Performing emotions through technology: towards a degree of agency tool (DoAT) for assessing and applying agency to operated performing objects

Abstract

Performers are exposed to embodied characterization techniques embedded within their training that makes the transference of these concepts comfortable to integrate into external performance modes such as puppetry. So too do performing objects require a nuanced approach towards their performances being equated to characters’ expressions. However, technicians are expected to programme such mechanical performing objects with equivalent anthropomorphised agency, often without insight into embodied characterization. This paper explores the development and early validation of a pragmatic tool to assess and apply agency to performing objects. The degree of agency tool employs Affect theory to understand the process of anthropomorphisation. The degree of agency tool is designed to measure the degree of agency expressed by an operated performing object to avoid soulless mechanical performance. We argue that the tool includes an exploration of affect, emotion, anthropomorphisation, and non-verbal communication. As an outcome, the design research process reveals that these topics form the groundwork for the development of the degree of agency tool.

Keywords:

• affect
• degree of agency tool (DoAT)
• performing objects
• technician
• technology

Disclosure statement

No potential conflict of interest was reported by the author(s).

Notes

1 Anthropomorphisation is the psychological act of attributing human qualities to non-human entities (whether animals or objects).

2 The term ‘observer’ is preferred, as this references the technician, spectator, or actor. As opposed to merely using the term ‘spectator’ or ‘viewer’, which implies that character (agency) is only viable for meaning-making once the performing object is in performance.

3 A figure that is immediately recognized as a living entity, for example a woman or a goat.

4 Urquiza-Haas and Kotrschal (2015, p. 169) explains that the mirror neuron system processes observed actions that form part of the observer’s ‘motor repertoire’.

5 A ‘thing’ being human/humanoid/animal/creature/monster/personification/anthropomorphisation/abstract concept.

6 The actors are acknowledged as the persons who interpret a character and (re)creates their emotional journey; however, the actors also function as performers projecting their energy for the benefit of the performing object. This energy projection may also include other performers as operators that do not necessarily have the function to project the characters’ intentions. Hence, the distinction of referring to an actor for inclusion purposes.

7 Valence, or hedonic tone, is the affective quality referring to the intrinsic attractiveness/’good’-ness or averseness/’bad’-ness of an event, object, or situation. Emotional valence is predominately conveyed in social interactions by words and facial expressions (Kauschke et al. 2019).

8 Kinaesthetic describe the movement capabilities (gross motor or fine) of an entity.

9 Biologically based non-verbal communication is opposed to verbal communication that is culturally based. Verbal communication is not universally recognized because it is entrenched in one’s cultural upbringing.

10 Anthropocentric is used as an adjective to describe human-centred phenomena.

11 A language that is adopted as a common language between speakers whose native languages are different.