and storytelling through which the children can construct their own story worlds.","PeriodicalId":54180,"journal":{"name":"DIGITAL CREATIVITY","volume":"32 1","pages":"38 - 55"},"PeriodicalIF":1.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14626268.2020.1868535","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49292683","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 : 2021-01-02DOI: 10.1080/14626268.2020.1868536
Hafizur Rahaman, Michelle Johnston, E. Champion
ABSTRACT Before colonization, there were over 250 languages spoken in Australia. Today only thirteen Indigenous languages are still being taught to children). Language has an important part to play in cultural maintenance and ‘closing the gap’ in terms of First Peoples’ cultural heritage, identity, and sense of belonging. In this work, we aim to develop an engaging and easy way to teach and learn the local Indigenous names of wildflowers using a mobile device. This paper presents the development of a phone application that runs on a local machine, recognizes local wildflowers through its camera, and plays associated sounds and displays associated text in the Noongar language. The prototype mobile application has been developed with MobileNets model on the TensorFlow platform. The dataset is derived from Google searches, while the sound files are generated from label text by running an apple script. UI and interactivity have been developed by using Vuforia and the Unity game engine. Finally, the Android Studio is used to deploy the app. At this point in time, the prototype can only recognize ten local flowers, with 85%∼99% of accuracy. We are working with a larger dataset towards developing the full application.
{"title":"Audio-augmented arboreality: wildflowers and language","authors":"Hafizur Rahaman, Michelle Johnston, E. Champion","doi":"10.1080/14626268.2020.1868536","DOIUrl":"https://doi.org/10.1080/14626268.2020.1868536","url":null,"abstract":"ABSTRACT Before colonization, there were over 250 languages spoken in Australia. Today only thirteen Indigenous languages are still being taught to children). Language has an important part to play in cultural maintenance and ‘closing the gap’ in terms of First Peoples’ cultural heritage, identity, and sense of belonging. In this work, we aim to develop an engaging and easy way to teach and learn the local Indigenous names of wildflowers using a mobile device. This paper presents the development of a phone application that runs on a local machine, recognizes local wildflowers through its camera, and plays associated sounds and displays associated text in the Noongar language. The prototype mobile application has been developed with MobileNets model on the TensorFlow platform. The dataset is derived from Google searches, while the sound files are generated from label text by running an apple script. UI and interactivity have been developed by using Vuforia and the Unity game engine. Finally, the Android Studio is used to deploy the app. At this point in time, the prototype can only recognize ten local flowers, with 85%∼99% of accuracy. We are working with a larger dataset towards developing the full application.","PeriodicalId":54180,"journal":{"name":"DIGITAL CREATIVITY","volume":"32 1","pages":"22 - 37"},"PeriodicalIF":1.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14626268.2020.1868536","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46797160","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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