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Traditionally, human-computer interaction has concentrated on the usability of applications. That is the objective has been to design applications that enable the user to perform a specified task as effectively and efficiently as possible: applications in this case are primarily regarded as TOOLS. In contrast, the designers of affective interactive applications rather focus on the user's experience: applications in this case are WAYS to analyse and render emotions as part of an interactive system.

CALLAS implements an evaluation approach that encompasses Scientific Showcases and Proof-of-Concepts by Stakeholders: the aim is to show the applicability and validity of the CALLAS Framework, Models, and Components.
The approach identifies several settings of art and entertainment for affective computing installations that are using CALLAS technologies. Suggested reading:

Bodily Explorations in Space: Social Experience of a Multimodal Art Installation Abstract

Scientific Showcases aim to validate the CALLAS approach to computing the aesthetic user experience, by focusing on evaluating computational models of emotions, multimodal fusion and affective loops. Reference Scientific Showcases are:

  • e-Tree: Augmented Reality Art, affective computing is e-Tree, an interactive art installation
  • CommonTouch: a touchable wall exploiting engagement and affective input of the audience.

Proof-of-Concepts aim to demonstrate the applicability of the CALLAS approach by stakeholders, focusing on evaluating the concept and scenarios of applicability using a subset of CALLAS technologies. Reference Proof-of-Concepts are in the area of:

  • Affective edutainment: targeting interactive Opera and interactive Music, aimed at affective presentation of forms of music usually associated to enculturated audiences;
  • Interactive Digital Theater: targeting different types of theaters from puppetry to theater pieces and aiming at augmenting the performer or spectator spaces with affective computing;
  • Interactive Storytelling: exploring how we can make use of affective input and output technologies to ensure that rich story content survives the transition to the highly interactive home platforms of the future, being stories the central pillar of news and broadcasting;
  • Specific experiments: e.g. building of an AudioVisual Laughter Machine to support the recognition of a specific laugh and its reproduction in output done by an ECA agent.
Last Updated on Friday, 07 May 2010 16:05