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Güldenpfennig, Florian; Hödl, Oliver; Reichl, Peter; Löw, Christian; Gartus, Andreas; Pelowski, Matthew

doi:10.1145/2839462.2856538

Cited by 2 publications

(1 citation statement)

References 5 publications

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“…To track movement, we employed a bespoke tracking tool—the Interactive Audience Sensor Kit (TASK, see Güldenpfennig et al, 2016 for details). This was designed by members of our team to provide a platform and software package (Processing 2.2.1 (rev 0227); see https://processing.org/) specifically tailored for unobtrusive tracking of standing, walking, or other interaction patterns in a gallery or onsite art installation (see also e.g., Helmuth et al, 2010; Sheridan & Bryan-Kinns, 2008 for similar designs of embedded sensor-based systems for tracking audience engagement in live performances, such as music or dance).…”

Section: Methodsmentioning

confidence: 99%

How Do We Move in Front of Art? How Does This Relate to Art Experience? Linking Movement, Eye Tracking, Emotion, and Evaluations in a Gallery-Like Setting

Kühnapfel

Fingerhut

Brinkman

et al. 2023

Empirical Studies of the Arts

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Embodied cognition claims that how we move our body is central for experience. Exploring dimensions of bodily engagement should, therefore, also be central for engaging art. However, little attention has been paid to the actual ways viewers move in front of art and how this impacts experiences. We aim to close this gap, using a new paradigm in a gallery-like setting in which we tracked movements of participants that engaged an abstract artwork. Guided by a literature review, we relate objective movement factors and subjective body awareness to mobile viewing behavior, art experience, and expertise. We also—for the first time—define shared movement patterns employing principal component/cluster analysis and relate these to experience outcomes, noting, for example, that moving more/more dynamically related to more reported insight. As a proof-of-concept paper, we hope to support a more embodied, enactive understanding of art engagements, and provide practical guidelines for future research.

show abstract

Section: Methodsmentioning

confidence: 99%

How Do We Move in Front of Art? How Does This Relate to Art Experience? Linking Movement, Eye Tracking, Emotion, and Evaluations in a Gallery-Like Setting

Kühnapfel

Fingerhut

Brinkman

et al. 2023

Empirical Studies of the Arts

Self Cite

View full text Add to dashboard Cite

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Crafting Trajectories of Smart Phone Use at the Opera

Greenhalgh

Hazzard

Benford

et al. 2022

ACM Trans. Comput.-Hum. Interact.

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Losing Her Voice is a new opera which highlights the challenges of subtly interweaving digital technologies into established cultural forms. Audience members were encouraged to use their own mobile phones to interact with on-stage projections before, during and after the performance. We chart the trajectories of participation that were designed into the premiere performances of this work, and how these unfolded in practice. We identify the strategies that were effective to: encourage adoption of the mobile app; interweave use with the other elements of the opera performance; make it consistent with the content; and ensure it complemented but was not essential to the show. We highlight the way in which three canonical trajectories must be woven together in this experience: the standard trajectory of “a night at the opera”; the dramatic arc of the specific work; and the audience member's use of their own device.

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Task

Cited by 2 publications

References 5 publications

How Do We Move in Front of Art? How Does This Relate to Art Experience? Linking Movement, Eye Tracking, Emotion, and Evaluations in a Gallery-Like Setting

How Do We Move in Front of Art? How Does This Relate to Art Experience? Linking Movement, Eye Tracking, Emotion, and Evaluations in a Gallery-Like Setting

Crafting Trajectories of Smart Phone Use at the Opera

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