Wearable performance

Wearable computing devices worn on the body provide the potential for digital interaction in the world. A new stage of computing technology at the beginning of the 21st Century links the personal and the pervasive through mobile wearables. The convergence between the miniaturisation of microchips (nanotechnology), intelligent textile or interfacial materials production, advances in biotechnology and the growth of wireless, ubiquitous computing emphasises not only mobility but integration into clothing or the human body. In artistic contexts one expects such integrated wearable devices to have the two-way function of interface instruments (e.g. sensor data acquisition and exchange) worn for particular purposes, either for communication with the environment or various aesthetic and compositional expressions. ‘Wearable performance’ briefly surveys the context for wearables in the performance arts and distinguishes display and performative/interfacial garments. It then focuses on the authors' experiments with ‘design in motion’ and digital performance, examining prototyping at the DAP-Lab which involves transdisciplinary convergences between fashion and dance, interactive system architecture, electronic textiles, wearable technologies and digital animation. The concept of an ‘evolving’ garment design that is materialised (mobilised) in live performance between partners originates from DAP Lab's work with telepresence and distributed media addressing the ‘connective tissues’ and ‘wearabilities’ of projected bodies through a study of shared embodiment and perception/proprioception in the wearer (tactile sensory processing). Such notions of wearability are applied both to the immediate sensory processing on the performer's body and to the processing of the responsive, animate environment.     

Dragons, bats and evil knights: A three-layer design approach to character-based creative play

Creative play requires a fertile but well-defined design space. This paper describes a design process for creating three-dimensional virtual reality play spaces that allow the development and exploration of social interactions and relationships. The process was developed as part of a commercial research effort to create an interactive virtual reality entertainment system that allows children to engage in creative and constructive play within an established action/adventure framework. The effort centres on designing Al characters for aconstructive narrative. We claim that a behaviour-based architecture is an ideal starting point for developing agents for such a process, but that its full realization requires additional architectural structures and methodological support for the design process. In this paper, we describe a character architecture called Spark of Life (SoL). We also propose a three-layer design process for producing fertile and aesthetic constructive narratives. Finally, we describe our experience in implementing these ideals in an industrial setting.     

《绿厦》下的丛林探险

W.H.哈德森的代表作《绿厦》以委内瑞拉原始森林为背景,生动描写了白人青年阿贝尔与丛林女孩莉玛之间的爱情故事。阿贝尔身为西班牙殖民帝国的一员,在讲述自己年轻时激情澎湃的丛林探险时,弥散着难以磨灭的种族自恋情结,并将自己幻想为野蛮＂他者＂的救世主,对当地土著居民进行野蛮书写,实质上无法摆脱殖民帝国的种族叙事模式。     

植物隐喻映射下的汉英情感叙事

情感是人类经验的重要组成部分。通常人们通过自身的体验,以隐喻来表达抽象的情感。植物在人类生活中起着重要作用,也就成为最常见的隐喻源之一。本文主要从认知语言学的角度探讨人类植物方面的体验如何被应用于情感领域的叙事,并论述了英汉语言中有关植物隐喻映射下的情感叙事的普遍性与差异性,及其构建的体验基础和文化背景。     

日本狂言的叙事特色

作为日本古典戏剧艺术的重要品种,狂言的叙事性非常突出,主要表现在戏剧文本、舞台表演和舞台设计三个方面。     

Emotion experience and expression across the adult life span: Insights from a multimodal assessment study.

This investigation represents a multimodal study of age-related differences in experienced and expressed affect and in emotion regulatory skills in a sample of young, middle-aged, and older adults (N = 96), testing formulations derived from differential emotions theory. The experimental session consisted of a 10-min anger induction and a 10-min sadness induction using a relived emotion task; participants were also randomly assigned to an inhibition or noninhibition condition. In addition to subjective ratings of emotional experience provided by participants, their facial behavior was coded using an objective facial affect coding system; a content analysis also was applied to the emotion narratives. Separate repeated measures analyses of variance applied to each emotion domain indicated age differences in the co-occurrence of negative emotions and co-occurrence of positive and negative emotions across domains, thus extending the finding of emotion heterogeneity or complexity in emotion experience to facial behavior and verbal narratives. The authors also found that the inhibition condition resulted in a different pattern of results in the older versus middle-aged and younger adults. The intensity and frequency of discrete emotions were similar across age groups, with a few exceptions. Overall, the findings were generally consistent with differential emotions theory. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

Narrative psychology and psychotherapy integration.

Bruner (1986) and Sarbin (1986) have argued that people make sense of living by actively constructing stories containing characters moving toward goals through time. Both content and structure in these narratives are understood as promoting either flexible, adaptive functioning or psychological distress. Theories of psychotherapy can also be seen as stories about human function and dysfunction that incorporate many of the same ideas about reality, human nature and change that are found in clients' personal narratives. This narrative perspective, then, suggests that the therapeutic alliance might be improved and an integrative use of different theories might be made by selecting therapeutic approaches and interventions based on the degree of similarity between the nature of the client's life story and the story of human functioning incorporated in the theory. A classification of theories, examples of classification of client stories and some issues of implementation of this integrative proposal are discussed. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

Adult age differences in autobiographical reasoning in narratives.

Two studies examined age differences in autobiographical reasoning within narratives about personal experiences. In Study 1 (n=63), people completed brief interviews about turning points and crises in their lives. Older participants were more likely to narrate crises in ways that connected the experience to the speaker's sense of self, that is, to show autobiographical reasoning. This increase was primarily evident in young adulthood and midlife. In Study 2 (n=115), adults provided written narratives about heterogeneous autobiographical experiences. Age was associated with linear increases in the likelihood of autobiographical reasoning. The results are discussed in terms of narrative approaches to self-development across the life span. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

事件化抒情:生命的呼唤——论日常主义诗歌的诗学特征

事件化抒情,是日常主义诗歌的一个重要诗学特征.它具体、真实,是诗人谛听自己内心、谛听诗歌自身言说的最好方式.它有两种表现形式:热抒情和冷抒情.     

主题性旅游景区中公共设施的叙事功能探索

目的克服标准化的公共设施设计与主题性旅游景区在设计观念上脱节的问题,试图使两者实现审美与服务功能的完美统一。方法基于"产品语意学"理念,从"修辞性语言"的象征性传达和主题性旅游景区中的语境方面结合相关设计案例进行分析,得出主题性旅游景区中公共设施的设计方法。结论对于主题性旅游景区的公共设施,其形态语意应当传达出与环境主题相吻合的文化内涵,展现出景区独特的精神蕴意。