Untitled

• Interactive technologies are increasingly used for artistic expression in public spaces, yielding mixed results.
• The central question explored is whether audiences gain meaningful experiences from physical interactions within computer-based interactive media arts in public spaces.
• The study proposes four new conceptual/analytical tools.
• The aim is to devise strategies for artists and researchers to enhance intellectual engagement and meaningful experiences for audiences.
• The research builds upon the allure and identified issues related to interactivity in computer-based media arts.
• The intent is to obtain meaningful experiences and reveal artistic intent.
• A growing body of research has focused on aesthetic and emotional facets within computer-based interactive media art.
• Researchers are investigating interfaces that engage audiences, leading to the development of various engagement strategies.
• 'Playfulness' is considered a key tactic for initial engagement and to catalyze more meaningful experiences.
• Dominance Transfer, Mind Orientedness, and Accessible Challenge also serve as audience engagement strategies.

Pilot and Field Studies

• An experimental interactive installation, "Event Horizon," was created with an infrared sensor to detect audience presence.
• Image patterns changed dynamically based on audience movement.
• The pilot study location in The Robert Gordon University was chosen because
  • It was a mundane, non-exhibition space.
  • It was accessible to everyone
  • It saw high foot traffic
• Field study utilized a phoenix-shaped, computer-controlled interactive installation in Taiwan, Kaoshiung County, Fongsan West (Mass Rapid Transit) station made of stainless steel pipes symbolizing the "Phoenix Mountain" origin of Fongsan City.
• Maraca sounds activated when passengers passed underneath, reflecting cultural value and eliciting affection toward the hometown.
• Ethnographical approaches, including observation and semi-structured interviews, studied audiences' responses to installations.
• Thirty research questionnaires were issued for the pilot study, and fifteen passengers were interviewed at the Fongshan West MRT station

Initial Findings

• Constant changes in sounds and image patterns of artwork triggered an initial interaction.
• The installations instantly gained peoples attention in hallways.
• Interactors realized they were the stimulus to trigger interactions.
• Ninety-five percent of questionnaire respondents reported that the interactive effect of the installation stimulated curiosity.
• Interviewees were curious to learn and actively interacted with how the installation functions.
• Many people tried to affect image patterns with hand gestures, foot movements, and even dancing.
• The Fongshan West MRT passengers did not exhibit the same behaviors.
• The non-repeated sounds prompted curiosity, leading to further exploration.
• The success required both art installations installed in fairly quiet surroundings.
• People generally liked the way the installations were new to the environments

Characteristics of Engagement

• Interactivities served as "bait," encouraging audiences to engage with art installations
• Encouraging participation and bringing about empathy and simulating imagination are also a key function
• Computer-based interactive media arts have used playfulness to successfully engage audiences
• Once audiences are players they become 'an independent causal agent' possibly taking over stimulus.
• Interactivity at this level extends beyond art installations and results in people interaction
• ‘Immersion’ is “The sensation of being surrounded by a completely other reality”.

Dominance Transfer

• Interactive arts differ where viewers traditionally appreciate static art by looking and respectfully appreciating.
• Dominance transfer is bestowed on interactors.
• A sense of control makes interactivity more interesting.
• These works deliberately function with "the satisfying power to take meaningful action and see the results of decisions and choices”.
• Artists transfer dominance and give viewers conceptual space to share creative authorship.
• Audiences realize any interactivities are activated by their physical movements

Mind-Orientedness

• Traditional aesthetics aim to make viewers think about what the author is doing.
• Comprehending art requires fluency in the artwork techniques and history of the author
• Lowered appreciation barrier occurs in part of the themes discussed in this paper,
• The maraca sounds in "The legend of the Phoenix” installation attracts the attention of the audience.
• A key element is the cultural value and representation of the land's story, resonant with local passengers.

Accessible Challenges

• Can 'fresh feelings' be sustained?
• Challenge increase prolong's engagement time
• Skills and challenges measure aesthic/emotional experiences
• "Flow research model" has sought deciphering for engagement codes.
• Positive results occur balancing skills and challenges but if both are high people end up entering the flow.
• “Use time” often indicates level of engage when the audience might react to ‘emancipatory effect’ allows thought, imagination etc
• Challenges can extend use-time making it a crucial component to engage an audience.
• “Intelligent” interactivity enables responding and presenting appropriate challenges for different skills and people

Interactivity in Free Accessible Public Spaces

• Variables like audience complexity is increased when encountered freely in public spaces.
• Public art might be hard to factor because the “public is often an 'involuntary audience' for public art".
• Equipping concepts of functionality and site specifics is the solution to revitalizing.
• Interactive installations at no-cost in public spaces can provoke responses
• Use functionality, site specifics, and interactivity to have the ability to realize engaging audience in public space