Setting the stage – embodied and spatial dimensions in emerging programming practices.

In the design of interactive systems, developers sometimes need to engage in various ways of physical performance in order to communicate ideas and to test out properties of the system to be realised. External resources such as sketches, as well as bodily action, often play important parts in such processes, and several methods and tools that explicitly address such aspects of interaction design have recently been developed. This combined with the growing range of pervasive, ubiquitous, and tangible technologies add up to a complex web of physicality within the practice of designing interactive systems. We illustrate this dimension of systems development through three cases which in different ways address the design of systems where embodied performance is important. The first case shows how building a physical sport simulator emphasises a shift in activity between programming and debugging. The second case shows a build-once run-once scenario, where the fine-tuning and control of the run-time activity gets turned into an act of in situ performance by the programmers. The third example illustrates the explorative and experiential nature of programming and debugging systems for specialised and autonomous interaction devices. This multitude in approaches in existing programming settings reveals an expanded perspective of what practices of interaction design consist of, emphasising the interlinking between design, programming, and performance with the system that is being developed

Resonating Experiences of Self and Others enabled by a Tangible Somaesthetic Design

Digitalization is penetrating every aspect of everyday life including a human's heart beating, which can easily be sensed by wearable sensors and displayed for others to see, feel, and potentially "bodily resonate" with. Previous work in studying human interactions and interaction designs with physiological data, such as a heart's pulse rate, have argued that feeding it back to the users may, for example support users' mindfulness and self-awareness during various everyday activities and ultimately support their wellbeing. Inspired by Somaesthetics as a discipline, which focuses on an appreciation of the living body's role in all our experiences, we designed and explored mobile tangible heart beat displays, which enable rich forms of bodily experiencing oneself and others in social proximity. In this paper, we first report on the design process of tangible heart displays and then present results of a field study with 30 pairs of participants. Participants were asked to use the tangible heart displays during watching movies together and report their experience in three different heart display conditions (i.e., displaying their own heart beat, their partner's heart beat, and watching a movie without a heart display). We found, for example that participants reported significant effects in experiencing sensory immersion when they felt their own heart beats compared to the condition without any heart beat display, and that feeling their partner's heart beats resulted in significant effects on social experience. We refer to resonance theory to discuss the results, highlighting the potential of how ubiquitous technology could utilize physiological data to provide resonance in a modern society facing social acceleration.Comment: 18 page

Tangible user interfaces : past, present and future directions

In the last two decades, Tangible User Interfaces (TUIs) have emerged as a new interface type that interlinks the digital and physical worlds. Drawing upon users' knowledge and skills of interaction with the real non-digital world, TUIs show a potential to enhance the way in which people interact with and leverage digital information. However, TUI research is still in its infancy and extensive research is required in or- der to fully understand the implications of tangible user interfaces, to develop technologies that further bridge the digital and the physical, and to guide TUI design with empirical knowledge. This paper examines the existing body of work on Tangible User In- terfaces. We start by sketching the history of tangible user interfaces, examining the intellectual origins of this field. We then present TUIs in a broader context, survey application domains, and review frame- works and taxonomies. We also discuss conceptual foundations of TUIs including perspectives from cognitive sciences, phycology, and philoso- phy. Methods and technologies for designing, building, and evaluating TUIs are also addressed. Finally, we discuss the strengths and limita- tions of TUIs and chart directions for future research

Achieving a designed customer experience across multiple delivery platforms: A telco perspective

'Customer experience' is a term that covers a wide range of activities that take place between suppliers and users of products and services. LaSalle and Britton define it as 'a holistic experience which involves a person - as opposed to a customer - as a whole at different levels and in every interaction between such person and a company' (2003). This research considers a key aspect of such an holistic experience: that which is embodied in the product or service under consideration. In the context of increasing mobile technology convergence, the paper considers new approaches that focus on developing the necessary underlying enablers and common interaction flows that are required to deliver a designed experience, taking into account the increasing number of mobile operating systems and service delivery platforms. Ultimately these models move towards allowing users to 'co-create their own unique experiences' (Pralahad and Ramswamy, 2004). The convergence between IT and telecommunications domains presents a unique challenge to product and service designers. Services are increasingly accessible via multiple delivery devices and delivery networks. This trend has been seen most recently in the advent of Internet based services being delivered via mobile phones where 'mobile service delivery and technologies have become the glue between previously secluded 'telecom' and "IT' domains' (Karrberg and Liebenau, 2006). At the same time network operators are trying to tighten their relationship with their customers by offering 'sticky' services aimed at raising the barriers to customer mobility. These two trends lead to a new design challenge: how to design a recognisably consistent and compelling product customer experience that applies over all delivery services, operating systems and networks. Solutions to this problem have to date been either technology led, focussing on integrated delivery platforms, or reliant on rule-based design. Crucial to this analysis is the 'role Please use this identifier to cite or link to this item

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

Choreographic and Somatic Approaches for the Development of Expressive Robotic Systems

As robotic systems are moved out of factory work cells into human-facing environments questions of choreography become central to their design, placement, and application. With a human viewer or counterpart present, a system will automatically be interpreted within context, style of movement, and form factor by human beings as animate elements of their environment. The interpretation by this human counterpart is critical to the success of the system's integration: knobs on the system need to make sense to a human counterpart; an artificial agent should have a way of notifying a human counterpart of a change in system state, possibly through motion profiles; and the motion of a human counterpart may have important contextual clues for task completion. Thus, professional choreographers, dance practitioners, and movement analysts are critical to research in robotics. They have design methods for movement that align with human audience perception, can identify simplified features of movement for human-robot interaction goals, and have detailed knowledge of the capacity of human movement. This article provides approaches employed by one research lab, specific impacts on technical and artistic projects within, and principles that may guide future such work. The background section reports on choreography, somatic perspectives, improvisation, the Laban/Bartenieff Movement System, and robotics. From this context methods including embodied exercises, writing prompts, and community building activities have been developed to facilitate interdisciplinary research. The results of this work is presented as an overview of a smattering of projects in areas like high-level motion planning, software development for rapid prototyping of movement, artistic output, and user studies that help understand how people interpret movement. Finally, guiding principles for other groups to adopt are posited.Comment: Under review at MDPI Arts Special Issue "The Machine as Artist (for the 21st Century)" http://www.mdpi.com/journal/arts/special_issues/Machine_Artis

PickCells: A Physically Reconfigurable Cell-composed Touchscreen

Touchscreens are the predominant medium for interactions with digital services; however, their current fixed form factor narrows the scope for rich physical interactions by limiting interaction possibilities to a single, planar surface. In this paper we introduce the concept of PickCells, a fully reconfigurable device concept composed of cells, that breaks the mould of rigid screens and explores a modular system that affords rich sets of tangible interactions and novel acrossdevice relationships. Through a series of co-design activities – involving HCI experts and potential end-users of such systems – we synthesised a design space aimed at inspiring future research, giving researchers and designers a framework in which to explore modular screen interactions. The design space we propose unifies existing works on modular touch surfaces under a general framework and broadens horizons by opening up unexplored spaces providing new interaction possibilities. In this paper, we present the PickCells concept, a design space of modular touch surfaces, and propose a toolkit for quick scenario prototyping

Bridging the gap: building better tools for game development

The following thesis is about questioning how we design game making tools, and how developers may build easier tools to use. It is about the highlighting the inadequacies of current game making programs as well as introducing Goal-Oriented Design as a possible solution. It is also about the processes of digital product development, and reflecting on the necessity for both design and development methods to work cohesively for meaningful results. Interaction Design is in essence the abstracting of key relations that matter to the contextual environment. The result of attempting to tie the Interaction Design principles, Game Design issues together with Software Development practices has led to the production of the User-Centred game engine, PlayBoard