Applications of high and low fidelity prototypes in researching intuitive interaction

This paper addresses some of the issues involved in incorporating use of prototypes into a research program. Definitions, merits and uses of both low and high-fidelity prototypes are discussed and then the applications of prototypes in our research program into intuitive interaction are explored. It has previously been established that intuitive interaction is based on past experience, and can be encouraged by designing interfaces that contain familiar features (Blackler, 2006; Blackler, Popovic, & Mahar, 2007b). Two aspects of the research program which are relevant to prototyping are: researching the issues of how intuitive use happens and how it can be better facilitated; and developing ways to help designers include investigations about users and their existing knowledge into their design processes in order to make interfaces more intuitive. The current and future planned applications of high and low-fidelity prototypes in each of these areas are explored. Then experiences with using high-fidelity touchscreen prototypes for experimental research into intuitive interaction are discussed, including problems with the prototypes, how they were addressed and what we have learned from the process. Next the potential for low-fidelity prototypes to elicit users’ tacit knowledge during the design process is explored. This has exciting possibilities due to the link between intuitive interaction and tacit knowledge. Finally, the challenges of developing prototype-based design tools for use by older people are discussed and future directions for using prototypes in our research program are considered. Keywords: Prototypes; intuitive interaction; experimental methodology; implicit or tacit knowledge</p

Interactive form creation: exploring the creation and manipulation of free form through the use of interactive multiple input interface

Most current CAD systems support only the two most common input devices: a mouse and a keyboard that impose a limit to the degree of interaction that a user can have with the system. However, it is not uncommon for users to work together on the same computer during a collaborative task. Beside that, people tend to use both hands to manipulate 3D objects; one hand is used to orient the object while the other hand is used to perform some operation on the object. The same things could be applied to computer modelling in the conceptual phase of the design process. A designer can rotate and position an object with one hand, and manipulate the shape [deform it] with the other hand. Accordingly, the 3D object can be easily and intuitively changed through interactive manipulation of both hands.The research investigates the manipulation and creation of free form geometries through the use of interactive interfaces with multiple input devices. First the creation of the 3D model will be discussed; several different types of models will be illustrated. Furthermore, different tools that allow the user to control the 3D model interactively will be presented. Three experiments were conducted using different interactive interfaces; two bi-manual techniques were compared with the conventional one-handed approach. Finally it will be demonstrated that the use of new and multiple input devices can offer many opportunities for form creation. The problem is that few, if any, systems make it easy for the user or the programmer to use new input devices

Disciplining the body? Reflections on the cross disciplinary import of ‘embodied meaning’ into interaction design

The aim of this paper is above all critically to examine and clarify some of the negative implications that the idea of ‘embodied meaning’ has for the emergent field of interaction design research. Originally, the term ‘embodied meaning’ has been brought into HCI research from phenomenology and cognitive semantics in order to better understand how user’s experience of new technological systems relies to an increasing extent on full-body interaction. Embodied approaches to technology design could thus be found in Winograd & Flores (1986), Dourish (2001), Lund (2003), Klemmer, Hartman & Takayama (2006), Hornecker & Buur (2006), Hurtienne & Israel (2007) among others. However, fertile as this cross-disciplinary import may be, design research can generally be criticised for being ‘undisciplined’, because of its tendency merely to take over reductionist ideas of embodied meaning from those neighbouring disciplines without questioning the inherent limitations it thereby subscribe to. In this paper I focus on this reductionism and what it means for interaction design research. I start out by introducing the field of interaction design and two central research questions that it raises. This will serve as a prerequisite for understanding the overall intention of bringing the notion of ‘embodied meaning’ from cognitive semantics into design research. Narrowing my account down to the concepts of ‘image schemas’ and their ‘metaphorical extension’, I then explain in more detail what is reductionistic about the notion of embodied meaning. Having done so, I shed light on the consequences this reductionism might have for design research by examining a recently developed framework for intuitive user interaction along with two case examples. In so doing I sketch an alternative view of embodied meaning for interaction design research. Keywords: Interaction Design, Embodied Meaning, Tangible User Interaction, Design Theory, Cognitive Semiotics</p

Designing a gamified social platform for people living with dementia and their live-in family caregivers

In the current paper, a social gamified platform for people living with dementia and their live-in family caregivers, integrating a broader diagnostic approach and interactive interventions is presented. The CAREGIVERSPRO-MMD (C-MMD) platform constitutes a support tool for the patient and the informal caregiver - also referred to as the dyad - that strengthens self-care, and builds community capacity and engagement at the point of care. The platform is implemented to improve social collaboration, adherence to treatment guidelines through gamification, recognition of progress indicators and measures to guide management of patients with dementia, and strategies and tools to improve treatment interventions and medication adherence. Moreover, particular attention was provided on guidelines, considerations and user requirements for the design of a User-Centered Design (UCD) platform. The design of the platform has been based on a deep understanding of users, tasks and contexts in order to improve platform usability, and provide adaptive and intuitive User Interfaces with high accessibility. In this paper, the architecture and services of the C-MMD platform are presented, and specifically the gamification aspects. © 2018 Association for Computing Machinery.Peer ReviewedPostprint (author's final draft

An Introduction to 3D User Interface Design

3D user interface design is a critical component of any virtual environment (VE) application. In this paper, we present a broad overview of three-dimensional (3D) interaction and user interfaces. We discuss the effect of common VE hardware devices on user interaction, as well as interaction techniques for generic 3D tasks and the use of traditional two-dimensional interaction styles in 3D environments. We divide most user interaction tasks into three categories: navigation, selection/manipulation, and system control. Throughout the paper, our focus is on presenting not only the available techniques, but also practical guidelines for 3D interaction design and widely held myths. Finally, we briefly discuss two approaches to 3D interaction design, and some example applications with complex 3D interaction requirements. We also present an annotated online bibliography as a reference companion to this article

Space time pixels

This paper reports the design of a networked system, the aim of which is to provide an intermediate virtual space that will establish a connection and support interaction between multiple participants in two distant physical spaces. The intention of the project is to explore the potential of the digital space to generate original social relationships between people that their current (spatial or social) position can difficultly allow the establishment of innovative connections. Furthermore, to explore if digital space can sustain, in time, low-level connections like these, by balancing between the two contradicting needs of communication and anonymity. The generated intermediate digital space is a dynamic reactive environment where time and space information of two physical places is superimposed to create a complex common ground where interaction can take place. It is a system that provides awareness of activity in a distant space through an abstract mutable virtual environment, which can be perceived in several different ways – varying from a simple dynamic background image to a common public space in the junction of two private spaces or to a fully opened window to the other space – according to the participants will. The thesis is that the creation of an intermediary environment that operates as an activity abstraction filter between several users, and selectively communicates information, could give significance to the ambient data that people unconsciously transmit to others when co-existing. It can therefore generate a new layer of connections and original interactivity patterns; in contrary to a straight-forward direct real video and sound system, that although it is functionally more feasible, it preserves the existing social constraints that limit interaction into predefined patterns