We introduce the use of negative preferences to produce solutions that are acceptable to a group of users. This technique takes advantage of the fact that discovering what a user does not like can be easier than discovering what the user does like. To illustrate the approach, we implemented Adaptive Radio, a system that selects music to play in a shared environment. Rather than attempting to play the songs that users want to hear, the system avoids playing songs that they do not want to hear. Negative preferences could potentially be applied to information filtering, intelligent environments, and collaborative design. Categories and Subject Descriptors: H.5.3 [Information interfaces and presentation]: Group and organization interfaces—collaborative computing, computer-supported cooperative work

This research derives from a survey of primary and secondary literature and my practice as a professional artist using electronic information delivery systems. The research has informed the creation of an interactive art work, authored so that emergent meaning can be examined and explored within a specific generative virtual environment by a variety of participants. It addresses a series of questions concerning relationships between the artist, the art work and the viewer/user. The mutable nature of this computer-based space raises many questions concerning meaning production, i.e., how might such a techno-poetic mechanism relate to past practices in the arts, and in particular how might its use affect our understanding of theories of meaning? If the outcome of this part of the research suggests a radical transformation in meaning production as dynamically encountered through interactivity with a generative work of art, then how might the construction of this device inform a new field of practice? The scope of the topic and the secondary questions that flow from the initial speculation focus on the inter-conveyance of text (both spoken and written), image (both still and time-based) and music, as encountered by participants through interactive engagement within an authored and inter-authored virtual environment. The method has been to extend the realm of a series of theoretical positions relative to these areas as they appear in the mainstream literatures on art and interactivity, meaning and understanding. A virtual interactive art work has been developed in parallel to the literature survey and exhibited in Europe and Japan. The conclusions have been drawn by the author on the basis of a series of theoretical positions that examine the operative nature of an art work ...

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