An aesthetics of touch: investigating the language of design relating to form

How well can designers communicate qualities of touch? This paper presents evidence that they have some capability to do so, much of which appears to have been learned, but at present make limited use of such language. Interviews with graduate designer-makers suggest that they are aware of and value the importance of touch and materiality in their work, but lack a vocabulary to fully relate to their detailed explanations of other aspects such as their intent or selection of materials. We believe that more attention should be paid to the verbal dialogue that happens in the design process, particularly as other researchers show that even making-based learning also has a strong verbal element to it. However, verbal language alone does not appear to be adequate for a comprehensive language of touch. Graduate designers-makers’ descriptive practices combined non-verbal manipulation within verbal accounts. We thus argue that haptic vocabularies do not simply describe material qualities, but rather are situated competences that physically demonstrate the presence of haptic qualities. Such competencies are more important than groups of verbal vocabularies in isolation. Design support for developing and extending haptic competences must take this wide range of considerations into account to comprehensively improve designers’ capabilities

Substitutional reality:using the physical environment to design virtual reality experiences

Experiencing Virtual Reality in domestic and other uncontrolled settings is challenging due to the presence of physical objects and furniture that are not usually defined in the Virtual Environment. To address this challenge, we explore the concept of Substitutional Reality in the context of Virtual Reality: a class of Virtual Environments where every physical object surrounding a user is paired, with some degree of discrepancy, to a virtual counterpart. We present a model of potential substitutions and validate it in two user studies. In the first study we investigated factors that affect participants' suspension of disbelief and ease of use. We systematically altered the virtual representation of a physical object and recorded responses from 20 participants. The second study investigated users' levels of engagement as the physical proxy for a virtual object varied. From the results, we derive a set of guidelines for the design of future Substitutional Reality experiences

Reclaiming human machine nature

Extending and modifying his domain of life by artifact production is one of the main characteristics of humankind. From the first hominid, who used a wood stick or a stone for extending his upper limbs and augmenting his gesture strength, to current systems engineers who used technologies for augmenting human cognition, perception and action, extending human body capabilities remains a big issue. From more than fifty years cybernetics, computer and cognitive sciences have imposed only one reductionist model of human machine systems: cognitive systems. Inspired by philosophy, behaviorist psychology and the information treatment metaphor, the cognitive system paradigm requires a function view and a functional analysis in human systems design process. According that design approach, human have been reduced to his metaphysical and functional properties in a new dualism. Human body requirements have been left to physical ergonomics or "physiology". With multidisciplinary convergence, the issues of "human-machine" systems and "human artifacts" evolve. The loss of biological and social boundaries between human organisms and interactive and informational physical artifact questions the current engineering methods and ergonomic design of cognitive systems. New developpment of human machine systems for intensive care, human space activities or bio-engineering sytems requires grounding human systems design on a renewed epistemological framework for future human systems model and evidence based "bio-engineering". In that context, reclaiming human factors, augmented human and human machine nature is a necessityComment: Published in HCI International 2014, Heraklion : Greece (2014

Re-composing the digital present

This paper investigates the temporality that is produced in some recent and historical examples of media art. In exploring works by Janet Cardiff, Dennis Del Favero, and Omer Fast, I use the philosophy of Michel Serres and Gilles Deleuze to understand the convergence of temporalities that are composed in the digital present, as one moment in time overlays another moment. Developing Serres' concept of multi-temporality and Deleuze's philosophy of time and memory into a means to understand the non-linear time presented in these works, I argue that the different compositional strategies enacted by these artists provide the aesthetic grounding to experience “temporal thickness.” From here I investigate the interactive digital artworks Frames by Grahame Weinbren and Can You See Me Now? by the artist group Blast Theory. In this investigation, I understand interaction with technology, and the way that it shapes our sensory and processual experience, as a specifically temporal and temporalizing transaction, where human movements in the present are overlayed by technological processes

Augmenting TV Viewing using Acoustically Transparent Auditory Headsets

This paper explores how acoustically transparent auditory headsets can improve TV viewing by intermixing headset and TV audio, facilitating personal, private auditory enhancements and augmentations of TV content whilst minimizing occlusion of the sounds of reality. We evaluate the impact of synchronously mirroring select audio channels from the 5.1 mix (dialogue, environmental sounds, and the full mix), and selectively augmenting TV viewing with additional speech (e.g. Audio Description, Directors Commentary, and Alternate Language). For TV content, auditory headsets enable better spatialization and more immersive, enjoyable viewing; the intermixing of TV and headset audio creates unique listening experiences; and private augmentations offer new ways to (re)watch content with others. Finally, we reflect on how these headsets might facilitate more immersive augmented TV viewing experiences within reach of consumers

The People's Smart Sculpture

The People’s Smart Sculpture (PS2) panel discusses future oriented approaches in smart media-art, developed, designed and exploited for artistic and public participation in the change and re-design of our living environment. The actual debate about a smart future is not taking into account any idea of media art as an instrument for to realize the social sculpture, mentioned by Beuys [1] or as social sculpture itself. The People’s Smart Sculpture is the only large scale Creative Europe media-art project (2014-2018) in this context. It fosters participative-art and collaborative media-art-processes. The artistic results and the open approaches of the project will be discussed by 5 panelists from 5 countries. The project itself is constituted by 12 project-partners in 8 European countries with more than 350 artists and creatives from 29 countries worlwide. The approach works on two levels: the implementation of cultural participation-projects by media-artists and the ongoing optimization of the art and participation aspects. PS2 integrates diverse groups of people to participate in the non-institutional set up of structures for the people´s re-design of their urban,societal and living environment. Artists, citizens, creatives with a new user's perception and new skills are able to „medialize“ the Cultural Revolution of art, culture, society and science: into spaces of a new public