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Anita Kocsis Doctor of Philosophy School of Media Arts Icinema Centre for Interactive

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Anita Kocsis Doctor of Philosophy School of Media Arts Icinema Centre for Interactive Co-Designing New Media Spaces Candidate: Anita Kocsis Doctor of Philosophy School of Media Arts iCinema Centre for Interactive Cinema Research University of New South Wales 2010 1 Abstract Human centred design is a design philosophy that places the human at the centre of any design program. It engages in co-design practices that rely on participatory collaboration between designer and stakeholders. This thesis investigates how making meaning in digitally augmented exhibitions can satisfy the objectives of designers and content providers through the use of human centred design principles. It contends that a reflective analysis of collaborative design processes can improve stakeholder relations and meet the diverse needs and interests of audience members. New media museum exhibits position designers to represent the research of expert content providers. However differing stakeholder visions can turn collaborative design into an incoherent, competitive process in which audience experience, digital mediation, visualisation techniques and the meaning of the work become contested territory. In this thesis two key concepts, “brokering by design”, and the audience experience, are proposed as central to understanding and improving collaborative digital design. Firstly, “brokering by design” can resolve conceptual differences where a design impasse between stakeholders (such as curator, artist, designer, historian, scientist, museum staff) presents itself. Secondly, a study of the audience experience in the digital exhibition makes visible hitherto unseen levels of social interaction and profound experiential aspects. Two Case Studies serve as the analytic foundation of this thesis and assist to address the twofold purpose of this thesis. These are: (a) the problems in the design process and; (b) the reception of the resulting exhibition by the audience. The Case Studies utilise exploratory design methods in the context of The Virtual Room and PLACE digital exhibition platforms. The Virtual Room and PLACE platforms are semi-immersive, panoramic, 3D stereoscopic audio and video spaces that employ various levels of interactivity. These so-called digital containers serve a variety of curatorial domains ranging from scientific visualisation to virtual heritage and artistic experimentation. The Case Studies illustrate and analyse the divergent processes that unfold between audiences, content providers and designers. The first Case Study details a collaborative design project that underwent a process of contestation and incoherence. “Brokering by design” led to a mutual and shared inquiry into the stakeholders’ professional repertoires so as to reconcile stakeholder visions and produce a positive outcome. It further revealed the need to study the concept and reality of audience. In the second Case Study, a 2 phenomenological approach to “audience experience” revealed hitherto unseen understandings about audience interaction and perception of the digital container. Such understandings can inform future new media collaborations. 3 Acknowledgments I am thankful to Professor Jeffrey Shaw, my principal supervisor at the University of New South Wales, for his support and encouragement during the development of the thesis. Jeffrey generously assisted me with the research and with access to the technical, operational and conceptual areas of his research. He enabled me to connect with others working in the field. I would also like to thank Associate Professor Dennis Del Favero, my other supervisor, for his rigorous approach that encouraged me to clarify the difficult questions posed by the thesis. Fundamental to the design of the case studies was the participation and generous support from Sarah Kenderdine at the Melbourne Museum. Sarah made possible many connections that solidified the theoretical with the practical. In addition I would also like to thank the enthusiastic approach to the research by Professor Mathew Bailes and his team at The Swinburne Centre for Astrophysics and Supercomputing. Professor Bailes was prepared to include design research into the astrophysics projects. I would like to thank Dr Caroline Barnes who played a significant role in support throughout the thesis writing and design development phases. Caroline never deviated from the task influencing my reading, writing and research methods. In particular I would like to thank Stefan Siemsen who has been an inspiration for his ongoing support, for the constant revisions of my work, invaluable comments and expert advice for subsequent publications. Finally, it is with my greatest admiration that I thank Frank and Elizabeth who were wonderful motivators from start to finish. Without their practical help, looking after my two children under four I would never have concentrated long enough to make any significant changes. It is also with many thanks as an APA candidate to the Australian Government for financial and academic support during my candidature. 4 Declarations COPYRIGHT STATEMENT “I hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the university libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350-word abstract of my thesis in Dissertation Abstract International (this is applicable to doctoral theses only). I have either used no substantial portions of copyright material in my thesis or I have obtained permission to use copyright material; where permission has not been granted I have applied/will apply for a partial restriction of the digital copy of my thesis or dissertation.” Signed .............................................................................. Date .............................................................................. AUTHENTICITY STATEMENT “I certify that the library deposit digital copy is a direct equivalent of the final officially approved version of my thesis. No emendation of content has occurred and if there are any minor variations in formatting, they are the result of the conversion to digital format.” Signed .............................................................................. Date .............................................................................. 5 ORIGINALITY STATEMENT “I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgment is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project’s design and conception or in style, presentation and linguistic expression is acknowledged.” Signed ................................................................. Date ................................................................. 6 Contents Abstract................................................................................................................................................2 Acknowledgments..............................................................................................................................4 Preface ...............................................................................................................................................11 Chapter 1: Introduction ..................................................................................................................12 1.1 Background to the research............................................................................................15 1.1.1 The digitally augmented interactive immersive platform – the digital container............................................................................................................................15 1.1.2 Digital containers................................................................................................17 1.1.3 The museum and the digital container............................................................20 1.2 Chapter summary.............................................................................................................23 Chapter 2: The Methodology .........................................................................................................28 2.1 Introduction......................................................................................................................28 2.2 Research problem and aims ...........................................................................................31 2.3 Brokering by design.........................................................................................................31 2.4 Audience experience as a design determinant .............................................................33 2.5 The case studies................................................................................................................34 2.5.1 Case Study 1 ........................................................................................................34
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