36,236 research outputs found
Beyond representations: towards an action-centric perspective on tangible interaction
In the light of theoretical as well as concrete technical development, we discuss a conceptual shift from an information-centric to an action-centric perspective on tangible interactive technology. We explicitly emphasise the qualities of shareable use, and the importance of designing tangibles that allow for meaningful manipulation and control of the digital material. This involves a broadened focus from studying properties of the interface, to instead aim for qualities of the activity of using a system, a general tendency towards designing for social and sharable use settings and an increased openness towards multiple and subjective interpretations. An effect of this is that tangibles are not designed as representations of data, but as resources for action. We discuss four ways that tangible artefacts work as resources for action: (1) for physical manipulation; (2) for referential, social and contextually oriented action; (3) for perception and sensory experience; (4) for digitally mediated action
Setting the stage – embodied and spatial dimensions in emerging programming practices.
In the design of interactive systems, developers sometimes need to engage in various ways of physical
performance in order to communicate ideas and to test out properties of the system to be realised. External
resources such as sketches, as well as bodily action, often play important parts in such processes, and
several methods and tools that explicitly address such aspects of interaction design have recently been
developed. This combined with the growing range of pervasive, ubiquitous, and tangible technologies
add up to a complex web of physicality within the practice of designing interactive systems. We illustrate
this dimension of systems development through three cases which in different ways address the design
of systems where embodied performance is important. The first case shows how building a physical sport
simulator emphasises a shift in activity between programming and debugging. The second case shows a
build-once run-once scenario, where the fine-tuning and control of the run-time activity gets turned into
an act of in situ performance by the programmers. The third example illustrates the explorative and experiential
nature of programming and debugging systems for specialised and autonomous interaction
devices. This multitude in approaches in existing programming settings reveals an expanded perspective
of what practices of interaction design consist of, emphasising the interlinking between design, programming,
and performance with the system that is being developed
Comics, robots, fashion and programming: outlining the concept of actDresses
This paper concerns the design of physical languages for controlling and programming robotic consumer products. For this purpose we explore basic theories of semiotics represented in the two separate fields of comics and
fashion, and how these could be used as resources in the development of new physical languages. Based on these theories, the design concept of actDresses is defined, and supplemented by three example scenarios of how the concept can be used for controlling, programming, and
predicting the behaviour of robotic systems
Mixers: A participatory approach to design prototyping
In this design exhibit, we describe methods we have used to design a noticeboard interface for an older community in London. Three low-fidelity methods of prototyping interaction provided shared and accessible means for us and our end users to communicate design ideas, explore qualities of the user experience, and evaluate them within situations of use. This approach facilitated the development of an appropriate, innovative and feasible solution for a unique context
Tangible user interfaces : past, present and future directions
In the last two decades, Tangible User Interfaces (TUIs) have emerged as a new interface type that interlinks the digital and physical worlds. Drawing upon users' knowledge and skills of interaction with the real non-digital world, TUIs show a potential to enhance the way in which people interact with and leverage digital information. However, TUI research is still in its infancy and extensive research is required in or- der to fully understand the implications of tangible user interfaces, to develop technologies that further bridge the digital and the physical, and to guide TUI design with empirical knowledge. This paper examines the existing body of work on Tangible User In- terfaces. We start by sketching the history of tangible user interfaces, examining the intellectual origins of this field. We then present TUIs in a broader context, survey application domains, and review frame- works and taxonomies. We also discuss conceptual foundations of TUIs including perspectives from cognitive sciences, phycology, and philoso- phy. Methods and technologies for designing, building, and evaluating TUIs are also addressed. Finally, we discuss the strengths and limita- tions of TUIs and chart directions for future research
The Fractured Memory of a Mind’s Eye
The work I create is informed by questioning reality/identity, the fractalizing planes
of existence our essence occupies, and the artifacts of memory experience navigating
through space time. While existing in this realm of oversaturated media and neon
glow, I question the effects of pervasive data systems overloading or programming the
mental software we possess. My work includes humor as a means of exploring these
conventions while also displaying psychedelic surrealist imagery to help break away
from the conscious prison this existence births our concept apparatuses within
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
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