Design and semantics of form and movement (DeSForM 2006)

Design and Semantics of Form and Movement (DeSForM) grew from applied research exploring emerging design methods and practices to support new generation product and interface design. The products and interfaces are concerned with: the context of ubiquitous computing and ambient technologies and the need for greater empathy in the pre-programmed behaviour of the ‘machines’ that populate our lives. Such explorative research in the CfDR has been led by Young, supported by Kyffin, Visiting Professor from Philips Design and sponsored by Philips Design over a period of four years (research funding £87k). DeSForM1 was the first of a series of three conferences that enable the presentation and debate of international work within this field: • 1st European conference on Design and Semantics of Form and Movement (DeSForM1), Baltic, Gateshead, 2005, Feijs L., Kyffin S. & Young R.A. eds. • 2nd European conference on Design and Semantics of Form and Movement (DeSForM2), Evoluon, Eindhoven, 2006, Feijs L., Kyffin S. & Young R.A. eds. • 3rd European conference on Design and Semantics of Form and Movement (DeSForM3), New Design School Building, Newcastle, 2007, Feijs L., Kyffin S. & Young R.A. eds. Philips sponsorship of practice-based enquiry led to research by three teams of research students over three years and on-going sponsorship of research through the Northumbria University Design and Innovation Laboratory (nuDIL). Young has been invited on the steering panel of the UK Thinking Digital Conference concerning the latest developments in digital and media technologies. Informed by this research is the work of PhD student Yukie Nakano who examines new technologies in relation to eco-design textiles

Field sketching and the interpretation of landscape : exploring the benefits of fieldwork and drawing in contemporary landscape practice

This thesis explores potential roles for field sketching in, landscape observation and assessment, landscape planning and design, landscape representation, and in addressing the experiential dimension of the landscape.The research seeks to define and legitimise the old technique of field sketching, and the use and development of field sketches by students and practitioners of landscape architecture, and other landscape disciplines. The wider values of, fieldwork, hand -generated field notations, drawing as an interactive dialogue with others, and the sketch as a type of landscape representation, are also recognised.Whilst accurate representation and precise geometrical definition of the landscape can now be achieved quickly with photographs and by semi - automated digital means, interpretation requires careful observation. Sketching involves an observer stopping and looking and interpreting slowly and carefully. Field sketching and the uses of the field sketch are proposed as bringing an effectiveness to landscape work, valuable because of the interpretation it involves, and the time it does take: timeless because of its simplicity.A personal way of working is investigated, based on a Grounded Theory approach. Systematic analysis of case studies is made through reflection-on-practice. Practice observations (data) are collated and interpreted by practical sorting tasks, to propose a series of how to do and why important principles regarding field sketching. External support for the research findings is sought from literature, considering the broad themes of: fieldwork and the experience of landscapes, field sketching and drawing as craft and expression, and developing and using field sketches.Applications for field sketching to meet contemporary needs in landscape architecture are proposed: the sketch as a designer's tool, sketch-based visualisations as interpretive images, and field sketching as a participative technique that can be used to engage the inquirer, collaborators, and the public with landscape experience -grounded decisions

Drawing out interaction: Lines around shared space.

PhdDespite advances in image, video, and motion capture technologies, human interactions are frequently represented as line drawings. Intuitively, drawings provide a useful way of filtering complex, dynamic sequences to produce concise representations of interaction. They also make it possible to represent phenomena such as topic spaces, that do not have a concrete physical manifestation. However, the processes involved in producing these drawings, the advantages and limitations of line drawings as representations, and the implications of drawing as an analytic method have not previously been investigated. This thesis explores the use of drawings to represent human interaction and is informed by the prior experience and abilities of the investigator as a practising visual artist. It begins by discussing the drawing process and how it has been used to capture human activities. Key drawing techniques are identified and tested against an excerpt from an interaction between architects. A series of new drawings are constructed to depict one scene from this interaction, highlighting the contrasts between each drawing technique and their impact on the way shared spaces are represented. A second series of original drawings are produced exploring new ways of representing these spaces, leading to a proposal for a field-based approach that combines gesture paths, fields, and human figures to create a richer analytic representation. A protocol for using this approach to analyse video in practice is developed and evaluated though a sequence of three participatory workshops for researchers in human interaction. The results suggest that the field based process of drawing facilitates the production of spatially enriched graphical representations of qualitative spaces. The thesis concludes that the use of drawing to explore non-metric approaches to shared interactional space, has implications for research in human interaction, interaction design, clinical psychology, anthropology, and discourse analysis, and will find form in new new approaches to contemporary artistic practice.Engineering and Physical Sciences Research Council (EPSRC)

Systems, interactions and macrotheory

A significant proportion of early HCI research was guided by one very clear vision: that the existing theory base in psychology and cognitive science could be developed to yield engineering tools for use in the interdisciplinary context of HCI design. While interface technologies and heuristic methods for behavioral evaluation have rapidly advanced in both capability and breadth of application, progress toward deeper theory has been modest, and some now believe it to be unnecessary. A case is presented for developing new forms of theory, based around generic “systems of interactors.” An overlapping, layered structure of macro- and microtheories could then serve an explanatory role, and could also bind together contributions from the different disciplines. Novel routes to formalizing and applying such theories provide a host of interesting and tractable problems for future basic research in HCI

Experimental Object-Oriented Modelling

This thesis examines object-oriented modelling in experimental system development. Object-oriented modelling aims at representing concepts and phenomena of a problem domain in terms of classes and objects. Experimental system development seeks active experimentation in a system development project through, e.g., technical prototyping and active user involvement. We introduce and examine "experimental object-oriented modelling" as the intersection of these practices

Desktop multimedia environments to support collaborative distance learning

Desktop multimedia conferencing, when two or more persons can communicate among themselves via personal computers with the opportunity to see and hear one another as well as communicate via text messages while working with commonly available stored resources, appears to have important applications to the support of collaborative learning. In this paper we explore this potential in three ways: (a) through an analysis of particular learner needs when learning and working collaboratively with others outside of face-to-face situations; (b) through an analysis of different forms of conferencing environments, including desktop multimedia environments, relative to their effectiveness in terms of meeting learner needs for distributed collaboration; and (c) through reporting the results of a formative evaluation of a prototype desktop multimedia conferencing system developed especially for the support of collaborative learning. Via these analyses, suggestions are offered relating to the functionalities of desktop multimedia conferencing systems for the support of collaborative learning, reflecting new developments in both the technologies available for such systems and in our awareness of learner needs when working collaboratively with one other outside of face-to-face situations

Exploring Engineering Applications of Visual Analytics in Virtual Reality

Recent advancements and technological breakthroughs in the development of so-called immersive interfaces, such as augmented (AR), mixed (MR), and virtual reality (VR), coupled with the growing mass-market adoption of such devices has started to attract attention from academia and industry alike. Out of these technologies, VR offers the most mature option in terms of both hardware and software, as well as the best available range of different off-the-shelf offerings. VR is a term interchangeably used to denote both head-mounted displays (HMDs) and fully immersive, bespoke 3D environments which these devices transport their users to. With modern devices, developers can leverage a range of different interaction modalities, including visual, audio, and even haptic feedback, in the creation of these virtual worlds. With such a rich interaction space it is thus natural to think of VR as a well-suited environment for interactive visualisation and analytical reasoning of complex multidimensional data. Research in \textit{visual analytics} (VA) combines these two themes, spanning the last one and a half decades, and has revealed a number of research findings. This includes a range of new advanced and effective visualisation and analysis tools for even more complex, more noisy and larger data sets. Furthermore, the extension of this research and the use of immersive interfaces to facilitate visual analytics has spun-off a new field of research: \textit{immersive analytics} (IA). Immersive analytics leverages the potential bestowed by immersive interfaces to aid the user in swift and effective data analysis. Some of the most promising application domains of such immersive interfaces in the industry are various branches of engineering, including aerospace design and in civil engineering. The range of potential applications is vast and growing as new stakeholders are adopting these immersive tools. However, the use of these technologies brings its own challenges. One such difficulty is the design of appropriate interaction techniques. There is no optimal choice, instead such a choice varies depending on available hardware, the user’s prior experience, their task at hand, and the nature of the dataset. To this end, my PhD work has focused on designing and analysing various interactive, VR-based immersive systems for engineering visual analytics. One of the key elements of such an immersive system is the selection of an adequate interaction method. In a series of both qualitative and quantitative studies, I have explored the potential of various interaction techniques that can be used to support the user in swift and effective data analysis. Here, I have investigated the feasibility of using techniques such as hand-held controllers, gaze-tracking and hand-tracking input methods used solo or in combination in various challenging use cases and scenarios. For instance, I developed and verified the usability and effectiveness of the AeroVR system for aerospace design in VR. This research has allowed me to trim the very large design space of such systems that have been not sufficiently explored thus far. Moreover, building on top of this work, I have designed, developed, and tested a system for digital twin assessment in aerospace that coupled gaze-tracking and hand-tracking, achieved via an additional sensor attached to the front of the VR headset, with no need for the user to hold a controller. The analysis of the results obtained from a qualitative study with domain experts allowed me to distill and propose design implications when developing similar systems. Furthermore, I worked towards designing an effective VR-based visualisation of complex, multidimensional abstract datasets. Here, I developed and evaluated the immersive version of the well-known Parallel Coordinates Plots (IPCP) visualisation technique. The results of the series of qualitative user studies allowed me to obtain a list of design suggestions for IPCP, as well as provide tentative evidence that the IPCP can be an effective tool for multidimensional data analysis. Lastly, I also worked on the design, development, and verification of the system allowing its users to capture information in the context of conducting engineering surveys in VR. Furthermore, conducting a meaningful evaluation of immersive analytics interfaces remains an open problem. It is difficult and often not feasible to use traditional A/B comparisons in controlled experiments as the aim of immersive analytics is to provide its users with new insights into their data rather than focusing on more quantifying factors. To this end, I developed a generative process for synthesising clustered datasets for VR analytics experiments that can be used in the process of interface evaluation. I further validated this approach by designing and carrying out two user studies. The statistical analysis of the gathered data revealed that this generative process for synthesising clustered datasets did indeed result in datasets that can be used in experiments without the datasets themselves being the dominant contributor of the variability between conditions.Engineering and Physical Sciences Research Council (EPSRC-1788814); Trinity Hall and Cambridge Commonwealth, European & International Trust; Cambridge Philosophical Societ

Digital Fabrication Approaches for the Design and Development of Shape-Changing Displays

Interactive shape-changing displays enable dynamic representations of data and information through physically reconfigurable geometry. The actuated physical deformations of these displays can be utilised in a wide range of new application areas, such as dynamic landscape and topographical modelling, architectural design, physical telepresence and object manipulation. Traditionally, shape-changing displays have a high development cost in mechanical complexity, technical skills and time/finances required for fabrication. There is still a limited number of robust shape-changing displays that go beyond one-off prototypes. Specifically, there is limited focus on low-cost/accessible design and development approaches involving digital fabrication (e.g. 3D printing). To address this challenge, this thesis presents accessible digital fabrication approaches that support the development of shape-changing displays with a range of application examples – such as physical terrain modelling and interior design artefacts. Both laser cutting and 3D printing methods have been explored to ensure generalisability and accessibility for a range of potential users. The first design-led content generation explorations show that novice users, from the general public, can successfully design and present their own application ideas using the physical animation features of the display. By engaging with domain experts in designing shape-changing content to represent data specific to their work domains the thesis was able to demonstrate the utility of shape-changing displays beyond novel systems and describe practical use-case scenarios and applications through rapid prototyping methods. This thesis then demonstrates new ways of designing and building shape-changing displays that goes beyond current implementation examples available (e.g. pin arrays and continuous surface shape-changing displays). To achieve this, the thesis demonstrates how laser cutting and 3D printing can be utilised to rapidly fabricate deformable surfaces for shape-changing displays with embedded electronics. This thesis is concluded with a discussion of research implications and future direction for this work

Design Strategies for Adaptive Social Composition: Collaborative Sound Environments

In order to develop successful collaborative music systems a variety of subtle interactions need to be identified and integrated. Gesture capture, motion tracking, real-time synthesis, environmental parameters and ubiquitous technologies can each be effectively used for developing innovative approaches to instrument design, sound installations, interactive music and generative systems. Current solutions tend to prioritise one or more of these approaches, refining a particular interface technology, software design or compositional approach developed for a specific composition, performer or installation environment. Within this diverse field a group of novel controllers, described as ‘Tangible Interfaces’ have been developed. These are intended for use by novices and in many cases follow a simple model of interaction controlling synthesis parameters through simple user actions. Other approaches offer sophisticated compositional frameworks, but many of these are idiosyncratic and highly personalised. As such they are difficult to engage with and ineffective for groups of novices. The objective of this research is to develop effective design strategies for implementing collaborative sound environments using key terms and vocabulary drawn from the available literature. This is articulated by combining an empathic design process with controlled sound perception and interaction experiments. The identified design strategies have been applied to the development of a new collaborative digital instrument. A range of technical and compositional approaches was considered to define this process, which can be described as Adaptive Social Composition. Dan Livingston