Abstract
As a branch of digital art, interactive art has typical characteristics, including aesthetics, digitization, and interactivity. Spatial and temporal experiences often accompany the artwork. With the development of digital communication and technology, this form of art has become more and more abundant but more and more challenging to ensure the balance between features. Therefore, this paper proposes a framework named Modified SCQA for interactive scenario creation. This framework is constructed based on the classic SCQA Model and integrates cinematic narrative methods and aesthetic-cognitive models. By combining the interactive art scenario with the Modified SCQA Framework, the article aims to help format temporal and spatial narrative structure and balance between aesthetic, behavioral, and technical elements and symbols, providing continuous high-value experience and accurate communication of concepts and emotions.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Similar content being viewed by others
References
Candy, L., Amitani, S., Bilda, Z.: Practice-led strategies for interactive art re-search. CoDesign 2(4), 209–223 (2006)
Edmonds, E., Turner, G., Candy, L.: Approaches to interactive art systems. In: proceedings of the 2nd International Conference on Computer graphics and Interactive Techniques in Australasia and South East Asia, pp. 113–117 (2004)
Costello, B., Muller, L., Amitani, S., et al.: Understanding the experience of interactive art: lamascope in Beta_space. In: ACM International Conference Proceeding Series, vol. 123, pp. 49–56 (2005)
Jeon, M., Fiebrink, R., Edmonds, E.A., Herath, D.: From rituals to magic: Interactive art and HCI of the past, present, and future. Int. J. Hum Comput Stud. 131, 108–119 (2019)
Zimmerman, E.: Narrative, interactivity, play, and games: Four naughty concepts in need of discipline. First person: New media as story, performance, and game 154 (2004)
Neto, J.S.D.O., Filgueiras, L.V.L.: Crossmedia application design: exploring linear and non-linear narrative abilities. In: Proceedings of the 26th Annual ACM International Conference on Design of communication, pp.22–24 (2008)
Yang, Z.: Cross media narrative analysis of literary IP adapted animation. J. News Res. 12(03), 143–146 (2021)
Schiller, M.: Transmedia Storytelling. Amsterdam University Press, Amsterdam (2022)
Kluszczynski, R.W.: Strategies of interactive art. J. Aesthetics & Culture 2(1), 5525 (2010)
Dannenberg, R.B., Bates, J.A.: Model for interactive art (1995)
Ogle, G.: Screenwriting for new film mediums: conceptualizing visual models for interactive storytelling. J. Screenwriting 10(1), 3–27 (2019)
Ryan, M.L.: Beyond myth and metaphor: narrative in digital media. Poetics Today 23(4), 581–609 (2002)
Ryan, M.L.: Toward a definition of narrative. Camb. companion to narrative 22-35 (2007)
Gilroy, S.W., Cavazza, M., Chaignon, R., et al.: An affective model of user experience for interactive art. In: Proceedings of the 2008 International Conference on Advances in Computer Entertainment Technology, pp. 107–110 (2008)
Huang, M., Ali, R., Liao, J.: The effect of user experience in online games on word of mouth: A pleasure-arousal-dominance (PAD) model perspective. Comput. Hum. Behav. 75, 329–338 (2017)
Duarte, E.F., Baranauskas, M.C.C.: Revisiting interactive art from an interaction design perspective: Opening a research agenda. In: Proceedings of the 17th Brazilian Symposium on Human Factors in Computing Systems, pp.1–10 (2018)
Costello, B.: A pleasure framework. Leonardo 40(4), 370–371 (2007)
Oh, J., Kim, S., Kim, S., et al.: A Study of Interactive Art in the Narrative Form of Magic Monkey. In: Eighth International Conference Computer Graphics, Imaging and Visualization. IEEE 39–46 (2011)
Ware, S.G.: A plan-based model of conflict for narrative reasoning and generation. North Carolina State University (2014)
Minto, B.: The Minto pyramid principle: logic in writing, thinking and problem solving. Minto International Inc (1996)
Lin, F.L.Y.: Narrative rhythm of the informational picture book: a seed is sleepy. Image Narrative 22(3), 88–114 (2021)
Ismail, N.: Emotional engagement in feature film storytelling: reframing the classical three-act structure. J. Skrin Malaysia 3, 35–54 (2006)
Huang, H.C., Pham, T.T.L., Wong, M.K., et al.: How to create flow experience in exergames? Perspective of flow theory. Telematics Inform. 35(5), 1288–1296 (2018)
Akman, E., Çakır, R.: Pupils’ opinions on an educational virtual reality game in terms of flow experience. Int. J. Emerg. Technol. Learn. 14(15), 121–137 (2019)
Chang, C.C., Warden, C.A., Liang, C., et al.: Effects of digital game-based learning on achievement, flow and overall cognitive load. Australas. J. Educ. Technol. 34(4), 124–137 (2018)
Iida, H., Khalid, M.N.A.: Using games to study law of motions in mind. IEEE Access 8(1), 138701–138709 (2020)
Boyan, A., McGloin, R., Wasserman, J.A.: Model matching theory: a framework for examining the alignment between game mechanics and mental models. Media Commun. 6(2), 126–136 (2018)
Pudjoatmodjo, B., Mandasari, R. I. M., Salam, S., et al.: Storytelling Technique Using Three Act Structure and Directed Graph for Virtual Reality Game (case study: UrBandung Legend). In: 7th International Conference on Information and Communication Technology (ICoICT), IEEE. pp.1–5 (2019)
Csikszentmihalyi, M.: Play and intrinsic rewards. In: Flow and the Foundations of Positive Psychology, pp. 135–153. Springer, Dordrecht (2014). https://doi.org/10.1007/978-94-017-9088-8_10
Van Calster, L., D’Argembeau, A., Salmon, E., et al.: Fluctuations of attentional networks and default mode network during the resting state reflect variations in cognitive states: evidence from a novel resting-state experience sampling method. J. Cogn. Neurosci. 29(1), 95–113 (2017)
Samsonovich, A., DeJong, K.: A General-Purpose Computational Model of the Conscious Mind. In: Processing of the sixth international Conference on Cognitive Modeling, pp.382–282 (2004)
Redies, C.: Combining universal beauty and cultural context in a unifying model of visual aesthetic experience. Front. Hum. Neurosci. 9, 218 (2015)
Pelowski, M.: Tears and transformation: feeling like crying as an indicator of insightful or “aesthetic” experience with art. Front. Psychol. 6 1006 (2016)
Yang, Y.F.: Cognitive conflicts and resolutions in online text revisions: three profiles. J. Educ. Technol. Soc. 13(4), 202–214 (2010)
Paolo, E.A.D., Barandiaran, X.E., Beaton, M., et al.: Learning to perceive in the sensorimotor approach: piaget’s theory of equilibration interpreted dynamically. Front. Hum. Neurosci. 8, 551 (2014)
Acknowledgement
This research is supported by the Initial Funding for the Doctoral Program of BIGC (27170121001/028).
Author information
Authors and Affiliations
Corresponding author
Editor information
Editors and Affiliations
Rights and permissions
Copyright information
© 2022 Springer Nature Switzerland AG
About this paper
Cite this paper
Huang, Y., Ji, C., Chen, C. (2022). Modified SCQA Framework for Interactive Scenario Design. In: Rauterberg, M., Fui-Hoon Nah, F., Siau, K., Krömker, H., Wei, J., Salvendy, G. (eds) HCI International 2022 – Late Breaking Papers: HCI for Today's Community and Economy. HCII 2022. Lecture Notes in Computer Science, vol 13520. Springer, Cham. https://doi.org/10.1007/978-3-031-18158-0_2
Download citation
DOI: https://doi.org/10.1007/978-3-031-18158-0_2
Published:
Publisher Name: Springer, Cham
Print ISBN: 978-3-031-18157-3
Online ISBN: 978-3-031-18158-0
eBook Packages: Computer ScienceComputer Science (R0)