Pervasive Displays Research: What's Next?

Reports on the 7th ACM International Symposium on Pervasive Displays that took place from June 6-8 in Munich, Germany

Wearable and mobile devices

Information and Communication Technologies, known as ICT, have undergone dramatic changes in the last 25 years. The 1980s was the decade of the Personal Computer (PC), which brought computing into the home and, in an educational setting, into the classroom. The 1990s gave us the World Wide Web (the Web), building on the infrastructure of the Internet, which has revolutionized the availability and delivery of information. In the midst of this information revolution, we are now confronted with a third wave of novel technologies (i.e., mobile and wearable computing), where computing devices already are becoming small enough so that we can carry them around at all times, and, in addition, they have the ability to interact with devices embedded in the environment. The development of wearable technology is perhaps a logical product of the convergence between the miniaturization of microchips (nanotechnology) and an increasing interest in pervasive computing, where mobility is the main objective. The miniaturization of computers is largely due to the decreasing size of semiconductors and switches; molecular manufacturing will allow for “not only molecular-scale switches but also nanoscale motors, pumps, pipes, machinery that could mimic skin” (Page, 2003, p. 2). This shift in the size of computers has obvious implications for the human-computer interaction introducing the next generation of interfaces. Neil Gershenfeld, the director of the Media Lab’s Physics and Media Group, argues, “The world is becoming the interface. Computers as distinguishable devices will disappear as the objects themselves become the means we use to interact with both the physical and the virtual worlds” (Page, 2003, p. 3). Ultimately, this will lead to a move away from desktop user interfaces and toward mobile interfaces and pervasive computing

Emotions in context: examining pervasive affective sensing systems, applications, and analyses

Pervasive sensing has opened up new opportunities for measuring our feelings and understanding our behavior by monitoring our affective states while mobile. This review paper surveys pervasive affect sensing by examining and considering three major elements of affective pervasive systems, namely; “sensing”, “analysis”, and “application”. Sensing investigates the different sensing modalities that are used in existing real-time affective applications, Analysis explores different approaches to emotion recognition and visualization based on different types of collected data, and Application investigates different leading areas of affective applications. For each of the three aspects, the paper includes an extensive survey of the literature and finally outlines some of challenges and future research opportunities of affective sensing in the context of pervasive computing

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