Using Design Fiction to Inform Shape-Changing Interface Design and Use

Shape-changing interfaces are tangible, physically dynamic devices which enable user-experience beyond 2D screens. Within Human Computer Interaction, researchers are developing these from low-resolution, low-fidelity prototypes, toward a vision of a truly malleable world. The main focus is in producing and testing hardware, and basic user interactions, which leaves the question unanswered: what are shape-changing interfaces good for? In response, we propose the use of design fiction to investigate potential applications for this technology: to create and analyse artifacts relating to future use-scenarios for shape-change. Whilst research within shape-change often proposes future use-cases for prototypes during discussion, they are seldom in a form that presents them as everyday artifacts. Here, we present and discuss a printed game-play instruction manual for a truly high resolution shape-changing game entitled First Hand, which aims to draw parallels between current gaming practices and the tangible nature of shape-changing interfaces

Using Design Fiction to Inform Shape-Changing Interface Design and Use

Shape-changing interfaces are tangible, physically dynamic devices which enable user-experience beyond 2D screens. Within Human Computer Interaction, researchers are developing these from low-resolution, low-fidelity prototypes, toward a vision of a truly malleable world. The main focus is in producing and testing hardware, and basic user interactions, which leaves the question unanswered: what are shape-changing interfaces good for? In response, we propose the use of design fiction to investigate potential applications for this technology: to create and analyse artifacts relating to future use-scenarios for shape-change. Whilst research within shape-change often proposes future use-cases for prototypes during discussion, they are seldom in a form that presents them as everyday artifacts. Here, we present and discuss a printed game-play instruction manual for a truly high resolution shape-changing game entitled First Hand, which aims to draw parallels between current gaming practices and the tangible nature of shape-changing interfaces

Using Design Fiction to Inform Shape-Changing Interface Design and Use

Shape-changing interfaces are tangible, physically dynamic devices which enable user-experience beyond 2D screens. Within Human Computer Interaction, researchers are developing these from low-resolution, low-fidelity prototypes, toward a vision of a truly malleable world. The main focus is in producing and testing hardware, and basic user interactions, which leaves the question unanswered: what are shape-changing interfaces good for? In response, we propose the use of design fiction to investigate potential applications for this technology: to create and analyse artifacts relating to future use-scenarios for shape-change. Whilst research within shape-change often proposes future use-cases for prototypes during discussion, they are seldom in a form that presents them as everyday artifacts. Here, we present and discuss a printed game-play instruction manual for a truly high resolution shape-changing game entitled First Hand, which aims to draw parallels between current gaming practices and the tangible nature of shape-changing interfaces

Architecture and horror: analogical explorations in architectural design

This thesis examines the relationship between the practice of architectural design and the media through which it is represented. It makes a consistent critical appraisal of the philosophical presumptions under which architectural theory is made, in particular, the relationship between theories of expression and representation. The thesis presents seven distinct projects by the author which developmentally explore the degree to which architecture is able to represent the sublime - in particular through the concept of horror. In this instance horror emerges as a category of excess that supervenes the uses of the term in the genres of film and literary studies. Within the thesis horror describes an (impossible) objective for representation The thesis argues that the environment within which these philosophical questions of 'effect' may most resonantly be explored is, ultimately, digital media. The author draws on contemporary commentary by Jacques Derrida and Georges Bataille, in particular Derrida's discussion of the Parergon and contemporary discussion of l'informe, the informal to support these arguments. It is within the apparently 'real' environments of virtual reality that the presentation of the mise-en-scene of horror may be explored. Immersive digital environments, it is argued, provide an appropriate level of freedom and direction for the exploration of the spatial experience of the abyss. The thesis concludes by presenting observations on the antinomy of aspirations that any materialist theory of architectural practice must attend to when working within digital media

Collage music : the development of a language of studio composition

Merged with duplicate record 10026.1/573 on 03.01.2017 by CS (TIS). Merged with duplicate record 10026.1/2630 on 28.02.2017 by CS (TIS)This is a digitised version of a thesis that was deposited in the University Library. If you are the author please contact PEARL Admin ([email protected]) to discuss options.This thesis is intended to amplify, support and provide historical and aesthetic contexts for the concerns which I have explored and developed in my creative practice as a composer. It is accompanied by three audio CDs containing six compositions which map the development of my language of studio music, together with a further two CDs containing earlier compositions and a sixth CD containing a musical reference compilation which supports the text. The thesis is divided into the following six sections: Introduction "a brief account of my background as a composer including a summary of the composition portfolios of my previous degrees, going on to discuss my first composition for this project, The Book (1999), which is submitted not as a portfolio piece but for reference only (CD 4) "a description of the subsequent ten compositions, only one of which is submitted, Summer Nights Dream (2001), which again is intended for reference only (CD 5) " the listing of a number of influential collage pieces according to the categorisation superimposition or juxtaposition which prefaces the history of collage music outlined in the next chapter. I Collage Music: History, Context and Influence "a positioning of collage music in both historical and cultural contexts; examples are drawn from both popular and classical musics including examples of contemporary studio-based music, in effect proposing a genre-crossing history of collage music which is currently undocumented " an examination of the ways in which the structure, pace and content in my studio music have been informed by comedy. This chapter is intended to be read in conjunction with the musical reference CD (6). 2 Composition and Computers: The Landscape of Studio Music " an exploration the various ways in which music technology has been an influence on the development of my compositional language "a brief survey of the field of algorithmic composition and a description of a suite of computer programs I designed in order to generate musical material "a discussion of a system of calculating modes which I devised in conjunction with these programs " an account of `large-scale phasing' including an examination of historical precedents in both the classical and popular music traditions for using this kind of generative system " an exploration of the notion of musical landscape as a means of pointing up a significant development in my approach to composition. 3 The Portfolio of Compositions: An Overview "a discussion of the development of my language of composition throughout the pieces in the portfolio "a grouping of my work into four approaches to form: generative landscape, episodic, rondo and fantasia " an examination of structure and gesture in my pieces. 4 Carnival of Light: An Account of my Compositional Process "a detailed account of the composition of one of the pieces in my portfolio in which I show how I have been inspired by texts, paintings, photographs and music in the creation of each section of my piece, hoping also to illuminate the thinking processes involved. Conclusion " an attempt to bring together the themes of each of the preceding sections, and to summarise the contribution I have made to the fields of studio composition and collage music " the introduction of the notion of altitude as a means of establishing a distinction between collage and non-collage music "a discussion of the issue of quotation in collage and a consideration of the relevance of collage music in contemporary culture.Dartington College of Art

Videopoetry : A Manifesto

"What follows is intended to distinguish videopoetry from poetry films, film poetry, poemvideos, poetry videos, cyber-poetry, cine-poetry, kinetic poetry, digital poetry, poetronica, filming of poetry and other unwieldy neologisms, which have been applied, at one time or another, to describe the treatment of poetry in film and video but which have also developed different and divergent meanings" -- p. [1]

Sketching as a support mechanism for the design and development of shape-changing interfaces

Shape-changing interfaces are a novel computational technology which incorporate physical, tangible, and dynamic surfaces to create a true 3-Dimensional experience. As is often the case with other novel hardware, the current research focus is on iterative hardware design, with devices taking many years to reach potential markets. Whilst the drive to develop novel hardware is vital, this usually occurs without consultation of end-users. Due to the prototypical nature of shape-change, there is no specific current practice of User-Centred Design (UCD). If this is not addressed, the resulting field may consist of undirected, research-focused hardware with little real world value to users. Therefore, the goal of this thesis is to develop an approach to inform the direction of shape-change research, which uses simple, accessible tools and techniques to connect researcher and user. I propose the development of an anticipatory, pre-UCD methodology to frame the field. Sketching is an established methodology. It is also accessible, universal, and provides us with a low-fidelity tool-kit. I therefore propose an exploration of how sketching can support the design and development of shape-changing interfaces. The challenge is approached over five stages: 1) Analysing and categorising shape-changing prototypes to provide the first comprehensive overview of the field; 2) Conducting a systematic review of sketching and HCI research to validate merging sketching, and its associated UCD techniques with highly technological computing research; 3) Using these techniques to explore if non-expert, potential end-users can ideate applications for shape change; 4) Investigating how researchers can utilise subjective sketching for shape-change; 5) Building on ideation and subjective sketching to gather detailed, sketched data from non-expert users with which to generate requirements and models for shape-change. To conclude, I discuss the dialogue between researcher and user, and show how sketching can bring these groups together to inform and elucidate research in this area

Presence 2005: the eighth annual international workshop on presence, 21-23 September, 2005 University College London (Conference proceedings)

OVERVIEW (taken from the CALL FOR PAPERS) Academics and practitioners with an interest in the concept of (tele)presence are invited to submit their work for presentation at PRESENCE 2005 at University College London in London, England, September 21-23, 2005. The eighth in a series of highly successful international workshops, PRESENCE 2005 will provide an open discussion forum to share ideas regarding concepts and theories, measurement techniques, technology, and applications related to presence, the psychological state or subjective perception in which a person fails to accurately and completely acknowledge the role of technology in an experience, including the sense of 'being there' experienced by users of advanced media such as virtual reality. The concept of presence in virtual environments has been around for at least 15 years, and the earlier idea of telepresence at least since Minsky's seminal paper in 1980. Recently there has been a burst of funded research activity in this area for the first time with the European FET Presence Research initiative. What do we really know about presence and its determinants? How can presence be successfully delivered with today's technology? This conference invites papers that are based on empirical results from studies of presence and related issues and/or which contribute to the technology for the delivery of presence. Papers that make substantial advances in theoretical understanding of presence are also welcome. The interest is not solely in virtual environments but in mixed reality environments. Submissions will be reviewed more rigorously than in previous conferences. High quality papers are therefore sought which make substantial contributions to the field. Approximately 20 papers will be selected for two successive special issues for the journal Presence: Teleoperators and Virtual Environments. PRESENCE 2005 takes place in London and is hosted by University College London. The conference is organized by ISPR, the International Society for Presence Research and is supported by the European Commission's FET Presence Research Initiative through the Presencia and IST OMNIPRES projects and by University College London

Video game technology and learning in the music classroom

Game-based learning, or the process of adapting an educational concept into a game-based structure, has been studied by researchers for nearly a century. Over the last several decades, new technologies have allowed digital media to create a multibillion- dollar entertainment industry commonly known as video games. Video games have become a tool for many educators who have the potential to engage and motivate students to learn in various subjects and disciplines. The purpose of this study was to determine the effectiveness of digital game-based learning in comparison to other teaching methods as related to music education and to explore the perspectives of young students regarding video games both in school and in their personal lives. Ninety-two (n = 92) fifth and sixth grade students in a northeastern U.S. elementary school completed a mixed-method experimental study consisting of a pretest/posttest control group, surveys, and in-depth interviews. Results showed that students who had access to educational video games combined with the assistance of an instructor achieved higher mean scores compared with students who had access to either video games without instruction or instruction without video games. Survey and interview data suggested that students enjoyed playing video games on a regular basis for reasons such as enjoyment, socialization, and distraction. The majority of respondents believed that video games can and should be used in educational practices, including music education, but current educational games are inadequate because they do not possess the qualities of entertainment that are inherent in commercially designed games. These findings suggested that educational video games may be potentially used as an effective tool in the music classroom to teach musical concepts and skills. In addition, benefits may also include increased student motivation, engagement, and a hands-on approach to learning that is based on the students’ individual needs. However, it may be necessary for video games to be used in combination with a qualified teacher to prevent confusion, distraction, and possible frustration. Pairing quality instruction with engaging technology that is relevant in children’s lives may be highly beneficial for the continued development of music education