Transforming pedagogy using mobile Web 2.0

Blogs, wikis, podcasting, and a host of free, easy to use Web 2.0 social software provide opportunities for creating social constructivist learning environments focusing on student-centred learning and end-user content creation and sharing. Building on this foundation, mobile Web 2.0 has emerged as a viable teaching and learning tool, facilitating engaging learning environments that bridge multiple contexts. Today’s dual 3G and wifi-enabled smartphones provide a ubiquitous connection to mobile Web 2.0 social software and the ability to view, create, edit, upload, and share user generated Web 2.0 content. This article outlines how a Product Design course has moved from a traditional face-to-face, studio-based learning environment to one using mobile Web 2.0 technologies to enhance and engage students in a social constructivist learning paradigm. Keywords: m-learning; Web 2.0; pedagogy 2.0; social constructivism; product desig

Mobile Location Based Services: Non-visual Feedback Using Haptics

Haptics is a feedback technology that takes advantage of the human sense of touch by applying forces, vibrations, and/or motions to a haptic-enabled device such as a mobile phone. Historically, human-computer interaction has been visual, text and images on the screen. In this paper, we discuss our Haptic Interaction Model which describes the integration of haptic feedback into Mobile Location Based Services such as knowledge discovery, pedestrian navigation and notification systems. A knowledge discovery system called the Haptic GeoWand is a low interaction system that allows users to query geo-tagged data around them by using a point-and-scan technique with their mobile device. Haptic Pedestrian is a navigation system for walkers. Four prototypes have been developed classified according to the user‟s guidance requirements, the user type (based on spatial skills), and overall system complexity. Haptic Alert is a notification system that provides spatial information to the users of public transport. In all these systems, haptic feedback is used to convey information about location, orientation, density and distance by use of the vibration alarm with varying frequencies and patterns to help understand the physical environment. User trials have elicited positive response from the users. Haptics integrated into a multi-modal navigation system and other mobile location based services provides more usable, less distracting but more effective interaction than conventional systems

Mobile Location Based Services: Non-visual Feedback Using Haptics

Haptics is a feedback technology that takes advantage of the human sense of touch by applying forces, vibrations, and/or motions to a haptic-enabled device such as a mobile phone. Historically, human-computer interaction has been visual, text and images on the screen. In this paper, we discuss our Haptic Interaction Model which describes the integration of haptic feedback into Mobile Location Based Services such as knowledge discovery, pedestrian navigation and notification systems. A knowledge discovery system called the Haptic GeoWand is a low interaction system that allows users to query geo-tagged data around them by using a point-and-scan technique with their mobile device. Haptic Pedestrian is a navigation system for walkers. Four prototypes have been developed classified according to the user‟s guidance requirements, the user type (based on spatial skills), and overall system complexity. Haptic Alert is a notification system that provides spatial information to the users of public transport. In all these systems, haptic feedback is used to convey information about location, orientation, density and distance by use of the vibration alarm with varying frequencies and patterns to help understand the physical environment. User trials have elicited positive response from the users. Haptics integrated into a multi-modal navigation system and other mobile location based services provides more usable, less distracting but more effective interaction than conventional systems

Supporting Data mining of large databases by visual feedback queries

In this paper, we describe a query system that provides visual relevance feedback in querying large databases. Our goal is to support the process of data mining by representing as many data items as possible on the display. By arranging and coloring the data items as pixels according to their relevance for the query, the user gets a visual impression of the resulting data set. Using an interactive query interface, the user may change the query dynamically and receives immediate feedback by the visual representation of the resulting data set. Furthermore, by using multiple windows for different parts of a complex query, the user gets visual feedback for each part of the query and, therefore, may easier understand the overall result. Our system allows to represent the largest amount of data that can be visualized on current display technology, provides valuable feedback in querying the database, and allows the user to find results which, otherwise, would remain hidden in the database

3D (embodied) projection mapping and sensing bodies : a study in interactive dance performance

This dissertation identifies the synergies between physical and virtual environments when designing for immersive experiences in interactive dance performances. The integration of virtual information in physical space is transforming our interactions and experiences with the world. By using the body and creative expression as the interface between real and virtual worlds, dance performance creates a privileged framework to research and design interactive mixed reality environments and immersive augmented architectures. The research is primarily situated in the fields of visual art and interaction design. It combines performance with transdisciplinary fields and intertwines practice with theory. The theoretical and conceptual implications involved in designing and experiencing immersive hybrid environments are analyzed using the reality–virtuality continuum. These theories helped frame the ways augmented reality architectures are achieved through the integration of dance performance with digital software and reception displays. They also helped identify the main artistic affordances and restrictions in the design of augmented reality and augmented virtuality environments for live performance. These pervasive media architectures were materialized in three field experiments, the live dance performances. Each performance was created in three different stages of conception, design and production. The first stage was to “digitize” the performer’s movement and brain activity to the virtual environment and our system. This was accomplished through the use of depth sensor cameras, 3D motion capture, and brain computer interfaces. The second stage was the creation of the computational architecture and software that aggregates the connections and mapping between the physical body and the spatial dynamics of the virtual environment. This process created real-time interactions between the performer’s behavior and motion and the real-time generative computer 3D graphics. Finally, the third stage consisted of the output modality: 3D projector based augmentation techniques were adopted in order to overlay the virtual environment onto physical space. This thesis proposes and lays out theoretical, technical, and artistic frameworks between 3D digital environments and moving bodies in dance performance. By sensing the body and the brain with the 3D virtual environments, new layers of augmentation and interactions are established, and ultimately this generates mixed reality environments for embodied improvisational self-expression.Radio-Television-Fil

Human factors in instructional augmented reality for intravehicular spaceflight activities and How gravity influences the setup of interfaces operated by direct object selection

In human spaceflight, advanced user interfaces are becoming an interesting mean to facilitate human-machine interaction, enhancing and guaranteeing the sequences of intravehicular space operations. The efforts made to ease such operations have shown strong interests in novel human-computer interaction like Augmented Reality (AR). The work presented in this thesis is directed towards a user-driven design for AR-assisted space operations, iteratively solving issues arisen from the problem space, which also includes the consideration of the effect of altered gravity on handling such interfaces.Auch in der bemannten Raumfahrt steigt das Interesse an neuartigen Benutzerschnittstellen, um nicht nur die Mensch-Maschine-Interaktion effektiver zu gestalten, sondern auch um einen korrekten Arbeitsablauf sicherzustellen. In der Vergangenheit wurden wiederholt Anstrengungen unternommen, Innenbordarbeiten mit Hilfe von Augmented Reality (AR) zu erleichtern. Diese Arbeit konzentriert sich auf einen nutzerorientierten AR-Ansatz, welcher zum Ziel hat, die Probleme schrittweise in einem iterativen Designprozess zu lösen. Dies erfordert auch die Berücksichtigung veränderter Schwerkraftbedingungen

Moving sounds and sonic moves : exploring interaction quality of embodied music mediation technologies through a user-centered perspective

This research project deals with the user-experience related to embodied music mediation technologies. More specifically, adoption and policy problems surrounding new media (art) are considered, which arise from the usability issues that to date pervade new interfaces for musical expression. Since the emergence of new wireless mediators and control devices for musical expression, there is an explicit aspiration of the creative industries and various research centers to embed such technologies into different areas of the cultural industries. The number of applications and their uses have exponentially increased over the last decade. Conversely, many of the applications to date still suffer from severe usability problems, which not only hinder the adoption by the cultural sector, but also make culture participants take a rather cautious, hesitant, or even downright negative stance towards these technologies. Therefore, this thesis takes a vantage point that is in part sociological in nature, yet has a link to cultural studies as well. It combines this with a musicological frame of reference to which it introduces empirical user-oriented approaches, predominantly taken from the field of human-computer-interaction studies. This interdisciplinary strategy is adopted to cope with the complex nature of digital embodied music controlling technologies. Within the Flanders cultural (and creative) industries, opportunities of systems affiliated with embodied interaction are created and examined. This constitutes an epistemological jigsaw that looks into 1) “which stakeholders require what various levels of involvement, what interactive means and what artistic possibilities?”, 2) “the way in which artistic aspirations, cultural prerequisites and operational necessities of (prospective) users can be defined?”, 3) “how functional, artistic and aesthetic requirements can be accommodated?”, and 4) “how quality of use and quality of experience can be achieved, quantified, evaluated and, eventually, improved?”. Within this multi-facetted problem, the eventual aim is to assess the applicability of the foresaid technology, both from a theoretically and empirically sound basis, and to facilitate widening and enhancing the adoption of said technologies. Methodologically, this is achieved by 1) applied experimentation, 2) interview techniques, 3) self-reporting and survey research, 4) usability evaluation of existing devices, and 5) human-computer interaction methods applied – and attuned – to the specific case of embodied music mediation technologies. Within that scope, concepts related to usability, flow, presence, goal assessment and game enjoyment are scrutinized and applied, and both task- and experience-oriented heuristics and metrics are developed and tested. In the first part, covering three chapters, the general context of the thesis is given. In the first chapter, an introduction to the topic is offered and the current problems are enumerated. In the second chapter, a broader theoretical background is presented of the concepts that underpin the project, namely 1) the paradigm of embodiment and its connection to musicology, 2) a state of the arts concerning new interfaces for musical expression, 3) an introduction into HCI-usability and its application domain in systematic musicology, 4) an insight into user-centered digital design procedures, and 5) the challenges brought about by e-culture and digitization for the cultural-creative industries. In the third chapter, the state of the arts concerning the available methodologies related to the thesis’ endeavor is discussed, a set of literature-based design guidelines are enumerated and from this a conceptual model is deduced which is gradually presented throughout the thesis, and fully deployed in the “SoundField”-project (as described in Chapter 9). The following chapters, contained in the second part of the thesis, give a quasi-chronological overview of how methodological concepts have been applied throughout the empirical case studies, aimed specifically at the exploration of the various aspects of the complex status quaestionis. In the fourth chapter, a series of application-based tests, predominantly revolving around interface evaluation, illustrate the complex relation between gestural interfaces and meaningful musical expression, advocating a more user-centered development approach to be adopted. In the fifth chapter, a multi-purpose questionnaire dubbed “What Moves You” is discussed, which aimed at creating a survey of the (prospective) end-users of embodied music mediation technologies. Therefore, it primarily focused on cultural background, musical profile and preferences, views on embodied interaction, literacy of and attitudes towards new technology and participation in digital culture. In the sixth chapter, the ethnographical studies that accompanied the exhibition of two interactive art pieces, entitled "Heart as an Ocean" & "Lament", are discussed. In these studies, the use of interview and questionnaire methodologies together with the presentation and reception of interactive art pieces, are probed. In the seventh chapter, the development of the collaboratively controlled music-game “Sync-In-Team” is presented, in which interface evaluation, presence, game enjoyment and goal assessment are the pivotal topics. In the eighth chapter, two usability studies are considered, that were conducted on prototype systems/interfaces, namely a heuristic evaluation of the “Virtual String” and a usability metrics evaluation on the “Multi-Level Sonification Tool”. The findings of these two studies in conjunction with the exploratory studies performed in association with the interactive art pieces, finally gave rise to the “SoundField”-project, which is recounted in full throughout the ninth chapter. The integrated participatory design and evaluation method, presented in the conceptual model is fully applied over the course of the “SoundField”-project, in which technological opportunities and ecological validity and applicability are investigated through user-informed development of numerous use cases. The third and last part of the thesis renders the final conclusions of this research project. The tenth chapter sets out with an epilogue in which a brief overview is given on how the state of the arts has evolved since the end of the project (as the research ended in 2012, but the research field has obviously moved on), and attempts to consolidate the implications of the research studies with some of the realities of the Flemish cultural-creative industries. Chapter eleven continues by discussing the strengths and weaknesses of the conceptual model throughout the various stages of the project. Also, it comprises the evaluation of the hypotheses, how the assumptions that were made held up, and how the research questions eventually could be assessed. Finally, the twelfth and last chapter concludes with the most important findings of the project. Also, it discusses some of the implications on cultural production, artistic research policy and offers an outlook on future research beyond the scope of the “SoundField” project

Practical, appropriate, empirically-validated guidelines for designing educational games

There has recently been a great deal of interest in the potential of computer games to function as innovative educational tools. However, there is very little evidence of games fulfilling that potential. Indeed, the process of merging the disparate goals of education and games design appears problematic, and there are currently no practical guidelines for how to do so in a coherent manner. In this paper, we describe the successful, empirically validated teaching methods developed by behavioural psychologists and point out how they are uniquely suited to take advantage of the benefits that games offer to education. We conclude by proposing some practical steps for designing educational games, based on the techniques of Applied Behaviour Analysis. It is intended that this paper can both focus educational games designers on the features of games that are genuinely useful for education, and also introduce a successful form of teaching that this audience may not yet be familiar with