Handbook of Multimedia for Digital Entertainment and Arts- P24

Handbook of Multimedia for Digital Entertainment and Arts- P24: The advances in computer entertainment, multi-player and online games,technology-enabled art, culture and performance have created a new form of entertainmentand art, which attracts and absorbs their participants. The fantastic successof this new field has influenced the development of the new digital entertainmentindustry and related products and services, which has impacted every aspect of ourlives.
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Handbook of Multimedia for Digital Entertainment and Arts- P2431 SoundScapes/Artabilitation – Evolution of a Hybrid Human Performance 695resonance. This aesthetic is an inner resonance recognized from achieved user-experience. Having experienced a vocation as a stage performer I relate to emotionsachieved through a satisfying entertainment of an audience. Thus, in the therapythe user entertains him or her-self through the mediating interactive digital mediasystem. This can be from controlling a game or creating art, i.e. music making orpainting via digital tools, and is evident as FUN resulting from the created situ-ations. Facilitator knowledge of the potentials of the digital media is essential touser-experience, successful guidance (targeted as via mediating technology), anduser self-determined entertainment. The same system that was created specific for the rehabilitation training wasused by me to perform abstract expressionistic stage art and interactive installationsat various large exhibitions. These include ongoing tours in Museums of ModernArt as well as at International-National Cultural events (e. g., Danish NeWave, NewYork 1999; Cultural Olympiad 1996, 2000; and European Cultural Capital events1996, 2000). Underground events were as informative to the concept as the largervenues (see next section). Insight was gained from these situations. By combiningself-reflection with collaborative inter-/multi-disciplinary reflective analysis of thehuman performance situations a significant input to designing the system, facilitat-ing sessions, and evaluating outcomes evolved.Underground Non-formal LearningAn example of how learning was apparent from the entertainment and arts is whereI directed, produced and performed in a one-man-show realized as the inauguralAarhus Festival Fringe (‘Festuge’). This 1999 event took place in an emptied storagerooms that were adjacent to my sizable interactive room installation titled Circle ofInteractive Light (COIL), hosted by the Radisson SAS Scandinavia Hotel, Aarhus,Denmark. The Festival committee had declined my proposal to bring together Eastand West German artists to feature alongside North and South Korean artists as toopolitically sensitive. The festival theme was ‘THE WALL, Ten Years After’ – andmy proposal involved artists of distinction from both sides of the Berlin Wall andthe DMZ to discus and showcase how political issues affect art and artists lives.Understandable that the committee declined! The eventual “FESTUGE FRINGE” protest performance featured my digital in-teractive media in the form of the motion sensitive system utilized in various wayswith projections inside and outside the human body. The final section of the perfor-mance was where I used fourteen infrared sensors to control one sound and a libraryof image manipulations. The purpose was to explore non-control and subliminalperformance by enabling the feedback to control me and this was done by mappingthe data to maximum parameter control of a specific aspect of the sound envelope.In four of the twelve performances I achieved what I refer to as non-control withsubliminal interaction. This was where I, as performer, experienced being as onewith the feedback stimuli. If conscious intent or query was involved, the experience696 A.L. Brooksand higher-state of interaction (or inbetweenness – see Kidd) was lost. I relate thistargeted non-control and interaction to the therapy work with profoundly disabledwhere often the user’s abilities are of a non-controlled state so my learning experi-ences as performer/user assist by informing my role as facilitator. Following the performances the wall would open to exhibit the technology used,and then audience walked through the wall into the COIL exhibition space wherethey could experience the virtual interactive spaces and debate over a drink in thecaf´ I had built for the occasion. The piece titled “Behind the Wall” targeted beyond eBerlin and DMZ issues as it reflected on human barriers across ages and cultures –and especially committees. The next section introduces the ArtAbilitation2 workshops from 2007 and 2008.The ArtAbilitation movement has evolved from the SoundScapes work. It is wheredigital interactive media is used to create an entertaining user-experience.ArtAbilitation Workshops, Casa da Musica, Porto, PortugalThe “Ao Alcance de Todos - Within Everyone’s Reach” festival was hosted at Casada M´ sica (Figure 13), Porto, Portugal in April 2008. Eight one hour workshops uwere held with 144 disabled children and adults attending with caregivers. Theworkshops were created in a room 238 square meters floor area and approximately20 meters high. Additionally, a symposium for professionals was hosted immedi-ately following the workshops for 35 professionals (international, national, regional,and local // social workers, psychologists, researchers, teachers, and students : : :)- many of whom had attended the workshops. This event was a continuation ofthe previous year’s inaugural event where the theme was ‘Music, Technology andDisability’, and where six workshops were attended by 91 attendees including 61from special care institutes, of which 39 had profound disability. 30 student musicteachers also attended. A local crew assists in the realization of the workshops (seePetersson and Brooks 2007; Brooks 2008). This section does not detail the workshops but rather it exemplifies the designissues where digital interactive media, entertainment and the arts are combined toresult in various user-experiences that inform the ongoing research and refinementof the acknowledged international ArtAbilitation movement (Wiederhold 2007). I begin by giving an overview of commonalities in designing both workshops.The 2007 workshop is then de ...