Four applications of embodied cognition

This article presents the views of four sets of authors, each taking concepts of embodied cognition into problem spaces where the new paradigm can be applied. The first considers consequences of embodied cognition on the legal system. The second explores how embodied cognition can change how we interpret and interact with art and literature. The third examines how we move through archi- tectural spaces from an embodied cognition perspective. And the fourth addresses how music cogni- tion is influenced by the approach. Each contribution is brief. They are meant to suggest the potential reach of embodied cognition, increase the visibility of applications, and inspire potential avenues for research

VANET Applications: Hot Use Cases

Current challenges of car manufacturers are to make roads safe, to achieve free flowing traffic with few congestions, and to reduce pollution by an effective fuel use. To reach these goals, many improvements are performed in-car, but more and more approaches rely on connected cars with communication capabilities between cars, with an infrastructure, or with IoT devices. Monitoring and coordinating vehicles allow then to compute intelligent ways of transportation. Connected cars have introduced a new way of thinking cars - not only as a mean for a driver to go from A to B, but as smart cars - a user extension like the smartphone today. In this report, we introduce concepts and specific vocabulary in order to classify current innovations or ideas on the emerging topic of smart car. We present a graphical categorization showing this evolution in function of the societal evolution. Different perspectives are adopted: a vehicle-centric view, a vehicle-network view, and a user-centric view; described by simple and complex use-cases and illustrated by a list of emerging and current projects from the academic and industrial worlds. We identified an empty space in innovation between the user and his car: paradoxically even if they are both in interaction, they are separated through different application uses. Future challenge is to interlace social concerns of the user within an intelligent and efficient driving

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

Mobile learning evaluation: the development of tools and techniques for the evaluation of learning exploiting mobile devices through the analysis of automatically collected usage logs - an iterative approach

There have been many claims as to the benefits of personal digital assistants (PDA) as tools in education, but little objective data concerning device usage patterns. The aim of this project was to overcome this deficiency by objectively investigating the use of mobile devices in teaching and learning, specifically in the process of formative assessment. A bespoke PDA application was written, which recorded in detail when PDA applications were being used and overcame a number of technical barriers in securing this information for later analysis. This data, along with information on student access to the University Virtual Learning Environment (VLE) and final student examination results, formed the main objective datasets recovered in the project. Novel data analysis tools and methodologies were developed to mine the extensive, heterogeneous datasets obtained, and efficiently characterise how students used PDA applications. Finally, data analysis was performed on four cohorts of students: i) fourteen joint honours students in electronics and software engineering, where researchers learned that even for technologically adept students, simple issues (such as failure to replace batteries and resultant data loss) could significantly restrict useful research outputs; ii) five summer school students using quiz applications and question sets, where the first significant evidence of the educational benefits of using mobile devices was obtained; iii) students who failed to interact in any way with what they saw as obsolete devices, emphasising the importance of keeping student PDAs current with modern technology; iv) a full scale trial involving a 1st year cohort of BTechEd students, where the lessons learned in phases 1-3 were applied. In the trials, technical and human-computer interface barriers to securing useful data were encountered and overcome, and guidelines for future good practice, of significant use to practitioners in the research area, determined. Patterns and modes of their PDA use - considering a range of factors including overall duration of use, use as a function of time of day or time of week, and the complexity of use (e.g. frequency of application switching within a usage session) - were obtained and correlated with exam results and access to the University VLE. A number of usage characteristics of successful and unsuccessful learners were extracted from this data. In addition to these results, novel student behaviour was observed, with volunteer students actively avoiding returning data despite stated interest in the project, lowered technical barriers, significant inducements, and guarantees of data anonymity. We suggest a number of social factors, including on the nature of peer group formation in student cohorts and the socially disruptive nature of new technology, as contributing to this effect and identify the area as worthy of future investigation

Improving Hybrid Brainstorming Outcomes with Scripting and Group Awareness Support

Previous research has shown that hybrid brainstorming, which combines individual and group methods, generates more ideas than either approach alone. However, the quality of these ideas remains similar across different methods. This study, guided by the dual-pathway to creativity model, tested two computer-supported scaffolds – scripting and group awareness support – for enhancing idea quality in hybrid brainstorming. 94 higher education students,grouped into triads, were tasked with generating ideas in three conditions. The Control condition used standard hybrid brainstorming without extra support. In the Experimental 1 condition, students received scripting support during individual brainstorming, and students in the Experimental 2 condition were provided with group awareness support during the group phase in addition. While the quantity of ideas was similar across all conditions, the Experimental 2 condition produced ideas of higher quality, and the Experimental 1 condition also showed improved idea quality in the individual phase compared to the Control condition

Using Wearable Sensors to Measure Interpersonal Synchrony in Actors and Audience Members During a Live Theatre Performance

Studying social interaction in real-world settings is of increasing importance to social cognitive researchers. Theatre provides an ideal opportunity to study rich face-to-face interactions in a controlled, yet natural setting. Here we collaborated with Flute Theatre to investigate interpersonal synchrony between actors-actors, actors-audience and audience-audience within a live theatrical setting. Our 28 participants consisted of 6 actors and 22 audience members, with 5 of these audience members being audience participants in the show. The performance was a compilation of acting, popular science talks and demonstrations, and an audience participation period. Interpersonal synchrony was measured using inertial measurement unit (IMU) wearable accelerometers worn on the heads of participants, whilst audio-visual data recorded everything that occurred on the stage. Participants also completed post-show self-report questionnaires on their engagement with the overall scientists and actors performance. Cross Wavelet Transform (XWT) and Wavelet Coherence Transform (WCT) analysis were conducted to extract synchrony at different frequencies, pairing with audio-visual data. Findings revealed that XWT and WCT analysis are useful methods in extracting the multiple types of synchronous activity that occurs when people perform or watch a live performance together. We also found that audience members with higher ratings on questionnaire items such as the strength of their emotional response to the performance, or how empowered they felt by the performance, showed a high degree of interpersonal synchrony with actors during the acting segments of performance. We further found that audience members rated the scientists performance higher than the actors performance on questions related to their emotional response to the performance as well as, how uplifted, empowered, and connected to social issues they felt. This shows the types of potent connections audience members can have with live performances. Additionally, our findings highlight the importance of the performance context for audience engagement, in our case a theatre performance as part of public engagement with science rather than a stand-alone theatre performance. In sum we conclude that interdisciplinary real-world paradigms are an important and understudied route to understanding in-person social interactions

Enhancing fan experience during live sports broadcasts through second screen applications

When sports fans attend live sports events, they usually engage in social experiences with friends, family members and other fans at the venue sharing the same affiliation. However, fans watching the same event through a live television broadcast end up not feeling so emotionally connected with the athletes and other fans as they would if they were watching it live, together with thousands of other fans. With this in mind, we seek to create mobile applications that deliver engaging social experiences involving remote fans watching live broadcasted sports events. Taking into account the growing use of mobile devices when watching TV broadcasts, these mobile applications explore the second screen concept, which allows users to interact with content that complements the TV broadcast. Within this context, we present a set of second screen application prototypes developed to test our concepts, the corresponding user studies and results, as well as suggestions on how to apply the prototypes’ concepts not only in different sports, but also during TV shows and electronic sports. Finally, we also present the challenges we faced and the guidelines we followed during the development and evaluation phases, which may give a considerable contribution to the development of future second screen applications for live broadcasted events