VRtefacts

Spence, Jocelyn; Darzentas, Dimitrios; Huang, Yitong; Cameron, Harriet; Beestin, Eleanor; Benford, Steve

doi:10.1145/3357236.3395459

Cited by 17 publications

(1 citation statement)

References 53 publications

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“…Furthermore, social media supported these collaborations to be shared and enabled immediate feedback on the processes and work made. This exploration between the virtual and analogue revealed different opportunities to interact with the initial form and transform it into different immaterial and material iterations, each with their constituent feedback to the maker (Spence et al, 2020(Spence et al, & 2022. The ability to import analogue works through photography and film into VR which could then be manipulated, 3D printed or made in the studio and then brought back in the VR made some makers question: "What is reality?…”

Section: Augmented Craftsmanshipmentioning

confidence: 99%

Distance: digital immersive technologies and craft engagement

Panneels,

Helgason,

Smyth

et al. 2023

Connectivity and Creativity in Times of Conflict

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The DISTANCE project (digital immersive technologies and craft engagement) is a novel practice-led experiment in the use of immersive technology to enable dispersed craft practitioners to apply their haptic skills and material knowledge in a digital immersive space, learning from peers through remote collaboration. Craft practice is rooted in tactile interpretation of materials expressed through tacit, haptic processes (Ray, 2009). In this paper we ask; what role can haptic crafts skills play in a virtual studio environment? The paper reflects on the interaction between different craft disciplines and thus how different kinds of tacit knowledge impact on the act of creation in an immersive space (McCullough, 2004). How does a VR studio relate to a material studio practice (Corazzo, 2019)? Conversely, what are the drawbacks of such places in terms of collaboration when craft practices are rooted in material knowledge and haptic skill? Through a series of semi-structured workshops, practitioners shared their experiences of working alone and collaboratively within immersive space and discussed the unique challenges and opportunities of integrating and sharing haptic-driven creative processes and experiences with digital space. Thematic analysis of workshop discussions, interpreted by both craft and HCI experts, are presented alongside analysis of the work produced. This paper describes the role that haptic skills can play within immersive environments for craft practitioners and discusses current challenges to be addressed and opportunities for future work in hybrid digital-physical spaces. The paper also reflects on the role a virtual studio space can play as a shared learning environment. What are the barriers to adopting a virtual studio practice using VR? How does a VR studio connect to a physical making place? It is becoming increasingly important for creative practitioners to gain digital skills and competencies, both for creative production and for collaboration (Palani, 2022, Helgason et al, 2023. While the Covid pandemic meant that many more activities were conducted online or through digital means, this technological transformation has been underway for many years already (Cavalheiro et al, 2020). In the United Kingdom, the term "CreaTech" has been coined to describe the emergence and importance of this intersection where digital and data skills meet creativity (Bahkshi et al, 2019). Finally, the paper reflects on what role a virtual studio can play in supporting a sustainable craft practice: how does a virtual creative place that offers limitless options in terms of scale, material exploration, unhindered by physical limitations impact physical making practices?

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Section: Augmented Craftsmanshipmentioning

confidence: 99%

Distance: digital immersive technologies and craft engagement

Panneels,

Helgason,

Smyth

et al. 2023

Connectivity and Creativity in Times of Conflict

View full text Add to dashboard Cite

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Feeling Through Technology

Spence

2023

Springer Series in Design and Innovation

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This chapter aims to encapsulate the core elements of the keynote presentation on experience and interaction designs, primarily those using augmented reality, virtuality, or a mix of physical and digital elements. My interest is not in creating cutting-edge technology, but rather in seeing how people react, engage, think, move, and feel when they engage with designs by myself and colleagues.The contribution I make is to use performance theories and practices in design, especially design for mixed reality experiences, so that I can bring specific tools to bear on the creation and analysis of those designs. ‘Performance’ can be the kind practiced by professionals. It can also be the behaviours of people who take on the role of audience member or bystander. It can also be ‘performance’ in the ways that people ‘perform’ their everyday lives.Performance often aims to be thought-provoking, but (aside from Bertolt Brecht and those who use his politically minded Verfremdungseffekt) it virtually always aims for an emotional response through engagement with the aesthetic choices that have been made. This chapter provides a basic theoretical grounding and a specific example of how performance can lay out a richer design space for personally meaningful experiences.

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Data-inspired co-design for museum and gallery visitor experiences

Darzentas

Cameron

Wagner

et al. 2022

AIEDAM

Self Cite

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The capture and analysis of diverse data is widely recognized as being vital to the design of new products and services across the digital economy. We focus on its use to inspire the co-design of visitor experiences in museums as a distinctive case that reveals opportunities and challenges for the use of personal data. We present a portfolio of data-inspired visiting experiences that emerged from a 3-year Research Through Design process. These include the overlay of virtual models on physical exhibits, a smartphone app for creating personalized tours as gifts, visualizations of emotional responses to exhibits, and the data-driven use of ideation cards. We reflect across our portfolio to articulate the diverse ways in which data can inspire design through the use of ambiguity, visualization, and inter-personalization; how data inspire co-design through the process of co-ideation, co-creation, and co-interpretation; and how its use must negotiate the challenges of privacy, ownership, and transparency. By adopting a human perspective on data, we are able to chart out the complex and rich information that can inform design activities and contribute to datasets that can drive creativity support systems.

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VRtefacts

Cited by 17 publications

References 53 publications

Distance: digital immersive technologies and craft engagement

Distance: digital immersive technologies and craft engagement

Feeling Through Technology

Data-inspired co-design for museum and gallery visitor experiences

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