title: The role of social signals in segmenting observed actions in eighteen-month-old children.

authors: Kliesch, Christian

subjects: Action Imitation

abstract: Learning about actions requires children to identify the boundaries of an action and its units. Whereas some action units are easily identified, parents can support children's action learning by adjusting the presentation and using social signals. However, currently little is understood regarding how children use these signals to learn actions. 
In the current study we investigate the possibility that communicative signals are a particularly suitable cue for segmenting events. We investigated this hypothesis by presenting 18-month-old children (N = 60) with short action sequences consisting of toy animals either hopping or sliding across a board into a house, but interrupting this two-step sequence either (a) using an ostensive signal as a segmentation cue, (b) using a non-ostensive segmentation cue, and (c) without additional segmentation information between the actions. 
Marking the boundary using communicative signals increased children's imitation of the less salient sliding action. Imitation of the hopping action remained unaffected. Crucially, marking the boundary of both actions using a non-communicative control condition did not increase imitation of either action. Communicative signals might be particularly suitable in segmenting non-salient actions that would otherwise be perceived as part of another action or as non-intentional. These results provide evidence of the importance of ostensive signals at event boundaries in scaffolding children's learning.

text: The role of social signals in segmenting observed actions in eighteen-month-old children. Learning about actions requires children to identify the boundaries of an action and its units. Whereas some action units are easily identified, parents can support children's action learning by adjusting the presentation and using social signals. However, currently little is understood regarding how children use these signals to learn actions. 
In the current study we investigate the possibility that communicative signals are a particularly suitable cue for segmenting events. We investigated this hypothesis by presenting 18-month-old children (N = 60) with short action sequences consisting of toy animals either hopping or sliding across a board into a house, but interrupting this two-step sequence either (a) using an ostensive signal as a segmentation cue, (b) using a non-ostensive segmentation cue, and (c) without additional segmentation information between the actions. 
Marking the boundary using communicative signals increased children's imitation of the less salient sliding action. Imitation of the hopping action remained unaffected. Crucially, marking the boundary of both actions using a non-communicative control condition did not increase imitation of either action. Communicative signals might be particularly suitable in segmenting non-salient actions that would otherwise be perceived as part of another action or as non-intentional. These results provide evidence of the importance of ostensive signals at event boundaries in scaffolding children's learning.

year: 2021

title: Envisioning VR theatre: Virtual reality as an assistive technology in theatre performance

authors: Srinivasan, Saikrishna

subjects: Virtual Reality

abstract: This research project focuses on exploring the potential artistic advancements provided by the inclusion and incorporation of Virtual Reality (VR) within theatre. The incorporation of VR technology into theatre performance ultimately aims to alter a theatre experience by adding spatial presence for audiences and adding new production considerations for theatre practitioners. This project investigated the conceptual nature and practical aspects of using 360-degree cameras placed on stage to enable virtual teleportation onto the stage from the audience or remote viewing.
This thesis constitutes a PhD ‘with publication’ and includes reprints of quality assured peer reviewed scholarly articles produced at different stages on the project. The first study examines the early development and use of three-dimensional theatre prototyping to identify the technical requirements for VR theatre. A digital theatrical prototype was designed, along with mathematical calculations to determine the optimal placement of 360-degree cameras on stage. The study reveals multiple camera angles that can be utilized to capture a 360-degree/VR theatre experience.
Building upon the findings of the first study, the second study focuses on practical and technical factors such as visibility, sound, lighting, and visual intensity to enhance audience access and proximity to live performances. Different camera positions were found to be suitable for different theatre styles. The study suggests that the application of VR technology in theatre stages can yield highly satisfying results, as reported by participating actors.
Following initial prototyping and planning, the PhD then experienced the impact of COVID-19 that prevented planned collaboration with local theatre practitioners that would have enabled a substantive practical application of VR, technical refinements and, user and audience testing. However, in response to the impact of COVID-19 on the theatre industry, the third study investigated the use of virtually designed spaces and the inclusion of 3D avatars/characters or real actors in performances. It explores the creation of photorealistic virtual worlds that mimic real-world environments and examines audience perceptions of virtual theatre experiences. The study presents a modernization of theatre performance by incorporating 3D virtual spaces, akin to VR games, but with limited interactive freedom for the audience.
The fourth and final study involved the development of a post-pandemic experimental theatre performance based on the insights and data collected from the previous studies. It focuses on the virtual teleportation of an audience onto the stage during a performance, facilitated by VR headsets and a 360-degree camera mounted on the actor. Within the experiment participants experienced the performance through VR headsets. The audience and theatre practitioners were then invited to participate in a post interview session, to note their feedback and comments regarding the experience. Despite the limited number of participants due to COVID-19 restrictions, the study highlighted the positive nature of the VR experience pointing to the possibilities for increased virtual access to live theatre beyond this research.
Overall, the results of these studies shed light on key practical considerations involved in the integration of VR into theatre performances. The approaches taken in each study support and guide best practice but also opens up VR-assisted theatre to grass roots level community and local theatre so that VR can become a common consideration and tool for all forms of theatre.

text: Envisioning VR theatre: Virtual reality as an assistive technology in theatre performance This research project focuses on exploring the potential artistic advancements provided by the inclusion and incorporation of Virtual Reality (VR) within theatre. The incorporation of VR technology into theatre performance ultimately aims to alter a theatre experience by adding spatial presence for audiences and adding new production considerations for theatre practitioners. This project investigated the conceptual nature and practical aspects of using 360-degree cameras placed on stage to enable virtual teleportation onto the stage from the audience or remote viewing.
This thesis constitutes a PhD ‘with publication’ and includes reprints of quality assured peer reviewed scholarly articles produced at different stages on the project. The first study examines the early development and use of three-dimensional theatre prototyping to identify the technical requirements for VR theatre. A digital theatrical prototype was designed, along with mathematical calculations to determine the optimal placement of 360-degree cameras on stage. The study reveals multiple camera angles that can be utilized to capture a 360-degree/VR theatre experience.
Building upon the findings of the first study, the second study focuses on practical and technical factors such as visibility, sound, lighting, and visual intensity to enhance audience access and proximity to live performances. Different camera positions were found to be suitable for different theatre styles. The study suggests that the application of VR technology in theatre stages can yield highly satisfying results, as reported by participating actors.
Following initial prototyping and planning, the PhD then experienced the impact of COVID-19 that prevented planned collaboration with local theatre practitioners that would have enabled a substantive practical application of VR, technical refinements and, user and audience testing. However, in response to the impact of COVID-19 on the theatre industry, the third study investigated the use of virtually designed spaces and the inclusion of 3D avatars/characters or real actors in performances. It explores the creation of photorealistic virtual worlds that mimic real-world environments and examines audience perceptions of virtual theatre experiences. The study presents a modernization of theatre performance by incorporating 3D virtual spaces, akin to VR games, but with limited interactive freedom for the audience.
The fourth and final study involved the development of a post-pandemic experimental theatre performance based on the insights and data collected from the previous studies. It focuses on the virtual teleportation of an audience onto the stage during a performance, facilitated by VR headsets and a 360-degree camera mounted on the actor. Within the experiment participants experienced the performance through VR headsets. The audience and theatre practitioners were then invited to participate in a post interview session, to note their feedback and comments regarding the experience. Despite the limited number of participants due to COVID-19 restrictions, the study highlighted the positive nature of the VR experience pointing to the possibilities for increased virtual access to live theatre beyond this research.
Overall, the results of these studies shed light on key practical considerations involved in the integration of VR into theatre performances. The approaches taken in each study support and guide best practice but also opens up VR-assisted theatre to grass roots level community and local theatre so that VR can become a common consideration and tool for all forms of theatre.

year: 2024

title: Incentivising change in the Lake Rotorua catchment

authors: Grayling, Anna

abstract: Anna Grayling is the Rotorua Lakes Business Manager for Bay of Plenty Regional Council. After completing a Bachelor of Law and a Bachelor of Sciences at the University of Waikato, Anna’s career began as an ecological consultant. Following this role, Anna spent five years in planning and policy for both the district and regional councils. For the last five years Anna has been dedicated to the Rotorua Te Arawa Lakes Programme. She is now the project lead for the Incentive Fund Development for land-use change in the Lake Rotorua catchment.
Alastair MacCormick has worked as a Lakes Restoration Officer with the Bay of Plenty Regional Council since 2007. His primary function has been the implementation of nutrient discharge limits under Rule 11. An experienced user of the Overseer nutrient budgeting software, and with broad knowledge of farming systems in the catchment, he also provides information and advice on the issues and complications associated with nutrient accounting.

text: Incentivising change in the Lake Rotorua catchment Anna Grayling is the Rotorua Lakes Business Manager for Bay of Plenty Regional Council. After completing a Bachelor of Law and a Bachelor of Sciences at the University of Waikato, Anna’s career began as an ecological consultant. Following this role, Anna spent five years in planning and policy for both the district and regional councils. For the last five years Anna has been dedicated to the Rotorua Te Arawa Lakes Programme. She is now the project lead for the Incentive Fund Development for land-use change in the Lake Rotorua catchment.
Alastair MacCormick has worked as a Lakes Restoration Officer with the Bay of Plenty Regional Council since 2007. His primary function has been the implementation of nutrient discharge limits under Rule 11. An experienced user of the Overseer nutrient budgeting software, and with broad knowledge of farming systems in the catchment, he also provides information and advice on the issues and complications associated with nutrient accounting.

year: 2013