Nijholt / Reidsma / Hondorp Intelligent Technologies for Interactive Entertainment

Third International Conference, INTETAIN 2009, Amsterdam, The Netherlands, June 22-24, 2009, Proceedings
1. Auflage 2009
ISBN: 978-3-642-02315-6
Verlag: Springer
Format: PDF
Kopierschutz: 1 - PDF Watermark

E-Book, Englisch, Band 9, 279 Seiten

Reihe: Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering

This book constitutes the proceedings of the 3rd International Conference on Intelligent Technologies for Interactive Entertainment (INTETAIN 09). The papers focus on topics such as emergent games, exertion interfaces and embodied interaction. Further topics are affective user interfaces, story telling, sensors, tele-presence in entertainment, animation, edutainment, and interactive art.

Autoren/Hrsg.

Nijholt, Anton

Reidsma, Dennis

Hondorp, Hendri

Inhaltsverzeichnis

1;Preface;5
2;Organization;7
3;Table of Contents;10
4;Entertainment Computing, Social Transformation and the Quantum Field;13
4.1;Introduction;13
4.2;How Can Social Transformation Be Achieved?;14
4.3;A ‘Conscious’ Field and Quantum Physics;16
4.4;Discussion and Conclusions;17
4.5;References;18
5;Non-verbal Full Body Emotional and Social Interaction: A Case Study on Multimedia Systems for Active Music Listening;21
5.1;Introduction;21
5.2;Previous Research and Systems;22
5.3;Case Study: Social Active Music Listening;26
5.4;Discussion;29
5.5;References;30
6;Home Exercise in a Social Context :Real-Time Experience Sharing Using Avatars;31
6.1;Introduction;31
6.2;Exercise Monitoring System;33
6.2.1;System Design;35
6.2.2;Representation by Avatars;36
6.2.3;Current State and Work in Progress;37
6.3;Preliminary User Preferences Study;38
6.3.1;User Survey;39
6.3.2;Survey Results;40
6.4;Conclusions;41
6.5;References;42
7;Generating Instructions in a 3D Game Environment: Efficiency or Entertainment?;44
7.1;Introduction;44
7.2;The GIVE Challenge;45
7.2.1;The Task;45
7.2.2;Architecture;46
7.2.3;Questionnaire;48
7.3;OurNLGSystems;48
7.3.1;The Twente System;48
7.3.2;The Warm/Cold System;49
7.4;Evaluation;50
7.4.1;Measuring Efficiency;50
7.4.2;Measuring Entertainment;51
7.5;Results;51
7.6;Discussion;53
7.7;References;55
8;Interactive Documentary: A Production Model for Nonfiction Multimedia Narratives;56
8.1;Introduction;56
8.1.1;Related Work;57
8.1.2;Production in a Heterogeneous Media Ecosystem;58
8.2;Interactive Documentary Production Model;58
8.3;Interactive Documentary Prototype;59
8.3.1;Graphical User Interface: Path-Making for Interactive Authoring;61
8.3.2;Interactive Media Use Case;62
8.3.3;Narrative Instances;62
8.4;Ontological Data Design for Narrative Association among Media of Multiple Types;63
8.4.1;Dual Root Data Design Relating Concepts to Individual Media Resources;63
8.4.2;Structured Concept Vocabulary;65
8.5;Concluding Remarks and Future Direction;65
8.6;References;66
9;A Design Approach to Decentralized Interactive Environments;68
9.1;Introduction;68
9.2;Decentralized Systems;69
9.3;Research-through-Design Approach;71
9.4;Design of the Objects;71
9.5;Research-through-Design: Case Studies;73
9.5.1;Coming Home Ritual;73
9.5.2;Smartgoals;74
9.5.3;Synchronizing Fireflies;75
9.5.4;Next Iteration: Interactive Objects for Open-Ended Play;77
9.6;Conclusions;78
9.7;References;79
10;Accessible Gaming through Mainstreaming Kinetic Controller;80
10.1;Introduction;80
10.2;Requirements from the End Users and Approach;81
10.3;System Architecture;82
10.3.1;Software Architecture;83
10.3.2;Configuration Tool;84
10.4;System Evaluation;86
10.5;Conclusions;87
10.6;References;88
11;Interactive Play Objects: The Influence of Multimodal Output on Open-Ended Play;90
11.1;Introduction;90
11.2;Related Work;91
11.3;Prototype;92
11.4;Participants and Procedure;95
11.5;Results;96
11.5.1;Design Considerations;96
11.5.2;Creativity and Game Experience;97
11.6;Conclusions and Discussion;99
11.6.1;Design Considerations for Multimodal Open-Ended Play;99
11.6.2;The Influence of Output Modalities on Play Behavior;100
11.7;References;100
12;Swinxsbee: A Shared Interactive Play Object to Stimulate Children’s Social Play Behaviour and Physical Exercise;102
12.1;Introduction;102
12.2;Background;103
12.2.1;Related Work;104
12.2.2;Theories;104
12.3;Design Case;105
12.3.1;Design of a New Swinxs Object;105
12.4;Study;107
12.4.1;Set-Up;107
12.4.2;Methodology and Analysis;107
12.5;Results;109
12.6;Conclusions and Discussion;111
12.7;References;112
13;Affective Interface Adaptations in the Musickiosk Interactive Entertainment Application;114
13.1;Introduction;114
13.2;Affective Factors and Adaptive Interfaces;115
13.3;Description of Santa Cecilia;116
13.3.1;Scenario;117
13.4;Adaptation of the Interface – State Transition Diagram;119
13.5;Future Work – Adaptive Interface Evaluation;120
13.6;References;121
14;iTheater Puppets Tangible Interactions for Storytelling;122
14.1;Introduction;122
14.2;Related Work;123
14.3;Envisioned Application Scenario and Education Goals;124
14.4;iTheater Description;125
14.4.1;Early Prototype;126
14.5;Preliminary Users Feedback;127
14.6;Concluding Remarks and Future Work;129
14.7;References;129
15;Automatic and Interactive Key Posture Design by Combing the PIK with Parametric Posture Splicing;131
15.1;Introduction;131
15.2;Related Works and Contribution;132
15.3;Overview;134
15.4;Parametric Posture Splicing;134
15.4.1;Posture Database Setup;135
15.4.2;Parametric Partial Posture Generation;136
15.4.3;Whole Body Posture Splicing;137
15.5;Automatic and Interactive Posture Generation;137
15.5.1;Overview of the Prioritized Inverse Kinematics Algorithm;138
15.5.2;Using the PIK Algorithm for Further Refining of the Spliced Posture;138
15.6;Experimental Results and Discussion;139
15.7;Conclusions and Future Work;140
15.8;References;141
16;Web-Enabled 3D Game Playing for Looped Knight’s Tour;143
16.1;Introduction;143
16.1.1;Background;143
16.1.2;Motivation;144
16.1.3;Loop Knight’s Tour (LKT) in 3D;144
16.2;Game Features;145
16.2.1;Two Move Directions;145
16.2.2;Game Box;145
16.2.3;The Window of 5x5x5;146
16.2.4;Selecting Next Legal Move;147
16.2.5;Move Tables;149
16.2.6;Neighbor Pool;150
16.2.7;Control Panel;150
16.3;LKT Game Environment;151
16.4;Conclusion;152
16.4.1;Solving the LKT Problems;152
16.4.2;Assessment of Potentials;153
16.5;References;154
17;Robosonic: Randomness-Based Manipulation of Sounds Assisted by Robots;155
17.1;Introduction;155
17.2;Development of Application;157
17.3;Robot Agency;158
17.4;Sound Manipulation;160
17.5;Conclusion;163
17.6;References;164
18;Turning Shortcomings into Challenges: Brain-Computer Interfaces for Games;165
18.1;Introduction;165
18.2;BCI for Controlling and Adapting Games;167
18.2.1;Internally Evoked Potentials;168
18.2.2;Externally Evoked Potentials;168
18.3;Games That Employ BCI;170
18.3.1;‘Medical’ Games;170
18.3.2;‘Research’ Games;170
18.3.3;Commercial Game Environments: Controlling the Game;171
18.3.4;Commercial Game Environments: Neurofeedback Games;172
18.4;Turn Shortcomings into Challenges;173
18.5;Developments and Challenges;175
18.5.1;Multimodal Interaction and Artefacts;175
18.5.2;Measuring Brain Signals;176
18.5.3;Training and Illiteracy;177
18.6;Conclusions;178
18.7;References;178
19;Immersion in Movement-Based Interaction;181
19.1;Introduction;181
19.2;Movement-Based Interaction;182
19.3;Immersion in HCI;184
19.3.1;Levels of Immersion;184
19.3.2;Types of Immersion;185
19.4;Movement-Based Interaction and Immersion;186
19.4.1;Interview Study;186
19.4.2;Movement-Specific Features;187
19.5;Discussion;188
19.6;Conclusions;190
19.7;References;191
20;Mood Swings: An Affective Interactive Art System;193
20.1;Introduction;193
20.2;Related Work;194
20.3;Mood Swings’ Foundations;195
20.3.1;Emotions Expressed in Movement;195
20.3.2;Visualizing Emotion in Color;195
20.3.3;User Test;196
20.4;Discussion;197
20.5;References;198
21;Navigating a Maze with Balance Board andWiimote;199
21.1;Introduction;199
21.2;Related Work;199
21.2.1;Lower Body Input;199
21.2.2;Evaluating Input Devices;200
21.3;Methodology;200
21.3.1;Devices for Navigating the Maze;200
21.3.2;The Maze Task;201
21.3.3;User Evaluation;202
21.4;Results;202
21.5;Conclusions and Future Work;203
21.6;References;204
22;Experiences with Interactive Multi-touch Tables;205
22.1;Introduction;205
22.2;Related Work;206
22.3;Abstract Software Layer - $\mu^{3}$;207
22.4;Multi-touch Experiences;208
22.4.1;Collaboration – 3D Molecule;208
22.4.2;Competition – AirHockey;209
22.4.3;Crowding – MT-Pong;209
22.4.4;Artistic Expression – FeelSound;210
22.5;Discussion and Future Work;210
22.6;References;211
23;The Hyper-trapeze: A Physically Active Audio-Visual Interface for Performance and Play;213
23.1;Introduction;213
23.2;Trapeze Background;213
23.3;Hyper-trapeze Design Considerations;214
23.4;Hyper-trapeze Implementation;216
23.5;Application of the Hyper-trapeze;217
23.6;Related Work;217
23.7;Conclusion;217
23.8;References;218
24;Dead on Arrival: Adapting Games to Finish at a Given Time or Location;219
24.1;Introduction;219
24.2;Related Work;220
24.3;Room Generation;220
24.4;Adaptation;221
24.5;PrototypeandUserTest;222
24.6;Conclusion and Outlook;223
24.7;References;224
25;Design and Implementation of a Mobile Exergaming Platform;225
25.1;Introduction;225
25.2;The Mobile Exergaming Platform (MEP): Game Play;226
25.3;MEP Architecture;228
25.4;User Experience with a Trial MEP Game;229
25.5;Related Work;230
25.6;Conclusion;231
25.7;References;232
26;Affective Pacman: A Frustrating Game for Brain-Computer Interface Experiments;233
26.1;Introduction;233
26.2;Previous Work;234
26.3;Design;234
26.3.1;Requirements;234
26.3.2;Game Design;235
26.3.3;Experiment Design;235
26.4;Sensors and Recording;236
26.5;Preliminary Results;236
26.6;Conclusions and Future Work;238
26.7;References;238
27;Stay Tuned! An Automatic RSS Feeds Trans-coder;240
27.1;Introduction;240
27.2;Related Works;240
27.3;Concept Description;241
27.4;TheExperiment;242
27.4.1;Questionnaire;243
27.5;Results;243
27.5.1;Questionnaire Trends;243
27.6;Conclusion and Further Works;244
27.7;References;244
28;An Experiment in Improvised Interactive Drama;246
28.1;Introduction;246
28.2;Setup of the Experiment;247
28.3;Results;248
28.3.1;Participants and Stories;249
28.3.2;Interview Results;249
28.3.3;The Actors: Observations and Interview Results;250
28.4;Discussion;251
28.5;References;251
29;Big Fat Wand: A Pointing Device for Open Space Edutainment;252
29.1;Introduction;252
29.2;Background and Motivation;253
29.3;Big Fat Wand: Handy Laser Show Device;254
29.4;Experiments;255
29.5;Concluding Remarks;257
29.6;References;257
30;Enhancing Mediated Interpersonal Communication through Affective Haptics;258
30.1;Introduction;258
30.2;iFeel_IM! Architecture;259
30.3;Affective Haptic Devices;260
30.3.1;HaptiHug: The Way of Realistic Hugging over Distance;261
30.3.2;HaptiHeart, HaptiCooler, HaptiWarmer, HaptiTickler. Or How We Can Enhance and Influence on Our Emotions by Haptics;262
30.4;Conclusion;263
30.5;References;263
31;Opinion Elicitation in Second Life;264
31.1;Introduction;264
31.2;Opinion Extraction from the Web;265
31.3;Pilot Study;266
31.3.1;Experimental Design;266
31.3.2;Subjects and Procedure;267
31.3.3;Results;268
31.4;Conclusions;269
31.5;References;269
32;Hidden Markov Models Implementation for Tangible Interfaces;270
32.1;Introduction;270
32.2;Hardware Overview;271
32.3;Hidden Markov Models;271
32.3.1;The Forward Algorithm;272
32.3.2;Normalization;272
32.3.3;Likelihood;272
32.4;Evaluation;273
32.4.1;Classification Accuracy;273
32.5;Discussion;274
32.6;Conclusion and Future Works;275
32.7;References;275
33;Author Index;276