Design of a Technology-Based Magic Show System with Virtual User Interfacing to Enhance the Entertainment Effects

Abstract

The integration of interactive technology into magic performances was explored in this study, with a focus on leveraging virtual user interfacing and interactive video projection techniques to enhance the entertainment effects. A thorough literature review identified transformation techniques between virtual and real forms in the magic performance, along with various digital magic effects. Design principles derived from the review were applied in constructing a magic show system named “FUI Magic”, where FUI stands for fantasy user interface. The system is based on virtual user interfacing, implemented via laser range-finding and video projection techniques. The “FUI Magic” system facilitated the development and presentation of a digital-multimedia magic show titled “Fantasy Doves”, publicly showcased in an exhibition. Statistical evaluation of the feedback from expert interviews and a questionnaire survey revealed positive audience impressions and confirmed the effectiveness of incorporating virtual user-interfacing technology for captivating entertainment. This study affirms the significance of visual design through virtual user interfacing in enhancing technological ambiance and magic effects, suggesting its practicality for further exploration in diverse applications.

1. Introduction

1.1. Background

In the past decade, a new media art called tech art has emerged, which combines technology and art to offer features like interactivity and virtuality. Various forms of tech art have been explored to establish connections between traditional performances and audiences [1]. Specifically, the integration of technology has transformed traditional performance forms into interactive performing art, amalgamating various design elements, like scenery, lighting, and stage design, with digital technology.

One example of interactive performing art is the magic show. Magic, being a form of illusion utilizing specialized techniques and equipment, creates cognitive biases to entertain the audience [2]. Magicians continually incorporate new techniques and magical imagery to captivate the audience [3]. Learning magic principles not only unveils the intricacies behind illusions but also serves as a catalyst to increase awareness of fixation and promote divergent thinking [4].

1.2. Research Motivation

As mentioned above, magicians are increasingly weaving digital technology into their acts. In addition, spatial augmented reality (AR) technology has been applied to stage performances to enhance the expressiveness of stage narratives. AR, when coupled with projection, enhances virtual reality (VR) integration in live performances, yielding more immersive effects [5,6]. Moreover, the concepts of the FUI (an abbreviation for fantasy user interface) and AR have gained prominence in contemporary science-fiction movies and TV series due to replicating futuristic settings or imaginary civilizations, but they have been less utilized in magic performances.

In this study, the aim is to apply FUI-related techniques to create innovative magic performances, developing a prototype system for magic presentations. The system’s feasibility is assessed through an actual magic show, along with surveys collecting opinions from both the audience and invited experts.

1.3. Research Scope and Process

When employing interactive technology in magic, careful attention must be paid to image and visual design, stage lighting, and shadow presentation. The integration of rapidly advancing high technology into magic performances holds significant research value for the future.

The primary objective of this research is to introduce FUI-based virtual user-interfacing techniques into magic performances. Two key issues are addressed: (a) effective utilization of virtual user interfacing in magic performances; and (b) seamless integration of high technology into magic performances to enhance the entertainment effects under the following limitations: (1) the performances concentrate on “stage magic” and “close-range magic”; (2) the developed magic system targets audiences who understand magic performances, assuming that the viewers are high school students or older; and (3) the system is designed for personal audience experiences and evaluated from the aspects of usability, audience enjoyment, and magic-show impact.

The research process of this study includes five stages: (1) research theme setup; (2) literature review; (3) work planning and implementation; (4) system display and data collection; and (5) evaluation and conclusions. The details of each stage will be described in the subsequent sections.

2. Literature Review

2.1. Magic Performance

2.1.1. Definitions of Magic and Forms of Performance

Magic, alternatively referred to as illusion, sleight of hand, deception, or conjuring, constitutes a performing art form aimed at crafting illusions and cognitive biases, with specialized techniques and equipment designed to entertain audiences. Broadly speaking, magic encompasses diverse artistic activities, evoking laughter or amazement from the audience [2]. Renowned magicians such as David Copperfield with his grand illusions, Harry Houdini showcasing escape artistry, Max Maven specializing in mental magic, and Shim Lin presenting close-up magic are noteworthy examples in the realm of magic [7].

As a comprehensive and diverse form of art that integrates various artistic elements, magic can be categorized into the following types based on the performance context.

(1)

Close-up magic: performed for one or more spectators at a close distance with everyday objects as props to create a visually stunning experience for the audience.

(2)

Table-hopper magic/round-table magic: performed at tables in bars or restaurants as another form of close-up magic.

(3)

Parlor magic/platform magic: performed by the use of interactive props of small to medium sizes at various events with relatively larger audience sizes.

(4)

Stage magic: performed for large stages or events with a large audience, requiring lighting and sound effects and emphasizing dramatic sequences, visual effects, etc.

(5)

Grand illusion magic: performed with team support and media collaborations, like Copperfield’s trick of making the Statue of Liberty disappear.

Each form of performance has been elevated by numerous influential magicians, resulting in progressively more stunning magic shows. As a result, magicians are compelled to continually innovate in their performances, aiming to heighten the sense of wonder by using technology and magical visuals in their shows [8].

2.1.2. The Rise of Digital-Technology Magic

As technology becomes increasingly widespread, more artists are delving into the development of new magical performances that introduce diverse sensory experiences to the public. This necessitates ongoing innovation in the content and expressive forms of magic shows, which may be achieved through the incorporation of cutting-edge high-tech techniques.

Fitzkee [9] covered a range of magic techniques in his book The Trick Brain. McOwan and Williams [10] mentioned that different arrangements and adaptations of magic’s technological components can yield varying degrees of magical impacts. For instance, magician Marco Tempest has incorporated new technologies like AR and VR into his magic designs, while magician Mago Julian, collaborating with artist Zach Liberman, has contributed significantly to the advancement of interactive design and technology in magic shows [8]. With technological media playing a significant role in people’s lives, the integration of cross-disciplinary media has become the mainstream trend in today’s magic performances, which present a broader range of appearances and achieve more impressive effects nowadays.

2.1.3. Magic Effects Created by Digital Technology

Both props and techniques play pivotal roles in crafting a good magic show. Magicians, blending technology and art in their performances, often leverage the “virtual” effects of digital media and the “real” effects of the objects in the physical world. In incorporating high technology into magic acts, the use of digital multimedia takes center stage. Carreras and Sora [8] categorized magic presentations into four main types, distinguishing between virtuality and reality, as illustrated in Figure 1 and detailed below.

(1)

Employing actions in the physical world to generate corresponding physical world effects, abbreviated as PPt.

(2)

Employing actions in the physical world to generate effects in the digital world, abbreviated as PDt.

(3)

Utilizing actions in the digital world to generate corresponding digital world effects, abbreviated as DDt.

(4)

Employing actions in the digital world to produce effects in the physical world, abbreviated as DPt.

Based on the magic show style, Carreras and Sora [8] have identified six categories of magic effects, as outlined below.

(1)

Production: The magician magically brings something into existence from nothing.

(2)

Vanishing: The magician makes something disappear mysteriously.

(3)

Transformation: The magician alters the state of something, changing it from one form to another.

(4)

Restoration: After the magician destroys something, they subsequently restore it to its original state.

(5)

Teleportation: The magician shifts something from one location to another through magical means.

(6)

Levitation: The magician defies gravity, causing something to float in the air or appear weightless, sometimes with the assistance of a suspended object.

Carreras and Sora [8] have also evaluated the degrees of the audience’s feelings about these categories of magic effects, which are presented in the fourth column of

Table 1. Categories of magic effects [8].

Classification of Magic Effect	Example of Effects Produced by the Digital World	Possibility of Coupling the Digital and Physical Worlds	Evaluation of the Level of Magical Experience Produced by Each Type of Transformation
Production	The magician simply touches the screen and a coin appears.	High	1. Effect from physical world action to physical world: high 2. Effect from physical world action to digital world: medium 3. Effect from digital world action to digital world: low 4. Effect from digital world action to physical world: medium
Vanishing	The magician places a coin on the screen and touches it or snaps his or her finger, and then the coin disappears.	High	1. Effect from physical world action to physical world: high 2. Effect from physical world action to digital world: medium 3. Effect from digital world action to digital world: low 4. Effect from digital world action to physical world: high
Transformation	The magician manipulates something to elongate or deform in time.	Medium	1. Effect from physical world action to physical world: medium 2. Effect from physical world action to digital world: medium 3. Effect from digital world action to digital world: low 4. Effect from digital world action to physical world: high
Restoration	The magician snaps his or her fingers and puts all the destroyed parts of the object on the screen back together.	Medium	1. Effect from physical world action to physical world: high 2. Effect from physical world action to digital world: low 3. Effect from digital world action to digital world: medium 4. Effect from digital world action to physical world: high
Teleportation	The magician makes something disappear on one side of the screen and reappear in the corner of another image.	Low (if there is no combined effect and disappearance effect)	1. Effect from physical world action to physical world: high 2. Effect from physical world action to digital world: medium 3. Effect from digital world action to digital world: medium 4. Effect from digital world action to physical world: medium
Levitation	The magician manipulates objects so that they float anywhere in the hand in time.	When the controlling object is in the physical world and the controlled object is in the digital world, the two worlds are already connected.	1. Effect from physical world action to physical world: high 2. Effect from physical world action to digital world: medium 3. Effect from digital world action to digital world: low 4. Effect from digital world action to physical world: medium

. Also included in this table are example of effects produced by the digital world and the possibility of coupling the digital world and the physical one, shown in the second and third columns, respectively.

The purpose behind creating Table 1 is to delve into the interplay between reality and virtuality, as well as the interaction between the physical and the digital realms. It aims to illustrate how magical effects can captivate the audience by navigating the boundaries between these two realms. According to Carreras and Sora [8], intertwining both effects (reality and virtuality) and worlds (physical and digital) enhances the illusion, akin to the concept of a “performance climax” proposed by Koleva et al. [11]. For instance, a magician might grab a coin situated inside a display screen (representing the physical world), causing it to vanish from there (entering the digital world); subsequently, the magician makes the coin reappear in the hand (back in the physical world). In this scenario, the magical effect is achieved by seamlessly traversing the boundaries between the physical and the digital worlds in both directions.

2.1.4. A Summary

The above review about digital magic performances reveals the following facts.

(1)

Teleportation enchantment: Teleportation, the most common magic effect, creates a fantasy of traversing between reality and virtuality, imparting significant wonder.

(2)

Dynamic projection techniques: The wide uses of projection mapping and display screens allows flexible adjustments for venue size and audience visibility.

(3)

Visual alchemy in magic: Visual design-crafted situational images for diverse plots and sci-fi elements via virtual user interfaces enhance the performance.

(4)

Magical LED wearables: Many magicians choose wearable thumb LED lights that simplify operations and provide entertaining magic interactions.

(5)

Creative fusion in performance design: Combining traditional magic props and digital media enhances creativity, and the concluding climax creates a lasting impression.

Recently, technology and digital media have been integrated into magic performances, transforming the way magic is presented. However, there are relatively few instances of incorporating interactive technology for performance effects. The aim in this study is to explore the integration of interactive technology into magic performances. A literature review is conducted to address this objective.

2.2. Interactive Performance Art

2.2.1. Interactive Art

Interactive performance art integrates various design elements—such as the set, lighting, and stage—with digital technology in a performance or space, resulting in more immersive, immediate, and impactful art exhibitions. Many forms of interactive performance art have been tried, leveraging projection mapping as a visual enhancement. In addition, digital images can be effortlessly projected onto the surfaces of 3D objects, facilitating diverse creative expressions, and projection mapping can be applied to various objects [12]. Moreover, in interactive performances utilizing projection mapping, there is a focus on the aesthetics of interactive images generated through the physical engagement of performers [5].

2.2.2. Design Principles for Interactive Performance Systems

The concept of interactive design involves utilizing various elements to guide users to grasp the “function” and “use” of the system. Human–computer interaction design frequently employs graphical user interfaces (GUIs) to assist users in navigating systems, utilizing symbolic icons to represent functional options. Designing interactive performance systems requires dynamic and expandable frameworks, capable of adaptively adjusting its architecture according to various performance constraints, such as venue limitations. This adaptability is achieved by integrating new hardware and software modules, enabling the system to expand itself [13,14,15].

Kuşcu and Akgün [13] explored the interaction events between the performer and the stage, identifying the following four major components of the system and their functions in the interaction process.

(1)

Input: The performer’s motion data on the stage are transmitted to the computer.

(2)

Process: The system analyzes and transforms the input data, and it transmits the results to the stage by motion analysis, action mapping, visual-effect generation, etc.

(3)

Output: The system projects the generated visual images onto objects or screens on stage.

(4)

Control: The system provides a graphical user interface enabling users to modify the system settings according to their need.

Building on these basic principles, a system is better designed with a modular structure. Each module within this modular structure pre-processes data from the input hardware or modules, passing the generated results to the next module or output hardware. Through modularization, system development can be streamlined, and the system can be distributed across multiple machines, as illustrated in Figure 2.

2.2.3. A Summary

The above performing arts implemented with interactive projections were analyzed in this study based on three factors: “image content”, “projection mapping technique”, and “interaction method”. Several noteworthy findings can be identified.

(1)

Wide utilization of projection mapping in interactive performances.

(2)

Integration of real-time target object detection and tracking.

(3)

Uses of special-effect-triggering devices.

(4)

Prevalence of 3D and particle-type special effects.

(5)

Virtual user interfaces for sci-fi and futuristic effects.

(6)

Integration of light and shadow with science-fiction and traditional themes.

In the above summary, it is emphasized that AR technology, particularly when utilizing projection mapping, can enhance performance effects. Another key aspect in the above discussions is the incorporation of virtual user interfaces, which exert a substantial influence on the overall performance, a topic that will be further explored next.

2.3. Virtual User Interface (VUI)

For human–computer interaction, diverse user interfaces (UIs) have been developed across a wide range of applications. In certain scenarios, the direct attachment of physical interfaces to real devices for human beings to touch can prove inconvenient or even potentially hazardous. To address this problem, virtual user interfaces (VUIs) have been created, which empower users to control equipment settings without the need for physical UIs or screens, typically manifesting on the 2D screens of computers, smartphones, or tablets connected to the controlled equipment via networks.

2.3.1. Definition of an FUI

Various types of VUIs frequently make appearances in media such as movies, TV shows, and video games. To describe these interfaces, the term “FUI” (short for “Fantasy User Interface”) has been coined. The “F” in FUI can also represent “Fictional”, “Fake”, “Futuristic”, or “Film”, depending on the context of the media being discussed [16]. FUIs are often utilized as interfaces for human–computer interactions within simulated future worlds or fictional societies. This study seeks to investigate those FUIs that can be implemented by current digital technology for use in magic shows.

2.3.2. Background to FUI Development

FUI design is an emerging field of dynamic visual design for use in simulated future worlds or fictional civilizations, as mentioned previously. The image style of the FUI often tends to be dazzling and intricate to visualize complex virtual technological simulations, thereby enhancing the beauty and entertainment value of the viewing experience.

The FUIs crafted for movies have exerted notable influences on the evolution of modern AR and VR user interfaces. An exemplary instance is depicted in the film Minority Report, often regarded as the precursor to 3D FUIs operated by gestures. This cinematic innovation has, in turn, spurred developments in various research fields and commercial products.

AR is a crucial technique in VUI design. The projection of images onto the surfaces of 3D objects or relevant spaces to create AR images can significantly expand the visual data in various applications. This technique is referred to as spatial AR, abbreviated as SAR [17], as mentioned previously. For stage performances, the narrative capabilities of SAR can be effectively leveraged to enhance the expressive storytelling and live performances on stages.

2.3.3. Principles for Designing FUIs

FUIs find frequent uses in science-fiction movies, television, and games, eliciting significant responses and enhancing the entertainment for audiences. It is crucial to comprehend how FUIs contribute to creating a perception of future technology and visual effects in space-based science fiction. By analyzing relevant FUIs seen in existing media [18], the design principles for FUIs have been derived in this study from five directions: user background, color, dynamics, style, and font, as described in the following.

(1)

User background: It is crucial for an FUI designer to comprehend the user object before embarking on the design process. This preliminary understanding is essential for constructing an FUI that seamlessly aligns with the specific context and situation presented in the narrative.

(2)

Color: In science-fiction works, lighting emerges as a crucial tool for expressing color. Notably, blue–green is a prevalent choice in most interfaces to convey a technological sense, while yellow is frequently employed to symbolize the vitality of living things, and silver–white is a common color in movies.

(3)

Dynamics: FUIs commonly exhibit specific characteristics in the realm of dynamic image-based special effects. Furthermore, dynamic images within FUIs are three-dimensional or multidimensional, with animated objects undergoing changes not solely in movement but also in spatial position, encompassing aspects such as scaling.

(4)

Style: In science-fiction movies, mainstream styles include: (I) cyberpunk: plotting typically revolve around themes of artificial intelligence, hackers, and giant corporations; (II) glitch: depicting malfunctions, for instance, of certain electronic devices like TVs and computers, with the visual output often including distorted and defective images and the colors appearing skewed; and (III) vintage screen: pertaining to displays featuring monochrome or less vibrant images, serving to underscore the narrative theme of technological disparities between the wealthy and the less privileged in a movie.

(5)

Font: Fonts serve as the most direct medium for conveying messages. Opting for a specific type of font can effectively enhance the audience’s sense of immersion in space-based science fiction and future technology.

2.3.4. Categorization of FUI Design

FUIs can be categorized based on the environmental parameters, purpose, and vehicle type, as identified in this study through a review of the related literature [17]. Specifically, the following categories can be found in the literature: (1) FUI by use of HUD (head-up display); (2) FUI by use of desktop VR; (3) FUI by use of upright translucent screen; (4) FUI by handheld equipment; (5) DNA map-like FUI; and (6) 3D hologram-based FUI.

In this study, we adopt the type (3) FUI as the screen used in magic performances on stage.

2.3.5. A Summary

In this study, a collection of representative cases of FUI applications was gathered and analyzed. The findings indicate that the design of an FUI for media presentations predominantly relies on the efforts of the designer working with video content. The design process typically unfolds as follows:

(1)

Establish design principles and extract key terms, like mystery, surreality, data, dynamics, speed, etc., aligned with a science-fiction theme.

(2)

Determine the required fonts, colors, dynamic styles, etc., corresponding to the theme.

(3)

Construct the FUI to convey the desired ambiance of space-based science fiction and future technology.

Drawing insights from the above-reviewed cases, the following summarizes the FUI design guidelines for use in magic performances.

(1)

Determine the user’s environment, behavior, and habits as the initial step.

(2)

Utilize mainly blue–green as the primary color, with accents of yellow and silver, often paired with a dark base or transparent background.

(3)

Maintain dynamic special effects within the FUI, with the potential for extending the effects from a 2D plane to a 3D space.

(4)

Utilize English characters and numbers, selecting fonts such as Chathura, Futura STD, and Kelly Slab.

(5)

Consider hardware options like Microsoft Kinect, Leap Motion, and Arduino for somatosensory interaction.

(6)

Choose program softwares such as VVVV (ver. 2021.4.10), Processing (ver. 4.3), TouchDesigner (ver. 2023.11510), Unity3D (ver. 6000.0.0), and MadMapper (ver. 5.4.1) for synchronous control of the screen and LED light strip.

2.4. Concluding Remarks and Proposed Design Principles for Magic Presentations

In this study, a comprehensive literature review has been conducted on three topics: “magic performance”, “interactive performing art”, and “virtual user interface”. Based on the insights gained from the literature review, this study aims to integrate interactive projection technology into stage magic performances, creating a prototype digital magic system. Additionally, it is desired to introduce FUIs to enhance the visual effects and evoke a sci-fi atmosphere in the magic performance. To achieve these objectives, the following design principles are proposed.

(1)

Virtual and real form fusion: Applying design principles from [8] to create the four “virtual and real conversion forms” (PPt, PDt, DDt, and DPt) in digital magic and combining these principles with interactive projection technology for innovative performance effects.

(2)

Teleportation focus: Utilizing the design principles of producing the six major digital magic effects (production, vanishing, transformation, restoration, teleportation, and levitation) also classified by Carreras and Sora [8], particularly focusing on achieving the teleportation effect shown on stage.

(3)

Thumb LED magic: Selecting the wearable thumb LED light as the primary magic prop, which is controllable to reduce the complexity of virtual and real conversions and enhance the fun and entertainment of the interaction process.

(4)

Digital–traditional fusion: Combining traditional magic props with digital media to introduce new creativity; including humorous sections for increased audience engagement; and creating a lasting impression with a climax effect at the end.

(5)

Modular interactive design: Applying the principle of “modularizing” the interactive performance process, as proposed by Kuşcu and Akgün [13], ensuring flexibility for reconstruction in the proposed magic system.

(6)

Real-time tracking techniques: Using real-time object detection and tracking to track performers and target objects on stage, and installing triggering devices for performers to generate special effects that closely integrate actions with desired special effects.

(7)

FUI-based visual aesthetics: Infusing a sense of technology into the overall performance using the visual design principles of the FUI, and using light and shadow to amplify real images, creating a dynamic effect and offering the audience a novel experience.

When audiences engage with a magic show, they mentally immerse themselves in the entertaining experience. In his book Maximum Entertainment, Weber [19] defined “entertainment” as the process of transforming the mind into another world, emphasizing that entertainment is not only inspiring but can also offer new perspectives on life. In light of the quality experience framework proposed by Chang and Horng [20] and the technology acceptance model introduced by Davis et al. [21], in this study, two scales, namely, “magic viewing experience” and “multimedia technology understanding”, are formulated to measure the extents of the audience’s feelings about magic performances. These scales are tailored to the specific characteristics of this study, involving the fusion of virtual user interfaces with magic performances. The effectiveness of these scales is assessed through a qualitative and quantitative evaluation, following the methodology outlined by Creswell and Clark [22].

3. Methodology

3.1. Ideas of Proposed Method

3.1.1. Selection of Research Methods

The research process of this study involved three phases, namely exploration, development, and assessment, with the major works in each phase depicted as shown in Figure 3. The detailed steps for the works as well as the methods selected for implementing these activities will be presented in the subsequent sections.

More specifically, following the design principles established in the second phase, a digital multimedia magic show system named “FUI Magic” was developed. Then, a magic show named “Fantasy Doves” was created using the system and presented to an audience in this study. The audience members were invited to complete a questionnaire after the show, and interviews were conducted with invited experts in the third stage of this study. As mentioned earlier, drawing from the frameworks proposed by Chang and Horng [20] and Davis et al. [21], two scales were employed to measure the audience members’ magic viewing experience and multimedia technology acceptance in the questionnaire survey. The effectiveness of the proposed magic system, “FUI Magic”, and the magic show, “Fantasy Doves”, performed on the system was statistically assessed through a combined qualitative and quantitative approach designed according to Creswell and Clark [22].

3.1.2. Expert Interview

The purpose of the interview method is to provide interviewees with greater flexibility in their responses, allowing for the collection of feelings, attitudes, and value judgments about the questions posed. Interview methods can be categorized as follows.

(1)

Structured interview: The interview process is controlled, with a standardized questioning process and a predetermined order of questions. This approach reduces the errors from respondents and facilitates quantitative statistical analysis.

(2)

Semi-structured interview: An interview outline is prepared in advance, but there is no strict procedure for asking questions. Both the interviewer and the interviewee can freely express their opinions, making the interview process more flexible.

(3)

Unstructured interview: There is no pre-organization of the interview outline before the interview takes place. Interviewees are encouraged to express their experiences in their own ways.

In this study, the semi-structured interview method was employed. Before the interview, the researcher developed an interview outline based on the topics and identified the main issues. The focus of the interview was on understanding the feelings and opinions of the interviewees about the proposed magic show system “FUI Magic” and the show “Fantasy Doves”, as mentioned previously.

3.1.3. Questionnaire Survey

The questionnaire survey is a method for gathering opinions from respondents through the completion of questionnaires. For such surveys, quantitative scales can be employed to obtain consistent raw data. Through subsequent statistical analysis, the influences of various factors can be explored to evaluate the effectiveness of the research work. The steps for conducting the questionnaire survey in this study are outlined as follows.

(1)

Questionnaire timing: After the performance, the audience is invited to complete the questionnaire, which typically takes about five minutes.

(2)

Survey targets: Questionnaires are distributed anonymously to all on-site audience members. There were two performances of the proposed magic show titled “Fantasy Doves” in total, with approximately 50 spectators at each performance.

(3)

Implementation steps: The subjects are briefed on the questionnaire questions, and the questionnaires are distributed to them for completion.

3.2. Design of the Proposed Magic System

3.2.1. Design Concept of the Proposed System “FUI Magic”

The interactive magic show system “FUI Magic” developed in this study incorporates the following three elements: “virtual user interface”, “magic performance”, and “interactive art”. The system was designed based on the previously reviewed “six magic effects” and “four virtual and real conversion principles” proposed by Carreras and Sora [8], employing a modular approach inspired by Kuşcu and Akgün [13].

The system utilizes a Hokuyo laser rangefinder to detect the magician’s touches on a panel, creating the function of the virtual user interface named the FUI in this study. Precise touches at the right time and position trigger corresponding animation contents, which are seamlessly integrated into the magic show. Through the fusion of traditional magic techniques and props, as well as the interactive FUI, the magician can produce various captivating effects.

3.2.2. Physical Design of the Proposed System “FUI Magic”

The installation of the magic show system “FUI Magic” resembles a booth with a prominent panel, consisting of the following key components (refer to Figure 4a):

(1)

Display panel: Covered with transparent projection film for light projection mapping during magic presentations.

(2)

Laser rangefinder (Hokuyo UST-10 LX): Mounted on the top of the panel, it emits a laser plane to implement the FUI functions.

(3)

Magic box: Attached at the bottom of the panel to store props used in magic performances.

(4)

Control light: Installed on the back of the panel to illuminate the magician, ensuring clear visibility for the audience when the magician stands behind the panel.

The booth’s construction emphasizes a futuristic aesthetic, aligning with the science-fiction themes of the displayed content (see Figure 4b). The laser rangefinder positioned on the top of the panel looks down to detect the magician’s touch, instantly triggering signals to change the displayed animations on the panel in synchronization with the magic presentation steps. This interactive setup enables the magician to seamlessly integrate magic props from the magic box with sleight-of-hand performances, creating a variety of captivating magic effects and providing an entertaining visual experience for the audience.

Detailed descriptions of the functions of these major components will be provided in later sections, following the presentation of a magic show designed by use of the “FUI Magic” system in the next section.

3.2.3. The Process of a Magic Show Using the Proposed System

A magic show named “Fantasy Doves”, consisting of five parts, has been designed in this study for stage presentations utilizing the proposed magic show system, “FUI Magic”. The interactive process of “Fantasy Doves” is briefly described in

Table 2. The interactive process of the magic show “Fantasy Doves” presented by use of the proposed system “FUI Magic”.

Name of Show Part	Panel Screen Shots (Upper) and Magic Show Shots (Lower)				Explanations
Part I: “The show starts with a halo-expansion animation”					Screen events (2 panel-screen shots shown left): When the central area of the display panel is touched, an animation of the halo expansion is started, followed by a display of the home screen (a pigeon image surrounded by the logos of three of the five parts of the magic show). Magician’s actions (3 magic-show shots shown below): The magician holds a real light ball to touch the panel screen, and transfers it into the screen to start a halo expansion on the screen, followed by the appearance of the home screen.
	1A.1 A shot of the halo-expansion animation.		1A.2 The home screen appearing on the panel.
	1B.1 Holding a real light ball at the beginning of the magic show.			1B.2 Transferring the ball into the screen to start a halo animation.		1B.3 Incurring the display of the home screen with a dove image in the middle.
Part II: “Light balls transforms into a dove”					Screen events (4 panel-screen shots shown left): When the upper right “light-ball area” is touched, a light-ball animation starts; then, the light balls move to the center of the display panel, disappear, appear, change colors, and deform mystically; and finally, they merge into a single ball that flies out of the screen like a silk scarf. Magician’s actions (6 magic-show shots shown below): The magician touches the panel at the upper-right corner to initiate a light-ball animation. Then, he extracts the light balls out of the screen to turn them into real ones, plays them in hand to make them vanish and then appear, swallows one of them and takes it out from one of his ears, changes the ball colors, and finally, merges all the balls into one that flies away immediately, followed by yielding a dove in hand and putting it into a cage.
	2A.1 The light balls move to the screen center.		2A.2 The light balls change colors.
	2A.3 The light balls merge into a single one.		2A.4 The single ball flies away like a scarf.
	2B.1 The magician extracts an on-screen light ball and turns it into a real one.			2B.2 The magician is swallowing a real light ball in hand.		2B.3 The magician is taking out the swallowed ball from one ear.
	2B.4 The magician changes the balls’ colors and puts the balls back to the screen.			2B.5 The balls merge into one on-screen and it flies away as a real one.		2B.5 A dove appears in the magician hand which then is put into a cage.
Part III: “A short stick turns into a dove”					Screen events (2 panel-screen shots shown left): When the “light-bar area” to the right of the panel is touched, a light-bar animation is initiated. Then, the three light bars rise gradually, changing their colors to red, and the rightmost bar suddenly descends, turns green, and disappears. Magician’s actions (6 magic-show shots shown below): The magician touches the panel to start a light-bar animation; raises his palm to cause the light bars to ascend; and as the rightmost bar turns green and descends, a real red stick appears in his hand which are then played to yield a dove.
	3A.1 A shot of the light-bar animation on the right.		3A.2 The rightmost bar is vanishing.
	3B.1 The rightmost light bar turns green and descends.			3B.2 The green on-screen light bar is extracted to become a real one.		3B.3 The green light bar turns red in the hand.
	3B.4 The magician holds the red light bar horizontally.			3B.5 The magician raises the red light bar.		3B.6 A dove appears to sit on the magician’s hand.
Part: IV “Playing cards become a dove”					Screen events (6 panel-screen shots shown left): By touching the “rectangular-pixel area” on the upper left of the display panel, the rectangular pixels are moved to the center of the panel with their sizes enlarged. Subsequently, two animations are played (separately in time) as follows. (1) A rectangle instantly appears at the top of the panel screen, gradually replicating to form the English letter “N”. Then, the N moves to the left, displaying the English letters “NYUST” and a pixelated heart in sequence. (2) The individual rectangles randomly fall from the top and disappear, followed by a large swath of fluorescent green pixel rectangles appearing from the top and then disappearing. Magician’s actions (6 magic-show shots shown below): Two stages of magic presentations are performed as follows. (1) The magician touches the upper-left corner of the panel to move the rectangular-pixel area to the panel center, walks behind the panel to turn on the top light of the panel to allow the audience to see him clearly, taps on a dark-colored rectangle by a finger to make it bright, drags it to draw the shape of the English letter “N”, and finally waves it to the left, sequentially revealing the abbreviation “NYUST” and a pixelated heart. (2) He then walks back to the panel front, materializes falling pixel rectangles in the appearance of physical playing cards magically, begins to perform a stage “card magic” routine (including fanning, infinite fans, card disappearance, card production, and so on), and finally, concludes by transforming the playing cards held in hand into a dove.
	4A.1 The pixels are moved to the panel center.		4A.2 Their sizes are enlarged.
	4A.3 A rectangle appears at the top.		4A.4 It moves to form the English letter “N”.
	4A.5 Individual rectangles fall on the screen.		4A.6 The rectangles form a swarth.
	4B.1 The magician draws the English letter N by a single rectangle.			4B.2 Individual rectangles are taken out of the screen to become real ones.		4B.3 The magician is playing the tricks of card fanning and related tricks.
	4B.4 More cards are being taken from the screen.			4B.5 The magician spits out two fans of playing cards.		4B.6 A dove appears from the card fans.
Part V: “The show ends with the doves vanishing”					Screen events (2 panel-screen shots shown left): The screen content gradually fades out, and a QR code appears for the audience to scan to reach a website and fill out a questionnaire on there for the collection of the audience’s opinions (QS in the left figure means questionnaire survey). Magician’s actions (3 magic-show shots shown below): The magician covers the birdcage containing the doves with a black cloth, brings the cage to the stage front, and tears off the black cloth. Then, both the doves and the cage disappear.
	5A.1 The screen content gradually fades out.	5A.2 A QR code for accessing the QS website appears.
	5B.1 The magician is covering the cage with a black cloth.			5B.2 The magician is trying to move the covered cage to the front of the stage.		5B.3 The magician tears off the black cloth, making the doves and cage vanish.

using intermediate images displayed on the system’s panel during the show. Note that for each part of the magic show in the table, two figure sets are listed: one (set A) illustrates events occurring on the panel screen, and the other (set B) shows a series of sample actions performed by the magician.

It is emphasized that during the magic show “Fantasy Doves”, the magic-effect types, namely teleportation, levitation, transformation, production, and vanishing, as proposed by Carreras and Sora [8], have all been successfully realized, and the virtual–real conversions of PDt, DPt, DDt, and PPt are also demonstrated, as outlined in

Table 3. Magic effects and virtual–real conversions in the proposed interactive magic show “Fantasy Doves”.

Show Part	Interaction Content	Magic Effect	Virtual–Real Conversion	Interactive Media
I	A light ball on the fingertip is transferred into the panel screen	Teleportation	PDt	(1) Light ball (2) Transparent acrylic panel (3) Rangefinder
	On-screen animation is triggered by touching detected by the rangefinder	None	None
II	The light ball animation on the panel transforms into a silk scarf and appears in reality	Teleportation	DPt	(1) Light ball (2) Transparent acrylic panel (3) Dove (4) Flying silk device
	A silk scarf flies around the front of the audience	Levitation	PPt
	After the silk scarf flies back, the magician uses magic tricks to conjure a dove	Transformation	PPt
III	The magician touches the right side of the panel to start a light-bar animation	None	None	(1) Transparent acrylic panel (2) Rangefinder (3) LED bar (4) Dove
	Virtual light bars are transformed into real ones	Teleportation	DPt
	The magician plays a real light bar in a number of ways to yield a dove	Production	PPt
IV	The performer touches the panel to trigger an animation of virtual playing cards	None	None	(1) Transparent acrylic panel (2) Rangefinder (3) Playing cards (4) Dove
	When the hand is close to the panel, the virtual playing card disappears and appears in the hand	Teleportation	DPt
	The cards in the magician’s hand disappear and are animated on the panel	Vanishing	PDt
	The magician uses tricks to turn playing cards into a dove	Transformation	PPt
V	The doves in the cage are covered with cloth and disappear in an instant using magic tricks	Teleportation	PDt	(1) Transparent acrylic panel (2) Dove (3) Birdcage

.

3.2.4. Architecture of the Proposed Magic Show System

As depicted in Figure 5 and outlined in

Table 4. Hardware and software used in the proposed magic show system for magic presentations.

Software Package	Hardware Equipment
Resolume Arena (ver 7.18.1)	Computer
TouchDesigner (ver. 2023.11510)	Display screen with projection film
loopMIDI (ver. 1.0.16.27)	Hokuyo UST-10LX rangefinder
Adobe Illustrator (ver. Adobe 2018)	Projector
Adobe After Effects (ver. Adobe 2018)

, the magic show system “FUI Magic” developed in this study utilizes the following hardware and software components to deliver media-integrated magic shows characterized by creativity and entertainment, such as the performance “Fantasy Doves” described earlier.

(1)

Computer: Serving as the central processing unit in the proposed system “FUI Magic”.

(2)

Display panel with projection film: Constructed using acrylic with one side coated with projection film, enabling video/image projection.

(3)

Rangefinder (Hokuyo UST-10LX): Mounted on the top of the display panel and looking down at the front of the panel, emitting a fan-shaped laser to detect the position of the magician’s touch on the panel.

(4)

Projector: Utilized for projecting pre-recorded videos and alignment settings sent by the computer onto the display panel of the FUI booth for magic presentations.

(5)

TouchDesigner (ver. 2023.11510) and loopMIDI (ver. 1.0.16.27) software packages: Installed on the computer to receive position data concerning the magician’s touch detected by the rangefinder and convert them into MIDI signals.

(6)

Resolume Arena software package (ver 7.18.1): Installed on the computer to receive MIDI signals and control the timings for playbacks of related animation videos and corresponding alignment settings for projecting the animations.

(7)

Adobe Illustrator and After Effects software packages (ver. Adobe 2018): Installed on the computer for producing special effects in the required videos and images projected on the display panel.

3.2.5. Main Technology for FUI Implementation—Range Finding by Laser Scanning

The primary technology employed in the magic show system “FUI Magic” to implement the FUI function is “laser scanning for touch sensing by range finding”. Specifically, the touch sensing determines the magician’s touch position on the display panel using the range-finding technique: if the touch point falls within the sensing area provided by the laser scanning range, it triggers the desired FUI process for the magic presentation designed in this study.

As previously explained, the range-finding function is realized in this study using the Hokuyo UST-10LX device (from Hokuyo Company, Japan). The device conducts horizontal laser scanning to create a fan-shaped area. Since the device is mounted on the display panel to “face” downward, the horizontal fan shape becomes vertical and roughly parallel to the panel surface.

A touch from an object (such as the magician’s hand or fingers in the magic performances of this study) within the fan area can be precisely located according to the range-finding principle by measuring the flight time of the laser beam between the touch point and the range finder. The Hokuyo laser scanner not only captures the detected object’s position but also measures its size and movement direction, displaying the scanned image of the object on a screen. The laser scanner has a maximum detection distance of 10 m, a scanning angle of 270 degrees, and a scanning time of 25 ms. The detection function remains effective regardless of strong ambient light and can operate in low-light conditions.

4. Results

In this section, we detail the experiment involving the presentation of the show “Fantasy Doves” using the proposed magic show system, “FUI Magic”. The collected opinion data from both the experts and the audience, following their viewing of the show, are subjected to statistical analysis. This analysis aims to highlight the effectiveness of the proposed system and demonstrate its entertainment value.

4.1. The Experiment Conducted on the Proposed System

The proposed magic show system “FUI Magic” with the virtual user interface FUI was publicly displayed in November 2020 to conduct an experiment to test the effectiveness of the proposed system. The experiment was designed as follows.

(1)

Experimental site: An exhibition hall in the university with which the authors of this paper are affiliated.

(2)

Subjects participating the experiment: A total of 107 individuals who are not magicians but understand the meaning of magic (i.e., they have seen formal magic performances and can appreciate the amusement effect of the magic content).

(3)

Experimental content: Two experiments were conducted to assess the pleasure, novelty, and effectiveness of the performance using the “FUI Magic” system:

(A)

Type 1 involved each audience member watching the live magic show “Fantasy Doves” and participating in a questionnaire survey afterwards.

(B)

Type 2 involved each invited expert watching a pre-recorded video of the show “Fantasy Doves” and participating in an interview.

(4)

Type-1 experimental process: The process lasted approximately 15 min, comprising a 5 min explanation of the experiment to the audience, a 5 min performance viewing, and finally, a 5 min questionnaire filling.

(5)

Type-2 experimental process: The process consists of a 5 min presentation of a pre-recorded video of the magic show “Fantasy Doves” and a 30 min expert interview covering predetermined topics.

The exhibition content of the proposed system “FUI Magic” primarily comprises the interactive FUI booth and the background environment for projecting animations to create a futuristic atmosphere, as depicted in Figure 6. The audience can immerse themselves in the experience of watching a technology-based magic show.

4.2. Topics of Expert Interview and Analysis of Results

During the public exhibition of the magic show system, three experts in the related research fields of “magic”, “interactive design”, and “user interfacing” were invited to participate in semi-structured one-to-one interviews as part of this study. They are identified in

Table 5. Invited experts interviewed in this study.

Code	Institution	Title	Expertise
T1	Winnie and Jie Magical Entertainment Company	Professional magician	Close-up magic, theater performance, psychic magic
T2	National Taichung University of Education	Associate professor and computer scientists	Human–computer interaction, interactive art installations, digital content
T3	National Yunlin University of Science and Technology	Associate professor and UI/UX designer	User interface/user experience (UI/UX) design, service design, cross-media integrated marketing design

and referred to as T1 through T3, respectively, for ease of reference. Each interview lasted 30 min after the interviewee watched a 5 min pre-recorded video of the magic show “Fantasy Doves”. The entire interview process for each participant was documented on paper by a researcher involved in this study.

4.2.1. Design of Interview Outlines

The interviews covered two main aspects: the “experience of watching the magic show” and the “introduction of multimedia technology”, with the questions asked in each interview shown in

Table 6. Outline of expert interviews.

Perspective	Questions Asked in the Interview
A. Experience of watching the magic show	A1. What do you think of the flow of the performance? Which section impressed you the most? Where do you think it can be improved?
	A2. How do you think this performance is entertaining and surprising?
	A3. Do you have any suggestions for its application in the business model?
B. Introduction of multimedia technology	B1. Do you have any opinions on the introduction of interactive technology into performing arts?
	B2. What do you think the advantages or disadvantages of introducing multimedia technology into magic performances are?
	B3. What do you think about the design or theme of the projection mapping stage?

. The aim of these questions was to gather the interviewees’ comments on the characteristics and effectiveness of the interactive performances presented in the proposed magic show “Fantasy Doves”, as described earlier.

4.2.2. Results of Expert Interviews

Regarding the two perspectives of “the experience of watching the magic show” and “the introduction of multimedia technology”, the comments provided by the three experts, T1 through T3, were collected and are listed in

Table 7. List of comments collected from the expert interviews.

Perspective	Question	Record of Comments
A. Experience of watching the magic show	A1. What do you think of the flow of the performance? Which section impressed you the most? Where do you think it can be improved?	The performance process adheres to the principles of exposition, development, twist, and resolution (T1, T3). To present a light magic, the focus should be put on the utilization of the characteristics of light for creating magic effects (T1). As the conclusion, another light ball can be generated and then blown out with all the lights extinguished and music stopped in an instant, so as to echo the beginning and end of the show and achieve a shocking ending effect (T1). To increase the depth and effects of the magic, the conversion between virtuality and reality should be two-way via the virtual user interface (T1). After lighting the light ball, extra animations such as controlling the light ball to flash, pause, speeding up or slowing down may be added to increase the sense of interactivity (T1). The environment is too dark, and this can be improved by adding a spotlight, putting a light on the magician, or using a high-lumen short-throw projector for rear projection (T1, T2, T3). It is easy for the audience to think that it is a coordination with animation to make alignment, and more magic techniques should be added to it (T2). The camera movement in photography should be more vivid and should be aligned with the performance (T3). The part of the show playing with short LED sticks is not expressed clearly enough for the audience to understand (T1, T2, T3). The light ball on the fingertip has a very good effect of traveling between virtuality and reality, and the way the dove appears should also have the effect of traveling between virtuality and reality (T3). The magician may also have the effect of entering the virtual world when walking to the back of the display panel, making good use of the situation and space provided by the panel (T3). To avoid visual interference for the audience, the magician should not stand in front of the display panel; otherwise, the video projection on him may cause disruptions (T1, T2, T3). The effect of the poker-playing process is very good, but the coordination and proficiency with animation need be improved (T3)
	A2. How do you think this performance is entertaining and surprising?	Entertainment and surprise have reached a certain level (T1, T2, T3). The entertainment and surprise effects will be good if the audience understands what the magician wants to express (T1). An overly dark environment will affect the magic effect; the audience should be able to see the moment when the effect is produced rather than the result (T1, T2, T3). The surprise and effect of the dove’s appearance are the best (T1, T3).
	A3. Do you have any suggestions for its application in the business model?	This performance has enough potential and novelty to be commercialized (T1, T2, T3). The more intuitive the magic effect, the easier it is to entertain the public in commercial venues (T1). The text content of the virtual poker cards is very suitable for business customization (T1). The props and devices need be optimized into a mobile version that can be quickly assembled and carried (T3). It would be better if there is a process that allows the audience to interact on stage (T2, T3). It is suggested to evaluate the cost of a performance and assess how much the ticket price of a performance should be (T1, T2). It is suggested to move toward the development of interactive magic props, commercialize the props, and use the products to expand the market. In the performance process, it may also be tried to conduct marketing of the props (T3). It may be useful to think about making miniature portable props (T3). Electronic-engineering thinking can be used to reduce the product costs without affecting the presentation effects (T2, T3). The performance needs to be modularized to form a plan for customers to make choices according to their budget (T2). It is better to understand the magic market and formulate your own positioning, thinking about whether to use magic as the main body to add projection mapping elements or to use projection mapping art as the main body to add magic services, and how to convince customers of the value of this performance (T2). This performance can be included as a bonus point for governmental project bids (T2).
B. Introduction of multimedia technology	B1. Do you have any opinions on the introduction of interactive technology into performing arts?	The introduction of interactive technology into performing arts can increase visual splendor and interactive novelty (T2, T3). Interactive devices can be used to provide more possibilities for performance, and trigger sensors in different areas at different times to make the performance non-linear (T3). You need to first master the three technologies of light, switch, and wireless, and then become familiar with interactive sensing, mechanical principles, etc. (T2). The interactive behavior must conform to the characteristics of the site, and the performance content must be relevant to the spatial situation (T2).
	B2. What do you think are the advantages or disadvantages of introducing multimedia technology into magic performances?	Performing magic using projection, light, and technology as elements is unique and novel enough (T1) The sense of surprise created by the technology needs to be improved (T1) The magic technique part should be added to be clearly differentiated from other performances that introduce interactive technology, such as dance, etc. (T2) Based on the linear characteristics of the light beam, it may be useful to use a laser to illuminate the beam, and extract the middle section of the beam to perform the LED short stick program. The degree of mysteriousness will be much improved (T1). Based on the non-physical characteristics of light, it may be useful to use hidden threads to materialize the light, and to hang physical objects to create the feeling of materialized light (T1). Foot interaction can be added, or other button devices can be attached to trigger different effects (T2, T3). Which common magic techniques are suitable for which interaction methods can be classified (T2). The characteristic of light in magic is that it attracts attention when it lights up, and it is easy to hide when it is not lit, so it is a good medium (T2).
	B3. What do you think about the design or theme of the projection mapping stage?	The atmosphere has been created, but the lights must be on where the magicians, doves, cages and other effects appear (T1). The overall way of expression through projection mapping is very cool, and the audience will want to watch it a second time (T3). The mapping image can be expanded to the entire background, and the mapping animation may be thought to be the stage (T2).

. A summary of these comments will be presented next.

4.2.3. A Summary

Integrating the comments of the expert interviews listed in Table 7, the following conclusions can be drawn:

(1)

Innovative magic show: The demonstration of “FUI Magic” is deemed innovative and entertaining, earning positive evaluations from the experts; however, there is potential for further enhancement of the magical wonder.

(2)

Consistency and strengthening: There is a need to improve the consistency of the response from beginning to end; and both the light-ball process and the short-stick process may be strengthened by incorporating additional magic tricks.

(3)

Strengthening visual splendor: The presentation gains strength in visual splendor and interactive novelty through the introduction of virtual user interfacing.

(4)

Enhancing interaction: The interaction between the magician and the virtual user interface can be further enhanced, and additional animation elements that can be controlled in the interface may be added.

(5)

Deepening magical impact: It is worth exploring ways to increase the depth and level of the magic, enrich the effect of switching elements between virtuality and reality, and reduce the sense of animation alignment.

(6)

Leveraging light characteristics for distinct magic: Inventing magic effects based on the characteristics of light can add a sense of surprise and differentiate the show from others.

(7)

Enhancing visual impact through strategic lighting: Suggested optimization includes utilizing short-throw projection and fill-in lighting to ensure ample illumination where magic effects occur, ensuring the audience can vividly experience the impact.

(8)

Expanding interactive potential: Incorporating triggering devices in various areas can enhance the interactivity and open up new possibilities for the performance.

4.3. Questionnaire Survey and Data Analysis

As mentioned earlier, drawing from the perspectives of complete quality experiencing proposed by Chang and Horng [20] and the technology acceptance model (TAM) concept by Davis et al. [21], two scales were developed for the questionnaire survey to gather the audience’s opinions on the proposed magic show system. One scale focused on measuring the magic viewing experience, while the other aimed to assess the multimedia technology understanding. These two scales were tailored to the specifics of this study, and their effectiveness was evaluated statistically by use of the software package SPSS 26.

4.3.1. Questionnaire Design

Concerning the two scales utilized in the aforementioned questionnaire survey, the first scale, designed to measure the “magic viewing experience”, includes questions for the audience to respond to using a five-point Likert scale, as detailed in

Table 8. Questions of the scale for measuring the magic viewing experience.

Label	Content
S1	I often feel like time flies by so fast during the presentation.
S2	The stage effect makes me feel like I am in a fantasy world.
S3	The whole performance left people in an emotional state.
S4	Watching the show made me want to learn more about magic or other performing arts.
S5	I am amazed by the magic effect that technology can do.
S6	I can feel entertained and happy during the performance.
S7	The content of the magic show is inspiring to me.
S8	Watching the performance makes me feel the happy atmosphere.
S9	I think the visual design of this show is very attractive.
S10	I think the stage design of this show is very attractive.
S11	I think the magician’s performance in this show is amazing.
S12	Watching the performance relieves me of stress.
S13	Watching the show makes me get to like magic.

. Meanwhile, the second scale, aiming to assess the “multimedia technology understanding”, presents its questions in

Table 9. Questions of the scale for measuring the multimedia technology understanding.

Label	Content
T1	I know that voice control is a type of multimedia interactive technology.
T2	I think the LED is a type of multimedia technology.
T3	I have seen the interactive body–touch interfacing in the magic performance.
T4	I have seen the interactive technology of sound sensing used in the magic show.
T5	I have seen the interactive technology of temperature sensing in the magic show.
T6	I have seen multimedia technology used in magic performances.
T7	I can accept the use of digital images in magic performances.
T8	I came to watch this magic show because of the combination of multimedia technology.
T9	Most of the performances combined with multimedia technology are good to watch.
T10	Audio–visual effects of multimedia enhance the visibility of magic performances.
T11	I do not let the way in which multimedia is used affect my evaluation of the show.
T12	The audio–visual impact of multimedia surpasses pure physical performances.
T13	The audio–visual effects divert my attention to the performer’s physical expressions.

. On this Likert scale, opinions ranging from “strongly disagree”, “disagree”, “normal”, “agree”, to “strongly agree” are assigned scores of 1, 2, 3, 4, and 5, respectively.

These questionnaires, with the mentioned questions, were distributed to the audience following their viewing of the magic show “Fantasy Doves” during the experimental exhibition, as previously mentioned. The experiment spanned two days, resulting in a collection of 106 valid questionnaires and 1 invalid. The audience’s responses to the questions from the two scales are listed in

Table 10. Questionnaire structure of the scale for measuring the magic viewing experience.

Lebel	Minimum Value	Maximum Value	Mean	Standard Deviation	Strongly Agree (5)	Agree (4)	Average (3)	Disagree (2)	Strongly Disagree (1)	Agree or Above
S1	1	5	4.19	0.85	42.8%	37.1%	17.1%	1.9%	0.9%	79.9%
S2	2	5	4.28	0.67	39.6%	50%	9.4%	0.9%	0%	89.6%
S3	2	5	3.98	0.79	27.3%	46.2%	23.5%	2.8%	0%	73.5%
S4	1	5	4.03	0.85	33.9%	37.7%	26.4%	0.9%	0.9%	71.6%
S5	2	5	4.30	0.73	45.2%	40.5%	13.2%	0.9%	0%	85.7%
S6	3	5	4.40	0.64	48.5%	42.8%	8.5%	0%	0%	91.3%
S7	2	5	3.84	0.79	22.8%	40%	35.2%	1.9%	0%	62.8%
S8	3	5	4.23	0.74	41.5%	39.6%	18.8%	0%	0%	81.1%
S9	3	5	4.46	0.58	50.9%	44.3%	4.7%	0%	0%	95.2%
S10	3	5	4.42	0.63	49%	43.3%	7.5%	0%	0%	92.3%
S11	3	5	4.45	0.66	54.7%	35.8%	9.4%	0%	0%	90.5%
S12	2	5	4.11	0.78	36.1%	40%	22.8%	0%	0%	76.1%
S13	1	5	4.13	0.85	40.5%	33.9%	24.5%	0.9%	0%	74.4%

and

Table 11. Questionnaire structure of the scale for measuring the multimedia technology understanding.

Lebel	Minimum Value	Maximum Value	Mean	Standard Deviation	Strongly Agree (5)	Agree (4)	Average (3)	Disagree (2)	Strongly Disagree (1)	Agree or Above
T1	3	5	4.35	0.64	44.3%	46.2%	9.4%	0%	0%	90.5%
T2	2	5	4.20	0.73	37.7%	45.2%	16%	0.9%	0%	82.9%
T3	1	5	3.47	1.15	22.6%	28.3%	27.3%	16.9%	4.7%	50.9%
T4	1	5	3.46	1.16	20.7%	33%	23.5%	16.9%	5.6%	53.7%
T5	1	5	3.27	1.19	19.8%	23.5%	26.4%	24.5%	5.6%	43.3%
T6	1	5	3.55	1.22	25.4%	33.9%	16.9%	16.9%	6.6%	59.3%
T7	3	5	4.47	0.63	54.7%	37.7%	7.5%	0%	0%	92.4%
T8	2	5	4.32	0.74	47.6%	38%	13.3%	0.9%	0%	85.6%
T9	3	5	4.40	0.65	49%	41.5%	9.4%	0%	0%	90.5%
T10	1	5	3.77	1.12	33%	28.3%	25.4%	9.4%	3.7%	61.3%
T11	1	5	4.15	0.77	34.3%	49.5%	14.3%	1.0%	1.0%	83.8%
T12	1	5	3.66	1.02	25.7%	28.5%	32.3%	12.3%	0.9%	54.2%
T13	1	5	3.70	1.05	26.4%	33.9%	23.5%	15%	0%	60.3%

, respectively.

4.3.2. Analysis of Reliability and Validity of Collected Questionnaire Data

Prior to assessing the effectiveness of the proposed system “FUI Magic” and the magic show “Fantasy Doves” using the two scales of the “magic viewing experience” and “multimedia technology understanding”, according to the audience’s answers to the questions asked in the questionnaire survey described in Table 8 and Table 9, it is imperative to verify the reliability and validity of the data presented in Table 10 and Table 11. This verification process is conducted sequentially in five steps using the statistical software package IBM SPSS 26 and AMOS 23, and the intermediate results of the steps are described in the following.

(1)

Step 1: Verification of the adequacy of the questionnaire dataset

To assess the adequacy of the collected questionnaire data, in this study the Kaiser–Meyer–Olkin (KMO) test and Bartlett’s test of sphericity were employed. The KMO measure of sampling adequacy is a statistic indicating the proportion of variance among the variables expressed by the questionnaire data, potentially attributed to underlying factors. Typically, a KMO measure value exceeding the threshold of 0.50 is considered to pass the KMO test. Additionally, Bartlett’s test of sphericity assesses the hypothesis that the correlation matrix of the data variables is an identity matrix, suggesting no correlation among the variables. A significance value below the threshold of 0.05 is generally acceptable to reject the hypothesis, or in other words, to pass Bartlett’s test. When both tests are successful, the dataset is deemed to be adequately related, demonstrating the adequacy of the dataset for subsequent structural analysis.

Specifically, using the data from Table 10 and Table 11 as input for the SPSS program, the computed KMO measure values and Bartlett’s significant values are presented in

Table 12. The measured values of the KMO test and the significance values of Bartlett’s test of the questionnaire data collected with the two scales as listed in Table 10 and Table 11.

Scale	Name of Measure or Test		Value
Magic viewing experience	KMO measure of sampling adequacy		0.912
	Bartlett’s test of sphericity	Approx. Chi-Square	799.422
		Degree of freedom	78
		Significance	0.000
Multimedia technology understanding	KMO measure of sampling adequacy		0.824
	Bartlett’s test of sphericity	Approx. Chi-Square	670.243
		Degree of freedom	78
		Significance	0.000

. It is evident from the table that the two KMO measure values exceed 0.50, and the two computed significant values for Bartlett’s test are below 0.05. Therefore, both tests have been successfully passed, indicating that the data from Table 10 and Table 11 are suitable for further structural analysis, as undertaken in the subsequent steps of the data verification.

(2)

Step 2: Finding the latent dimensions of the questions from the collected data

In the structural analysis of the questionnaire data, the objective is to categorize the questions of each scale into meaningful subsets, each associated with a latent dimension. To achieve this, the exploratory factor analysis (EFA) utilizing principal component analysis, along with the varimax method with Kaiser normalization, were applied using the SPSS package. The outcomes of these procedures, using Table 10 and Table 11 as inputs, are presented in

Table 13. Rotated component matrix of the first scale “magic viewing experience”.

No.	Latent Dimension: Magic Viewing Experience
	1	2	3
S2	0.781	0.218	0.060
S3	0.721	0.220	0.303
S11	0.692	0.246	0.394
S1	0.660	0.107	0.196
S5	0.609	0.377	0.356
S6	0.592	0.310	0.482
S4	0.133	0.855	0.175
S13	0.221	0.823	0.291
S7	0.407	0.599	0.290
S12	0.446	0.594	0.308
S9	0.187	0.291	0.832
S10	0.337	0.272	0.784
S8	0.503	0.317	0.584

and

Table 14. Rotated component matrix of the second scale “multimedia technology understanding”.

No.	Latent Dimension: Multimedia Technology Understanding
	1	2	3
T7	0.865	−0.051	0.180
T10	0.815	−0.033	0.134
T8	0.782	0.058	0.259
T1	0.764	0.184	0.080
T9	0.623	0.350	−0.059
T2	0.530	0.411	0.312
T3	0.099	0.882	0.152
T4	0.032	0.878	0.196
T6	0.182	0.840	−0.060
T5	0.058	0.826	0.230
T13	0.116	0.221	0.823
T12	0.222	0.024	0.756
T11	0.090	0.116	0.579

for the two scales, namely “magic viewing experience” and “multimedia technology understanding”, respectively.

After examining the tables, it is seen that the questions in the first scale fall into three groups, FS1 through FS3, aligning with three latent dimensions termed “emotion impact”, “magic impression”, and “entertainment satisfaction” according to the common characteristics of the questions in each group. Likewise, the questions in the second scale are grouped into three categories, FT1 through FT3, corresponding to three dimensions named “multimedia awareness”, “interaction perception”, and “technology acceptance”, respectively. A summary of these findings is presented in

Table 15. Collection of the questions from the six latent dimensions of the two scales.

Scale	Latent Dimension	No. of Questions	Labels of the Questions of the Dimension
Magic viewing experience	Emotion impact (Group FS1)	6	(S2, S3, S11, S1, S5, S6)
	Magic impression (Group FS2)	4	(S4, S13, S7, S12)
	Entertainment satisfaction. (Group FS3)	3	(S9, S10, S8)
Multimedia technology understanding	Multimedia awareness (Group FT1)	6	(T7, T10, T8, T1, T9, T2)
	Interaction perception (Group FT2)	4	(T3, T4, T6, T5)
	Technology acceptance (Group FT3)	3	(T13, T12, T11)

.

(3)

Step 3: Verifying the reliability of the collected questionnaire data

Reliability refers to the consistency of a measured dataset across multiple repetitions. In this study, the analysis of the reliability of the collected questionnaire data is based on the Cronbach’s α coefficient [23], which is yielded by the EFA mentioned previously. It is recognized that as the Cronbach’s α coefficient approaches the extreme value of 1.0, the reliability of the dataset (considered as variables) increases. A Cronbach’s α coefficient exceeding the threshold of 0.35 indicates that the data in question are reliable, and a value surpassing 0.70 signifies the high reliability of the dataset [24].

Utilizing the data presented in Table 10 and Table 11, the Cronbach’s α coefficients for the two scales and the six latent dimensions are detailed in

Table 16. The questions of the two scales and the six latent dimensions, as well as the corresponding Cronbach’s α coefficients.

Scale	Latent Dimension	Cronbach’s α Coefficient of the Latent Dimension	Cronbach’s α Coefficient of the Scale
Magic viewing experience	Emotion impact (Group FS1)	0.872	0.929
	Magic impression (Group FS2)	0.843
	Entertainment satisfaction. (Group FS3)	0.845
Multimedia technology understanding	Multimedia awareness (Group FT1)	0.852	0.844
	Interaction perception (Group FT2)	0.900
	Technology acceptance (Group FT3)	0.610

. It is evident from the table that all the Cronbach’s α coefficients surpass 0.70, except for the group FT3, which still exceeds 0.35 and approaches 0.70. Consequently, the collected questionnaire datasets for both scales and the individual latent dimensions are considered reliable for further analysis.

(4)

Step 4: Verification of the applicability of the structural model established with the latent dimensions

Before establishing the validity of the collected questionnaire data, it is essential to verify the appropriateness of the structural model configured based on the latent dimensions [25]. To accomplish this, the confirmatory factor analysis (CFA) process, utilizing the AMOS package, was applied to the gathered questionnaire data. The outcome of this analysis resulted in two three-dimensional structure-model graphs, as depicted in Figure 7. Additionally, the CFA generated a comprehensive list of structure-model fit indices for each of the two scales, “magic viewing experience” and “multimedia technology understanding”, as presented in

Table 17. Fitness indexes of the structural models of the two indicators of GPIC and the elderly’s attitude generated through CFA.

Scale	df	χ2	χ2/df	agfi	cfi	RMSEA	RMSEA (90% CI)
							LO	HI
Magic viewing experience	62	96.292	1.553	0.828	0.957	0.073	0.042	0.100
Multimedia technology understanding	62	112.702	1.818	0.797	0.920	0.088	0.062	0.114

Note: Meanings of symbols—df: degree of freedom; gfi: goodness-of-fit index; agfi: average gfi; cfi: comparative fit index; RMSEA: root mean square error of approximation; CI: confidence interval; LO: low; HI: high.

. It can be seen that the four index values of χ²/df, agfi, cfi, and RMSEA obtained for each scale are, respectively, “between 1 to 5”, “approximately 0.8”, “larger than 0.9”, and “approximately between 0.05 and 0.08”, indicating that the structural model, established according to the latent dimensions of the scale, fits fairly to the collected questionnaire data, according to Hu and Bentler [26].

(5)

Step 5: Verification of the validity of the collected questionnaire data

Having established the fact that the model structures of both scales fit the questionnaire data fairly, the next step involves a more in-depth analysis of the data’s validity. In Figure 7, showing the structure model of the questionnaire data, all the factor-loading values (standardized regression weights) related to the scales (along the paths from FS1 through FS3 and FT1 through FT3 to the questions S1 through S13 and T1 through T13, respectively) exceed the threshold 0.5 except one (on the path from FT3 to T11). This observation indicates that the construct validity of the model is fairly good. Furthermore, this validation is reinforced by the construct validity values of all the latent dimensions computed by the EFA process mentioned earlier, as detailed in

Table 18. The construct validity values of the latent dimension of the two scales “magic viewing experience” and “multimedia technology understanding” generated through the CFA.

Scale	Latent Dimension	Group of Related Questions	Construct Validity Value
Magic viewing experience	Emotion impact	FS1 = (S2, S3, S11, S1, S5, S6)	0.876
	Magic impression	FS2 = (S4, S13, S7, S12)	0.844
	Entertainment satisfaction.	FS3 = (S9, S10, S8)	0.849
Multimedia technology understanding	Multimedia awareness	FT1 = (T7, T10, T8, T1, T9, T2)	0.863
	Interaction perception	FT2 = (T3, T4, T6, T5)	0.905
	Technology acceptance	FT3 = (T13, T12, T11)	0.636

, where each value surpasses the threshold of 0.6 for passing the construct validity verification.

Through the above five steps of statistical processes, the verification of the reliability and validity of the questionnaire data is completed. Then, we can proceed to analyze the questionnaire data of each latent dimension, as conducted in the subsequent discussions.

4.3.3. Analysis of Questionnaire Data about the Scale of Magic Viewing Experience

The scale of “magic viewing experience” designed in this study was intended to understand the actual experiences of the audience after watching the magic performance “Fantasy Doves”. This scale includes the latent dimensions of “emotion impact”, “magic impression”, and “entertainment satisfaction”. The five-point Likert scale was employed as the rating standard, with a minimum score of 1 and a maximum score of 5 for representing the two extremes of “strongly disagree” and “strongly agree”, respectively. The responses were analyzed based on the ratio of each score, with scores of 4 and 5 indicating agreement, including “agree” and “strongly agree”.

Data Analysis for the Latent Dimension of Emotion Impact

The primary purpose of the questions related to this latent dimension, “emotion impact”, is to explore what impact the magic show has on an observer’s emotion. The results are presented statistically in

Table 19. Analysis of the responses to the questions from the dimension of “emotion impact”.

Question		Min. Value	Max. Value	Mean	S.D.	Strongly Agree (5)	Agree (4)	Average (3)	Disagree (2)	Strongly Disagree (1)	Agree or Above
S2	The stage effect makes me feel like I am in a fantasy world.	2	5	4.28	0.67	39.6%	50%	9.4%	0.9%	0%	89.6%
S3	The whole performance left people in an emotional state.	2	5	3.98	0.79	27.3%	46.2%	23.5%	2.8%	0%	73.5%
S11	I think the magician’s performance in this show is amazing.	3	5	4.45	0.66	54.7%	35.8%	9.4%	0%	0%	90.5%
S1	I often feel like time flies by so fast during the presentation.	3	5	4.42	0.64	50.9%	40.5%	8.4%	0%	0%	91.4%
S5	I am amazed by the magic effect that technology can do.	2	5	4.30	0.73	45.2%	40.5%	13.2%	0.9%	0%	85.7%
S6	I can feel entertained and happy during the performance.	3	5	4.40	0.64	48.5%	42.8%	8.5%	0%	0%	91.3%

, allowing for the following observations to be made.

(1)

The average responses to questions in this dimension are consistently around 4.0 or higher, signifying a significant influence on observers’ emotions during the magic viewing process.

(2)

Question S3 has the smallest mean but the largest standard deviation (S.D.) of 0.79, indicating some variability in the emotional responses of the observers after watching the entire magic performance.

(3)

Among all six questions, five have an agreement rate above 80%, showing that a majority of observers have experienced the various impacts of the magic performance on their emotions.

Data Analysis for the Latent Dimension of Magic Impression

In the process of the viewing experience, the impressions gained by observers regarding the magic performance are explored by the questions from this dimension, and the analysis results are presented in

Table 20. Analysis of the responses to the questions from the dimension of “magic impression”.

Question		Min. Value	Max. Value	Mean	S.D.	Strongly Agree (5)	Agree (4)	Average (3)	Disagree (2)	Strongly Disagree (1)	Agree or Above
S4	Watching the show made me want to learn more about magic or other performing arts.	1	5	4.03	0.85	33.9%	37.7%	26.4%	0.9%	0.9%	71.6%
S13	Watching the show makes me get to like magic.	1	5	4.13	0.85	40.5%	33.9%	24.5%	0.9%	0%	74.4%
S7	The content of the magic show is inspiring to me.	2	5	3.84	0.79	22.8%	40%	35.2%	1.9%	0%	62.8%
S12	Watching the performance relieves me of stress.	2	5	4.11	0.78	36.1%	40%	22.8%	0%	0%	76.1%

.

(1)

The average values for this dimension fall between 3.84 and 4.13, indicating that observers gain positive impressions of the magic performance during the viewing process.

(2)

The rates for the options of “agree” or above all exceed 60%, but none surpass 80%, revealing that observers have impressions of the magic performance, but not exceptionally strong ones.

Data Analysis for the Latent Dimension of Entertainment Satisfaction

This dimension is primarily investigated to determine whether observers feel entertained by the magic during the viewing experience, as indicated by the analysis results in

Table 21. Analysis of the responses to the questions from the dimension of “entertainment satisfaction”.

Question		Min. Value	Max. Value	Mean	S.D.	Strongly Agree (5)	Agree (4)	Average (3)	Disagree (2)	Strongly Disagree (1)	Agree or Above
S9	I think the visual design of this show is very attractive.	3	5	4.46	0.58	50.9%	44.3%	4.7%	0%	0%	95.2%
S10	I think the stage design of this show is very attractive.	3	5	4.42	0.63	49%	43.3%	7.5%	0%	0%	92.3%
S8	Watching the performance makes me feel the happy atmosphere.	3	5	4.23	0.74	41.5%	39.6%	18.8%	0%	0%	81.1%

.

(1)

The overall average values for this dimension range between 4.23 and 4.46, suggesting that observers can sense an overall entertaining atmosphere during the viewing process.

(2)

Questions related to the stage design and the visual design both have the rates of “agree” or above exceeding 90%, indicating that the majority of the audience shares strong satisfaction concerning the entertainment effect of the stage and visual design.

4.3.4. Analysis of Questionnaire Data about the Scale of Multimedia Technology Understanding

The second scale of “multimedia technology understanding” designed in this study was intended to test the audience’s exposure experience and sensitivity to technology-introduced performances after they watched the magic show “Fantasy Doves” presented on the proposed magic show system “FUI Magic”. This scale includes the latent dimensions of “multimedia awareness”, “interaction perception”, and “technology acceptance”.

Data Analysis for the Latent Dimension of Multimedia Awareness

The level of observers’ awareness of multimedia interactive technology for use in the magic performance is explored, as indicated by the analysis results in

Table 22. Analysis of the responses to the questions from the dimension of “multimedia awareness”.

Question		Min. Value	Max. value	Mean	S.D.	Strongly Agree (5)	Agree (4)	Average (3)	Disagree (2)	Strongly Disagree (1)	Agree or Above
T7	I can accept the use of digital images in magic performances.	3	5	4.47	0.63	54.7%	37.7%	7.5%	0%	0%	92.4%
T10	Audio–visual effects of multimedia technology enhance the visibility of magic performances.	1	5	3.77	1.12	33%	28.3%	25.4%	9.4%	3.7%	61.3%
T8	I come to watch this magic show because of the combination of multimedia technology.	2	5	4.32	0.74	47.6%	38%	13.3%	0.9%	0%	85.6%
T1	I know that voice control is a type of multimedia interactive technology.	3	5	4.35	0.64	44.3%	46.2%	9.4%	0%	0%	90.5%
T9	Most of the performances combined with multimedia technology are good to watch.	3	5	4.40	0.65	49%	41.5%	9.4%	0%	0%	90.5%
T2	I think the LED is a type of multimedia technology.	2	5	4.20	0.73	37.7%	45.2%	16%	0.9%	0%	82.9%

.

(1)

The average values for this dimension range between 3.77 and 4.47, indicating that observers have a relatively high level of awareness regarding multimedia technology.

(2)

Among the six questions, five have agreement rates exceeding 80%, showing that the majority of observers either “agree” or “strongly agree” with the questions about multimedia awareness, especially with question T9, indicating that the audience like to watch the magic show combined with multimedia.

(3)

For question T10, the scores are relatively lower, with some respondents giving a score of 1, suggesting that a small portion of the observers may not clearly perceive the role of multimedia in the magic show.

Data Analysis for the Latent Dimension of Interaction Perception

The extent of the observers’ exposure to multimedia interactive technology is explored by use of the questions from this dimension, as indicated by the analysis results in

Table 23. Analysis of the responses to the questions from the dimension of “interaction perception”.

Question		Min. Value	Max. Value	Mean	S.D.	Strongly Agree (5)	Agree (4)	Average (3)	Disagree (2)	Strongly Disagree (1)	Agree or Above
T4	I have seen the interactive technology of body–touch interfacing in the magic performance.	1	5	3.47	1.15	22.6%	28.3%	27.3%	16.9%	4.7%	50.9%
T3	I have seen the interactive technology of sound sensing used in the magic show.	1	5	3.46	1.16	20.7%	33%	23.5%	16.9%	5.6%	53.7%
T6	I have seen multimedia technology used in magic performances.	1	5	3.55	1.22	25.4%	33.9%	16.9%	16.9%	6.6%	59.3%
T5	I have seen the interactive technology of temperature sensing in the magic show.	1	5	3.27	1.19	19.8%	23.5%	26.4%	24.5%	5.6%	43.3%

.

(1)

The average values for this dimension are all below the value of 4, suggesting that the observers are receptive to the use of digital imagery in magic but have not frequently encountered performances incorporating multimedia and interactive technology. This indicates that the magic presented in this study is still considered novel to them.

(2)

The standard deviation for each question exceeds 1, indicating diverse opinions among the observers in this respect.

(3)

None of the four questions exceeds an agreement rate of 80%, suggesting that some observers hold more reserved views on the questions from this dimension about interaction perception.

Data Analysis for the Latent Dimension of Technology Acceptance

This dimension primarily aimed at investigating the sensitivity of observers to the use of technology in magic performances, as indicated by the analysis results in

Table 24. Analysis of the responses to the questions from the dimension of “technology acceptance”.

Question		Min. Value	Max. Value	Mean	S.D.	Strongly Agree (5)	Agree (4)	Average (3)	Disagree (2)	Strongly Disagree (1)	Agree or Above
T13	The audio–visual effect of multimedia divert my attraction to the performer’s physical expressions.	1	5	3.70	1.05	26.4%	33.9%	23.5%	15%	0%	60.3%
T12	The audio–visual effect of multimedia is stronger than that of pure physical performances.	1	5	3.66	1.02	25.7%	28.5%	32.3%	12.3%	0.9%	54.2%
T11	I do not let the way by which multimedia technology is used affect my evaluation of the show	1	5	4.15	0.77	34.3%	49.5%	14.3%	1.0%	1.0%	83.8%

.

(1)

The percentage of agreement (including “agree” or above) for the questions in this dimension varies significantly, ranging from 54.2% to 83.8%, indicating that observers hold diverse opinions and perspectives on these questions.

(2)

For question T11, the percentage of agreement is 83.8%, with an average value of 4.15 and a relatively small standard deviation of 0.77, indicating that the way multimedia technology is used does not significantly affect the audience’s evaluation of the show.

4.3.5. A Summary of Questionnaire Survey Data Analysis

The following is a summary of the results of the questionnaire survey data analysis.

(1)

Emotional impact: The audience consistently provided high ratings of 4.0 or above in response to questions about the emotional impacts, suggesting occurrences of significant emotional influence on the observers during the magic viewing.

(2)

Magic impression: Positive impressions were gained by the observers during the magic viewing process.

(3)

Entertainment satisfaction: The observers sensed an overall entertaining atmosphere with positive experiences in various aspects, especially the audio–visual effects and stage design.

(4)

Multimedia awareness: The observers demonstrated a relatively high level of awareness regarding multimedia technology.

(5)

Interaction perception: The observers were receptive to digital imagery in magic, but exposure to multimedia and interactive technology is still considered novel.

(6)

Technology acceptance: Diverse opinions existed regarding the use of multimedia technology, with some observers unaffected by its use, while others preferred not to see magic shows with pure body movements.

5. Conclusions

5.1. Concluding Remarks

In this research, a comprehensive literature review reveals a rising trend of applying interactive technology to performing arts. While interactive technology has found increased use in magic performances, there is a notable gap in the research, particularly concerning the integration of virtual user interfaces with magic. This study addresses this gap by introducing the concept of interactive projection for magic performances, aiming to showcase the novelty and entertainment value of incorporating virtual user interfaces into magic shows.

The research methodology employed in this study centers around “work design and implementation” and employs “public display”, “expert interview”, and “questionnaire survey” as tools for effectiveness evaluation. The literature review identifies four primary virtual-to-real transformation forms and six major digital magic effects within the realm of digital magic. By leveraging these findings, this study tried to design performance processes that integrate traditional magic props with digital media, fostering creativity and innovation. At first, design principles for creating the virtual user interface were derived, which emphasize enhancing the overall visual technological appeal of the performance and creating a dazzling dynamic interaction effect through interactive projection. Subsequently, a new magic performance system, called “FUI Magic”, has been developed, and a magic show titled “Fantasy Doves” was presented to an invited audience in a public exhibition. Feedback and suggestions from both the audience and experts were collected through expert interviews and a questionnaire survey. The data collected were subjected to statistical evaluations to derive meaningful insights and draw conclusions about the effectiveness of the proposed magic system.

Briefly, the following major conclusions can be drawn from the results of this study.

(1)

Digital multimedia magic is a fresh and innovative approach, and the incorporation of virtual user interfaces into magic performances through interactive projection proves to be effective.

(2)

The incorporation of virtual user interfaces in magic performances proves to be highly effective in capturing viewers’ attention and achieving compelling entertainment effects.

(3)

Incorporating visual design into virtual user interfaces significantly contributes to elevating the overall technological ambiance of the performance, offering viewers a novel and captivating visual experience.

5.2. Major Contributions

Three major contributions have been made in this study, as described in the following.

(1)

An exhaustive exploration of virtual user interfacing and its applications in magic performances has been undertaken.

(2)

This study has compiled and applied the “four major digital magic virtual-to-real transformation forms” and the “six major digital magic effects” in digital magic performances.

(3)

The development of the proposed system “FUI Magic” through hardware and software integration has been successfully completed to implement a magic performance titled “Fantasy Doves” using interactive projection technology.

5.3. Suggestions for Future Research Directions

The applications of virtual user interfaces in the field of magic performances have been explored in this study. Several suggestions for future research are provided below.

(1)

Performances using projection require a careful assessment of ambient light impact, as well as a good balance between optimal visual effects and performer brightness.

(2)

Designs of the display-panel booth for future magic exhibitions should prioritize portability, quick assembly, and mobility.

(3)

More interaction devices may be added to trigger different sensors at different times, creating non-linear performances.

(4)

The integration of technology and performing arts should be more balanced for a better overall presentation.

(5)

Investigations of more applications of virtual user interfaces in magic performances may be tried.