460 research outputs found

    Single Value Devices

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    We live in a world of continuous information overflow, but the quality of information and communication is suffering. Single value devices contribute to the information and communication quality by fo- cussing on one explicit, relevant piece of information. The information is decoupled from a computer and represented in an object, integrates into daily life. However, most existing single value devices come from conceptual experiments or art and exist only as prototypes. In order to get to mature products and to design meaningful, effective and work- ing objects, an integral perspective on the design choices is necessary. Our contribution is a critical exploration of the design space of single value devices. In a survey we give an overview of existing examples. The characterizing design criteria for single value devices are elaborated in a taxonomy. Finally, we discuss several design choices that are specifically important for moving from prototypes to commercializable products

    An Augmented Interaction Strategy For Designing Human-Machine Interfaces For Hydraulic Excavators

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    Lack of adequate information feedback and work visibility, and fatigue due to repetition have been identified as the major usability gaps in the human-machine interface (HMI) design of modern hydraulic excavators that subject operators to undue mental and physical workload, resulting in poor performance. To address these gaps, this work proposed an innovative interaction strategy, termed “augmented interaction”, for enhancing the usability of the hydraulic excavator. Augmented interaction involves the embodiment of heads-up display and coordinated control schemes into an efficient, effective and safe HMI. Augmented interaction was demonstrated using a framework consisting of three phases: Design, Implementation/Visualization, and Evaluation (D.IV.E). Guided by this framework, two alternative HMI design concepts (Design A: featuring heads-up display and coordinated control; and Design B: featuring heads-up display and joystick controls) in addition to the existing HMI design (Design C: featuring monitor display and joystick controls) were prototyped. A mixed reality seating buck simulator, named the Hydraulic Excavator Augmented Reality Simulator (H.E.A.R.S), was used to implement the designs and simulate a work environment along with a rock excavation task scenario. A usability evaluation was conducted with twenty participants to characterize the impact of the new HMI types using quantitative (task completion time, TCT; and operating error, OER) and qualitative (subjective workload and user preference) metrics. The results indicated that participants had a shorter TCT with Design A. For OER, there was a lower error probability due to collisions (PER1) with Design A, and lower error probability due to misses (PER2)with Design B. The subjective measures showed a lower overall workload and a high preference for Design B. It was concluded that augmented interaction provides a viable solution for enhancing the usability of the HMI of a hydraulic excavator

    Exploring Physicality in the Design Process

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    The design process used in the development of many products we use daily and the nature of the products themselves are becoming increasingly digital. Although our whole world is turning ever more digital, our bodies and minds are naturally conceived to interact with the physical. Very often, in the design of user-targeted information appliances, the physical and digital processes are formulated separately and usually, due to cost factors, they are only brought together for user testing at the end of the development process. This not only makes major design changes more difficult but it can also significantly affect the users’ level of acceptance of the product and their experience of use. It is therefore imperative that designers explore the relationship between the physical and the digital form early on in the development process, when one can rapidly work through different sets of ideas. The key to gaining crucial design information from products lies in the construction of meaningful prototypes. This paper specifically examines how physical materials are used during the early design stage and seeks to explore whether the inherent physical properties of these artefacts and the way that designers interpret and manipulate them have a significant impact on the design process. We present the findings of a case study based on information gathered during a design exercise. Detailed analysis of the recordings reveals far more subtle patterns of behaviour than expected. These include the ways in which groups move between abstract and concrete discussions, the way groups comply with or resist the materials they are given, and the complex interactions between the physicality of materials and the group dynamics. This understanding is contributing to ongoing research in the context of our wider agenda of explicating the fundamental role of physicality in the design of hybrid physical and digital artefacts. Keywords: Physicality; Digitality; Product Design; Design Process; Prototyping; Materials</p

    “tentacular worlding” an assemblage of dance, technology and lived experience through embodied relational biofeedback and materials of the human and non-humankind.

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    I am a final year practice as research or PaR or practice as research PhD candidate at London South Bank University and currently developing a prototype, in collaboration with Daniel Spikol from Malmö University, to investigate tentacular worlding. My theoretical framework is inspired mainly by the writing of phenomenologist Merleau-Ponty, post phenomenologist Don Ihde, new feminist materialists Rosi Braidotti, Jane Bennett and Donna Haraway and new post humanist Clare Colebrook. This supports my conceptual framework of a tentacular worlding through which I explore unseen yet felt lively materials which could contribute to creativity, health and well-being or a deeper understanding of dance and meditation techniques. Inspired by Robin Nelson (2013), Alvesson and Skoldberg (2009) and Tim Ingold (2011), I have used self-reflexive and hermeneutic methodologies to collapse anthropocentric ways of seeing the dancing body, with ways of feeling whilst embodying biosensor technologies. As “knowledge cannot be separated from the knower” (Alvesson and Skoldberg 2009), my methods require that I situate myself within this worlding as both performer and researcher, using an embodiment of biosensor technologies. Being self-reflexive, these tools reflect back at me my lived experience of Deep Flow, a fascia release and meditation dance technique that I have developed over the last three years. I have also developed a process of extrusions allowing for variational flows within a system, replacing the idea of using technologies as extensions of lived experience as they do more than mediate or capture the moving body. They extrude my embodied relations between human and non-human materials within a relational system that both feels and reveals. Above all it collapses binary relations of selfhood as I am both the subject and object of this investigation, using my own heart rate variability in relation to my lived experience of Deep Flow using a phenomenology and embodiment of technology. For this Artistic Research Lab, I aim to reveal the journey I undertook over four Pilot Studies using my own personal, tacit and phenomenological experiences that actively constructed my worlding, through movement, pre-reflective perception and a phenomenology of technology

    MOG 2010:3rd Workshop on Multimodal Output Generation: Proceedings

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