Superar el límite de la pantalla:el futuro integrado del diseño industrial e innovación de la interfaz

Tesis inédita de la Universidad Complutense de Madrid, Facultad de Bellas Artes, leída el 27-11-2019The goals of this thesis are to streamline the design process of CDDs for both theirhardware and software, simplify the process of their conception, creation andproduction, motivate the design and interactive innovations for the next generationof CDDs.Starting with the process of investigating the design history of CDDs, we noticed theincreasing bi-directional influence between the graphical interface design and theindustrial design of these products. We started to work on the hypothesis:“A connection point between classical industrial design theories and moderninnovations in the world of interface design can be found, and the future of CDDrequires a universal design system for both its hardware and software.”In order to put our hypothesis into practice, it is important to clarify the generic andspecific objectives...El fin de esta tesis es mejorar el proceso de diseño de DDC tanto para su hardware como para su software, simplificar el proceso de concepción, creación y producción,así como motivar el diseño y las innovaciones interactivas para la próxima generación de DDC. Comenzando con un proceso de investigación que respete la historia del diseño de los DDC, notamos un incremento en la influencia bidireccional entre el diseño de interfaz gráfica y el diseño industrial de estos productos. Trabajamos sobre esta hipótesis: “Se puede encontrar un punto de conexión entre las teorías clásicas de diseño industrial y las innovaciones modernas en el mundo del diseño de interfaz. El futuro de los DDC requiere un sistema de diseño unificado para ambos: hardware y software.”Para poner nuestra hipótesis en práctica, es importante aclarar los objetivos genéricos y específicos...Fac. de Bellas ArtesTRUEunpu

From corporeality to virtual reality: theorizing literacy, bodies, and technology in the emerging media of virtual, augmented, and mixed realities

This dissertation explores the relationships between literacy, technology, and bodies in the emerging media of Virtual Reality (VR), Augmented Reality (AR), and Mixed Reality (MR). In response to the recent, rapid emergence of new media forms, questions arise as to how and why we should prepare to compose in new digital media. To interrogate the newness accorded to new media composing, I historicize the literacy practices demanded by new media by examining digital texts, such as video games and software applications, alongside analogous “antiquated” media, such as dioramas and museum exhibits. Comparative textual analysis of analogous digital and non-digital VR, AR, and MR texts reveals new media and “antiquated” media utilize common characteristics of dimensionality, layering, and absence/presence, respectively. The establishment of shared traits demonstrates how media operate on a continuum of mutually held textual practices; despite their distinctive forms, new media texts do not represent either a hierarchical or linear progression of maturing development. Such an understanding aids composing in new VR, AR, and MR media by enabling composers to make fuller use of prior knowledge in a rapidly evolving new media environment, a finding significant both for educators and communicators. As these technologies mature, we will continue to compose both traditional and new forms of texts. As such, we need literacy theory that attends to both the traditional and the new and also is comprehensive enough to encompass future acts of composing in media yet to emerge

The evolution of dramatic storylines in the packaging, selling and legitimizing of Ultimate Fighting Championship

This thesis analyzes the phenomenon of the Ultimate Fighting Championship from a media perspective to illustrate the ability of contemporary television, especially with its emphasis on reality based themes, to take an activity, event, or group of people previously marginalized and to give them an elevated status in the eyes of the viewer. The goal of this thesis is to [1] provide an analysis regarding a historical representation of American prize-fighting in the media, [2] review the major areas of research related to this topic, [3] identify the evolution of production elements throughout the history of the Ultimate Fighting Championship, and [4] analyze the ability of the producers and commentators of the UFC to implement dramatic narratives throughout each contest to enhance the overall production value and to help the organization gain legitimized acceptability

More than a Feeling: Emotion and the First Amendment

First Amendment law has generally been leery of government attempts to change the marketplace of emotions—except when it has not been. Scientific evidence indicates that emotion and rationality are not opposed, as the law often presumes, but rather inextricably linked. There is no judgment, whether moral or otherwise, without emotions to guide our choices. Judicial failure to grapple with this reality has produced some puzzles in the law. Part I of this Symposium contribution examines the intersection of private law, the First Amendment, and attempts to manipulate and control emotions. Only false factual statements can defame, not mere derogatory opinions. Yet trademark law allows exactly the kind of control over nonfactual, emotional appeals that modern defamation law precludes. These two bodies of law thus stand in contrast, one constrained by the First Amendment to cover only facts and the other allowed to reach much further into the dark heart of emotional manipulation. Part II turns to compelled speech, and again finds two contrasting regulations united by their emotional mechanisms, but divided by their constitutional fates. Courts have struck down mandatory smoking warnings in visual form, but have approved mandatory abortion disclosures and ultrasound requirements that operate in the same emotional register. Regardless of whether the regulation involves a direct government mandate or private parties claiming competing rights to influence the audience’s emotional state, then, current First Amendment law doesn’t have a consistent account of the proper role of emotion in speech regulation. Part III suggests that the contradictions of current doctrine could be ameliorated by less distrust of emotion and more acceptance that where information is being conveyed, emotion will regularly follow. Our focus then should not be on whether deployment of emotion is “manipulative,” but whether it is part of a discriminatory or factually misleading regulation. When the government can otherwise constitutionally mandate disclosure, the fact that these disclosures have emotional resonance is not an independent constitutional barrier

Simon In Performance: The Analysis And Direction Of Rumors

The direction of any theatrical production is fraught with challenges and opportunities for growth. In textual analysis and research of Neil Simon\u27s Rumors and directing methods, skills were developed to better direct the University of North Dakota Theatre Department\u27s 2014 production of Rumors. The project culminated in a well-received production of Rumors that challenged the student/actors of UND to learn a farcical style of acting and the director to stage, communicate style, and organize a fully mounted production

Investigating User Experience Using Gesture-based and Immersive-based Interfaces on Animation Learners

Creating animation is a very exciting activity. However, the long and laborious process can be extremely challenging. Keyframe animation is a complex technique that takes a long time to complete, as the procedure involves changing the poses of characters through modifying the time and space of an action, called frame-by-frame animation. This involves the laborious, repetitive process of constantly reviewing results of the animation in order to make sure the movement-timing is accurate. A new approach to animation is required in order to provide a more intuitive animating experience. With the evolution of interaction design and the Natural User Interface (NUI) becoming widespread in recent years, a NUI-based animation system is expected to allow better usability and efficiency that would benefit animation. This thesis investigates the effectiveness of gesture-based and immersive-based interfaces as part of animation systems. A practice-based element of this research is a prototype of the hand gesture interface, which was created based on experiences from reflective practices. An experimental design is employed to investigate the usability and efficiency of gesture-based and immersive-based interfaces in comparison to the conventional GUI/WIMP interface application. The findings showed that gesture-based and immersive-based interfaces are able to attract animators in terms of the efficiency of the system. However, there was no difference in their preference for usability with the two interfaces. Most of our participants are pleasant with NUI interfaces and new technologies used in the animation process, but for detailed work and taking control of the application, the conventional GUI/WIMP is preferable. Despite the awkwardness of devising gesture-based and immersive-based interfaces for animation, the concept of the system showed potential for a faster animation process, an enjoyable learning system, and stimulating interest in a kinaesthetic learning experience

Shadows, touch and digital puppeteering: a media archaeological approach

Aims The practical aim of this research project is to create a multi-touch digital puppetry system that simulates shadow theatre environments and translates gestural acts of touch into live and expressive control of virtual shadow figures. The research is focussed on the qualities of movement achievable through the haptics of single and multi-touch control of the digital puppets in the simulation. An associated aim is to create a collaborative environment where multiple performers can control dynamic animation and scenography, and create novel visualisations and narratives. The conceptual aim is to link traditional and new forms of puppetry seeking cultural significance in the ‘remediation’ of old forms that avail themselves of new haptic resources and collaborative interfaces. The thesis evaluates related prior art where traditional worlds of shadow performance meet new media, digital projection and 3D simulation, in order to investigate how changing technical contexts transform the potential of shadows as an expressive medium. Methodology The thesis uses cultural analysis of relevant documentary material to contextualise the practical work by relating the media archaeology of 2D puppetry—shadows, shadowgraphs and silhouettes—to landmark work in real-time computer graphics and performance animation. The survey considers the work of puppeteers, animators, computer graphics specialists and media artists. Through practice and an experimental approach to critical digital creativity, the study provides practical evidence of multiple iterations of controllable physics-based animation delivering expressive puppet motion through touch and multiuser interaction. Video sequences of puppet movement and written observational analysis document the intangible aspects of animation in performance. Through re-animation of archival shadow puppets, the study presents an emerging artistic media archaeological method. The major element of this method has been the restoration of a collection of Turkish Karagöz Shadow puppets from the Institut International de la Marionnette (Charleville, France) into a playable digital form. Results The thesis presents a developing creative and analytical framework for digital shadow puppetry. It proposes a media archaeological method for working creatively with puppet archives that unlock the kinetic and expressive potential of restored figures. The interaction design introduces novel approaches to puppetry control systems—using spring networks—with objects under physics-simulation that demonstrate emergent expressive qualities. The system facilitates a dance of agency¹ between puppeteer and digital instrument. The practical elements have produced several software iterations and a tool-kit for generating elegant, nuanced multi-touch shadow puppetry. The study presents accidental discoveries—serendipitous benefits of open-ended practical exploration. For instance: the extensible nature of the control system means novel input—other than touch—can provide exciting potential for accessible user interaction, e.g. with gaze duration and eye direction. The study also identifies limitations including the rate of software change and obsolescence, the scope of physics-based animation and failures of simulation. Originality/value The work has historical value in that it documents and begins a media archaeology of digital puppetry, an animated phenomenon of increasing academic and commercial interest. The work is of artistic value providing an interactive approach to making digital performance from archival material in the domain of shadow theatre. The work contributes to the electronic heritage of existing puppetry collections. The study establishes a survey of digital puppetry, setting a research agenda for future studies. Work may proceed to digitise, rig and create collaborative and web-mediated touch-based motion control systems for 2D and 3D puppets. The present study thus provides a solid platform to restore past performances and create new work from old, near forgotten-forms. ¹ Following Andrew Pickering, puppetry is ‘a temporally extended back-and-forth dance of human and non-human agency in which activity and passivity on both sides are reciprocally intertwined’ PICKERING, A. 2010. Material Culture and the Dance of Agency. In: BEAUDRY, M. C. & HICKS, D. (eds.) Oxford Handbook of Material Culture Studies. Oxford University Press.

THE REALISM OF ALGORITHMIC HUMAN FIGURES A Study of Selected Examples 1964 to 2001

It is more than forty years since the first wireframe images of the Boeing Man revealed a stylized hu-man pilot in a simulated pilot's cabin. Since then, it has almost become standard to include scenes in Hollywood movies which incorporate virtual human actors. A trait particularly recognizable in the games industry world-wide is the eagerness to render athletic muscular young men, and young women with hour-glass body-shapes, to traverse dangerous cyberworlds as invincible heroic figures. Tremendous efforts in algorithmic modeling, animation and rendering are spent to produce a realistic and believable appearance of these algorithmic humans. This thesis develops two main strands of research by the interpreting a selection of examples. Firstly, in the computer graphics context, over the forty years, it documents the development of the creation of the naturalistic appearance of images (usually called photorealism ). In particular, it de-scribes and reviews the impact of key algorithms in the course of the journey of the algorithmic human figures towards realism . Secondly, taking a historical perspective, this work provides an analysis of computer graphics in relation to the concept of realism. A comparison of realistic images of human figures throughout history with their algorithmically-generated counterparts allows us to see that computer graphics has both learned from previous and contemporary art movements such as photorealism but also taken out-of-context elements, symbols and properties from these art movements with a questionable naivety. Therefore, this work also offers a critique of the justification of the use of their typical conceptualization in computer graphics. Although the astounding technical achievements in the field of algorithmically-generated human figures are paralleled by an equally astounding disregard for the history of visual culture, from the beginning 1964 till the breakthrough 2001, in the period of the digital information processing machine, a new approach has emerged to meet the apparently incessant desire of humans to create artificial counterparts of themselves. Conversely, the theories of traditional realism have to be extended to include new problems that those active algorithmic human figures present

Adventures in software engineering : plugging HCI & acessibility gaps with open source solutions

There has been a great deal of research undertaken in the field of Human-Computer Interfaces (HCI), input devices, and output modalities in recent years. From touch-based and voice control input mechanisms such as those found on modern smart-devices to the use of touch-free input through video-stream/image analysis (including depth streams and skeletal mapping) and the inclusion of gaze tracking, head tracking, virtual reality and beyond - the availability and variety of these I/O (Input/Output) mechanisms has increased tremendously and progressed both into our living rooms and into our lives in general. With regard to modern desktop computers and videogame consoles, at present many of these technologies are at a relatively immature stage of development - their use often limited to simple adjuncts to the staple input mechanisms of mouse, keyboard, or joystick / joypad inputs. In effect, we have these new input devices - but we're not quite sure how best to use them yet; that is, where their various strengths and weaknesses lie, and how or if they can be used to conveniently and reliably drive or augment applications in our everyday lives. In addition, much of this technology is provided by proprietary hardware and software, providing limited options for customisation or adaptation to better meet the needs of specific users. Therefore, this project investigated the development of open source software solutions to address various aspects of innovative user I/O in a flexible manner. Towards this end, a number of original software applications have been developed which incorporate functionality aimed at enhancing the current state of the art in these areas and making that software freely available for use by any who may find it beneficial.Doctor of Philosoph