# Term2_3

Project Proposal

Interactive film: Human-Computer Interaction intervening in cinematic scenario navigation


What it the overarching area of research?

Human-computer interaction
Expanded Cinema, interactive film
Performing/Theatrical culture
Cognition science
Phenomenology

What are the key questions or queries you will address?

What is the definition of interactive film in this project’s context?
Why to combine film/cinema with HCI?
How to combine film/cinema with HCI?
*
- What’s the relationship between film and interactive design? (Hot media and cool media)
- Multi-screens, mind-expanding screens
- How do we make sense of the world? (Enactivism, cognitive science, embodied perception,
image culture, visual thinking)
- How does HCI influence participants’ interpretation and perception of the film?
- What kind of interactive actions/behaviors have better intervention to the cinema narratives?

Why are you motivated to undertake this project?

My professional background is motion-graphic design and filmmaking. And I’ve been interested in multi-media arts and interactive design for a long time (especially the ones related to perception, cognition, and emotion). So my main goal of studying in Computational Arts here is that I want to combine film and interaction design. Then to start this journey, the first and most challenging question I’m confronting is WHY and HOW to combine these two fields. From my term 1 practice experience and Atau’s Special Topics in Programming for Performance and Installation lectures, I started to find the paths that mapping computational interaction, theatre, cognition, and perception together. And I want to dive into this map to research and understand the questions better, as well as to inspire ideas of my (term 3) final project.

What theoretical frameworks will you use in your work to guide you?

I’ll use HCI research(human-computer interaction), embodied interaction as a guide to the project as a whole.

What theoretical frameworks will you use in the analysis of your project?

For the analysis of my project, Expanded Cinema is the second priority theoretical frameworks (top priority is HCI). Specifically, including theories of multi-screens, mind-expanding screens, future cinema, etc.
Also, I’ll use Enactivism (cognitive science), and culture studies of theatre/performance as the theoretical frameworks that connect the Cinematic theories with the HCI theories.


How will you document your project?

- Reflective writings
- Small related programming practices experiments
- Use multi-media website interface to present the completed research report (example ->)


Timeline for project milestones

//Term time
week7: submit proposal, getting feedbacks
week8: research and enquire related artworks / artists, planning interviews
week9: narrow down questions and theoretical frameworks
week10: present and get feedbacks of the research and writings
//Easter
week1: related programming practices experiments
week2: reflect and document, keep researching and experimenting
week3: reflect, document, report writing
week4: reflect, document, report writing
week5: finalise and submit

Annotated Bibliography of 3-4 sources 

// Cinematic theories

Lord, S., Marchessault, J., 2007. Fluid screens, expanded cinema, Digital futures (University of Toronto Press). University of Toronto Press, Toronto.

// HCI theories
Brenda Laurel author, 2014. Computers as theatre, Second edition.. ed. Addison-Wesley, Upper Saddle River, NJ.

Malcolm. McCullough, 1996. Abstracting craft: the practiced digital hand. MIT Press, Cambridge, Mass. ; London.

Dourish, P., 2001. Where the action is: the foundations of embodied interaction. MIT, Cambridge, Mass.

Maturana, H.R., 1992. The tree of knowledge: the biological roots of human understanding, Rev. ed.. ed. Shambhala, Boston.

// Performing, theoretical cultures
Small, C., 1998. Musicking: the meanings of performing and listening, Music/culture. University Press of New England, Hanover.

Reference list of 8-10 sources 

Goffman, E., 2017. Interaction Ritual : Essays in Face-to-Face Behavior. Routledge. https://doi.org/10.4324/9780203788387

Barikin, A., 2012. Parallel presents: the art of Pierre Huyghe. MIT Press, Cambridge, Mass.

Cohendet, R., Da Silva, M.P., Gilet, A.-L., Le Callet, P., 2017. Emotional interactive movie: adjusting the scenario according to the emotional response of the viewer. EAI Endorsed Transactions on Creative Technologies 4, 153053. https://doi.org/10.4108/eai.4-9-2017.153053

Guerrini, F., Adami, N., Benini, S., Piacenza, A., Porteous, J., Cavazza, M., Leonardi, R., 2017. Interactive Film Recombination. ACM Transactions on Multimedia Computing, Communications, and Applications 13, 1–22. https://doi.org/10.1145/3103241

Çavuş, M., Özcan, O., 2010. To watch from distance: an interactive film model based on Brechtian film theory. Digital Creativity 21, 127–140. https://doi.org/10.1080/14626268.2010.483687

// Artist-designer practices and research documents
TOMZAM - Projects : It’s not quite the Hilton [WWW Document], n.d. URL http://www.tomzam.ch/projects/its-not-quite-the-hilton/index.html (accessed 2.24.19).

war [WWW Document], n.d. URL http://www.teleportacia.org/war/ (accessed 2.24.19).

Test Patterns [WWW Document], n.d. . ... URL http://www.victoriakeddie.com/test-patterns (accessed 2.24.19).

Breyer, N., 2011. Motion Perception: Interactive Video and Spatial Awareness. Journal for Artistic Research.

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