Can recent technology help bridge cultures through playful interaction appropriate to traditional tacit means of acquiring knowledge? In order to help answer this question, we designed four Adobe Flash-based based game prototypes and evaluated them via a touch-screen PC. The goal was to offer nonChinese participants a playful way of experiencing aspects of traditional Chinese culture. The four single-player games were based on the four arts of China (music, calligraphy, painting and the game of Go!). In the evaluation we asked non-Chinese and the Chinese participants to evaluate the games in terms of learning, fun, and cultural authenticity. While this form of tangible computing proved engaging, it raises technical issues of how to convey appropriately the interactive elements without the help of the evaluator, and how to evaluate user satisfaction. We also briefly discuss more embodied and spatial possibilities for projection and interaction.
1. Chinese Culture
Approached Through Touch
LI WANG, MASSEY UNIVERSITY NZ, NOW CHINA
ERIK CHAMPION, DIGHUMLAB DK AND AARHUS UNIVERSITY
TOUCH OF TAOISM 3 SEPTEMBER 2012
LI WANG AND ERIK CHAMPION
4. Lessons badly learnt
• Very difficult to recreate original action scenes
and moments of discovery as game devices.
• Chinese players, familiar with a distorted version
of the original, not aware their cultural knowledge
was not accurate, did not appreciate being told
this.
• Recreating linear narrative via game design is
torturous.
• OR: simulate the procedural knowledge of rituals
and symbol-making via thematically-akin
interaction..
4
5. New media
http://chinablog.cc/2009/10/siyi-four-arts-of-the-chinese-scholar/
• For example, some critics have argued that
new media “…offers enormous possibilities for
the enhancement and enrichment of heritage
experience and interpretation…” .
Y. E. Kalay, T. Kvan, & J. Affleck, New Heritage: new media and cultural heritage. New York: Routledge, 2008.
5
6. daoism
– Daoism (Taoism) is an ancient Chinese
combination of religion, philosophy, and
folk beliefs, including ritual healing. Its
different strands of belief date far back in
history. Daoism is deeply entwined with
Chinese culture and history.
– (J. Roberts, Chinese Mythology A to Z. New York: Chelsea House,
2009.)
http://chinablog.cc/2009/10/siyi-four-arts-of-the-chinese-scholar/
6
7. •
In ancient Chinaan
to be a scholar or a master is to be
artist, measured by one’s grasp of the “Four
Arts”.
• The “Four Arts”: Music (“Qin”), the board
game (“Qi”), calligraphy (“Shu”), and brush
painting (“Hua”).
• Helped “perceive the ultimate doctrine of the
heavens”, “make themselves [be]
enlightened”, “express their emotions/their
understanding of the doctrine”, and “inspire
others” so that their lives achieve peace and
harmony.
• Z. Dainian, Key Concepts in Chinese Philosophy. Beijing: Foreign Languages Press, 2002.
7
8. questions
• could games engage and educate
both types of audience?
• NB in pilot study of 12 people, found
marked differences between Chinese-
speaking and non-Chinese speaking
participants.
8
13. The music in the interface
• “Qin” literally refers
to a unique seven-
string Chinese music
instrument “Guqin”,
which was invented
3,000 years ago in
ancient China
• http://www.youtube.com/watch?v=nvhKTFzQ
G8Y http://chinablog.cc/2009/10/siyi-four-arts-of-the-chinese-scholar/
• https://eee.uci.edu/programs/rgarfias/sound-
recordings/qin/index.html
13
19. participants
Age Gender Native Language
54 Female English
43 Male German
38 Female English
21 Female English
20 Male English
21 Male English
50 Female Chinese
24 Female Chinese
23 Male Chinese
24 Female Chinese
33 Male Chinese
9 Male Chinese/English
19
20. memory
What are the Five Elements in the 25
traditional Chinese culture?
Q2: What are the Five Basic Tones in
the traditional Chinese music? 20
Q3: What are the traditional Chinese
philosophical concepts revealed 15
by Go?
NCHSG
Q4: Which one of the following CHSG
features is one of the main 10 Overall
features of Chinese character
writing system?
[ ] Cuneiform / [ ] Alphabet / [ ]
Pictography / [ ] Phonology? 5
Q5: What are the tools for Chinese
traditional painting?
0
Q1 Q2 Q3 Q4 Q5
20
21. Enjoyment criteria
50
• enjoyment of the game 45
play. 40
• the usability of the 35
game design.
30
• the graphic and the NCHSG
visual elements in the
25
CHSG
games 20
Overall
• the perceived cultural 15
authenticity of the 10
games. 5
0
Qin Qi Shu Hua
• “1” poor -“5” excellent.
22. usability
• The Chinese- 60
speaking group
scored “Qin” a 24 for 50
usability, as opposed
to18. 40
• the Chinese- NCHSG
speaking 30
CHSG
participants could Overall
recognize the 20
Chinese music notes
(for those notes are 10
written in Chinese
characters). 0
Qin Qi Shu Hua
22
23. graphics
• “Hua” was the most 60
aesthetically pleasing.
50
• “Qin” game was the
least. 40
• “Hua” game
provided more
NCHSG
30
CHSG
appealing visual Overall
elements in the 20
game.
10
0
Qin Qi Shu Hua
23
24. overall
250
200
150
Qin
Qi
Shu
100
Hua
50
0
Enjoyment Usability Graphic design Cultural Authenticity Overall
24
27. Conclusion
• A more comprehensive pre-test and post-test questionnaire.
• The general questions are too vague.
• Consider changing from rating games to ranking them.
• Test extrapolated knowledge rather than memory of simple facts.
• Examine how tacit knowledge can be learnt and evaluated.
• Compare tests between touch-screen and non-touch screen
games.
• A more 3D interface: sculptures, HD projection on rice paper or
liquid media, with 3D audio effects and ambient movies that
project on the background environment.
• Ambient movies react to the player’s physiological changes -by
biosensors.
• However, how can interactive digital media convey tacit
knowledge and how this tacit knowledge can be evaluated.
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28. Burning issues
How can we increase awareness and understanding of other cultures using
interactive digital visualizations of past civilizations?
In order to answer the above question, this book first examines the needs and
requirements of virtual travelers and tourists. Is there a market for virtual travel?
• Why are computer games and simulations so much more successful than other types of virtual
environments?
• Arguments that virtual environments are impeded by technological constraints or by a paucity
of evaluation studies can only be partially correct, for PC games / simulations are also virtual
environments.
• Many of the underlying issues are caused by a lack of engagement with the philosophical
underpinnings of culture, presence and inhabitation, and there are few exemplars that engage
the public with history and heritage using interactive media in a meaningful and relevant
manner.
• Help designers and critics understand the issues involved in creating virtual environments that
promote and disseminate historical learning and cultural heritage through a close study of the
interactive design principles at work behind both real and virtual places. Topics discussed
include the design of virtual environments, especially virtual heritage environments, virtual
place-making, cultural presence, the pros and cons of game-style interaction, augmented
reality projects, and appropriate evaluation methods.
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30. •
html5
http://mudcu.be/sketchpad/
• tutorial http://www.html5rocks.com/en/mobile/cross-
device/
• msdn and touchscreen
http://msdn.microsoft.com/en-us/hh563503.aspx
• with flash http://www.2morodocs.com/2010/05/think-
outside-the-computer-touchscreens-html5-flash/
• html 5 game examples
http://html5games.com/category/iphoneipadmobile/
• html 5 drawing on an iPad
http://tenderlovingcode.com/blog/web-apps/html5-
canvas-drawing-on-ipad/
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31. DIGHUMLAB launch
http://dighumlab.dk
• Rector Lauritz B. Holm-Nielsen
• Danish Minister for Science, Innovation and Higher Education, Morten Østergaard
• Dean of Arts, Aarhus University and Head of DHL Steering Group Mette Thunø
• DIGHUMLAB 1: Professor Bente Maegaard: Language Tools and CLARIN
• DIGHUMLAB 2: Professors Niels Ole Finnemann & Niels Brügger: NetLab
• DIGHUMLAB 3: Professor Johannes Wagner: Interaction and Design Studies
• Sally Chambers, Secretary General, DARIAH-EU Coordination Office
• Steven Krauwer, Executive Director, CLARIN ERIC
• Professor Patrik Svensson, HUMlab, Umeå University
• Professor Lorna Hughes, University of Wales
• Associate Professor Palmyre Pierroux, InterMedia, University of Oslo
• Professor Lily Díaz-Kommonen, Media Lab, Aalto University
• Erik Champion nzerik@gmail.com or echa@adm.au.dk
• Li Wang (Neil) neil.cnz@gmail.com
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Notas do Editor
literally means the “surrounding game”.black and white, represent the two primary aspects of the world, “Yin” (negative) and “Yang” (positive).
Figure 13 shows that the game “Hua” received the highest score of all four games in the aesthetically pleasing “Graphics” aspect, which is 55 out of 60, while the “Qin” game was rated the lowest (46 out of 60) score. In this section, there was a difference of nine points between the highest and lowest score.GraphicsThe conversations with the participants after the game suggest that the “Hua” game provided more appealing visual elements in the game, for example, the stained canvas of the painting scroll and the Chinese ink painting samples appeared during the game play. On the other hand, in the “Qi” game there was an identical “Go!” game board in the center of the screen with some black and white pieces, which appeared to be less visually stimulating than the other three games.
Figure 13 shows that the game “Hua” received the highest score of all four games in the aesthetically pleasing “Graphics” aspect, which is 55 out of 60, while the “Qin” game was rated the lowest (46 out of 60) score. In this section, there was a difference of nine points between the highest and lowest score.GraphicsThe conversations with the participants after the game suggest that the “Hua” game provided more appealing visual elements in the game, for example, the stained canvas of the painting scroll and the Chinese ink painting samples appeared during the game play. On the other hand, in the “Qi” game there was an identical “Go!” game board in the center of the screen with some black and white pieces, which appeared to be less visually stimulating than the other three games.
Figure 13 shows that the game “Hua” received the highest score of all four games in the aesthetically pleasing “Graphics” aspect, which is 55 out of 60, while the “Qin” game was rated the lowest (46 out of 60) score. In this section, there was a difference of nine points between the highest and lowest score.GraphicsThe conversations with the participants after the game suggest that the “Hua” game provided more appealing visual elements in the game, for example, the stained canvas of the painting scroll and the Chinese ink painting samples appeared during the game play. On the other hand, in the “Qi” game there was an identical “Go!” game board in the center of the screen with some black and white pieces, which appeared to be less visually stimulating than the other three games.
Figure 13 shows that the game “Hua” received the highest score of all four games in the aesthetically pleasing “Graphics” aspect, which is 55 out of 60, while the “Qin” game was rated the lowest (46 out of 60) score. In this section, there was a difference of nine points between the highest and lowest score.GraphicsThe conversations with the participants after the game suggest that the “Hua” game provided more appealing visual elements in the game, for example, the stained canvas of the painting scroll and the Chinese ink painting samples appeared during the game play. On the other hand, in the “Qi” game there was an identical “Go!” game board in the center of the screen with some black and white pieces, which appeared to be less visually stimulating than the other three games.