the body and the brain as controller (lecture, Finland, 15 April 2013)
1. the body and the brain
as controller
Talk to Digital Culture students
@University of Jyvaskyla, Finland
15 April 2013
erik champion
http://erikchampion.wordpress.com
nzerik@gmail.com
2. Civilization comprises the laws that allow
people to live close together, in a city, civitas.
Culture is what is cultivated or allows one to
cultivate a setting, a local domain.
Osvald Spengler
3. virtual heritage
•
•
…the use of computer-based interactive technologies to
record, preserve, or recreate artefacts, sites and actors of
historic, artistic, religious, of cultural significance and to
deliver the results openly to a global audience in such a way
as to provide formative educational experiences through
electronic manipulations of time and space.
Stone, Robert, and Takeo Ojika. 2000. Virtual heritage: what
next? Multimedia, IEEE no. 7 (2):73-74.
4. irtual meetings no more interesting than re
ones so why recreate mundality?
6. Goodbye body
• Spengler wrote “This machine technics will
end with the Faustian civilization and one
day will lie in fragments, forgotten -- our
railways and steamships as dead as the
Roman roads and the Chinese wall, our
giant cities and skyscrapers in ruins like old
Memphis and Babylon.”
8. the brain
• space and memory are inextricably linked
• memory is more a jigsaw than filing cabinet
• memory decay can be challenged
• games help multi-tasking
• biofeedback can help evaluation
9. Caption: The flow of object information in a monkey brain (left) and a human brain.
Credit: Sabine Kastner, Princeton University
Humans See Tools Differently Than Other
10. RNA Game (Wired magazine) “EteRNA”
• Computers don’t have flashes of insight. But the
human brain can..for gamifying RNA.
• One proposal they kicked around was to have
snippets of RNA fight each other to the death,
in the style of a Japanese combat game called
Senshuken; another was to create a first-person
experience in which players navigated the world
as RNA molecules of their own design.
13. prototyping for ownership
Klaus Birk Roman Grasy
media architecture biennale
http://www.mediaarchitecture.org/biennale-2012-workshops/
or http://moritzbehrens.com/2013/mab12/
15 November 2012, Aarhus
25. Skyrim game can host virtual recreations
(of Nordic stories or any other), the player
can control the avatar, and issue voice
commands recognised by the game).
Inhabitants can be easily reprogrammed to
share stories. Trading, praying, conversing
healing etc are possible, not just violence.
Skyrim + body
31. “new media…offers enormous possibilities
for the enhancement and enrichment of
heritage experience and interpretation”
Y. E. Kalay, T. Kvan, & J. Affleck, New Heritage: new media and cultural
heritage. New York: Routledge, 2008.
34. • to be a scholar or a master is to be an
artist, measured by one’s grasp of the “Four
Arts”.
• The “Four Arts” are Music (“Qin”), the
board game (“Qi”), calligraphy (“Shu”), and
brush painting (“Hua”).
• Helped “perceive the ultimate doctrine of
the heavens”, “make themselves [be]
enlightened”, “express their emotions/their
understanding of the doctrine”, and “inspire
others” so that their lives achieve peace and
harmony.
Z. Dainian, Key Concepts in Chinese Philosophy. Beijing: Foreign Languages Press, 2002.
36. •
What are the Five Elements in the traditional Chinese
culture?
•
What are the Five Basic Tones in the traditional Chinese
music?
•
What are the traditional Chinese philosophical concepts
revealed by Go?
•
Which one of the following features is one of the main
features of Chinese character writing system? ]
Cuneiform / [ ] Alphabet / [ ] Pictography / [ ]
Phonology?
•
What are the tools for Chinese traditional painting?
37. •
Very difficult to recreate original action scenes and
moments of discovery as game devices.
•
Chinese players, familiar with a distorted version of
the original, not aware their cultural knowledge was
not accurate, did not appreciate being told this.
•
Recreating linear narrative via game design is
torturous.
•
OR: simulate the procedural knowledge of rituals
and symbol-making via thematically-akin interaction..
38. •
•
•
•
•
•
•
what is needed: more comprehensive pre-test and post-test questionnaire.
•
•
Ambient movies react to the player’s physiological changes -by biosensors.
The general questions are too vague.
Consider changing from rating games to ranking them.
Test extrapolated knowledge rather than memory of simple facts.
Examine how tacit knowledge can be learnt and evaluated.
Compare tests between touch-screen and non-touch screen games.
A more 3D interface: sculptures, HD projection on rice paper or liquid
media, with 3D audio effects and ambient movies projection.
Can interactive digital media convey and evaluate tacit knowledge?
40. •
Dutch thriller App sends
to your phone additional
storyline information..
•
why not have
biofeedback sent back to
the movie..
41. fps...
• when your character dies, why not have the
death spasms relate to the heartbeat-GSR?
• or only respawn when you calm down..
• reactions relate to heartbeat
• enemies attack peripherally sensing fear
42. RPGs-chameleon effect
• when you start shaking you lose your
character or change between ethnic profile
• Cinematic camera views=biofeedback
• you can only convince NPCs when calm
Humans have an amazing ability to visually identify a virtually limitless number of objects and to categorize them into classes such as faces, cars or houses. Two systems within the brain are responsible for this ability: the ventral object system--traditionally associated with our ability to recognize and identify objects, and the dorsal object system--a recently discovered system.
The team found that in both species, the ventral system represents objects consistently across changes in external viewing conditions that affect an object's appearance but not its identity (e.g. seeing the same chair from a back- or a front-view, which makes the chair appear different, even though the object itself has not changed). However, in humans the dorsal system carries object-selective information that is independent of viewing condition. In contrast, the monkey dorsal system carries only partial object-selective information that is highly sensitive to changes in viewing condition.