The Technological Gaze
Article No.: 27, Pages 1 - 7
Abstract
In addressing the question of how we think and model the participant, user or audience for interactive systems, we initiate an interrogation of who we think we are, and what we think technology is in relation to who we think we are. Future-proofing innovation in design thinking must involve serious thought about conceptual models for how we see ourselves as makers and audiences, since they precede design solutions. Here, lessons and transferable insights from live performance and experience design can inform design thinking in digital materialities. This paper will explore the nature and direction of the technological gaze on audiences or human system users and interrogate its influence on design. Subsequently, it introduces observations from live event design that modifies techne with metis to invite the sublime as an integral part of immersive experience.
References
[1]
Arnold Aronson. 2018. The History and Theory of Environmental Scenography. Bloomsbury Methuen Drama, London.
[2]
David Benyon, Peter Innocent & Dianne Murray. 2014. System Adaptivity and the Modelling of Stereotypes. In: Proceedings of the Second IFIP Conference on Human-Computer Interaction. University of Stuttgart, Germany, pp. 245-253. Elsevier.
[3]
Claire Bishop. 2012. Artificial hells. 1st ed. Verso Books, London.
[4]
Michel de Certeau. 1988. The Practice of Everyday Life. University of California Press, Berkeley.
[5]
Rey Chow. 2012. Entanglements, or Transmedial Thinking about Capture. Duke University Press, Durham.
[6]
Gilles Deleuze. 2014. Difference and Repetition. Bloomsbury, London.
[7]
Alexander Galloway. 2012. The Interface Effect. Polity, Cambridge.
[8]
Elizabeth Grosz. 2011. Becoming Undone: Darwinian Reflections on Life, Politics, and Art. Duke University Press, Durham.
[9]
Tanya Kant. 2020. Making it Personal: Algorithmic personalization, identity and everyday life. Oxford University Press., Oxford.
[10]
Friedrich Kittler. 1999. Gramophone, film, typewriter. Stanford University Press, Stanford, California.
[11]
Pierre Klossowski. 2017. Living Currency. Bloomsbury, London.
[12]
Alfred Kobsa. 2001. Generic User Modeling Systems. User Modeling and User-Adapted Interaction. Volume 11, Issue 1, pp. 49-63
[13]
Bruno Latour. 1993. We Have Never Been Modern. Cambridge, Massachusetts: Harvard University Press.
[14]
Josephine Machon. 2013. Immersive Theatres: Intimacy and immediacy in contemporary performance. Palgrave Macmillan., Houndsmills, Basingstoke, Hampshire.
[15]
Joslin McKinney and Scott Palmer. 2017. Scenography Expanded: An introduction to contemporary performance design. Bloomsbury Methuen Drama, London.
[16]
Joshua Meyrowitz. 1985. No sense of place. Oxford University Press, New York.
[17]
Jussi Parikka. 2012. New Materialism as Media Theory: Medianatures and dirty matter. Communication and Critical/Cultural Studies. Vol. 9, No. 1, March 2012, pp. 95-100.
[18]
Jacques Rancière. 2004. The sublime from Lyotard to Schiller: Two readings of Kant and their political significance. Radical Philosophy. Issue no. 126, July/August 2004, pp. 2-15.
[19]
Jacques Rancière. 2009. The Emancipated Spectator. Verso, London.
[20]
James Smithies 2019. Managing 100 Digital Humanities Projects: Digital scholarship and archiving in King's Digital Lab. Digital Humanities Quarterly 13 (1).
[21]
Carina E.I. Westling. 2020. Immersion and Participation in Punchdrunk's Theatrical Worlds. Bloomsbury, London.
Index Terms
- The Technological Gaze
Index terms have been assigned to the content through auto-classification.
Recommendations
Digital arts: did you feel that?
CHI EA '13: CHI '13 Extended Abstracts on Human Factors in Computing SystemsThis panel considers the relationships between the interactive arts, audience engagement and experience design. What might each offer the other? Engagement and experience are central to current HCI thinking. We will present and argue about the research ...
Performing perception—staging aesthetics of interaction
In interaction design for experience-oriented uses of technology, a central facet of aesthetics of interaction is rooted in the user's experience of herself “performing her perception.” By drawing on performance (theater) theory, phenomenology and ...
How do users experience the interaction with an immersive screen?
AbstractUltra-high definition television (UHDTV) is designed using a variety of immersive technologies that are believed to promote user engagement. This study examines the immersion feature of UHDTV by focusing on user experience (UX) to ...
Highlights- Examine the immersion feature of UHDTV.
- User experience and quality perception ...
Comments
Please enable JavaScript to view thecomments powered by Disqus.Information & Contributors
Information
Published In
November 2019
260 pages
ISBN:9781450372039
DOI:10.1145/3363384
Copyright © 2019 ACM.
Permission to make digital or hard copies of all or part of this work for personal or classroom use is granted without fee provided that copies are not made or distributed for profit or commercial advantage and that copies bear this notice and the full citation on the first page. Copyrights for components of this work owned by others than ACM must be honored. Abstracting with credit is permitted. To copy otherwise, or republish, to post on servers or to redistribute to lists, requires prior specific permission and/or a fee. Request permissions from [email protected]
Publisher
Association for Computing Machinery
New York, NY, United States
Publication History
Published: 19 November 2019
Check for updates
Author Tags
Qualifiers
- Research-article
- Research
- Refereed limited
Conference
HTTF 2019
Contributors
Other Metrics
Bibliometrics & Citations
Bibliometrics
Article Metrics
- 0Total Citations
- 97Total Downloads
- Downloads (Last 12 months)16
- Downloads (Last 6 weeks)2
Reflects downloads up to 01 Oct 2024
Other Metrics
Citations
View Options
Get Access
Login options
Check if you have access through your login credentials or your institution to get full access on this article.
Sign inFull Access
View options
View or Download as a PDF file.
PDFeReader
View online with eReader.
eReaderHTML Format
View this article in HTML Format.
HTML Format