Social Intelligence Design in Ambient Intelligence

This Special Issue of AI and Society contains a selection of papers presented at the 6th Social Intelligence Design Workshop held at ITC-irst, Povo (Trento, Italy) in July 2007. Being the 6th in a series means that there now is a well-established and also a growing research area. The interest in this research area is growing because, among other things, current computing technology allows other than the traditional efficiency-oriented applications associated with computer science and interface technology. For example, in Ambient Intelligence (AmI) applications we look at sensor-equipped environments and devices (robots, smart furniture, virtual humans and pets) that support their human inhabitants during their everyday activities. These everyday activities also include computer-mediated communication, collaboration and community activities

Nightingallery: theatrical framing and orchestration in participatory performance

The Nightingallery project encouraged participants to converse, sing, and perform with a musically responsive animatronic bird, playfully interacting with the character while members of the public could look on and observe. We used Nightingallery to frame an HCI investigation into how people would engage with one another when confronted with unfamiliar technologies in conspicuously public, social spaces. Structuring performances as improvisational street theatre, we styled our method of exhibiting the bird character. We cast ourselves in supporting roles as carnival barkers and minders of the bird, presenting him as if he were a fantastical creature in a fairground sideshow display, allowing him the agency to shape and maintain dialogues with participants, and positioning him as the focal character upon which the encounter was centred. We explored how the anthropomorphic nature of the bird itself, along with the cultural connotations associated with the carnival/sideshow tradition helped signpost and entice participants through the trajectory of their encounters with the exhibit. Situating ourselves as secondary characters within the narrative defining the performance/use context, our methods of mediation, observation, and evaluation were integrated into the performance frame. In this paper, we explore recent HCI theories in mixed reality performance to reflect upon how genre-based cultural connotations can be used to frame trajectories of experience, and how manipulation of roles and agency in participatory performance can facilitate HCI investigation of social encounters with playful technologies. © 2014 Springer-Verlag London

Alternate endings: using fiction to explore design futures

Design research and practice within HCI is inherently oriented toward the future. However, the vision of the future described by HCI researchers and practitioners is typically utility-driven and focuses on the short term. It rarely acknowledges the potentially complex social and psychological long-term consequences of the technology artefacts produced. Thus, it has the potential to unintentionally cause real harm. Drawing on scholarship that investigates the link between fiction and design, this workshop will explore “alternate endings” to contemporary HCI papers. Attendees will use fictional narratives to envision long-term consequences of contemporary HCI projects, as a means for engaging the CHI community in a consideration of the values and implications of interactive technology

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

Directed and Emergent Play

We describe a case study of the audience experience of an interactive artwork titled Just a Bit of Spin. This study was part of practice-based research project that aimed to develop strategies for designing for a play experience. In this paper, we focus on results relating to the two play characteristics of difficulty and competition. These results lead us to reflect on the importance of creating a balance between directing the play experience and providing opportunities for play to emerge through the creative activities of the player

Interfacing the Network: An Embedded Approach to Network Instrument Creation

This paper discusses the design, construction, and development of a multi-site collaborative instrument, The Loop, developed by the JacksOn4 collective during 2009-10 and formally presented in Oslo at the arts.on.wires and NIME conferences in 2011. The development of this instrument is primarily a reaction to historical network performance that either attempts to present traditional acoustic practice in a distributed format or utilises the network as a conduit to shuttle acoustic and performance data amongst participant nodes. In both scenarios the network is an integral and indispensible part of the performance, however, the network is not perceived as an instrument, per se. The Loop is an attempt to create a single, distributed hybrid instrument retaining traditionally acoustic interfaces and resonant bodies that are mediated by the network. The embedding of the network into the body of the instrument raises many practical and theoretical discussions, which are explored in this paper through a reflection upon the notion of the distributed instrument and the way in which its design impacts the behaviour of the participants (performers and audiences); the mediation of musical expression across networks; the bi-directional relationship between instrument and design; as well as how the instrument assists in the realisation of the creators’ compositional and artistic goals

Enhanced reality live role playing

Live role-playing is a form of improvisational theatre played for the experience of the performers and without an audience. These games form a challenging application domain for ubiquitous technology. We discuss the design options for enhanced reality live role-playing and the role of technology in live role-playing games

The ixiQuarks: merging code and GUI in one creative space

This paper reports on ixiQuarks; an environment of instruments and effects that is built on top of the audio programming language SuperCollider. The rationale of these instruments is to explore alternative ways of designing musical interaction in screen-based software, and investigate how semiotics in interface design affects the musical output. The ixiQuarks are part of external libraries available to SuperCollider through the Quarks system. They are software instruments based on a non- realist design ideology that rejects the simulation of acoustic instruments or music hardware and focuses on experimentation at the level of musical interaction. In this environment we try to merge the graphical with the textual in the same instruments, allowing the user to reprogram and change parts of them in runtime. After a short introduction to SuperCollider and the Quark system, we will describe the ixiQuarks and the philosophical basis of their design. We conclude by looking at how they can be seen as epistemic tools that influence the musician in a complex hermeneutic circle of interpretation and signification

Sketched Reality: Sketching Bi-Directional Interactions Between Virtual and Physical Worlds with AR and Actuated Tangible UI

This paper introduces Sketched Reality, an approach that combines AR sketching and actuated tangible user interfaces (TUI) for bidirectional sketching interaction. Bi-directional sketching enables virtual sketches and physical objects to "affect" each other through physical actuation and digital computation. In the existing AR sketching, the relationship between virtual and physical worlds is only one-directional -- while physical interaction can affect virtual sketches, virtual sketches have no return effect on the physical objects or environment. In contrast, bi-directional sketching interaction allows the seamless coupling between sketches and actuated TUIs. In this paper, we employ tabletop-size small robots (Sony Toio) and an iPad-based AR sketching tool to demonstrate the concept. In our system, virtual sketches drawn and simulated on an iPad (e.g., lines, walls, pendulums, and springs) can move, actuate, collide, and constrain physical Toio robots, as if virtual sketches and the physical objects exist in the same space through seamless coupling between AR and robot motion. This paper contributes a set of novel interactions and a design space of bi-directional AR sketching. We demonstrate a series of potential applications, such as tangible physics education, explorable mechanism, tangible gaming for children, and in-situ robot programming via sketching.Comment: UIST 202