We’re thrilled to announce that X World 2018 will be held again at UTS from June 27 through 29. Keep an eye out here and on our Twitter feed for more announcements, including our keynote speakers, and the call for participation!
Joel Rennich, Trusource Labs Part of XW17
Joel Rennich, Trusource Labs Part of XW17
Chris Little & Dale Patterson Part of CW17
The Willandra trackways are one of Australia’s most important historical sites. They include the footprints of our earliest Australians, some 20,000 years old, and all captured in the clay-pans of the Willandra lakes region. Unfortunately these national treasures are hidden, for their own protection, beneath a layer of sand and thus are completely unavailable to the broader public. This paper discusses the challenges in using digital capture techniques to capture and convert this data into interactive experience.
Blair Findlay & Justin Carter Part of CW17
Environmental storytelling has become a useful tool in game design as it can be employed in different ways depending on the designer’s needs. The use of these techniques while documented aren’t described clearly for a designer to easily incorporate into their game designs. This paper explores environmental storytelling and its utilisation in games with the knowledge translated into the design and creation of principles to serve as the means of answering the needs of beginning designers.
Daniel Field Part of CW17
This paper describes early work on an approach to automatic improvisation in the jazz idiom, derived from analysis of human practice, with algorithm development in the Jython Environment for Music (JEM). From the outset this project sought to be inspired by the human process of jazz improvisation and to apply as directly as possible the logic and processes of a human engaged in the activity of jazz improvisation – without necessarily using any specific computing technique or algorithm class. This paper describes the thinking and early experimentation leading to the current prototype version which improvises essentially in real-time and demonstrates how the use of variable parameters can greatly increase the flexibility of procedural programming.
David Sargent Part of CW17
Consumer facing Augmented Reality (AR) technology offers innovative new ways for consumers to engage and interact with brands and products via interactive advertising and experiences. Conversely, this technology also creates new channels that can be exploited and subverted by those who wish to generate critical reflection of consumerist culture. This paper aims to highlight that consumer AR technology presents new and unique opportunities for activists interested in subversive communication.
Rae Cooper Part of CW17
There is a growing decline in political engagement amongst young Australian voters. Simultaneously, we have a growing number of digital platforms designed to assist voters in making choices, understanding their preferences and ultimately – who to vote for. This paper explores a shift in response to the issue of political apathy, through the design of a new online platform. By moving the focus from political science to visual communication design, this new concept aims to engage a contemporary understanding of design activism as a mechanism of political empowerment.
Stevie Mills & Justin Carter Part of CW17
Visual representation for video games describes the way in which objects are displayed in order to convey meaning and recognition for the player. As a component of the games metaphor, visual representation offers context for interaction and provides players with meaning for their actions. A key component of visual representation is how closely the representation resembles real objects. If the representation establishes full resemblance it is considered realistic. However, if it does not attempt to resemble or provide meaning for the object it is considered abstract. Early generation game systems provided low fidelity graphical capabilities and therefore designers were restricted in the level of realism that could be achieved. With the introduction of each new generation of game systems, capability to achieve more realistic fidelity in representations has increased expanding the spectrum of possibility between real and abstract. This notion of varying levels of abstraction linked to interaction has implications for designers of video games attempting to achieve specific gameplay sensations. Tensions arise for player sensation when the level of abstraction fails to the match the player’s expected preconception of the game’s play mechanics, creating a dissonance between player and the game play experience.
This paper outlines the results of a practice-led study examining visual representation as a component of game design. This is achieved through the development of a prototype that provides opportunity to explore varying levels of abstraction within specific rule based contexts. The study illuminates links between how meaning is conveyed visually to a player and the implications this has for game play sensation.
Matt McRae & Reza Ryan Part of CW17
One of the major barriers in creating a customisable 3D character is the lack of knowledge into the creative and technical pipeline required. Most games that have these kinds of systems are high budget games, with the artists and programmers having lifetimes worth of experience. These systems are also highly valued, and as such are often proprietary in nature, which means very little information on the actual construction is readily available. This research project aims to design a pipeline for creating a base character mesh tor single mesh to be used in a character creation system.