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Embodied by Design: the Presence of Creativity, Art-Making, and Self in Virtual Reality

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Embodied by Design: the Presence of Creativity, Art-Making, and Self in Virtual Reality Embodied by Design: The Presence of Creativity, Art-making, and Self in Virtual Reality Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Jessica Pissini, M.A. Graduate Program in Arts Education The Ohio State University 2020 Doctoral Examination Committee: Co-Chair: Christine Ballengee-Morris, PhD Co-Chair: Dana Carlisle Kletchka, PhD Shari Savage, PhD Vita Berezina-Blackburn, M.F.A. Matthew Lewis, PhD Copyright by Jessica Pissini 2020 Abstract From computational and scientific viewpoints, virtual reality (VR) is a well- researched technology, platform, and mode of communication. However, from an arts perspective, virtual reality has very few, if any, defined parameters as an artistic medium. This study aims to explore the technical affordances and the experiential and creative phenomena of art-making in virtual reality in an effort to establish VR as a contemporary artistic medium framed within an arts and museum education context. The embodied, open-ended play of art-making with the virtual medium presents a different kind of user experience than most other VR applications, which deserves alternative ways of classifying the immersive elements of virtual art-making. By using the social cognitive framework (Bandura, 1986) to guide my research, I consider the dynamic relationship between environment, person, and behavior in order to understand not only the technical elements, but also what type of immersive process and embodied creativity virtual artists experience and what types of art can they make. Through a phenomenological framework, design-thinking approach, and an arts-based research methodology, this study analyzes data collected from participants and uses data visualizations to bring the research to life and make it accessible for all audiences and fields of study. Additionally, this project aims to discover how artists and educators can use the virtual medium to inspire creativity and impactful art experiences within museum spaces in ways that transport the visitors from viewer-of-art to maker-of-art. ii Dedication Dedicated to my supportive, encouraging, and very patient parents and husband, and to my creative mentors, all of whom have influenced my life, thinking, and art- making in substantial ways. I am grateful for you all! iii Acknowledgments I would like to thank my co-advisors, Dr. Christine Ballengee Morris and Dr. Dana Carlisle Kletchka, for their guidance, thoughtful feedback, and patience throughout this entire research project, and also for their kindness and encouragement that was most definitely needed. I would also like to thank Dr. Shari Savage for her support of my research and creative projects, and also for her friendship and guidance navigating the complex path of academia. I am also very thankful for Vita Berezina-Blackburn, MFA, and Dr. Matthew Lewis, who have inspired and guided my creative endeavors at Ohio State throughout course projects and this research. Additionally, I am thankful for my department, Arts Administration, Education, and Policy (AAEP), for their support and funding over the years, and also for the Advanced Computing Center for the Arts and Design (ACCAD) at Ohio State for welcoming me into their creative spaces. The collaboration between AAEP and ACCAD made this project possible and helped me re-define my roles as an artist, designer, and educator, for which I am eternally grateful. Lastly, I would like to thank my family and friends who have encouraged me throughout my graduate studies and who have been along for the ride. I am so appreciative of and motivated by your love and support. iv Vita 2005 ……………………………………………… Hickory High School 2008 ………………………………………………B.A., Integrative Arts, International Arts minor, Pennsylvania State University 2009 ………………………………………………B.A., Classical History & Archeology, Pennsylvania State University 2010 – 2012 ………………………………………Graduate Assistant, Mendes Excavation, Tel El’Ruba, Egypt, Pennsylvania State University 2015 ………………………………………………M.A., Digital Art History, Duke University 2016 ……………………………………………… Graduate Research Assistant, Nasher Museum of Art, Duke University 2016 to present ……………………………………Graduate Teaching Associate, Department of Arts Administration, Education and Policy, The Ohio State University Fields of Study Major Field: Arts Education v Table of Contents Abstract .............................................................................................................................. ii Dedication ......................................................................................................................... iii Acknowledgments ............................................................................................................ iv Vita ..................................................................................................................................... v List of Tables .................................................................................................................... ix List of Figures .................................................................................................................... x PHASE 1: Project Details & Overview ........................................................................... 1 1.01 Research Problem & Research Questions............................................................... 1 1.02 My Roles, Perspectives and Philosophical Framework .......................................... 4 1.03 Research Phases and Design Thinking Approach .................................................. 9 1.04 Overview of Theoretical Framework and Literature ............................................ 12 1.05 Overview of Analytical Framework and Methodologies...................................... 18 1.06 Definitions, Scope and Limitations....................................................................... 23 PHASE 2: Foundational Research ................................................................................ 27 2.01 Social Theories...................................................................................................... 27 2.02 Environment: Design Theories & Affordances .................................................... 31 2.02.a Software and Algorithms. .............................................................................. 34 2.02.b Hardware. ....................................................................................................... 35 2.02.c Space Configuration. ...................................................................................... 39 2.02.d Behaviors and Interaction Patterns. ............................................................... 41 2.02.e Immersion and Presence. ............................................................................... 46 2.03 Person & Behavior: Experiential Phenomena....................................................... 53 vi 2.03.a Embodied Cognition, Somatics & the Mind-body Problem .......................... 55 2.03.b Creativity and Flow........................................................................................ 59 2.03.c Divergent Thinking. ....................................................................................... 63 2.04 Virtual Arts & Museum Education ....................................................................... 65 2.04.a Aesthetic Principles of Virtual Art ................................................................. 66 2.04.b Constructivist Learning Theory in Museums ................................................ 71 2.04.c Place Holder Project. ...................................................................................... 74 2.04.d Chalkroom...................................................................................................... 75 2.04.e Museums and Tilt Brush. ............................................................................... 77 2.04.f Cleveland Museum of Art ARTLENS. .......................................................... 79 PHASE 3: Artistic Exploration of the Medium ........................................................... 81 3.01 Creative-Based Methodologies ............................................................................. 81 3.01.a Research-led Practice. .................................................................................... 85 3.01.b Arts-based Research....................................................................................... 86 3.01.c Design (Arts)-Informed Research .................................................................. 91 3.02 Methods & Data Collection .................................................................................. 92 3.02.a Environment: Test Scenarios. ........................................................................ 93 3.02.b Person & Behavior: Participant Population. .................................................. 98 3.02.c Creative Background Survey. ...................................................................... 100 3.02.d Observation of Interaction and Artworks. ................................................... 101 3.02.e Interview and Feedback. .............................................................................. 103 3.02.f Data Visualization. ....................................................................................... 103 PHASE 4: Reflection & Analysis of Data ................................................................... 105 4.01 Age Groups
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