To recognize emotions using less obtrusive wearable sensors, we present a novel emotion recognition method that uses only pupil diameter (PD) and skin conductance (SC). Psychological studies show that these two signals are related to the attention level of humans exposed to visual stimuli. Based on this, we propose a feature extraction algorithm that extract correlation-based features for participants watching the same video clip. To boost performance given limited data, we implement a learning system without a deep architecture to classify arousal and valence. Our method outperforms not only state-of-art approaches, but also widely-used traditional and deep learning methods.

This paper proposes a discussion on opportunities offered by 3D visualization to improve the understanding and the analysis of cadastre data. It first introduce the rationale of having 3D visualization functionalities in the context of cadastre applications. Second the publication outline some basic concepts in 3D visualization. This section specially addresses the visualization pipeline as a driven classification schema to understand the steps leading to 3D visualization. In this section is also presented a brief review of current 3D standards and technologies. Next is proposed a summary of progress made in the last years in 3D cadastral visualization. For instance, user’s requirement, data and semiotics, and platforms are highlighted as main actions performed in the development of 3D cadastre visualization. This review could be perceived as an attempt to structure and emphasise the best practices in the domain of 3D cadastre visualization and as an inventory of issues that still need to be tackled. Finally, by providing a review on advances and trends in 3D visualization, the paper initiates a discussion and a critical analysis on the benefit of applying these new developments to cadastre domain. This final section discusses about enhancing 3D techniques as dynamic transparency and cutaway, 3D generalization, 3D visibility model, 3D annotation, 3D data and web platform, augmented reality, immersive virtual environment, 3D gaming, interaction techniques and time.

Research has shown that physiological sensors provide a valuable mechanism for quantifying the experience of audiences attending cultural events. In the strength of the applause or questionnaires, bio-sensors provide fine-grained timed data that can be used to infer the quality of the experience of the audience members. Unfortunately, available commercial sensors are designed for lab or home usage and studies, focusing on the individual instead of the reactions of a crowd of people. In this study, we present our own designed physiological measurement system that overcomes the challenges of using and deploying sensors in a theatrical environment (anonymity and privacy, real-time gathering of data, support for large crowds of 30-100 people), and the wearable system has two unique features that distinguished between adult audience members and children ones. We report our experimental results which particularly answered the research questions proposed by the producer, director, and the artists.

This article presents an end-to-end system for capturing physiological sensor data and visualising it on a real-time graphic dashboard and as part of an art installation. More specifically, it describes an event where the level of engagement of the audience was measured by means of Galvanic Skin Response (GSR) sensors and of the presenter through a sweater fitted with GSR, ECG and acceleration sensors. The gathered data was presented in real-time through a visualisation projected onto a screen and a physical electro-mechanical installation, which would change the height of helium-filled balloons depending on the atmosphere in the auditorium. Thereby trying to create a tangible way of making the invisible visible.

In September 2014, a local theatre company performed "the Tempest" simultaneously at two different locations to two separate audiences. Both audiences were linked together using an advanced video system, where several cameras captured the play. This is just one example of the radical shift in performing arts, where small theatre companies can use the Internet and a range of digital tools for reaching a wider remote audience. The question remains: what is the influence of this shift on the experience of the audience members? In order to better understand the problem space, we conducted two experiments focusing on two common current scenarios: remote asynchronous and synchronous watching of a theatre play. First, a theatre play was recorded and shown at a later date in a cinema to an audience. Second, a play in one theatre was broadcast to another theatre in real time. This paper reports the results of the experiments and discusses the implications towards the audience when bridging technology and performing arts. According to the results, a shift in time has a deep impact, with the audience rating their watching experience less intensive by 25% to the audience at the live venue. In the second experiment, on the other hand, both audiences reported fairly similar experiences, but different parts of the play had significant different impacts depending on the location where the audience was (in front of the stage or at another theatre). In particular it seems that lacking a way to show appreciation to the play e.g., applause has a big impact on the watching experience. The main conclusion though is that better mechanisms for including remote audiences in the experience are needed.

Measuring the experience of audience of arts events is essential in the experience economy of this day and age, but it is a difficult task. The value of such information goes beyond evaluating the impact of the arts, as it can provide insights and feedback to enhance the work of artists and the experiences of other audience members. Through in-depth understanding of the needs of the providers and consumers of the arts, we progressively developed a biosensor infrastructure that was deployed in theaters. Over the years, we identified the challenges and issues related to developing and deploying a biosensor infrastructure in theaters. These collective experiences and identified issues were categorized into three main areas: processes, data, and system. A total of seven heuristics are developed across the three main areas. Processes place the stakeholders and audiences at the core of the research; data provides guidelines for data validity, collecting a variety of data, and supporting real-time data gathering; and systems covers the concurrency, scalability, deployment and feedback of the infrastructure. We believe that this set of heuristics forms the foundation for an adequate infrastructure to measure audience experience in the wild and it is a valuable source of guideline for future work.

This article presents the results of modelling audience response to new types of networked theatre plays. As the main contribution of the work we introduce two types of metrics: intensity, relating to how intensively co-present and remote aspects of a performance are rated, and cohesion, relating to how a performance as a whole, the combination of co-present and remote aspects, affects an audience. In particular, we model audience response based on two in the wild evaluations, staged by a low budget theatre company, a streamed and a distributed performance. The streamed performance is similar to NT Live, where a theatre play is delivered to other theatres with an audience. The distributed performance, on the other hand, connects actors in two different theatres (with audiences) creating one single play. The streamed performance was experienced as less intense as well as less cohesive by the remote audience, whilst the distributed performance integrated co-present and remote aspects tightly. Remote aspects of the distributed performance were still experienced as less intense, but the performance as a whole was highly cohesive. Apart from the identification of these two new metrics (intensity and cohesion), based on our experiences we argue that an innovative way of bundling relevant emerging technologies is needed to give a voice to the, as yet silent, remote audience.

Accurately measuring the audience response during a performance is a difficult task. This is particularly the case for connected performances. In this paper, we staged a connected performance in which a remote audience enjoyed the performance in real-time. Both objective (galvanic skin response and behaviours) and subjective (interviews) responses from the live and remote audience members were recorded. To capture galvanic skin response, a group of self-built sensors was used to record the electrical conductance of the skin. The results of the measurements showed that both the live and the remote audience members had a similar response to the connected performance even though more vivid artistic artefacts had a stronger effect on the live audience. Some technical issues also influenced the experience of the remote audience. In conclusion we found that the remoteness had little influence on the connected performance.