In the Wild: Evaluating Collaborative Interactive Musical Experiences in Public Settings

Bengler, Ben; Bryan-Kinns, Nick

doi:10.1007/978-3-319-04510-8_12

Cited by 12 publications

(4 citation statements)

References 12 publications

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“…Their focus on well-defined goals and objective metrics seems indeed out of place in the evaluation of Interactive Art, which is noticeable as both presented frameworks are heavily focused on experience. In contrast, evaluation methods focused on aspects of UX and aligned with third-wave HCI methods are already being appropriated by artists and used with relative success in some contexts, such as the evaluation of audience interaction with a collaborative interactive music system [10]; evaluation in public art, including planning, preparation and different points of view by different stakeholders [2]; and evaluation in the collaborative creation of a public digital media exhibition [8]. How artists may appropriate, apply and evolve these methods is of high interest of HCI research as well, as it brings novel approaches and different views the HCI community alone could not be able to devise or envision.…”

Section: Discussionmentioning

confidence: 99%

The Interface between Interactive Art and Human-Computer Interaction: Exploring Dialogue Genres and Evaluative Practices

Duarte

Merkle

Baranauskas

2019

JIS

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The mutual efforts of joining art and science have been an important source of innovation in many fields throughout history. In this article, we investigate the relatively common origins, differences, and similarities between the Interactive Art and Human-Computer Interaction (HCI) areas of knowledge. We also investigate what kind of human-computer interactions are sought by artists or emerge in Interactive Art examples, as well as what kind of frameworks, evaluation criteria or methodologies are reported in the literature to support the design and evaluation of Interactive Art. As a result of our analysis of Interactive Art examples found in the literature and beyond, we derived four genres of dialogue that emerge naturally or are stressed by authors: visual, embodied, tangible and social. These genres, albeit not comprehensive, can inspire the design of novel forms of interaction in computational systems with or without artistic intent. Moreover, frameworks, evaluation criteria, and methodologies may allow a cross-pollination between Interactive Art and HCI. While interactive artists may provide novel ways to look at the design and evaluation of interactive systems, these artists may also benefit from appropriating traditional HCI methods, tools, and technologies for new purposes. Lastly, we draw on our findings and learned lessons to outline a research agenda with the main objectives of 1) encouraging Interactive Art research, 2) studying Interactive Art examples, 3) practicing Interactive Art design and evaluation, and 4) designing Interactive Art for all.

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Section: Discussionmentioning

confidence: 99%

The Interface between Interactive Art and Human-Computer Interaction: Exploring Dialogue Genres and Evaluative Practices

Duarte

Merkle

Baranauskas

2019

JIS

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“…Whilst the studies were part of a larger research project investigating various aspects of how people engage with collaborative interactive environments in public settings, as reported elsewhere [2,1], this paper will focus on using the gathered data to examine the circumstances under which participants withdrew from their interaction.…”

Section: Research Approachmentioning

confidence: 99%

"I could play here for hours.." (thinks the visitor and leaves)

Bengler

Bryan-Kinns

2015

Proceedings of the 2015 ACM SIGCHI Conference on Creativity and Cognition

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This paper examines factors that influence how long audience members actively engage with an interactive installation in public settings. The study draws on data from three field studies of an interactive multi-person installation, encompassing questionnaires,video recordings and user-system interaction data. The studies were conducted with unsolicited exhibition audiences during public exhibitions in the UK, China and Spain. In all three studies it was found that the time participants spent interacting with the installation was largely determined by social and contextual factors rather than by how they rated their playing experience. Common triggers identified for leaving were an 'obligation to leave' to accommodate other, potentially waiting audience members, and 'leaving by necessity' in order to follow companions who were moving on.

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“…Our goal was creating a platform with which our participants could develop research products [18]. The study was conducted 'in the wild' [2,42], more specifically in the homes of the study participants. Unlike previous design studies [1,27,28,50] which provide a set range of materials for the design process, our participants were free to pick from anything they could find.…”

Section: Studymentioning

confidence: 99%

“…Audio demonstrations of each sound can be found in the digital appendix. 2 • Model One was a model of a 150x150x20mm block of wood.…”

Section: Instrument Design Probesmentioning

confidence: 99%

Sound -> Object -> Gesture: Physical Affordances of Virtual Materials

et al. 2022

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In the Wild: Evaluating Collaborative Interactive Musical Experiences in Public Settings

Cited by 12 publications

References 12 publications

The Interface between Interactive Art and Human-Computer Interaction: Exploring Dialogue Genres and Evaluative Practices

The Interface between Interactive Art and Human-Computer Interaction: Exploring Dialogue Genres and Evaluative Practices

"I could play here for hours.." (thinks the visitor and leaves)

Sound -> Object -> Gesture: Physical Affordances of Virtual Materials

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