Interactive digital art installations are fundamentally enabled by hardware and software. Through a combination of these elements an interactive experience is con- structed. The first half of this thesis discusses the technical complexity associated with design and implementation of digital interactive installation. A system, dreamIO, is proposed for mediating this complexity through providing wireless building blocks for creating interactive installations. The technical details–both hardware and software– of this system are outlined. Measurements of the system are presented followed by analysis and discussion of the real world impact of this data. Finally, a discussion of future improvements is presented. The second half of this thesis examines an example interactive installation, Trans- code, which uses the proposed system as the building block for the piece. The piece is presented as evidence for the value of the proposed system and as a work of art in it’s own right. The use of the dreamIO system is detailed followed by a discussion of the interactivity and aesthetic form of the work. The purposes of these specific design choices are then presented. Finally, the work is analyzed through a combination of Relational Aesthetics and Cybernetics. / Graduate

Your New Best Friends: An Exploration of Furby, Siri and Other Sociable Electronics is focused around interactive electronic systems and the effect these systems can have on our human psyches. My work focuses on two particular periods of development: the late 80’s to early 90’s, and the 2010’s to present. One period represents my childhood and the other my early adulthood. By comparing the two I can examine trends in the ways we engage with robotics and can better understand the ubiquity of electronically mediated interactions today. I utilize these new understandings to manipulate the capabilities of devices from both periods to create pieces that communicate care in a new way, sparking a moment of joy for the viewer while also increasing the awareness of the failings of devices when compared with true human interaction.

The interest in designing interactive systems is going beyond their functionality and more towards their aesthetics. Often, research fails to address how qualities of the interaction as a medium can actually create pleasurable experiences. However, it points out the importance of understanding temporal aspects of interactions to understand their aesthetics. The aim for this thesis is to address this by the creation and evaluation of an interactive artwork working as a platform to explore relations between Interaction attributes and Pleasures, as well as how temporal aspects in interactions can affect these Pleasures. This to help interaction designers think more clearly around and make better design choices regarding interactions within interactive systems. The results of this showed that there can be many such relations, but also that they are complex. Additionally, it is discussed that Pleasures might also partly be experienced before or after the interaction with the artwork.

Concrete is the work, which sets its goal to make connection between digital game and interactive art. Visuals of the work rely on brutalism architecture. Game mechanics is based on options offered by the aesthetics of the architecture. Visual content has been created within game engine Unity and it is controlled thru the custom controller. The controller is based on mechanics of the Rubik's cube. Visually it is adapted to the content of the work. The work is presented as a working prototype.

Thesis (MA)--Stellenbosch University, 2015. / ENGLISH ABSTRACT: The tensions I experienced as a Stellenbosch University student made me curious to delve into potential exchanges between the boundaries of worthwhile art and valid education. I explored the capacity of interactive artworks to contribute to realising the university‟s institutional vision. This research venture seeks to inspire innovative approaches to education that can potentially decrease discrepancies between institutional policy and practice. The primary question examines the nature and effect of students‟ responses to an interactive artwork placed on the Stellenbosch University campus. These reactions subtly exposed the particularity of the Stellenbosch University context and indicated aspects of art education in the expanded field that could aid higher education institutions in fulfilling their transformative role. An anti-colonial paradigm guided me through a crucial attentiveness of the power issues embedded in knowledge production, validation and dissemination. The reflexive process of qualitative research permitted a captivating interdisciplinary landscape that spans from policy documents to philosophical enquiries. I studied the lived experiences of students, lecturers and staff members at Stellenbosch University through individual and group interviews. A case study research design was employed to use the patterns picked up in these single cases to lead me toward more entrenched underlying issues and attitudes. Nuanced research findings were the result of the anti-colonial prism that caused me to place equal value on difference and coherence in my enquiry. Visual metaphors such as my interactive public artwork translate philosophical ideas into practice and communicate these ideas right to the heart. This is how art can bridge the divide between in- and out-of-class education and aid the university in preparing students to become purposeful citizens. Not only does this project signify the university‟s institutional transformation, but it also adds to the transformative impact of the university on all its stakeholders; a necessary process that enables greater social impact. Belonging is a crucial aspect in this regard, because it enables students to internalise the knowledge acquired through higher education. And one of the key underlying messages of higher education is that graduates are citizens that should contribute their skills and knowledge to positively enhance society. The interview feedback revealed that the artwork was successful in guiding students‟ thoughts and conversations to form new knowledge because it was an honest space where people could articulate their opinions. Interdisciplinary learning is a powerful tool that enriches curricula and increases the impact of university education. The university needs to allow students to belong and then develop responsibility and empathy toward societal needs, and it appears that the artwork roused some of these sentiments. In order to become an institution that launches the thought leaders of the future, Stellenbosch University needs to harness all collaborators that collectively contribute to an integrated understanding of life and an expanded appreciation of knowledge. / AFRIKAANSE OPSOMMING: Die spanning wat ek as „n Stellenbosch Universiteit‟s student ervaar het, het my nuuskierig gemaak om dieper in die moontlike wisselwerking tussen die grense van betekenisvolle kuns en ware opvoeding te delf. Tydens my studie het ek die vermoë van interaktiewe kunswerke om tot die verwesenliking van die universiteit se institusionele visie by te dra, ondersoek. Hierdie navorsing poog om innoverende benaderings tot opvoeding te soek wat die gapings tussen instititionele beleid en praktyk potensieël kan verminder. Die primêre vraag analiseer die aard en effek van studente se reaksies op „n interaktiewe kunswerk wat op die kampus van die Stellenbosch Universiteit geplaas was. Hierdie reaksies het die besonderse konteks van die Stellenbosch Universiteit blootgestel. Hierdeur is aspekte van kunsonderrig in die uitgebreide veld aangedui, wat moontlik hoër onderwys institute in hulle transformatiewe rol behulpsaam kan wees. „n Anti-koloniale paradigma het my deur „n kritieke bewustheid van die magsstryd waarin kennisvorming, geldigheid en verspreiding gewikkel is, begelei. Die terugskouende proses van kwalitatiewe navorsing het „n fassinerende interdissiplinêre landskap toegelaat wat strek vanaf beleidsdokumente tot filosofiese ondersoeke. Die ervaring van die studente, lektore en personeel van die Stellenbosch Universiteit is deur onderhoudsvoering met individue en groepe bestudeer. „n Gevallestudie navorsingsontwerp is gebruik om patrone in hierdie enkel gevalle in te span om versteekte onderliggende vraagstukke te ontbloot. Genuanseerde navorsings bevindings is na vore gebring deur anti-koloniale prisma wat my gelei het om gelyke waarde op beide verskille en ooreenkomste te plaas. Visuele metafore, soos my interaktiewe publieke kunswerk, het filosofiese idees in praktyk oorgeplaas. Dit is hoe hierdie idees reguit na die hart van die deelnemer spreek. Kuns kan so die skeiding tussen binne- en buite-klastyd onderrig oorbrug en die universiteit ondersteun in hul poging om studente as doelgerigte landsburgers voor te berei. Hierdie projek dui terselfdetyd op die universiteit se intitusionele transformasie nie en op die transformatiewe impak van die universiteit op al sy belangegroepe. Om aan „n groep te behoort „n belangrike aspek omdat dit studente in staat stel om die kennis, wat hulle deur hoër onderwys verkry het, te internaliseer. Dit sluit by een van die onderliggende sleutelboodskappe van hoër onderwys aan naamlik dat graduandi landsburgers is wat hulle vaardighede en kennis tot positiewe uitbouing van die samelewing moet aanwend. Die terugvoer van die onderhoude weerspieël dat die kunswerk suksesvol was in die begeleiding van studente se gedagtes en gesprekke, om nuwe kennis te vorm. Dit is moontlik gemaak deur die eerlike spasie waarin die mense opinies kon lig. Inter-dissiplinêre kennisverryking is „n kragtige werktuig wat kurrikulums versterk en wat die impak van universiteitsonderrig verbreed. Die universiteit behoort studente te laat voel asof hulle behoort en om verantwoordelikheid en empatie vir die samelewing se behoeftes by hulle te kweek. Dit blyk dat hierdie kunswerk sekere van daardie sentimente na die oppervlak gebring het. Vir Stellenbosch Universiteit om a instelling te word wat denkleiers van die toekoms vorm, verg dat al die deelnemers wat kollektief bydra tot „n geïntegreerde verstaan van die lewe uitbrie op die waardering van kennis.

<p>The paper discusses the problems contemporary Swedish art criticism faces when judging performance art and interactive art. Problems include among others that performance art is collectively ignored in Swedish newspaper art criticism. This prevents art critics from fair contextualising of contemporary performance art. Down in the rabbit hole, performance by Tris Vonna-Michell and its reception exemplifies these problems. Performance and interactive art seems to be disturbing art critics. Works of art which demands the viewer to take active part in its realisation makes it hard – not to say impossible - to maintain an objective point of wiew. Objectivity has been a condition to be able to judge a work of art since Kant’s theories 1791. In order to isolate all the problems concerning performance art and interactive art, the conditions of contemporary Swedish newspaper art criticism are described. To show that the general conditions and its problems have been discussed earlier, the paper also includes the latest big debate about Swedish art criticism. The paper shows that the problem for art critics to remain objective and independent from the work of art presented is not exclusive for performance and interactive art. It is an emblematic problem for Swedish art criticism 2006. This problem includes economic and careerist opportunities witch makes it hard for Swedish art critics to remain independent.</p>

The paper discusses the problems contemporary Swedish art criticism faces when judging performance art and interactive art. Problems include among others that performance art is collectively ignored in Swedish newspaper art criticism. This prevents art critics from fair contextualising of contemporary performance art. Down in the rabbit hole, performance by Tris Vonna-Michell and its reception exemplifies these problems. Performance and interactive art seems to be disturbing art critics. Works of art which demands the viewer to take active part in its realisation makes it hard – not to say impossible - to maintain an objective point of wiew. Objectivity has been a condition to be able to judge a work of art since Kant’s theories 1791. In order to isolate all the problems concerning performance art and interactive art, the conditions of contemporary Swedish newspaper art criticism are described. To show that the general conditions and its problems have been discussed earlier, the paper also includes the latest big debate about Swedish art criticism. The paper shows that the problem for art critics to remain objective and independent from the work of art presented is not exclusive for performance and interactive art. It is an emblematic problem for Swedish art criticism 2006. This problem includes economic and careerist opportunities witch makes it hard for Swedish art critics to remain independent.

The aim of this thesis is to examine interactivity in the context of performance-based interactive art. The questions asked are: what are the conditions of interactivity, how interactivity happens, and what artistic results it may yield. The method is an analysis based on close studies of three performance-based interactive artworks by applying theories of interactivity, audience participation, and collaboration. First, current theories are outlined, after which, the three artworks are introduced in detail. Next, the artworks are examined, thematically rather than individually, expanding on parameters such as the degree of artistic direction of the artwork, the degree of agency allowed to the spectator in their interaction with the work, and the idea of the “passive” spectator as being “activated” by interactive art. It is shown that the actualization of the interactive gesture inscribed within the work depends on the spectator’s subjectivity and obedience to said gesture. Thus, the conditions of the interaction are not decided by the work/artist alone, but also and equally, by the spectator. Consequently, the actualized interactivity may not immediately correspond with the (possible) authorial intent and may even be unexpected or "infelicitous." The problematic of the thesis falls within the scope of current discourse concerning the striving for interactivity between the work of art and its spectator/audience. While that discourse has often been focused on authorial intent or has implied an ideal spectator, this thesis points to the significance of subjectivity with regards to interactivity and thereby adds increased complexity to the concept of interactivity.

Submitted by Daniele Amaral (daniee_ni@hotmail.com) on 2016-09-27T18:04:18Z No. of bitstreams: 1 DissVARF.pdf: 6948850 bytes, checksum: d3b741c4c9de46c3ebb889107367b3e3 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-04T18:17:54Z (GMT) No. of bitstreams: 1 DissVARF.pdf: 6948850 bytes, checksum: d3b741c4c9de46c3ebb889107367b3e3 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-04T18:18:01Z (GMT) No. of bitstreams: 1 DissVARF.pdf: 6948850 bytes, checksum: d3b741c4c9de46c3ebb889107367b3e3 (MD5) / Made available in DSpace on 2016-10-04T18:21:44Z (GMT). No. of bitstreams: 1 DissVARF.pdf: 6948850 bytes, checksum: d3b741c4c9de46c3ebb889107367b3e3 (MD5) Previous issue date: 2015-10-05 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Third places, a term coined by sociologist Ray Oldenburg to describe places other than home (first place) or workplace (second place), places where people attend to socialize with others besides co-workers and family. Third places provide neutral ground for people to express themselves freely, necessary for civil society and civic engagement, helping to create in their regulars the feeling of belonging. Parks, cafes, bakeries, museums, theaters, churches, bars and squares are examples of third places. These places have a key role in community life forging their cultural profile. Such places are characterized by being democratic and accessible, allowing people to discuss politics, the last football game, or the next music festivals, strengthening the notion of community. However, the modern lifestyle and the potential lack of third places can lead people to be more solitary or even have fewer opportunities to attend places that promote socialization, affecting the quality of life and the sense of community. In this context, this research explores how Information and Communication Technologies (ICTs) can provide people opportunities for socializing in a third place, but unlike Oldenburg, independent of the location constraints and time, creating the phenomenon defined as thirdplaceness. Thus, it is expected to use ICTs to go beyond the traditional third places, providing opportunities for people to meet and socialize, reinforcing and extending the concept of third place, as well as confronting the stigma of isolation using technologies. To experience the support of ICTs to thirdplaceness even when there is no conventional third places to bring the community together, it is considered in this proposal the development and the use of an ICT interactive public art installation, called WishBoard. This installation explores the potential of interactions between mobile devices and public displays, allowing people to share with the community messages and their individual aspirations. This public sharing would be the opportunity for people to socialize in that space during the deployment. From the analysis of the shared messages, it was analyzed the role of ICTs to promote thirdplaceness and found evidence the cultural profile of the community in the shared anonymous messages. Considering the content of messages and the behavior of people, it was noticed that the use of public displays combined with interaction on mobile devices can promote a transformation of the place into a meeting place and conversation when they provide a way for individual self-expression and contemplation by the community that expression, causing engagement among people. / Terceiros espaços (do inglês, third places), termo cunhado pelo sociólogo Ray Oldenburg para descrever outros locais que não a casa (primeiro espaço) nem o local de trabalho (segundo espaço), locais que as pessoas frequentam para se socializarem com outros além dos colegas de trabalho e da família. Os terceiros espaços fornecem o espaço neutro para as pessoas se expressarem livremente, necessário para a sociedade civil e o engajamento cívico, ajudando a criar nos seus frequentadores o sentimento de pertencimento. Parques, cafés, padarias, museus, teatros, igrejas, bares e praças são exemplos de terceiros espaços. Esses locais têm um papel fundamental na vida das comunidades forjando o perfil cultural delas. Tais locais são caracterizados por serem democráticos e acessíveis, permitindo que as pessoas discutam política, o último jogo de futebol, ou o show que vai acontecer, fortalecendo assim a noção de comunidade. Contudo, o estilo de vida moderno e a potencial falta de terceiros espaços podem levar as pessoas a serem mais solitárias ou mesmo a terem menos oportunidades para frequentar locais que promovam a socialização, afetando a qualidade de vida e a noção de comunidade. Nesse contexto, esta pesquisa explora como as Tecnologias de Informação e Comunicação (TICs) podem proporcionar às pessoas oportunidades de socialização em um terceiro espaço, mas diferente de Oldenburg, independente das restrições de localidade e de tempo, criando o fenômeno definido como thirdplaceness. Assim, almeja-se usar as TICs para ir além dos tradicionais terceiros espaços, provendo oportunidades às pessoas de se reunirem e se socializarem, reforçando e estendendo o conceito de terceiro espaço, bem como confrontando o estigma de isolamento pelo uso de tecnologias. Para experimentar o apoio de TICs ao thirdplaceness mesmo quando não se tem terceiros espaços convencionais para reunir a comunidade, considera-se neste trabalho o desenvolvimento e uso de uma instalação computacional pública e interativa chamada WishBoard. Essa instalação explora o potencial das interações entre dispositivos móveis e displays públicos, permitindo às pessoas compartilharem com a sua comunidade mensagens e as suas aspirações individuais. Esse compartilhamento público seria a oportunidade para a socialização naquele local durante a instalação. A partir da análise das mensagens compartilhadas, foi analisado o papel das TICs para promover thirdplaceness e foram encontrados indícios do perfil cultural daquela comunidade nas mensagens compartilhadas anonimamente. Considerando o conteúdo das mensagens e comportamento das pessoas, percebeu-se que o uso de displays públicos combinados com a interação por dispositivos móveis pode promover uma transformação do local em um local de encontro e conversa quando fornecem uma forma para autoexpressão individual e contemplação pela comunidade dessa expressão, provocando o engajamento entre as pessoas.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2017-11-13T14:25:31Z No. of bitstreams: 2 Dissertação - Victor Martin de Oliveira - 2017.pdf: 4224923 bytes, checksum: df22172ea97d67bc99001b28fa5e6c8a (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-11-13T14:26:03Z (GMT) No. of bitstreams: 2 Dissertação - Victor Martin de Oliveira - 2017.pdf: 4224923 bytes, checksum: df22172ea97d67bc99001b28fa5e6c8a (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-11-13T14:26:03Z (GMT). No. of bitstreams: 2 Dissertação - Victor Martin de Oliveira - 2017.pdf: 4224923 bytes, checksum: df22172ea97d67bc99001b28fa5e6c8a (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-10-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / In the context of interactive art, which the spectators become interactors as well, technological development promotes new types of interaction and relations between the art and the human. The project “C³ – Cubos Interativos” (C³ project) rises in this context, created by Media Lab -- UFG with the philosophy of interpersonal and interactive relations, using art and technology. The project consists of three real cubes, which can be handled by users and produce feedback through light and sound effects. The users may communicate with one another and interact with the cubes in order to discover their behaviors and the possible reactions to the interactive activities. However, the cubes behaviors are created manually through the codification of a state machine, being a complex and time consuming task. On the other hand, the Interactive Evolutionary Computation (IEC) is an area of research that can be applied to the composition of artistic elements by using evolutionary algorithms and human interaction. One down point of the IEC is the human fatigue, what makes prohibitive the processing of many evolutionary cycles. Some techniques can be applied to avoid this problem, for example, the use of surrogate functions. This work aims to unite aspects of interactive art and interactive evolutionary computation, with the objective of providing a new way of creating behaviors that represents interesting and pleasant compositions to the C³ cubes. To achieve this goal, we propose the evolution of the C³ cubes state machines using IEC assisted by a surrogate function. A simulation environment for the C³ project was developed, in which the users can interact with virtual cubes and evaluate their behaviors, guiding the evolutionary approach. An experiment with the approach involving a group of users from UFG resulted in more complex and interesting C³ projects. / No contexto de arte interativa, em que o espectador se torna também um interator, avanços tecnológicos proporcionam novos tipos de interações e relações entre a arte e o ser humano. O projeto “C³ – Cubos Interativos” (projeto C³) surge neste contexto, criado no Media Lab -- UFG com a filosofia de relação interpessoal e interativa utilizando-se da arte e da tecnologia. Ele consiste de três cubos reais, os quais podem ser manipulados por usuários e que produzem um feedback através de efeitos luminosos e sonoros. Os usuários interagem entre si e com os cubos, a fim de descobrir seus comportamentos e as possíveis reações às atividades interativas. No entanto, a programação de comportamentos para os cubos é realizada manualmente através da codificação de uma máquina de estados, o que requer tempo e é uma tarefa complexa. Por outro lado, a computação evolutiva interativa (CEI) é uma área de pesquisa que pode ser empregada para composição de elementos artísticos pela utilização de algoritmos evolutivos e da interação humana. Uma desvantagem desta abordagem é a fadiga humana, impossibilitando assim a evolução de muitas gerações. Algumas técnicas podem ser utilizadas para contornar tal problema, como o uso de funções surrogate. Este trabalho tem por objetivo unir aspectos de arte interativa e computação evolutiva interativa, com o intuito de proporcionar uma nova forma de criação de comportamentos que caracterizem composições interessantes e agradáveis de forma automática, para os cubos do projeto C³. Para tanto, a abordagem proposta utiliza da CEI assistida por uma função surrogate, para a evolução das máquinas de estados presentes nos cubos C³. Também, é empregado um ambiente de simulação para o projeto C³, no qual usuários podem interagir com cubos virtuais e avaliar seus comportamentos, guiando o processo evolutivo. Um experimento foi realizado com um grupo de usuários da UFG, resultando em projetos C³ mais complexos e interessantes.