Teaching Workshop: Creation and New Technologies: Emotions, Images, and Performance
A.Y. 2025/2026
Learning objectives
The workshop Creation and New Technologies: Emotions, Images, and Performance is aimed at undergraduate and graduate students in Cultural Heritage studies. Its goal is to provide the necessary skills to understand the role of creativity in artistic productions that incorporate new digital technologies (AI and VR). Among the specific objectives, the following stand out: First, understanding the role of aesthetic emotions in both the creation and the experience of these artistic productions. Second, analyzing aesthetic interpretation models for these new forms of art, which place perception, images, and values at the core of their theoretical framework. Lastly, investigating how the concept of performance evolves with the integration of digital technologies into artistic practices. In addition to a theoretical approach provided by experts in the philosophy of emotions and human-machine interaction, the workshop also offers students hands-on experience in managing and producing performances in virtual and augmented reality.
Expected learning outcomes
· Develop a solid understanding of the role of creativity in artistic productions that utilize AI and VR.
· Comprehend the influence of emotions in the experience and creation of these forms of art.
· Analyze the artistic creativity phenomenon from an aesthetic perspective in relation to AI and VR.
· Identify the role of technology in redefining creativity within VR artistic performances.
· Comprehend the influence of emotions in the experience and creation of these forms of art.
· Analyze the artistic creativity phenomenon from an aesthetic perspective in relation to AI and VR.
· Identify the role of technology in redefining creativity within VR artistic performances.
Lesson period: Second semester
Assessment methods: Giudizio di approvazione
Assessment result: superato/non superato
Single course
This course cannot be attended as a single course. Please check our list of single courses to find the ones available for enrolment.
Course syllabus and organization
Single session
Responsible
Lesson period
Second semester
Course syllabus
Session 1. Introduction to the Laboratory
· Presentation of the laboratory and learning objectives
· What does it mean to "create" with AI, VR, and AR
· Technology as a tool vs. technology as a communicative medium
· Overview of contemporary artistic practices based on new technologies
Session 2. Emotions, Perception, and Technology (focus on AR and VR)
· Emotions in artistic experience (brief introduction)
· Difference between:
o viewing an image
o being inside an image (interaction)
· Extended Reality (AR/VR) as technologies that:
o modulate attention
o reshape presence and perception (especially VR)
· Definition of AR: perception and uses
· Definition of VR: perception and uses
Session 3. Performance, Body, and Presence (focus on AR and VR)
· Traditional performance vs. immersive performance
· The body (perception) and modes of interaction with virtual environments
· Senses involved and differences between traditional, AR, and VR experiences
· The spectator becoming:
o a participant
o a performer
· Examples of:
o VR performances
o AR performances
o interactive installations
Session 4. VR as a Creative and Emotional Space
Theme: Representing an emotion within a fully virtual space
Possible activity: Group work
· Designing a conceptual VR environment using storyboards, maps, or keywords
· Defining which senses are involved and how (possible focus on: color, images, sound/rhythm)
· Defining how users interact with the virtual world (e.g., first-person perspective?)
Session 5. AR and Augmented Reality as Situated Performance
Theme: AR as interaction between the real and the virtual worlds (Tangible Interfaces and Hybrid Applications)
Possible activity: Group work
Designing a micro-performance in AR
· What do you want to represent?
· Where? (e.g., university space, urban environment, )
· Which virtual elements are introduced into the real world?
· How do real and virtual elements interact?
Session 6. Generative AI and Imagination
Definition of Generative AI and Large Language Models (LLMs)
Types of LLMs:
· text-based LLMs
· multimodal LLMs
· Generation of: images, video, and/or audio
Generative AI as:
· an imaginative machine
· a co-author
Brief reflection on authorship and control (is the author always the one who writes the prompt?)
Activity: Guided exercise using text and multimodal LLMs (Creation of a short performative micro-narrative)
Session 7. Generative AI for Images, Video, and Audio
Guided analysis of AI-generated images and videos (e.g., Sora, Veo,...), with a focus on represented images and emotions (symbolic images, abstract images, etc.)
Activity: Representing an emotion through AI (Group exercise: generating an image or video using AI tools)
Session 8. Performance, Body, and Non-Human Agents
AI as embodied technology (e.g., social robots)
How can emotional space be represented through robots?
Focus:
· Human performance vs. non-human performance
· The robot as:
o Wizard of Oz controlled agent
o a programmed actor
o a dynamically reactive agent
· Why and when does a robot appear to express emotions? (gesture, gaze, and interaction rhythm)
· Examples of artistic performances involving: humans and robots / robots alone
Session 9. From Concept to Experience
Group work: development of the final project (concept, experience, and mode of fruition)
Designing a technological artwork: an artistic project based on new technologies (AI, VR, AR, or robotics, freely chosen by each group)
Final output: a written document and/or conceptual mock-up of the project
Session 10. Project Presentations and Final Round Table
Presentation of the projects developed during the laboratory
Final discussion on:
· creativity and AI
· VR and AR as artistic languages
· the transformation of performance through digital technologies
(Focus on learning outcomes)
· Presentation of the laboratory and learning objectives
· What does it mean to "create" with AI, VR, and AR
· Technology as a tool vs. technology as a communicative medium
· Overview of contemporary artistic practices based on new technologies
Session 2. Emotions, Perception, and Technology (focus on AR and VR)
· Emotions in artistic experience (brief introduction)
· Difference between:
o viewing an image
o being inside an image (interaction)
· Extended Reality (AR/VR) as technologies that:
o modulate attention
o reshape presence and perception (especially VR)
· Definition of AR: perception and uses
· Definition of VR: perception and uses
Session 3. Performance, Body, and Presence (focus on AR and VR)
· Traditional performance vs. immersive performance
· The body (perception) and modes of interaction with virtual environments
· Senses involved and differences between traditional, AR, and VR experiences
· The spectator becoming:
o a participant
o a performer
· Examples of:
o VR performances
o AR performances
o interactive installations
Session 4. VR as a Creative and Emotional Space
Theme: Representing an emotion within a fully virtual space
Possible activity: Group work
· Designing a conceptual VR environment using storyboards, maps, or keywords
· Defining which senses are involved and how (possible focus on: color, images, sound/rhythm)
· Defining how users interact with the virtual world (e.g., first-person perspective?)
Session 5. AR and Augmented Reality as Situated Performance
Theme: AR as interaction between the real and the virtual worlds (Tangible Interfaces and Hybrid Applications)
Possible activity: Group work
Designing a micro-performance in AR
· What do you want to represent?
· Where? (e.g., university space, urban environment, )
· Which virtual elements are introduced into the real world?
· How do real and virtual elements interact?
Session 6. Generative AI and Imagination
Definition of Generative AI and Large Language Models (LLMs)
Types of LLMs:
· text-based LLMs
· multimodal LLMs
· Generation of: images, video, and/or audio
Generative AI as:
· an imaginative machine
· a co-author
Brief reflection on authorship and control (is the author always the one who writes the prompt?)
Activity: Guided exercise using text and multimodal LLMs (Creation of a short performative micro-narrative)
Session 7. Generative AI for Images, Video, and Audio
Guided analysis of AI-generated images and videos (e.g., Sora, Veo,...), with a focus on represented images and emotions (symbolic images, abstract images, etc.)
Activity: Representing an emotion through AI (Group exercise: generating an image or video using AI tools)
Session 8. Performance, Body, and Non-Human Agents
AI as embodied technology (e.g., social robots)
How can emotional space be represented through robots?
Focus:
· Human performance vs. non-human performance
· The robot as:
o Wizard of Oz controlled agent
o a programmed actor
o a dynamically reactive agent
· Why and when does a robot appear to express emotions? (gesture, gaze, and interaction rhythm)
· Examples of artistic performances involving: humans and robots / robots alone
Session 9. From Concept to Experience
Group work: development of the final project (concept, experience, and mode of fruition)
Designing a technological artwork: an artistic project based on new technologies (AI, VR, AR, or robotics, freely chosen by each group)
Final output: a written document and/or conceptual mock-up of the project
Session 10. Project Presentations and Final Round Table
Presentation of the projects developed during the laboratory
Final discussion on:
· creativity and AI
· VR and AR as artistic languages
· the transformation of performance through digital technologies
(Focus on learning outcomes)
Teaching methods
The Laboratory adopts a theoretical-practical approach aimed at exploring the creative potential of new digital technologies (AI, VR, AR, and social robots) in contemporary artistic practices.
Activities include:
- brief theoretical introductions to emotions, perception, images, and performance (in the context of new technologies);
- analysis of case studies from contemporary performances;
- individual and group conceptual design workshops.
Particular attention is paid to experience design, the role of technologies as expressive means, and the transformation of the relationship between artwork, spectator, and performance.
Activities include:
- brief theoretical introductions to emotions, perception, images, and performance (in the context of new technologies);
- analysis of case studies from contemporary performances;
- individual and group conceptual design workshops.
Particular attention is paid to experience design, the role of technologies as expressive means, and the transformation of the relationship between artwork, spectator, and performance.
Teaching Resources
The reference material includes texts in Italian and English on:
- artistic creativity and new technologies,
- emotions, perception, and images,
- virtual reality, augmented reality, artificial intelligence, and social robotics.
Audiovisual materials and analysis of artistic projects, immersive installations, and technological performances will also be provided to support the workshop activities.
Libri:
- Alice Barale. "The Art of Artificial Intelligence: Philosophical Keywords". Cambridge Scholars Publishing, 2024.
- Steven M. Lavalle. "Virtual reality". Cambridge university press, 2023.
- artistic creativity and new technologies,
- emotions, perception, and images,
- virtual reality, augmented reality, artificial intelligence, and social robotics.
Audiovisual materials and analysis of artistic projects, immersive installations, and technological performances will also be provided to support the workshop activities.
Libri:
- Alice Barale. "The Art of Artificial Intelligence: Philosophical Keywords". Cambridge Scholars Publishing, 2024.
- Steven M. Lavalle. "Virtual reality". Cambridge university press, 2023.
Assessment methods and Criteria
Assessment will be conducted through a final project, consisting of the conceptual design (concept) of an artistic work or performance based on VR, AR, generative AI, or social robotics. Specifically, students will submit a descriptive document describing their project.
The assessment will take into account:
- quality and clarity of the concept;
- coherence between the artistic idea, the chosen technology, and the interaction method;
- awareness of the role of emotions and performance;
- active participation in the workshop activities.
The assessment will take into account:
- quality and clarity of the concept;
- coherence between the artistic idea, the chosen technology, and the interaction method;
- awareness of the role of emotions and performance;
- active participation in the workshop activities.
Educational website(s)
Professor(s)