This thesis explores the role of interactivity in interfaces for visual artwork display, and the promotion of user engagement. In contrast to most previous work, which has been based on digitally recreating the physical properties of traditional exhibition spaces, this research explores the advantages that interactive digital displays offer to user engagement by investigating different methods and techniques for presenting images of visual artworks in a virtual environment. Throughout this research, various interactive virtual presentation designs, including four interactivity modes, have been developed and tested in lab, field and online studies; data gathering and analysis have used both qualitative and quantitative methods. Further, event parameters have been introduced, the aid of which has allowed the separate phases of user engagement to be examined. The experiments on a broader scale in the final stage of this research are targeted towards demonstrating the potential of the proposed approach and will foster the application of advanced technologies for presentation of visual artworks. This thesis makes a number of contributions in the fields of digital art presentation and methods for measuring user engagement and its different phases. The conceptual framework for describing user engagement is generalised and ex- tended by additional elements. The relation between four designed interactivity modes and the extended phases of user engagement has been investigated, analysed and examined through the application of a mixed-methods approach that combines qualitative and quantitative techniques. Finally, the findings from this thesis about the design interactivity modes and evaluation of user engagement can be adopted by and applied in further research.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-12-06T18:32:05Z No. of bitstreams: 1 Renato Almada Alonso.pdf: 2132507 bytes, checksum: 9331b0079e804a03d3f02ad4d10b1c20 (MD5) / Made available in DSpace on 2016-12-06T18:32:05Z (GMT). No. of bitstreams: 1 Renato Almada Alonso.pdf: 2132507 bytes, checksum: 9331b0079e804a03d3f02ad4d10b1c20 (MD5) Previous issue date: 2016-11-23 / The research investigates the ways that interactive television leaves as margin to pedagogical studies. The proposal is to offer educators, producers and instructional designers a new look on the construction of teaching and learning from the documentation of cognitive processes in a unique environment, which reconstitutes the hybrid technology and comprises a modern and peculiar media. For this, it was necessary a chronological study of educational spaces, which was understandable the size of a mass communication medium as distance learning. A second analysis of new scenarios and the components of this process explains the procedural aspect of relations man-machine and its culture, in order to position the participating actors in this environment. Finally, we deepen the documentary analysis in interactive television, considering the human perspective as object and establishing a dialogue with education and vehicles, looking out over its intricate corpus. The analysis is based on the contribution of authors like Gauthier, Tardif, Moran, Moore, Kearsley, Perrenoud, Gobbi, Kerbaui, Filatro, Vilches, Mininni, Santaella, Behar, Lévy, Mattar and Lemos. Your thoughts are fundamental to a detailed research about the topic. From the point of view of studies on the process of creating content for interactive television, the research establishes a dialogue between the fields that form educommunication, seeking to deepen the understanding of the viewer / student relationship and bringing contributions to enable the construction of its identity. For professionals, it is expected that through the exchange of information from this research, may be possible to understand within the complexity of technology and seriousness that the mass media should be treated / A pesquisa investiga os caminhos que a televisão interativa deixa como margem aos estudos pedagógicos. A proposta é oferecer aos educadores, produtores e designers instrucionais um novo olhar sobre a construção do ensino e aprendizagem a partir da documentação dos processos cognitivos em um meio singular, que se reconstitui da tecnologia híbrida e que compreende um formato moderno e peculiar. Para isso, fez-se necessário um estudo cronológico dos espaços educacionais, onde fosse compreensível a dimensão de um meio de comunicação em massa como ambiente educacional a distância. Uma segunda análise sobre os novos cenários e os componentes desse processo explicita o aspecto processual das relações homem-máquina e sua cultura, com o propósito de posicionar os atores que participam desse ambiente. Por fim, aprofundamos a análise documental na televisão interativa, considerando a perspectiva humana como objeto e estabelecendo um diálogo com a educação e os veículos que vislumbram seu intrincado corpus. A análise fundamenta-se na contribuição de autores como Gauthier, Tardif, Moran, Moore, Kearsley, Perrenoud, Gobbi, Kerbaui, Filatro, Vilches, Mininni, Santaella, Behar, Cury, Lévy, Mattar e Lemos. Seus pensamentos são fundamentais para uma investigação detalhada que cerca o tema. Sob o ponto de vista dos estudos sobre o processo de criação de conteúdo para a televisão interativa, a pesquisa estabelece um diálogo entre os campos que formam a educomunicação, buscando aprofundar o entendimento na relação espectador/aluno e trazendo contribuições que permitam a construção de sua identidade. Para os profissionais, se espera que através da troca de informações provenientes da pesquisa, seja possível a compreensão dentro da complexidade da tecnologia e da seriedade que os meios de comunicação em massa deveriam ser tratados

Thesis (B.S.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 1981. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ENGINEERING. / Bibliography: 2 unnumbered leaves following text. / by John Carlos Correa. / B.S.

This study is about play. It is about some of the forms of play you may have engaged in as a kid and are now integrated in the art practices of three artists, Núria Güell, Jordi Canudas and Nicolás Dumit-Estévez. Their practices defy the traditional conceptions of both art and play as ends in themselves. This study is contextualized as phenomenological research that aims at understanding what role play can assume in socially engaged art practices, and in what ways it provides a dynamic filter or trajectory for carrying each work forward. It is centered on the experiences of three artists who have developed practices that are participatory, presented in public spaces, open to diverse audiences, and whose design seeks at questioning, transforming or experimenting with new forms of sociability. The study presents the artists’ narratives through interviews and intertwined with the researcher’s experience with the data and documentation, acting as a site for shared meaning making. The findings of the study suggest that essential to play is movement, and that play’s integration in socially engaged art practices opens up transitional or permeable spaces in which previously discrete identities become border crossings opening to the potential emergence of new ideas about self and society

A televisão nos dias atuais tem sofrido inúmeras inovações tecnológicas nos campos das transmissões multimídia, qualidade audio-visual e diversidade de funcionalidades. Entretanto, esta essencialmente mantêm sua característica de fornecer informações de forma quase que instantânea à população. O ambiente atual da televisão digital é caracterizado pela coexistência de inúmeros dispositivos capazes de oferecerem uma experiência televisa, associando-se computadores pessoais, smartphones, tablets e outros eletrônicos de consumo. Ainda, pode se incluir a este cenário a disponibilidade de inúmeras redes de transporte de dados tais como a radiodifusão, satélite, cabo e redes em banda larga. Este cenário diversificado, em termos de dispositivos e redes, é denominado de cenário de televisão digital híbrida, a qual destaca-se a interação do expectador com os diversos dispositivos. Estes cenários, por sua vez, motivam o desenvolvimento de tecnologias que permitem o aperfeiçoamento da pervasividade e dos meios pelos os quais os aplicativos possam ser suportados em diferentes plataformas. Este trabalho propõe ambientes interoperáveis envolvendo a televisão digital interativa e outros eletrônicos de consumo, aos quais foram realizados estudos e experimentos para se observar diferentes técnicas de sincronização e comunicação entre plataformas de interatividade para a televisão digital híbrida. Os resultados apontam para a possibilidade de cenários interoperáveis envolvendo o uso de marcadores e também recursos de redes e serviços TCP/IP, levando em consideração a eficiência e eficácia nos diferentes métodos. Conclui-se que os resultados odem motivar o desenvolvimento de cenários diferenciados envolvendo a televisão digital interativa e dispositivos de segunda tela, o que incrementa a interatividade e as formas de entretenimento. / The television is nowadays under a wide number of technological innovations in the fields of multimedia broadcasts, audio-visual quality and diversity of features. However, TVs essentially retain their characteristic to provide information almost instantly to the population. The current environment of digital television is characterized by the coexistence of numerous gadgats capable of providing a experience aggregating personal computers, smartphones, tablets and other consumer electronics. Thereafter, you can include this scenario the availability of numerous data transmission such as broadcasting, satellite, cable and broadband networks. This scenario in terms of devices and networks, is called hybrid digital television, which highlights the interaction of the viewer with the various devices. By the way, these scenarios motivate the development of technologies which allow the improvement of the pervasiveness and ways that applications can be supported by different platforms. This work proposes interoperable environments involving interactive digital TV and other consumer electronics, which were carried out studies and experiments to observe different synchronization techniques and communication between interactive platforms for hybrid digital television. The results pointed out to the possibility of interoperable scenarios involving the use of tags and also network resources and services such as TCP/IP, taking into account the efficiency and effectiveness of the different methods. The results could lead the development of different scenarios involving interactive digital TV and second screen devices, which increases the interactivity and forms of entertainment.

Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1982. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. VIDEODISC IN ARCHIVES AND ROTCH VISUAL COLLECTIONS. / Includes bibliographical references (leaves 87-90). / A technique of pictorially synthesizing facial imagery using optical videodiscs under computer control is described. Search, selection and averaging processes are performed on a catalogue of whole faces and facial features to yield a composite, expressive, recognizable face. An immediate application of this technique is the reconstruction of a particular face from memory for police identification, thus the project is called , IDENTIDISC. Part I-PACEMAKER describes the production and implementation of the IDENTIDISC system to produce composite faces. Part II-EXPRESSIONMAKER describes animation techniques to add expression and motion to composite faces . Expression sequences are manipulated to make 'anyface' make any face. Historical precedents of making facial composites, theories of facial recognition, classification and expression are also discussed. This thesis is accompanied by two copies of PACEMAKER-III, an optical videodisc produced at the Architecture Machine Group in 1982. The disc can be played on an optical videodisc player . The length is approximately 15 , 0000 frames. Frame numbers are indicated in the text by [ ]. / by Peggy Weil. / M.S.V.S.

Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1982. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Bibliography: leaves 111-116. / The human face is a highly significant visual display which we are able to remember and recognize easily despite the fact that we are exposed to thousands of faces which may be metrically very similar. caricature is a graphical coding of facial features which seeks to be more like the face than the face itself: selected information is exaggerated, noise is reduced, and the processes involved in recognition are exploited. After studying the methods of caricaturists, examining perceptual phenomena regarding individuating features, and surveying automatic and man-machine systems which represent and manipulate the face, some heuristics for caricature are defined . An algorithm is implemented to amplify the nuance of a human face in a computer- generated caricature. This is done by comparing the face to a norm and then distorting the face even further away from that norm . Issues of style, context and animation are discussed. The applications of the caricature generator in the areas of teleconferencing, games, and interactive graphic interfaces are explored. / by Susan Elise Brennan. / M.S.V.S.

Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1982. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. VIDEOCASSETTE IN ROTCH VISUAL COLLECTIONS. / Bibliography: leaves 90-93. / by Ann Ross Marion. / M.S.V.S.

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