Recognition of Crowd Behavior from Mobile Sensors with Pattern Analysis and Graph Clustering Methods

Mobile on-body sensing has distinct advantages for the analysis and understanding of crowd dynamics: sensing is not geographically restricted to a specific instrumented area, mobile phones offer on-body sensing and they are already deployed on a large scale, and the rich sets of sensors they contain allows one to characterize the behavior of users through pattern recognition techniques. In this paper we present a methodological framework for the machine recognition of crowd behavior from on-body sensors, such as those in mobile phones. The recognition of crowd behaviors opens the way to the acquisition of large-scale datasets for the analysis and understanding of crowd dynamics. It has also practical safety applications by providing improved crowd situational awareness in cases of emergency. The framework comprises: behavioral recognition with the user's mobile device, pairwise analyses of the activity relatedness of two users, and graph clustering in order to uncover globally, which users participate in a given crowd behavior. We illustrate this framework for the identification of groups of persons walking, using empirically collected data. We discuss the challenges and research avenues for theoretical and applied mathematics arising from the mobile sensing of crowd behaviors

Sensor-based organizational design and engineering

Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2011.Cataloged from PDF version of thesis.Includes bibliographical references (p. 117-127).We propose a sensor-based organizational design and engineering approach that combines behavioral sensor data with other sources of information such as e-mail, surveys, and performance data in order to design interventions aimed at improving organizational outcomes. The proposed system combines sensor measurements, pattern recognition algorithms, simulation and optimization techniques, social network analysis, and feedback mechanisms that aim at continuously monitoring and improving individual and group performance. We describe the system's general specifications and discuss several studies that we conducted in different organizations using the sociometric badge experimental sensing platform. We have deployed such system under naturalistic settings in more than ten organizations up to this date. We show that it is possible to automatically capture group dynamics, and analyze the relationship between organizational behaviors and both subjective and objective outcomes (such as job satisfaction, quality of group interaction, stress, productivity, and group performance). We propose the use of static and dynamic simulation models of group behavior captured by sensors, in order to optimize group configurations that maximize individual and group outcomes, both in terms of job quality characteristics and organizational performance.by Daniel Olguín Olguín.Ph.D

Moving sounds and sonic moves : exploring interaction quality of embodied music mediation technologies through a user-centered perspective

This research project deals with the user-experience related to embodied music mediation technologies. More specifically, adoption and policy problems surrounding new media (art) are considered, which arise from the usability issues that to date pervade new interfaces for musical expression. Since the emergence of new wireless mediators and control devices for musical expression, there is an explicit aspiration of the creative industries and various research centers to embed such technologies into different areas of the cultural industries. The number of applications and their uses have exponentially increased over the last decade. Conversely, many of the applications to date still suffer from severe usability problems, which not only hinder the adoption by the cultural sector, but also make culture participants take a rather cautious, hesitant, or even downright negative stance towards these technologies. Therefore, this thesis takes a vantage point that is in part sociological in nature, yet has a link to cultural studies as well. It combines this with a musicological frame of reference to which it introduces empirical user-oriented approaches, predominantly taken from the field of human-computer-interaction studies. This interdisciplinary strategy is adopted to cope with the complex nature of digital embodied music controlling technologies. Within the Flanders cultural (and creative) industries, opportunities of systems affiliated with embodied interaction are created and examined. This constitutes an epistemological jigsaw that looks into 1) “which stakeholders require what various levels of involvement, what interactive means and what artistic possibilities?”, 2) “the way in which artistic aspirations, cultural prerequisites and operational necessities of (prospective) users can be defined?”, 3) “how functional, artistic and aesthetic requirements can be accommodated?”, and 4) “how quality of use and quality of experience can be achieved, quantified, evaluated and, eventually, improved?”. Within this multi-facetted problem, the eventual aim is to assess the applicability of the foresaid technology, both from a theoretically and empirically sound basis, and to facilitate widening and enhancing the adoption of said technologies. Methodologically, this is achieved by 1) applied experimentation, 2) interview techniques, 3) self-reporting and survey research, 4) usability evaluation of existing devices, and 5) human-computer interaction methods applied – and attuned – to the specific case of embodied music mediation technologies. Within that scope, concepts related to usability, flow, presence, goal assessment and game enjoyment are scrutinized and applied, and both task- and experience-oriented heuristics and metrics are developed and tested. In the first part, covering three chapters, the general context of the thesis is given. In the first chapter, an introduction to the topic is offered and the current problems are enumerated. In the second chapter, a broader theoretical background is presented of the concepts that underpin the project, namely 1) the paradigm of embodiment and its connection to musicology, 2) a state of the arts concerning new interfaces for musical expression, 3) an introduction into HCI-usability and its application domain in systematic musicology, 4) an insight into user-centered digital design procedures, and 5) the challenges brought about by e-culture and digitization for the cultural-creative industries. In the third chapter, the state of the arts concerning the available methodologies related to the thesis’ endeavor is discussed, a set of literature-based design guidelines are enumerated and from this a conceptual model is deduced which is gradually presented throughout the thesis, and fully deployed in the “SoundField”-project (as described in Chapter 9). The following chapters, contained in the second part of the thesis, give a quasi-chronological overview of how methodological concepts have been applied throughout the empirical case studies, aimed specifically at the exploration of the various aspects of the complex status quaestionis. In the fourth chapter, a series of application-based tests, predominantly revolving around interface evaluation, illustrate the complex relation between gestural interfaces and meaningful musical expression, advocating a more user-centered development approach to be adopted. In the fifth chapter, a multi-purpose questionnaire dubbed “What Moves You” is discussed, which aimed at creating a survey of the (prospective) end-users of embodied music mediation technologies. Therefore, it primarily focused on cultural background, musical profile and preferences, views on embodied interaction, literacy of and attitudes towards new technology and participation in digital culture. In the sixth chapter, the ethnographical studies that accompanied the exhibition of two interactive art pieces, entitled "Heart as an Ocean" & "Lament", are discussed. In these studies, the use of interview and questionnaire methodologies together with the presentation and reception of interactive art pieces, are probed. In the seventh chapter, the development of the collaboratively controlled music-game “Sync-In-Team” is presented, in which interface evaluation, presence, game enjoyment and goal assessment are the pivotal topics. In the eighth chapter, two usability studies are considered, that were conducted on prototype systems/interfaces, namely a heuristic evaluation of the “Virtual String” and a usability metrics evaluation on the “Multi-Level Sonification Tool”. The findings of these two studies in conjunction with the exploratory studies performed in association with the interactive art pieces, finally gave rise to the “SoundField”-project, which is recounted in full throughout the ninth chapter. The integrated participatory design and evaluation method, presented in the conceptual model is fully applied over the course of the “SoundField”-project, in which technological opportunities and ecological validity and applicability are investigated through user-informed development of numerous use cases. The third and last part of the thesis renders the final conclusions of this research project. The tenth chapter sets out with an epilogue in which a brief overview is given on how the state of the arts has evolved since the end of the project (as the research ended in 2012, but the research field has obviously moved on), and attempts to consolidate the implications of the research studies with some of the realities of the Flemish cultural-creative industries. Chapter eleven continues by discussing the strengths and weaknesses of the conceptual model throughout the various stages of the project. Also, it comprises the evaluation of the hypotheses, how the assumptions that were made held up, and how the research questions eventually could be assessed. Finally, the twelfth and last chapter concludes with the most important findings of the project. Also, it discusses some of the implications on cultural production, artistic research policy and offers an outlook on future research beyond the scope of the “SoundField” project

Let's track! strategies to establish active people tracking in workplaces

The action research component is conducted by developing a system that delivers insights into teamwork dynamics, as revealed by tracking the social network interactions that occur within collaborative work environments. I constructed a working prototype that utilised an indoor people tracking system that captures people's movements as they operate within their workspace. It is capable of simultaneously monitoring the progress of multiple cohabitating project teams. Focusing on providing context specific insights, I designed a flexible behaviour model that constructed customised social networks to extract interactions of interest from the tracked data. The visually rich analysis reporting that was layered with contextual cues enabled quick cognition by the intended viewer. The targeted user covers all levels of the organisation from project collaborators to the support personnel and upper management. With this setup, everyone can participate in a data-supported reflective learning process. The original contribution of my research is two-fold. Firstly, the people tracking system and analytics I developed demonstrated the technical capability to provide real time insights to workspace design, project management and human resource management applications. Secondly, through reference to my three case studies, I argue that a user-centric approach is critical for the successful integration and adaptation of people tracking systems and analytics into real world workplace practices