Technology inspired design for pervasive healthcare

Pervasive healthcare technologies are increasingly using novel sensory devices that are able to measure phenomena that could not be measured before. To develop novel healthcare applications that use these largely untested technologies, it is important to have a design process that allows proper exploration of the capabilities of the novel technologies. We focus on the technology-inspired design process that was used in the development of a system to support posture and provide guidance by nudging people, and how this has lead us to explore pervasive healthcare applications

The simultaneity of complementary conditions:re-integrating and balancing analogue and digital matter(s) in basic architectural education

The actual, globally established, general digital procedures in basic architectural education,producing well-behaved, seemingly attractive up-to-date projects, spaces and first general-researchon all scale levels, apparently present a certain growing amount of deficiencies. These limitations surface only gradually, as the state of things on overall extents is generally deemed satisfactory. Some skills, such as “old-fashioned” analogue drawing are gradually eased-out ofundergraduate curricula and overall modus-operandi, due to their apparent slow inefficiencies in regard to various digital media’s rapid readiness, malleability and unproblematic, quotidian availabilities. While this state of things is understandable, it nevertheless presents a definite challenge. The challenge of questioning how the assessment of conditions and especially their representation,is conducted, prior to contextual architectural action(s) of any kind

A qualitative analysis of haptic feedback in music focused exercises new interfaces for musical expression

We present the findings of a pilot-study that analysed the role of haptic feedback in a musical context. To closely examine the role of haptics in Digital Musical Instrument (DMI) design an experiment was formulated to measure the users’ perception of device usability across four separate feedback stages: fully haptic (force and tactile combined), constant force only, vibrotactile only, and no feedback. The study was piloted over extended periods with the intention of exploring the application and integration of DMIs in real-world musical contexts. Applying a music orientated analysis of this type enabled the investigative process to not only take place over a comprehensive period, but allowed for the exploration of DMI integration in everyday compositional and explorative practices. As with any investigation that involves creativity, it was important that the participants did not feel rushed or restricted. That is, they were given sufficient time to explore and assess the different feedback types without constraint. This provided an accurate and representational set of qualitative data for validating the participants’ experience with the different feedback types they were presented with

A Qualitative Analysis of Haptic Feedback in Music Focused Exercises

We present the findings of a pilot-study that analysed the role of haptic feedback in a musical context. To examine the role of haptics in Digital Musical Instrument (DMI) design an experiment was formulated to measure the users’ perception of device usability across four separate feedback stages: fully haptic (force and tactile combined), constant force only, vibrotactile only, and no feedback. The study was piloted over extended periods with the intention of exploring the application and integration of DMIs in real-world musical contexts. Applying a music orientated analysis of this type enabled the investigative process to not only take place over a comprehensive period, but allowed for the exploration of DMI integration in everyday compositional practices. As with any investigation that involves creativity, it was important that the participants did not feel rushed or restricted. That is, they were given sufficient time to explore and assess the different feedback types without constraint. This provided an accurate and representational set of qualitative data for validating the participants’ experience with the different feedback types they were presented with

Cognitive Strategies of S²r Model Used by High Proficiency Learners of the English Department, Petra Christian University

This is a qualitative and quantitative study on cognitive strategies of S²R model and specific techniques employed by high proficient learners of the English Department, Petra Christian University. The high proficient learners represented by nine final-year students who have an average of very good grade (≥B+) in all language skill courses offered by the department. The data was taken by conducting interviews to each of learners based on Oxford (2011) theory. The findings showed all types of cognitive strategies are used by the high proficient learners. The highest percentage of cognitive strategies used was going beyond the immediate data (100%), the second highest was using senses to understand and remember (81%), the third highest was conceptualizing broadly (78%), then it followed by conceptualizing with details (76%), reasoning (67%), and activating knowledge (56%). Moreover, there were a lot of varieties of the specific techniques employed by the participants. The most common specific techniques used were guessing, watching English speaking films, skimming, comparing English to mother tongue, reading novels and magazine, and brainstorming. In conclusion, all proficiency learners use all cognitive strategies but they might employ different techniques in their learning process

Corseto: A Kinesthetic Garment for Designing, Composing for, and Experiencing an Intersubjective Haptic Voice

We present a novel intercorporeal experience - an intersubjective haptic voice. Through an autobiographical design inquiry, based on singing techniques from the classical opera tradition, we created Corsetto, a kinesthetic garment for transferring somatic reminiscents of vocal experience from an expert singer to a listener. We then composed haptic gestures enacted in the Corsetto, emulating upper-body movements of the live singer performing a piece by Morton Feldman named Three Voices. The gestures in the Corsetto added a haptics-based \u27fourth voice\u27 to the immersive opera performance. Finally, we invited audiences who were asked to wear Corsetto during live performances. Afterwards they engaged in micro-phenomenological interviews. The analysis revealed how the Corsetto managed to bridge inner and outer bodily sensations, creating a feeling of a shared intercorporeal experience, dissolving boundaries between listener, singer and performance. We propose that \u27intersubjective haptics\u27 can be a generative medium not only for singing performances, but other possible intersubjective experiences

BendableSound: An Elastic Multisensory Surface Using Touch-based interactions to Assist Children with Severe Autism During Music Therapy

Neurological Music Therapy uses live music to improve the sensorimotor regulation of children with severe autism. However, they often lack musical training and their impairments limit their interactions with musical instruments. In this paper, we present our co-design work that led to the BendableSound prototype: an elastic multisensory surface encouraging users to practice coordination movements when touching a fabric to play sounds. We present the results of a formative study conducted with 18 teachers showing BendableSound was perceived as “usable” and “attractive”. Then, we present a deployment study with 24 children with severe autism showing BendableSound is “easy to use” and may potentially have therapeutic benefits regarding attention and motor development. We propose a set of design insights that could guide the design of natural user interfaces, particularly elastic multisensory surfaces. We close with a discussion and directions for future work