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Amitani, S., Edmonds, E. A. (2008) Designing a System for Supporting the Process of Making a Video Sequence. Transdisciplinary Digital Art: Sound, Vision and the New Screen, Communication in Computer and Communication Science (CCIS), Springer.
Bilda, Z., Edmonds, E. & Candy, L. (2008) Designing for Creative Engagement, Design Studies (Special issue on Interaction Design) 29: 525 - 540. More info... [Abstract]This paper addresses the problem of understanding creative engagement with interactive systems. A model of engagement is proposed which represents modalities and phases of interactive experiences. The model was derived from empirical studies of audience interaction with art systems. The aim is to provide a means of facilitating communication between participants in the interaction design process. The intention is to help improve collaboration between participants through examining, understanding and agreeing on the set of concepts and modalities on interactive experience. The ongoing research involves refining and developing the model into a more general-purpose instrument.
Candy, L and Hewett, T.T. eds. (2008) Investigating and Cultivating Creativity: Implications for Designing Technology Support Environments, Special issue International Journal of Human-Computer Interaction. Issue 24(5). [download] [Abstract]Tools that advance individual, group and social creativity contribute to the benefits that come from human creativity (Shneiderman, 2007). The HCI community is ideally placed to inform and shape the design of new software environments in such as way as to fully empower the creative user. Expertise in methods for studying creativity and techniques for designing end user oriented systems already exist and can be refocused in the direction of creativity support environments. Research topics that have excited recent past interest such as end user programming environments and systems for online community support are readily migrated into new frontiers given the stimulus and motivation provided by a challenging new topics such as creativity support. The growth of opportunities for group collaboration supported by technology environments is well understood but just how that collaboration operates in a creative sense has been rarely investigated until recently. Equally, we are reasonably well versed in the analysis of familiar tasks but, by contrast, developing ways of measuring elements of the discovery process is a nascent field of research. The demands implied by aiming to address the creativity challenge, require new ways of thinking about software systems and innovative approaches to their design. We hope that this special issue of the International Journal of Human Computer Interaction on ‘Investigating and Cultivating Creativity’ will stimulate new thoughts and provoke new actions that eventually will lead to technology environments that embody the notion of the user as creator.
Candy, L., & Costello, B. (2008). Interaction Design and Creative Practice, Design Studies, vol.29, no.6, pp521-524.
Edmonds, E.A and Candy. L. (2008). Interpretation in Practice, In R2P: The Problem of Interpretation, 5th Research into Practice Conference, edited by Michael Biggs and Daniela Büchler, 31st October, Royal Society of Arts, London UK, pp 45-47. [download] [Abstract]Abstract The paper begins by considering differing views about the value of interpretation in relation to works of art. Whilst agreeing in part with Sontag’s opinion that interpretation that dwells on alternative representations of art obscures our response to it, we argue that there are, nevertheless, valuable forms of interpretation that play a significant role in creative practice allied with research. When practitioners carry out research in parallel with making works, they engage in a process of developing interpretation frameworks that guide their practice and the evaluation of the outcomes. The frameworks for interpretation discussed arise from creative practice in the context of practice-based PhD programmes in interactive digital arts. We describe how practitioner-researchers develop and apply frameworks for interpretation in the context of what we call ‘trajectories of practice and research’. The reflexive relationship between the frameworks and the works and how that impacts directly upon creative practice, is central to an understanding of interpretation as we characterise it here. The ideas discussed are informed by interviews with people currently undertaking doctoral research in the creative arts, as well as substantial experience in directing practice-based research programmes.
Ernest Edmonds (2008) The Creativity and Cognition Studios. Proceedings HCI2008 Culture, Creativity, Interaction, Liverpool John Moores University, UK, 1-5 September 2008.
Ernest Edmonds, Shigeki Amitani (2008) Shaping Forms on the Web. Proceedings of the 3rd International Conference on Digital Live Art [(re)Actor3], Liverpool UK, 3rd Sept 2008. [Abstract]The demonstration is of a distributed web-based artwork that uses movement detected by the cameras in each computer that views it to influence its development in terms of colours, timings and shapes. It is based on individual stand alone works that have been exhibited in Washington DC and Sydney, Australia. In this development, however, the community made up of the work’s distributed audience collectively influence the progress and development of the work.
Ernest Edmonds, Shigeki Amitani: (2008) Shaping Forms on the Web with a Collective Memory, 7th International Conference on Software Methodologies, Tools and Techniques (SoMeT 2008), American University of Sharjah, Sharjah, UAE, 15 - 17 October 2008.
Giaccardi,. E. and Candy, L eds. (2008) Materialities of Creativity: Special Issue on Creativity and Cognition 2007, Leonardo Journal forthcoming [Abstract]New concepts emerged during the 6th Creativity & Cognition in June 2007 that indicated a growing convergence between disciplinary boundaries and an enriched language of discourse between artists, designers, scientists and technologists. Notions of materiality, from physical objects for playful exploration to processes and materials by which to think and connect, represented a common thread in many contributions. A selection of significant articles have been brought together in this special section of Leonardo Journal from the design, engineering, and aesthetic traditions in order to and offer (to offer?) a multi-dimensional understanding of materiality and its application in support of creativity. The original conference papers were substantially revised and then reviewed a second time by peer review and revised again to address the reviewers’ comments. The six articles explore perceptive, expressive, and performative dimensions of creativity in relation to an understanding of materiality as physical material for the attunement of imagination, cognitive affordance for action and critical reflection, and also as the instrument of our creative engagement with the sensorial and emotional character of the world.
Gwilt, I., and Turnbull, D. (eds.)(2008). Mundane Traces: essays on transitional art practises. With essay contributions by Kees Dorst, Deborah Turnbull, Ian Gwilt, and Melinda Rackham. DABdoc publishing [in press] - for Release 25 November 2008. UTS, Sydney: 2008. Copies available from DABPublications upon release date. More info... [Abstract]The mundane-traces show is a collection of New Media artworks created by Ian Gwilt. Using innovative technologies to re-imagine the graphical user interface as a creative artifact the multiple, yet individual, works explore the graphic user interface in a creative context using augmented reality, rapid protoyping and laser cutting technologies. The result is an intriguing mix of physical and virtual interpretations of the folders, files and scrollbars from the everyday computer desktop...
Hills, D., Amitani, S. & Edmonds, E. (2008), A Data Model for Generative Context Representation - Our Content Project, Australasian CRC for Interaction Design Conference, QUT, Brisbane, Australia.
Hills, D., Pisan, Y. & Edmonds, E. (2008), Towards a Generic Framework for Situated Collaborative Storytelling, Interactive Entertainment 08, QUT, Brisbane, Australia.
Humphreys, T., Leung, L., Weakley, A. (2008). Embedding Expert Users in the Interaction Design Process: A Case Study. Design Studies, Volume 29, Issue 6, pp603-622.
Johnston, A.; Candy, L. & Edmonds, E. (2008). Designing and evaluating virtual musical instruments: facilitating conversational user interaction. Design Studies 29(6), 556-571 [Abstract]This paper is concerned with the design of interactive virtual musical instruments. An interaction design strategy which uses on-screen objects that respond to user actions in physically realistic ways is described. This approach allows musicians to ‘play’ the virtual instruments using the sound of their familiar acoustic instruments. An investigation of user experience identified three modes of interaction that characterise the musicians' approach to the virtual instruments: instrumental, ornamental and conversational. When using the virtual instruments in instrumental mode, musicians prioritise detailed control; in ornamental mode, they surrender detailed control to the software and allow it to transform their sound; in conversational mode, the musicians allow the virtual instrument to ‘talk back’, helping to shape the musical direction of performance much as a human playing partner might. Finding a balance between controllability and complexity emerged as a key issue in facilitating ‘conversational’ interaction.
Legget, M. Bilda, Z. (2008) Exploring Design Options for Interactive Video with the Mnemovie hypervideo system. Design Studies, V29 N6 587-602; Elsevier, London. [Abstract]Mnemovie is an investigative hypervideo system for exploring design options for interactivity with digital motion picture files (video). The custom-designed software toolset is used to build a series of experimental interactive models from which three models were subsequently developed for initial user experience testing and evaluation. We compared interaction with each of the models across three groups of video file users, from expert to non-expert. Understanding participants’ preference for each model helps define the different dimensions of the actual user experience. We discuss how these findings and the subsequent development of persona scenarios can inform the design of hyper-video systems and the implications this has for interaction design.
Leggett, M., Dyson, L. (2008) Strangers on the Land: Place and Indigenous Multimedia Knowledge Systems. in Place: Local Knowledge and New Media Practice, eds. Butt, D., Paul, N., Bywater, J., Cambridge Scholars Publishing,Newcastle on Tyne, England.
Leung, L., Humphreys, T., Weakley, A. (2008). VUE (Visualisation Using Emails). Workshop on Enhanced Messaging (EMAIL-2008) at AAAI Conference 2008, Chicago. More info...
Leung, L., Weakley, A., Humphreys, T. (2008, to appear). Email as co-habitat in distributed organisations. OZCHI 2008.
Phalip, J., Jean, D., Edmonds, E. (2008) Resolving Ambiguity of Scope in Remote Collaboration: a Study in Film Scoring. OzCHI 08, Australasian Computer-Human Interaction Conference, Cairns, Australia.
Seevinck, J. Edmonds, E. (2008) Emergence and the art system ‘plus minus now’, Design Studies, Vol 29, Issue 6, Elsevier, pp 541-555.
Smith, G. & Johnston, A. (2008). Interactive Software for Guitar Learning, in Sonia Wilkie & Anthony Hood, ed.,'ACMC08 SOUND : SPACE – Proceedings of the Australasian Computer Music Conference 2008'. [Abstract]In this paper we present software designed to help address problems encountered by beginning guitarists, using interactive software to find effective solutions to enhance the learning process. Software can be utilised to improve a player’s ability to hear mistakes in their performance, as well as to create a fun and entertaining learning environment to motivate the player to practice. A software prototype has been developed, which served as a basis for usability testing, to highlight the usefulness of various methods of feedback and provide a way forward in developing valuable software for guitar tuition.
Weakley, A., Leung, L. (2008). Embedding Expert Users in the Interaction Design Process. CSIRO HAIL seminar series.
Amitani, S. Edmonds, E. A. (2007). Designing a System for Supporting the Process of Making a Video Sequence, Digital Art Weeks Festival 2007, 9-14 July, Zurich, Switzerland. [download] More info... [Abstract]The aim of this research is to develop a system to support video artists. Design rationales of software for artists should be obtained through investigating artists\' practice. In this study, we have analysed the process of making a video sequence in collaboration with an experienced video artist. Based on this analysis we identified design rationales for a system to support the process of making a video sequence. A prototype system “Knowledge Nebula Crystallizer for Time-based Information (KNC4TI)” has been developed. Further development towards a generative system is also discussed.
Amitani, S., Edmonds, E. A. (2007). A Context Visualiser: the Generative Website Project, SIGGRAPH 2007 Sketches & Posters Program, 8-13 August, San Diego, CA, USA. [download] [Abstract]Presents a generative system for visualising possible sequences of information in order to support human creative thinking. Can assist users to produce new contextual information artefacts from existing information pieces.
Amitani, S., Edmonds, E. A. (2007). A Dynamic Concept Base: A Component for Generative Systems, Digital Art Weeks Festival 2007, 9-14 July, Zurich, Switzerland. [download] [Abstract]This paper presents our on-going projects \"Generative Website Project\" and \"Untitled Media Project\", and a core computational component \"Dynamic Concept Base (DCB)\". The aim of these projects is to enhance interactions between public audiences, artists and artworks. The DCB is one of the core components across the projects supported by the Australasian CRC for Interactive Design (ACID) and Australian Centre for the Moving Image (ACMI).
Amitani, S., Edmonds, E. A. (2007). A Method for Visualising Possible Contexts, 11th International Conference on Knowledge-Based and Intelligent Information & Engineering Systems (KES2007), Invited Session of Chance Discovery, 12 - 14 September, Vietri sul Mare, Italy. KES 2007 / WIRN 2007, Part II, LNAI 4693, pp.901-908. [download] [Abstract]This paper presents a method for visualising possible sequences of information. Possible sequences of information segments, called contexts, scenarios, narratives, or storytellings, have been used as a tool for exploring and stimulating thinking about possible events, assumptions relating to these events, and courses of actions, i.e. chances for a broad range of information designers from public audiences searching on the internet to analysts and policy makers. Thanks to the search technology, it has become easier to obtain information that a person is looking for, however, it is a laborious task to grab an overview of information space so that an information designer can find contextually relevant information pieces and sequence them into contextually meaningful ways. In this research, we design and develop a series of generative systems that visualises possible contexts.
Amitani, S., Edmonds, E. A. (2007). Algorithms for Scenario Generation Systems, The 21st Annual Conference of The Japanese Society for Artificial Intelligence (JSAI2007), 20-22 June 2007, Miyazaki, Japan. [download] [Abstract]This paper presents algorithms for scenario generation. Scenarios, possible sequences of information segments that might reasonably take place, have been used as a tool for stimulating thinking about possible events, assumptions relating to these events, and courses of actions. However, the process of scenario generation is a laborious task. Automated scenario generation has been explored, especially in military applications where a rigid ontology can be established. In this research, we design and develop a series of systems that generates scenarios in creative activities where no established ontology is available in advance.
Amitani, S., Edmonds, E. A. (2007). Generative Website: Visualising Possible Stories. VSMM2007, 23-26 September 2007, Brisbane, Australia. [download] [Abstract]This paper presents our on-going project called \"Generative Website Project\". We design and develop generative systems that visualise possible contexts, that is, possible sequences of information out of existing information in order to stimulate human creative thinking. Possible sequences of information segments, usually called storytelling, scenarios and narratives have been used as a tool for exploring and stimulating thinking about possible events, assumptions relating to these events, and courses of actions for a broad range of information designers from public audiences searching on the internet to analysts and policy makers. In this paper, we report our progress of the Generative Website Project and related technology.
Bilda, Z. (2007) Interactive Experience in Public Context: Tango Tangle. Leonardo 40 (4), MIT Press, 368-370.
Bilda, Z. and Gero, J.S. (2007). The impact of working memory limitations on the design process during conceptualization. Design Studies, 28 (4). 343-367. [Abstract]This paper presents the cognitive activity differences of six expert architects when they design in blindfolded (BF) and sketching (SK) conditions. It was observed that all participants\' overall cognitive activity and perceptual activity in the BF sessions dropped below their activity in the SK sessions, approximately after 20 min during the timeline of their design activity. This drop in performance can be explained by higher cognitive demands under BF conditions. In the absence of sketching, architects may experience an overload of visuo-spatial working memory (VSWM). We also tested whether this may have an impact on the linking of their design ideas. We previously reported that the intensity and the information content (entropy) of the idea development were not influenced by VSWM load. The reach of idea links was found to be smaller in the second half of the BF design sessions. Working memory limitations had an impact only on the reach of idea links. We discuss whether these differences are dependent on working memory limitations or idea saturation during conceptual designing.
Bilda, Z., Candy, L., and Edmonds E. (2007) An Embodied Cognition Framework for Interactive Experience, CoDesign: International Journal of Co Creation in Design and the Arts 3 (2). 123 - 137 [Abstract]Interactive art is, by its very nature, concerned with audience experience. The interaction is the essence the meaning of the work to the participant. An embodied cognition framework may be used to explore individual’s cognition within a cognitive system while he or she is engaged in an interactive art experience. A cognitive system is identified as a system of interactions between the participants, the tools and the environment engaged in the experience. The aim of this paper is to characterize a person’s interactive experience of different artworks using an embodied cognition framework in which bodily interaction, thought and perception of feedback are examined. The protocol analysis used to characterize participant experiences is shown to be an appropriate method for investigating interactivity in the art context. The results showed that identifying the presence of interactions between body and feedback, body and thought and thought and feedback provides an effective way to characterize each artwork experience. We discuss how these modes of interactions can be used as ameasure for investigating other interactive artwork experiences in future work.
Bilda, Z., Edmonds, E., and Turnbull, D. (2007). Interactive Experience in a Public Context. Creativity and Cognition 2007: Seeding Creativity: Tools, Media, and Environments. June 13-15, 2007. Washington, DC, USA. An ACM SIGCHI Conference. pp 243-244. [download] More info... [Abstract]In this demonstration, we show an interactive artwork that responds to sound and describe a field study evaluating audience engagement within a public context. Audience in the public setting largely recognized the interactivity of the media immediately, engaged very briefly with the work and were highly self conscious about their behavior and voice during their engagement.
Burry, J., Weakley, A., Deverell, K., Vaughan, L., Yuille, J. (2007). Scribblr: Back to the Future of Visual Document Mark-up. Virtual Systems and Multimedia (VSMM07)
Candy, L. (2007) New Media Arts and the Future of Technologies in Creativity Support Tools, Communications of the ACM, Vol. 50 No 12, December, pp 30-31. [Abstract]New technology is increasingly becoming an integral part of creative practice in the arts. This offers an exciting and challenging opportunity for computer scientists, software engineers, and interface designers. To guide their efforts, they will need to know more about innovative uses of technology by new media artists. One of the four ACM Education Board’s core practices is innovating (Denning, 2003). Innovation is the process of creating something new that is then adopted in practice. We need to find ways of drawing more attention to this aspect of our work and placing concerns for innovation and creativity more centrally in the canon of methods and terms that we use. For innovation to take place, however, complex social, organizational and cultural factors have to be harnessed; on the other hand, strategies for supporting creativity are directly within the remit of the computer science community via the design and development of creativity support technologies. This last is the primary focus of this and the associated feature article by Ben Shneiderman.
Candy, L. (2007). Constraints and Creativity in the Digital Arts, Leonardo Vol. 40, No. 4. [Abstract]In art, truth and reality begin when one no longer understands what one is doing or what one knows, and when there remains an energy that is all the stronger for being constrained, controlled and compressed.— Henri Matisse Constraints in creativity are both limiting and liberating. They are used to impose boundaries upon the creative space we occupy and, at the same time enable us to grapple with inherent tensions between different demands, which may lead to a new idea, direction or artifact. When we choose particular forms, materials and tools for our creative work, we are also choosing the kinds of constraints that will shape our process and its out-comes. Creativity may be seen as a process of exercising free choice in the context of a range of existing constraints. Constraints may be both negative and positive influences on the creative activity or task: the negative may be externally imposed or the result of unexpected phenomena and the positive may be considered benefi-cial because they have either been self-imposed or have arisen from the intrinsic characteristics of the work itself. Constraints are restrictions that limit what the individual wishes to do but such restrictions may also be seen as having a more positive and indeed, necessary function by providing the creative person with a more manageable creative space.
Candy, L. and Bilda, Z. (2007). Understanding and evaluating creativity. In Proceedings of the 6th ACM SIGCHI Conference on Creativity & Cognition (Washington, DC, USA, June 13 - 15, 2007). C&C \\\'07. ACM Press, New York, NY, 303-304. [Abstract]The aim of this tutorial is to provide the participants with an understanding of the significance of creativity for interaction design and to give guidance about the design and evaluation of systems with respect to their role in creativity support. Participants will also be provided with tools for analyzing and evaluating situations in which creative engagement and interaction may be taking place.
Costello, B. (2007). A Pleasure Framework, Leonardo Journal Vol. 40, No. 4, pp.370-371.
Costello, B., Edmonds, E.A. (2007). A Study in Play, Pleasure and Interaction Design, in proceedings of Designing Pleasurable Products and Interfaces, August 2007, Helsinki, Finland, pp76-91 (ACM).
Danylak R., Bilda Z., Edmonds E., (2007) Establishing research criteria for performed gestures and emotional interaction in an interactive gestural film game ‘To be or not to be’. The 6th International Conference on Software Methodologies, Tools and Techniques, Somet 07 Rome, Italy. [Abstract]This paper describes practice-based research using an interactive gestural film game To be or not to be, to study the relationship between performed gestures and emotional response. The work is the result of a collaboration between an intermedia artist (first author), and a programmer / designer. The content of the interactive film game is based on lines from Act 3 scene i from Shakespeare’s play Hamlet. Attention is given first to the original design method based on gestural expression in theatre using the key techniques of text, rehearsal and performance. A primary design goal was to construct an interface where coherent and continuous gestural and emotional interaction occurred. This is followed by observation and evaluation of audience / user interaction with the work (collaboration with second author) establishing research criteria to evaluate performed gestures and emotional responses of the audience. Keywords. Theatre, performed gesture, emotion, human-computer interaction, game.
Edmonds, E.A. (2007). Reflections on the Nature of Interaction. CoDesign: International Journal of Co-Creation in Design and the Arts. Taylor & Francis Group, UK: September 2007, Vol. 3 Issue 3, pp 139-143. [download] More info... [Abstract]The paper discusses aspects of digital art from the point of view of the notion of observable human - computer interaction. The use of the word interaction is reviewed and alternative approaches to describing the concept explored. In particular, a systems view is taken and contrasted with an action/response model. A refined view of such interactions is proposed in which artwork and audience are said to influence one another. This paper draws from and elaborates part of the discussion in Edmonds (2005). Keywords: Interaction; Art; Systems theory
Humphreys, T., Leung, L., Weakley, A. Challenges in Prototyping Email in Three Dimensions (2007). Virtual Systems and Multimedia (VSMM07)
Johnston, A. and Marks, B. (2007). Partial Reflections. Leonardo Transactions 40(5): 510-511 [Abstract]This paper describes some of our recent work using virtual physical models as a mediating mechanism between a live instrumentalist and computer generated sound and video.
Johnston, A., Marks, B. and Candy, L. (2007). Sound controlled musical instruments based on physical models. International Computer Music Conference, Copenhagen, Denmark. [Abstract]This paper describes three simple virtual musical instruments that use physical models to map between live sound and computer generated audio and video. The intention is that this approach will provide musicians with an intuitively understandable environment that facilitates musical expression and exploration. Musicians live sound exerts `forces' on simple mass-spring physical models which move around in response and produce sound. Preliminary findings from a study of musicians' experiences using the software indicate that musicians find the software easy to understand and interact with and are drawn to software with more complex interaction - even though this complexity can reduce the feeling of direct control.
Kan, J.W.T., Bilda, Z. and Gero, J.S. (2007). Comparing entropy measures of idea links in design protocols: Linkography entropy measurement and analysis of differently conditioned design sessions. AI EDAM, 21 (4), 367-377.
Leggett M. (2007) KMS Models for Video Files using Visual Mnemonics. Creativity & Cognition Conference CC07, Washington DC, USA. [Abstract]A series of Models were built to explore and test the precept of navigating movies using gesture to control both forward and backward movement, and to launch movie files linked using visual elements associatively and semantically related to the knowledge domain represented within a movie collection.
Leggett, M. (2007) Generative Systems and the Cinematic Spaces of Film and Installation Art. Leonardo 40.2, MIT Press. [Abstract]Informal research in the 1970s explored iterative and generative systems using motion-picture film. The approach was practice-based and occurred in a context of artists working on the structure and materiality of the film experience. Based on historical and contemporary notes about the film Red+Green+Blue, the generative art emergent using this analogue-based medium is evaluated in the light of recent discussion of digital and binary-based interactive installation.
Phalip, J., Edmonds, E.A. (2007). Guidelines for Communication in Film Scoring. ICOMCS, the inaugural International Conference on Music Communication Science, Sydney, Australia. 5-7 December 2007.
Phalip, J., Morphett, M., Edmonds, E.A. (2007). Alleviating Communication Challenges in Film Scoring: An Interaction Design Approach. OZCHI 07, Australasian Computer-Human Interaction Conference, Adelaide, Australia. 28-30 November 2007.
Weakley, A. (2007). Internet-Based Support for Creative Collaboration. PhD Thesis, University of Technology, Sydney.
Weakley, A., Deverell, K., Yuille, J. (2007). Web 2.0 in Support of Sketching in Architectural Practice. Human Interface and the Management of Information - Interacting in Information Environments (Part II) in Conjunction with the Six International Semantic Web Conference (ISWC 2007)
Zhang, Y. and Candy, L. (2007). An In-Depth Case Study of Art- Technology Collaboration Proceedings of Creativity and Cognition 2007, ACM Press: New York, pp 53-62. [Abstract]This paper presents an in-depth case study of the collaborative process of a creative art-technology project. We begin by providing a brief description of art-technology collaboration research and go on to describe the particular art-technology collaboration project called “GEO Narrative Landscapes”. This is followed by an account of a novel method for the analysis of the interaction between artists and technologists based on five communication modes. Findings include common types of conversation topics of communication modes, how these modes related to each other and how they were distributed in terms of frequencies and duration across meetings. Finally, we discuss the contribution of this work to our understanding of art-technology collaboration.
Zhang, Y. and L. Candy. A communicative behaviour analysis of art-technology collaboration. in The 12th International Conference on Human-Computer Interaction. 2007. Beijing, China: Springer, to appear. [Abstract]This paper presents an approach to investigating interdisciplinary collaboration between an artist and a technologist based on case study methods. The aim of the research is to understand how artists and technologists communicate with each other during a collaborative process. The paper begins with a brief account of the art-technology context, and goes on to describe how the data was collected and how the analysis framework was developed specifically for this context. At the end of this paper, we discuss the preliminary findings which illustrate the characteristics of participants’ communication behaviours in art-technology collaboration.
Zhang, Y. and L. Candy. An In-depth Case Study of Art-Technology Collaboration. in The 6th of Creativity & Cognition Conference. 2007. Washington DC, US: ACM, to appear. [Abstract]This paper presents an in-depth case study of the creative process of an art-technology collaboration project. We begin by providing a brief description of art-technology collaboration research and go on to describe a particular art-technology collaboration project called “GEO Narrative Landscapes”. This is followed by an account of a novel method for the analysis of the interaction between artists and technologists based on five communication modes. Findings include common types of conversation topics of communication modes, how these modes interacted with each other and how they were distributed in terms of frequencies and duration across meetings during the collaborative process. Finally, we discuss the contribution of this work to our understanding of art-technology collaboration.
Zhang, Y., A. Weakley, and E. Edmonds. Resolving assumptions in art-technology collaboration as a means of extending shared understanding. in The 12th International Conference on Human-Computer Interaction. 2007. Beijing, China: Springer, to appear. [Abstract]This paper extends the knowledge and understanding of art-technology collaboration. It reports upon a close empirical study of how computer programmers interacted with a digital artist to develop a computer-based interactive artwork. Analysis of the data collected showed that the joint uncovering and resolving of assumptions made by each party led to increased shared understanding. The contribution of this paper is to provide a better understanding of creative collaboration, particularly focusing on how developing the artefact increased the understanding between the artist and technologists.
Berry, R., Makino, M., Hikawa, N., Suzuki, M. and Inoue, N. (2006) Tunes on the table. ACM/Springer Multimedia Systems Journal 11 (3). pp280-289. [Abstract]The Music Table is an augmented reality system for composing music by manipulating objects on a tabletop as a physicalized representation of the music being heard. Educational theory, and the apparent success of related applications in various learning contexts, seems to support this idea. In our experiments with children, all were able to make a musical pattern and made many changes to their pattern over a short period of time. We propose its suitability as an educational tool, particularly in short and intense interactive learning situations such as children’s museums. We discuss some future developments of the idea.
Berry, R., Naemura, M., Kobayashi, Y., Tada, M., Inoue, N., Pisan, Y. & Edmonds, E. (2006) An Interface Test-Bed for Kansei Filters Using the Touch Designer Visual Programming Environment, Australasian User Interface Conference (AUIC2006), vol. 50, ed. W. Piekarski, (CRPIT), Hobart, Australia.
Berry, R.A., Makino, M., HIkawa, N., Naemura, M., Pisan, Y., Edmonds, E.A. (2006) Programming in the World. Digital Creativity 2006, 17 (1), pp. 36-48. Routledge Publishers.
Bilda Z., Costello B. , Amitani S. (2006). Collaborative analysis framework for evaluating interactive art experience, Journal of CoDesign vol. 2, #4, December 2006, Taylor and Francis, pp 225-238. More info... [Abstract]This paper describes a collaboration that resulted in the development of a coding scheme for the analysis of interactive art experience. The collaboration involved a multidisciplinary team of analysts who went through an iterative process of coding development in order to reach agreement on what to code, how to code and what to expect from the outcomes. The paper discusses the influence that this collaborative process had on the final scheme and provides a general description of the coding scheme. The paper concludes with a discussion of the potential value of the scheme for the analysis of interactive art experience.
Bilda, Z (2006) Evaluating Audience Experience, in E. Edmonds, L. Muller and D. Turnbull (Eds.) Engage: Interaction, Art and Audience Experience, Creativity and Cognition Studios Press, Australia, pp. 248 – 260.
Bilda, Z, Gero, J S and Purcell, A T (2006) To sketch or not to sketch: That is the question, Design Studies 27 (5): 587-613.
Bilda, Z, Gul, F, Gu, N and Maher, M L (2006) Software support for collaborative data analysis in collaborative design studies, in A. Ruth (Ed) Quality and Impact of Qualitative Research. 3rd Annual QualIT Conference, Australia: Institute for Integrated and Intelligent Systems, Griffith University, pp. 40 – 50. [download]
Burraston, D. and Martin, A. (2006) Digital Behaviors and Generative Music. Wild Nature and the Digital Life. Keshvani, N. (Ed). Special Issue, Leonardo Electronic Almanac. MIT Press. Vol 14, No. 7-8. [download] More info... [Abstract]The use of computers in the generation of digital art and music has enabled the application of a single data source to the parameters of audiovisual modalities. This paper reports on an investigation within Electronic Arts practice where experimental works have been devised that make use of simulated natural systems. It explores essentially natural systems such as reaction-diffusion systems and the computational simulation method of Cellular Automata (CA). Contemporary artists’ practice is continually informed by scientific thought and understanding as new discoveries or conjectures are published. These are examined and presented in a non-mathematical format in the context of music composition.
Candy, L., Amitani, S. & Bilda, Z. (2006). Practice-Led Strategies for Interactive Art Research, CoDesign: International Journal of Co Creation in Design and the Arts, Interactive Art Collaboration (Special Edition), Vol.2 No. 4 December, pp 209-223. [Abstract]Interactive art is said to be ‘created’ by the people engaged in the active experience of it. Works are conceived and first tried out in the studio environment by the artist and then introduced to a wider audience whose behaviour influences its particular visual and auditory manifestations. Research into this kind of process presents interesting challenges that require interdisciplinary collaboration. Artists, technologists, curators, museum organisers are seeking new ways to understand what is effective and engaging about the interactive experience. The practice-led research process is one of co-evolution between creative acts and research knowledge drawn from both informal experiences and organised studies. The paper describes practice-led strategies for research that have been developed at the Creativity and Cognition Studios and put into effect in Beta_space, an exhibiting space in a major public museum. Keywords: practice-led research, evaluation, interactive art, Creativity and Cognition Studios, Beta_space
Colineau, N., Phalip, J., Lampert, A. (2006). The delivery of multimedia presentations in a graphical user interface environment. Proceedings of Intelligent User Interfaces 2006, p.279. [Abstract]A major issue in many domains is to present information to people that is tailored to their need, in such a way that it supports them in their tasks. In this paper, we present the Virtual Document Planner (VDP), a platform we developed for generating tailored interactive multimedia presentations in the surveillance domain. Integrated with the surveillance operators� graphical interface, the VDP provides tailored information delivery mechanisms that adapt the operators� information rich environment to their tasks and information needs.
Danylak, R. and Edmonds, E. (2006). Touch as the Act of Signification: Naming as a Key Design Concept for the Gesturally Intuitive Interactive Space. Edmonds, E., Muller, L., and Turnbull, D. (eds). Engage: Interaction, Art and Audience Experience - A CCS/ACID Symposium. Creativity and Cognition Studios Press, 2006. Sydney, Australia. pp 196-206. More info... [Abstract]The act of naming, where sign and the signified are coupled as an act of touching, establishes the foundations for the meaningful use of language. The computer, a language machine, possesses the capacity to input sensory data from the physical environment where signification occurs. To design a computationally extended sensory environment with intuitive gestural interaction will necessarily then have touch as a foundational factor. The universal element in such systems is language; the specific is the context of place, a space where the significating action of touch occurs.
Danylak, R. and Edmonds, E. (2006). Touch as the Act of Signification: Naming as a Key Design Concept for the Gesturally Intuitive Interactive Space. Edmonds, E., Muller, L., and Turnbull, D. (eds). Engage: Interaction, Art and Audience Experience - A CCS/ACID Symposium. Creativity and Cognition Studios Press, 2006. Sydney, Australia. pp 196-206. More info... [Abstract] [Abstract] Abstract: The act of naming, where sign and the signified are coupled as an act of touching, establishes the foundations for the meaningful use of language. The computer, a language machine, possesses the capacity to input sensory data from the physical environment where signification occurs. To design a computationally extended sensory environment with intuitive gestural interaction will necessarily then have touch as a foundational factor. The universal element in such systems is language; the specific is the context of place, a space where the significating action of touch occurs. Keywords: signification, touch, interaction.
Dyson,L.E., Leggett, M. (2006) Towards a Metadesign Approach for Building Indigenous Multimedia Archives. Proceedings of the 12th ANZSYS conference, Katoomba, 3rd-6th December. [Abstract]Indigenous Australian cultures have experienced a revival in recent years as communities realise the value of recording their cultural heritage. Computer systems designed for Indigenous cultural archives, can play a role in storing Indigenous culture in multimedia formats such as video, sound recordings, photographs and text, and then making them available back to the community. This paper proposes a new approach to the design of Indigenous multimedia archives. Practice-based approaches to metadesign can be combined with Indigenous protocols to develop better systems for Indigenous communities. Using this approach it is possible to avoid “top-down”design methods and, instead, partner with Indigenous people in building authoring software with which they can construct their own cultural systems. By this means Indigenous Australians can gain control of a system which is suited to their needs, cultural traditions and protocols.
Edmonds, E. (2006) Reflections on the Nature of Interaction. Engage: Interaction, Art and Audience Experience - A CCS/ACID Symposium. Creativity and Cognition Studios Press, Sydney, Australia, 2006. p.xxiii-xxviii. [Abstract]Digital art may be static or dynamic with a totally fixed behaviour but often such artworks, or art systems, interact with the world in some way. These interactions may be with objects in the environment or may be with an audience sensed through image or sound analysis. The most complex interactions are potentially those with the audience, with purposeful enquiring (human) systems.
Edmonds, E. (2006). New directions in interactive art collaboration. CoDesign: International Journal of CoCreation in Design and the Arts (Special Issue). Taylor and Francis Group, Oxon, UK, 2006. p. 191-194. [download] [Abstract]This special issue of CoDesign is introduced with a brief discussion of creative collaborations between artists and their audiences. In particular, the concept of Beta_Space, an experimental exhibiting facility in which artists can experiment with their evolving interactive works, is introduced. A short historical diversion places that development in its historical context in terms of the author’s work in that area in the UK and Australia. The papers in the issue are briefly discussed.
Edmonds, E. A., Muller, L, and Connell, M. (2006). On Creative Engagement. Visual Communication. SAGE Publications, 2006, London, Thousand Oaks, CA and New Delhi. Vol 5(3). pp. 307-322. [Abstract]This article is concerned with the design of interactive art systems intended for display in public locations. It reviews approaches to interactive art systems and discusses the issue of creative engagement with them by the active audience. An approach to elaborating a model of creative engagement is described and exploratory work on its refinement is reported.
Edmonds, Ernest. (2006). Abstraction and Interaction: An Art System for White Noise. Computer Graphics, Imaging and Visualisation - Techniques and Applications. Ebad Banissi, et al (Eds). IEEE Computer Society Conference Publishing Services. Los Alamitos, California: 2006. pp 423-427.
Gonsalves, T. (2006). An Exploration into Deeper Engagements of Audience and Creative Process. Edmonds, E., Muller, L., and Turnbull, D. (eds). Engage: Interaction, Art and Audience Experience - A CCS/ACID Symposium. Creativity and Cognition Studios Press, 2006. Sydney, Australia. pp 196-206. More info... [Abstract]The artist discusses the trajectory of three creative projects dealing with affect and audience. She discusses the progressions of how audience engagement drove her creative process, and how her work developed, from earlier single channel short film works exploring a one-way dialogue with audiences, to more intricate multi-channelled interactive and wearable technology artworks that explored a more complex two-way dialogue between work and audiences. With each project, the role of audiences became more central to her work informing her artistic process.
Johnston, A., Marks, B., and Edmonds, E. (2006). Charmed Circle: An Interactive Toy for Musicians. Cheok, A.D., Boj, C. , Dias, D., Kimpan. C.(eds). International Conference on Digital Interactive Media and Arts (DIME). Research Publishing Services, ACM-SIGHI. Bangkok, Thailand, 2006. Proceedings on CD-ROM. More info... [Abstract]This paper describes the development of an interactive musical toy designed to be used by musicians. The design process, which invovled close collaboration between a composer/musician and a technician/musician, is described as is the toy itself. The toy makes use of physical modelling techniques which are intended to allow the musician to more intuitively understand and control the visualisation. The structure of the application is described at a high level and a preliminary evaluation by a professional musician is provided.
Johnston, A., Marks, B., Candy. L., and Edmonds., E. (2006). Partial ReflectionsEdmonds, E., Muller, L., and Turnbull, D. (eds). Engage: Interaction, Art and Audience Experience - A CCS/ACID Symposium. Creativity and Cognition Studios Press, 2006. Sydney, Australia. pp 100-109. More info... [Abstract]This paper describes an ongoing project to develop interactive environments for musicians that encourage musical exploration. A process of developing software such as this, where requirements are highly dynamic and unclear is outlined and two musical compositions and associated interactive environments entitled \'Partial Reflections\' are described.
Kan, J. W., Bilda, Z. and Gero J. S. (2006). Comparing entropy measure of idea links in design protocols. In J S Gero (ed.) DCC\'06 (Design Computing and Cognition), Springer, Dordrecht, pp. 265-285.
Kang, Yong-Bin Kang and Pisan, Y. A Survey of Major Challenges and Future Directions for Next Generation Pervasive Computing. To appear in The 21st International Symposium on Computer and Information Sciences, Istanbul, Turkey.
Leggett, M. (2006) Image Con Text (1978-2003) : Film/Performance/Video/Digital. Experimental Film and Video: an Anthology, ed Hatfield, J. John Libbey Publishing, UK. ISBN 0 86196 664 3 [Abstract]Since the 1960s Mike Leggett has made key works across film, performance, video and digital media, and has practiced as a curator, writer, director, producer, photographer and computer consultant. In Image Con Text (1978-2003) Film / Performance / Video / Digital he discusses the shifts in technology from the analogue to digital (film, video, digital and computer) traversed through the series of artworks, the Image Con Text project. Leggett contextualises the complex processes of his work alongside the relative critical and philosophical debates, from the analogue technologies of film and video to interactive computer augmented multimedia. (From Dr Hatfield\'s Introduction chapter)
Leggett, M. (2006) The Bairdboard Bombardment: a Decade of Engagement. Engage: Interaction, Art and Audience Experience, ACM Symposium, UTS Sydney. [Abstract]This paper positions aspects of computer-based arts practice a decade ago together with manifestations and directions being taken on the contemporary scene. In the light of recent events foreshadowed by the disbanding of the New Media Fund of the Australia Council, the question is: have artists failed to aspire to the dynamic potential of the earlier period of development, or has arts practice moved into a more mature relationship with audiences through the broadening of creative agendas?
Leggett, M. (2006). The Bairdboard Bombardment: A Decade of Engagement. Edmonds, E., Muller, L., and Turnbull, D. (eds). Engage: Interaction, Art and Audience Experience - A CCS/ACID Symposium. Creativity and Cognition Studios Press, 2006. Sydney, Australia. pp 196-206. More info... [Abstract]This paper will position aspects of computer-based arts practice a decade ago together with manifestations and directions being taken on the contemporary scene. In the light of recent events foreshadowed by the disbanding of the New Media Fund of the Australia Council, the question is: have artists failed to aspire to the dynamic potential of the earlier period of development, or has arts practice moved into a more mature relationship with audiences through the broadening of creative agendas?
Leggett, M., (2006) Interdisciplinary Collaboration and Practice-based Research. Convergence: the International Journal of Research into New Media Technologies. Vol 12 N3 p 263-269. Sage Publications, London & New Delhi. More info... [Abstract]Practice-based research and actual collaborative projects between artists and scientists have shown that knowledge about each other\'s fields, whilst necessary for identifying probable outcomes of mutual benefit cannot anticipate the emergence of the possible - does knowledge in the form of written papers or experiencial artworks emerge from loose collaborations or the highly specified kind? Case studies from early 1970s video through to contemporary digital projects examine collaborations between artists, scientists and technologists and the involvement of audiences with interactive media art that will, between respondent and correspondent, create human computer interaction of a different order, a new aesthetics of interdisciplinary spaces.
Leggett, M., (2006) Meta-design Approaches to Indexing Audio-visual Media. Speculation and Innovation: applying practice led research in the Creative Industries (SPIN 05). Queensland University of Technology, Brisbane. [Abstract]The contemporary burgeoning usage of digital media - videos, audio and photographs - and media distribution through networks both electronic and physical, will be considered in the context of a convergence of these media with a contemporary and popular interest in personal and community history. I will outline some research that seeks to develop tools for storing and retrieving audio-visual digital media whilst accommodating the perceived needs of the ‘memory worker’, both amateur and professional, whether as an individual, or a closed or open group.
Leggett,M. Amitani, S. (2006) Hypermedia for Portable Video Players (PVP). Proceedings of Third International Conference on Computer Graphics, Imaging and Visualization (CGIV 2006), Sydney, Australia [Abstract]In this paper we propose the exploitation of high mobility portable battery operated Video Players (PVP) for the retrieval of video associated with the location in which it may be used. Reporting on an earlier interactive multimedia location-based prototype, we assess the possibilities for specific ontologies of a taxonomy of indexing procedure which avoids text-based retrieval methods, using instead the mnemonics of image association. We outline the proposed development of PVP firmware and a related user application enabling users to construct indexing procedures appropriate to their needs, using a metadesign approach.
Maher, M.L., Bilda, Z. and Gul, F.L. (2006). Impact of collaborative virtual environments on design behaviour. In J S Gero (ed.) DCC\\\'06 (Design Computing and Cognition), Springer, Dordrecht, pp. 305-323.
Moss, S. (2006). The Reflective Practitioner: in creation of a presence based experience. Edmonds, E., Muller, L., and Turnbull, D. (eds). Engage: Interaction, Art and Audience Experience - A CCS/ACID Symposium. Creativity and Cognition Studios Press, 2006. Sydney, Australia. pp 218-228. More info... [Abstract]This paper will discuss audience as participants and reflect on why interactive artworks require ‘safe’ environments for exhibition. A pilot study was developed in order to ascertain the artists\\\' conceptualisation of a presence component within a networked system. The study of the interactive artwork The Element of \\\'Luck\\\' was devised to gauge a participant\\\'s presence experience in terms of human computer interaction (HCI). It is the first in a series of works that will develop sequentially during the next three years; each layer of new work informed by the progress of the last. This study facilitates a dialogue in relation to the following criteria: 1) presence and facilitating engagement; 2) the audience as participants; and 3) environments for exhibiting interactive art systems.
Muller, L. and Edmonds, E. A. (2006). Living Laboratories: Making and Curating Interactive Art. SIGGRAPH 2006 Electronic Art and Animation Catalog, ACM Press, New York. 2006. pp 160-163.
Muller, L., Edmonds, E., Connell, M. (2006) Living Laboratories for Interactive Art. CoDesign: International Journal of CoCreation in Design and the Arts, Interactive Art Collaboration (Special Issue), 2(4), December 2006, Taylor and Francis Group, Oxon, UK, pp. 195–207. [Abstract]This paper explores the idea of the exhibition as a living laboratory in the making and curating of interactive art. It suggests that museums can act as living laboratories where curators, artists andaudiences collaborate in real-world settings. Such laboratories are shown to be essential for the study of the audience experience of interactive art, a key part of understanding interactivity as a medium. The paper describes Beta_space: an experimental public exhibition venue and research environment for interactive art. It places this initiative within a historical continuum of transversal cultural display and the use of the museum as laboratory. It identifies an emerging phenomenon of hybrid research, production and exhibition spaces, and argues that such initiatives work to overcome the continued distinctions, within traditional cultural institutions, between art, science andtechnology, object and experience, creation and consumption.
Muller, L., Robertson, T., and Edmonds, E.A. (2006). Experience Workshops. Proceedings of \"The object of interaction - the role of artefacts in interaction design\" OZCHI 2006. ACID, Brisbane, Australia: 2006. [download] More info...
Muller, L., Turner, G., Khut, G. and Edmonds, E. (2006). Creating Affective Visualisations for a Physiologically Interactive Artwork. Proceedings of the 10th International Conference of Information Visualisation, London, 5-7 July 2006. IEEE Computer Society, Los Alamitos, California. pp 651-658.
Nagai, Y. and Taura, T. (2006). Formal Description of Concept-Synthesizing Process for Creative Design. J.S. Gero, Ed. Design Computing and Cognition 06. Springer, Dordrecht. pp. 443-460. [Abstract]We describe a design synthesizing process which has been pointed out to be a key to creative design. We describe two topics of design study. First, from the perspectives of creativity, the concept-synthesizing process is formed with the 1st primitive of the concept-synthesizing process being ‘concept abstraction’ with the principle of ‘similarity’ in ‘taxonomical relations’, the 2nd primitive being ‘concept blending,’ in which the principle is ‘similarity’ and ‘dissimilarity’ in ‘taxonomical relations’, and the 3rd primitive being ‘concept integration’ and with the principle of ‘thematic relations’. Second, design experiments using protocol analysis were conducted to identify what/how design primitives are related to higher creativity. As a result, in the process of synthesizing concepts, thematic relations between two concepts significantly extend the design space, which led to higher creativity. Given this, the creative design process can be driven by the 3rd primitive of the concept-synthesizing process.
Nagai, Y., Taura, T., Edmonds, E.A. Candy, L. and Okada, R. (2006). A Study of Concept Synthesis in Design Creativity. Proceedings of 2006 Design Research Society International Wonderground Conference. 1-4th November, Lisbon, Portugal. (to appear)
Pisan, Y. (2006). Artificial Intelligence versus Clever Design for Creating Intelligent Game Characters. Journal of Computational Information Systems, 2 (1), pp 429-433. Binary Information Press
Seevinck, J., Candy, L., Edmonds, E.A. (2006). Exploration and Reflection in Interactive Art: Glass Pond. Proceedings of OZCHI 2006, Sydney, Australia (to appear 2006). [Abstract]Glass Pond is an interactive artwork designed to engender exploration and reflection through an intuitive, tangible interface and a simulation agent. It is being developed using iterative methods. A study has been conducted with the aim of illuminating user experience, interface, design, and performance issues. The paper describes the study methodology and process of data analysis including coding schemes for cognitive states and movements. Analysis reveals that exploration and reflection occurred as well as composing behaviours (unexpected). Results also show that participants interacted to varying degrees. Design discussion includes the artwork’s (novel) interface and configuration.
Seevinck, J., Scerbo, M.W., Belfore, L.A., Weireter, L., Crouch, J., Shen, Y., McKenzie, F.D., Garcia, H.M., Girtelschmid, S., Baydogan, E., Schmidt, E.A. (2006). A Simulation-Based Training System for Surgical Wound Debridement. Proceedings of Medicine Meets Virtual Reality 14 (MMVR), IOS Press, Long Beach, USA. 25-27 January 2006. [Abstract]Wound debridement is a minor surgical procedure, but one that is performed by surgeons, physicians assistants, surgical assistants, nurses, and military medics and corpsmen. At present, this procedure is typically learned with actual patients. This paper presents a simulation-based training system for surgical wound debridement. The objective is to provide trainees with the requisite knowledge and skills to perform the procedure through self-instruction and practice, thereby eliminating the need for one-on-one instruction. The system comprises three parts: a multimedia introduction, a surgical simulator (tutorial component), and an assessment component. The initial training is a web-based module providing didactic information on varieties of wounds, methods of debridement and so forth. The simulator component allows debridement to be performed on a virtual patient, specifically an injured motorcyclist whose thigh laceration may be virtually excised using a haptic and augmented reality display interface. The last component comprises a virtual agent that both instructs the trainee in conducting the procedure and assesses their competency.
Shen, Y., Seevinck, J., Baydogan, E. (2006). Realistic Irrigation Visualization in a Surgical Wound Debridement Simulator. Proceedings of Medicine Meets Virtual Reality 14 (MMVR), IOS Press, Long Beach, USA. 25-27 January 2006. [Abstract]Wound debridement refers to the removal of necrotic, devitalized, or contaminated tissue and/or foreign material to promote wound healing. Surgical debridement uses sharp instruments to cut dead tissue from a wound and it is the quickest and most efficient method of debridement. A wound debridement simulator can ensure that a medical trainee is competent prior to performing a procedure on a genuine patient. Irrigation is performed at different stages of debridement in order to remove debris and reduce the bacteria count through rinsing the wound. This paper presents a novel approach for realistic irrigation visualization based on texture representations of debris. This approach applies image processing techniques to a series of images, which model the cleanliness of the wound. The active texture is generated dynamically based on the irrigation state, location, and range.
Shneiderman B, Fischer G, Czerwinski M, Resnick M, Myers B, Candy L, Edmonds E, Eisenberg M, Giaccardi E, Hewett T, Jennings P, Kules B, Nakakoji K, Nunamaker J, Pausch R, Selker T, Sylvan E, Terry M. (2006). White Paper on Creativity Support Tools Workshop. International Journal of Human-Computer Interaction (IJHCI). Lawrence Erlbaum Associates, Inc. New Jersey, USA: Vol 20, No. 2, pp. 61-77. More info... [Abstract]Creativity support tools is a research topic with high risk but potentially very high payoff. The goal is to develop mproved software and user interfaces that empower users to be not only more productive but also more innovative. Potential users include software and other engineers, diverse scientists, product and graphic designers, architects, educators, students, and many others. Enhanced interfaces could enable more effective searching of intellectual resources, improved collaboration among teams, and more rapid discovery processes. These advanced interfaces should also provide potent support in hypothesis formation, speedier evaluation of alternatives, improved understanding through visualization, and better dissemination of results. For creative endeavors that require composition of novel artifacts (e.g., computer programs, scientific papers, engineering diagrams, symphonies, artwork), enhanced interfaces could facilitate exploration of alternatives, prevent unproductive choices, and enable easy backtracking. This U.S. National Science Foundation sponsored workshop brought together 25 research leaders and graduate students to share experiences, identify opportunities, and formulate research challenges. Two key outcomes emerged: (a) encouragement to evaluate creativity support tools through multidimensional in-depth longitudinal case studies and (b) formulation of 12 principles for design of creativity support tools.
Turnbull, Deborah. (2006). Old Myths, New Meanings: Border Crossing and the Recontextualization of Space in Alladeen and Theft of Sita. MA Thesis. Faculty of Arts, 2006, University of Sydney, Australia.
Weakley, A. (2006). Developing Widgets to Support Non-Deliberate Sharing. Approaches to the Design of Social Software for Dis-Organisations: An ACID Virtual Communities Workshop in Association with OzCHI 2006.
Zhang, Y. & Candy, L. (2006). Investigating Collaboration in Art and Technology, CoDesign: International Journal of Co Creation in Design and the Arts, Interactive Art Collaboration(Special Edition), 2(4), P239-248. [Abstract]In order to understand how collaboration between people from different disciplines takes place, research is being undertaken in the area of art and technology. The paper describes three studies of collaboration between artists and technologists drawn from the COSTART (COmputer SupporT for ARTists) project, an artist-in-residency programme that provided a platform for studying the creative process. The paper describes how case studies were carried out and, in particular, how the data analysis was conducted using a coding framework developed specifically for this art-technology context and what the preliminary findings that have emerged were.
Zhang, Y. and L. Candy. A Study of Interdisciplinary Collaboration in Art and Technology in Proceedings of CCS/ACID Symposium: Engage: Interaction, Art & Audience Experience. 2006. Creativity and Cognition Studio, University of Technology, Sydney, Australia: Creativity and Cognition Studio Press. [Abstract]This paper describes a method based on protocol analysis to study interdisciplinary collaborative activities between an artist and a technologist. The data was collected during an artist-in-residency project COSTART (COmputer SupporT for ARTists). The aim of the research is to understand how artists and technologists communicate with each other during a collaborative process. The paper describes how the research was carried out and, in particular, how the data analysis was conducted using coding schemes developed specifically for this context. At the end of the paper, preliminary findings are presented and future works are indicated.
Zhang,Y. and Candy,L. (2006). A Study of Interdisciplinary Collaboration in Art and Technology. Proceedings Engage 2006 Conference, University of Technology, Sydney. [Abstract]This paper describes a method based on protocol analysis to study interdisciplinary collaborative activities between an artist and a technologist. The data was collected during an artist-in-residency project COSTART (COmputer SupporT for ARTists). The aim of the research is to understand how artists and technologists communicate with each other during a collaborative process. The paper describes how the research was carried out and, in particular, how the data analysis was conducted using coding schemes developed specifically for this context. At the end of the paper, preliminary findings are presented and future works are indicated.
Zhang,Y.& Candy,L.(2006). Investigating Interdisciplinary Collaboration: Case Studies in Art and Technology, QualIT 2006, Brisbane, Australia. [Abstract]In order to understand how collaboration between people from different disciplines takes place, research is being undertaken in the area of art and technology. The paper describes two studies of collaboration between artists and technologists drawn from the COSTART (COmputer SupporT for ARTists) project, an artist-in-residency programme that provided a platform for studying the creative process. The paper describes how the research was carried out and, in particular, how the data analysis was conducted using a coding scheme developed specifically for this context. Finally, the preliminary findings are discussed and future work is proposed.
Burraston, D. and Edmonds, E. A. (2005). Celluar Automata in Generative Music and Sonic Art: a historical and technical review. Digital Creativity, Routledge: Taylor & Francis Group, 2005, Vol 16(3) pp 165-185. More info... [Abstract]This paper will review electronic music and sonic art applications of Cellular automata (CA) in a historical and technical context. Algorithmic and computational processes have been of interest to artists for many years, creating an emerging culture of generative electronic art. Creating patterns and sequences is necessary for the creative artist working spatially and temporally within a chosen medium. CA are capable of a wide variety of emergent behaviours and represent an important generative tool for the artist. The sonic artist and musician must be prepared to investigate the theoretical background of CA in order to successfully employ their vast behaviour space within compositional strategy. There is an extensive amount of mathematical and scientific literature relating to CA, however much of this is esoteric or difficult to understand. Important and accessible CA concepts are presented concisely in a non mathematical context to give sufficient background for the review. There have been several approaches at applying CA in the production of electronic music and sonic art. Examples exist in the fields of overall structural composition, MIDI sequencing and sound synthesis/modification techniques. Applications from academic, independent and commercial sectors will be critically reviewed in an artistic, historical and technical context. This will provide the artist and scientist with a balanced view of this emerging field.
Costello, B., Muller, L., Amitani, S., Edmonds, E. (2005) Understanding the Experience of Interactive Art: Iamascope in Beta_space, in proceedings of Interactive Entertainment, November 2005, Sydney. [Abstract]This paper describes a study into the situated experience of interactive art. The study was conducted with audiences of the artwork Iamascope and is framed by the four categories of embodied experience that have been proposed by its artist Sidney Fels. The video-cued recall method we employed was shown to reveal rich detail about situated interactive art experience. The results provide a detailed account of how the categories of embodiment manifest themselves in audience experience and lead to the proposal of a blueprint for the trajectory of interaction produced by Iamascope which may be generalisable to other interactive artworks.
Costello, B., Weakley, A. & Edmonds, E. (2005) Reading and Writing Collaborative Creative Presence, in proceedings of HCI International, July 2005, Las Vegas, Nevada (electronic ISBN:0-8058-5807-5).
Costello, B., Weakley, Alastair J., Edmonds, E.A. (2006). Reading and Writing Collaborative Creative Presence. HCI International 2005 - 11th International Conference on Human-Computer Interaction. Lawrence Erlbaum Assoc., USA: 2005. pp 1-10.
Danylak, R. & Edmonds, E. 2005 ‘Acting Interactively in a Digital World’ in New Trends in Software Methodologies, Tools and Techniques Proceedings of the Fourth Somet_W05 Tokyo Japan. eds H. Fujita, M. Mejri, IOS Press, Amsterdam, pp. 401-406. [Abstract]Abstract: The virtual world that computation now presents to us and involves us in, otherwise known as digitisation - collapses the ‘self’; personal identity to which we have become accustomed to in the last four hundred years, is challenged by the illusion of many selves, transforming our experience of the usual. Digital technology predicates this change; we are no longer happy with just being John Smith, our namesake, and the technology allows, even encourages this; it presents us with the possibility of playing in an infinite game where we can be many other beings, other types of people, rather than staying as ‘who’ we are. The combination of separate, unique, historically evolved representational technologies, best stated as counterfeit, production and simulation, distinctions established by Baudrillard[1] allows this diversity of self to evolve in a digitised environment. This paper will focus on Spielberg’s film Catch Me if You Can, the narrative describing the actions of its game playing protagonist, Frank Abagnale – who exemplifies digital man - adopting many personas but in a pre-digital world. This study offers a clear understanding of the nature of interactivity and its relationship to representation and human action. Semiotic analysis of these distinctions will be included. Key words:. Self, counterfeit, production, simulation, action, multimodal, game, interaction, semiotic, metaphor, metonymy, utterance.
Danylak, R. & Edmonds, E. 2005 ‘The Actor and The Virtual World; Practice-Based Research as Innovation in Human Computer Interaction’, Speculation and Innovation Conference Queensland University of Technology, Creative Industries. . [download] [Abstract]Multimodal Interaction has created exciting new opportunities for the future of HCI. Current interfaces are, however, becoming congested owing to the easy transformations of digitised information from one application to another. For this reason, it is often difficult to clearly realise new potentials, computer assistance adding rather than reducing complexity. At the core of the problem lies the fact that the different requirements of time and space in multimodal interfaces are not compatible. The dimensional variations of image, sound, text and gesture recognition - to name but some of the data permutations possible - create complexities that are difficult to manage, especially when they operate side by side in the same machine. As such, what is required is new modelling to resolve these very difficult design issues. The paper will define a number of characteristics of multimodal interaction through the understanding that dramatic action, that is performance, is a primary human activity, which the computer is now capable of amplifying as a technological extension of a spatial activity. Secondary to this is reading, the decoding of text, including images, which reactivates the body from the storage of the written. These two elements, the performed and the read, are respectively spatial and temporal forms present in computing and an understanding of their differences forms a matrix for multimodal interaction design. A discussion on previous modelling is included. Keywords: text, gesture, interaction
Danylak, R. & Edmonds, E. 2005 ‘The Interactive Game: Origins and Effects’ in proceedings of Australasian Conference on Interactive Entertainment, University of Technology, Sydney. Creativity and Cognition Press. pp..65-69 [Abstract]The virtual world that computation now presents to us and involves us in, otherwise known as digitisation - collapses the ‘self’; personal identity to which we have become accustomed to in the last four hundred years, is challenged by the illusion of many selves, transforming our experience of the usual. Multimedia presents us with dimensional multiplicity meaning that we are no longer forced to be just John Smith, our namesake. We have a possibility of playing in an infinite game where we can be many other beings, other types of people, rather than staying as ‘who’ we are. This has significant consequences for the interface design notion of the single user. The combination of separate, unique, historically evolved, representational technologies, best stated as counterfeit, production and simulation, distinctions established by Baudrillard[1] allows the diverse self to evolve in a digitised environment. This paper will focus on Spielberg’s film Catch Me if You Can, the narrative describing the actions of its game playing protagonist, Frank Abagnale – who exemplifies digital man - adopting many personas but in a pre-digital world. This study offers a clear understanding of the nature of interactivity. Semiotic analysis will be included revealing that the evolution of communication technologies since the Renaissance amplifies language in successive epochs characterised by space and/or time concerns, pinpointing origins. Keywords:. Self, counterfeit, production, simulation, action, multimodal, game, interaction, semiotic, metaphor, metonymy, utterance.
Edmonds, E. A. (2005). On New Constructs in Art. Artists Bookworks, Springer Publications, 2005, UK. More info... [Abstract]Explorations in Art and Technology is about the creative process in action through the eyes of practitioners and researchers. The book explores the fascinating relationship between artist and technologist through studies of innovative projects that push the boundaries of digital art. The research sheds new light on the nature of interaction between people and computers and provides insight into the characteristics of environments in which creativity can be enhanced. In doing so, it presents a case for organisations to develop strategies for offering environments in which collaborative, sustainable partnerships can thrive. What emerges is a compelling story of new visions and new forms in a field that is set to transform traditional norms in both art and technology as we move through the 21st Century.
Edmonds, E. A. and Stubbs, M., Editors. (2005). White Noise, ACMI, Melbourne, 2005. More info... [Abstract]The moving image and abstraction are two of the most revolutionary creative achievments of the modern age. White Noise explores their history and their ongoing dialogue through works by some of the world\'s leading artists in digital media. This lavishly illustrated publication features over 100 pages of detailed information about the artists featured in White Noise, as well as new critical essays on abstraction in a digital age by Ernest Edmonds, Patricia Railing, Cindy Keefer, Lev Manovich and Mike Stubbs.
Edmonds, E.A. and Candy, L. (2005). Computation, interaction and imagination: Into virtual space and back to reality. New trends in software methodologies, tools and techniques: Proceedings of the fourth SoMeT-W05. IOS Press. Amsterdam, The Netherlands: 2005. pp 353-363.
Edmonds, E.A., Candy, L, Fell, M. Pauletto, S. and Weakley, A. (2005). The Studio as Laboratory: Combining Creative Practice and Digital Technology Research, International Journal of Human-Computer Studies Special Issue on Creativity and Computational Support, Vol. 63, issue 4, August pp 452-481.
Johnston, A., Amitani, S. and Edmonds, E. 2005, Amplifying Reflective Thinking in Musical Performance, Creativity and Cognition 2005, London
Johnston, A., Marks, B. and Edmonds, E. 2005, An Artistic Approach to Designing Visualisations to Aid Instrumental Music Learning, Cognition and Exploratory Learning in the Digital Age (CELDA2005), (eds) Kinshuk, Sampson, D., G. and Isaias, P., IADIS Press, Porto, Portugal, pp. 175-182.
Johnston, A., Marks, B. and Edmonds, E. 2005, Spheres of Influence - an Interactive Musical Work, Interactive Entertainment (IE2005), Sydney, Australia.
Leggett, M. (2005) Indexing Audio-Visual Digital Media: The Pathscape Prototype. Scan,V2 N2, Macquarie University, Sydney. [download] [Abstract]The paper reports some early stages of interdisciplinary research into human memory and its relation to machine memory, methods of storage and retrieval of media elements in the current context of information and communication technology (ICT). It proposes an approach to indexing audio-visual media utilising a representational system that draws on a real-world time-space representation as the taxonomy for the indexing procedure. An interactive experimental prototype, PathScape, will be described and evaluated and further practice-based research approaches to author-defined storage and retrieval systems will be outlined.
Leggett, M., (2005) Generative Film : analogue to digital migrations. Third Iteration - third international conference on generative systems in the electronic arts 2005, Monash University, Melbourne, Australia. [Abstract]As a model of creativeness and the creative processes involving an analogue generative system, reference will be made to the eight-minute film Red+Green+Blue. Based on Notes made at, and shortly after, the time of its production, the generative art emergent in the film will be evaluated in the light of recent discussion of digital/binary-based mediums and how the generative system in the model was useful to the artistic enterprise, the Sheepman & the Sheared film series. Evaluation of how the generative system employed in Red+Green+Blue extended the experience of receiving the artwork will be described, concluding with an outline of the issues of concept transfer from the analogue to the digital domain.
Leggett, M., (2005) Generative Film : Red + Green + Blue. Generative Arts Practice (GAP \'06) Symposium, University of Technology Sydney. [Abstract]A description of some informal research from the 1970s a period when myself and others explored iterative and generative systems using motion-picture film. The approach was practice-based and occurred in a context of artists working with film as a dynamic medium. The films considered various factors that could have effect upon the physical nature of the film experience. The role of the film audience as an active participant in meaning production was critical to the process. Based on Notes about the film, “Red+Green+Blue” (Leggett 1975), the project and its context, the generative system using this analogue-based medium is evaluated in the light of recent discussion of digital/binary-based generative mediums.
Leggett, M., (2005) Seen / Unseen / Seen : 1973 - 2005. Video installation, Videomedeja 2005, Novi Sad, Serbia Montenegro. [Abstract]The frame of the camera in 1973 leaves unseen to the viewer what the artist can see... In 2005 the objects named remain unseen. The 1973 analogue recording made on a Sony Portapak is re-visited in 2005 with digital video. (The objects remain, unseen).
Leggett, M.,(2005) Losers and Finders: Indexing Audio-visual Digital Media. Proceedings ACM SIGCHI Creativity & Cognition 2005, Goldsmith\'s College, London. [Abstract]The contemporary burgeoning usage of digital movies, photos, audio and text, their distribution through networks both electronic and physical will be considered in the context of a convergence of these media with a popular interest in personal and community history and identity. The paper introduces interdisciplinary research into human memory as a context for understanding its relation to machine memory and methods of storing and retrieval. It proposes an approach to indexing audio-visual media utilising a time-space representational system, drawing upon a real-world time-space representation as the taxonomy of the indexing procedure. An interactive experimental prototype, PathScape, will be described and evaluated and further practice-based research approaches to author-defined storage and retrieval systems will be outlined.
Leggett, Mike. Undivided Diversions [online]. 2005. In: Vital Signs: Creative Practice & New Media Now; pages: [31]. Jones, Lyndal (Editor); Anastasiou, Pauline (Editor); Smithies, Rhonda (Editor); Trist, Karen (Editor). Melbourne: RMIT Publishing, 2005. Availability: ISBN: 1921166118. [cited 18 Jul 06]. More info... [Abstract]This paper will outline some instances of ‘tekhne’, the Greek term for art, incorporating the tool and its expression in the hands of the protagonist regardless of the outcome of the purposeful creative act. With examples of work from various domains, it will argue that cross-disciplinary, practice-based work in studio and laboratory, in moving towards the dissolving of historical divisions in the generation of knowledge or experience, will be central to giving form to future work for and of, social engagement.
With examples drawn from the historical and contemporary record, the often tense and antagonistic relationship between the arts, science and technology will be briefly surveyed. If we are to both locate new forms and find them meaningful and pleasurable experiences, then it will be necessary to open ourselves to interdisciplinary practice not defined by restricted languages, jaded tastes and faded ideologies.
Pisan, Y. (2005) Everything I Learned from The Sims: Putting Games in Context. In the Proceedings of the IADIS WWW/Internet Conference, Lisbon, Portugal.
Proceedings of the Australasian Conference on Interactive Entertainment, Sydney, Australia, 23-25 November 2005, Edited by Yusuf Pisan, ISBN 0-9751533-2-3. Available from http://portal.acm.org/ More info...
Seevinck, J. (2005). Blue in the Bluebird. Shades of Summer exhibition at Indigo Contemporary Art Gallery, Norfolk, U.S.A. Installation of artwork. More info... [Abstract]Computer generated video \'blue in the bluebird\' is developed from earlier studies pursuing an essence of place, an essence of the open bush land, coastal areas, rainforests and inland lakes of Australia. The installed work features computer generated imagery of birds in flight, abstract sculptural forms and landscape details guided by conceptual structure and dynamic modeling techniques. Specifically, the motion of a bird’s wing is modeled dynamically by modeling forces such as gravity and wind currents which act on it. It is derived procedurally. Similarly the flock is modeled procedurally to appear as both texture and a figure. Within this work form and motion are integrated. Firstly, the void of cyberspace is addressed and becomes ‘cyberplace’, a poetic space that dynamically affects the inhabiting forms. Secondly this follows philosophers Deleuze and Bergson in their writings on matter and space: the ethereal nature of the virtual form is amplified by its eternal becoming. In cyberspace there is no gravity and soaring can become a metaphor for the exploration of a space. Here soaring also informs the nature of the space. “The black box becomes meaningful: cyberspace that is a place. Animated space: effected and affected through movement. The memory of natural Australian landscapes renders tactility.”
Turner, G., Weakley, A., & Edmonds, E. A. (2005). Seeing Eye-to-Eye: Supportive Transdisciplinary Environments for Interactive Art Paper presented at the IV05, London, UK. [Abstract]This paper presents findings from a new study into the social and technical roles of programmers in art-technology collaborations. Combined with a review of the supportive and obstructive roles of technology with respect to helping artists to learn programming, we show that programmers can play several roles in such collaborations, both supportive of and obstructive to the requirements of artists, beyond merely doing the programming. Of central importance is the process of attuning between the actors and artefacts involved. All this is used to suggest some high-level ways in which visualisation technology can be employed to aid both the programming process (for artist and technologist) and the art-technology collaboration process.
Turner, G., Weakley, A., Zhang, Y., & Edmonds, E. (2005). A Social Study of Creative Collaborations, with Implications for Supportive Technology. Paper presented at the Apple University Consortium Conference, Hobart, Australia. [Abstract]This paper presents findings from a grounded theory study of the social and technical roles of programmers, as quintessential digital technology workers, in their collaborations with artists, as quintessential creative workers. Combined with a review of the roles of technology with respect to helping artists engage with the computing medium, we show that programmers can play several roles in such collaborations, both supportive of and obstructive to the requirements of artists, beyond merely doing the programming. Of central importance is the process of attuning between the actors and artefacts involved, and this can show us ways of making programming systems more comprehensible to creative practitioners, and ways of making computing systems better suited to creative innovation.
Turner, G., Weakley, A., Zhang, Y., & Edmonds, E. A. (2005). A Grounded Theory Study of Programming in Artist-Programmer Collaborations. Paper presented at the New Trends in Software Methodologies, Tools and Techniques: Proceedings of the fourth SoMeT_W05, Tokyo, Japan. [download] [Abstract] This paper presents findings from a grounded theory study of the social and technical roles of programmers in art-technology collaborations. The process of attuning between the actors and artefacts involved is a recurring theme in our study and one that we think is central to transdisciplinary collaboration and for non programmer-focussed software development. We reflect on the use of grounded theory to study software engineering social processes and conclude that the methodology can bring designers and researchers rich theoretical understandings that can be used to develop new tools to support different types of software engineering.
Turner, G., Weakley, A., Zhang, Y., & Edmonds, E. A. (2005). Attuning: A Social and Technical Study of ArtistProgrammer Collaborations. Paper presented at the Psychology of Programming Interest Group 2005, Brighton, UK. [download] [Abstract]This paper presents findings from a grounded theory study of the social and technical roles of programmers in art-technology collaborations. Combined with a review of the roles of technology with respect to helping artists engage with the computing medium, we show that programmers can play several roles in such collaborations, both supportive of and obstructive to the requirements of artists, beyond merely doing the programming. Of central importance is the process of attuning between the actors and artefacts involved, and this can show us ways of making programming systems more comprehensible to artists.
Watkins, J and Russo, A. (2005). Extending Site-specific Audience Experience via Multi-Platform Communication Design. In: M.H. Hamza (ed.): Proceedings of the Ninth IASTED International Conference on Internet and Multimedia Systems and Applications. Calgary, ACTA Press, pp. 298-303, ISBN 0 88986 508 6. [Abstract]Across much of the Australian cultural sector, the principal mission of curatorship remains wedded to the production of site-specific physical exhibitions. This mission is entirely understandable when viewed through the tradition of ongoing cultural exhibition in well-populated urban locations, yet sits less comfortably within the wide geographic distribution of the Australian population. Although a growing desire to reach wider audiences via an expanded online presence is evident, such initiatives are tempered by the prohibitive cost of digitising existing collections optimised for physical exhibition. Significant amounts - if not the majority - of compelling cultural content remain inaccessible to communities and the general public. Multi-Platform Communication Design is a design method which repurposes existing content across multiple communication channels in order to extend an audience experience across multiple target segments. Applied to the cultural institution sector, MPCD takes existing platform- or site-specific artefacts to new, distributed audiences in a cost-effective manner. In so doing, MPCD can extend and increase the audience experience beyond current curatorial and audience expectations. The rationale behind MPCD lies neither in a technological orientation nor blue skies research. Rather, it is firmly focused in providing a tool whereby cultural institutions can reach a wider audience cost-effectively, and communities can not only access content more readily, they may also contribute to the creation of digital collections. This paper acknowledges the exciting potential of synchronous iTV/web broadcast and contributes to the developing multi-platform debate by defining outcomes for both consumers and producers and links this debate to the emerging concept of a “cultural consumer” within this sector.
Watkins, J. and Russo, A. (2005). Digital Cultural Communication: designing co-creative new media environments. In Candy, L. (ed.): Creativity & Cognition: Proceedings 2005. ACM, pp. 144-149, ISBN 1-59593-025-6. [Abstract]The design and implementation of audience-focused immersive media-rich physical environments is a familiar landscape within the commercial sphere. From theatre and theme parks to autoshows and airports, commercial interdisciplinary design and production teams have extended and solidified the new media agenda. The success of this track record is demonstrated by the increasing presence of commercial design techniques and knowledge in the creation of immersive new media within the cultural sphere, as proven by London’s Natural History Museum, or the Melbourne Museum. This paper introduces the notion of digital cultural communication, a continuum through which designers can consider the place of narrative and experience and their attributes within public and commercial institutions. Digital cultural communication allows users to become co-creators of knowledge by providing tools and methods which enable the co-construction of creative artefacts. This paper uses a case study from Australia’s rich cultural institution sector to illustrate the conceptual design of new media co-creative environment using an HCI-derived methodology supported by participatory action research. It is hoped that this method will demonstrate to curators of cultural experiences the cost-effective possibilities for enabling audiences to create rich narrative from user-led content.
Watkins, J. and Russo, A. (2005). Developing communities and collections with new media and information literacy. In: Fox, E. et al (eds.): Digital Libraries: Implementing Strategies and Sharing Experiences. Springer, pp. 390-394, ISBN 3 540 30850. [Abstract]As part of its many functions, the reference library is charged with developing both its collection and its user community. These two functions are sometimes pursued as separate initiatives (with separate funding) by library managers. In Australia, the State Library of Queensland (SLQ) is committed to an exciting policy of simultaneous collection development and community engagement by integrating public programs with new media technologies. SLQ’s Mobile Multimedia Laboratory is a purpose-designed portable digital creativity workshop which is made available to communities as a powerful platform to capture and disseminate local digital culture, and also to promote and train community members in information literacy. The Mobile Multimedia Laboratory facility operates in conjunction with SLQ’s Queensland Stories project, an exciting portal for the display and promotion of community co-created multimedia. Together, the Mobile Multimedia Laboratory and the Queensland Stories initiatives allow the SLQ to directly engage with existing and new communities, and also to increase its digital collection with community created content. Not only are both initiatives relatively cost-effective, they have a positive impact upon information literacy within the state.
Watkins, J. and Russo, A. (2005). New media design for cultural institutions. In: Proceedings of the Conference on Designing for User eXperience (dux 05). AIGA, pp. 2-11, ISBN 1 59593 250 X. [Abstract]Community co-creation programs are increasingly used by cultural institutions in an attempt to draw new audiences to their collections. By providing engaging interactive experiences in partnership with the community, institutions may well increase their audience numbers in the short term; but to optimize the viability and longevity of such programs, institutions and designers should consider the integration of strategic design methods with curatorial processes in order to reconsider the capture, display and promotion of collections and/or exhibitions. This case study uses a project from the State Library of Queensland, Australia to showcase a human computer interaction-derived design method developed by the authors to ensure a strategic response to community co-creation initiatives. Using a variety of media, the new Multi-Platform Communication Design method has enabled the design of web-based distribution; a community and a facilitator’s training program; and the development of a mobile multimedia laboratory. This paper details the design method by which these multiple communication platforms were developed and implemented to achieve successful project delivery.
Weakley, A. J. and Edmonds E. A. 2005. Using Repertory Grid in an Assessment of Impression Formation. In Proceedings of Australasian Conference on Information Systems, Sydney 2005 [Abstract]In the work described here we are concerned with support for creative knowledge workers. Our research deals with how computer systems can be used to assist in the formation of the close collaborative relationships that are common in this work domain. Here we describe the background behind our interest in impression formation as well as how and why we have applied the repertory grid technique in this research. The results of a series of interviews are reviewed and we comment on the effectiveness of the method used.
Weakley, A. J. and Edmonds, E. A. Web-Based Support for Creative Collaboration. In International Journal of Web-Based Communities Vol 1, No. 4 Inderscience Press. pp.436–449. [Abstract]This paper considers web-based systems in support of distributed communities involving creative work. It is concerned with the sharing of knowledge that might otherwise remain unspoken, or tacit, amongst those engaged in design tasks. Drawing on the results of the evaluatisystem, pointers for future systems are presented.
Weakley, A. J., Johnston, A. and Edmonds, E. A.2005. Creative Collaboration: Communication, Translation and Generation in the Development of a Computer-Based Artwork. In Proceedings of HCI International, Las Vegas
Weakley, Alastair J., Johnston, A.J., Edmonds, E.A., Turner, G.A. (2006). Creative Collaboration: Communication Translation and Generation in the Development of a Computer-based Artwork. HCI International 2005 - 11th International Conference on Human-Computer Interaction. Lawrence Erlbaum Assoc., USA: 2005. pp 1-9.
Welsh, S. and Pisan, Y. (2005) Enhancing Agent Capabilities in Computer Games. In the Proceedings of The 2005 International Conference on Artificial Intelligence (ICAI), Las Vegas, Nevada, USA.
Welsh, S. and Pisan, Y. (2005) Enhancing Information Acquisition in Game Agents. In the Proceedings of the International Conference on Artificial Intelligence, Las Vegas, Nevada, USA.
Burraston, D., Edmonds, E. A., Livingston, D., Miranda, E. (2004). Cellular Automata in MIDI based Computer Music. Proceedings of the 2004 International Computer Music Conference. International Computer Music Association. California, USA: 2004. pp 71-78.
Candy, L. and Edmonds E.A., (2004). Creative expertise and collaborative technology design. Computer Human Interaction: Proceedings. Springer-Verlag Berlin. Berlin: 2004. pp 60-69.
Candy, L. and Edmonds, E. A. (2004). Expertise, Collaboration and Creativity for Technology Design. Proceedings of APCHI 2004. Rotorua, New Zealand Springer- Verlag, Berlin. 2004. pp 60-69.
Chesher, C & Costello, B (Guest Editors) (2004) The Games Issue: Studying Computer Games as Media, Media International Australia, #110 February 2004.
Costello, B., Weakley, A. & Edmonds, E. (2004) Creative presence: Supporting artistic collaborations, in Seventh International Workshop: Presence 2004, eds M. A. Raya & B. R. Solaz, Universidad Politecnica De Valencia, Valencia, Spain, pp. 287-293.
Danylak R. & Edmonds E. 2004 ‘Sound, Image, Text and Gesture: the Interplay of Computation, Communication and Body’, Image, Text and Sound: The Yet Unseen: Rendering Stories Conference eds K. Trist, & P. Anastasiou, School of Creative Media, Royal Melbourne Institute of Technology University, Melbourne. [download] [Abstract]Intuition is the instantaneous knowledge that we possess of what is present in a perceived environment, which includes the possible intentions of others. In human to human interaction, we intuitively respond to each other’s desires and moods by reading ‘body language’, that is, we are responding to gestures. There has been considerable work done in recent years by technologists on the possibilities of computer recognition of this language, the principle being, that a machine could respond to human emotions rather than intellectual states. Semiotics, the science of signs and symbols, offers a precise grammar by which gestures can be interpreted; the core elements are metaphor and metonymy which is the expression of images in a sequential narrative structure. Significantly, the same analytical tools can be applied to components of computer interfaces, namely sound, image and text. What results is a set of distinctions and parallels between gestural body language and multimedia, which establishes design principles for information artists. This paper will examine the effects of computation on human communication as a historical process of technical innovation which reconfigures sound, image and text, central to the human experience of perception. Yoga, a gestural system which raises intuitive awareness, is the focus of the movement analysis.
Edmonds E. A., Everitt, D., Macaulay M. and Turner G. (2004). On physiological computing with an application in interactive art. Interacting with Computers 16, 2004. pp. 897–915.
Edmonds, E. & Danylak. R. 2004 ‘Towards a New Model of Human Computer Interaction’ eds H.Fujita, V. Gruhn New Trends in Software Methodologies, Tools and Techniques Proceedings of The Third International Conference on Software Methodologies, Tools and Techniques Leipzig, Germany, Somet W_04 pp.. 67-74. [Abstract]Multimodal Interaction has created exciting new opportunities for the future of HCI. Current interfaces are, however, becoming congested owing to the easy transformations of digitised information from one application to another. For this reason, it is increasingly difficult to clearly realise new potentials, computer assistance often adding rather than reducing complexity. At the core of the problem lies the fact that the different requirements of time and space in multimodal interfaces are not compatible. The dimensional variations of image, sound, text and gesture recognition - to name but some of the data permutations possible - create complexities that are difficult to manage especially when they operate side by side in the same machine. As such, what is required is new modelling to resolve these very difficult design issues. This paper will define a number of characteristics of multimodal interaction through the understanding that dramatic action, that is performance, is a primary human activity which the computer is now capable of amplifying as a technological extension of a spatial activity. Secondary to this is reading, the decoding of text, including images, which reactivates the body from the storage of the written. These two elements, the performed and the read, are respectively spatial and temporal forms present in computing and an understanding of their differences and similarities will underpin a new model for communication in human computer interface design.
Edmonds, E. A. and Fell, M. (2004). Broadway One. SIGGRAPH 2004 Electronic Art and Animation Catalogue, ACM Press, New York (to appear 2004).
Edmonds, E. A. and Pauletto, S. (2004). Audiovisual Discourse in Digital Art. SIGGRAPH 2004 Electronic Art and Animation Catalogue, ACM Press, New York (to appear 2004).
Edmonds, E. A. and Turner, G. (2004). Intelligent Interaction in Art Systems. Proceedings of Intelligent User Interfaces 2004, Nunes, N. J. and Rich, C. (eds). ACM Press, New York, 2004. pp 354-355.
Edmonds, E. A., Martin, A. and Pauletto, S. (2004). Audio-Visual Interfaces in Digital Art. Proceedings of Advances in Computer Entertainment Technology. ACM Press, New York, 2004, pp 331-336.
Edmonds, E. A., Turner, G. and Candy, L. (2004). Approaches to Interactive Art Systems. Proceedings of GRAPHITE 2004, Singapore, ACM Press, New York, 2004. pp 113-117.
Edmonds, E. and Gibson, R., eds (2004). Interaction: Systems, Practice, and Theory. Creativity and Cognition Studios Press, 2003, Sydney, Australia.
Edmonds, E.A. (2004). Expressive Intention: Representations for Generative Artworks New Trends in Software Methodologies, Tools and Techniques - Proceedings of the 3rd SoMeT_W04. IOS Press, Amsterdam, The Netherlands: 2004. pp 55-66.
Edmonds, E.A. (2004). Expressive Intention: Representations of Knowledge for Generative Artworks. JAIST Forum 2004 Proceedings. JAIST, Ishikawa, Japan: 2004. pp 67-72.
Edmonds, E.A. and Pauletto, S. (2004). Audiovisual Discourse in Digital Age. Siggraph2004: Electronic Art and Animation Catalog, Computer Graphics Annual Conference Series, 2004. ACM Press, New York, USA: 2004. pp 115-118.
Johnston, A. and Edmonds, E. 2004, Creativity, Music and Computers: Guidelines for Computer-Based Instrumental Music Support Tools, Australasian Conference of Information Systems, Hobart, Tasmania
Johnston, A. and Edmonds, E. 2004, Towards a Framework of Requirements for Music Learning Support Tools, Innovations Through Information Technology, Idea Group Publishing, New Orleans, Louisiana, USA, pp. 643-646.
Leggett, M., (2004) Presence, Interaction and \'data space\'. ACM Interaction: Systems, Practice and Theory 2004, University of Technology, Sydney. [Abstract]This paper will examine the concept of ‘data space’ and sentient ‘presence’ in relation to practice-based research being pursued by myself and others working in the institutional space that lies between the disciplines of art and science. It will consider the broader Western cultural context for the idea of presence and the contemporary literature produced by presence researchers. The artefacts of three contemporary artists working with presence in the physical spaces of public museums and galleries, will be described in the context of telepresence in the domain of cyberspace
Leggett, M., (2004) The Proximity Interface and Human Computer Interaction. Biennale of Electronic Arts Perth (BEAP04) Curtin University, Perth, Western Australia. [Abstract]The tools with which the media artist works and the infrastructure within which the artwork is made and exhibited are critical determinants of how work is received and considered. This paper will build upon earlier investigations by myself and others into interactive art installation as models for informing development of HCI. These areas of practice-based research and the resources available online for the development of solutions based on modular electronics, suggest there exists common ground for scientist and artist to explore for revising the interface as an experience built from components - of presence, of devices and of code.
Parolin, B., Barton, J., Weiley, V. (2004). A Spatial Decision Support System for the Management of Public Housing: Case Studies and Approaches to Interactive Visualisation. Presented at DDSS 2004, Published in Recent Advances in Design & Decision Support Systems in Architecture and Urban Planning. Kluwer Academic Publishers, Dordrecht, NL. More info...
Turner, G., Neumark, N., Miranda, M., & Weakley, A. (2004). Uncanny Interaction: A Digital Medium for Networked E.motion. Paper presented at the Interaction: Systems, Practice and Theory, Sydney, Australia. [Abstract]Sa.nce: a networked glossalalia is a collaborative project involving a sound artist, visual artist, and a remotely-located interaction designer. The aim of the collaboration was to make a multiuser live performance work for local and remote players, in a work that asked how it would look, sound, and feel to interact in a networked sance environment that channels the e.motional relays within the network (the dot in e.motion emphasises the moving aspects). This paper focuses on lessons learned during the process of designing uncanny interactions, dealing with both the piece itself, the collaborative process which created it, and how each of these informs the other. In the case of Sa.nce the work itself is a creative collaboration, and the process of creating it is an e.motional network.
Weakley, A. J. and Edmonds, E. A. Shared Visualizations in Support of Distributed Creative Communities, in Proceedings of OZCHI 2004. 2004: Wollongong, Australia. [download] [Abstract]The paper is concerned with support for distributed groups of creative knowledge workers: in this case designers. We consider requirements that designers have regarding internalisation and externalisation of ideas and concepts as well as requirements relating to collaboration. We review an online system whose facilities for the graphical representation of data were found to be popular. The evaluation was in the context of a group task and the results, including instances of tacit knowledge sharing, have led us to formulate a number of recommendations as to how such systems might be made still more effective for collaborative working.
Weakley, A. J. and Edmonds, E. A. Web-Based Support for Creative Collaboration. In Proceedings of the IADIS International Conference Web-Based Communities 2004 (Eds, Kommers, P., Isias, P. and Nunes, M. B.) IADIS Press, Lisbon, Portugal, pp. 239-246.
Weakley, A. J. and Edmonds, E. A., 2004 Shared Visualizations in Support of Distributed Creative Communities, in Australasian Journal of Information Systems (December 2004) 122-132 [Abstract]The paper is concerned with support for distributed groups of creative knowledge workers: in this case designers. We consider requirements that designers have regarding internalisation and externalisation of ideas and concepts as well as requirements relating to collaboration. We review an online system whose facilities for the graphical representation of data were found to be popular. The evaluation was in the context of a group task and the results, including instances of tacit knowledge sharing, have led us to formulate a number of recommendations as to how such systems might be made still more effective for collaborative working.
Weakley, Alastair J., Edmonds, E.A. (2004). Shared Visualizations In Support of Distributed Creative Communities. Conference Proceedings of OZCHI 2004. University of Wollongong Press. Wollongong, Australia: 2004
Danylak, R. 2003 ‘Gesture and Intuition’ New Trends in Software Methodologies, Tools and Techniques eds H. Fujita and P. Johanneson, Proceedings of The Second International Workshop on Lyee Methodology, University of Stockholm, Sweden IOS press, pp..74-78. [Abstract]Intuition is the instantaneous knowledge that we possess of what is present in a perceived environment which includes the possible intentions of others. In human to human interaction, we intuitively respond to each other’s desires and moods by ‘reading’ body language, that is, we are responding to gestures. There has been considerable work done in recent years by technologists on the possibilities of computer recognition of this language, the principle being, that a machine could respond to human emotions rather than intellectual states. The purpose of this paper is to describe how technology enhances and rearranges certain inherent qualities in natural language, which includes gesture, with a view to developing an efficient model for gesture recognition interface design. Part one of the paper will focus on natural language and how it inscribes gesture dramatically and textually, and the effects of computing on these phenomena. Part two will look more deeply at techniques used in theatre arts to ‘manufacture’ intuition and gesture. Keywords: gesture, sound, image, text, intuition, multimedia, metaphor, metonymy, intention.
Edmonds, E. A. (2003). Logics For Constructing Generative Art Systems. Digital Creativity, 14(1) 2003. pp. 23-38.
Edmonds, E. A., Candy, L., Fell, M. J., Knott, R. P. and Weakley, A. J. (2003). Macaroni Synthesis: a creative multimedia collaboration. Proceedings of 7th International Conference on Information Visualization. Banissi, E (ed). IEEE Computer Society, Los Alamitos, CA. 2003, pp 646-651.
Edmonds, E. A., Candy, L., Fell, M. J., Knott, R. P., Pauletto, S. and Weakley, A. J. (2003). Developing Interactive Art Using Visual Programming. Human- Computer Interaction: theory and Practice (Part II). Proceedings of Human-Computer Interaction 2003. Stephanidis, C. and Jacko, J. (eds). Lawrence Erlbaum, London. 2003. pp 1183-1187.
Edmonds. E. A. (2003). A logical Representation of the Emergence of Intention. New Trends in Software Methodologies, Tools and Techniques. Fujita, H. and Johannesson, P. (eds) IOS Press, Amsterdam. 2003. pp 71-77.
Leggett, M., (2003) Pathscapes - Interface Options for Visual Indexing.Digital Arts and Culture Conference (DAC03), RMIT Melbourne. [Abstract]A s
2008
Amitani, S., Bilda, Z., Edmonds, E. A. (2008) Our Content: Generative Methods for Montaging Multimedia Data. Design Studies 29, pp. 572-586, Elsevier.Amitani, S., Edmonds, E. A. (2008) Designing a System for Supporting the Process of Making a Video Sequence. Transdisciplinary Digital Art: Sound, Vision and the New Screen, Communication in Computer and Communication Science (CCIS), Springer.
Bilda, Z., Edmonds, E. & Candy, L. (2008) Designing for Creative Engagement, Design Studies (Special issue on Interaction Design) 29: 525 - 540. More info... [Abstract]This paper addresses the problem of understanding creative engagement with interactive systems. A model of engagement is proposed which represents modalities and phases of interactive experiences. The model was derived from empirical studies of audience interaction with art systems. The aim is to provide a means of facilitating communication between participants in the interaction design process. The intention is to help improve collaboration between participants through examining, understanding and agreeing on the set of concepts and modalities on interactive experience. The ongoing research involves refining and developing the model into a more general-purpose instrument.
Candy, L and Hewett, T.T. eds. (2008) Investigating and Cultivating Creativity: Implications for Designing Technology Support Environments, Special issue International Journal of Human-Computer Interaction. Issue 24(5). [download] [Abstract]Tools that advance individual, group and social creativity contribute to the benefits that come from human creativity (Shneiderman, 2007). The HCI community is ideally placed to inform and shape the design of new software environments in such as way as to fully empower the creative user. Expertise in methods for studying creativity and techniques for designing end user oriented systems already exist and can be refocused in the direction of creativity support environments. Research topics that have excited recent past interest such as end user programming environments and systems for online community support are readily migrated into new frontiers given the stimulus and motivation provided by a challenging new topics such as creativity support. The growth of opportunities for group collaboration supported by technology environments is well understood but just how that collaboration operates in a creative sense has been rarely investigated until recently. Equally, we are reasonably well versed in the analysis of familiar tasks but, by contrast, developing ways of measuring elements of the discovery process is a nascent field of research. The demands implied by aiming to address the creativity challenge, require new ways of thinking about software systems and innovative approaches to their design. We hope that this special issue of the International Journal of Human Computer Interaction on ‘Investigating and Cultivating Creativity’ will stimulate new thoughts and provoke new actions that eventually will lead to technology environments that embody the notion of the user as creator.
Candy, L., & Costello, B. (2008). Interaction Design and Creative Practice, Design Studies, vol.29, no.6, pp521-524.
Edmonds, E.A and Candy. L. (2008). Interpretation in Practice, In R2P: The Problem of Interpretation, 5th Research into Practice Conference, edited by Michael Biggs and Daniela Büchler, 31st October, Royal Society of Arts, London UK, pp 45-47. [download] [Abstract]Abstract The paper begins by considering differing views about the value of interpretation in relation to works of art. Whilst agreeing in part with Sontag’s opinion that interpretation that dwells on alternative representations of art obscures our response to it, we argue that there are, nevertheless, valuable forms of interpretation that play a significant role in creative practice allied with research. When practitioners carry out research in parallel with making works, they engage in a process of developing interpretation frameworks that guide their practice and the evaluation of the outcomes. The frameworks for interpretation discussed arise from creative practice in the context of practice-based PhD programmes in interactive digital arts. We describe how practitioner-researchers develop and apply frameworks for interpretation in the context of what we call ‘trajectories of practice and research’. The reflexive relationship between the frameworks and the works and how that impacts directly upon creative practice, is central to an understanding of interpretation as we characterise it here. The ideas discussed are informed by interviews with people currently undertaking doctoral research in the creative arts, as well as substantial experience in directing practice-based research programmes.
Ernest Edmonds (2008) The Creativity and Cognition Studios. Proceedings HCI2008 Culture, Creativity, Interaction, Liverpool John Moores University, UK, 1-5 September 2008.
Ernest Edmonds, Shigeki Amitani (2008) Shaping Forms on the Web. Proceedings of the 3rd International Conference on Digital Live Art [(re)Actor3], Liverpool UK, 3rd Sept 2008. [Abstract]The demonstration is of a distributed web-based artwork that uses movement detected by the cameras in each computer that views it to influence its development in terms of colours, timings and shapes. It is based on individual stand alone works that have been exhibited in Washington DC and Sydney, Australia. In this development, however, the community made up of the work’s distributed audience collectively influence the progress and development of the work.
Ernest Edmonds, Shigeki Amitani: (2008) Shaping Forms on the Web with a Collective Memory, 7th International Conference on Software Methodologies, Tools and Techniques (SoMeT 2008), American University of Sharjah, Sharjah, UAE, 15 - 17 October 2008.
Giaccardi,. E. and Candy, L eds. (2008) Materialities of Creativity: Special Issue on Creativity and Cognition 2007, Leonardo Journal forthcoming [Abstract]New concepts emerged during the 6th Creativity & Cognition in June 2007 that indicated a growing convergence between disciplinary boundaries and an enriched language of discourse between artists, designers, scientists and technologists. Notions of materiality, from physical objects for playful exploration to processes and materials by which to think and connect, represented a common thread in many contributions. A selection of significant articles have been brought together in this special section of Leonardo Journal from the design, engineering, and aesthetic traditions in order to and offer (to offer?) a multi-dimensional understanding of materiality and its application in support of creativity. The original conference papers were substantially revised and then reviewed a second time by peer review and revised again to address the reviewers’ comments. The six articles explore perceptive, expressive, and performative dimensions of creativity in relation to an understanding of materiality as physical material for the attunement of imagination, cognitive affordance for action and critical reflection, and also as the instrument of our creative engagement with the sensorial and emotional character of the world.
Gwilt, I., and Turnbull, D. (eds.)(2008). Mundane Traces: essays on transitional art practises. With essay contributions by Kees Dorst, Deborah Turnbull, Ian Gwilt, and Melinda Rackham. DABdoc publishing [in press] - for Release 25 November 2008. UTS, Sydney: 2008. Copies available from DABPublications upon release date. More info... [Abstract]The mundane-traces show is a collection of New Media artworks created by Ian Gwilt. Using innovative technologies to re-imagine the graphical user interface as a creative artifact the multiple, yet individual, works explore the graphic user interface in a creative context using augmented reality, rapid protoyping and laser cutting technologies. The result is an intriguing mix of physical and virtual interpretations of the folders, files and scrollbars from the everyday computer desktop...
Hills, D., Amitani, S. & Edmonds, E. (2008), A Data Model for Generative Context Representation - Our Content Project, Australasian CRC for Interaction Design Conference, QUT, Brisbane, Australia.
Hills, D., Pisan, Y. & Edmonds, E. (2008), Towards a Generic Framework for Situated Collaborative Storytelling, Interactive Entertainment 08, QUT, Brisbane, Australia.
Humphreys, T., Leung, L., Weakley, A. (2008). Embedding Expert Users in the Interaction Design Process: A Case Study. Design Studies, Volume 29, Issue 6, pp603-622.
Johnston, A.; Candy, L. & Edmonds, E. (2008). Designing and evaluating virtual musical instruments: facilitating conversational user interaction. Design Studies 29(6), 556-571 [Abstract]This paper is concerned with the design of interactive virtual musical instruments. An interaction design strategy which uses on-screen objects that respond to user actions in physically realistic ways is described. This approach allows musicians to ‘play’ the virtual instruments using the sound of their familiar acoustic instruments. An investigation of user experience identified three modes of interaction that characterise the musicians' approach to the virtual instruments: instrumental, ornamental and conversational. When using the virtual instruments in instrumental mode, musicians prioritise detailed control; in ornamental mode, they surrender detailed control to the software and allow it to transform their sound; in conversational mode, the musicians allow the virtual instrument to ‘talk back’, helping to shape the musical direction of performance much as a human playing partner might. Finding a balance between controllability and complexity emerged as a key issue in facilitating ‘conversational’ interaction.
Legget, M. Bilda, Z. (2008) Exploring Design Options for Interactive Video with the Mnemovie hypervideo system. Design Studies, V29 N6 587-602; Elsevier, London. [Abstract]Mnemovie is an investigative hypervideo system for exploring design options for interactivity with digital motion picture files (video). The custom-designed software toolset is used to build a series of experimental interactive models from which three models were subsequently developed for initial user experience testing and evaluation. We compared interaction with each of the models across three groups of video file users, from expert to non-expert. Understanding participants’ preference for each model helps define the different dimensions of the actual user experience. We discuss how these findings and the subsequent development of persona scenarios can inform the design of hyper-video systems and the implications this has for interaction design.
Leggett, M., Dyson, L. (2008) Strangers on the Land: Place and Indigenous Multimedia Knowledge Systems. in Place: Local Knowledge and New Media Practice, eds. Butt, D., Paul, N., Bywater, J., Cambridge Scholars Publishing,Newcastle on Tyne, England.
Leung, L., Humphreys, T., Weakley, A. (2008). VUE (Visualisation Using Emails). Workshop on Enhanced Messaging (EMAIL-2008) at AAAI Conference 2008, Chicago. More info...
Leung, L., Weakley, A., Humphreys, T. (2008, to appear). Email as co-habitat in distributed organisations. OZCHI 2008.
Phalip, J., Jean, D., Edmonds, E. (2008) Resolving Ambiguity of Scope in Remote Collaboration: a Study in Film Scoring. OzCHI 08, Australasian Computer-Human Interaction Conference, Cairns, Australia.
Seevinck, J. Edmonds, E. (2008) Emergence and the art system ‘plus minus now’, Design Studies, Vol 29, Issue 6, Elsevier, pp 541-555.
Smith, G. & Johnston, A. (2008). Interactive Software for Guitar Learning, in Sonia Wilkie & Anthony Hood, ed.,'ACMC08 SOUND : SPACE – Proceedings of the Australasian Computer Music Conference 2008'. [Abstract]In this paper we present software designed to help address problems encountered by beginning guitarists, using interactive software to find effective solutions to enhance the learning process. Software can be utilised to improve a player’s ability to hear mistakes in their performance, as well as to create a fun and entertaining learning environment to motivate the player to practice. A software prototype has been developed, which served as a basis for usability testing, to highlight the usefulness of various methods of feedback and provide a way forward in developing valuable software for guitar tuition.
Weakley, A., Leung, L. (2008). Embedding Expert Users in the Interaction Design Process. CSIRO HAIL seminar series.
2007
Weakley, A., Deverell, K., Yuille, J. (2007). Scribblr- supporting remote sketching to create a more complete communications system (2007). Proceedings of HCI InternationalAmitani, S. Edmonds, E. A. (2007). Designing a System for Supporting the Process of Making a Video Sequence, Digital Art Weeks Festival 2007, 9-14 July, Zurich, Switzerland. [download] More info... [Abstract]The aim of this research is to develop a system to support video artists. Design rationales of software for artists should be obtained through investigating artists\' practice. In this study, we have analysed the process of making a video sequence in collaboration with an experienced video artist. Based on this analysis we identified design rationales for a system to support the process of making a video sequence. A prototype system “Knowledge Nebula Crystallizer for Time-based Information (KNC4TI)” has been developed. Further development towards a generative system is also discussed.
Amitani, S., Edmonds, E. A. (2007). A Context Visualiser: the Generative Website Project, SIGGRAPH 2007 Sketches & Posters Program, 8-13 August, San Diego, CA, USA. [download] [Abstract]Presents a generative system for visualising possible sequences of information in order to support human creative thinking. Can assist users to produce new contextual information artefacts from existing information pieces.
Amitani, S., Edmonds, E. A. (2007). A Dynamic Concept Base: A Component for Generative Systems, Digital Art Weeks Festival 2007, 9-14 July, Zurich, Switzerland. [download] [Abstract]This paper presents our on-going projects \"Generative Website Project\" and \"Untitled Media Project\", and a core computational component \"Dynamic Concept Base (DCB)\". The aim of these projects is to enhance interactions between public audiences, artists and artworks. The DCB is one of the core components across the projects supported by the Australasian CRC for Interactive Design (ACID) and Australian Centre for the Moving Image (ACMI).
Amitani, S., Edmonds, E. A. (2007). A Method for Visualising Possible Contexts, 11th International Conference on Knowledge-Based and Intelligent Information & Engineering Systems (KES2007), Invited Session of Chance Discovery, 12 - 14 September, Vietri sul Mare, Italy. KES 2007 / WIRN 2007, Part II, LNAI 4693, pp.901-908. [download] [Abstract]This paper presents a method for visualising possible sequences of information. Possible sequences of information segments, called contexts, scenarios, narratives, or storytellings, have been used as a tool for exploring and stimulating thinking about possible events, assumptions relating to these events, and courses of actions, i.e. chances for a broad range of information designers from public audiences searching on the internet to analysts and policy makers. Thanks to the search technology, it has become easier to obtain information that a person is looking for, however, it is a laborious task to grab an overview of information space so that an information designer can find contextually relevant information pieces and sequence them into contextually meaningful ways. In this research, we design and develop a series of generative systems that visualises possible contexts.
Amitani, S., Edmonds, E. A. (2007). Algorithms for Scenario Generation Systems, The 21st Annual Conference of The Japanese Society for Artificial Intelligence (JSAI2007), 20-22 June 2007, Miyazaki, Japan. [download] [Abstract]This paper presents algorithms for scenario generation. Scenarios, possible sequences of information segments that might reasonably take place, have been used as a tool for stimulating thinking about possible events, assumptions relating to these events, and courses of actions. However, the process of scenario generation is a laborious task. Automated scenario generation has been explored, especially in military applications where a rigid ontology can be established. In this research, we design and develop a series of systems that generates scenarios in creative activities where no established ontology is available in advance.
Amitani, S., Edmonds, E. A. (2007). Generative Website: Visualising Possible Stories. VSMM2007, 23-26 September 2007, Brisbane, Australia. [download] [Abstract]This paper presents our on-going project called \"Generative Website Project\". We design and develop generative systems that visualise possible contexts, that is, possible sequences of information out of existing information in order to stimulate human creative thinking. Possible sequences of information segments, usually called storytelling, scenarios and narratives have been used as a tool for exploring and stimulating thinking about possible events, assumptions relating to these events, and courses of actions for a broad range of information designers from public audiences searching on the internet to analysts and policy makers. In this paper, we report our progress of the Generative Website Project and related technology.
Bilda, Z. (2007) Interactive Experience in Public Context: Tango Tangle. Leonardo 40 (4), MIT Press, 368-370.
Bilda, Z. and Gero, J.S. (2007). The impact of working memory limitations on the design process during conceptualization. Design Studies, 28 (4). 343-367. [Abstract]This paper presents the cognitive activity differences of six expert architects when they design in blindfolded (BF) and sketching (SK) conditions. It was observed that all participants\' overall cognitive activity and perceptual activity in the BF sessions dropped below their activity in the SK sessions, approximately after 20 min during the timeline of their design activity. This drop in performance can be explained by higher cognitive demands under BF conditions. In the absence of sketching, architects may experience an overload of visuo-spatial working memory (VSWM). We also tested whether this may have an impact on the linking of their design ideas. We previously reported that the intensity and the information content (entropy) of the idea development were not influenced by VSWM load. The reach of idea links was found to be smaller in the second half of the BF design sessions. Working memory limitations had an impact only on the reach of idea links. We discuss whether these differences are dependent on working memory limitations or idea saturation during conceptual designing.
Bilda, Z., Candy, L., and Edmonds E. (2007) An Embodied Cognition Framework for Interactive Experience, CoDesign: International Journal of Co Creation in Design and the Arts 3 (2). 123 - 137 [Abstract]Interactive art is, by its very nature, concerned with audience experience. The interaction is the essence the meaning of the work to the participant. An embodied cognition framework may be used to explore individual’s cognition within a cognitive system while he or she is engaged in an interactive art experience. A cognitive system is identified as a system of interactions between the participants, the tools and the environment engaged in the experience. The aim of this paper is to characterize a person’s interactive experience of different artworks using an embodied cognition framework in which bodily interaction, thought and perception of feedback are examined. The protocol analysis used to characterize participant experiences is shown to be an appropriate method for investigating interactivity in the art context. The results showed that identifying the presence of interactions between body and feedback, body and thought and thought and feedback provides an effective way to characterize each artwork experience. We discuss how these modes of interactions can be used as ameasure for investigating other interactive artwork experiences in future work.
Bilda, Z., Edmonds, E., and Turnbull, D. (2007). Interactive Experience in a Public Context. Creativity and Cognition 2007: Seeding Creativity: Tools, Media, and Environments. June 13-15, 2007. Washington, DC, USA. An ACM SIGCHI Conference. pp 243-244. [download] More info... [Abstract]In this demonstration, we show an interactive artwork that responds to sound and describe a field study evaluating audience engagement within a public context. Audience in the public setting largely recognized the interactivity of the media immediately, engaged very briefly with the work and were highly self conscious about their behavior and voice during their engagement.
Burry, J., Weakley, A., Deverell, K., Vaughan, L., Yuille, J. (2007). Scribblr: Back to the Future of Visual Document Mark-up. Virtual Systems and Multimedia (VSMM07)
Candy, L. (2007) New Media Arts and the Future of Technologies in Creativity Support Tools, Communications of the ACM, Vol. 50 No 12, December, pp 30-31. [Abstract]New technology is increasingly becoming an integral part of creative practice in the arts. This offers an exciting and challenging opportunity for computer scientists, software engineers, and interface designers. To guide their efforts, they will need to know more about innovative uses of technology by new media artists. One of the four ACM Education Board’s core practices is innovating (Denning, 2003). Innovation is the process of creating something new that is then adopted in practice. We need to find ways of drawing more attention to this aspect of our work and placing concerns for innovation and creativity more centrally in the canon of methods and terms that we use. For innovation to take place, however, complex social, organizational and cultural factors have to be harnessed; on the other hand, strategies for supporting creativity are directly within the remit of the computer science community via the design and development of creativity support technologies. This last is the primary focus of this and the associated feature article by Ben Shneiderman.
Candy, L. (2007). Constraints and Creativity in the Digital Arts, Leonardo Vol. 40, No. 4. [Abstract]In art, truth and reality begin when one no longer understands what one is doing or what one knows, and when there remains an energy that is all the stronger for being constrained, controlled and compressed.— Henri Matisse Constraints in creativity are both limiting and liberating. They are used to impose boundaries upon the creative space we occupy and, at the same time enable us to grapple with inherent tensions between different demands, which may lead to a new idea, direction or artifact. When we choose particular forms, materials and tools for our creative work, we are also choosing the kinds of constraints that will shape our process and its out-comes. Creativity may be seen as a process of exercising free choice in the context of a range of existing constraints. Constraints may be both negative and positive influences on the creative activity or task: the negative may be externally imposed or the result of unexpected phenomena and the positive may be considered benefi-cial because they have either been self-imposed or have arisen from the intrinsic characteristics of the work itself. Constraints are restrictions that limit what the individual wishes to do but such restrictions may also be seen as having a more positive and indeed, necessary function by providing the creative person with a more manageable creative space.
Candy, L. and Bilda, Z. (2007). Understanding and evaluating creativity. In Proceedings of the 6th ACM SIGCHI Conference on Creativity & Cognition (Washington, DC, USA, June 13 - 15, 2007). C&C \\\'07. ACM Press, New York, NY, 303-304. [Abstract]The aim of this tutorial is to provide the participants with an understanding of the significance of creativity for interaction design and to give guidance about the design and evaluation of systems with respect to their role in creativity support. Participants will also be provided with tools for analyzing and evaluating situations in which creative engagement and interaction may be taking place.
Costello, B. (2007). A Pleasure Framework, Leonardo Journal Vol. 40, No. 4, pp.370-371.
Costello, B., Edmonds, E.A. (2007). A Study in Play, Pleasure and Interaction Design, in proceedings of Designing Pleasurable Products and Interfaces, August 2007, Helsinki, Finland, pp76-91 (ACM).
Danylak R., Bilda Z., Edmonds E., (2007) Establishing research criteria for performed gestures and emotional interaction in an interactive gestural film game ‘To be or not to be’. The 6th International Conference on Software Methodologies, Tools and Techniques, Somet 07 Rome, Italy. [Abstract]This paper describes practice-based research using an interactive gestural film game To be or not to be, to study the relationship between performed gestures and emotional response. The work is the result of a collaboration between an intermedia artist (first author), and a programmer / designer. The content of the interactive film game is based on lines from Act 3 scene i from Shakespeare’s play Hamlet. Attention is given first to the original design method based on gestural expression in theatre using the key techniques of text, rehearsal and performance. A primary design goal was to construct an interface where coherent and continuous gestural and emotional interaction occurred. This is followed by observation and evaluation of audience / user interaction with the work (collaboration with second author) establishing research criteria to evaluate performed gestures and emotional responses of the audience. Keywords. Theatre, performed gesture, emotion, human-computer interaction, game.
Edmonds, E.A. (2007). Reflections on the Nature of Interaction. CoDesign: International Journal of Co-Creation in Design and the Arts. Taylor & Francis Group, UK: September 2007, Vol. 3 Issue 3, pp 139-143. [download] More info... [Abstract]The paper discusses aspects of digital art from the point of view of the notion of observable human - computer interaction. The use of the word interaction is reviewed and alternative approaches to describing the concept explored. In particular, a systems view is taken and contrasted with an action/response model. A refined view of such interactions is proposed in which artwork and audience are said to influence one another. This paper draws from and elaborates part of the discussion in Edmonds (2005). Keywords: Interaction; Art; Systems theory
Humphreys, T., Leung, L., Weakley, A. Challenges in Prototyping Email in Three Dimensions (2007). Virtual Systems and Multimedia (VSMM07)
Johnston, A. and Marks, B. (2007). Partial Reflections. Leonardo Transactions 40(5): 510-511 [Abstract]This paper describes some of our recent work using virtual physical models as a mediating mechanism between a live instrumentalist and computer generated sound and video.
Johnston, A., Marks, B. and Candy, L. (2007). Sound controlled musical instruments based on physical models. International Computer Music Conference, Copenhagen, Denmark. [Abstract]This paper describes three simple virtual musical instruments that use physical models to map between live sound and computer generated audio and video. The intention is that this approach will provide musicians with an intuitively understandable environment that facilitates musical expression and exploration. Musicians live sound exerts `forces' on simple mass-spring physical models which move around in response and produce sound. Preliminary findings from a study of musicians' experiences using the software indicate that musicians find the software easy to understand and interact with and are drawn to software with more complex interaction - even though this complexity can reduce the feeling of direct control.
Kan, J.W.T., Bilda, Z. and Gero, J.S. (2007). Comparing entropy measures of idea links in design protocols: Linkography entropy measurement and analysis of differently conditioned design sessions. AI EDAM, 21 (4), 367-377.
Leggett M. (2007) KMS Models for Video Files using Visual Mnemonics. Creativity & Cognition Conference CC07, Washington DC, USA. [Abstract]A series of Models were built to explore and test the precept of navigating movies using gesture to control both forward and backward movement, and to launch movie files linked using visual elements associatively and semantically related to the knowledge domain represented within a movie collection.
Leggett, M. (2007) Generative Systems and the Cinematic Spaces of Film and Installation Art. Leonardo 40.2, MIT Press. [Abstract]Informal research in the 1970s explored iterative and generative systems using motion-picture film. The approach was practice-based and occurred in a context of artists working on the structure and materiality of the film experience. Based on historical and contemporary notes about the film Red+Green+Blue, the generative art emergent using this analogue-based medium is evaluated in the light of recent discussion of digital and binary-based interactive installation.
Phalip, J., Edmonds, E.A. (2007). Guidelines for Communication in Film Scoring. ICOMCS, the inaugural International Conference on Music Communication Science, Sydney, Australia. 5-7 December 2007.
Phalip, J., Morphett, M., Edmonds, E.A. (2007). Alleviating Communication Challenges in Film Scoring: An Interaction Design Approach. OZCHI 07, Australasian Computer-Human Interaction Conference, Adelaide, Australia. 28-30 November 2007.
Weakley, A. (2007). Internet-Based Support for Creative Collaboration. PhD Thesis, University of Technology, Sydney.
Weakley, A., Deverell, K., Yuille, J. (2007). Web 2.0 in Support of Sketching in Architectural Practice. Human Interface and the Management of Information - Interacting in Information Environments (Part II) in Conjunction with the Six International Semantic Web Conference (ISWC 2007)
Zhang, Y. and Candy, L. (2007). An In-Depth Case Study of Art- Technology Collaboration Proceedings of Creativity and Cognition 2007, ACM Press: New York, pp 53-62. [Abstract]This paper presents an in-depth case study of the collaborative process of a creative art-technology project. We begin by providing a brief description of art-technology collaboration research and go on to describe the particular art-technology collaboration project called “GEO Narrative Landscapes”. This is followed by an account of a novel method for the analysis of the interaction between artists and technologists based on five communication modes. Findings include common types of conversation topics of communication modes, how these modes related to each other and how they were distributed in terms of frequencies and duration across meetings. Finally, we discuss the contribution of this work to our understanding of art-technology collaboration.
Zhang, Y. and L. Candy. A communicative behaviour analysis of art-technology collaboration. in The 12th International Conference on Human-Computer Interaction. 2007. Beijing, China: Springer, to appear. [Abstract]This paper presents an approach to investigating interdisciplinary collaboration between an artist and a technologist based on case study methods. The aim of the research is to understand how artists and technologists communicate with each other during a collaborative process. The paper begins with a brief account of the art-technology context, and goes on to describe how the data was collected and how the analysis framework was developed specifically for this context. At the end of this paper, we discuss the preliminary findings which illustrate the characteristics of participants’ communication behaviours in art-technology collaboration.
Zhang, Y. and L. Candy. An In-depth Case Study of Art-Technology Collaboration. in The 6th of Creativity & Cognition Conference. 2007. Washington DC, US: ACM, to appear. [Abstract]This paper presents an in-depth case study of the creative process of an art-technology collaboration project. We begin by providing a brief description of art-technology collaboration research and go on to describe a particular art-technology collaboration project called “GEO Narrative Landscapes”. This is followed by an account of a novel method for the analysis of the interaction between artists and technologists based on five communication modes. Findings include common types of conversation topics of communication modes, how these modes interacted with each other and how they were distributed in terms of frequencies and duration across meetings during the collaborative process. Finally, we discuss the contribution of this work to our understanding of art-technology collaboration.
Zhang, Y., A. Weakley, and E. Edmonds. Resolving assumptions in art-technology collaboration as a means of extending shared understanding. in The 12th International Conference on Human-Computer Interaction. 2007. Beijing, China: Springer, to appear. [Abstract]This paper extends the knowledge and understanding of art-technology collaboration. It reports upon a close empirical study of how computer programmers interacted with a digital artist to develop a computer-based interactive artwork. Analysis of the data collected showed that the joint uncovering and resolving of assumptions made by each party led to increased shared understanding. The contribution of this paper is to provide a better understanding of creative collaboration, particularly focusing on how developing the artefact increased the understanding between the artist and technologists.
2006
Amitani, S., Bilda, Z., Edmonds, E. A. (2008) “Our Content: Generative Methods for Montaging Multimedia Data”. Design Studies Vol 29, Issue 6, Elsevier.Berry, R., Makino, M., Hikawa, N., Suzuki, M. and Inoue, N. (2006) Tunes on the table. ACM/Springer Multimedia Systems Journal 11 (3). pp280-289. [Abstract]The Music Table is an augmented reality system for composing music by manipulating objects on a tabletop as a physicalized representation of the music being heard. Educational theory, and the apparent success of related applications in various learning contexts, seems to support this idea. In our experiments with children, all were able to make a musical pattern and made many changes to their pattern over a short period of time. We propose its suitability as an educational tool, particularly in short and intense interactive learning situations such as children’s museums. We discuss some future developments of the idea.
Berry, R., Naemura, M., Kobayashi, Y., Tada, M., Inoue, N., Pisan, Y. & Edmonds, E. (2006) An Interface Test-Bed for Kansei Filters Using the Touch Designer Visual Programming Environment, Australasian User Interface Conference (AUIC2006), vol. 50, ed. W. Piekarski, (CRPIT), Hobart, Australia.
Berry, R.A., Makino, M., HIkawa, N., Naemura, M., Pisan, Y., Edmonds, E.A. (2006) Programming in the World. Digital Creativity 2006, 17 (1), pp. 36-48. Routledge Publishers.
Bilda Z., Costello B. , Amitani S. (2006). Collaborative analysis framework for evaluating interactive art experience, Journal of CoDesign vol. 2, #4, December 2006, Taylor and Francis, pp 225-238. More info... [Abstract]This paper describes a collaboration that resulted in the development of a coding scheme for the analysis of interactive art experience. The collaboration involved a multidisciplinary team of analysts who went through an iterative process of coding development in order to reach agreement on what to code, how to code and what to expect from the outcomes. The paper discusses the influence that this collaborative process had on the final scheme and provides a general description of the coding scheme. The paper concludes with a discussion of the potential value of the scheme for the analysis of interactive art experience.
Bilda, Z (2006) Evaluating Audience Experience, in E. Edmonds, L. Muller and D. Turnbull (Eds.) Engage: Interaction, Art and Audience Experience, Creativity and Cognition Studios Press, Australia, pp. 248 – 260.
Bilda, Z, Gero, J S and Purcell, A T (2006) To sketch or not to sketch: That is the question, Design Studies 27 (5): 587-613.
Bilda, Z, Gul, F, Gu, N and Maher, M L (2006) Software support for collaborative data analysis in collaborative design studies, in A. Ruth (Ed) Quality and Impact of Qualitative Research. 3rd Annual QualIT Conference, Australia: Institute for Integrated and Intelligent Systems, Griffith University, pp. 40 – 50. [download]
Burraston, D. and Martin, A. (2006) Digital Behaviors and Generative Music. Wild Nature and the Digital Life. Keshvani, N. (Ed). Special Issue, Leonardo Electronic Almanac. MIT Press. Vol 14, No. 7-8. [download] More info... [Abstract]The use of computers in the generation of digital art and music has enabled the application of a single data source to the parameters of audiovisual modalities. This paper reports on an investigation within Electronic Arts practice where experimental works have been devised that make use of simulated natural systems. It explores essentially natural systems such as reaction-diffusion systems and the computational simulation method of Cellular Automata (CA). Contemporary artists’ practice is continually informed by scientific thought and understanding as new discoveries or conjectures are published. These are examined and presented in a non-mathematical format in the context of music composition.
Candy, L., Amitani, S. & Bilda, Z. (2006). Practice-Led Strategies for Interactive Art Research, CoDesign: International Journal of Co Creation in Design and the Arts, Interactive Art Collaboration (Special Edition), Vol.2 No. 4 December, pp 209-223. [Abstract]Interactive art is said to be ‘created’ by the people engaged in the active experience of it. Works are conceived and first tried out in the studio environment by the artist and then introduced to a wider audience whose behaviour influences its particular visual and auditory manifestations. Research into this kind of process presents interesting challenges that require interdisciplinary collaboration. Artists, technologists, curators, museum organisers are seeking new ways to understand what is effective and engaging about the interactive experience. The practice-led research process is one of co-evolution between creative acts and research knowledge drawn from both informal experiences and organised studies. The paper describes practice-led strategies for research that have been developed at the Creativity and Cognition Studios and put into effect in Beta_space, an exhibiting space in a major public museum. Keywords: practice-led research, evaluation, interactive art, Creativity and Cognition Studios, Beta_space
Colineau, N., Phalip, J., Lampert, A. (2006). The delivery of multimedia presentations in a graphical user interface environment. Proceedings of Intelligent User Interfaces 2006, p.279. [Abstract]A major issue in many domains is to present information to people that is tailored to their need, in such a way that it supports them in their tasks. In this paper, we present the Virtual Document Planner (VDP), a platform we developed for generating tailored interactive multimedia presentations in the surveillance domain. Integrated with the surveillance operators� graphical interface, the VDP provides tailored information delivery mechanisms that adapt the operators� information rich environment to their tasks and information needs.
Danylak, R. and Edmonds, E. (2006). Touch as the Act of Signification: Naming as a Key Design Concept for the Gesturally Intuitive Interactive Space. Edmonds, E., Muller, L., and Turnbull, D. (eds). Engage: Interaction, Art and Audience Experience - A CCS/ACID Symposium. Creativity and Cognition Studios Press, 2006. Sydney, Australia. pp 196-206. More info... [Abstract]The act of naming, where sign and the signified are coupled as an act of touching, establishes the foundations for the meaningful use of language. The computer, a language machine, possesses the capacity to input sensory data from the physical environment where signification occurs. To design a computationally extended sensory environment with intuitive gestural interaction will necessarily then have touch as a foundational factor. The universal element in such systems is language; the specific is the context of place, a space where the significating action of touch occurs.
Danylak, R. and Edmonds, E. (2006). Touch as the Act of Signification: Naming as a Key Design Concept for the Gesturally Intuitive Interactive Space. Edmonds, E., Muller, L., and Turnbull, D. (eds). Engage: Interaction, Art and Audience Experience - A CCS/ACID Symposium. Creativity and Cognition Studios Press, 2006. Sydney, Australia. pp 196-206. More info... [Abstract] [Abstract] Abstract: The act of naming, where sign and the signified are coupled as an act of touching, establishes the foundations for the meaningful use of language. The computer, a language machine, possesses the capacity to input sensory data from the physical environment where signification occurs. To design a computationally extended sensory environment with intuitive gestural interaction will necessarily then have touch as a foundational factor. The universal element in such systems is language; the specific is the context of place, a space where the significating action of touch occurs. Keywords: signification, touch, interaction.
Dyson,L.E., Leggett, M. (2006) Towards a Metadesign Approach for Building Indigenous Multimedia Archives. Proceedings of the 12th ANZSYS conference, Katoomba, 3rd-6th December. [Abstract]Indigenous Australian cultures have experienced a revival in recent years as communities realise the value of recording their cultural heritage. Computer systems designed for Indigenous cultural archives, can play a role in storing Indigenous culture in multimedia formats such as video, sound recordings, photographs and text, and then making them available back to the community. This paper proposes a new approach to the design of Indigenous multimedia archives. Practice-based approaches to metadesign can be combined with Indigenous protocols to develop better systems for Indigenous communities. Using this approach it is possible to avoid “top-down”design methods and, instead, partner with Indigenous people in building authoring software with which they can construct their own cultural systems. By this means Indigenous Australians can gain control of a system which is suited to their needs, cultural traditions and protocols.
Edmonds, E. (2006) Reflections on the Nature of Interaction. Engage: Interaction, Art and Audience Experience - A CCS/ACID Symposium. Creativity and Cognition Studios Press, Sydney, Australia, 2006. p.xxiii-xxviii. [Abstract]Digital art may be static or dynamic with a totally fixed behaviour but often such artworks, or art systems, interact with the world in some way. These interactions may be with objects in the environment or may be with an audience sensed through image or sound analysis. The most complex interactions are potentially those with the audience, with purposeful enquiring (human) systems.
Edmonds, E. (2006). New directions in interactive art collaboration. CoDesign: International Journal of CoCreation in Design and the Arts (Special Issue). Taylor and Francis Group, Oxon, UK, 2006. p. 191-194. [download] [Abstract]This special issue of CoDesign is introduced with a brief discussion of creative collaborations between artists and their audiences. In particular, the concept of Beta_Space, an experimental exhibiting facility in which artists can experiment with their evolving interactive works, is introduced. A short historical diversion places that development in its historical context in terms of the author’s work in that area in the UK and Australia. The papers in the issue are briefly discussed.
Edmonds, E. A., Muller, L, and Connell, M. (2006). On Creative Engagement. Visual Communication. SAGE Publications, 2006, London, Thousand Oaks, CA and New Delhi. Vol 5(3). pp. 307-322. [Abstract]This article is concerned with the design of interactive art systems intended for display in public locations. It reviews approaches to interactive art systems and discusses the issue of creative engagement with them by the active audience. An approach to elaborating a model of creative engagement is described and exploratory work on its refinement is reported.
Edmonds, Ernest. (2006). Abstraction and Interaction: An Art System for White Noise. Computer Graphics, Imaging and Visualisation - Techniques and Applications. Ebad Banissi, et al (Eds). IEEE Computer Society Conference Publishing Services. Los Alamitos, California: 2006. pp 423-427.
Gonsalves, T. (2006). An Exploration into Deeper Engagements of Audience and Creative Process. Edmonds, E., Muller, L., and Turnbull, D. (eds). Engage: Interaction, Art and Audience Experience - A CCS/ACID Symposium. Creativity and Cognition Studios Press, 2006. Sydney, Australia. pp 196-206. More info... [Abstract]The artist discusses the trajectory of three creative projects dealing with affect and audience. She discusses the progressions of how audience engagement drove her creative process, and how her work developed, from earlier single channel short film works exploring a one-way dialogue with audiences, to more intricate multi-channelled interactive and wearable technology artworks that explored a more complex two-way dialogue between work and audiences. With each project, the role of audiences became more central to her work informing her artistic process.
Johnston, A., Marks, B., and Edmonds, E. (2006). Charmed Circle: An Interactive Toy for Musicians. Cheok, A.D., Boj, C. , Dias, D., Kimpan. C.(eds). International Conference on Digital Interactive Media and Arts (DIME). Research Publishing Services, ACM-SIGHI. Bangkok, Thailand, 2006. Proceedings on CD-ROM. More info... [Abstract]This paper describes the development of an interactive musical toy designed to be used by musicians. The design process, which invovled close collaboration between a composer/musician and a technician/musician, is described as is the toy itself. The toy makes use of physical modelling techniques which are intended to allow the musician to more intuitively understand and control the visualisation. The structure of the application is described at a high level and a preliminary evaluation by a professional musician is provided.
Johnston, A., Marks, B., Candy. L., and Edmonds., E. (2006). Partial ReflectionsEdmonds, E., Muller, L., and Turnbull, D. (eds). Engage: Interaction, Art and Audience Experience - A CCS/ACID Symposium. Creativity and Cognition Studios Press, 2006. Sydney, Australia. pp 100-109. More info... [Abstract]This paper describes an ongoing project to develop interactive environments for musicians that encourage musical exploration. A process of developing software such as this, where requirements are highly dynamic and unclear is outlined and two musical compositions and associated interactive environments entitled \'Partial Reflections\' are described.
Kan, J. W., Bilda, Z. and Gero J. S. (2006). Comparing entropy measure of idea links in design protocols. In J S Gero (ed.) DCC\'06 (Design Computing and Cognition), Springer, Dordrecht, pp. 265-285.
Kang, Yong-Bin Kang and Pisan, Y. A Survey of Major Challenges and Future Directions for Next Generation Pervasive Computing. To appear in The 21st International Symposium on Computer and Information Sciences, Istanbul, Turkey.
Leggett, M. (2006) Image Con Text (1978-2003) : Film/Performance/Video/Digital. Experimental Film and Video: an Anthology, ed Hatfield, J. John Libbey Publishing, UK. ISBN 0 86196 664 3 [Abstract]Since the 1960s Mike Leggett has made key works across film, performance, video and digital media, and has practiced as a curator, writer, director, producer, photographer and computer consultant. In Image Con Text (1978-2003) Film / Performance / Video / Digital he discusses the shifts in technology from the analogue to digital (film, video, digital and computer) traversed through the series of artworks, the Image Con Text project. Leggett contextualises the complex processes of his work alongside the relative critical and philosophical debates, from the analogue technologies of film and video to interactive computer augmented multimedia. (From Dr Hatfield\'s Introduction chapter)
Leggett, M. (2006) The Bairdboard Bombardment: a Decade of Engagement. Engage: Interaction, Art and Audience Experience, ACM Symposium, UTS Sydney. [Abstract]This paper positions aspects of computer-based arts practice a decade ago together with manifestations and directions being taken on the contemporary scene. In the light of recent events foreshadowed by the disbanding of the New Media Fund of the Australia Council, the question is: have artists failed to aspire to the dynamic potential of the earlier period of development, or has arts practice moved into a more mature relationship with audiences through the broadening of creative agendas?
Leggett, M. (2006). The Bairdboard Bombardment: A Decade of Engagement. Edmonds, E., Muller, L., and Turnbull, D. (eds). Engage: Interaction, Art and Audience Experience - A CCS/ACID Symposium. Creativity and Cognition Studios Press, 2006. Sydney, Australia. pp 196-206. More info... [Abstract]This paper will position aspects of computer-based arts practice a decade ago together with manifestations and directions being taken on the contemporary scene. In the light of recent events foreshadowed by the disbanding of the New Media Fund of the Australia Council, the question is: have artists failed to aspire to the dynamic potential of the earlier period of development, or has arts practice moved into a more mature relationship with audiences through the broadening of creative agendas?
Leggett, M., (2006) Interdisciplinary Collaboration and Practice-based Research. Convergence: the International Journal of Research into New Media Technologies. Vol 12 N3 p 263-269. Sage Publications, London & New Delhi. More info... [Abstract]Practice-based research and actual collaborative projects between artists and scientists have shown that knowledge about each other\'s fields, whilst necessary for identifying probable outcomes of mutual benefit cannot anticipate the emergence of the possible - does knowledge in the form of written papers or experiencial artworks emerge from loose collaborations or the highly specified kind? Case studies from early 1970s video through to contemporary digital projects examine collaborations between artists, scientists and technologists and the involvement of audiences with interactive media art that will, between respondent and correspondent, create human computer interaction of a different order, a new aesthetics of interdisciplinary spaces.
Leggett, M., (2006) Meta-design Approaches to Indexing Audio-visual Media. Speculation and Innovation: applying practice led research in the Creative Industries (SPIN 05). Queensland University of Technology, Brisbane. [Abstract]The contemporary burgeoning usage of digital media - videos, audio and photographs - and media distribution through networks both electronic and physical, will be considered in the context of a convergence of these media with a contemporary and popular interest in personal and community history. I will outline some research that seeks to develop tools for storing and retrieving audio-visual digital media whilst accommodating the perceived needs of the ‘memory worker’, both amateur and professional, whether as an individual, or a closed or open group.
Leggett,M. Amitani, S. (2006) Hypermedia for Portable Video Players (PVP). Proceedings of Third International Conference on Computer Graphics, Imaging and Visualization (CGIV 2006), Sydney, Australia [Abstract]In this paper we propose the exploitation of high mobility portable battery operated Video Players (PVP) for the retrieval of video associated with the location in which it may be used. Reporting on an earlier interactive multimedia location-based prototype, we assess the possibilities for specific ontologies of a taxonomy of indexing procedure which avoids text-based retrieval methods, using instead the mnemonics of image association. We outline the proposed development of PVP firmware and a related user application enabling users to construct indexing procedures appropriate to their needs, using a metadesign approach.
Maher, M.L., Bilda, Z. and Gul, F.L. (2006). Impact of collaborative virtual environments on design behaviour. In J S Gero (ed.) DCC\\\'06 (Design Computing and Cognition), Springer, Dordrecht, pp. 305-323.
Moss, S. (2006). The Reflective Practitioner: in creation of a presence based experience. Edmonds, E., Muller, L., and Turnbull, D. (eds). Engage: Interaction, Art and Audience Experience - A CCS/ACID Symposium. Creativity and Cognition Studios Press, 2006. Sydney, Australia. pp 218-228. More info... [Abstract]This paper will discuss audience as participants and reflect on why interactive artworks require ‘safe’ environments for exhibition. A pilot study was developed in order to ascertain the artists\\\' conceptualisation of a presence component within a networked system. The study of the interactive artwork The Element of \\\'Luck\\\' was devised to gauge a participant\\\'s presence experience in terms of human computer interaction (HCI). It is the first in a series of works that will develop sequentially during the next three years; each layer of new work informed by the progress of the last. This study facilitates a dialogue in relation to the following criteria: 1) presence and facilitating engagement; 2) the audience as participants; and 3) environments for exhibiting interactive art systems.
Muller, L. and Edmonds, E. A. (2006). Living Laboratories: Making and Curating Interactive Art. SIGGRAPH 2006 Electronic Art and Animation Catalog, ACM Press, New York. 2006. pp 160-163.
Muller, L., Edmonds, E., Connell, M. (2006) Living Laboratories for Interactive Art. CoDesign: International Journal of CoCreation in Design and the Arts, Interactive Art Collaboration (Special Issue), 2(4), December 2006, Taylor and Francis Group, Oxon, UK, pp. 195–207. [Abstract]This paper explores the idea of the exhibition as a living laboratory in the making and curating of interactive art. It suggests that museums can act as living laboratories where curators, artists andaudiences collaborate in real-world settings. Such laboratories are shown to be essential for the study of the audience experience of interactive art, a key part of understanding interactivity as a medium. The paper describes Beta_space: an experimental public exhibition venue and research environment for interactive art. It places this initiative within a historical continuum of transversal cultural display and the use of the museum as laboratory. It identifies an emerging phenomenon of hybrid research, production and exhibition spaces, and argues that such initiatives work to overcome the continued distinctions, within traditional cultural institutions, between art, science andtechnology, object and experience, creation and consumption.
Muller, L., Robertson, T., and Edmonds, E.A. (2006). Experience Workshops. Proceedings of \"The object of interaction - the role of artefacts in interaction design\" OZCHI 2006. ACID, Brisbane, Australia: 2006. [download] More info...
Muller, L., Turner, G., Khut, G. and Edmonds, E. (2006). Creating Affective Visualisations for a Physiologically Interactive Artwork. Proceedings of the 10th International Conference of Information Visualisation, London, 5-7 July 2006. IEEE Computer Society, Los Alamitos, California. pp 651-658.
Nagai, Y. and Taura, T. (2006). Formal Description of Concept-Synthesizing Process for Creative Design. J.S. Gero, Ed. Design Computing and Cognition 06. Springer, Dordrecht. pp. 443-460. [Abstract]We describe a design synthesizing process which has been pointed out to be a key to creative design. We describe two topics of design study. First, from the perspectives of creativity, the concept-synthesizing process is formed with the 1st primitive of the concept-synthesizing process being ‘concept abstraction’ with the principle of ‘similarity’ in ‘taxonomical relations’, the 2nd primitive being ‘concept blending,’ in which the principle is ‘similarity’ and ‘dissimilarity’ in ‘taxonomical relations’, and the 3rd primitive being ‘concept integration’ and with the principle of ‘thematic relations’. Second, design experiments using protocol analysis were conducted to identify what/how design primitives are related to higher creativity. As a result, in the process of synthesizing concepts, thematic relations between two concepts significantly extend the design space, which led to higher creativity. Given this, the creative design process can be driven by the 3rd primitive of the concept-synthesizing process.
Nagai, Y., Taura, T., Edmonds, E.A. Candy, L. and Okada, R. (2006). A Study of Concept Synthesis in Design Creativity. Proceedings of 2006 Design Research Society International Wonderground Conference. 1-4th November, Lisbon, Portugal. (to appear)
Pisan, Y. (2006). Artificial Intelligence versus Clever Design for Creating Intelligent Game Characters. Journal of Computational Information Systems, 2 (1), pp 429-433. Binary Information Press
Seevinck, J., Candy, L., Edmonds, E.A. (2006). Exploration and Reflection in Interactive Art: Glass Pond. Proceedings of OZCHI 2006, Sydney, Australia (to appear 2006). [Abstract]Glass Pond is an interactive artwork designed to engender exploration and reflection through an intuitive, tangible interface and a simulation agent. It is being developed using iterative methods. A study has been conducted with the aim of illuminating user experience, interface, design, and performance issues. The paper describes the study methodology and process of data analysis including coding schemes for cognitive states and movements. Analysis reveals that exploration and reflection occurred as well as composing behaviours (unexpected). Results also show that participants interacted to varying degrees. Design discussion includes the artwork’s (novel) interface and configuration.
Seevinck, J., Scerbo, M.W., Belfore, L.A., Weireter, L., Crouch, J., Shen, Y., McKenzie, F.D., Garcia, H.M., Girtelschmid, S., Baydogan, E., Schmidt, E.A. (2006). A Simulation-Based Training System for Surgical Wound Debridement. Proceedings of Medicine Meets Virtual Reality 14 (MMVR), IOS Press, Long Beach, USA. 25-27 January 2006. [Abstract]Wound debridement is a minor surgical procedure, but one that is performed by surgeons, physicians assistants, surgical assistants, nurses, and military medics and corpsmen. At present, this procedure is typically learned with actual patients. This paper presents a simulation-based training system for surgical wound debridement. The objective is to provide trainees with the requisite knowledge and skills to perform the procedure through self-instruction and practice, thereby eliminating the need for one-on-one instruction. The system comprises three parts: a multimedia introduction, a surgical simulator (tutorial component), and an assessment component. The initial training is a web-based module providing didactic information on varieties of wounds, methods of debridement and so forth. The simulator component allows debridement to be performed on a virtual patient, specifically an injured motorcyclist whose thigh laceration may be virtually excised using a haptic and augmented reality display interface. The last component comprises a virtual agent that both instructs the trainee in conducting the procedure and assesses their competency.
Shen, Y., Seevinck, J., Baydogan, E. (2006). Realistic Irrigation Visualization in a Surgical Wound Debridement Simulator. Proceedings of Medicine Meets Virtual Reality 14 (MMVR), IOS Press, Long Beach, USA. 25-27 January 2006. [Abstract]Wound debridement refers to the removal of necrotic, devitalized, or contaminated tissue and/or foreign material to promote wound healing. Surgical debridement uses sharp instruments to cut dead tissue from a wound and it is the quickest and most efficient method of debridement. A wound debridement simulator can ensure that a medical trainee is competent prior to performing a procedure on a genuine patient. Irrigation is performed at different stages of debridement in order to remove debris and reduce the bacteria count through rinsing the wound. This paper presents a novel approach for realistic irrigation visualization based on texture representations of debris. This approach applies image processing techniques to a series of images, which model the cleanliness of the wound. The active texture is generated dynamically based on the irrigation state, location, and range.
Shneiderman B, Fischer G, Czerwinski M, Resnick M, Myers B, Candy L, Edmonds E, Eisenberg M, Giaccardi E, Hewett T, Jennings P, Kules B, Nakakoji K, Nunamaker J, Pausch R, Selker T, Sylvan E, Terry M. (2006). White Paper on Creativity Support Tools Workshop. International Journal of Human-Computer Interaction (IJHCI). Lawrence Erlbaum Associates, Inc. New Jersey, USA: Vol 20, No. 2, pp. 61-77. More info... [Abstract]Creativity support tools is a research topic with high risk but potentially very high payoff. The goal is to develop mproved software and user interfaces that empower users to be not only more productive but also more innovative. Potential users include software and other engineers, diverse scientists, product and graphic designers, architects, educators, students, and many others. Enhanced interfaces could enable more effective searching of intellectual resources, improved collaboration among teams, and more rapid discovery processes. These advanced interfaces should also provide potent support in hypothesis formation, speedier evaluation of alternatives, improved understanding through visualization, and better dissemination of results. For creative endeavors that require composition of novel artifacts (e.g., computer programs, scientific papers, engineering diagrams, symphonies, artwork), enhanced interfaces could facilitate exploration of alternatives, prevent unproductive choices, and enable easy backtracking. This U.S. National Science Foundation sponsored workshop brought together 25 research leaders and graduate students to share experiences, identify opportunities, and formulate research challenges. Two key outcomes emerged: (a) encouragement to evaluate creativity support tools through multidimensional in-depth longitudinal case studies and (b) formulation of 12 principles for design of creativity support tools.
Turnbull, Deborah. (2006). Old Myths, New Meanings: Border Crossing and the Recontextualization of Space in Alladeen and Theft of Sita. MA Thesis. Faculty of Arts, 2006, University of Sydney, Australia.
Weakley, A. (2006). Developing Widgets to Support Non-Deliberate Sharing. Approaches to the Design of Social Software for Dis-Organisations: An ACID Virtual Communities Workshop in Association with OzCHI 2006.
Zhang, Y. & Candy, L. (2006). Investigating Collaboration in Art and Technology, CoDesign: International Journal of Co Creation in Design and the Arts, Interactive Art Collaboration(Special Edition), 2(4), P239-248. [Abstract]In order to understand how collaboration between people from different disciplines takes place, research is being undertaken in the area of art and technology. The paper describes three studies of collaboration between artists and technologists drawn from the COSTART (COmputer SupporT for ARTists) project, an artist-in-residency programme that provided a platform for studying the creative process. The paper describes how case studies were carried out and, in particular, how the data analysis was conducted using a coding framework developed specifically for this art-technology context and what the preliminary findings that have emerged were.
Zhang, Y. and L. Candy. A Study of Interdisciplinary Collaboration in Art and Technology in Proceedings of CCS/ACID Symposium: Engage: Interaction, Art & Audience Experience. 2006. Creativity and Cognition Studio, University of Technology, Sydney, Australia: Creativity and Cognition Studio Press. [Abstract]This paper describes a method based on protocol analysis to study interdisciplinary collaborative activities between an artist and a technologist. The data was collected during an artist-in-residency project COSTART (COmputer SupporT for ARTists). The aim of the research is to understand how artists and technologists communicate with each other during a collaborative process. The paper describes how the research was carried out and, in particular, how the data analysis was conducted using coding schemes developed specifically for this context. At the end of the paper, preliminary findings are presented and future works are indicated.
Zhang,Y. and Candy,L. (2006). A Study of Interdisciplinary Collaboration in Art and Technology. Proceedings Engage 2006 Conference, University of Technology, Sydney. [Abstract]This paper describes a method based on protocol analysis to study interdisciplinary collaborative activities between an artist and a technologist. The data was collected during an artist-in-residency project COSTART (COmputer SupporT for ARTists). The aim of the research is to understand how artists and technologists communicate with each other during a collaborative process. The paper describes how the research was carried out and, in particular, how the data analysis was conducted using coding schemes developed specifically for this context. At the end of the paper, preliminary findings are presented and future works are indicated.
Zhang,Y.& Candy,L.(2006). Investigating Interdisciplinary Collaboration: Case Studies in Art and Technology, QualIT 2006, Brisbane, Australia. [Abstract]In order to understand how collaboration between people from different disciplines takes place, research is being undertaken in the area of art and technology. The paper describes two studies of collaboration between artists and technologists drawn from the COSTART (COmputer SupporT for ARTists) project, an artist-in-residency programme that provided a platform for studying the creative process. The paper describes how the research was carried out and, in particular, how the data analysis was conducted using a coding scheme developed specifically for this context. Finally, the preliminary findings are discussed and future work is proposed.
2005
Amitani, S., Edmonds, E. A. (2005). Knowledge Nebula Crystallizer for Time-Based Information. Proceedings of Creativity & Cognition 2005, London, UK, pp.166-175. [download] [Abstract]In this paper, we are going to describe a system for managing and authoring time-based information artefact, as an implementation of Knowledge Nebula Crystallizer [9]. The design rationale of the system and its implementation are described.Burraston, D. and Edmonds, E. A. (2005). Celluar Automata in Generative Music and Sonic Art: a historical and technical review. Digital Creativity, Routledge: Taylor & Francis Group, 2005, Vol 16(3) pp 165-185. More info... [Abstract]This paper will review electronic music and sonic art applications of Cellular automata (CA) in a historical and technical context. Algorithmic and computational processes have been of interest to artists for many years, creating an emerging culture of generative electronic art. Creating patterns and sequences is necessary for the creative artist working spatially and temporally within a chosen medium. CA are capable of a wide variety of emergent behaviours and represent an important generative tool for the artist. The sonic artist and musician must be prepared to investigate the theoretical background of CA in order to successfully employ their vast behaviour space within compositional strategy. There is an extensive amount of mathematical and scientific literature relating to CA, however much of this is esoteric or difficult to understand. Important and accessible CA concepts are presented concisely in a non mathematical context to give sufficient background for the review. There have been several approaches at applying CA in the production of electronic music and sonic art. Examples exist in the fields of overall structural composition, MIDI sequencing and sound synthesis/modification techniques. Applications from academic, independent and commercial sectors will be critically reviewed in an artistic, historical and technical context. This will provide the artist and scientist with a balanced view of this emerging field.
Costello, B., Muller, L., Amitani, S., Edmonds, E. (2005) Understanding the Experience of Interactive Art: Iamascope in Beta_space, in proceedings of Interactive Entertainment, November 2005, Sydney. [Abstract]This paper describes a study into the situated experience of interactive art. The study was conducted with audiences of the artwork Iamascope and is framed by the four categories of embodied experience that have been proposed by its artist Sidney Fels. The video-cued recall method we employed was shown to reveal rich detail about situated interactive art experience. The results provide a detailed account of how the categories of embodiment manifest themselves in audience experience and lead to the proposal of a blueprint for the trajectory of interaction produced by Iamascope which may be generalisable to other interactive artworks.
Costello, B., Weakley, A. & Edmonds, E. (2005) Reading and Writing Collaborative Creative Presence, in proceedings of HCI International, July 2005, Las Vegas, Nevada (electronic ISBN:0-8058-5807-5).
Costello, B., Weakley, Alastair J., Edmonds, E.A. (2006). Reading and Writing Collaborative Creative Presence. HCI International 2005 - 11th International Conference on Human-Computer Interaction. Lawrence Erlbaum Assoc., USA: 2005. pp 1-10.
Danylak, R. & Edmonds, E. 2005 ‘Acting Interactively in a Digital World’ in New Trends in Software Methodologies, Tools and Techniques Proceedings of the Fourth Somet_W05 Tokyo Japan. eds H. Fujita, M. Mejri, IOS Press, Amsterdam, pp. 401-406. [Abstract]Abstract: The virtual world that computation now presents to us and involves us in, otherwise known as digitisation - collapses the ‘self’; personal identity to which we have become accustomed to in the last four hundred years, is challenged by the illusion of many selves, transforming our experience of the usual. Digital technology predicates this change; we are no longer happy with just being John Smith, our namesake, and the technology allows, even encourages this; it presents us with the possibility of playing in an infinite game where we can be many other beings, other types of people, rather than staying as ‘who’ we are. The combination of separate, unique, historically evolved representational technologies, best stated as counterfeit, production and simulation, distinctions established by Baudrillard[1] allows this diversity of self to evolve in a digitised environment. This paper will focus on Spielberg’s film Catch Me if You Can, the narrative describing the actions of its game playing protagonist, Frank Abagnale – who exemplifies digital man - adopting many personas but in a pre-digital world. This study offers a clear understanding of the nature of interactivity and its relationship to representation and human action. Semiotic analysis of these distinctions will be included. Key words:. Self, counterfeit, production, simulation, action, multimodal, game, interaction, semiotic, metaphor, metonymy, utterance.
Danylak, R. & Edmonds, E. 2005 ‘The Actor and The Virtual World; Practice-Based Research as Innovation in Human Computer Interaction’, Speculation and Innovation Conference Queensland University of Technology, Creative Industries. . [download] [Abstract]Multimodal Interaction has created exciting new opportunities for the future of HCI. Current interfaces are, however, becoming congested owing to the easy transformations of digitised information from one application to another. For this reason, it is often difficult to clearly realise new potentials, computer assistance adding rather than reducing complexity. At the core of the problem lies the fact that the different requirements of time and space in multimodal interfaces are not compatible. The dimensional variations of image, sound, text and gesture recognition - to name but some of the data permutations possible - create complexities that are difficult to manage, especially when they operate side by side in the same machine. As such, what is required is new modelling to resolve these very difficult design issues. The paper will define a number of characteristics of multimodal interaction through the understanding that dramatic action, that is performance, is a primary human activity, which the computer is now capable of amplifying as a technological extension of a spatial activity. Secondary to this is reading, the decoding of text, including images, which reactivates the body from the storage of the written. These two elements, the performed and the read, are respectively spatial and temporal forms present in computing and an understanding of their differences forms a matrix for multimodal interaction design. A discussion on previous modelling is included. Keywords: text, gesture, interaction
Danylak, R. & Edmonds, E. 2005 ‘The Interactive Game: Origins and Effects’ in proceedings of Australasian Conference on Interactive Entertainment, University of Technology, Sydney. Creativity and Cognition Press. pp..65-69 [Abstract]The virtual world that computation now presents to us and involves us in, otherwise known as digitisation - collapses the ‘self’; personal identity to which we have become accustomed to in the last four hundred years, is challenged by the illusion of many selves, transforming our experience of the usual. Multimedia presents us with dimensional multiplicity meaning that we are no longer forced to be just John Smith, our namesake. We have a possibility of playing in an infinite game where we can be many other beings, other types of people, rather than staying as ‘who’ we are. This has significant consequences for the interface design notion of the single user. The combination of separate, unique, historically evolved, representational technologies, best stated as counterfeit, production and simulation, distinctions established by Baudrillard[1] allows the diverse self to evolve in a digitised environment. This paper will focus on Spielberg’s film Catch Me if You Can, the narrative describing the actions of its game playing protagonist, Frank Abagnale – who exemplifies digital man - adopting many personas but in a pre-digital world. This study offers a clear understanding of the nature of interactivity. Semiotic analysis will be included revealing that the evolution of communication technologies since the Renaissance amplifies language in successive epochs characterised by space and/or time concerns, pinpointing origins. Keywords:. Self, counterfeit, production, simulation, action, multimodal, game, interaction, semiotic, metaphor, metonymy, utterance.
Edmonds, E. A. (2005). On New Constructs in Art. Artists Bookworks, Springer Publications, 2005, UK. More info... [Abstract]Explorations in Art and Technology is about the creative process in action through the eyes of practitioners and researchers. The book explores the fascinating relationship between artist and technologist through studies of innovative projects that push the boundaries of digital art. The research sheds new light on the nature of interaction between people and computers and provides insight into the characteristics of environments in which creativity can be enhanced. In doing so, it presents a case for organisations to develop strategies for offering environments in which collaborative, sustainable partnerships can thrive. What emerges is a compelling story of new visions and new forms in a field that is set to transform traditional norms in both art and technology as we move through the 21st Century.
Edmonds, E. A. and Stubbs, M., Editors. (2005). White Noise, ACMI, Melbourne, 2005. More info... [Abstract]The moving image and abstraction are two of the most revolutionary creative achievments of the modern age. White Noise explores their history and their ongoing dialogue through works by some of the world\'s leading artists in digital media. This lavishly illustrated publication features over 100 pages of detailed information about the artists featured in White Noise, as well as new critical essays on abstraction in a digital age by Ernest Edmonds, Patricia Railing, Cindy Keefer, Lev Manovich and Mike Stubbs.
Edmonds, E.A. and Candy, L. (2005). Computation, interaction and imagination: Into virtual space and back to reality. New trends in software methodologies, tools and techniques: Proceedings of the fourth SoMeT-W05. IOS Press. Amsterdam, The Netherlands: 2005. pp 353-363.
Edmonds, E.A., Candy, L, Fell, M. Pauletto, S. and Weakley, A. (2005). The Studio as Laboratory: Combining Creative Practice and Digital Technology Research, International Journal of Human-Computer Studies Special Issue on Creativity and Computational Support, Vol. 63, issue 4, August pp 452-481.
Johnston, A., Amitani, S. and Edmonds, E. 2005, Amplifying Reflective Thinking in Musical Performance, Creativity and Cognition 2005, London
Johnston, A., Marks, B. and Edmonds, E. 2005, An Artistic Approach to Designing Visualisations to Aid Instrumental Music Learning, Cognition and Exploratory Learning in the Digital Age (CELDA2005), (eds) Kinshuk, Sampson, D., G. and Isaias, P., IADIS Press, Porto, Portugal, pp. 175-182.
Johnston, A., Marks, B. and Edmonds, E. 2005, Spheres of Influence - an Interactive Musical Work, Interactive Entertainment (IE2005), Sydney, Australia.
Leggett, M. (2005) Indexing Audio-Visual Digital Media: The Pathscape Prototype. Scan,V2 N2, Macquarie University, Sydney. [download] [Abstract]The paper reports some early stages of interdisciplinary research into human memory and its relation to machine memory, methods of storage and retrieval of media elements in the current context of information and communication technology (ICT). It proposes an approach to indexing audio-visual media utilising a representational system that draws on a real-world time-space representation as the taxonomy for the indexing procedure. An interactive experimental prototype, PathScape, will be described and evaluated and further practice-based research approaches to author-defined storage and retrieval systems will be outlined.
Leggett, M., (2005) Generative Film : analogue to digital migrations. Third Iteration - third international conference on generative systems in the electronic arts 2005, Monash University, Melbourne, Australia. [Abstract]As a model of creativeness and the creative processes involving an analogue generative system, reference will be made to the eight-minute film Red+Green+Blue. Based on Notes made at, and shortly after, the time of its production, the generative art emergent in the film will be evaluated in the light of recent discussion of digital/binary-based mediums and how the generative system in the model was useful to the artistic enterprise, the Sheepman & the Sheared film series. Evaluation of how the generative system employed in Red+Green+Blue extended the experience of receiving the artwork will be described, concluding with an outline of the issues of concept transfer from the analogue to the digital domain.
Leggett, M., (2005) Generative Film : Red + Green + Blue. Generative Arts Practice (GAP \'06) Symposium, University of Technology Sydney. [Abstract]A description of some informal research from the 1970s a period when myself and others explored iterative and generative systems using motion-picture film. The approach was practice-based and occurred in a context of artists working with film as a dynamic medium. The films considered various factors that could have effect upon the physical nature of the film experience. The role of the film audience as an active participant in meaning production was critical to the process. Based on Notes about the film, “Red+Green+Blue” (Leggett 1975), the project and its context, the generative system using this analogue-based medium is evaluated in the light of recent discussion of digital/binary-based generative mediums.
Leggett, M., (2005) Seen / Unseen / Seen : 1973 - 2005. Video installation, Videomedeja 2005, Novi Sad, Serbia Montenegro. [Abstract]The frame of the camera in 1973 leaves unseen to the viewer what the artist can see... In 2005 the objects named remain unseen. The 1973 analogue recording made on a Sony Portapak is re-visited in 2005 with digital video. (The objects remain, unseen).
Leggett, M.,(2005) Losers and Finders: Indexing Audio-visual Digital Media. Proceedings ACM SIGCHI Creativity & Cognition 2005, Goldsmith\'s College, London. [Abstract]The contemporary burgeoning usage of digital movies, photos, audio and text, their distribution through networks both electronic and physical will be considered in the context of a convergence of these media with a popular interest in personal and community history and identity. The paper introduces interdisciplinary research into human memory as a context for understanding its relation to machine memory and methods of storing and retrieval. It proposes an approach to indexing audio-visual media utilising a time-space representational system, drawing upon a real-world time-space representation as the taxonomy of the indexing procedure. An interactive experimental prototype, PathScape, will be described and evaluated and further practice-based research approaches to author-defined storage and retrieval systems will be outlined.
Leggett, Mike. Undivided Diversions [online]. 2005. In: Vital Signs: Creative Practice & New Media Now; pages: [31]. Jones, Lyndal (Editor); Anastasiou, Pauline (Editor); Smithies, Rhonda (Editor); Trist, Karen (Editor). Melbourne: RMIT Publishing, 2005. Availability:
Pisan, Y. (2005) Everything I Learned from The Sims: Putting Games in Context. In the Proceedings of the IADIS WWW/Internet Conference, Lisbon, Portugal.
Proceedings of the Australasian Conference on Interactive Entertainment, Sydney, Australia, 23-25 November 2005, Edited by Yusuf Pisan, ISBN 0-9751533-2-3. Available from http://portal.acm.org/ More info...
Seevinck, J. (2005). Blue in the Bluebird. Shades of Summer exhibition at Indigo Contemporary Art Gallery, Norfolk, U.S.A. Installation of artwork. More info... [Abstract]Computer generated video \'blue in the bluebird\' is developed from earlier studies pursuing an essence of place, an essence of the open bush land, coastal areas, rainforests and inland lakes of Australia. The installed work features computer generated imagery of birds in flight, abstract sculptural forms and landscape details guided by conceptual structure and dynamic modeling techniques. Specifically, the motion of a bird’s wing is modeled dynamically by modeling forces such as gravity and wind currents which act on it. It is derived procedurally. Similarly the flock is modeled procedurally to appear as both texture and a figure. Within this work form and motion are integrated. Firstly, the void of cyberspace is addressed and becomes ‘cyberplace’, a poetic space that dynamically affects the inhabiting forms. Secondly this follows philosophers Deleuze and Bergson in their writings on matter and space: the ethereal nature of the virtual form is amplified by its eternal becoming. In cyberspace there is no gravity and soaring can become a metaphor for the exploration of a space. Here soaring also informs the nature of the space. “The black box becomes meaningful: cyberspace that is a place. Animated space: effected and affected through movement. The memory of natural Australian landscapes renders tactility.”
Turner, G., Weakley, A., & Edmonds, E. A. (2005). Seeing Eye-to-Eye: Supportive Transdisciplinary Environments for Interactive Art Paper presented at the IV05, London, UK. [Abstract]This paper presents findings from a new study into the social and technical roles of programmers in art-technology collaborations. Combined with a review of the supportive and obstructive roles of technology with respect to helping artists to learn programming, we show that programmers can play several roles in such collaborations, both supportive of and obstructive to the requirements of artists, beyond merely doing the programming. Of central importance is the process of attuning between the actors and artefacts involved. All this is used to suggest some high-level ways in which visualisation technology can be employed to aid both the programming process (for artist and technologist) and the art-technology collaboration process.
Turner, G., Weakley, A., Zhang, Y., & Edmonds, E. (2005). A Social Study of Creative Collaborations, with Implications for Supportive Technology. Paper presented at the Apple University Consortium Conference, Hobart, Australia. [Abstract]This paper presents findings from a grounded theory study of the social and technical roles of programmers, as quintessential digital technology workers, in their collaborations with artists, as quintessential creative workers. Combined with a review of the roles of technology with respect to helping artists engage with the computing medium, we show that programmers can play several roles in such collaborations, both supportive of and obstructive to the requirements of artists, beyond merely doing the programming. Of central importance is the process of attuning between the actors and artefacts involved, and this can show us ways of making programming systems more comprehensible to creative practitioners, and ways of making computing systems better suited to creative innovation.
Turner, G., Weakley, A., Zhang, Y., & Edmonds, E. A. (2005). A Grounded Theory Study of Programming in Artist-Programmer Collaborations. Paper presented at the New Trends in Software Methodologies, Tools and Techniques: Proceedings of the fourth SoMeT_W05, Tokyo, Japan. [download] [Abstract] This paper presents findings from a grounded theory study of the social and technical roles of programmers in art-technology collaborations. The process of attuning between the actors and artefacts involved is a recurring theme in our study and one that we think is central to transdisciplinary collaboration and for non programmer-focussed software development. We reflect on the use of grounded theory to study software engineering social processes and conclude that the methodology can bring designers and researchers rich theoretical understandings that can be used to develop new tools to support different types of software engineering.
Turner, G., Weakley, A., Zhang, Y., & Edmonds, E. A. (2005). Attuning: A Social and Technical Study of ArtistProgrammer Collaborations. Paper presented at the Psychology of Programming Interest Group 2005, Brighton, UK. [download] [Abstract]This paper presents findings from a grounded theory study of the social and technical roles of programmers in art-technology collaborations. Combined with a review of the roles of technology with respect to helping artists engage with the computing medium, we show that programmers can play several roles in such collaborations, both supportive of and obstructive to the requirements of artists, beyond merely doing the programming. Of central importance is the process of attuning between the actors and artefacts involved, and this can show us ways of making programming systems more comprehensible to artists.
Watkins, J and Russo, A. (2005). Extending Site-specific Audience Experience via Multi-Platform Communication Design. In: M.H. Hamza (ed.): Proceedings of the Ninth IASTED International Conference on Internet and Multimedia Systems and Applications. Calgary, ACTA Press, pp. 298-303, ISBN 0 88986 508 6. [Abstract]Across much of the Australian cultural sector, the principal mission of curatorship remains wedded to the production of site-specific physical exhibitions. This mission is entirely understandable when viewed through the tradition of ongoing cultural exhibition in well-populated urban locations, yet sits less comfortably within the wide geographic distribution of the Australian population. Although a growing desire to reach wider audiences via an expanded online presence is evident, such initiatives are tempered by the prohibitive cost of digitising existing collections optimised for physical exhibition. Significant amounts - if not the majority - of compelling cultural content remain inaccessible to communities and the general public. Multi-Platform Communication Design is a design method which repurposes existing content across multiple communication channels in order to extend an audience experience across multiple target segments. Applied to the cultural institution sector, MPCD takes existing platform- or site-specific artefacts to new, distributed audiences in a cost-effective manner. In so doing, MPCD can extend and increase the audience experience beyond current curatorial and audience expectations. The rationale behind MPCD lies neither in a technological orientation nor blue skies research. Rather, it is firmly focused in providing a tool whereby cultural institutions can reach a wider audience cost-effectively, and communities can not only access content more readily, they may also contribute to the creation of digital collections. This paper acknowledges the exciting potential of synchronous iTV/web broadcast and contributes to the developing multi-platform debate by defining outcomes for both consumers and producers and links this debate to the emerging concept of a “cultural consumer” within this sector.
Watkins, J. and Russo, A. (2005). Digital Cultural Communication: designing co-creative new media environments. In Candy, L. (ed.): Creativity & Cognition: Proceedings 2005. ACM, pp. 144-149, ISBN 1-59593-025-6. [Abstract]The design and implementation of audience-focused immersive media-rich physical environments is a familiar landscape within the commercial sphere. From theatre and theme parks to autoshows and airports, commercial interdisciplinary design and production teams have extended and solidified the new media agenda. The success of this track record is demonstrated by the increasing presence of commercial design techniques and knowledge in the creation of immersive new media within the cultural sphere, as proven by London’s Natural History Museum, or the Melbourne Museum. This paper introduces the notion of digital cultural communication, a continuum through which designers can consider the place of narrative and experience and their attributes within public and commercial institutions. Digital cultural communication allows users to become co-creators of knowledge by providing tools and methods which enable the co-construction of creative artefacts. This paper uses a case study from Australia’s rich cultural institution sector to illustrate the conceptual design of new media co-creative environment using an HCI-derived methodology supported by participatory action research. It is hoped that this method will demonstrate to curators of cultural experiences the cost-effective possibilities for enabling audiences to create rich narrative from user-led content.
Watkins, J. and Russo, A. (2005). Developing communities and collections with new media and information literacy. In: Fox, E. et al (eds.): Digital Libraries: Implementing Strategies and Sharing Experiences. Springer, pp. 390-394, ISBN 3 540 30850. [Abstract]As part of its many functions, the reference library is charged with developing both its collection and its user community. These two functions are sometimes pursued as separate initiatives (with separate funding) by library managers. In Australia, the State Library of Queensland (SLQ) is committed to an exciting policy of simultaneous collection development and community engagement by integrating public programs with new media technologies. SLQ’s Mobile Multimedia Laboratory is a purpose-designed portable digital creativity workshop which is made available to communities as a powerful platform to capture and disseminate local digital culture, and also to promote and train community members in information literacy. The Mobile Multimedia Laboratory facility operates in conjunction with SLQ’s Queensland Stories project, an exciting portal for the display and promotion of community co-created multimedia. Together, the Mobile Multimedia Laboratory and the Queensland Stories initiatives allow the SLQ to directly engage with existing and new communities, and also to increase its digital collection with community created content. Not only are both initiatives relatively cost-effective, they have a positive impact upon information literacy within the state.
Watkins, J. and Russo, A. (2005). New media design for cultural institutions. In: Proceedings of the Conference on Designing for User eXperience (dux 05). AIGA, pp. 2-11, ISBN 1 59593 250 X. [Abstract]Community co-creation programs are increasingly used by cultural institutions in an attempt to draw new audiences to their collections. By providing engaging interactive experiences in partnership with the community, institutions may well increase their audience numbers in the short term; but to optimize the viability and longevity of such programs, institutions and designers should consider the integration of strategic design methods with curatorial processes in order to reconsider the capture, display and promotion of collections and/or exhibitions. This case study uses a project from the State Library of Queensland, Australia to showcase a human computer interaction-derived design method developed by the authors to ensure a strategic response to community co-creation initiatives. Using a variety of media, the new Multi-Platform Communication Design method has enabled the design of web-based distribution; a community and a facilitator’s training program; and the development of a mobile multimedia laboratory. This paper details the design method by which these multiple communication platforms were developed and implemented to achieve successful project delivery.
Weakley, A. J. and Edmonds E. A. 2005. Using Repertory Grid in an Assessment of Impression Formation. In Proceedings of Australasian Conference on Information Systems, Sydney 2005 [Abstract]In the work described here we are concerned with support for creative knowledge workers. Our research deals with how computer systems can be used to assist in the formation of the close collaborative relationships that are common in this work domain. Here we describe the background behind our interest in impression formation as well as how and why we have applied the repertory grid technique in this research. The results of a series of interviews are reviewed and we comment on the effectiveness of the method used.
Weakley, A. J. and Edmonds, E. A. Web-Based Support for Creative Collaboration. In International Journal of Web-Based Communities Vol 1, No. 4 Inderscience Press. pp.436–449. [Abstract]This paper considers web-based systems in support of distributed communities involving creative work. It is concerned with the sharing of knowledge that might otherwise remain unspoken, or tacit, amongst those engaged in design tasks. Drawing on the results of the evaluatisystem, pointers for future systems are presented.
Weakley, A. J., Johnston, A. and Edmonds, E. A.2005. Creative Collaboration: Communication, Translation and Generation in the Development of a Computer-Based Artwork. In Proceedings of HCI International, Las Vegas
Weakley, Alastair J., Johnston, A.J., Edmonds, E.A., Turner, G.A. (2006). Creative Collaboration: Communication Translation and Generation in the Development of a Computer-based Artwork. HCI International 2005 - 11th International Conference on Human-Computer Interaction. Lawrence Erlbaum Assoc., USA: 2005. pp 1-9.
Welsh, S. and Pisan, Y. (2005) Enhancing Agent Capabilities in Computer Games. In the Proceedings of The 2005 International Conference on Artificial Intelligence (ICAI), Las Vegas, Nevada, USA.
Welsh, S. and Pisan, Y. (2005) Enhancing Information Acquisition in Game Agents. In the Proceedings of the International Conference on Artificial Intelligence, Las Vegas, Nevada, USA.
2004
Burraston D., and Edmonds, E.A. (2004). Global Dynamics Approach to Generative Music Experiments with One Dimensional Cellular Automata. Proceedings of the 2004 Australasian Computer Music Conference. Australasian Computer Music Association. Victoria, Australia: 2004. pp 29-38.Burraston, D., Edmonds, E. A., Livingston, D., Miranda, E. (2004). Cellular Automata in MIDI based Computer Music. Proceedings of the 2004 International Computer Music Conference. International Computer Music Association. California, USA: 2004. pp 71-78.
Candy, L. and Edmonds E.A., (2004). Creative expertise and collaborative technology design. Computer Human Interaction: Proceedings. Springer-Verlag Berlin. Berlin: 2004. pp 60-69.
Candy, L. and Edmonds, E. A. (2004). Expertise, Collaboration and Creativity for Technology Design. Proceedings of APCHI 2004. Rotorua, New Zealand Springer- Verlag, Berlin. 2004. pp 60-69.
Chesher, C & Costello, B (Guest Editors) (2004) The Games Issue: Studying Computer Games as Media, Media International Australia, #110 February 2004.
Costello, B., Weakley, A. & Edmonds, E. (2004) Creative presence: Supporting artistic collaborations, in Seventh International Workshop: Presence 2004, eds M. A. Raya & B. R. Solaz, Universidad Politecnica De Valencia, Valencia, Spain, pp. 287-293.
Danylak R. & Edmonds E. 2004 ‘Sound, Image, Text and Gesture: the Interplay of Computation, Communication and Body’, Image, Text and Sound: The Yet Unseen: Rendering Stories Conference eds K. Trist, & P. Anastasiou, School of Creative Media, Royal Melbourne Institute of Technology University, Melbourne. [download] [Abstract]Intuition is the instantaneous knowledge that we possess of what is present in a perceived environment, which includes the possible intentions of others. In human to human interaction, we intuitively respond to each other’s desires and moods by reading ‘body language’, that is, we are responding to gestures. There has been considerable work done in recent years by technologists on the possibilities of computer recognition of this language, the principle being, that a machine could respond to human emotions rather than intellectual states. Semiotics, the science of signs and symbols, offers a precise grammar by which gestures can be interpreted; the core elements are metaphor and metonymy which is the expression of images in a sequential narrative structure. Significantly, the same analytical tools can be applied to components of computer interfaces, namely sound, image and text. What results is a set of distinctions and parallels between gestural body language and multimedia, which establishes design principles for information artists. This paper will examine the effects of computation on human communication as a historical process of technical innovation which reconfigures sound, image and text, central to the human experience of perception. Yoga, a gestural system which raises intuitive awareness, is the focus of the movement analysis.
Edmonds E. A., Everitt, D., Macaulay M. and Turner G. (2004). On physiological computing with an application in interactive art. Interacting with Computers 16, 2004. pp. 897–915.
Edmonds, E. & Danylak. R. 2004 ‘Towards a New Model of Human Computer Interaction’ eds H.Fujita, V. Gruhn New Trends in Software Methodologies, Tools and Techniques Proceedings of The Third International Conference on Software Methodologies, Tools and Techniques Leipzig, Germany, Somet W_04 pp.. 67-74. [Abstract]Multimodal Interaction has created exciting new opportunities for the future of HCI. Current interfaces are, however, becoming congested owing to the easy transformations of digitised information from one application to another. For this reason, it is increasingly difficult to clearly realise new potentials, computer assistance often adding rather than reducing complexity. At the core of the problem lies the fact that the different requirements of time and space in multimodal interfaces are not compatible. The dimensional variations of image, sound, text and gesture recognition - to name but some of the data permutations possible - create complexities that are difficult to manage especially when they operate side by side in the same machine. As such, what is required is new modelling to resolve these very difficult design issues. This paper will define a number of characteristics of multimodal interaction through the understanding that dramatic action, that is performance, is a primary human activity which the computer is now capable of amplifying as a technological extension of a spatial activity. Secondary to this is reading, the decoding of text, including images, which reactivates the body from the storage of the written. These two elements, the performed and the read, are respectively spatial and temporal forms present in computing and an understanding of their differences and similarities will underpin a new model for communication in human computer interface design.
Edmonds, E. A. and Fell, M. (2004). Broadway One. SIGGRAPH 2004 Electronic Art and Animation Catalogue, ACM Press, New York (to appear 2004).
Edmonds, E. A. and Pauletto, S. (2004). Audiovisual Discourse in Digital Art. SIGGRAPH 2004 Electronic Art and Animation Catalogue, ACM Press, New York (to appear 2004).
Edmonds, E. A. and Turner, G. (2004). Intelligent Interaction in Art Systems. Proceedings of Intelligent User Interfaces 2004, Nunes, N. J. and Rich, C. (eds). ACM Press, New York, 2004. pp 354-355.
Edmonds, E. A., Martin, A. and Pauletto, S. (2004). Audio-Visual Interfaces in Digital Art. Proceedings of Advances in Computer Entertainment Technology. ACM Press, New York, 2004, pp 331-336.
Edmonds, E. A., Turner, G. and Candy, L. (2004). Approaches to Interactive Art Systems. Proceedings of GRAPHITE 2004, Singapore, ACM Press, New York, 2004. pp 113-117.
Edmonds, E. and Gibson, R., eds (2004). Interaction: Systems, Practice, and Theory. Creativity and Cognition Studios Press, 2003, Sydney, Australia.
Edmonds, E.A. (2004). Expressive Intention: Representations for Generative Artworks New Trends in Software Methodologies, Tools and Techniques - Proceedings of the 3rd SoMeT_W04. IOS Press, Amsterdam, The Netherlands: 2004. pp 55-66.
Edmonds, E.A. (2004). Expressive Intention: Representations of Knowledge for Generative Artworks. JAIST Forum 2004 Proceedings. JAIST, Ishikawa, Japan: 2004. pp 67-72.
Edmonds, E.A. and Pauletto, S. (2004). Audiovisual Discourse in Digital Age. Siggraph2004: Electronic Art and Animation Catalog, Computer Graphics Annual Conference Series, 2004. ACM Press, New York, USA: 2004. pp 115-118.
Johnston, A. and Edmonds, E. 2004, Creativity, Music and Computers: Guidelines for Computer-Based Instrumental Music Support Tools, Australasian Conference of Information Systems, Hobart, Tasmania
Johnston, A. and Edmonds, E. 2004, Towards a Framework of Requirements for Music Learning Support Tools, Innovations Through Information Technology, Idea Group Publishing, New Orleans, Louisiana, USA, pp. 643-646.
Leggett, M., (2004) Presence, Interaction and \'data space\'. ACM Interaction: Systems, Practice and Theory 2004, University of Technology, Sydney. [Abstract]This paper will examine the concept of ‘data space’ and sentient ‘presence’ in relation to practice-based research being pursued by myself and others working in the institutional space that lies between the disciplines of art and science. It will consider the broader Western cultural context for the idea of presence and the contemporary literature produced by presence researchers. The artefacts of three contemporary artists working with presence in the physical spaces of public museums and galleries, will be described in the context of telepresence in the domain of cyberspace
Leggett, M., (2004) The Proximity Interface and Human Computer Interaction. Biennale of Electronic Arts Perth (BEAP04) Curtin University, Perth, Western Australia. [Abstract]The tools with which the media artist works and the infrastructure within which the artwork is made and exhibited are critical determinants of how work is received and considered. This paper will build upon earlier investigations by myself and others into interactive art installation as models for informing development of HCI. These areas of practice-based research and the resources available online for the development of solutions based on modular electronics, suggest there exists common ground for scientist and artist to explore for revising the interface as an experience built from components - of presence, of devices and of code.
Parolin, B., Barton, J., Weiley, V. (2004). A Spatial Decision Support System for the Management of Public Housing: Case Studies and Approaches to Interactive Visualisation. Presented at DDSS 2004, Published in Recent Advances in Design & Decision Support Systems in Architecture and Urban Planning. Kluwer Academic Publishers, Dordrecht, NL. More info...
Turner, G., Neumark, N., Miranda, M., & Weakley, A. (2004). Uncanny Interaction: A Digital Medium for Networked E.motion. Paper presented at the Interaction: Systems, Practice and Theory, Sydney, Australia. [Abstract]Sa.nce: a networked glossalalia is a collaborative project involving a sound artist, visual artist, and a remotely-located interaction designer. The aim of the collaboration was to make a multiuser live performance work for local and remote players, in a work that asked how it would look, sound, and feel to interact in a networked sance environment that channels the e.motional relays within the network (the dot in e.motion emphasises the moving aspects). This paper focuses on lessons learned during the process of designing uncanny interactions, dealing with both the piece itself, the collaborative process which created it, and how each of these informs the other. In the case of Sa.nce the work itself is a creative collaboration, and the process of creating it is an e.motional network.
Weakley, A. J. and Edmonds, E. A. Shared Visualizations in Support of Distributed Creative Communities, in Proceedings of OZCHI 2004. 2004: Wollongong, Australia. [download] [Abstract]The paper is concerned with support for distributed groups of creative knowledge workers: in this case designers. We consider requirements that designers have regarding internalisation and externalisation of ideas and concepts as well as requirements relating to collaboration. We review an online system whose facilities for the graphical representation of data were found to be popular. The evaluation was in the context of a group task and the results, including instances of tacit knowledge sharing, have led us to formulate a number of recommendations as to how such systems might be made still more effective for collaborative working.
Weakley, A. J. and Edmonds, E. A. Web-Based Support for Creative Collaboration. In Proceedings of the IADIS International Conference Web-Based Communities 2004 (Eds, Kommers, P., Isias, P. and Nunes, M. B.) IADIS Press, Lisbon, Portugal, pp. 239-246.
Weakley, A. J. and Edmonds, E. A., 2004 Shared Visualizations in Support of Distributed Creative Communities, in Australasian Journal of Information Systems (December 2004) 122-132 [Abstract]The paper is concerned with support for distributed groups of creative knowledge workers: in this case designers. We consider requirements that designers have regarding internalisation and externalisation of ideas and concepts as well as requirements relating to collaboration. We review an online system whose facilities for the graphical representation of data were found to be popular. The evaluation was in the context of a group task and the results, including instances of tacit knowledge sharing, have led us to formulate a number of recommendations as to how such systems might be made still more effective for collaborative working.
Weakley, Alastair J., Edmonds, E.A. (2004). Shared Visualizations In Support of Distributed Creative Communities. Conference Proceedings of OZCHI 2004. University of Wollongong Press. Wollongong, Australia: 2004
2003
Candy, L. and Hori, K. (2003). The Digital Muse: HCI in Support of Creativity, Creativity and Cognition Comes of Age, Interactions Journal Vol. X.4, July, July/August, ACM Press, New York, pp 44-54.Danylak, R. 2003 ‘Gesture and Intuition’ New Trends in Software Methodologies, Tools and Techniques eds H. Fujita and P. Johanneson, Proceedings of The Second International Workshop on Lyee Methodology, University of Stockholm, Sweden IOS press, pp..74-78. [Abstract]Intuition is the instantaneous knowledge that we possess of what is present in a perceived environment which includes the possible intentions of others. In human to human interaction, we intuitively respond to each other’s desires and moods by ‘reading’ body language, that is, we are responding to gestures. There has been considerable work done in recent years by technologists on the possibilities of computer recognition of this language, the principle being, that a machine could respond to human emotions rather than intellectual states. The purpose of this paper is to describe how technology enhances and rearranges certain inherent qualities in natural language, which includes gesture, with a view to developing an efficient model for gesture recognition interface design. Part one of the paper will focus on natural language and how it inscribes gesture dramatically and textually, and the effects of computing on these phenomena. Part two will look more deeply at techniques used in theatre arts to ‘manufacture’ intuition and gesture. Keywords: gesture, sound, image, text, intuition, multimedia, metaphor, metonymy, intention.
Edmonds, E. A. (2003). Logics For Constructing Generative Art Systems. Digital Creativity, 14(1) 2003. pp. 23-38.
Edmonds, E. A., Candy, L., Fell, M. J., Knott, R. P. and Weakley, A. J. (2003). Macaroni Synthesis: a creative multimedia collaboration. Proceedings of 7th International Conference on Information Visualization. Banissi, E (ed). IEEE Computer Society, Los Alamitos, CA. 2003, pp 646-651.
Edmonds, E. A., Candy, L., Fell, M. J., Knott, R. P., Pauletto, S. and Weakley, A. J. (2003). Developing Interactive Art Using Visual Programming. Human- Computer Interaction: theory and Practice (Part II). Proceedings of Human-Computer Interaction 2003. Stephanidis, C. and Jacko, J. (eds). Lawrence Erlbaum, London. 2003. pp 1183-1187.
Edmonds. E. A. (2003). A logical Representation of the Emergence of Intention. New Trends in Software Methodologies, Tools and Techniques. Fujita, H. and Johannesson, P. (eds) IOS Press, Amsterdam. 2003. pp 71-77.
Leggett, M., (2003) Pathscapes - Interface Options for Visual Indexing.Digital Arts and Culture Conference (DAC03), RMIT Melbourne. [Abstract]A s