Tina Gonsalves –
I digitized all of last nights footage. I edited helen’s in and out points – making them longer. I feel I am going to have ot deal with it another way – meaning – less talking – longer edit points. – edits driven by changes in emotional expression and not edit points…? The problem is is that if we don’t have key in and out points – it could just corrupt everything. As in – sort of become quite flippant. I need Jeff to start working on the next version of this. jeff Mann is building the video engine. He is still in Berlin, but I have a feeling things will be able to work with out him being here.
Kim Byers, from UCL interaction Center who was doing todays evaluation mentioned that the ‘best ‘ response were the portraits that didn’t talk much at all. the ambiguity gave a lot more room for interpretation. Editing, shooting wise, obviously someone who doesn’t talk is easier to deal with. Again, more space, more quietness, potentially more reflectiveness.
On the other hand, to elicit different emotional states, I often begin by talking to each of the participants. They mostly talk a lot – its amazing where the conversations lead to. Its such an interesting process.
Kim noticed that the characters got moody. She said by the end of the day – they were unresponsive. This was interesting, as I hadn’t quite told her about how the coding of the work has memory and overtime a mood and temperament for each character would build. I need to get the mood /temperament figures for kim to guide her evaluation. I also need to spend some time playing with them myself. I am not sure how to access them, but have asked jeff how we go about it.
