The current state of computer vision methods applied to autism spectrum disorder (ASD) research has not been well established. Increasing evidence suggests that computer vision techniques have a strong impact on autism research. The primary objective of this systematic review is to examine how computer vision analysis has been useful in ASD diagnosis, therapy and autism research in general. A systematic review of publications indexed on PubMed, IEEE Xplore and ACM Digital Library was conducted from 2009 to 2019. Search terms included [‘autis*’ AND (‘computer vision’ OR ‘behavio* imaging’ OR ‘behavio* analysis’ OR ‘affective computing’)]. Results are reported according to PRISMA statement. A total of 94 studies are included in the analysis. Eligible papers are categorised based on the potential biological/behavioural markers quantified in each study. Then, different computer vision approaches that were employed in the included papers are described. Different publicly available datasets are also reviewed in order to rapidly familiarise researchers with datasets applicable to their field and to accelerate both new behavioural and technological work on autism research. Finally, future research directions are outlined. The findings in this review suggest that computer vision analysis is useful for the quantification of behavioural/biological markers which can further lead to a more objective analysis in autism research.
This paper describes the Australian Research Council funded project Scenario, conducted at the iCinema Research Centre, University of New South Wales. Realized through interdisciplinary research, involving the domains of machine learning, interactive narrative and new media art, Scenario creates a mixed reality (MR) environment, surrounding the user within a 360-degree stereoscopic space, in which she can interact with digital characters that have a level of autonomy. Through its discussion of the aesthetics and technological architecture of Scenario the paper enters into an explanation of what is termed 'co-evolutionary' narrative, a function of the interactive relationship formed between a human user and an autonomous digital character. Understanding interaction as co-evolution the Scenario project enlists the philosophy of Gilles Deleuze and Manual DeLanda in order to propose interaction as a dynamic two-way process. The paper begins to unpack this theoretical framework for understanding interaction. INTRODUCTIONDigital aesthetics, in broad brush strokes, can be described as the critical reflection of the way digital technologies intersect with, or impact upon, the sensory processes by which we come to know the world. However, this is not to say that digital aesthetics are concerned merely with the 'representation' of the world by digital means. After all, new technologies are used most powerfully when they are applied as constructive, rather than 'representational' or decorative forces, expressing new ways of living in, understanding and interacting with the world. In this sense, we can say that at the heart of digital aesthetics is a concern with understanding the meaningful interactions between technological and human processes. Mixed Reality (MR) environments are progressively upscaling the everyday convergence of the technological and the human, dissolving the usual boundaries found at the interface of the screen, as digital images can enter the user's space. In these cases, and particularly where digital characters are given the capacity to act autonomously, interaction might be thought to embody an ecological relationship between users and digital characters, each affecting the way the other behaves and interprets the world. The relationship is ecological in the sense that interaction is a result of the interdependency between the human and the digital system, re-formatting the conventional aesthetic distinction set up between a beholder and a representational system [1]. Rather than a beholder encountering a linguistic or plastic 'representation', they, as agents in an interactive system, encounter other (digital) agents, such that both share levels of agency. Aesthetic considerations of such a model would focus on the philosophical concept of practical reasoning -as both human users and digital characters consider the way to act, or what to do, based on a relationship formed between internal and external forces -and a theory of narrative as central to the way we make meaning of the episodic ...
Interactive narratives are inextricable from the way that we understand our encounters with digital technology. This is based upon the way that these encounters are processually formed into a narrative of episodic events, arranged and re-arranged by various levels of agency. After describing past research conducted at the iCinema Research Centre at the University of New South Wales, this paper sets out a framework within which to build a relational theory of interactive narrative formation, outlining future research in the area.
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