Entertainment Computing

This article describes the primary ways in which intelligent agents have been employed in virtual heritage projects and explains how the special requirements of virtual heritage environments necessitate the development of cultural agents. How do we distinguish between social agents and cultural agents? Can cultural agents meet these specific heritage objectives?

The creation process in digital art relies often on collaborations between an artist (or group of artists) and a multidisciplinary team. This collaboration implies a multidisciplinary work involving art, science, technology, design, psychology, etc. that come together by sharing a common communicational and informational space.

This paper analyzes revisitations in online games focusing on two types of revisitations: game revisitations and area revisitations. A player revisits a game and areas therein with purposes. For game revisitations, we conduct a large-scale analysis using Shen Zhou Online access log collected for nearly 6 years consisting of 50,000 characters and have succeeded in using in the information on game revisitations, together with the login time and login frequency information, for predicting the players who will be absent from the game. For area revisitations, we conduct yet another large-scale analysis using World of Warcraft access log collected for 2 years consisting of more than 60,000 characters and have discovered four main groups of area revisitation patterns. We also discuss in the paper how our findings can be utilized to support both game developers and players. Ó

MERGING IS SEX OBVIOUSLY,  NORMAL MERGING IS KNOWING THE PAST, PRESENT AND FUTURE OF BOTH BEINGS, NO YOU OR I = ONENESS,  THE TWO ANUs MERGE – IF ONE IS AN ATTACK, THEN THE ORIGINAL ANU BECOMES SMALLER, DUMBER AND WEAKER, WHICH IS WHAT IS GOING ON HERE. 

AND - OUR "REALITY" UNMASKED

Computer technology has become exceedingly integrated with modern culture, which prompted us to introduce and explore the avenues of integrating aesthetics with technology, familiar ground of modern society. With the intention of promoting aesthetic sensibilities generated in poetry, we introduce a poetry generating system called "Poetry Mix-up" which encourages users to experience the creation of a "remixed" variety of poetry by sending a simple SMS. In this system, WordNet-based Word Sense Disambiguating (WSD) and topic summarizing algorithms are implemented to understand the input short messages which will be categorized into several main topics. Based on the topics and the content of the input message, the system creates a new poem by mixing existing poem lines. The preliminary user study shows that Poetry Mix-up could be a new form of social and cultural communication in the digital era.

This article summarizes past definitions of entertainment, serious games and virtual heritage in order to discuss whether virtual heritage has particular problems not directly addressed by conventional serious games. For virtual heritage, typical game-style entertainment poses particular ethical problems, especially around the simulation of historic violence and the possible trivialization of culturally sensitive and significant material. While virtual heritage can be considered to share some features of serious games, there are significantly different emphases on objectives. Despite these distinctions, virtual heritage projects could still meet serious games-style objectives while entertaining participants.

In this paper, we discuss the interest and the need to evaluate the difficulty of single player video games. We first show the importance of difficulty, drawing from semiotics to explain the link between tensionresolution cycles and challenge with the player's enjoyment. Then, we report related work on automatic gameplay analysis. We show through a simple experimentation that automatic video game analysis is both practicable and can lead to interesting results. We argue that automatic analysis tools are limited if they do not consider difficulty from the player point of view. The last two sections provide a player and Game Design oriented definition of the challenge and difficulty notions in games. As a consequence we derive the property that must fulfil a measurable definition of difficulty. Ó

Video game consoles that enable gamers to use active body movements are becoming increasingly popular. Yet, little is known about the influence of movement on how gamers experience such games. This study takes an exploratory approach, using different data collection methods. A theory about the relationship between body movement and gaming experience emerges through the systematic collection and analysis of data obtained from interviews, questionnaires, video observations and a motion capture system. A Grounded Theory analysis of the interviews reveals two distinct motivations (to achieve and to relax) with which gamers approach such games, together with two corresponding movement control strategies. Four movement-specific items are found to influence immersion in movement-based interaction: natural control, mimicry of movements, proprioceptive feedback, and physical challenge. These results are verified by exploiting the movement patterns of gamers playing the Nintendo Wii Boxing game. This theory offers insights to game designers as to how to design future generations of movement-based games. Whilst a controller that leaves more space for appropriation can be appealing to a larger population, its design may fail to promote and motivate physical activity and emotional well-being.

Courtroom environments, which have been one of the last bastions of the oral tradition, are slowly morphing into cinematic display environments [1]. The persuasive oral rhetoric of lawyers is increasingly being replaced by compelling visual media displays presenting a range of digital evidence in a convincing and credible manner [2,3].There are a number of fundamental implications inherent in the shift from oral to visual mediation and a number of facets of this modern evidence presentation technology need to be investigated and analysed. Recently, a number of courtrooms around the world have seen the presentation of forensic evidence within reconstructed virtual environments powered by real-time game engines.At first glance, these graphical reconstructions may be seen as potentially useful in many courtroom situations, and they are often treated like any other form of digital evidence regarding their admissibility [4]. However, perhaps this specific form of digital media warrants special care and attention due to its inherently persuasive nature, and the undue reliance that the viewer may place on the evidence presented through a visualisation medium [5,6].This paper describes a range of examples of where evidence has been presented in courtrooms using video games technology (particularly forensic animation and virtual crime scene reconstructions) (The author acted as an expert witness in all of the cases discussed, responsible for the preparation of the virtual reconstructions used as case studies in this paper. Most of the work was undertaken through the author’s own company in the UK, Aims Solutions Ltd., ). The paper then describes experiments undertaken to assess the impact of the technology on jurors and describes some of the issues raised by the results. The paper concludes with a discussion of the potential benefits and problems of implementing this technology in courtroom settings.

Game-based learning offers key advantages for learning through experience in conjunction with offering multi-sensorial and engaging communication. However, ensuring that learning has taken place is the ultimate challenge. Intelligent Tutoring Systems (ITSs) have been incorporated into game-based learning environments to guide learners' exploration. Emotions have proven to be deeply intertwined with cognitive and motivational factors. ITSs attempt to recognise and convey emotion in order to enhance students' learning and engagement. The ITS student model is responsible for attainment of adaptability and understanding of learners' needs. It is not clear which emotions are relevant to the teaching-learning experience, or what antecedents and interpersonal differences are involved in determining an emotion. Therefore, student modelling involves uncertainty. Creating an emotional student model that can reason about students' observable behaviour during online game-play is the main goal of our research. The analysis, design and implementation for this model are our central focus here. The model uses as a basis the Control-Value theory of achievement emotions and employs motivational and cognitive variables to determine an emotion. A Probabilistic Relational Model (PRM) approach was applied to facilitate the derivation of three Dynamic Bayesian Networks (DBNs) corresponding to three types of achievement emotions. Results from a prototyping exercise conducted along with the outcome-prospective emotions DBN are presented and discussed. In future work a larger population of students will be employed to develop an accurate DBN model to incorporate into PlayPhysics, an emotional game-based learning environment for teaching Physics. Ó

With rapid growth in both production costs and player populations over the last decade, the computer games industry is facing new scalability challenges in game design and content generation. The application of computers to these tasks -called procedural content generation -has the potential to reduce the time, cost and labour required to produce games. A range of generative algorithms have so far been proposed for procedural content generation. However, automated game design requires not only the ability to generate content, but also the ability to judge and ensure the novelty, quality and cultural value of generated content. This includes factors such as the surprise-value of generated content as well as the usefulness of content in the context of a particular game design. Studies of human designers have identified that the ability to generate artefacts that are novel, surprising, useful and valuable are facets of the human cognitive capacity for creativity. This suggests that computational models of creativity may be an important consideration for developing tools that can aid in or automate design processes. However such cognitive models have not yet been widely considered for use in procedural content generation for games. This paper presents a framework for procedural content generation systems that use computational models of creativity as a part of the generative process. We demonstrate an example of such a system that combines the generative shape grammar formalism with a model of creativity based on the Wundt curve to select new designs that are similar-yetdifferent to existing human designs. The approach aims to capture the usefulness and value of existing designs while introducing novel and surprising variations. The system incorporates a metric that permits generated designs to be evaluated in terms of both their similarity to high quality human designs and their creative novelty.

Computer technology has become closely integrated with modern culture, which prompted us to introduce and explore the avenues of integrating aesthetics with technology. With the intention of promoting aesthetic sensibilities generated in poetry, we introduce a poetry generating system called “Poetry Mix-up", which encourages users to experience the creation of a ‘remixed’ variety of poetry by sending a simple short message (SMS). Based on the topics and the content of the input message, the system creates a new poem by mixing existing poem lines. The preliminary user study shows that Poetry Mix-up could be a new form of social and cultural communication in the digital era.

Computer technology has become closely integrated with modern culture, which prompted us to introduce and explore the avenues of integrating aesthetics with technology. With the intention of promoting aesthetic sensibilities generated in poetry, we introduce a poetry generating system called "Poetry Mix-up", which encourages users to experience the creation of a 'remixed' variety of poetry by sending a simple short message (SMS). Based on the topics and the content of the input message, the system creates a new poem by mixing existing poem lines. The preliminary user study shows that Poetry Mix-up could be a new form of social and cultural communication in the digital era.

In recent years we have seen a rising interest in brain-computer interfacing for human-computer interaction and potential game applications. Until now, however, we have almost only seen proof-of-concepts where a single BCI paradigm is demonstrated to work as a simple control mechanism, as a measurement of user state, or for neurofeedback. There have hardly been any attempts to design BCI games where BCI is considered to be one of multiple possible input modalities (together with keyboard, speech, gestures, etc.) that can be used to control the game. One reason may be that research still follows the paradigms of the traditional, medically oriented, BCI approaches. In this paper we discuss current BCI research from the viewpoint of games and game design. It is hoped that this survey will make clear that we need to design different games than we used to, but that such games can nevertheless be interesting and exciting.

This paper surveys the evaluation and search techniques utilized by the strongest Othello programs of their time during the past twenty years. In this time span computer Othello has experienced considerable progress which culminated in the convincing 6-0 victory of LOGISTELLO against the then World-champion Takeshi Murakami in 1997. The focus of this article is the evolution of Othello evaluation functions and heuristic search techniques which quite nicely reflect the general A.I. trend of replacing slow and error-prone manual tuning by automated machine learning approaches.

Abstract This paper argues that the enjoyment of interactive media, especially interactive narratives, can be explained via perceptions of control. Specifically, control over a character’s choices, lead to higher perceptions of control which increased user enjoyment. Three different experiments using varying narratives, grammatical perspectives and story outcomes support these arguments consistently. This series of studies demonstrates that perceptions of control over media characters facilitate positive attitudes toward media content, corroborating and expanding upon earlier entertainment research. This research demonstrates a low-tech application of content-based user control in new media environments.

A cost-effective, easily-accessible neuro-motor rehabilitation solution is proposed that can determine the range of motion and the kinematic ability of participants. A serious game comprising four-scenarios are developed in which the players control an avatar that mirrors the rotations of the upper-limb joints through multi-channel-input devices (Kinect, Myo, FootPedal). Administered functional reach tests (FRT) challenge the player to interact with a 3D-environment while standing or sitting and using the FootPedal which simulates the action of walking whilst body movement is measured concurrently. The FRT's complexity level is adapted using a Monte Carlo Tree Search algorithm which determines a virtual object's position based on the proved ability of the user. Twenty-three volunteers were recruited to play the game in 45-minute sessions. The data show that the system has a more positive impact on players performance and is more motivating than formal therapy. The visual representation of the trajectory of the objects is shown to increase the perception of the participants voluntary/involuntary upper extremity movement, and the results show a comparable inter-session reliability (acceptable-good) over two repeated sessions. A high Pearson correlation demonstrates the validity of using Kinect and Myo devices in assessing upper-limb rehabilitation, and the timing and the clinically relevant movement data have a higher accuracy when the devices are paired.

This paper introduces a system that can recognize different type of paper-folding by users. The system allows users to register and use their desired paper in the interaction, and detect the folding by using Speed Up Robust Feature (SURF) algorithm. The paper also describes a paper-based tower defense game which has been developed as a proof of concept of our method. This method can be considered as the initial step for seamlessly migrating meaningful traditional art of origami into the digital world as a part of the interactive media.

The DreamThrower is a novel technology that explores virtually creating, throwing and catching dreams. It detects users' dream state by measuring rapid eye movement. Once the dream state is detected, sound and light stimuli is played to alter the dream. Users report on their dream, and they can send the stimuli that they have used to another person via an on-line website. A working prototype accurately detects REM sleep. Based on results from the first experiment with three subjects, light and environmental sounds such as a jungle and ocean were found to have little influence on dreams. The second experiment with five subjects found that voice sound stimulus could influence dreams in one case. Interestingly, our subjects felt that the DreamThrower system would be a fun gaming experience and many said that they would share their dreams for a collaborative gaming experience. User engagement with the social network may be sufficient to alter dreams. Two studies with different stimuli showed some evidence that dreams can be altered. Ó

This paper explores how a contextual game-based framework helps to solve complex problems in the field of electrical engineering. To support this study, UNTANGLED, scientific puzzle game is used. The game is developed to solve mapping problems in the field of electrical engineering by using human intuitions. Data Flow Graphs (DFGs) are disclosed to participants in the form of puzzles and players must arrange these puzzles based on rules and regulations provided to reach feasible solutions. In this study, telemetry data for feasible solutions are considered and analysis is performed on different levels of complexity, which are arranged as easy, medium, and hard in the game. Scores obtained and type of moves used by participants to solve these puzzles determine their performance. Findings revealed that participants showed a statistically significant difference in their performance based on level complexity. This paper suggests that developing context-based frameworks like games or interactive applications can help learners to assimilate difficult concepts or enhance problem-solving skills.

Large-scale immersive displays have an established history in planetaria and large-format film theaters. Video-based immersive theaters are now emerging, and promise to revolutionize group entertainment and education as the computational power and software applications become available to fully exploit these environments.

The perception of emotional facial expressions has been diligently studied in psychology for the last 40years. The stimuli mainly used in these studies were photos or short film clips. Today, video games and their development frameworks allow researchers to design, model, and animate embodied conversational agents (ECAs). This research paper introduces an experimental setting to observe and measure the perception

A large number of people worldwide play free-to-play Massive Multiplayer Online Games (MMOGs) on a regular basis. Considering the significant amount of investment required in the early phases of game development, product managers aiming to quickly attract players deploy several in-game premium features which can be purchased by players willing to leverage their gaming experience. When the gap of advantage between premium and non-premium players is quite noticeable, it may lead to the lack of game fairness, resulting in players dropping out. This study aims at understanding the relevance of the drop-out factors that can be controlled by product managers, with an emphasis on game fairness when compared to other factors. A survey was sent to English-speaking communities of a MMOG. Results show that 53.9% of the variation in dropping-out is explained by the significant predictors analyzed: latency/performance issues, in-game features, community, service/support team and game fairness. Latency/performance issues and game fairness are the most relevant drop-out factors. By focusing on drop-out factors that can be controlled by product managers, this research contributes for decision making in the development of free-to-play MMOGs.

Entertainment is often undervalued but its links with show biz, advertising, politics and consummation cultures are by now very strong. In media, advertising, tourism, cruises, food and beverages, gambling, fitness, theme parks, malls we can find increasing shares of entertainment. This large area of production and delivery of cultural contents, worth more than 10% of total consumptions nowadays encounters the Internet  and social networks. Entertainment become a dominant format and language, due complement of every product, event, political party which want to meet people’s choices.
L’entertainment non gode di buona reputazione rispetto alla cultura « alta », ma l’intreccio fra intrattenimento, spettacolo, politica e consumo è ormai inestricabile. Lo troviamo ovunque, nei media e nella pubblicità, ma investe anche il turismo e le crociere, la ristorazione e la moda, il gioco d’azzardo e la fitness, i parchi a tema, i centri commerciali.
Una grande area di produzione e diffusione di contenuti culturali, che vale più del 10% dei consumi delle famiglie, e che incontra oggi Internet e i social network. Un linguaggio dominante, involucro necessario di ogni prodotto, evento, partito che voglia farsi scegliere.

pp. 144, ISBN 978-88-15-24475-8.

Courtroom environments, which have been one of the last bastions of the oral tradition, are slowly morphing into cinematic display environments [1]. The persuasive oral rhetoric of lawyers is increasingly being replaced by compelling visual media displays presenting a range of digital evidence in a convincing and credible manner [2,3].There are a number of fundamental implications inherent in the shift

Large-scale immersive displays have an established history in planetaria and large-format film theaters. Video-based immersive theaters are now emerging, and promise to revolutionize group entertainment and education as the computational power and software applications become available to fully exploit these environments. Requirements for an effective visual display are developed. Limitations of commercial projection and image generation technologies are discussed and improvements are suggested. Trade-offs between flat, cylindrical, and spherical projection screens are discussed. Recent work is presented in group telepresence and interactive VR Cinema. Ongoing issues include group interactivity paradigms, show production tools, and the need for research establishments to disseminate compelling source material to public venues. Research topics are suggested in Human Factors, Virtual Reality, Computer Graphics and Display Engineering. Entertainment and Education Large-scale immersive displays have been in use since the first Zeiss planetarium in 1926. The popular IMAX® Dome format, first demonstrated in 1973, utilizes 70mm film with roughly 5000x4000 line resolution on a dome screen. Simulator rides utilize 35mm or 70mm film projected onto partial dome screens. Over 2500 dome theaters are now in place worldwide.

We describe and compare several methods for generating game character controllers that mimic the playing style of a particular human player, or of a population of human players, across video game levels. Similarity in playing style is measured through an evaluation framework, that compares the play trace of one or several human players with the punctuated play trace of an AI player. The methods that are compared are either hand-coded, direct (based on supervised learning) or indirect (based on maximising a similarity measure). We find that a method based on neuroevolution performs best both in terms of the instrumental similarity measure and in phenomenological evaluation by human spectators. A version of the classic platform game "Super Mario Bros" is used as the testbed game in this study but the methods are applicable to other games that are based on character movement in space.

The research presented in this paper proposes a set of design guidelines in the context of a Parkinson's Disease (PD) rehabilitation design framework for the development of serious games for the physical therapy of people with PD. The game design guidelines provided in the paper are informed by the study of the literature review and lessons learned from the pilot testing of serious games designed to suit the requirements of rehabilitation of patients with Parkinson's Disease. The proposed PD rehabilitation design framework employed for the games pilot testing utilises a low-cost, customized and off-the-shelf motion capture system (employing commercial game controllers) developed to cater for the unique requirement of the physical therapy of people with PD. Although design guidelines have been proposed before for the design of serious games in health, this is the first research paper to present guidelines for the design of serious games specifically for PD motor rehabilitation.

ABSTRACT Increasingly digital games are being played multiplayer online, not just massively multiplayer games but normal PC and console games. An important constituent of the gaming experience is the social relationships between players as mediated by games. Social presence is the foundation of this experience, being the extent to which players feel present to each other within the virtual environment. This paper sets out to explore the nature of social presence in digital games. Though substantial work has already been done in this area, our first study makes it clear that current formulations of social presence in games are only capturing certain aspects of gaming experience. We therefore conducted three other small scale, largely qualitative studies that set out to manipulate social presence in games, in particular using the ambiguity of whether co-players are human to probe the relevance of social presence. We term this novel methodological approach experiential vignettes. The vignettes show that, despite what players say, they are highly task-oriented when it comes to whether the presence of other humans is meaningful in game. Moreover, current measures of social presence in games are not sufficiently rich to capture the full extent to which social presence can occur in games.

In this paper we empirically test the effectiveness and enjoyability of three user interfaces used to play an iPod Touch scroll shooter video game. Mobile devices are currently undergoing a surge in market penetration both in business and with consumers. These devices allow for user interface options such as touch screens and accelerometers, which are novel to mobile platforms and to large portions of the general public. To explore the effectiveness and enjoyability of these user interface options, the game was implemented with an accelerometer based interface, a touch screen based interface involving simulated buttons and a touch screen based interface involving finger gestures. The game has been formally tested with 36 human subjects each playing the game with each of the three interfaces. We present statistically significant results that the accelerometer based interface was the preferred interface and the interface in which participants performed best. We hope manufacturers will consider using the approach used in this paper to test user interfaces in-house before releasing them, since, as we show, it is inexpensive to obtain statistically significant results. We propose heuristics for mobile user interface design based on an analysis of the results and suggest an avenue for future work. Ó

There is a growing body of research in pervasive outdoor gaming, mainly focused on adult players playing games on smart phones. Published evaluations of the player experience in such games are largely based on anecdotal descriptions and post-play surveys. The latter approach is especially challenging to apply when the play test participants are children. Observations of game play so far have been ad hoc relying on unstructured observation, which makes it difficult to extract reliable conclusions from observations and to draw comparisons between different games. In this paper we present two methods developed specifically for evaluating the player experience in children's outdoor games: the Outdoor Play Observation Scheme (OPOS) and GroupSorter. We discuss their application in three different case studies and conclude that OPOS is useful in quantifying the different types of play behavior in outdoor games; GroupSorter adds qualitative data on the play experience. Moreover, the application of GroupSorter is not limited to game development but can be used for obtaining user input in other context as well. Ó

As social networking widely spreads among the community, especially among the younger generation, the negative influence created on children has become a serious social concern. "Petimo" is an interactive robotic toy designed to protect children from potential risks in social networks and the virtual world and it helps them to make a safely connected social networking environment. It adds a new physical dimension to social computing through enabling a second authentication mode, providing extra safety in making friends by physically touching each others robot. Petimo can be connected to any social network and it provides safety and security for children. As a proof of concept, we have developed a 3D virtual world, "Petimo-World" which demonstrates all of the realizable basic features with traditional online social networks. Petimo-World stands out from all other virtual worlds with its interesting and sophisticated interactions such as the visualization of a frie...

This paper surveys the evaluation and search techniques utilized by the strongest Othello programs of their time during the past twenty years. In this time span computer Othello has experienced considerable progress which culminated in the convincing 6-0 victory of LOGISTELLO against the then World-champion Takeshi Murakami in 1997. The focus of this article is the evolution of Othello evaluation functions and heuristic search techniques which quite nicely reflect the general A.I. trend of replacing slow and error-prone manual tuning by automated machine learning approaches.

The challenge of educational game design is to develop solutions that appeal to as many players as possible, but are still educationally effective. One foundation for analyzing and designing educational engagement is the flow theory. This article presents a flow framework that describes the dimensions of flow experience that can be used to analyze the quality of educational games. The framework also provides design-support for producing good educational games, because it can be used to reveal ways to optimize learning effects and user experience. However, the framework only works as a link between educational theory and game design, which is useful for game analysis but does not provide the means for a complete game design. To evaluate the elements included in the proposed framework, we analyzed university student's experiences in participating in a business simulation game. We found that the students' flow experience in the game was high and the findings indicated that sense of control, clear goals and challenge-skill dimensions of flow scored the highest. Overall, the results indicate that the flow framework is a useful tool to aid the analysis of game-based learning experiences.

“Poetry Mix-up” revitalizes aesthetic sensibilities evoked from poetry in our contemporary culture. It provides users with an enjoyable experience of creating a `remixed' poetry by simply sending cell phone SMS or micro-blogging on Twitter. The system is capable of generating poems based on the topics and the contents of the messages sent by users.

This paper introduces a system that can recognize different type of paper-folding by users. The system allows users to register and use their desired paper in the interaction, and detect the folding by using Speed Up Robust Feature (SURF) algorithm. The paper also describes a paper-based tower defense game which has been developed as a proof of concept of our method. This method can be considered as the initial step for seamlessly migrating meaningful traditional art of origami into the digital world as a part of the interactive media.

For several years, there has been growing interest in the development and use of serious games to improve individuals’ quality of life and behavior. In particular, Crisis Management Serious Games (CMSG) have shown their potential for teaching people both technical and soft skills related to managing crises in a safe environment while reducing training costs. To improve their effectiveness, several evaluation approaches of CMSGs have been proposed. However, despite its interest, the learner’s emotional state is often neglected. As a result, learners may end up with a deep frustration or boredom. Therefore, we propose an Educational Data Mining (EDM) approach to evaluate learners’ affective states in collaborative CMSGs. This approach is applied to assess learners’ engagement during a game-based evacuation scenario aiming to train and to raise awareness among students of a university on evacuating the present persons during a fire emergency situation. The experimental results confirm ...

Role-play can be a powerful educational tool, especially when dealing with social or ethical issues. However, while other types of educational activity have been routinely technology-enhanced for some time, the specific problem of supporting educational role-play with technology has only begun to be tackled recently. Within the eCIRCUS project we have designed a framework for technology-enhanced role-play with the aim of educating adolescents about intercultural empathy. This work was influenced by related fields such ...

This paper describes the development of a haptic device for emulating the sonic and haptic dynamics of a carillon, specifically the National Carillon in Canberra, Australia. The carillon is one of only a few instruments that elicit a sophisticated haptic response from the amateur and professional player alike. Force-feedback varies widely across the range of the instrument and developing an intuition for the heaviness of different bells is a critical part of carillon pedagogy. Unfortunately, rehearsal time available to individual carillonneurs is limited by competition from other carillonneurs and environmental factors like civic noise limits and carillon maintenance schedules. Rehearsal instruments do exist but they do not accurately display the haptic dynamics of the real carillon. Our device couples the notions of entertainment and cultural computing; while musical instruments are now regularly digitised for purposes of entertainment the haptic carillon is motivated by an awareness of the musicianship of carillonneurs and the public cultural space they inhabit with their instrument.