ShowMotion: camera motion based 3D design review
I3D '06 Proceedings of the 2006 symposium on Interactive 3D graphics and games
The design of aesthetic interaction: towards a graceful interaction framework
Proceedings of the 2nd International Conference on Interaction Sciences: Information Technology, Culture and Human
Emotional interaction through physical movement
HCI'07 Proceedings of the 12th international conference on Human-computer interaction: intelligent multimodal interaction environments
Simple motion textures for ambient affect
Proceedings of the International Symposium on Computational Aesthetics in Graphics, Visualization, and Imaging
Special Section on CANS: Affective motion textures
Computers and Graphics
Distinctive parameters of expressive motion
Computational Aesthetics'09 Proceedings of the Fifth Eurographics conference on Computational Aesthetics in Graphics, Visualization and Imaging
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Interaction designers don't often discuss the aesthetics of movement in digital media. There is no vocabulary nor method---as there is for color and typography---to use in the generation or evaluation of digital compositions. Dewey offers us a philosophical aesthetic towards the communicative experience of art. His abstract theory provides the inspiration to create a practical method for designers of interactive media in a realistic design context. To build the bridge from abstraction to application I have turned to literature that analyzes the aesthetics of movement in visual arts, particularly for vocabularies of both formal and expressive movement qualities. Both vocabularies explore how we map our 3-D kinetic experience to make sense of 2-D qualities in artifacts. Isolated sets of kinetic qualities, as single mappings between experience and formal and expressive movement qualities, are identified. Communication design is comprised of large clusters of these mappings. This method of movement analysis provides the designer with a set of tools to control movement through the manipulation of its properties, both formal and expressive, thereby acting as a conduit that generates the link between designer, artifact, and viewer experience. Building blocks needed to create a communicative system and provide a method for practitioners to analyze and apply movement appropriately in digital compositions are presented. I conclude by briefly sketching how integration might be plausibly gauged by applying the vocabularies to examples of both static and kinetic compositions.