1,720,973 research outputs found
Integrating Wearable Technologies in the Performing Arts:A Holistic Approach to Interactive Costuming
Get PDFInteractive costumes are technology-enhanced stage clothing that respond to their wearers or to the environment; for example, a tutu with an embedded motion sensor and light that reacts to a dancer’s movements. Performances have used interactive costumes since usable technologies became available in the late 19th century. Since then, the ex-ploration of unusual materials for costume design and technologies that can be worn by the performing body has often been linked to an artistic interest in studying new ways of narration and expressivity. This suggests that interactive costumes have con-siderable potential for performance and costume design and will become a necessity for performance practitioners who seek to leverage such new, narrative, and expres-sive possibilities. Although wearable and e-textile technologies are more mature today, and interactive costumes are more widely accessible to different types of performances, they are rarely seen outside a few avantgarde projects. There is still no integrated element of perfor-mances that seeks to determine innovative ways of narrative expression and artistic statement. Previous research on interactive costumes has concerned specific aspects, such as their expressive features, the design process or the audience’s perception, but has neglected to examine them broadly or to take traditional costuming and processes into account. In contrast to prior research, this research project aimed for a holistic understanding of interactive costumes in context, including the whole ecology of a performance production and the stakeholders concerned. It also aimed to enable tra-ditionally organised productions to leverage this type of performance costume as a new tool for expressivity and narration. A holistic approach enables the identification of what facilitates the integration of interactive costumes in the performing arts (main research question). To arrive at such a general per-spective, I drew on Niklas Luhmann’s system theory to guide my investigations of in-teractive costumes on three levels – the dimensions of object, social and time. These di-mensions enabled me to address the characteristics of interactive costumes’ creation and deployment (object dimension); the perception of and impacts on wearers and other stakeholders (social dimension); and the ideal temporal structures required for the processes behind interactive costumes (time dimension).Engaging with interactive costuming through 10 case studies and 13 expert interviews en-riched this research with first-hand experience of designing and staging interactive costumes and the reflective perspectives of other interactive costume professionals. The qualitative inquiries were driven by an abductive approach. The included case studies served as a resource of practical exploration and combined research through de-sign with action research. They covered different types of interactive technologies in dance and theatre, were conducted in a lab or in the field, based on a variety of meth-ods, and carried out in close collaboration with performance professionals. My own involvement as a designer, teacher, and consultant in interactive costuming was im-portant to be able to understand interactive costuming from a first-hand perspective. The 13 expert interviews complemented my perspective as they provided an inde-pendent professional viewpoint on interactive costuming. The interviewees were in-ternational designers, engineers, researchers, or choreographers with professional expe-rience of interactive costume creation and deployment in different performance pro-jects. Together with the case studies, the expert interviews underwent a qualitative meta-synthesis, to consolidate my personal experience with the professionals’ experienc-es and to comprehensively understand interactive costuming.With its four publications that address different aspects of interactive costuming, this dissertation constructs new knowledge on the practices, stakeholders, and processes of interactive costumes in the context of the performing arts. First, I explored the chal-lenges in interactive costuming and identified the research gap (Publication 1). Then I examined the design space of interactive costumes in the performing arts (Publication 2) and specified the expertise needed for their creation (Publication 3). I also investi-gated how stakeholders adapt to interactive costuming, particularly during the de-ployment phase (Publication 4). Finally, the results of the meta-synthesis provided a comprehensive picture of what facilitates the integration of interactive costumes in the performing arts and contributes to the philosophy of interactive costuming:1) In the object dimension, the creation of interactive costumes required the meaningful combination of materials that were new to costume design, with related processing techniques, transdisciplinary knowledge, and participatory activities. The deployment of interactive costumes was dynamically interwoven into their creation process, and rehearsing was key to successful design and deployment. 2) In the social dimension, I defined three types of interactive costume stakeholder: crea-tors, users and enablers. The impact of interactive costumes on these stakeholders seemed to be stronger than that of conventional ones, and differed according to the embodied interactive features and the stakeholders’ backgrounds. Further, all the stakeholders had to share their expertise and ownership through close transdisciplinary collaboration in designing, staging, and sustaining these costumes. 3) In the time dimension, I concluded that interactive costumes required more flexible processes and schedules than traditional performance productions usually do. Ideal temporal structures would enable practical design experiments to begin earlier and provide different resolutions of interactive costume prototypes throughout the whole rehearsal period.The core insight of this research concerned the relational nature of interactive costumes. On the one hand, the interactive costumes determined how practices unfolded, stake-holders acted, and timings occurred. On the other hand, the creation and deployment of interactive costumes was strongly impacted by existing practices, stakeholders’ ex-pertise and set timings. If the interplay of all these aspects is balanced, interactive cos-tumes can enrich the performance outcome, and vice versa, a performance production can leverage the full potential of e-textile and wearable technologies. In this sense, interactive costuming is not merely the attachment of technologies to conventional costumes which are then given to performers who are trained to wear any type of garment. Interactive costuming requires early consideration of the conceptual and or-ganizational possibilities that can be embodied into interactive costumes and the per-formance production related to them; based on the materials, knowledge and practices inherent to e-textiles and wearable technologies; by engaging from a first-person per-spective and collaborating with different stakeholders that may be both affected by and affect interactive costumes when designing, staging, and sustaining a performance. Although largely confirming recent research on costume and performance design, my findings also suggest that traditional expertise and education in costuming requires extension through knowledge and skills in e-textiles and wearable technologies, inter-action design, and engineering, to meet the contemporary standards in the field of fashion. Beyond contributing theoretical and practical knowledge on interactive cos-tuming to the research and practice of costume and performance design, my research also contributes theoretical insights into and a methodological example for design re-search and design-oriented human-computer interaction in general. General theoreti-cal contributions are mainly coupled with considerations of the experience of designing and the design of experiences. These insights may be transferrable to other professional application fields in which tangible or wearable products embody interactivity through the means of technology. In addition, my methodological approach may act as inspira-tion for other researchers and designers to study interactive technologies in highly spe-cialised and difficult-to-access areas. The three systemic dimensions of meaning thus serve as a lens to cope with complex transdisciplinary design challenges.<br/
Designing Device-less Interaction A Tracking Framework for Media Art and Design
No full textThis paper presents KinectA, a tracking application that employs depth-sensing technologies such as the Kinect Sensor. It supports receiving the basic information necessary for interaction without input devices and the interrelated process of, for example, designing gesture-based interfaces. The software offers simultaneous hand, skeleton and object tracking. Therefore, media artists and designers can focus on their creative work due to the availability of these basic tracking functions. KinectA is available for Mac and Windows, and communicates via OSC to other software or hardware
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Die Bedeutung der stimmlichen und darstellerischen Anforderungen an das Soubrettenfach
No full textBachelorarbeit Salzburg, Universität Mozarteum 202
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
koamabayili/VECTRON-author-checklist: VECTRON author checklist
No full textWe have done our best to complete the author checklist relating to the use of animals in the hut study. Note that the objective for the hut study was to evaluate the IRS treatment applications for residual efficacy against Anopheles mosquitoes, including the local An. coluzzii mosquito population. Cows were only used to attract mosquitoes into the huts and no tests were carried out directly on the cows. The author checklist is intended for use with studies where experiments are carried out on animals, which is why we have had such difficulty in completing this for the hut study, as many of the questions do not relate to how the cows were used
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