Exploring Different Ways of Navigating Emotionally-responsive Artwork in Immersive Virtual Environments

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Exploring Different Ways of Navigating Emotionally-responsive Artwork in Immersive Virtual Environments

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Author(s): Meehae Song , Steve DiPaola

Publication date (Print): July 2015

Conference name: Electronic Visualisation and the Arts (EVA 2015) (EVA)

Conference theme: Electronic Visualisation and the Arts

Conference date: 7 & 9 July 2015

Keywords: Immersive virtual reality, Virtual environments, Gestural navigation, Non-photorealistic rendering, Head-mounted display, Generative art, Emotion, Biofeedback, Interaction

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Abstract

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Author and article information

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Meehae Song

Steve DiPaola

Conference

Publication date: July 2015

Publication date (Print): July 2015

Pages: 232-239

Affiliations

[0001]Simon Fraser University

250-13450 102 Avenue

Surrey, BC V3T 0A3, Canada

[0002]Simon Fraser University

250-13450 102 Avenue

Surrey, BC V3T 0A3, Canada

Article

DOI: 10.14236/ewic/eva2015.24

SO-VID: a9ed29eb-4dfa-45fa-887d-828c66a722c5

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This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

Conference name: Electronic Visualisation and the Arts (EVA 2015)

Conference acronym: EVA

Conference number:

Conference location: London, UK

Conference date: 7 & 9 July 2015

Conference sponsor: Electronic Workshops in Computing (eWiC)

Conference theme: Electronic Visualisation and the Arts

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1477-9358 BCS Learning & Development

Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/eva2015.24

Self URI (journal page): https://ewic.bcs.org/

REFERENCES

A Artuad 1938 The Theater and Its Double (M. C. Richards, Trans.) New York Grove Press. (Original work published in 1938.)
A training‘class’ at Chalons 1909 December 25). Flight Magazine 830
M CavazzaS. J Mead 2001 Virtual art galleries: a new kind of cultural objects? Proc. International Conference on Image Processing 1p590 593 IEEE
I Cheng 2013 Entropy Wrangler Cloud http://iancheng.com/ 13 03 2015
J Chiaverina 2014 December 17) Virtual-reality art gets real ARTnews http://www.artnews.com/2014/12/17/virtual-reality-art-gets-real/ 13 03 2015
C DaviesJ Harrison 1996 Osmose: Towards broadening the aesthetics of virtual reality Computer Graphics (ACM SIGGRAPH) 30 4 25 28
S DiPaolaS Salevati 2014 Using a Creative Evolutionary System for Experiencing the Art of Futurism International Conference on Electronic Imaging & the Visual Arts (EVA 2014) Florence, Italypp 88 93
S DiPaola 2009 Exploring a Parameterized Portrait Painting Space”, International Journal of Art and Technology 2 1–2 l82 93
S DiPaola 2014 Using a Contextual Focus Model for an Automatic Creativity Algorithm to Generate Art Work Procedia Computer Science. Special Issue: Bio Inspired Cognitive Architectures Vol 41p212 219
S DiPaolaC RiebeJ. T Enns 2013 Following the masters: Portrait viewing and appreciation is guided by selective detail Perception 42 6 608 630
M Dolinsky n.d. http://www.evl.uic.edu/ dolinsky/DG/ 13 03 2015
C DuncanA Wallach 1978 The Museum of Modern Art as late capitalist ritual: an iconographic analysis Marxist Perspectives 1 4),28 51 Winter.
M. S El-NasrJ. F Morieand A Drachen 2011 A Scientific Look at the Design of Aesthetically and Emotionally Engaging Interactive Entertainment Experiences Gökçay,D.
D EmEm David n.d. http://www.davidem.com/ 13 03 2015
Empatica 2015 https://www.empatica.com/?l=en 13 03 2015
F EylG Green 2004 aperture. http://www.fredericeyl.de/aperture/ 13 03 2015
D FriedmanK SujiM Slater 2007 SuperDreamCity: an immersive virtual reality experience that responds to electrodermal activity Affective computing and intelligent interactionp570 581 Springer Berlin Heidelberg
M GoslinJ Morie 1996 Virtopia: Emotional experiences in virtual environments Leonardo Journal 29 2 95 100
O Grau 2004 Virtual Art: From Illusion to Immersion Cambridge, MA The MIT Press
D GromalaM SongJ. D YimT FoxS. J BarnesM NazemiC ShawP Squire 2011 Immersive VR: A non-pharmacological analgesic for chronic pain? CHI Interactivity 2011 Vancouver Convention Center Vancouver, BC 05 2–5 2011
P. J Lang 1995 The emotion probe: studies of motivation and attention The American Psychologist 50 372 385 10.1037/0003-066X.50.5.372
J Lanier n.d. http://www.jaronlanier.com 13 03 2015
Leap Motion 2015 https://www.leapmotion.com 13 03 2015
B LutzM Weintke 1999 Virtual Dunhuang Art Cave : A Cave within a CAVE Computer Graphics Forum 18 3 257 264
R MandrykM AtkinsK Inkpen 2006 A Continuous and Objective Evaluation of Emotional Experience with Interactive Play Environments. Proceedings of the Conference on Human Factors in Computing Systems (CHI 2006) Montreal, Canada 2006 April 2006 1027 1036
Microsoft Band 2015 http://www.microsoft.com/Microsoft-Band/en-us 13 03 2015
Occulus VR 2015 https://www.oculus.com 13 03 2015
B O’Doherty 1986 Inside the White Cube: The Ideology of the Gallery Space University of California Pressp. 14
N RavajaT SaariM SalminenJ LaarniK Kallinen 2006 Phasic emotional reactions to video game events: A psychophysiological investigation Media Psychology 8 343 367 10.1207/s1532785xmep0804_2
G RivaF MantovaniC. S CapidevilleA PreziosaF MorgantiD VillaniA Gaggioli 2007 Affective interactions using virtual reality: The link between presence and emotions CyberPsychology & Behavior 10 1)
J.A Russell 1980 A circumplex model of affect Journal of Personality and Social Psychology 39 6),1161 1178
S SalevatiS DiPaola 2015 A Creative Artificial Intelligence System to Investigate User Experience, Affect, Emotion and Creativity Electronic Visualisation and the Arts (EVA 2015) London
G Singh 2011 Her Own Virtual Gallery of Art IEEE Computer Graphics and Applications 31 6 4 5
M SlaterS Wilbur 1997 A framework for immersive virtual environments (FIVE): Speculations on the role of presence in virtual environments Presence: Teleoperators and Virtual Environments 6 603 616
R. M SternW. J RayK. S Quigley 2001 Psychophysiological recording Oxford University Press New York
I. E Sutherland 1970 Computer displays Scientific American 222 6 57 81
S VosinakisI Xenakis 2011 A Virtual World Installation in an Art Exhibition: Providing a Shared Interaction Space for Local and Remote Visitors Rethinking Technology in Museums 2011 Limerick, Ireland May 2011
T Watson 2007 Funky Forest http://www.theowatson.com/site_docs/work.php?id=41 13 March 2015
Xbox 2015 http://www.xbox.com/en-US/ 13 03 2015

Comments

Comment on this article

[1] A Artuad 1938 The Theater and Its Double (M. C. Richards, Trans.) New York Grove Press. (Original work published in 1938.)

[2] A training‘class’ at Chalons 1909 December 25). Flight Magazine 830

[3] M CavazzaS. J Mead 2001 Virtual art galleries: a new kind of cultural objects? Proc. International Conference on Image Processing 1p590 593 IEEE

[4] I Cheng 2013 Entropy Wrangler Cloud http://iancheng.com/ 13 03 2015

[5] J Chiaverina 2014 December 17) Virtual-reality art gets real ARTnews http://www.artnews.com/2014/12/17/virtual-reality-art-gets-real/ 13 03 2015

[6] C DaviesJ Harrison 1996 Osmose: Towards broadening the aesthetics of virtual reality Computer Graphics (ACM SIGGRAPH) 30 4 25 28

[7] S DiPaolaS Salevati 2014 Using a Creative Evolutionary System for Experiencing the Art of Futurism International Conference on Electronic Imaging & the Visual Arts (EVA 2014) Florence, Italypp 88 93

[8] S DiPaola 2009 Exploring a Parameterized Portrait Painting Space”, International Journal of Art and Technology 2 1–2 l82 93

[9] S DiPaola 2014 Using a Contextual Focus Model for an Automatic Creativity Algorithm to Generate Art Work Procedia Computer Science. Special Issue: Bio Inspired Cognitive Architectures Vol 41p212 219

[10] S DiPaolaC RiebeJ. T Enns 2013 Following the masters: Portrait viewing and appreciation is guided by selective detail Perception 42 6 608 630

[11] M Dolinsky n.d. http://www.evl.uic.edu/ dolinsky/DG/ 13 03 2015

[12] C DuncanA Wallach 1978 The Museum of Modern Art as late capitalist ritual: an iconographic analysis Marxist Perspectives 1 4),28 51 Winter.

[13] M. S El-NasrJ. F Morieand A Drachen 2011 A Scientific Look at the Design of Aesthetically and Emotionally Engaging Interactive Entertainment Experiences Gökçay,D.

[14] D EmEm David n.d. http://www.davidem.com/ 13 03 2015

[15] Empatica 2015 https://www.empatica.com/?l=en 13 03 2015

[16] F EylG Green 2004 aperture. http://www.fredericeyl.de/aperture/ 13 03 2015

[17] D FriedmanK SujiM Slater 2007 SuperDreamCity: an immersive virtual reality experience that responds to electrodermal activity Affective computing and intelligent interactionp570 581 Springer Berlin Heidelberg

[18] M GoslinJ Morie 1996 Virtopia: Emotional experiences in virtual environments Leonardo Journal 29 2 95 100

[19] O Grau 2004 Virtual Art: From Illusion to Immersion Cambridge, MA The MIT Press

[20] D GromalaM SongJ. D YimT FoxS. J BarnesM NazemiC ShawP Squire 2011 Immersive VR: A non-pharmacological analgesic for chronic pain? CHI Interactivity 2011 Vancouver Convention Center Vancouver, BC 05 2–5 2011

[21] P. J Lang 1995 The emotion probe: studies of motivation and attention The American Psychologist 50 372 385 10.1037/0003-066X.50.5.372

[22] J Lanier n.d. http://www.jaronlanier.com 13 03 2015

[23] Leap Motion 2015 https://www.leapmotion.com 13 03 2015

[24] B LutzM Weintke 1999 Virtual Dunhuang Art Cave : A Cave within a CAVE Computer Graphics Forum 18 3 257 264

[25] R MandrykM AtkinsK Inkpen 2006 A Continuous and Objective Evaluation of Emotional Experience with Interactive Play Environments. Proceedings of the Conference on Human Factors in Computing Systems (CHI 2006) Montreal, Canada 2006 April 2006 1027 1036

[26] Microsoft Band 2015 http://www.microsoft.com/Microsoft-Band/en-us 13 03 2015

[27] Occulus VR 2015 https://www.oculus.com 13 03 2015

[28] B O’Doherty 1986 Inside the White Cube: The Ideology of the Gallery Space University of California Pressp. 14

[29] N RavajaT SaariM SalminenJ LaarniK Kallinen 2006 Phasic emotional reactions to video game events: A psychophysiological investigation Media Psychology 8 343 367 10.1207/s1532785xmep0804_2

[30] G RivaF MantovaniC. S CapidevilleA PreziosaF MorgantiD VillaniA Gaggioli 2007 Affective interactions using virtual reality: The link between presence and emotions CyberPsychology & Behavior 10 1)

[31] J.A Russell 1980 A circumplex model of affect Journal of Personality and Social Psychology 39 6),1161 1178

[32] S SalevatiS DiPaola 2015 A Creative Artificial Intelligence System to Investigate User Experience, Affect, Emotion and Creativity Electronic Visualisation and the Arts (EVA 2015) London

[33] G Singh 2011 Her Own Virtual Gallery of Art IEEE Computer Graphics and Applications 31 6 4 5

[34] M SlaterS Wilbur 1997 A framework for immersive virtual environments (FIVE): Speculations on the role of presence in virtual environments Presence: Teleoperators and Virtual Environments 6 603 616

[35] R. M SternW. J RayK. S Quigley 2001 Psychophysiological recording Oxford University Press New York

[36] I. E Sutherland 1970 Computer displays Scientific American 222 6 57 81

[37] S VosinakisI Xenakis 2011 A Virtual World Installation in an Art Exhibition: Providing a Shared Interaction Space for Local and Remote Visitors Rethinking Technology in Museums 2011 Limerick, Ireland May 2011

[38] T Watson 2007 Funky Forest http://www.theowatson.com/site_docs/work.php?id=41 13 March 2015

[39] Xbox 2015 http://www.xbox.com/en-US/ 13 03 2015

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Exploring Different Ways of Navigating Emotionally-responsive Artwork in Immersive Virtual Environments

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