"Recognition" : Interactive motion tracking installation with neural network agent performer

Public installation running throughout the night at Cube 37 gallery. Morphing forms are projected onto the glass front of the gallery, facing the street. Human perticipants interact with the forms whose morphology changes with the movements of the participants. When no human participants are present, a neural network based agent that has learnt how to dance from a trained dancer, takes over and the forms follow the agent's movement.

Reproduction

"Reproduction" is a mixed reality installation that investigates the flow of data between the material world and synthetic worlds, in particular realtime 3D environments, through the creation of a persistent realtime 3D environment populated with agent entities that evolve over the duration of the exhibition in response to the actions of the human visitors to the gallery.

How to pack a bag

The artworks in this exhibition form part of my practice-led PhD research. As a daily task while travelling, packing a bag becomes a complex process, as we juggle the many movements in acquiring, discarding and arranging objects.

These artworks aim to highlight the many material interactions we have during the packing process, emphasising the ways in which we arrange materials and consider spatial constraints. For instance, how much we can “fit” in a bag, or, how we use the space of the room we are within, as well as the many movements our bodies undertake with the materials.

Exhibited works:
"Packing Diagrams", laminated digital prints
"Tracking the packing process", interactive installation
"Packing (exploring)", interactive installation, mixed media
"Packing (puzzle)", interactive installation
"bodies + bags" (excerpt), digital video loop

Reproduction game demo

An 8 screen stereoscopic 3D Multi-user environment set in a circular formation. Paticipants are tracked by 8 kinect sensors as they move around the 360 degree installation. Participants inherit a species upon entering. Artificial Life based entities cluster towards the human particpants of their species and their songs evolve according to the interactions.

Contested Meme-ing: Co-opt or Co-operate

This artwork details the designs for an interactive installation that address cooperation and competition for control over meaning of a text in a a game-like situation.

Teaching a digital performing agent: artificial neural network and hidden Markov Model for recognising and performing dance movement

For a Digital Performing Agent to be able to perform live with a human dancer, it would be useful for the agent to be able to contextualize the movement the dancer is performing and to have a suitable movement vocabulary with which to contribute to the performance. In this paper we will discuss our research into the use of Artificial Neural Networks (ANN) as a means of allowing a software agent to learn a shared vocabulary of movement from a dancer. The agent is able to use the learnt movements to form an internal representation of what the dancer is performing, allowing it to follow the dancer, generate movement sequences based on the dancer's current movement and dance independently of the dancer using a shared movement vocabulary. By combining the ANN with a Hidden Markov Model (HMM) the agent is able to recognize short full body movement phrases and respond when the dancer performs these phrases. We consider the relationship between the dancer and agent as a means of supporting the agent's learning and performance, rather than developing the agent's capability in a self-contained fashion.

Recognition: combining human interaction and a digital performing agent

Virtual and augmented environments are often dependent on human intervention for change to occur. However there are times when it would be advantageous for appropriate human-like activity to still occur when there are no humans present. In this paper, we describe the installation art piece Recognition, which uses the movement of human participants to effect change, and the movement of a performing agent when there are no humans present. The agent's Artificial Neural Network has learnt appropriate movements from a dancer and is able to generate suitable movement for the main avatar in the absence of human participants.

Interactive television in schools : an Australian study of the tensions of educational technology and change

This paper outlines some key issues that arose from several projects that investigated the use of interactive television in schooling. In this paper we draw on these projects, to illustrate and discuss how a (then) new form of distance education -- satellite-based, narrowcast ITV -- was designated for use in primary (elementary) and secondary (high school) classroom settings, how it was implemented, and how it collapsed as an endeavour. Issues raised by students, teachers and administrators are related to each to illustrate how ITV slowly declined over several years, despite its usefulness for some and strong support from those involved.

Towards an interactive architecture for web-based databases

World Wide Web has brought us a lot of challenges, such as infinite contents, resource diversity, and maintenance and update of contents. Web-based database (WBDB) is one of the answers to these challenges. Currently the most commonly used WBDB architecture is three-tier architecture, which is still somehow lack of flexibility to adapt to frequently changed user requirements. In this paper, we propose a hybrid interactive architecture for WBDB based on the reactive system concepts. In this architecture, we use sensors to catch users frequently changed requirements and use a decision making manager agent to process them and generate SQL commands dynamically. Hence the efficiency and flexibility are gained from this architecture, and the performance of WBDB is enhanced accordingly.

An ecobehavioural analysis of interactive engagement of children with developmental disabilities with their peers in inclusive preschools

Ecobehavioural analysis procedures were used to examine the interactive engagement of children with developmental disabilities due to Down syndrome who attended inclusive preschools for 2 years. Compared with typical children, the children with disabilities displayed infrequent interactions with peers for the duration of the study. For the children with disabilities, interactive engagement was largely unrelated to the characteristics of class activities, while typical children responded positively to activities expected to promote peer interaction. The results are discussed in terms of the inadequacy of informal strategies commonly applied in inclusive preschool settings to promote interactive engagement in children with disabilities.

Usability and learning in online environments : a case of interactive encounters

This paper proposes a set of strategies to maximise learner-content and learner-learner interactions in on-line learning environments. Extrapolating the outcomes of a research study that investigated the ways in which users responded to the interactive constructs embedded within interactive multimedia applications, the concept of encounter theory is introduced. Using observation and interview techniques, participants in the study identified a range of options by which learnercomputer interactions might be enhanced. The implications of these findings for online and desktop environments are considered, specifically in terms of the independent learner's encounter with content material and other learners. Developing a comprehensive understanding of the interactive phenomenon will not only lead to more effective useability and learning in on-line environments, but also to their working better for the learner.

Poesis in diegesis : real-time interactive dance performance

This paper describes the processes of creating a hybrid experience of live performance and virtual imagery in 1 + x: Mid-range Projections, a dance work that uses real-time processing of live feed video to create a duet between dancers and their virtual images. 1 + x is about creating experiences of interiority and intimacy, ironically, through the juxtaposition of virtual images of performers with their real selves. This paper examines how the ideal of reinserting intimacy, humanity and 'presence' into a technologically generated image space, in the case of 1 + x, depends on the precise and delicate manipulation of live-feed video in collaboration with the audience's experience of interactivity. The result is a performance work that creates a poesis of 'presence', through a diegesis that melds real and virtual images on the same screen and the same conceptual and spatial plane - a 'becoming virtual'.