Studying and designing emotions in live interactions with the audience
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Studying and designing emotions in live interactions with the audience Rossana Damiano1
· Vincenzo Lombardo1 · Giulia Monticone2 · Antonio Pizzo3
Received: 16 January 2020 / Revised: 24 July 2020 / Accepted: 29 September 2020 / © Springer Science+Business Media, LLC, part of Springer Nature 2020
Abstract In the last decade, a number of projects have investigated the use of digital technologies to increase the engagement of the audience in live interactive performance. In this paper, we explore the relation between interactive performance and emotional participation of the audience through an experiment in the wild where perftormance is mediated by a computational system, DoPPioGioco. DoPPioGioco detects the emotional response of the audience, conveyed through face expression, allowing the performer to encourage or oppose it as the performance progresses. Based on the data collected during the experiment, we discuss the limitations and strengths of this approach for audience engagement, in the attempt to identify the factors which must be accounted for when affective technologies are employed to mediate between audience and performer in live interaction. Keywords Interactive performance · Audience emotions · Audience engagement
1 Introduction In the last decade, there has been a growing trend towards the improvement of audience engagement: initially inspired by the effort of firms to place their products in better ways, Rossana Damiano
[email protected] Vincenzo Lombardo [email protected] Giulia Monticone [email protected] Antonio Pizzo [email protected] 1
Dipartimento di Informatica and CIRMA, Universit`a di Torino, C.so Svizzera 185, 10149, Torino, Italy
2
Dipartimento di Informatica, Universit`a di Torino, C.so Svizzera 185, 10149, Torino, Italy
3
Dipartimento di Studi Umanistici and CIRMA, Universit`a di Torino, Via S. Ottavio 20, 10124, Torino, Italy
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this notion then turned toward the larger scope of understanding the relation with the public, even in the case of cultural objects. Indeed, this notion is now implied not only with the digital products provided by the web corporate, but also with museums and arts [32] and performing arts [47]. The notion of engagement has brought added value to the traditional concept of theatre and film audience, and became seminal for the analysis of the relation between the public and the event, given the centrality that the feedback loop holds in the theory of performance [17]. Digital technology has brought about an important contribution to the implementation of audience engagement, first for its interactive nature (digital object have become something to interact with), and for its capacity to record data about this interaction. Based on these premises, it is not unlikely that more and more works have appeared where the design of the environment and the format are specifically targeted to audience engagement in live performance [11, 22, 25, 48, 50]. In live performance, the available techno
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