We investigate the use of laboratory-based methodology for studying participant experience of interactive artworks. The investigation is motivated by two goals: to inform the HCI practitioner of the role of participant experience studies in artwork from the perspective of the artist and to inform the artist of how laboratory-based methodology can contribute to the refinement of their techniques and aesthetics. In this thesis three main purposes for participant experience studies in the artist's process are derived from the roles of artist, art object, and participants in an interactive artwork. Common characteristics of participant experience studies are reviewed, with three cases unique in their use of more formal methodologies examined in detail. This thesis builds on a foundation set forth by these three cases in an investigation of orientation media: media such as text, images, or video designed by the artist to convey supplemental information to participants and thus selectively influence their understanding of different elements in an interactive artwork. Orientation media in the form of instructions cards is used in a study of the interactive sound and video installation piece, Echology. The orientation media is successful in revealing elements of the artwork that, given explicit instructions or not, still cause confusion among participants. A general review of the study methodology is also provided. This includes observations of changes in participant behaviour due to their roles as subjects in a study and implications these changes have on using formal methodologies for studying participant experience. / Applied Science, Faculty of / Electrical and Computer Engineering, Department of / Graduate

As human beings we are designed and created in a fabric that is profound and complex. We are built with a framework where mind and body work in a concerted effort to maintain our lives automatically. A deep and defining part of our existence as humans is not just the innate desire to live but to live in consistent well-being--emotionally, physically, and mentally. I believe when we incorporate our knowledge of human physiology into our creative process then we allow ourselves a greater opportunity to create an authentic connection with our intended audience. My work during the past three years has been rooted in the study of these philosophical and scientific principles. I created a series of visual experimentations that aim to assist in my understanding of human beings at an emotional and biological level. Armed with a deep desire to understand humanity, my goal is to create work that fosters positive change and has significant impact in the world. My past and present research has been focused on human emotions, the intuitive creative process and the relationship between technology and establishing social identity.

The art of animation can be viewed in a multitude of ways. Passive viewing, in which an audience is merely observing the acting and are unable to alter the animation in any way, such as watching a TV show or movie. Interactive camera viewings, such as Augmented Reality and Virtual Reality, in which the viewer can manipulate the content visually in the same way you observe the world, by moving the camera around in a digital space. Interaction-dependent viewing describes animations such as video games, where the player has full control of the character’s actions and the timing of those actions. With a multitude of viewing opportunities, each has its unique challenges for creating animations that work in these platforms. The level of viewer interaction greatly dictates how each animation is made. In the paper, I will discuss the differences in animation creation as it correlates to the level of viewer interaction.

This research investigates how shifts in perception might be brought about through the development of visual imagery created by the use of virtual environment technology. Through a discussion of historical uses of immersion in art, this thesis will explore how immersion functions and why immersion has been a goal for artists throughout history. It begins with a discussion of ancient cave drawings and the relevance of Plato’s Allegory of the Cave. Next it examines the biological origins of “making special.” The research will discuss how this concept, combined with the ideas of “action” and “reaction,” has reinforced the view that art is fundamentally experiential rather than static. The research emphasizes how present-day virtual environment art, in providing a space that engages visitors in computer graphics, expands on previous immersive artistic practices. The thesis examines the technical context in which the research occurs by briefly describing the use of computer science technologies, the fundamentals of visual arts practices, and the importance of aesthetics in new media and provides a description of my artistic practice. The aim is to investigate how combining these approaches can enhance virtual environments as artworks. The computer science of virtual environments includes both hardware and software programming. The resultant virtual environment experiences are technologically dependent on the types of visual displays being used, including screens and monitors, and their subsequent viewing affordances. Virtual environments fill the field of view and can be experienced with a head mounted display (HMD) or a large screen display. The sense of immersion gained through the experience depends on how tracking devices and related peripheral devices are used to facilitate interaction. The thesis discusses visual arts practices with a focus on how illusions shift our cognition and perception in the visual modalities. This discussion includes how perceptual thinking is the foundation of art experiences, how analogies are the foundation of cognitive experiences and how the two intertwine in art experiences for virtual environments. An examination of the aesthetic strategies used by artists and new media critics are presented to discuss new media art. This thesis investigates the visual elements used in virtual environments and prescribes strategies for creating art for virtual environments. Methods constituting a unique virtual environment practice that focuses on visual analogies are discussed. The artistic practice that is discussed as the basis for this research also concentrates on experiential moments and shifts in perception and cognition and references Douglas Hofstadter, Rudolf Arnheim and John Dewey. iv Virtual environments provide for experiences in which the imagery generated updates in real time. Following an analysis of existing artwork and critical writing relative to the field, the process of inquiry has required the creation of artworks that involve tracking systems, projection displays, sound work, and an understanding of the importance of the visitor. In practice, the research has shown that the visitor should be seen as an interlocutor, interacting from a first-person perspective with virtual environment events, where avatars or other instrumental intermediaries, such as guns, vehicles, or menu systems, do not to occlude the view. The aesthetic outcomes of this research are the result of combining visual analogies, real time interactive animation, and operatic performance in immersive space. The environments designed in this research were informed initially by paintings created with imagery generated in a hypnopompic state or during the moments of transitioning from sleeping to waking. The drawings often emphasize emotional moments as caricatures and/or elements of the face as seen from a number of perspectives simultaneously, in the way of some cartoons, primitive artwork or Cubist imagery. In the imagery, the faces indicate situations, emotions and confrontations which can offer moments of humour and reflective exploration. At times, the faces usurp the space and stand in representation as both face and figure. The power of the placement of the caricatures in the paintings become apparent as the imagery stages the expressive moment. The placement of faces sets the scene, establishes relationships and promotes the honesty and emotions that develop over time as the paintings are scrutinized. The development process of creating virtual environment imagery starts with hand drawn sketches of characters, develops further as paintings on “digital canvas”, are built as animated, three-dimensional models and finally incorporated into a virtual environment. The imagery is generated while drawing, typically with paper and pencil, in a stream of consciousness during the hypnopompic state. This method became an aesthetic strategy for producing a snappy straightforward sketch. The sketches are explored further as they are worked up as paintings. During the painting process, the figures become fleshed out and their placement on the page, in essence brings them to life. These characters inhabit a world that I explore even further by building them into three dimensional models and placing them in computer generated virtual environments. The methodology of developing and placing the faces/figures became an operational strategy for building virtual environments. In order to open up the range of art virtual environments, and develop operational strategies for visitors’ experience, the characters and their facial features are used as navigational strategies, signposts and methods of wayfinding in order to sustain a stream of consciousness type of navigation. Faces and characters were designed to represent those intimate moments of self-reflection and confrontation that occur daily within ourselves and with others. They sought to reflect moments of wonderment, hurt, curiosity and humour that could subsequently be relinquished for more practical or purposeful endeavours. They were intended to create conditions in which visitors might reflect upon their emotional state, v enabling their understanding and trust of their personal space, in which decisions are made and the nature of world is determined. In order to extend the split-second, frozen moment of recognition that a painting affords, the caricatures and their scenes are given new dimensions as they become characters in a performative virtual reality. Emotables, distinct from avatars, are characters confronting visitors in the virtual environment to engage them in an interactive, stream of consciousness, non-linear dialogue. Visitors are also situated with a role in a virtual world, where they were required to adapt to the language of the environment in order to progress through the dynamics of a drama. The research showed that imagery created in a context of whimsy and fantasy could bring ontological meaning and aesthetic experience into the interactive environment, such that emotables or facially expressive computer graphic characters could be seen as another brushstroke in painting a world of virtual reality.

When a caregiver suffers from epilepsy, a child can often feel frightened, vulnerable, and alone whenever a seizure occurs. In my thesis project I intend to help children negotiate this struggle with the use of therapeutic toys. Through play, children can navigate feelings that are often overlooked by adults. The visual appeal, simplicity, and materials used in their creation help facilitate comfort through sensory cues. By applying coping mechanisms to deal with stress caused by the passage of time, provide tactile comfort, and equip the child with tools to take action, their emotional needs are met. These toys address an overlooked need for children who consistently deal with the emotionally taxing occurrences that come with having an epileptic caregiver.

A medical evaluation of physical impairment imposes the additional burden of “labeling” the patient with the condition. The binary nature of the normal versus abnormal label emphasizes difference and can lead to trauma. Understanding differences, however, can lead to the generation of new forms and thus, more sensitive differentiation and representation. Tension is created by exploring different bodily forms—a dialectic between form and essence. I am designing a space that visualizes and illuminates difference as a source of trauma and amplifying the tension by comparing figures that represent varying degrees of normalcy. This forms a critique of idealized form and creates a context for people unaffected by this type of trauma to reflect on possible realities outside of their assumptions of normality.

RELATIONAL AESTHETICS: CREATIVITY IN THE INTER-HUMAN SPHERE By Carl Patow, MD, MPH, MBA A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Art at Virginia Commonwealth University, 2019. Major Director: Pamela Taylor Turner, Associate Professor, Kinetic Imaging, VCU Arts Relational Art was first described as an art movement in Nicolas Bourriaud’s catalogue for the exhibition Traffic in 1995, and in an eponymous book in 1998. He observed that contemporary artists were shifting the focus of their work away from creating objects of spectacle to interaction with viewers through dialogue. Examination of a sample of representative artists’ work demonstrates a wide variety of applications that variously include objects. Inclusion of objects in relational artwork raises important theoretic considerations about the definition of the genre and its application to specific artworks. In the thesis artwork, WORKS WHEN, Carl Patow engages individuals in Richmond, Virginia, in conversations, documenting the location of their neighborhood and recording observations they make about their neighborhoods on polychrome tiles. The collected tiles are formed into “communities” on a floor map of the city. The work includes both conversation and objects in its creation, realization and exhibition. In doing so, WORKS WHEN is both an example of Relational Aesthetics and an expansion of its scope as a genre.

Virtual reality (VR), an emergent technology, affords experiential content delivery in education by evoking emotive responses in users, which can be prohibitive via traditional media. This thesis explores VR for the development of grit – passion and perseverance, which are essential characteristics in education and long-term success. The research proposes design strategies to stimulate senses for emotional engagement and a physiological response. In the project, two interactive environments position the user in emotional states to build passion and perseverance. To develop passion, the virtual world is designed to engage in creativity using 3D-spatial audio and visual effects. In contrast, to build perseverance users are exposed to a challenging environment that requires them to overcome and positively associate frustration with growth. This thesis demonstrates the potential of design for higher sense-stimulation applied through VR in education.

“MeatSpace” is a group of related bodies of work including podcasts, prints and videos produced by working with simulation technologies such as “weak A.I.”, virtual reality, and 3d scans. Collectively the works explore how people relate to these technologies and how they relate to us. They share thematic or process-oriented sensibilities involving a series of rule-based steps that alternate between the procedural and the intentional. “Uncanny” is defined as strangely familiar. Something which falls in the Uncanny Valley feels wrong, but the reasons may be difficult to articulate. “MeatSpace” is an ongoing experiment to see where our own digital reflections fall in an uncanny spectrum of unsettling familiarity. I am continuously assessing the meaning of words like “consciousness" and “choice”, wondering if they are simply interpretations of randomness and determinism. So I search for genuine glimmers of agency in technologies from the present and the past to better understand my own. The groupings within “MeatSpace” are titled “The Intrinsia Chatbox” (podcast), “Outside the Chatbox” (podcast), “Sweet Space/Spatial Awareness”(prints, video, augmented reality), “Formulaics”(music videos), and “Texture Maps/Morph Maps” (prints, video). “MeatSpace” uses manipulation of photogrammetry, volumetric video capture, procedural music generation, animations made in virtual reality, and a video podcast which showcases conversations with chatbots. I see these as acts of collaboration and play with the digital world and it’s developing tools and inhabitants. These processes employ both randomness and control, operating between meatspace and the digital world, between comfort and the uncanny valley.

The artist discusses her Master of Fine Arts thesis exhibition Holler, held at Tipton Gallery March 2ndto March 13th, 2020. The exhibition features an installation of works on fiber, paper, and found objects tied to her upbringing in Southern Appalachia. A variety of collected materials including bedsheets, chalkboards, and barbwire are taken out of their traditional contexts and brought into a new vantage point through the artist’s alterations. Gregg re-contextualizes materials, language, and signifiers as a process of decoding formative experiences in domestic and academic spaces. Themes examined in the work include rote learning, tradition, indoctrination, identity, and cultural psychology. Literary references include writings on critical pedagogy by educators Paulo Freire and Bell Hooks. The influence of conceptually driven artworks by Adrian Piper and Bruce Nauman and their relation to language and repetition are discussed, as well as the themes of identity and domesticity as seen in the works of Tracey Emin and Mona Hatoum.