volvelles, domes and wristbands: embedding digital fabrication within a visitors trajectory of...
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Volvelles, Domes and Wristbands:
Embedding Digital Fabrication within a Visitor’s
Trajectory of Engagement
Bettina Nissen, John Bowers, Peter Wright, Jonathan Hook Culture Lab, Newcastle University, UK
Christopher NewellSchool of Arts and New Media, University of Hull, UK
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Trajectory extending…
“a need to enable subsequent reflection and discussion
through the use of souvenirs and replay interfaces” [Benford]
…souvenir
“souvenir-making activities [...] became integral to the visitor’s
experience.” [Durrant]
…fabrication
Potential for personalisation shifting tangible souvenirs away
from mass-produced kitsch to an engaging making processes
encouraging a more affective relationship between ‘user’ and
object [Ingold]
Benford, S., Giannachi, G., Koleva, B., et al. From Interaction to Trajectories: Designing Coherent
Journeys Through User Experiences. In Proc. CHI ‘09, ACM (2009), 709–718.
Durrant, A., Rowland, D., Kirk, D.S., et al. Automics: Souvenir Generating Photoware for Theme
Parks. In Proc. CHI ‘11, ACM (2011), 1767–1776.
Ingold, T. Making: Anthropolgy, Archaeology, Art and Architecture. Routledge, 2013.
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A traveling immersive video art installation engaging the general public with
contemporary art
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The immersive contemporary video artwork was shown in this dark, inflatable space
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Design explorations of the collected data in different material forms and fabrication technologies
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The design iterations
(a) Volvelles
(b) Domes (c) Wristbands
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The deployed souvenir making activity
(b) fabricating the shape on the cutter plotter
(a) Visitor generating a personalised shape (c) assembling the components
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Parametric interface to generate unique shapes based on visitor’s feedbackGroup of school children engaging with the interface and fabrication activity
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120 visitors participated in creating souvenirs and participants
ranged in age from under 14 to over 50 years
Field notes and recordings were analysed to establish 3 participant trajectories
characteristic for the visit in relation to the souvenir making activity:
• Experience in its Own Right
• Reflection on Experience
• Extension of the Experience
Fosh, L., Benford, S., Reeves, S., et al. ‘See Me, Feel Me, Touch Me, Hear Me’: Trajectories and
Interpretation in a Sculpture Garden. In Proc. CHI‘13, ACM (2013), 149–158.
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An Experience in its Own Right
• Little engagement with the art work (often younger
audience)
• Curiosity sparked by technology and opportunity of
making
• Encouraging reflection on theme of show
“Wow, that’s so cool. I have never seen anything like it.”
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Reflection on Experience
• Opportunity for conversation and sense-making
“What does it mean?”
• Tangible nature of the souvenir aided reflection
“Wow, I
guess I have a very different
view than everybody else.”
• Playful evaluation
“It’s much better than a piece of paper. More fun.
And you get something for it [your opinion].”
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Extension of the Experience
• Visitors who had a more meaningful primary experience
• Beyond opportunity for reflection, tangible objects seem to have more
relevance
• Souvenir itself as trigger of experience and emotional response
“That would be a nice memento.”
“I really like the idea of people taking part of their experience with them.”
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Involvement in the making (and meaning making) of an artefact in relation to
their experience gave participants a stronger sense of affective connection to
the souvenir
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Generative, real-time souvenir-fabrication has potential to engage audiences in
reflection and evaluation of their experiences in new ways
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Digital fabrication as real-time shared activity situated within an audience trajectory
takes on a social interactional and performative role
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Exploring digital fabrication as a socially situated activity with affective, reflective and performative aspects