This paper explores the use of rear projected fabric panel tangible interfaces for use in music performance, interactive sculpture, and experiential systems. This idea is explored using the piece What We Have Lost / What We Have gained as an example. This paper demonstrates how HCI can be applied to and included within art disciplines to increase engagement with the artworks by transforming viewers into performers, participants, players, and co-creators. It further argues that by including embodied interactions artworks expand their ability to convey meaning to users.

Advances in online and computer supported education afford exciting opportunities to revolutionize the classroom, while also presenting a number of new challenges not faced in traditional educational settings. Foremost among these challenges is the problem of accurately and efficiently evaluating learner work as the class size grows, which is directly related to the larger goal of providing quality, timely, and actionable formative feedback. Recently there has been a surge in interest in using peer grading methods coupled with machine learning to accurately and fairly evaluate learner work while alleviating the instructor bottleneck and grading overload. Prior work in peer grading almost exclusively focuses on numerically scored grades -- either real-valued or ordinal. In this work, we consider the implications of peer ranking in which learners rank a small subset of peer work from strongest to weakest, and propose new types of computational analyses that can be applied to this ranking data. We adopt a Bayesian approach to the ranked peer grading problem and develop a novel model and method for utilizing ranked peer-grading data. We additionally develop a novel procedure for adaptively identifying which work should be ranked by particular peers in order to dynamically resolve ambiguity in the data and rapidly resolve a clearer picture of learner performance. We showcase our results on both synthetic and several real-world educational datasets.

Children and young adults are immersed in digital culture, but most are not familiar with the computational thinking behind the latest tools and technologies. There are few opportunities in secondary school curricula for students to learn such practices, but we believe that skills such as computational thinking, creative coding, collaboration, innovation, and information literacy can be taught in a highly effective manner by using aesthetic challenges as a motivation. In other words, by engaging students in creative digital arts projects they are naturally driven to acquire the many new skills to effectively use and understand the computational tools and techniques involved in creating digital and interactive projects. In this paper, we outline a project-based digital arts curriculum through which novice middle/high school students are intrinsically motivated to learn and apply science, technology, engineering and mathematics (STEM) skills and computational thinking.

This paper describes the Digital Culture BA degree: an engineering-arts undergraduate curriculum that combines competency-based education (CBE) and knowledge-oriented education (KOE) structures and related Pull-Push approaches. The degree has been offered for three years at Arizona State University, has 200 enrolled students and is continuing to grow. The degree embeds nine knowledge-oriented concentrations, each offered by a relevant participating department, within an interdisciplinary CBE context. The CBE part of the degree provides customized access to 40 interdisciplinary digital culture courses from 12 different academic units by connecting these courses through a set of core competencies. Access to courses is not determined by fixed prerequisites but rather by having one of several possible combinations of lower level competencies. This flexible curriculum is attractive to students, promotes integrative collaborative learning that inspires innovation, and prepares the type of engineering-arts experts and complex problem solvers that are currently needed in creative industries. This type of degree also presents several important challenges for educators and administrators. To address these challenges we developed project based assessment approaches, custom web-based software for advising a very diverse student body, as well as online tools for facilitating peer critique and feedback in large creative classrooms.

Contemporary distributed enterprises present challenges in terms of demonstrating community activity awareness and coherence across individuals and teams in collaborating networks. Building with a Memory is an experiential media system that captures and represents human activity in a distributed workplace over time. The system senses and analyzes movement in two workspaces in a mixed-use building with the results rendered in an informative ambient display in the building entryway. We describe the design and development of the system, together with insights from two studies of the installation and promising future directions.

The Interaction Stations Exhibit features screen-based, interactive works that align with the new conference themes, and integrate into the physical setting of the conference center. In this paper we describe our motivation for this format, as well as the works selected and larger connections.

Building with a Memory is a subtle responsive intervention that aims to provide cohesion and community awareness through the use of light and color. The installation delivers thought-provoking information by capturing, analyzing and rendering real-time and archived human activity in a workplace setting. The installation senses movement in the space through an IR camera and computer vision techniques. Two custom lighting fixtures and a video monitor render the aggregated movements. The visually simple aesthetic of the piece aims to balance active engagement and passive contribution, providing a rewarding experience for both occasional passersby and regular users of the space. This paper describes the motivations and contributions of the installation, together with insights gained from an informal evaluation and directions for future explorations.

Thrii is a multimodal interactive installation that explores levels of movement similarity among its participants. Each of the three participants manipulates a large spherical object whose movement is tracked via an embedded accelerometer. An analysis engine computes the similarity of movement for each possible pair of objects, as well as self-similarity (e.g., repetition of movement over time) for each object. The extent of similarity among the movements of each object is communicated by a visualization projected on a three-sided pyramid, a non-directional audio environment, and lighting produced by the spherical objects. The installation's focus is intended to examine notions of collaboration between participants. We have found that participants engage with Thrii through exploration of collaborative gestures.