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project_txoom_user_research_report_pam [2008-12-03 14:39] – created nikproject_txoom_user_research_report_pam [2008-12-03 14:44] (current) – nik
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 ====SWEATY BODIES AT THE CENTRE OF THE DEVELOPMENT OF DIGITAL/ART/TECHNOLOGY==== ====SWEATY BODIES AT THE CENTRE OF THE DEVELOPMENT OF DIGITAL/ART/TECHNOLOGY====
  
-by Pamela Harling-Challis, Great Yarmouth, England, 2002 [[project txoom]] +by Pamela Harling-Challis, Great Yarmouth, England, 2002 (as part of [[project txoom]])
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-====txOom, Hippodrome Circus, User Research====+
  
  
  
 +==== txOom, Hippodrome Circus, User Research ====
  
 Technology-  [from the Gk. techno (art,  craft) + logy, logia, logos (word, oral or written expression)] the totality of  the means employed to provide objects necessary for human sustenance and comfort. Technology-  [from the Gk. techno (art,  craft) + logy, logia, logos (word, oral or written expression)] the totality of  the means employed to provide objects necessary for human sustenance and comfort.
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 Art-  skill in performance acquired by experience, study, or observation; a branch of learning; Art-  skill in performance acquired by experience, study, or observation; a branch of learning;
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   *  as an individual with refined body skills and knowledge   *  as an individual with refined body skills and knowledge
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   *  as an observer of behaviour   *  as an observer of behaviour
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   *  as an artist   *  as an artist
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   *  as an educator   *  as an educator
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   *  as a member of the public   *  as a member of the public
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   *  as a leader of  a group of user testers   *  as a leader of  a group of user testers
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   *  as a co-researcher for the purpose of gathering and analysing data   *  as a co-researcher for the purpose of gathering and analysing data
  
 This multi-faceted engagement, multi-roled approach added a 'thickness' to the experience and to my analysis of  the data collected by myself and Nat Muller. This multi-faceted engagement, multi-roled approach added a 'thickness' to the experience and to my analysis of  the data collected by myself and Nat Muller.
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 ====txOom, Purpose and Experience Protocol==== ====txOom, Purpose and Experience Protocol====
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   *  Visual media in the form of video projections into the space and on its objects, the motion of smart lights, the fluctuation of light in electroluminescent wire, and    *  Visual media in the form of video projections into the space and on its objects, the motion of smart lights, the fluctuation of light in electroluminescent wire, and 
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   *  Audio media, via an ever changing and modulating collection of sounds filling the space.     *  Audio media, via an ever changing and modulating collection of sounds filling the space.  
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 When txOom opened to the public at the Hippodrome Circus, Great Yarmouth, England. The experience of the participants was as follows: When txOom opened to the public at the Hippodrome Circus, Great Yarmouth, England. The experience of the participants was as follows:
  
-  *   Enter the Hippodrome Circus building, a huge almost 100 year old permanent structure built to resemble a circus big top.  It is crumbling, gaudy, used, and totally atmospheric, evocative of  the magic and mystery and the phenomena of the circus and uniqueness of the world that surrounds that particular form of theatre.   +  * Enter the Hippodrome Circus building, a huge almost 100 year old permanent structure built to resemble a circus big top.  It is crumbling, gaudy, used, and totally atmospheric, evocative of  the magic and mystery and the phenomena of the circus and uniqueness of the world that surrounds that particular form of theatre.   
- +  * Pay at ticket booth 
-  *  Pay at ticket booth +  * Move foyer waiting area to be greeted by performance artist Sia Kyriakakos who, wearing a metal hoop skirt on rollers, makes Greek coffee and serves it with an accompaniment of Turkish delight.  After the coffee is consumed and the cups have rested upside down for some time, Sia, one by one,  tells the future of each coffee drinker through reading the sludgy remains in the bottoms of the little cups. 
- +  * Then a group of no more than 6-8 is escorted by a member(s) of the production team to a changing area where they leave their belongings, remove their shoes  and change into white suits and white foot covers.  At this time they are asked if they have a fear of heights and from this information the production team determine who will fly and who will remain on the ground. 
-  *  Move foyer waiting area to be greeted by performance artist Sia Kyriakakos who, wearing a metal hoop skirt on rollers, makes Greek coffee and serves it with an accompaniment of Turkish delight.  After the coffee is consumed and the cups have rested upside down for some time, Sia, one by one,  tells the future of each coffee drinker through reading the sludgy remains in the bottoms of the little cups. +  * The group is then led into the circus ring through a passage way that is dressed with light and fabric masking the performance space. In the space are four structures that fly, two swings to sit on that have attached fabric that functions as projection screen when flown into place: a 'caterpillar/worm'  that is worn laying horizontally belly down in a paragliding harness,  and a sit harness on a bungie cord.  On the floor is a three foot  diameter 'ball' with  tendrils hanging off it and a 'wall' knitted out of electrolulminescent threads. The ring is illuminated with coloured light and quiet sound is filtering around the space.  Those who are flying are assisted into their 'costumes' and taken up, and when all are moving into place, the sensors and live processing of sound and visuals is begun. Each group has approximately 20-25 minutes to play in the space.  Throughout there are production team members on hand to assist. 
- +  * When the time is over the participants are taken down and return to the dressing area to remove the white suits and foot covers, collect bags and shoes. 
-  *  Then a group of no more than 6-8 is escorted by a member(s) of the production team to a changing area where they leave their belongings, remove their shoes  and change into white suits and white foot covers.  At this time they are asked if they have a fear of heights and from this information the production team determine who will fly and who will remain on the ground. +  * They then return to the foyer.  All are asked if they will fill out an audience survey.  Some are interviewed by production team members.  And some finish getting their fortunes read.  They depart when they wish.
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-  *  The group is then led into the circus ring through a passage way that is dressed with light and fabric masking the performance space. In the space are four structures that fly, two swings to sit on that have attached fabric that functions as projection screen when flown into place: a 'caterpillar/worm'  that is worn laying horizontally belly down in a paragliding harness,  and a sit harness on a bungie cord.  On the floor is a three foot  diameter 'ball' with  tendrils hanging off it and a 'wall' knitted out of electrolulminescent threads. The ring is illuminated with coloured light and quiet sound is filtering around the space.  Those who are flying are assisted into their 'costumes' and taken up, and when all are moving into place, the sensors and live processing of sound and visuals is begun. Each group has approximately 20-25 minutes to play in the space.  Throughout there are production team members on hand to assist. +
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-  *  When the time is over the participants are taken down and return to the dressing area to remove the white suits and foot covers, collect bags and shoes. +
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-  *  They then return to the foyer.  All are asked if they will fill out an audience survey.  Some are interviewed by production team members.  And some finish getting their fortunes read.  They depart when they wish.+
  
 Creative User Research Creative User Research
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 In order to fully realise the installation of txOom a series of user research sessions were set up.  This involved and open invitation via the Future Physical  web site for groups of digital, movement and textile artists and a partnership arrangement with Seachange for a group of single mothers, one of young offenders and a third composed of young people with learning disabilities In order to fully realise the installation of txOom a series of user research sessions were set up.  This involved and open invitation via the Future Physical  web site for groups of digital, movement and textile artists and a partnership arrangement with Seachange for a group of single mothers, one of young offenders and a third composed of young people with learning disabilities
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   *  What did it feel like?  Gut reaction.   *  What did it feel like?  Gut reaction.
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   *  What did it make you think about?   *  What did it make you think about?
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   *  How did you relate to the other's and object's in the space?   *  How did you relate to the other's and object's in the space?
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   *  What did you get out of the experience?   *  What did you get out of the experience?
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   *  What would have improved the experience?   *  What would have improved the experience?
  
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   *  How did the experience differ from the previous one?   *  How did the experience differ from the previous one?
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   *  Did you feel like you had a creative role in the environment?   *  Did you feel like you had a creative role in the environment?
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   *  Did you feel you were controlling anything and was it important to know what you were controlling?   *  Did you feel you were controlling anything and was it important to know what you were controlling?
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   *  Did anything great, disturbing or annoying happen?   *  Did anything great, disturbing or annoying happen?
  
  
  
-====Application of Data Analysis +====Application of Data Analysis====
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 The purpose of interviewing and observing the user groups in the second week of the get in was to inform the developers about the experience of being in txOom so that refinements could be made to the objects, space and interactive processing system.  Due to numerous problems development did not happen as rapidly as had been hoped, e.g. late delivery of batteries to power wearable accelerometer /computer units.  However valuable data was gathered about the experience of the users.  This data involved issues about real and perceived risk; comfort and wearability of the 'costumes' and phenomenological perceptions about the experience of spending time 'playing' in txOom.  The purpose of interviewing and observing the user groups in the second week of the get in was to inform the developers about the experience of being in txOom so that refinements could be made to the objects, space and interactive processing system.  Due to numerous problems development did not happen as rapidly as had been hoped, e.g. late delivery of batteries to power wearable accelerometer /computer units.  However valuable data was gathered about the experience of the users.  This data involved issues about real and perceived risk; comfort and wearability of the 'costumes' and phenomenological perceptions about the experience of spending time 'playing' in txOom. 
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-====DESIGNING IDENTITY.  DESIGNING INTERFACES.  MAKE USE OF THE HUMAN BEINGS CAPACITY FOR RECEPTION OF DATA;  ANALYSIS, PROCESSING AND RENDERING OF DATA; AND THEIR ABILITY TO INSTIGATE DATA THROUGH  PASSIVE OR ACTIVE RESISTANCE. +====DESIGNING IDENTITY.  DESIGNING INTERFACES.  MAKE USE OF THE HUMAN BEINGS CAPACITY FOR RECEPTION OF DATA;  ANALYSIS, PROCESSING AND RENDERING OF DATA; AND THEIR ABILITY TO INSTIGATE DATA THROUGH  PASSIVE OR ACTIVE RESISTANCE.====
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   *  Physics of relationships   *  Physics of relationships
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   *  Geography of the body   *  Geography of the body
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   *  Geology of the mind   *  Geology of the mind
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   *  Ecology of motion   *  Ecology of motion
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   *  Chemistry, anthropology, technology, choreography…of…   *  Chemistry, anthropology, technology, choreography…of…
  
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