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Dgromala at 02:52, 3 February 2011

2011-02-03T02:52:19Z

Dgromala at 06:59, 20 January 2011

2011-01-20T06:59:05Z

Dgromala at 06:57, 20 January 2011

2011-01-20T06:57:58Z

Tjlavend at 22:09, 13 January 2011

2011-01-13T22:09:25Z

Dgromala at 12:02, 13 January 2011

2011-01-13T12:02:56Z

Dgromala at 12:01, 13 January 2011

2011-01-13T12:01:30Z

Dgromala at 11:59, 13 January 2011

2011-01-13T11:59:06Z

Dgromala at 11:56, 13 January 2011

2011-01-13T11:56:00Z

Dgromala at 11:50, 13 January 2011

2011-01-13T11:50:23Z

Dgromala at 11:45, 13 January 2011

2011-01-13T11:45:51Z

← Older revision		Revision as of 02:52, 3 February 2011
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	Mihaly Csikszentmihalyi		Mihaly Csikszentmihalyi
		+
		+	Kristina Kublisch, German sound artist http://www.christinakubisch.de/index_en.htm

@@ Line 98: / Line 98: @@
 ''NOTE: If you don't understand or mess up on an assignment, you have the opportunity
-to redo ONE assignment -- any assignment -- the occurs before April 1.
+to redo ONE assignment if the original due date is before or on April 1.
 You need to discuss parameters and timelines with Dr. Gromala as soon as you can.''

← Older revision		Revision as of 06:57, 20 January 2011
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	Extra credit will be given to strategic risk-taking.		Extra credit will be given to strategic risk-taking.
		+
		+	''NOTE: If you don't understand or mess up on an assignment, you have the opportunity
		+
		+	to redo ONE assignment -- any assignment -- the occurs before April 1.
		+
		+	You need to discuss parameters and timelines with Dr. Gromala as soon as you can.''

← Older revision		Revision as of 22:09, 13 January 2011
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	Scofidio+Diller, Dunne+Raby, Stefan Sagmeister, Karim Rashid		Scofidio+Diller, Dunne+Raby, Stefan Sagmeister, Karim Rashid
		+
		+	Mihaly Csikszentmihalyi

@@ Line 122: / Line 122: @@
 interaction (HCI), e-learning, game characters, mobile devices more usable by endowing the
- “soulless” machines and interactions with the ability to “recognize and adjust” to the
+so-called soulless machines and interactions with the ability to “recognize and adjust” to the
 user’s feelings as well as to be able to communicate “appropriate emotional signals” [sic].

@@ Line 217: / Line 217: @@
 For each reading, we will attempt parallel ways of understanding the ideas through discussion and textual responses,
-as well as non-textual responses -- enacting, performing, or creating artifacts that demonstrate an understanding
+as well as non-textual responses -- enacting, performing, or creating artifacts that demonstrate an
-of ideas through non-textual means. The way we assign value to these responses will be discussed, and
+understanding of ideas through non-textual means. The way we assign value to these responses will be
-will directly relate to on-going discussions of methods.
+discussed, and will directly relate to on-going discussions of methods.
@@ Line 276: / Line 276: @@
 Toward a Science of Consciousness, (May, Stockholm / Tucson every other year)

@@ Line 98: / Line 98: @@
-Class wiki:  wiki.iat.sfu.ca/bioaffect/index.php/Main_Page
+'''Class wiki: '''
 All class information, including responsive updates, will be posted on the class wiki.
 Regularly reading and referring to the class wiki is required.
 According to pioneer Rosalind Picard, the “basic tenet behind AC systems is that automatically
 recognizing and responding to a user’s affective states during interactions with a computer
 can enhance the quality of the interaction, thereby making the computer interface more usable,
 enjoyable, and effective. For example, an affect-sensitive learning environment that detects
 and responds to student frustration is expected to increase motivation, engagement, and
 learning gains.”
 '''+ Biology, Bodies'''
@@ Line 125: / Line 152: @@
 VR, visualization, nanotechnology and technologically-mediated performance.
 Issues of how scholars and scientists understand technologically-mediated experience will also be explored,
@@ Line 203: / Line 231: @@
 Readings will address different methodological approaches.
-In each class meeting, we will address the question of methods through the
+In each class meeting, we will address the question of methods through the direct examination of the readings and artifacts.
 In your proposal for your final project, you will be required to identify and articulate

@@ Line 114: / Line 114: @@
 learning gains.”
-+ Biology, Bodies
+'''+ Biology, Bodies'''
 Since affect and emotion are not solely experienced in the mind or brain, it makes sense to explore
 the workings of the body and bodily aspects of experience as they relate to affective computing.
 Issues related to bio-technologies will be explored as well, ranging from historical technologies
-Issues of how scholars and scientists understand technologically-mediated experience will also be explored, such as multimodality and the “binding” of multiple sensory stimuli in consciousness,
+to biofeedback, biopotentials, biometrics, medical technologies and the therapeutic uses of robots,
 sensory substitution, perceptual variability, mirror neurons and neuroplasticity.
-Varying approaches to how we understand these issues will be compared, particularly those at the confluence of science, medicine and culture.
+VR, visualization, nanotechnology and technologically-mediated performance.
 In the Arts and Humanities, it is often a common practice to critically examine assumptions
 upon which culture, science and other fields and knowledge bases operate.
-In addition, artists, designers and media producers are trained to be aware of “form” and aesthetics, along with how and what they create — and how they disseminate their work — may
+In addition, artists, designers and media producers are trained to be aware of “form” and aesthetics,
-influence participant’s affective experiences of that work. Indeed, exploring affective dimensions is
 often a primary focus. Music, for example, is sometimes described as an “emotional art,” while
-Concepts & Models
+those who create movies pay close attention to the affective dimensions of storytelling.
 Affective Computing, like any field, is defined and practiced based upon specific assumptions and
-disciplinary practices. We will identify, explore and critically examine these assumptions, and will
+Similarly, designers who are trained in art schools are concerned with the roles that aesthetics
 map them out. Why? Because it is important to understand the assumptions that undergird any field,
-especially when ideas in that field are extended into other fields, such as interactive art, interaction design and new media. Thus, we will examine, explore and critically examine the assumptions of these
+and form factors play in their work and its reception and usability.
 fields as well, and will map them out. Thus, by reading, creating and producing, and reflecting on the
-relationships among these practices, we may gain greater understandings of affective computing, and
+In the Humanities, writers are often very concerned with issues of language, from the use of
 potentially posit new ones.
-such as “emotion” and “affect.” For each reading, we will attempt parallel ways
+We will begin this course by examining the different definitions of key terms such as “emotion” and “affect.”
-of understanding the ideas through discussion and textual responses, as well as
+For each reading, we will attempt parallel ways of understanding the ideas through discussion and textual responses,
-enacting, performing, or creating artifacts that elucidate an understanding of
+as well as non-textual responses -- enacting, performing, or creating artifacts that demonstrate an understanding
-ideas through non-textual means. The way we assign value to these responses
+of ideas through non-textual means. The way we assign value to these responses will be discussed, and
-will be discussed, and will directly relate to on-going discussions of methods.
+will directly relate to on-going discussions of methods.

← Older revision		Revision as of 11:50, 13 January 2011
Line 95:		Line 95:

	Extra credit will be given to strategic risk-taking.		Extra credit will be given to strategic risk-taking.
		+
		+
		+
		+	Class wiki: wiki.iat.sfu.ca/bioaffect/index.php/Main_Page
		+	All class information, including responsive updates, will be posted on the class wiki.
		+	Regularly reading and referring to the class wiki is required.
		+
		+	Affective Computing
		+	Affective computing is generally defined as a branch of computer science and related fields of
		+	psychology and cognitive science. The theory and construction of machines which can detect,
		+	respond to, and simulate human emotional states are primary concerns. Apparently, it is a rapidly developing field in industry and science. Current goals are to make technologies such as robotic systems, avatars in human computer interaction (HCI), e-learning, game characters, mobile devices more usable by endowing the “soulless” machines and interactions with the ability to “recognize and adjust” to the user’s feelings as well as to be able to communicate “appropriate emotional signals”[sic].
		+
		+	According to pioneer Rosalind Picard, the “basic tenet behind AC systems is that automatically
		+	recognizing and responding to a user’s affective states during interactions with a computer
		+	can enhance the quality of the interaction, thereby making the computer interface more usable,
		+	enjoyable, and effective. For example, an affect-sensitive learning environment that detects
		+	and responds to student frustration is expected to increase motivation, engagement, and
		+	learning gains.”
		+
		+	+ Biology, Bodies
		+	Since affect and emotion are not solely experienced in the mind or brain, it makes sense to explore
		+	the workings of the body and bodily aspects of experience as they relate to affective computing.
		+	Issues related to bio-technologies will be explored as well, ranging from historical technologies
		+	to biofeedback, biopotentials, biometrics, medical technologies and the therapeutic uses of robots, VR, visualization, nanotechnology and technologically-mediated performance.
		+
		+	Issues of how scholars and scientists understand technologically-mediated experience will also be explored, such as multimodality and the “binding” of multiple sensory stimuli in consciousness,
		+	sensory substitution, perceptual variability, mirror neurons and neuroplasticity.
		+	Varying approaches to how we understand these issues will be compared, particularly those at the confluence of science, medicine and culture.
		+
		+	Affect in the Arts, Media, Design, and Humanities
		+	In the Arts and Humanities, it is often a common practice to critically examine assumptions
		+	upon which culture, science and other fields and knowledge bases operate.
		+
		+	In addition, artists, designers and media producers are trained to be aware of “form” and aesthetics, along with how and what they create — and how they disseminate their work — may
		+	influence participant’s affective experiences of that work. Indeed, exploring affective dimensions is
		+	often a primary focus. Music, for example, is sometimes described as an “emotional art,” while
		+	those who create movies pay close attention to the affective dimensions of storytelling. Similarly, designers who are trained in art schools are concerned with the roles that aesthetics and form factors play in their work and its reception and usability. In the Humanities, writers are often very concerned with issues of language, from the use of specific “styles” or “rhetoric” to grammatical structures,
		+	the sound of their words, and how language itself structures how we come to know the world.
		+	In contemporary scholarship, some Humanities scholars “read” media artifacts as they would have read a text in earlier times.
		+
		+	Concepts & Models
		+	Affective Computing, like any field, is defined and practiced based upon specific assumptions and
		+	disciplinary practices. We will identify, explore and critically examine these assumptions, and will
		+	map them out. Why? Because it is important to understand the assumptions that undergird any field,
		+	especially when ideas in that field are extended into other fields, such as interactive art, interaction design and new media. Thus, we will examine, explore and critically examine the assumptions of these
		+	fields as well, and will map them out. Thus, by reading, creating and producing, and reflecting on the
		+	relationships among these practices, we may gain greater understandings of affective computing, and
		+	potentially posit new ones.
		+
		+	We will begin this course by examining the different definitions of key terms
		+
		+	such as “emotion” and “affect.” For each reading, we will attempt parallel ways
		+
		+	of understanding the ideas through discussion and textual responses, as well as
		+
		+	enacting, performing, or creating artifacts that elucidate an understanding of
		+
		+	ideas through non-textual means. The way we assign value to these responses
		+
		+	will be discussed, and will directly relate to on-going discussions of methods.
		+
		+
		+
		+	'''Methods'''
		+
		+	This is an officially recongized methods course.
		+
		+	Readings will address different methodological approaches.
		+
		+	In each class meeting, we will address the question of methods through the
		+
		+	direct examination of the readings and artifacts.
		+
		+	In your proposal for your final project, you will be required to identify and articulate
		+
		+	the method you are using, why you chose it and how it influenced your understanding of your project.
		+
		+
		+	'''Authors, Artists, Scientists & Experts referenced: '''
		+
		+	Atom Egoyan, David Cronenberg, Alfred Hitchcock
		+
		+	Maurice Merleau-Ponty, Francisco Varela, Andy Clark, Paul Dourish, Hubert Dreyfus, J.J. Gibson
		+
		+	Shaun Gallagher, Mark Johnson, Drew Leder, Alva Noe, Evan Thompson
		+
		+	Rosalind Picard, Karon MacLean, Masahiro Mori, Don Norman, Cynthia Breazeal
		+
		+	Brian Massumi, Steven Shaviro, Deleauze & Guatarri, Cary Wolfe
		+
		+	Vilayanur S. Ramachandran, Paul Bach-y-Rita
		+
		+	Scofidio+Diller, Dunne+Raby, Stefan Sagmeister, Karim Rashid
		+
		+
		+	'''Conferences'''
		+
		+	International Conference on Affective Computing and Intelligent Interaction (ACII)
		+
		+	(24th International FLAIRS Conference, Affective Computing Special Track; May, Florida)
		+
		+	related:
		+
		+	SIGGRAPH, CHI, Computional Aesthetics (Vancouver this year)
		+
		+	SIGGRAPH, ISEA, Ars Electronica
		+
		+	ENACTIVE (and European-wide Network of Excellence)
		+
		+	ISWIC & Pervasive Computing, (June, San Francisco)
		+
		+	IASTED International Conference on Robotics and Applications (June, Vancouver)
		+
		+	Science & Non-Duality, (November, usually northern California)
		+
		+	Toward a Science of Consciousness, (May, Stockholm / Tucson every other year)
		+
		+
		+
		+
		+

← Older revision		Revision as of 11:45, 13 January 2011
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	You will be required to conduct at least one technological demonstration + creative use.		You will be required to conduct at least one technological demonstration + creative use.
		+

	More importantly, you will also be required to create 2 projects for this class:		More importantly, you will also be required to create 2 projects for this class: