This study discusses analogical reasoning and its role in creative problem solving. Specifically it looks at how novice first year university design students responded to the task of communicating a complex topic through the generation of a visual analogy; in this instance the task of explaining some aspect of what design is. Students were introduced to various theories about design and design process. They were also introduced to theories around analogical reasoning, particularly those around mapping. The students were then asked to demonstrate their understanding, not through critical discourse, but through applied creative practice. To provide a context, students had to create an illustration with the title ‘Design is Like…’. The findings suggest that the praxis based approach acted as an empirical bridge between theory and practice, providing students with an identifiable creative strategy and meta-cognitive awareness of their own design process
Adobe will offer a video focused workshop that will firstly introduce you to Premiere Rush, a brand-new app that makes shooting, editing and sharing online videos fast and easy and across all your devices from mobile to desktop.
Following that, we will give you an introduction to Motion Graphics in After Effects. Simply drag and drop spreadsheets into new data-driven Motion Graphics templates to quickly generate data visualisations.
Lastly explore Adobe’s VR tools with 180 and 360 VR effects and transitions – see how to easily create amazing content fast with tools for 180 and 360/VR effects and transitions in After Effects CC and auto-aware VR detection in Premiere Pro CC.
Travis New, Justin Carter and Ross McLennan Part of CW18
The Implementation of microtransactions within console game products has become increasingly more prevalent. The development of new strategies for increasing game revenue whilst maintaining positive gaming experiences has become increasingly important to developers and publishers of games.
To date, the implementation of microtransactions in game development has predominately been applied within the mobile gaming market. In recent years an increasing number of console game developers with significantly higher development budgets have attempted to implement these existing strategies with varying levels of success.
An important consideration in the application of microtransaction strategies is consumer advocacy. Through reviews, forums and online gaming communities, there is a rise in levels of consumer advocacy in the games industry. This notion of advocacy can have a significant effect on the acceptance of microtransaction strategies within game development and therefore becomes a key consideration for developers and publishers.
This paper presents the findings of an investigation into contemporary micro transaction strategies within the console game industry. Beginning with an exploration of existing micro transaction strategies the study illuminates the transaction experience through the lens of the consumer specifically focusing on the effects these strategies have on advocacy. Finally, the study provides key insights into the implementation of microtransactions for developers and publishers of video games.
Arden Sedmak and Justin Carter Part of CW18
Fundamental to the creation of real-time games is establishing how parameters within the game will behave in response to player input. The challenge for designers is that they must bridge the gap between the physical nature of the input device and the procedurally generated virtual simulation. Complexities arise in the modulation of position and rotation parameters when attempting to provide appealing physical simulations while maintaining instantaneous response. The challenge for the designer is to match the player’s preconception of how an object should behave within the physical simulation while maintaining the systems ability to respond in a timely manner.
This paper provides the results of a practice-led study that investigates how parameters of movement can be measured and modulated over time while maintaining system responsiveness. This is achieved by examining how signals from the input device can be mapped to changes in position and rotation within a selection of case studies. Findings from these case studies are then applied in the development of third person character action game.
The paper concludes by presenting an approach for measuring and analysing position and rotation parameters in relation to responsiveness during production phases of development.
Sean Backhouse, Justin Carter and Ross Mclennan Part of CW18
Photogrammetry involves the process of accurately measuring photographic image properties in order to acquire information relating to surface detail. Information collected during this photogrammetric analysis is then applied to computational models that attempt to accurately recreate three dimensional representations from the image data.
The use of photogrammetry by the video game industry is on the rise as developers attempt to use these techniques to create more realistic three dimensional assets in shorter time frames. This shift in production methodology has implications for independent developers of games that typically work in smaller teams with less funding.
This paper provides an overview of an investigation into what implications exist for independent developers by first investigating current applications of photogrammetry adopted by the games industry. These techniques are then explored through a practice-led research approach that aims to investigate solutions for independent developers. Finally the paper presents a cost effective strategy for independent developers to effectively create real-time game assets.
Grace Herrmann and Ross McLennan Part of CW18
The void is a multifarious subject with roots in ancient philosophy, spirituality, science and art. It is both multifarious and profound, suggesting a space of nothingness, silence and darkness, yet also the infinite and the sublime. In the visual arts, it has inspired prolific exploration from the works of Yves Klein to well-known, contemporary exponents like Anish Kapur.
This project will explore the void by integrating augmented reality (AR) into creative practice and employ the three defining characteristics of AR: combining the real and the virtual; interacting in real time; and registering in 3D (Avram, 2016, p.12). The resulting artwork will utilise virtual imagery projected onto sculptures, and motion sensors to allow audience interactivity in a physical space.
The project approaches AR as a concept rather than a technology, to focus on the creation of a meaningful experience of the void, without the barriers to immersion inherent using screen-based devices such as tablets and smartphones. The resulting artwork aims to create a new way of depicting and exploring the void using contemporary methods that build on the history of art.
Benjamin Lang and Ross McLennan Part of CW18
Immersion is a vital aspect of the video game experience (Brown, E. Cairns, P. 2004), and game audio plays a significant role in its design and consumption. Favourable audio has been shown to have a marked effect on the experience of immersion in video games (Gasselseder, H. 2014), while undesirable audio can negatively affect sensory and imaginative immersion (Brown, E. Cairns, P. 2004). As video game hubs in hub-based game designs are such an integral part of the overall experience, audio elements within hub zones must be as immersive as possible.
This study will attempt to improve levels of game immersion in hub zones by improving one aspect of audio design – the music. The research will require ten participants to interact with a re-composed hub environment for a duration of ten minutes. During this interaction, visual observations of the participants will measure any visual indicators of enjoyment and immersion. After the interaction period is complete, participants will be interviewed: how did they feel; how much time had they felt had passed and how much of an influence did the music have on their levels of enjoyment and immersion.
The research will be conducted using the methodological framework of action research, a cycling system of research where a product is created, tested, results reflected upon, then refined and created again using the information gathered. In order to gather enough data to create an effective immersive hub composition, three cycles of action research will be conducted. If successful, this iterative re-composition process could help improve immersion in hub environments – and video games in general.
Ross Mclennan and Ross McLennan Part of CW18
Songwriting is typically an art form which results in three or four minutes of sonic, structured, poetic time. However, songs typically take hours, days or even years to compose. But some of the greatest songs have been written fast. They seem to have spontaneously appeared from the ether in a state of relative completeness. This self-study explores the creation of such a song – composed in just five minutes – evaluating fast, compared to slow-form creations: the nature of the modern muse; the use of everyday technology to capture the spark of creativity; and the perceived benefit of a long-form honing process thereafter.
Ross Mclennan and Ross McLennan Part of CW18
Music’s emotional impact is ubiquitous. It is used to scare us on our screens, to soothe us into a state of consumer comfort in shopping centres and excite us into a frenzy of excitement at sports events. Yet this mainstream emotional manipulation, which seems so obvious, is in many ways still shrouded in mystery. This qualitative study analyses the manipulative power of one musical dimension – harmony – by comparing emotional reactions to a number of common and less well-known chords of varying levels of dissonance on music and non-music student participants. The results will be used to create a rudimentary harmonic/emotional framework to aid media composition students to manipulate their intended audiences. It is envisaged this framework will also act as a foundation for future research into musical/emotional manipulation.
Analogue painting is a form of chirographic picture making which is indexical to the artist’s gesture. Photo imaging technologies are commonly used to reproduce paintings, representing them as digital images. However, this reproduction process results in the loss of painting’s material facture. In this sense digital images are not reproductions of analogue paintings rather they are tokens for them. Increasingly audiences are experiencing paintings indirectly via token digital images, where the uniqueness of the sensory encounter with a painting’s facture; its mark making, materials and scale, is removed. This paper investigates the discourse surrounding the digitisation of analogue painting and identifies attempts to digitally translate painting’s material facture.