设备D:观众-舞者通过社交媒体帖子进行互动,并可佩戴触觉反馈

IF 3.4 Q2 ENGINEERING, BIOMEDICAL Wearable technologies Pub Date : 2022-02-18 eCollection Date: 2022-01-01 DOI:10.1017/wtc.2021.20
Manoli Moriaty, Lucie Sykes
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引用次数: 0

摘要

表演装置装置DeviceD利用系统网络促进舞者、数字媒体和观众之间的互动。这项工作的核心是一个可穿戴的触觉反馈系统,该系统能够无线传递振动触觉刺激,后者由观众通过在Twitter社交媒体平台上发帖发起;使用中的系统搜索特定的提及、标签和关键词,如果得到积极的结果,系统就会触发可穿戴设备上四个致动器电机的触觉生物反馈模式。该系统充当观众在线动作和舞者接受物理刺激之间的中介;舞者根据Laban 's Effort的动作特征来解读这些生物反馈信号,并通过这种解读来告知习惯性和有意识的舞蹈表演的不同状态。在本文中,作者回顾了他们与多学科技术专家团队一起开发DeviceD的合作过程,详细介绍了他们在三种不同环境下改进工作背后的技术和方法的经验。通过文献综述,将本研究置于当代网络互动与表演实践中的触觉研究之间;在过去的25年里,触觉反馈装置在艺术作品中得到了广泛的应用,最近的实践和研究成果表明,舞蹈研究领域对触觉的兴趣越来越大。作者详细介绍了构成这项工作的技术和性能因素,并对该系统进行了透明的评估,为进一步研究可穿戴触觉设备提供了基础。
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DeviceD: Audience-dancer interaction via social media posts and wearable for haptic feedback.

The performative installation DeviceD utilizes a network of systems toward facilitating interaction between dancer, digital media, and audience. Central to the work is a wearable haptic feedback system able to wirelessly deliver vibrotactile stimuli, with the latter initiated by the audience through posting on Twitter social media platform; the system in use searches for specific mentions, hashtags, and keywords, with positive results causing the system to trigger patterns of haptic biofeedback across the wearable's four actuator motors. The system acts as the intermediator between the audience's online actions and the dancer receiving physical stimuli; the dancer interprets these biofeedback signals according to Laban's Effort movement qualities, with the interpretation informing different states of habitual and conscious choreographic performance. In this article, the authors reflect on their collaborative process while developing DeviceD alongside a multidisciplinary team of technologists, detailing their experience of refining the technology and methodology behind the work while presenting it in three different settings. A literature review is used to situate the work among contemporary research on interaction over internet and haptics in performance practice; haptic feedback devices have been widely used within artistic work for the past 25 years, with more recent practice and research outputs suggesting an increased interest for haptics in the field of dance research. The authors detail both technological and performative elements making up the work, and provide a transparent evaluation of the system, as means of providing a foundation for further research on wearable haptic devices.

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CiteScore
5.80
自引率
0.00%
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审稿时长
11 weeks
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