Sound for Fantasy and Freedom

Sound is an integral part of our everyday lives. Sound tells us about physical events in the environ- ment, and we use our voices to share ideas and emotions through sound. When navigating the world on a day-to-day basis, most of us use a balanced mix of stimuli from our eyes, ears and other senses to get along. We do this totally naturally and without effort. In the design of computer game experiences, traditionally, most attention has been given to vision rather than the balanced mix of stimuli from our eyes, ears and other senses most of us use to navigate the world on a day to day basis. The risk is that this emphasis neglects types of interaction with the game needed to create an immersive experience. This chapter summarizes the relationship between sound properties, GameFlow and immersive experience and discusses two projects in which Interactive Institute, Sonic Studio has balanced perceptual stimuli and game mechanics to inspire and create new game concepts that liberate users and their imagination

Constructing sonified haptic line graphs for the blind student: first steps

Line graphs stand as an established information visualisation and analysis technique taught at various levels of difficulty according to standard Mathematics curricula. It has been argued that blind individuals cannot use line graphs as a visualisation and analytic tool because they currently primarily exist in the visual medium. The research described in this paper aims at making line graphs accessible to blind students through auditory and haptic media. We describe (1) our design space for representing line graphs, (2) the technology we use to develop our prototypes and (3) the insights from our preliminary work

Resonating Experiences of Self and Others enabled by a Tangible Somaesthetic Design

Digitalization is penetrating every aspect of everyday life including a human's heart beating, which can easily be sensed by wearable sensors and displayed for others to see, feel, and potentially "bodily resonate" with. Previous work in studying human interactions and interaction designs with physiological data, such as a heart's pulse rate, have argued that feeding it back to the users may, for example support users' mindfulness and self-awareness during various everyday activities and ultimately support their wellbeing. Inspired by Somaesthetics as a discipline, which focuses on an appreciation of the living body's role in all our experiences, we designed and explored mobile tangible heart beat displays, which enable rich forms of bodily experiencing oneself and others in social proximity. In this paper, we first report on the design process of tangible heart displays and then present results of a field study with 30 pairs of participants. Participants were asked to use the tangible heart displays during watching movies together and report their experience in three different heart display conditions (i.e., displaying their own heart beat, their partner's heart beat, and watching a movie without a heart display). We found, for example that participants reported significant effects in experiencing sensory immersion when they felt their own heart beats compared to the condition without any heart beat display, and that feeling their partner's heart beats resulted in significant effects on social experience. We refer to resonance theory to discuss the results, highlighting the potential of how ubiquitous technology could utilize physiological data to provide resonance in a modern society facing social acceleration.Comment: 18 page

PICOZOOM: A context sensitive multimodal zooming interface

This paper introduces a novel zooming interface deploying a pico projector that, instead of a second visual display, leverages audioscapes for contextual information. The technique enhances current flashlight metaphor approaches, supporting flexible usage within the domain of spatial augmented reality to focus on object or environment-related details. Within a user study we focused on quantifying the projection limitations related to depiction of details through the pico projector and validated the interaction approach. The quantified results of the study correlate pixel density, detail and proximity, which can greatly aid to design more effective, legible zooming interfaces for pico projectors - the study can form an example testbed that can be applied well for testing aberrations with other projectors. Furthermore, users rated the zooming technique using audioscapes well, showing the validity of the approach. The studies form the foundation for extending our work by detailing out the audio-visual approach and looking more closely in the role of real-world features on interpreting projected content

An aesthetics of touch: investigating the language of design relating to form

How well can designers communicate qualities of touch? This paper presents evidence that they have some capability to do so, much of which appears to have been learned, but at present make limited use of such language. Interviews with graduate designer-makers suggest that they are aware of and value the importance of touch and materiality in their work, but lack a vocabulary to fully relate to their detailed explanations of other aspects such as their intent or selection of materials. We believe that more attention should be paid to the verbal dialogue that happens in the design process, particularly as other researchers show that even making-based learning also has a strong verbal element to it. However, verbal language alone does not appear to be adequate for a comprehensive language of touch. Graduate designers-makers’ descriptive practices combined non-verbal manipulation within verbal accounts. We thus argue that haptic vocabularies do not simply describe material qualities, but rather are situated competences that physically demonstrate the presence of haptic qualities. Such competencies are more important than groups of verbal vocabularies in isolation. Design support for developing and extending haptic competences must take this wide range of considerations into account to comprehensively improve designers’ capabilities

Intrinsic Motivation Systems for Autonomous Mental Development

Exploratory activities seem to be intrinsically rewarding for children and crucial for their cognitive development. Can a machine be endowed with such an intrinsic motivation system? This is the question we study in this paper, presenting a number of computational systems that try to capture this drive towards novel or curious situations. After discussing related research coming from developmental psychology, neuroscience, developmental robotics, and active learning, this paper presents the mechanism of Intelligent Adaptive Curiosity, an intrinsic motivation system which pushes a robot towards situations in which it maximizes its learning progress. This drive makes the robot focus on situations which are neither too predictable nor too unpredictable, thus permitting autonomous mental development.The complexity of the robot’s activities autonomously increases and complex developmental sequences self-organize without being constructed in a supervised manner. Two experiments are presented illustrating the stage-like organization emerging with this mechanism. In one of them, a physical robot is placed on a baby play mat with objects that it can learn to manipulate. Experimental results show that the robot first spends time in situations which are easy to learn, then shifts its attention progressively to situations of increasing difficulty, avoiding situations in which nothing can be learned. Finally, these various results are discussed in relation to more complex forms of behavioral organization and data coming from developmental psychology. Key words: Active learning, autonomy, behavior, complexity, curiosity, development, developmental trajectory, epigenetic robotics, intrinsic motivation, learning, reinforcement learning, values