scholarly journals The Potential of Integrating User Experience (UX) and Aesthetic Experience (AX) in Augmented Reality Comic (AR Comic)

2021 ◽  
Vol 11 (1) ◽  
pp. 34-41
Author(s):  
Mohd Ekram AlHafis Bin Hashim ◽  
◽  
Muhammad Zaffwan Bin Idris ◽  
Che Soh Bin Said
Keyword(s):  
Augmented Reality ◽  
Human Computer Interaction ◽  
User Experience ◽  
Digital Technology ◽  
Aesthetic Experience ◽  
The Other ◽  
Measurement Tool ◽  
Aesthetic Object ◽  
Art Object ◽  
The Arts

The purpose of this paper is to explore the potential of synergising of two major theories that sprang from two entirely different disciplines, namely the human-computer interaction (HCI) and the arts. Indeed, there are vast and diverse gaps when two different theories, such as technology and art, are to be combined to develop a new element that complements to both disciplines. In this paper, the proposition is to measure the user experience when dealing with an art object that infuses with digital technology. Augmented reality (AR) derived from the HCI discipline and customarily to UX as a measurement tool. On the other hand, a comic is an aesthetic object that requires an aesthetic-friendly method as its measurement tool. Ultimately, this paper proposes an integration of the UX and AX theories to evaluate an AR comic.

Applying Fuzzy Delphi Method (FDM) to obtaining the Expert Consensus in Aesthetic Experience (AX) and User Experience (UX) Elements in Augmented Reality Comic (AR Comic)

2021 ◽  
Vol 12 (3) ◽  
pp. 802-807
Author(s):  
Mohd Ekram AlHafis bin Hashim Et.al
Keyword(s):  
Augmented Reality ◽  
Human Computer Interaction ◽  
User Experience ◽  
Delphi Method ◽  
Aesthetic Experience ◽  
Expert Consensus ◽  
Fuzzy Delphi Method ◽  
Art Form ◽  
Fuzzy Delphi ◽  
New Framework

This paper discusses the application of Fuzzy Delphi Method (FDM) to obtain the expert consensus inAesthetic Experience (AX) and User Experience (UX) elements for Augmented Reality Comic (AR Comic). Theoretically, AR and comics are two distinctive fields that represent the technology and art. The former is Human Computer Interaction (HCI) for AR and the later is an art form for comic. Consequently, the UX elements are commonly used by scholars to measure AR, while the AX elements are used for evaluate comics. The purpose of this study is to formulate a new elements in AR comic.Thus,both AX and UX elements are subsequently being merged and the consensus from expertsfrom both fields are required. The FDM was selected in this study based on the ability of this method to obtain the constructs and the elements objectively with suggestion and reflection from the selected experts. Expected results from expert consensus are the combination of both elements as a new framework of AR comic.

scholarly journals Who’s Afraid of the Audience? Digital and Post-Digital Perspectives on Aesthetics

2014 ◽  
Vol 3 (1) ◽  
pp. 120-130 ◽  
Author(s):  
Lotte Philipsen
Keyword(s):  
Immanuel Kant ◽  
Digital Technology ◽  
Aesthetic Experience ◽  
The Other ◽  
Artistic Practice ◽  
Works Of Art ◽  
Practical Analysis ◽  
The Way

This article analyses how works of art that make use of or refer to digital technology can be approached, analysed, and understood aesthetically from two different perspectives. One perspective, which I shall term a ‘digital’ perspective, mainly focuses on poetics (or production) and technology when approach- ing the works, whereas the other, which I shall term a ‘post-digital’ perspective, focuses on aesthetic experience (or reception) when approaching the works. What I tentatively and for the purpose of practical analysis term the ‘digital’ and the ‘post-digital’ perspectives do not designate two different sets of concrete works of art or artistic practice and neither do they describe different periods.[1] Instead, the two perspectives co-exit as different discursive positions that are concretely ex- pressed in the way we talk about aesthetics in relation to art that makes use of and/or refers to digital technology. In short: When I choose here to talk about a digital and a post-digital perspective, I talk about two fundamentally different ways of ascribing aes- thetic meaning to (the same) concrete works of art. By drawing on the ideas of especially Immanuel Kant and Dominic McIver Lopes, it is the overall purposes of this article to ana- lyse and compare how the two perspectives understand the concept of aesthetics and to discuss some of the implications following from these understandings. As it turns out, one of the most significant implications is the role of the audience. 

Virtual Reality to Improve the User Experience of Traditional Museums

2020 ◽  
Author(s):  
Elena Spadoni ◽  
Marina Carulli ◽  
Monica Bordegoni
Keyword(s):  
Virtual Reality ◽  
Augmented Reality ◽  
User Experience ◽  
Primary Objective ◽  
The Other ◽  
Sense Of Presence ◽  
Different Types ◽  
Virtual Reality Application ◽  
Museum Exhibition

Abstract Museums have been subjected to important changes in the approach they use to involve visitors. Among the other trends, storytelling and interactive exhibitions are two of the most used approaches used to make exhibitions more interesting for users. Virtual Reality and Augmented Reality methods can be effectively used in the context of a museum exhibition to support both storytelling and interaction. The primary objective of the use of these technologies is to make the visit of museums much more engaging, and suitable for different types of visitors. Among the several museums that are moving in this direction, there is the Museo Astronomico di Brera. The museum mainly consists of a corridor, hosting instruments used by astronomers, and the Cupola Schiaparelli, which is an observatory dome. The aim of the research presented in this paper is to develop an interactive Virtual Reality application to be used for improving the users’ experience of visits to the Museo Astronomico di Brera. Specifically, the paper presents a VR application to virtually visit the Dome. Preliminary tests have been carried out for evaluating the users’ sense of presence in the VR environment. An analysis of the collected data is presented in the paper.

ROUSSEAU AND AESTHETIC MODERNITY: MUSIC’S POWER OF REDEMPTION

2005 ◽  
Vol 2 (1) ◽  
pp. 41-56 ◽  
Author(s):  
JULIA SIMON
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Aesthetic Experience ◽  
Frankfurt School ◽  
Musical Performance ◽  
Aesthetic Theory ◽  
Modern Life ◽  
Aesthetic Object ◽  
The Arts ◽  
Aesthetic Modernity

Despite Rousseau’s condemnation of the ‘progress’ of civilization and his suspicions concerning the arts, he none the less articulates a redemptive role for aesthetic experience within modern life. In choosing music as his privileged aesthetic object, he suggests the possibility of an eighteenth-century aesthetic based on experience that anticipates later developments in romanticism and modernism. And by locating the possibility of redemption within aesthetic experience couched in terms of musical performance, he articulates a modern role for the work of art that looks forward to nineteenth- and twentieth-century aesthetic theory from the German Romantics to the Frankfurt School.

Aesthetics and Evolutionary Psychology

2009 ◽  
Author(s):  
Denis Dutton
Keyword(s):  
Social Control ◽  
Evolutionary Psychology ◽  
Aesthetic Experience ◽  
The Other ◽  
Art Theory ◽  
General Psychology ◽  
Other Hand ◽  
The Arts ◽  
The Republic ◽  
Psychological Features

The applications of the science of psychology to our understanding of the origins and nature of art is not a recent phenomenon; in fact, it is as old as the Greeks. Plato wrote of art not only from the standpoint of metaphysics, but also in terms of the psychic, especially emotional, dangers that art posed to individuals and society. It was Plato's psychology of art that resulted in his famous requirements in The Republic for social control of the forms and contents of art. Aristotle, on the other hand, approached the arts as philosopher more comfortably at home in experiencing the arts; his writings are to that extent more dispassionately descriptive of the psychological features he viewed as universal in what we would call ‘aesthetic experience’. Although Plato and Aristotle both described the arts in terms of generalizations implicitly applicable to all cultures, it was Aristotle who most self-consciously tied his art theory to a general psychology.

Overview

Art Scents ◽  
2020 ◽  
pp. 255-260
Author(s):  
Larry Shiner
Keyword(s):  
Everyday Life ◽  
Aesthetic Experience ◽  
Fine Arts ◽  
The Other ◽  
Main Concern ◽  
The Arts ◽  
Aesthetic Practice ◽  
Late Twentieth ◽  
The One ◽  
Late Twentieth Century

In this final part of the book we turn to three areas of aesthetic practice that raise unavoidable ethical as well as aesthetic issues. If we are to do justice to both the aesthetics and ethics of scenting bodies, places, and foods, we will need an understanding of aesthetic experience and judgment that goes beyond views of aesthetics based primarily on the appreciation of the fine arts. On the one hand, not even all fine artworks have been meant to be experienced purely aesthetically, but also to engage us morally, religiously, or politically. On the other hand, aesthetic experience itself has always been concerned with nature, design, and everyday life in addition to the arts. Although Kant’s aesthetic was framed with nature as well as the arts in mind, from Hegel down into the late twentieth century philosophical aesthetics focused most of its attention on the fine arts. But thanks to the pioneering work of Ronald Hepburn, Arnold Berleant, Allen Carlson, and others, the aesthetics of nature has received increased attention in recent decades. We will consider some of this work in a later interlude on smell in nature. In the case of design and everyday life, which will be the main concern of ...

Creating algorithmic audio-visual narratives through the use of augmented reality prints

2019 ◽  
Vol 17 (1) ◽  
pp. 25-31
Author(s):  
Iro Laskari
Keyword(s):  
Augmented Reality ◽  
User Experience ◽  
Graphic Design ◽  
The Other ◽  
Card Game ◽  
Visual Narratives ◽  
Non Linear ◽  
Card System ◽  
The One

Abstract This article investigates the hypothesis of creating non-linear audio-visual narratives, through an unanticipated use of traditional print-based games, enriched with videos, via augmented reality (AR) possibilities. A ludic system has been created and presented. Based on a traditional card game, a non-linear cinematic narrative occurs. We attempt to examine the following questions: in which way can we bring together different forms of visual communication, such as graphic design and video? Can the above forms create a complex narrative whole and what kind of rules will be needed for this? How can we enrich traditional forms of gaming with the potentials of AR? Gaming itself demands a set of rules. Can these rules play the role of algorithms in the combined universe that we have designed and created? In which way can the designer on the one hand and the user on the other influence the overall output of the system? What will the user experience be like? The printed card system chosen for this is Tarot and more precisely the Great Arcana, which makes use of the 22 fundamental Tarot figures.

Augmented reality–assisted pedicle screw insertion: a cadaveric proof-of-concept study

2019 ◽  
Vol 31 (1) ◽  
pp. 139-146 ◽  
Author(s):  
Camilo A. Molina ◽  
Nicholas Theodore ◽  
A. Karim Ahmed ◽  
Erick M. Westbroek ◽  
Yigal Mirovsky ◽  
...  
Keyword(s):  
Augmented Reality ◽  
Pedicle Screw ◽  
User Experience ◽  
Pedicle Screws ◽  
Screw Insertion ◽  
Pedicle Screw Insertion ◽  
Insertion Method ◽  
Comparative Accuracy ◽  
Placement Accuracy ◽  
Surgical Field

OBJECTIVEAugmented reality (AR) is a novel technology that has the potential to increase the technical feasibility, accuracy, and safety of conventional manual and robotic computer-navigated pedicle insertion methods. Visual data are directly projected to the operator’s retina and overlaid onto the surgical field, thereby removing the requirement to shift attention to a remote display. The objective of this study was to assess the comparative accuracy of AR-assisted pedicle screw insertion in comparison to conventional pedicle screw insertion methods.METHODSFive cadaveric male torsos were instrumented bilaterally from T6 to L5 for a total of 120 inserted pedicle screws. Postprocedural CT scans were obtained, and screw insertion accuracy was graded by 2 independent neuroradiologists using both the Gertzbein scale (GS) and a combination of that scale and the Heary classification, referred to in this paper as the Heary-Gertzbein scale (HGS). Non-inferiority analysis was performed, comparing the accuracy to freehand, manual computer-navigated, and robotics-assisted computer-navigated insertion accuracy rates reported in the literature. User experience analysis was conducted via a user experience questionnaire filled out by operators after the procedures.RESULTSThe overall screw placement accuracy achieved with the AR system was 96.7% based on the HGS and 94.6% based on the GS. Insertion accuracy was non-inferior to accuracy reported for manual computer-navigated pedicle insertion based on both the GS and the HGS scores. When compared to accuracy reported for robotics-assisted computer-navigated insertion, accuracy achieved with the AR system was found to be non-inferior when assessed with the GS, but superior when assessed with the HGS. Last, accuracy results achieved with the AR system were found to be superior to results obtained with freehand insertion based on both the HGS and the GS scores. Accuracy results were not found to be inferior in any comparison. User experience analysis yielded “excellent” usability classification.CONCLUSIONSAR-assisted pedicle screw insertion is a technically feasible and accurate insertion method.

Schopenhauer and the Paradox of the Sublime

2020 ◽  
pp. 237-255
Author(s):  
Bart Vandenabeele
Keyword(s):  
Aesthetic Experience ◽  
Human Being ◽  
Aesthetic Object ◽  
Human Reason ◽  
The Sublime ◽  
The World ◽  
The Aesthetic

Schopenhauer explores the paradoxical nature of the aesthetic experience of the sublime in a richer way than his predecessors did by rightfully emphasizing the prominent role of the aesthetic object and the ultimately affirmative character of the pleasurable experience it offers. Unlike Kant, Schopenhauer’s doctrine of the sublime does not appeal to the superiority of human reason over nature but affirms the ultimately “superhuman” unity of the world, of which the human being is merely a puny fragment. The author focuses on Schopenhauer’s treatment of the experience of the sublime in nature and argues that Schopenhauer makes two distinct attempts to resolve the paradox of the sublime and that Schopenhauer’s second attempt, which has been neglected in the literature, establishes the sublime as a viable aesthetic concept with profound significance.

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