241 research outputs found

    Design methodology for 360-degree immersive video applications

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    360-degree immersive video applications for Head Mounted Display (HMD) devices offer great potential in providing engaging forms of experiential media solutions. Design challenges emerge though by this new kind of immersive media due to the 2D form of resources used for their construction, the lack of depth, the limited interaction, and the need to address the sense of presence. In addition, the use of Virtual Reality (VR) is related to cybersickness effects imposing further implications in moderate motion design tasks. This research project provides a systematic methodological approach in addressing those challenges and implications in 360-degree immersive video applications design. By studying and analysing methods and techniques efficiently used in the area of VR and Games design, a rigorous methodological design process is proposed. This process is introduced by the specification of the iVID (Immersive Video Interaction Design) framework. The efficiency of the iVID framework and the design methods and techniques it proposes is evaluated through two phases of user studies. Two different 360-degree immersive video prototypes have been created to serve the studies purposes. The analysis of the purposes of the studies ed to the definition of a set of design guidelines to be followed along with the iVID framework for designing 360-degree video-based experiences that are engaging and immersive

    On the Relationship between People, Objects, & Interactive Technologies: Transforming Digital & Physical experiences through the process of Realizing Empathy

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    La manera com les persones es relacionen amb el seu entorn, ja sigui físic o digital, és cada cop més complexa i fugaç, fent que la relació de l'usuari amb els seus objectes i eines digitals, de vegades, sigui extrema i de curta durada. Tanmateix, la propietat d'objectes i objectes tecnològics interactius no és buida de significat, són mostres de reflexió i representació per als altres i del seu paper a la societat. La clau per mantenir una relació i el significat amb aquests objectes rau en el disseny i la intenció de l'experiència interactiva creada. Inspirats en les disciplines de la psicologia, el procés de disseny, la interacció humà-ordinador i els models de negoci, aquesta tesi explora, analitza, crea i prova els fonaments teòrics sobre l'empatia i el concepte d'entaular una relació de llarga durada entre les persones i les tecnologies interactives.  Amb aquesta finalitat, aquesta tesi es divideix en 4 fases: (1) l’estudi en profunditat de les referències bibliogràfiques dins del sector HCI, amb especial atenció al rol del disseny i la psicologia amb la intenció de respondre preguntes com: “Com podem construir relacions de llarga durada entre persones i objectes intel·ligents?” (2) Recopilar i adoptar definicions, eines i terminologia de treballs relacionats que aportin a la construcció de la contribució principal d'aquesta tesi, (3) Crear i presentar un model d'interacció entre persones i tecnologia que aporti a una interacció de llarga durada, i (4) presentar un cas d’estudi on s’implementi el model proposat.  Després del treball bibliogràfic, al sector de l'HCI, s'ha identificat un buit, fruit de les principals preocupacions expressades: la manca de connexió entre la teoria i la pràctica del disseny, així com una mancança en l’àmbit de l'Empatia. El resultat fa que molts dels models d’interacció amb intenció empàtica i afectiva no se sustentin entre si. Això ens ha portat a la segona fase de la tesi on aprofitem les referències de múltiples disciplines per estudiar què és l'empatia, com s'implementa, com es percep i com evoluciona cap a l'objectiu d'una relació a llarg termini, com a punt focal cap a les principals contribucions de la tesi. .  Després de reunir i analitzar exhaustivament les referències al voltant de l'empatia, entrem a la tercera fase on presentem el model teòric d'interacció amb el potencial d'establir una interacció a llarg termini i l’anomenat Procés de realització de l'empatia (RE). Més que intentar definir què és l'empatia, aquesta proposta intenta oferir una perspectiva diferent de l'empatia i visualitza el seu abast com un procés influenciat per models de diàleg i col·laboració amb el propòsit de crear comprensió mútua i donar significat a aquest intercanvi.  Amb un model clar i una sòlida base teòrica, la fase final de la tesi cerca provar el model proposat amb l'objectiu d'observar si es poden detectar indicadors d'afecció afectiva i confiança entre una persona i el seu objecte tecnològic. En aquest cas, vam tenir l'oportunitat de treballar amb robots socials com el nostre “altre actor” per dissenyar les proves del model. Aquestes proves pretenien capturar els indicadors d'empatia entre un humà i un robot que abraça: l'aferrament afectiu, la confiança, la regulació de les expectatives i la reflexió sobre la perspectiva de l'altre dins un conjunt d'estratègies de col·laboració. Plantegem la hipòtesi que una estratègia de col·laboració activa condueix a un compromís més significatiu de generar empatia entre un humà i un robot en comparació amb una estratègia passiva. Els resultats són encoratjadors i clarament estableixen un camí per a futures investigacions sobre el disseny d'aquest model. La forma en que las personas se relacionan con su entorno, ya sea físico o digital, se vuelve cada vez más compleja y fugaz, haciendo que la relación del usuario con sus objetos y herramientas digitales, en ocasiones, sea extrema y de corta duración. Sin embargo, la propiedad de objetos y objetos tecnológicos interactivos no es vacía de significado, son muestras de reflexión y representación para los demás y de su papel en la sociedad. La clave para mantener una relación y significado con estos objetos radica en el diseño y la intención de la experiencia interactiva creada. Inspirados en las disciplinas de la psicología, el proceso de diseño, la interacción humano-ordenador y los modelos de negocio, esta tesis explora, analiza, crea y prueba los fundamentos teóricos sobre la empatía y el concepto de entablar una relación de larga duración entre las personas y las tecnologías interactivas.  Con este fin, esta tesis se divide en 4 fases: (1) estudio en profundidad de las referencias bibliográficas dentro del sector HCI, con especial atención al rol del diseño y la psicología con la intención de responder a preguntas como: “¿Cómo podemos construir relaciones de larga duración entre personas y objetos inteligentes?”(2) Recopilar y adoptar definiciones, herramientas y terminología de trabajos relacionados que aporten a la construcción de la contribución principal de esta tesis, (3) Crear y presentar un modelo de interacción entre personas y tecnología que aporte a una interacción de larga duración, y (4) presentar un caso de estudio donde se implemente el modelo propuesto.  Tras el trabajo bibliográfico en el sector del HCI se ha identificado un vacío, fruto de las principales preocupaciones expresadas: la falta de conexión entre la teoría y la práctica del diseño, así como una falta en el tema de la Empatía. El resultado hace que muchos de los modelos de interacción con intención empática y afectiva no se sustenten entre sí. Esto nos ha llevado a la segunda fase de la tesis en la que aprovechamos las referencias de múltiples disciplinas para estudiar qué es la empatía, cómo se implementa, cómo se percibe y cómo evoluciona hacia el objetivo de una relación a largo plazo, como punto focal hacia las principales contribuciones de la tesis. .  Después de una reunir y analizar exhaustivamente las referencias en torno a la empatía, entramos en la tercera fase donde presentamos el modelo teórico de interacción con el potencial de entablar una interacción a largo plazo y denominado Proceso de realización de la empatía (RE). Más que intentar definir qué es la empatía, esta propuesta trata de ofrecer una perspectiva diferente a la empatía y visualiza su alcance como un proceso influenciado por modelos de diálogo y colaboración con el propósito de crear comprensión mutua y dar significado a ese intercambio.  Con un modelo claro y una sólida base teórica, la fase final de la tesis busca probar el modelo propuesto con el objetivo de observar si el modelo puede detectar indicadores de Apego Afectivo y Confianza entre una persona y su objeto tecnológico. En el caso de este trabajo, tuvimos la oportunidad de trabajar con robots sociales como nuestro “otro actor” para diseñar las pruebas del modelo. Estas pruebas pretendían capturar los indicadores de de empatía entre un humano y un robot que abarca: el apego afectivo, la confianza, la regulación de las expectativas y la reflexión sobre la perspectiva del otro dentro de un conjunto de estrategias de colaboración. Planteamos la hipótesis de que una estrategia de colaboración activa conduce a un compromiso más significativo de generar empatía entre un humano y un robot en comparación con una estrategia pasiva. Los resultados son alentadores y claramente establecen un camino para futuras investigaciones sobre el diseño de este modelo. How people engage with their surroundings, whether physical or digital, becomes increasingly complex and rapid, making the user’s relationship with their objects and digital tools, at times, extreme and short-lived. Yet, there is still meaning in ownership of objects and interactive technological objects, they are tokens of reflection and representation to others and their role in society. The key to sustaining a relationship and sense of meaning with these objects lies in the design and intention of the interactive experience created. Inspired by disciplines of psychology, design, Human-computer interaction, and business modeling, this thesis explored, analyzed, created, and tested theoretical foundations on Empathy and the concept of initiating a long-term relationship between people and their interactive technologies.  To that end, the thesis book was managed in 4 main stages: (1) presenting a deeper dive into bibliographic references within HCI and the role of both design and psychology in the attempt to tackle questions like: “How can we build long-term relationships between people and their smart objects?” (2) Collect and adopt from related works that helped build the main contributions of the thesis book, (3) Create an interaction model between humans and their technology that lent itself for potential long-term engagement, and (4) a case study that implemented and instantiated the model designed.     After mapping the HCI bibliographical works in the first phase, a gap was revealed indicative of the main concerns expressed: a lack of connection between theory and design practice as well as a lack in the topic of Empathy. The result makes many of the models of interaction with empathetic and affective intention unsupported between each other. This has led us to the second phase of the thesis where we leveraged references across multiple disciplines to survey what empathy is, how it is implemented, perceived and evolved toward the goal of long-term relationship, as a focal point toward the main thesis contributions.   After an exhaustive gathering and analysis of the work around Empathy, we entered the third phase where we present the proposed theoretical model of interaction with the potential for long-term engagement named the Process of Realizing Empathy (RE). Rather than attempting to further define empathy, this proposal is about offering a different perspective to empathy that visualizes its scope as a process influenced by dialogue and collaborative models with the goal to reach meaning between the actors involved.  With a clear model in place and a strong theoretical foundation, the final phase of the thesis looked to test the proposed model with the goal of observing if the model can provoke its indicators of Affective Attachment and Trust between a person and their technological object. In the case of this thesis work, we had the opportunity to work with social robots as our “other actor” to design the tests for the model. This testbed meant to capture the indicators of early empathy realization between a human and a robot encompassing affective attachment, trust, expectation regulation, and reflecting on the other’s perspective within a set of collaborative strategies. We hypothesized that an active collaboration strategy is conducive to a more meaningful and purposeful engagement of realizing empathy between a human and a robot compared to a passive one. The results are encouraging and clearly establish a path for further research on this model’s design.

    Entrepreneurship Education Platform Design: The Relationships between Autodidactic Affordances and Experiential Learning Needs

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    Along with recent technological innovation in education, Entrepreneurship Education Platforms (EEPs) have emerged as an effective solution to prepare students for entrepreneurial success. However, due to novelty, less is known of the success of EEPs regarding user experience, especially when these platforms offer self-regulated learning environments. In response, this study is an attempt to offer a framework to guide user experience design and evaluation of EEP. This study discusses the relationships between autodidactic affordances (administration, acquisition, application, and assessment affordances) and experiential needs (sensory, temporal, interactional, cognitive, behavioral, emotional, and metacognitive experience) and their importance in the success of EEP. The findings offer nuance to assessing the effectiveness of EEP and other online self-regulated learning environments

    ThermoPixels:Toolkit for Personalizing Arousal-based Interfaces through Hybrid Crafting

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    Much research has shown the potential of affective interfaces to support people reflect on, and understand their bodily responses. Yet, people find it difficult to engage with, and understand their biodata which they have limited prior experience with. Building on affective interfaces and material-centered design, we developed ThermoPixels, a toolkit including thermochromic and heating materials, as well as galvanic skin response sensors for creating representations of physiological arousal. Within 10 workshops, 20 participants created personalized representations of physiological arousal and its real-time changes using the toolkit. We report on participants’ material exploration, their experience of creating shapes and the use of colors for emotional awareness and regulation. Reflecting on our findings, we discuss embodied exploration and creative expression, the value of technology in emotion regulation and its social context, and the importance of understanding material limitations for effective sense-making

    A human centric approach to the Internet of things

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    This research focuses on human interaction with the IoT, not only from the perspective of the user, but also considering the requirements that smart objects should meet to support human activities. It analyses how the IoT was originally conceived from a technology and data driven approach, and why there is a need to provide an IoT framework that considers humans’ tasks and goals. As such, the nature of the actions and interactions found in a human-based IoT are discussed in the context of social-like collaborations, where actors are in pursue of a common goal. This thesis reframes Human-IoT interaction as a social, collaborative system, described in terms of its capacity to support the activities of the involved social actors in pursuit of a common goal. A structure is proposed to describe the nature of these interactions, and a methodology to model user behaviour based on the tasks and goals supporting a theme is proposed. The methodology is used to analyse the requirements of a domestic IoT system, leading to the implementation of a demonstrator system, and a study to validate the method. This research posits that user experience should inform IoT system design to prevent misunderstanding of its purpose

    Analyzing the Impact of Spatio-Temporal Sensor Resolution on Player Experience in Augmented Reality Games

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    Along with automating everyday tasks of human life, smartphones have become one of the most popular devices to play video games on due to their interactivity. Smartphones are embedded with various sensors which enhance their ability to adopt new new interaction techniques for video games. These integrated sen- sors, such as motion sensors or location sensors, make the device able to adopt new interaction techniques that enhance usability. However, despite their mobility and embedded sensor capacity, smartphones are limited in processing power and display area compared to desktop computer consoles. When it comes to evaluat- ing Player Experience (PX), players might not have as compelling an experience because the rich graphics environments that a desktop computer can provide are absent on a smartphone. A plausible alternative in this regard can be substituting the virtual game world with a real world game board, perceived through the device camera by rendering the digital artifacts over the camera view. This technology is widely known as Augmented Reality (AR). Smartphone sensors (e.g. GPS, accelerometer, gyro-meter, compass) have enhanced the capability for deploying Augmented Reality technology. AR has been applied to a large number of smartphone games including shooters, casual games, or puzzles. Because AR play environments are viewed through the camera, rendering the digital artifacts consistently and accurately is crucial because the digital characters need to move with respect to sensed orientation, then the accelerometer and gyroscope need to provide su ciently accurate and precise readings to make the game playable. In particular, determining the pose of the camera in space is vital as the appropriate angle to view the rendered digital characters are determined by the pose of the camera. This defines how well the players will be able interact with the digital game characters. Depending in the Quality of Service (QoS) of these sensors, the Player Experience (PX) may vary as the rendering of digital characters are affected by noisy sensors causing a loss of registration. Confronting such problem while developing AR games is di cult in general as it requires creating wide variety of game types, narratives, input modalities as well as user-testing. Moreover, current AR games developers do not have any specific guidelines for developing AR games, and concrete guidelines outlining the tradeoffs between QoS and PX for different genres and interaction techniques are required. My dissertation provides a complete view (a taxonomy) of the spatio-temporal sensor resolution depen- dency of the existing AR games. Four user experiments have been conducted and one experiment is proposed to validate the taxonomy and demonstrate the differential impact of sensor noise on gameplay of different genres of AR games in different aspect of PX. This analysis is performed in the context of a novel instru- mentation technology, which allows the controlled manipulation of QoS on position and orientation sensors. The experimental outcome demonstrated how the QoS of input sensor noise impacts the PX differently while playing AR game of different genre and the key elements creating this differential impact are - the input modality, narrative and game mechanics. Later, concrete guidelines are derived to regulate the sensor QoS as complete set of instructions to develop different genres or AR games

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

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    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

    A UX model for the evaluation of learners' experience on lms platforms over time

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    Although user experience (UX) is dynamic and evolves over time, prior research reported that the learners' experience models developed so far were only for the static evaluation of learners' experiences. So far, no model has been developed for the dynamic summative evaluation of the UX of LMS platforms over time. The objective of this study is to build a UX model that will be used to evaluate learners' experience on LMS over time. The study reviewed relevant literature with the goal of conceptualizing a theoretical model. The Stimuli-Organism-Response (SOR) framework was deployed to model the experience engineering process. To verify the model, 6 UX experts were involved. The model was also validated using a quasi-experimental design involving 900 students. The evaluation was conducted in four time points, once a week for four weeks. From the review, a conceptual UX model was developed for the evaluation of learners' experience with LMS design over time. The outcome of the model verification shows that the experts agreed that the model is adequate for the evaluation of learners' experience on LMS. The results of the model validation indicate that the model was highly statistically significant over time (Week 1: x2(276) = 273 I 9.339, Week2: x2(276) = 23419.626, Week3: x2(276) =18941.900, Week4: x2(276) = 27580.397, p=000<0.01). Each design quality had strong positive effects on the learners' cognitive, sensorimotor and affective states respectively. Furthermore, each of the three organismic states: cognitive, sensorimotor, and affective, had strong positive influence on learners' overall learning experience. These results imply that the experience engineering process was successful. The study fills a significant gap in knowledge by contributing a novel UX model for the evaluation of learners' experience on LMS platforms over time. UX quality assurance practitioners can also utilize the model in the verification and validation of learner experience over tim

    Mobile heritage practices. Implications for scholarly research, user experience design, and evaluation methods using mobile apps.

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    Mobile heritage apps have become one of the most popular means for audience engagement and curation of museum collections and heritage contexts. This raises practical and ethical questions for both researchers and practitioners, such as: what kind of audience engagement can be built using mobile apps? what are the current approaches? how can audience engagement with these experience be evaluated? how can those experiences be made more resilient, and in turn sustainable? In this thesis I explore experience design scholarships together with personal professional insights to analyse digital heritage practices with a view to accelerating thinking about and critique of mobile apps in particular. As a result, the chapters that follow here look at the evolution of digital heritage practices, examining the cultural, societal, and technological contexts in which mobile heritage apps are developed by the creative media industry, the academic institutions, and how these forces are shaping the user experience design methods. Drawing from studies in digital (critical) heritage, Human-Computer Interaction (HCI), and design thinking, this thesis provides a critical analysis of the development and use of mobile practices for the heritage. Furthermore, through an empirical and embedded approach to research, the thesis also presents auto-ethnographic case studies in order to show evidence that mobile experiences conceptualised by more organic design approaches, can result in more resilient and sustainable heritage practices. By doing so, this thesis encourages a renewed understanding of the pivotal role of these practices in the broader sociocultural, political and environmental changes.AHRC REAC
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