Aug 052022
 

SonifyIt: Towards Transformative Sound for All Robots
Brian J. Zhang; Noel Sigafoos; Rabecka Moffit; Ibrahim Syed; Lili S. Adams; Jason Fick; Naomi T. Fitter

do resumo consta:
Transformative robot sound yields perceptual, functional, and social benefits in human-robot interactions, but broader research and implementation related to this topic is impeded by the lack of a common sound generation system for robots. Such a system could enable a wide array of situated robot sound studies, smoother collaborations with sound designers than current state of the art methods, and broader adoption of transformative robot sound. Based on other successful open-source projects in the robotics community, we integrated Robot Operating System, a popular robotics middleware, and Pure Data, a visual programming language for multimedia, to enable live sound synthesis and sample playback for robots. This sound generation system synthesized sound in an in-the-wild pilot study with positive qualitative results. Furthermore, an online within-subjects survey study with N=96 showed that the proposed sound system made the robot seem warmer, happier, and more energetic. This work benefits robotics researchers by providing the current sound system as a validated artifact and demonstrating its potential impact on broader robotics applications. We plan to develop this software into an open-source package: SonifyIt.

Aug 052022
 

Uma conferência sobre o tema de videojogos..
“The 18th Foundations of Digital Games (FDG) held in Lisbon, Portugal, invites all research contributions in the form of papers, posters, demos, doctoral consortium applications, as well as panels, competitions, and workshop proposals. We invite contributions from within and across any discipline committed to advancing knowledge on the foundations of games: computer science, engineering, mathematics, natural sciences, humanities, social sciences, arts, and design.

das traks:
Technical Game Development, Novel Controllers
This track is for research that advances game development practices. This track is suitable for papers on game engines, frameworks, computer graphics techniques, rendering, animation, networking, novel interaction techniques (such as virtual reality, augmented reality, and alternate controllers) and other technical areas. Furthermore, the submission of work focusing on the development of novel hardware interfaces are also welcome. This track focuses on the technological aspects of game development and offers a venue for researchers and developers to share technological advancements of the field. Please consider that papers that focus more on Artificial Intelligence, or Player Analytics should be submitted in their respective tracks.

Game Design, Studio Practices, Novel Mechanics, Novel Experiences
This track is for papers that examine, validate, and refute game making practices, patterns, mechanics, dynamics, or aesthetics. This track also favors alternative methods of game design, practical examinations of user-testing protocols, exploration of alternative controllers, study on human-computer interaction in games and the empirical analysis of game-making processes, and more. Methods in submissions can include case studies, A/B testing, literature reviews, comparative analysis, and other appropriate efforts. This track focuses on game design and the influence of games, their mechanics or alternative controller systems on players, and different methods for playtesting.

Game Analytics and Visualization
This track invites authors to submit research related to data science, analytics, and game data visualization, as well as analyzing player behavior. Techniques such as player modeling, churn analysis, player profiling, business intelligence and performance evaluation or workflow optimization applied to the field of digital games, are all suitable submissions for this track. Submissions spanning across quantitative, qualitative, and mixed method approaches are also encouraged. Novel methodological approaches are valued in this track. Examples of encouraged and valued submissions include game data visualization; behavioral analysis (or other) game data; advances in methodological approaches that analyze and/or visualize game data; application or expanding novel statistical methods; machine learning such as deep learning, clustering, or other AI algorithms; game data mining; and novel visualization and analytical methods for game data.

Game Artificial Intelligence
This track focuses on the many applications of computational and artificial intelligence to the design, play, development, and improvement of games, as well as autonomous game testing. Relevant topics for submissions in this track include general game-playing AI, procedural and player-driven content generation, mixed-initiative authoring tools, computational narrative, believable agents, multi-agent systems and AI assisted game design. This track also encourages authors to push the boundaries of autonomous content generation such as game content orchestration, procedural game assets (e.g., audio, graphics, or game mechanics), computational creativity and affective computing within the context of digital games. This track focuses on more experimental technically driven aspects of game development, such as developing algorithms capable of automating certain aspects of games, systems that dynamically influence certain aspects of play or tools that actively help developers during the development process.

Game Criticism and Analysis
This track invites submissions with perspectives in the digital humanities, cultural studies, critical theory, and related fields. Submissions are encouraged from scholars engaging in narrative, visual and software studies approach to games and games criticism using methodologies such as archival research, hermeneutics, and oral history. This track will also consider critical, theoretical and/or historical analysis of games, and game genres from perspectives such as (but not limited to) postcolonial theory, feminism, historicism, subaltern studies, queer theory, the environmental humanities, and psychoanalysis. Socio-cultural critiques of the game-making culture are equally encouraged submissions for this track.

Games Beyond Entertainment
This track is dedicated to game inclusion, game accessibility, and game development for activism, citizenship, health, games as therapy, education, heritage, and other purposes beyond entertainment. Digital, mixed, analog, and locative games and play-spaces are all relevant to this track. Co-creation, participatory design, and game creation kits are relevant for this track. For games in education and training, this includes teaching and assessment methods, tools and techniques, and educational game-related programs.

Submission Deadlines:
Submission Deadline: 4th November 2022
Workshops, Panels and Competition Deadlines: 21st October 2022
Late-Breaking Paper: 27th of January 2023
Games & Demos Deadline: 27th of January 2023
Conference Dates: 11th-14th of April 2023

+infos(oficial): http://fdg2023.org/

Jul 282022
 

Vai decorrer uma conferências sobre videojogos em Sevilha em setembro, a chamada de trabalhos já decorreu pelo que agora é desfrutar do evento. Para arquivo fica a apresentação do evento:
“El séptimo congreso Internacional de “Videojuegos y Educación” se celebrará los días 20, 21 y 22 de septiembre de 2022 en València. Organizado por la Cátedra: Ludificación y Gobierno Abierto (según convenio firmado entre la Universitat de València y el Ayuntamiento) y el Grupo Internacional de Investigadores Asociación ALFAS.

Los videojuegos son herramientas transformadoras que han ido adquiriendo cada vez más notoriedad en la sociedad, no solo como un objeto de entretenimiento sino también como una herramienta de formación. Se trata de aportar para la transformación digital en ámbitos como la educación, la cultura, el arte, la inclusión social, la innovación y el trabajo.

Áreas temáticas
ÁREA ESPECÍFICA: LA CIUDAD Y EL ARTE EN LOS VIDEOJUEGOS
La relación con la ciudad es objeto de múltiples perspectivas que se construyen tanto desde el punto de vista físico como del simbólico y de los diversos lenguajes que la van configurando. En estos momentos los lenguajes están, en gran medida, protagonizados por tecnologías y entre ellas el videojuego es claramente el protagonista.

Los videojuegos permiten la interacción con la realidad y la simulación de nuevas realidades imaginadas que se convierten en modelos para la toma de decisiones.
• Creaciones artísticas curriculares con videojuegos
• Aproximación a la creación artística con videojuegos
• El arte como transmisor de valores y estéticas
• El patrimonio artístico y cultural en los videojuegos
• Datos abiertos para la toma de decisiones con videojuegos

ÁREA 1: LOS VIDEOJUEGOS EN LA EDUCACIÓN FORMAL:
¿Cómo influye la sociedad de la información en la organización de la práctica educativa? ¿Qué papel pueden desempeñar los videojuegos en las nuevas estrategias de formación? ¿Se pueden mantener las mismas metodologías docentes utilizadas tradicionalmente, para alcanzar las exigencias del actual sistema educativo? ¿Cómo modular la incorporación de recursos tecnológicos para conseguir las competencias y valores a los nuevos tiempos? ¿Cómo preparar a los educadores para estos cambios?

En esta área se incluirían los trabajos de investigación o reflexión que traten el tema de la utilización de los videojuegos en el ámbito de la educación formal:

Las comunicaciones pueden tratar temas como:
• Videojuegos y currículum
• Formación del profesorado en la utilización y creación de videojuegos
• Experiencias de buenas prácticas con videojuegos en educación formal
• Videojuegos en la atención a la diversidad.

ÁREA 2: LOS VIDEOJUEGOS EN LA EDUCACIÓN NO FORMAL:
Niños, niñas, jóvenes y adultos, como usuarios de videojuegos pueden obtener una experiencia que contribuya a su alfabetización digital, lo que significa no sólo jugar sino controlar su discurso, conocer las reglas desde las que han sido construidos o sumergirse en el mundo virtual que nos presentan. Pero todo ello debe realizarse de una forma consciente y, en este sentido, crítica para contribuir a la formación de las personas.

Esta área recogerá los trabajos de investigación o reflexión que traten el tema de la utilización de los videojuegos en el ámbito de la educación no formal:
• Desarrollo de valores a través de los videojuegos
• La formación de profesionales a través de videojuegos de simulación (Serious games)
• Videojuegos en las terapias de rehabilitación
• Experiencias de buenas prácticas con videojuegos en educación no formal
• Construir puentes entre la educación formal y no formal

ÁREA 3: LA EDUCACIÓN INFORMAL Y LOS VIDEOJUEGOS:
Videojuegos y sus efectos
No cabe duda que hoy en día, los videojuegos ocupan gran parte del tiempo libre de muchos niños, adolescentes y jóvenes.

En esta área se englobarán temas de investigación y reflexión sobre la utilización, consecuencias, creación, de los videojuegos en su utilización en el ámbito de la educación informal:
• La violencia en los videojuegos
• Familia y videojuegos
• Género y videojuegos
• Los videojuegos en la tercera edad
• Creación y desarrollo de videojuegos
• Videojuegos en redes sociales”

+infos(oficial): https://www.uv.es/cive2022/

Jul 262022
 

Gostava de ter acesso a estes artigos:
Nintendo® WII? For the Elderly, Yes! : Contributions to a Better Inclusion and Quality of Life for the Elderly
“Video games are aimed at a younger audience, however, with this study we intend to demonstrate that they can also be leveraged with the elderly. The main objective was to investigate whether the Nintendo® Wii has characteristics that allow promoting and improving the inclusion and quality of life of the elderly. In methodological terms, an exploratory study was chosen, because the confinement constraints associated with the pandemic did not allow the participation of a larger group, in which the participant observation method was applied. Data collection was carried out at the Activities Center of a municipality in the district of Castelo Branco, with the participation of three users. After the activities carried out, it appears that video games contribute to the inclusion and quality of life of the elderly, due to the fact that a collaborative environment is felt among the participants, the relaxed and mutual environment and the smiles and laughter that were heard. The fact that they mastered a technological resource was also emphasized because it gave them a feeling of inclusion in a technological world to which, in most cases, they feel on the sidelines. In short, the use of the Nintendo® Wii made it possible to verify that it can promote and contribute to a healthier and more inclusive life for the elderly.”
+infos(oficial): LINK

Algorithmic Interactions in Open Source Work
“This study focuses on algorithmic interactions in open source work. Algorithms are essential in open source because they remedy concerns incompletely addressed by parallel development or modularity. Following algorithmic interactions in open source allows us to map the performance of algorithms to understand the nature of work conducted by multiple algorithms functioning together. We zoom to the level of algorithmic interactions to show how residual interdependencies of modularity are worked around by algorithms. Moreover, the dependence on parallel development does not suffice to resolve all concerns related to the distributed work of open source. We examine the Linux Kernel case that reveals how algorithmic interactions facilitate open source work through the three processes of managing, organizing, and supervising development work. Our qualitative study theorizes how algorithmic interactions intensify through these processes that work together to facilitate development. We make a theoretical contribution to open source scholarship by explaining how algorithmic interactions navigate across module rigidity and enhance parallel development. Our work also reveals how, in open source, developers work to automate most tasks and augmentation is a bidirectional relationship of algorithms augmenting the work of developers and of developers augmenting the work of algorithms..”
+infos(oficial): LINK

Developing Games with Data-Oriented Design
“Data-Oriented Design (DOD) is a software design process used in the commercial game industry for medium to large scale (AAA) games that revolves around data as the central design focus. Since DOD grew organically from industry practices, it has been viewed primarily as a set of tools and design patterns without a cohesive core. After studying data-oriented design, it has become clear that there is one core motivating concept behind DOD and that is that software exists to input, transform, and output data. In order to demonstrate the core concept and tools of DOD, examples are shown. The history and focus of DOD are discussed as well as how DOD is used in current commercial software..”
+infos(oficial): LINK

Jul 262022
 

Authors are invited to submit papers and exhibition proposals from all areas related to digital media art, with emphasis on artefacts or art installations as well as general-purpose interactive artworks, which will be reviewed by an international committee.
Descriptions of artistic practices, authorship or co-authorship with graphic records (such as images, diagrams, links to dynamic images, drawings, sketches, etc.) are valued.

Topics of interest include (but are not limited to):
Algorithmic Art & Design
Art and Technology
Art Game
Augmented and Immersive Art (including Mobile)
BioArt
Digital Art and Communication
Digital Culture
Digital Dance & Body Poetics
Digital Media
Digital Poetry & Electronic Literature
Digital Serious Games
Digital Sound & Music
Digital Transmedia Storytelling
Generative Art
Gesture Interfaces
Information and Data Visualization
Interactive Film
NanoArt
VideoArt
VideoMapping
WebArt
xArt
The International Scientific and Art Committee is composed of experts in various disciplines. The conference program will consist of keynote sessions by eminent specialists, oral presentation of the contributed papers, art installations and videos of work-in-progress.

SUBMISSIONS DEADLINE
Submissions deadline: 2nd September
Acceptance notice: 20th September
Final version: 4th October”

+infos(oficial): LINK

Jun 282022
 

Gostava de ter acesso a este livro “Fifty Key Video Games” editado por Bernard Perron, Kelly Boudreau, Mark J.P. Wolf, Dominic Arsenault

Do conteúdo consta: “This volume examines fifty of the most important video games that have contributed significantly to the history, development, or culture of the medium, providing an overview of video games from their beginning to the present day.
This volume covers a variety of historical periods and platforms, genres, commercial impact, artistic choices, contexts of play, typical and atypical representations, uses of games for specific purposes, uses of materials or techniques, specific subcultures, repurposing, transgressive aesthetics, interfaces, moral or ethical impact, and more. Key video games featured include Animal Crossing, Call of Duty, Grand Theft Auto, The Legend of Zelda, Minecraft, PONG, Super Mario Bros., Tetris, and World of Warcraft. Each game is closely analyzed in order to properly contextualize it, to emphasize its prominent features, to show how it creates a unique experience of gameplay, and to outline the ways it might speak about society and culture. The book also acts as a highly accessible showcase to a range of disciplinary perspectives that are found and practiced in the field of game studies.
With each entry supplemented by references and suggestions for further reading, Fifty Key Video Games is an indispensable reference for anyone interested in video games.”

da lista de jogos consta:
1. Adventure (1979),
2. Angry Birds (2009),
3. Animal Crossing (2001),
4. Assassin’s Creed Origins (2017),
5. Bejeweled (2001),
6. BRAID (2008),
7. Call of Duty: Modern Warfare 2 (2009),
8. Dance Dance Revolution (1998),
9. Diablo (1996),
10. Donkey Kong (1981),
11. DOOM (1993),
12. Dragon’s Lair (1983),
13. The Elder Scrolls II: Daggerfall (1996),
14. Elite (1984),
15. EVE Online (2003),
16. FarmVille (2009),
17. FIFA 14 (2013),
18. Final Fantasy VII (1997),
19. Fortnite Battle Royale (2017),
20. Grand Theft Auto III (2001),
21. Guitar Hero (2005),
22. Half-Life (1998),
23. Journey (2012),
24. King’s Quest (1984),
25. The Legend of Zelda (1986),
26. Minecraft (2009),
27. Mortal Kombat (1992),
28. Need for Speed III: Hot Pursuit (1998),
29. No Man’s Sky (2016),
30. The Oregon Trail (1971),
31. Pac-Man (1980),
32. Pokémon Go (2016),
33. PONG (1972),
34. Portal (2007),
35. Resident Evil (1996),
36. Riven (1997),
37. Sid Meier’s Civilization (1991),
38. SimCity (1989),
39. The Sims 4 (2014),
40. Space Invaders (1978),
41. StarCraft (1998),
42. Super Mario 64 (1996),
43. Super Mario Bros. (1985),
44. Tetris (1984),
45. This War of Mine (2014),
46. Ultima IV: The Quest of the Avatar (1985),
47. Wii Sports (2006),
48. Wing Commander III: Heart of the Tiger (1994),
49. World of Warcraft (2004),
50. Zork (1980)

+infos(oficial): LINK

Jun 172022
 

Gostava de ter acesso a este livro:
Live Visuals, History, Theory, Practice dos editores BySteve Gibson, Stefan Arisona, Donna Leishman, Atau Tanaka

“This volume surveys the key histories, theories and practice of artists, musicians, filmmakers, designers, architects and technologists that have worked and continue to work with visual material in real time.
Covering a wide historical period from Pythagoras’s mathematics of music and colour in ancient Greece, to Castel’s ocular harpsichord in the 18th century, to the visual music of the mid-20th century, to the liquid light shows of the 1960s and finally to the virtual reality and projection mapping of the present moment, Live Visuals is both an overarching history of real-time visuals and audio-visual art and a crucial source for understanding the various theories about audio-visual synchronization. With the inclusion of an overview of various forms of contemporary practice in Live Visuals culture – from VJing to immersive environments, architecture to design – Live Visuals also presents the key ideas of practitioners who work with the visual in a live context.
This book will appeal to a wide range of scholars, students, artists, designers and enthusiasts. It will particularly interest VJs, DJs, electronic musicians, filmmakers, interaction designers and technologists.”

do índice faz parte:
PART I THE HISTORY OF LIVE VISUALS
Chapter 1 – Inventing Instruments: Colour-Tone Correspondence to Colour-Music Performance (pre-1900) de Maura McDonnell
Chapter 2 – Moving Towards the Performed Image (Colour Organs, Synesthesia and Visual Music): Early Modernism (1900-1955) de Steve Gibson
Chapter 3 – Liquid Visuals: Late Modernism and Analogue Live Visuals (1950-1985) de Steve Gibson
Chapter 4 – Scratch Video and Rave: The Rise of the Live Visuals Performer (1985-2000) de Léon McCarthy and Steve Gibson
Chapter 5 – The Post-conceptual Digital Era (2000-present) de Paul Goodfellow and Steve Gibson

PART II THE THEORY OF LIVE VISUALS
Chapter 6 – Cross-Modal Theories of Sound and Image de Joseph Hyde
Chapter 7 – Live Visuals in Theory and Art de Paul Goodfellow
Chapter 8 – Live Visuals: Technology and Aesthetics de Léon McCarthy
Chapter 9 – AVUIs: Audio-Visual User Interfaces – Working with Users to Create Performance Technologies de Nuno N. Correia and Atau Tanaka
Chapter 10 – A Parametric Model for Audio-Visual Instrument Design, Composition and Performance de Adriana Sá and Atau Tanaka
Chapter 11 – Presence and Live Visuals Performance de Donna Leishman

PART III THE PRACTICE OF LIVE VISUALS
Chapter 12 – VJing, Live Audio-Visuals and Live Cinema de Steve Gibson and Stefan Arisona
Chapter 13 – Immersive Environments and Live Visuals de Steve Gibson
Chapter 14 – Architectural Projections: Changing the Perception of Architecture with Light de Simon Schubiger, Stefan Arisona, Lukas Treyer, and Gerhard Schmitt
Chapter 15 – Design and Live Visuals de Donna Leishman

PART IV INTERVIEWS WITH KEY PRACITIONERS–STEVE GIBSON
Chapter 16 – Interview 1 – Tony Hill, Expanded Cinema pioneer
Chapter 17 – Interview 2 – Christopher Thomas Allen, Founder & Director, The Light Surgeons
Chapter 18 – Interview 3 - Greg Hermanovic, CEO, Derivative
Chapter 19 – Interview 4 – Markus Heckmann, Technical Director, Derivative; Programmer for Carsten Nicolai and others.
Chapter 20 – Interview 5 – Peter Mettler, Digital and Live Cinema Artist

+infos(oficial): LINK