NIME 2010

"Examining the Spectator Experience" A.C.Fyans, M. Gurevich and P. Stapleton

Abstract:

Drawing on a model of spectator understanding of error in performance in the literature, we document a qualitative experiment that explores the relationships between domain knowledge, mental models, intention and error recognition by spectators of performances with electronic instruments. Participants saw two performances with contrasting instruments, with controls on their mental model and understanding of intention. Based on data from a subsequent structured interview, we identify themes in participants' judgements and understanding of performance and explanations of their spectator experience. These reveal both elements of similarity and difference between the two performances, instruments and between domain knowledge groups. From these, we suggest and discuss implications for the design of novel performative interactions with technology.

NIME 2009

"Where Did It All Go Wrong? A Model of Error From the Spectator’s Perspective" A.C.Fyans, M. Gurevich and P. Stapleton

Abstract:

The development of new interfaces for musical expression has created a need to study how spectators comprehend new performance technology and practices. As part of a larger project examining how interactions with technology can be communicated with the spectator, we relate our model of spectator understanding of error to the NIME discourse surrounding transparency, mapping, skill and success.

CHI 2009

"Spectator Understanding of Error in Performance" A.C.Fyans, M. Gurevich and P. Stapleton

Abstract:

The development of computer-based devices for music control has created a need to study how spectators understand new performance technologies and practices. As a part of a larger project examining how interactions with technology can be communicated to spectators, we present a model of a spectator's understanding of error by a performer. This models is broadly applicable throughout HCI, as interactions with technology are increasingly public and spectatorship is becoming more common.

CGames 2006

"Creating Games With Feeling" A.C. Fyans and Graham McAllister

This paper presents a novel approach for the creation of computer games where the user can actually feel and manipulate objects in the 3D environment. Haptics (the sense of touch), is commonly used in virtual reality simulations such as tele-operation (the control of remote systems), however to date, games have not typically been targeted for development. By taking two existing products; a game engine (Unity) and a commercial haptics device (a PHANTOM Omni), a plug-in has been developed to link these technologies together. The resulting system allows anyone, with even modest programming skills, to create a computer game which allows the user to feel 3D objects in the environment. The paper will discuss how Unity allows for the rapid prototyping of games, how this plug-in was developed, and finally how haptics can be used in future computer games. By introducing this extra modality channel into computer games (in addition to visuals and audio), it is hoped that this technology could lead to a new genre of games.