3D printing objects as installation art: standing humanity: 3D yan character

3D printing technologies have been known for several decades and have been already used in arts, most often as accessories rather than as core material of a tangible installation art. We describe "Standing Humanity: 3D Yan Character" a collaborative and participative installation art based on 3D printing objects and we are analyzing participants' engagement and the playability of the installation. We analyze different types of interaction and conclude that 3D printing objects have a high potential to engage curiosity and open to interactions between visitors and the objects themselves. We finally suggest further investigations to explore 3D printing within the context of collaborative and interactive installation.info:eu-repo/semantics/publishedVersio

HeartBeat - An interactive installation to reflect the sentiments of Canadians during pandemics like Covid-19

Social media has given citizens an avenue to express their views on various subjects in their personal lives, policies, and even a way to communicate with each other about their sentiments and emotions. This is key during a pandemic such as Covid-19 where the world is facing a global impact and the need for a pandemic-related public art framework has been sought globally by art societies and researchers to revitalize the society. However, due to the pace of this pandemic, most city art strategy papers require a framework for pandemic related public art especially in Toronto which has an agenda of moving towards becoming a smart city and public art should reflect that. This thesis investigates how might public art installations reflect the sentiment of smart communities in a pandemic. I designed 'HeartBeat', an interactive installation and visualization to reflect the emotions of citizens during the pandemic using Research Through Design and user-centered design approaches. The goal is to reflect the sentiment of Canadians during the current pandemic. HeartBeat uses tweets from Canada and visualizes the popular emotion groups during the pandemic period in an interactive installation. To evaluate HeartBeat, I conducted case study evaluation for various time periods and semi-structured interviews by selecting experts such as artists, designers, curators, policymakers, and data journalists. The contributions from HeartBeat could provide designers and artists exploring the pandemic to consider these design choices and methodologies; discussion shows the ways available to understand emotions of citizens during a pandemic in a smart city; detailed process design and technology stack architecture for pandemic related public art which could be used as public art frameworks during pandemics

Designing Sound for Social Robots: Advancing Professional Practice through Design Principles

Sound is one of the core modalities social robots can use to communicate with the humans around them in rich, engaging, and effective ways. While a robot's auditory communication happens predominantly through speech, a growing body of work demonstrates the various ways non-verbal robot sound can affect humans, and researchers have begun to formulate design recommendations that encourage using the medium to its full potential. However, formal strategies for successful robot sound design have so far not emerged, current frameworks and principles are largely untested and no effort has been made to survey creative robot sound design practice. In this dissertation, I combine creative practice, expert interviews, and human-robot interaction studies to advance our understanding of how designers can best ideate, create, and implement robot sound. In a first step, I map out a design space that combines established sound design frameworks with insights from interviews with robot sound design experts. I then systematically traverse this space across three robot sound design explorations, investigating (i) the effect of artificial movement sound on how robots are perceived, (ii) the benefits of applying compositional theory to robot sound design, and (iii) the role and potential of spatially distributed robot sound. Finally, I implement the designs from prior chapters into humanoid robot Diamandini, and deploy it as a case study. Based on a synthesis of the data collection and design practice conducted across the thesis, I argue that the creation of robot sound is best guided by four design perspectives: fiction (sound as a means to convey a narrative), composition (sound as its own separate listening experience), plasticity (sound as something that can vary and adapt over time), and space (spatial distribution of sound as a separate communication channel). The conclusion of the thesis presents these four perspectives and proposes eleven design principles across them which are supported by detailed examples. This work contributes an extensive body of design principles, process models, and techniques providing researchers and designers with new tools to enrich the way robots communicate with humans

Harvested and Grown: the rise of a new bio-materiality

Keynote abstract: We are in the midst of a transition from the industrial revolution to a biological revolution and this will have a great impact on what and how we design in the future. Not only we can acknowledge the advantage of biological systems in terms of zero waste, minimum use of energy and materials, but with synthetic biology, we can now ‘biofabricate’ like Nature does. Leather grown in a lab, yeast reprogrammed to produce silk, bacteria that grow a shoe, are but a few examples of current biotechnological breakthroughs. This keynote will map out the current landscape of biodesign and examine the rise of this new bio-materiality and its implication on design research. From botanical experiments to synthetic biology propositions, this paper will present a series of design case studies that question the notion of ‘knowledge making’ in the context of working with living systems. What becomes of the design process when working with living materials? If we can turn a yeast into a living factory, what language will designers need to learn? Could the intersection of design and biology lead to novel sustainable fabrication processes? What are the ethical implications of biofabrication

Attractiveness of an interactive public art installation

Interaction experiences with public art installations are becoming ubiquitous recently, however, interaction is usually unidirectional and the actual experience not very rich. This work reports on an interactive public art installation aiming at increasing the level of social connectedness among visitors, and the results of evaluating the attractiveness of the installation. By connecting visitors and computers physiologically, the installation has clear impact on social interaction and it also shows the attractiveness to people from aspects such as creativity, novelty, inviting and motivating. In this work we also found that the AttrakDiff instrument to be useful and convenient in evaluating the attractiveness of public art installations

Attractiveness of an interactive public art installation

Interaction experiences with public art installations are becoming ubiquitous recently, however, interaction is usually unidirectional and the actual experience not very rich. This work reports on an interactive public art installation aiming at increasing the level of social connectedness among visitors, and the results of evaluating the attractiveness of the installation. By connecting visitors and computers physiologically, the installation has clear impact on social interaction and it also shows the attractiveness to people from aspects such as creativity, novelty, inviting and motivating. In this work we also found that the AttrakDiff instrument to be useful and convenient in evaluating the attractiveness of public art installations