International Journal of Arts and Technology http://www.inderscience.com/browse/index.php?journalID=264&year=2012&vol=5&issue=1 Inderscience Publishers Ltd en-uk International Journal of Arts and Technology 1754-8853 1754-8861 © 2012 Inderscience Publishers Ltd editor@inderscience.com https://www.inderscience.com/images/files/coverImgs/ijart_scoverijart.jpg http://www.inderscience.com/browse/index.php?journalID=264&year=2012&vol=5&issue=1 http://www.inderscience.com/link.php?id=44334 Human bodily gestures are now clearly present as a factor in human computer interface design extending interactor experiences into designed space, in particular as interactive film, where the interactor may have gestural and emotional experiences with on-screen material. This paper describes the organisation of time and space in three media forms where gestures are prominent, namely theatre, film and interactive film, showing their interrelation, where interactive film absorbs processes of the first two media and is experienced as a game. The plan processes of the media is the focus of discussion, in particular the plan from the interactive gestural film game, To be or not to be, an original artwork designed and evaluated for practice-based research. A summary of gestural evaluation is also included. The planning and experience of time and space in three gestural media: theatre, film and interactive film
Roman Danylak; Ernest Edmonds
International Journal of Arts and Technology, Vol. 5, No. 1 (2012) pp. 1 - 16
Human bodily gestures are now clearly present as a factor in human computer interface design extending interactor experiences into designed space, in particular as interactive film, where the interactor may have gestural and emotional experiences with on-screen material. This paper describes the organisation of time and space in three media forms where gestures are prominent, namely theatre, film and interactive film, showing their interrelation, where interactive film absorbs processes of the first two media and is experienced as a game. The plan processes of the media is the focus of discussion, in particular the plan from the interactive gestural film game, To be or not to be, an original artwork designed and evaluated for practice-based research. A summary of gestural evaluation is also included.

]]> 10.1504/IJART.2012.044334 International Journal of Arts and Technology, Vol. 5, No. 1 (2012) pp. 1 - 16 Roman Danylak; Ernest Edmonds Department of Computer and System Sciences, Stockholm University, Forum 100, Kista SE-164, Sweden ' Creativity and Cognition Studios, FEIT, University of Technology Sydney, P.O. Box 123, Broadway, NSW 2007, Australia time space interactive film games theatre gestures gestural evaluation. 2011-12-19T23:20:50-05:00 5 1 1 16 2011-12-19T23:20:50-05:00 http://www.inderscience.com/link.php?id=44335 The aim of the work presented in this paper is to investigate and demonstrate the potential for sensitive, physical and spatial interaction, bringing together the electronic and physical environments in an ecological approach. Through the research and design processes in the author’s studio such electronic ecologies as spatial audiovisual environments are developed, in which the audience co-creates the final result through their body movements. An open design approach is applied, the audience participates in the development process at any stage. The paper presents a media framework to place interactivity and time-based material in a context. Several recent pieces are described, interactive video environments such as Trainflow and Facets, including a presentation of technical factors. The paper has a section on mapping and other design considerations, and audience feedback and experiences. The final section of this paper concludes with a discussion and reflection on the process and outcomes, and it presents future directions. Interactive video projections as augmented environments
A.J. Bongers
International Journal of Arts and Technology, Vol. 5, No. 1 (2012) pp. 17 - 52
The aim of the work presented in this paper is to investigate and demonstrate the potential for sensitive, physical and spatial interaction, bringing together the electronic and physical environments in an ecological approach. Through the research and design processes in the author’s studio such electronic ecologies as spatial audiovisual environments are developed, in which the audience co-creates the final result through their body movements. An open design approach is applied, the audience participates in the development process at any stage. The paper presents a media framework to place interactivity and time-based material in a context. Several recent pieces are described, interactive video environments such as Trainflow and Facets, including a presentation of technical factors. The paper has a section on mapping and other design considerations, and audience feedback and experiences. The final section of this paper concludes with a discussion and reflection on the process and outcomes, and it presents future directions.

]]> 10.1504/IJART.2012.044335 International Journal of Arts and Technology, Vol. 5, No. 1 (2012) pp. 17 - 52 A.J. Bongers Interactivation Studio, Faculty of Design, Architecture and Building (DAB), University of Technology Sydney, 702-730 Harris Street, Ultimo, P.O. Box 123 Broadway, NSW 2007, Australia interactive video installations artistic practice artistic research multimodal interaction media framework electronic environment physical environment body movements open design interactivity time-based material. 2011-12-19T23:20:50-05:00 5 1 17 52 2011-12-19T23:20:50-05:00 http://www.inderscience.com/link.php?id=44336 In this paper, we present the mobile video experience (MoViE) social mobile service that enables users to create geotagged video clips and community-created video stories. The MoViE is designed to be used with mobile devices, and it supports user-generated tags, tagspaces, geotags, remixing of community-created clips, multiple-choice queries and moderation. It can be used, e.g., as a video publishing and sharing service, or at schools as a service for reporting field trips using class-created video clips. In this paper, we present the concept of a tagspace, i.e. a new method to give different meaning to same tag words in different contexts. MoViE was piloted during Pori Jazz 2008 festival with 16 users. The users were given directions for recording, sharing and remixing videos in ways that aimed to support digital storytelling and sharing experiences. After the experiment, the users were interviewed. We claim that when users are experiencing an event, they have to have a common ground for creating shared experiences and for representing these experiences as a video stories based on the clips the community have cocreated. The concert experience as such was not enough to create the common ground that would support users to share their experiences. A platform for mobile social media and video sharing
Jari Multisilta; Marko Suominen; Sari Östman
International Journal of Arts and Technology, Vol. 5, No. 1 (2012) pp. 53 - 72
In this paper, we present the mobile video experience (MoViE) social mobile service that enables users to create geotagged video clips and community-created video stories. The MoViE is designed to be used with mobile devices, and it supports user-generated tags, tagspaces, geotags, remixing of community-created clips, multiple-choice queries and moderation. It can be used, e.g., as a video publishing and sharing service, or at schools as a service for reporting field trips using class-created video clips. In this paper, we present the concept of a tagspace, i.e. a new method to give different meaning to same tag words in different contexts. MoViE was piloted during Pori Jazz 2008 festival with 16 users. The users were given directions for recording, sharing and remixing videos in ways that aimed to support digital storytelling and sharing experiences. After the experiment, the users were interviewed. We claim that when users are experiencing an event, they have to have a common ground for creating shared experiences and for representing these experiences as a video stories based on the clips the community have cocreated. The concert experience as such was not enough to create the common ground that would support users to share their experiences.

]]> 10.1504/IJART.2012.044336 International Journal of Arts and Technology, Vol. 5, No. 1 (2012) pp. 53 - 72 Jari Multisilta; Marko Suominen; Sari Östman Nokia Research Center, Visiokatu 1, Tampere 33720, Finland and Advanced Multimedia Center, Tampere University of Technology, P.O. Box 300, Pori 28101, Finland ' Advanced Multimedia Center, Tampere University of Technology, P.O. Box 300, Pori 28101, Finland ' School of Cultural Production and Landscape Studies, University of Turku, P.O. Box 124, Pori 28101, Finland mobile social media video sharing mobile video tag words tagspace video clip remixing query moderation context experience platform geotagged video clips geotagging collaboration video cocreation community stories common ground life publishing life casting digital storytelling. 2011-12-19T23:20:50-05:00 5 1 53 72 2011-12-19T23:20:50-05:00 http://www.inderscience.com/link.php?id=44337 This paper documents implications and opportunities for the design profession offered by the rise of the knowledge society and digital economies. Within this we show the value of applied design thinking in the creation and delivery of business development and facilitation. Two case studies document the design and delivery of contrasting consultancy projects where the design of problem-solving frameworks (rather than conventional facilitation of events) resulted in new understanding and business development. These approaches were underpinned by a common conceptual model that describes our philosophical underpinning for the application of design thinking across disciplines both within and beyond traditional areas of professional design engagement. Finally, we discuss the implication for design practice of using design thinking as a mode of interdisciplinary interaction and cocreation of problem-solving approaches between designers and others (rather than an activity just for designers) which represents a step beyond conventional participatory design approaches. Designing creative frameworks: design thinking as an engine for new facilitation approaches
Leon Cruickshank; Martyn Evans
International Journal of Arts and Technology, Vol. 5, No. 1 (2012) pp. 73 - 85
This paper documents implications and opportunities for the design profession offered by the rise of the knowledge society and digital economies. Within this we show the value of applied design thinking in the creation and delivery of business development and facilitation. Two case studies document the design and delivery of contrasting consultancy projects where the design of problem-solving frameworks (rather than conventional facilitation of events) resulted in new understanding and business development. These approaches were underpinned by a common conceptual model that describes our philosophical underpinning for the application of design thinking across disciplines both within and beyond traditional areas of professional design engagement. Finally, we discuss the implication for design practice of using design thinking as a mode of interdisciplinary interaction and cocreation of problem-solving approaches between designers and others (rather than an activity just for designers) which represents a step beyond conventional participatory design approaches.

]]> 10.1504/IJART.2012.044337 International Journal of Arts and Technology, Vol. 5, No. 1 (2012) pp. 73 - 85 Leon Cruickshank; Martyn Evans ImaginationLancaster, Lancaster Institute for the Contemporary Arts, Lancaster University, LICA Building, Lancaster LA1 4YW, UK ' ImaginationLancaster, Lancaster Institute for the Contemporary Arts, Lancaster University, LICA Building, Lancaster LA1 4YW, UK designing creative frameworks ImaginationLabs applied design thinking interdisciplinary creativity problem solving cocreation design profession knowledge society digital economies. 2011-12-19T23:20:50-05:00 5 1 73 85 2011-12-19T23:20:50-05:00 http://www.inderscience.com/link.php?id=44338 The universe of the arts may be articulated around a set of components which although can be tracked as constant over the time, each one of them has its own non-autonomous evolution. Furthermore, the insularity of these components is being questioned. Today, it is difficult to ignore the quantitative and qualitative leap of its amounts and relationships. Understanding current, and future, art implies understanding the elements that comprise this set and their relationship. To accomplish this, we propose an interdisciplinary reference framework applying the knowledge management theory. We propose the Nonaka and Takeuchi’s model to explain the meanings and relationships concerning the components, in both the classical and current system of the arts, within an artistic universe that is becoming broader and less definable. Components of art and knowledge management through Nonaka and Takeuchi’s model
José G. Birlanga; Juan Ignacio Rouyet; Luis Joyanes
International Journal of Arts and Technology, Vol. 5, No. 1 (2012) pp. 86 - 100
The universe of the arts may be articulated around a set of components which although can be tracked as constant over the time, each one of them has its own non-autonomous evolution. Furthermore, the insularity of these components is being questioned. Today, it is difficult to ignore the quantitative and qualitative leap of its amounts and relationships. Understanding current, and future, art implies understanding the elements that comprise this set and their relationship. To accomplish this, we propose an interdisciplinary reference framework applying the knowledge management theory. We propose the Nonaka and Takeuchi’s model to explain the meanings and relationships concerning the components, in both the classical and current system of the arts, within an artistic universe that is becoming broader and less definable.

]]> 10.1504/IJART.2012.044338 International Journal of Arts and Technology, Vol. 5, No. 1 (2012) pp. 86 - 100 José G. Birlanga; Juan Ignacio Rouyet; Luis Joyanes Faculty of Arts, Department of Philosophy, Módulo V/Despacho 310, Madrid Autónoma University, Campus de Cantoblanco, 28049 Madrid, Spain ' IT Consulting Department, Quint Wellington Redwood, C/ Alfonso XII, 38, Madrid 28014, Spain ' Department of Languages and Computing Systems and Software Engineering, Pontifical Salamanca University, Pso. Juan XIII, 3, Madrid 28040, Spain knowledge management art components experience aesthetic tacit knowledge Nonaka Takeuchi. 2011-12-19T23:20:50-05:00 5 1 86 100 2011-12-19T23:20:50-05:00