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

Emotion-reacting fashion design: intelligent garment and accessory recognizing facial expressions

Although mental disorders have emerged as serious social challenges, social stigma, including prejudice and misunderstanding, hinder suitable treatment for the patients. It is crucial to monitor our internal psychological and emotional states to avoid the unconscious progression of mental disorders. This research aims to achieve emotion-reacting garments and accessories, based on a passive and continuous emotion recognition system in real time. First, this study proposes a systematic design for emotion-reacting garments and accessories, which employs emotion estimation based on facial expressions. Next, emotion-reacting fashion design is discussed for intelligent garments and accessories that interact with our bodies and mind. To achieve this system, a functionally extended collar made of transparent polycarbonate material is designed for integration with the digital camera modules. In addition, this study discusses how to create a physical stimulus on emotion-reacting garments and accessories. The intelligent garments and accessories using RGB-LEDs create visual effects that reflect emotions. In terms of audio effects, emotion-related keywords are employed to select the music played in intelligent garments. Finally, prototypes reacting to emotions are show

Wearable performance

This is the post-print version of the article. The official published version can be accessed from the link below - Copyright @ 2009 Taylor & FrancisWearable computing devices worn on the body provide the potential for digital interaction in the world. A new stage of computing technology at the beginning of the 21st Century links the personal and the pervasive through mobile wearables. The convergence between the miniaturisation of microchips (nanotechnology), intelligent textile or interfacial materials production, advances in biotechnology and the growth of wireless, ubiquitous computing emphasises not only mobility but integration into clothing or the human body. In artistic contexts one expects such integrated wearable devices to have the two-way function of interface instruments (e.g. sensor data acquisition and exchange) worn for particular purposes, either for communication with the environment or various aesthetic and compositional expressions. 'Wearable performance' briefly surveys the context for wearables in the performance arts and distinguishes display and performative/interfacial garments. It then focuses on the authors' experiments with 'design in motion' and digital performance, examining prototyping at the DAP-Lab which involves transdisciplinary convergences between fashion and dance, interactive system architecture, electronic textiles, wearable technologies and digital animation. The concept of an 'evolving' garment design that is materialised (mobilised) in live performance between partners originates from DAP Lab's work with telepresence and distributed media addressing the 'connective tissues' and 'wearabilities' of projected bodies through a study of shared embodiment and perception/proprioception in the wearer (tactile sensory processing). Such notions of wearability are applied both to the immediate sensory processing on the performer's body and to the processing of the responsive, animate environment. Wearable computing devices worn on the body provide the potential for digital interaction in the world. A new stage of computing technology at the beginning of the 21st Century links the personal and the pervasive through mobile wearables. The convergence between the miniaturisation of microchips (nanotechnology), intelligent textile or interfacial materials production, advances in biotechnology and the growth of wireless, ubiquitous computing emphasises not only mobility but integration into clothing or the human body. In artistic contexts one expects such integrated wearable devices to have the two-way function of interface instruments (e.g. sensor data acquisition and exchange) worn for particular purposes, either for communication with the environment or various aesthetic and compositional expressions. 'Wearable performance' briefly surveys the context for wearables in the performance arts and distinguishes display and performative/interfacial garments. It then focuses on the authors' experiments with 'design in motion' and digital performance, examining prototyping at the DAP-Lab which involves transdisciplinary convergences between fashion and dance, interactive system architecture, electronic textiles, wearable technologies and digital animation. The concept of an 'evolving' garment design that is materialised (mobilised) in live performance between partners originates from DAP Lab's work with telepresence and distributed media addressing the 'connective tissues' and 'wearabilities' of projected bodies through a study of shared embodiment and perception/proprioception in the wearer (tactile sensory processing). Such notions of wearability are applied both to the immediate sensory processing on the performer's body and to the processing of the responsive, animate environment

KEER2022

Avanttítol: KEER2022. DiversitiesDescripció del recurs: 25 juliol 202

Analysis Learners’ Preference in E-Learning System Using Kansei Approach

Academic institutions have opportunity to provide better learning environment over the Internet using open source web-based e-Learning systems. One of the important issues is how to choose a suitable e-Learning system that can meet what learners need implicitly. It lacks guide to support academic institutions in determining a proper e-Learning system based on learners’ needs; it becomes the reason of the implementation of e-Learning that cannot work for long time. This chapter gives an information of result observation regarding learners’ psychological aspects toward e-Learning system using Kansei Engineering and its correlation with the e-Learning interface design. Analyzing learner’s preference related to e-Learning system, it can provide the kind of desired e-Learning system to enhance learners’ experience; finally, it can help the academic institutions to implement e-Learning system continually for a long time

A conceptual model for e-learning supporting tools design based on cue model and Kansei engineering

The Covid-19 pandemic has triggered changes in learning due to the practice of social distancing to curb the spread of the virus. E-learning platforms have become the main platform for learning throughout the pandemic. However, e-learning does have challenges when it comes to ensuring student’s optimum participation throughout the learning experience that require extensive research about techniques and methods for an optimum e-learning experience. This includes various e-learning supporting tools that provides easy communication and immediate assistance to enhance user experience. The supporting tools or software usability and functionality design determined as imperative in enhancing the e-learning user experience. Thus, this research proposes a conceptual model for designing the e-learning supporting tools based on the CUE Model, integrated with Kansei Engineering for optimum user experience that can serve as a guideline for the e-learning supporting tools designer. The outcome of this research will create new research fields that incorporate multiple domains, including the e-learning domain, software and supporting tools design, emotions and user experience

Understanding and modeling of aesthetic response to shape and color in car body design

This study explored the phenomenon that a consumer's preference on color of car body may vary depending on shape of the car body. First, the study attempted to establish a theoretical framework that can account for this phenomenon. This framework is based on the (modern-) Darwinism approach to the so-called evolutionary psychology and aesthetics. It assumes that human's aesthetic sense works like an agent that seeks for environmental patterns that potentially afford to benefit the underlying needs of the agent, and this seeking process is evolutionary fitting. Second, by adopting the framework, a pattern called “fundamental aesthetic dimensions” was developed for identifying and modeling consumer’s aesthetic response to car body shape and color. Next, this study developed an effective tool that is capable in capturing and accommodating consumer’s color preference on a given car body shape. This tool was implemented by incorporating classic color theories and advanced digital technologies; it was named “Color-Shape Synthesizer”. Finally, an experiment was conducted to verify some of the theoretical developments. This study concluded (1) the fundamental aesthetics dimensions can be used for describing aesthetics in terms of shape and color; (2) the Color-Shape Synthesizer tool can be well applied in practicing car body designs; and (3) mapping between semantic representations of aesthetic response to the fundamental aesthetics dimensions can likely be a multiple-network structure

Kansei for the Digital Era

For over 40 years, Kansei-based research and development have been conducted in Japan and other East Asian countries and these decades of research have influenced Kansei interpretation. New methods and applications, including virtual reality and artificial intelligence, have emerged since the millennium, as the Kansei concept has spread throughout Europe and the rest of the world. This paper reviews past literature and industrial experience, offering a comprehensive understanding of Kansei, the underlying philosophy, and the methodology of Kansei Engineering from the approach of psychology and physiology, both qualitatively and quantitatively. The breadth of Kansei is described by examples, emerging from both industry and academia. Additionally, thematic mapping of the state-of-the-art as well as an outlook are derived from feedback obtained from structured interview of thirty-five of the most distinguished researchers in Kansei. The mapping provides insights into current trends and future directions. Kansei is unique because it includes the consideration of emotion in the design of products and services. The paper aims at becoming a reference for researchers, practitioners, and stakeholders across borders and cultures, looking for holistic perspectives on Kansei, Kansei Engineering, and implementation methods. The novelty of the paper resides in the unification of authors amongst pioneers from different parts of the world, spanning across diversified academic backgrounds, knowledge areas and industries

Sensing and mapping for interactive performance

This paper describes a trans-domain mapping (TDM) framework for translating meaningful activities from one creative domain onto another. The multi-disciplinary framework is designed to facilitate an intuitive and non-intrusive interactive multimedia performance interface that offers the users or performers real-time control of multimedia events using their physical movements. It is intended to be a highly dynamic real-time performance tool, sensing and tracking activities and changes, in order to provide interactive multimedia performances. From a straightforward definition of the TDM framework, this paper reports several implementations and multi-disciplinary collaborative projects using the proposed framework, including a motion and colour-sensitive system, a sensor-based system for triggering musical events, and a distributed multimedia server for audio mapping of a real-time face tracker, and discusses different aspects of mapping strategies in their context. Plausible future directions, developments and exploration with the proposed framework, including stage augmenta tion, virtual and augmented reality, which involve sensing and mapping of physical and non-physical changes onto multimedia control events, are discussed