To Draw or Not to Draw: Recognizing Stroke-Hover Intent in Gesture-Free Bare-Hand Mid-Air Drawing Tasks

Over the past several decades, technological advancements have introduced new modes of communication with the computers, introducing a shift from traditional mouse and keyboard interfaces. While touch based interactions are abundantly being used today, latest developments in computer vision, body tracking stereo cameras, and augmented and virtual reality have now enabled communicating with the computers using spatial input in the physical 3D space. These techniques are now being integrated into several design critical tasks like sketching, modeling, etc. through sophisticated methodologies and use of specialized instrumented devices. One of the prime challenges in design research is to make this spatial interaction with the computer as intuitive as possible for the users. Drawing curves in mid-air with fingers, is a fundamental task with applications to 3D sketching, geometric modeling, handwriting recognition, and authentication. Sketching in general, is a crucial mode for effective idea communication between designers. Mid-air curve input is typically accomplished through instrumented controllers, specific hand postures, or pre-defined hand gestures, in presence of depth and motion sensing cameras. The user may use any of these modalities to express the intention to start or stop sketching. However, apart from suffering with issues like lack of robustness, the use of such gestures, specific postures, or the necessity of instrumented controllers for design specific tasks further result in an additional cognitive load on the user. To address the problems associated with different mid-air curve input modalities, the presented research discusses the design, development, and evaluation of data driven models for intent recognition in non-instrumented, gesture-free, bare-hand mid-air drawing tasks. The research is motivated by a behavioral study that demonstrates the need for such an approach due to the lack of robustness and intuitiveness while using hand postures and instrumented devices. The main objective is to study how users move during mid-air sketching, develop qualitative insights regarding such movements, and consequently implement a computational approach to determine when the user intends to draw in mid-air without the use of an explicit mechanism (such as an instrumented controller or a specified hand-posture). By recording the user’s hand trajectory, the idea is to simply classify this point as either hover or stroke. The resulting model allows for the classification of points on the user’s spatial trajectory. Drawing inspiration from the way users sketch in mid-air, this research first specifies the necessity for an alternate approach for processing bare hand mid-air curves in a continuous fashion. Further, this research presents a novel drawing intent recognition work flow for every recorded drawing point, using three different approaches. We begin with recording mid-air drawing data and developing a classification model based on the extracted geometric properties of the recorded data. The main goal behind developing this model is to identify drawing intent from critical geometric and temporal features. In the second approach, we explore the variations in prediction quality of the model by improving the dimensionality of data used as mid-air curve input. Finally, in the third approach, we seek to understand the drawing intention from mid-air curves using sophisticated dimensionality reduction neural networks such as autoencoders. Finally, the broad level implications of this research are discussed, with potential development areas in the design and research of mid-air interactions

Embodied Interactions for Spatial Design Ideation: Symbolic, Geometric, and Tangible Approaches

Computer interfaces are evolving from mere aids for number crunching into active partners in creative processes such as art and design. This is, to a great extent, the result of mass availability of new interaction technology such as depth sensing, sensor integration in mobile devices, and increasing computational power. We are now witnessing the emergence of maker culture that can elevate art and design beyond the purview of enterprises and professionals such as trained engineers and artists. Materializing this transformation is not trivial; everyone has ideas but only a select few can bring them to reality. The challenge is the recognition and the subsequent interpretation of human actions into design intent

Freeform User Interfaces for Graphical Computing

報告番号: 甲15222 ; 学位授与年月日: 2000-03-29 ; 学位の種別: 課程博士 ; 学位の種類: 博士(工学) ; 学位記番号: 博工第4717号 ; 研究科・専攻: 工学系研究科情報工学専

Embracing first-person perspectives in soma-based design

This article belongs to the Special Issue Tangible and Embodied InteractionA set of prominent designers embarked on a research journey to explore aesthetics in movement-based design. Here we unpack one of the design sensitivities unique to our practice: A strong first person perspective-where the movements, somatics and aesthetic sensibilities of the designer, design researcher and user are at the forefront. We present an annotated portfolio of design exemplars and a brief introduction to some of the design methods and theory we use, together substantiating and explaining the first-person perspective. At the same time, we show how this felt dimension, despite its subjective nature, is what provides rigor and structure to our design research. Our aim is to assist researchers in soma-based design and designers wanting to consider the multiple facets when designing for the aesthetics of movement. The applications span a large field of designs, including slow introspective, contemplative interactions, arts, dance, health applications, games, work applications and many others

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

Painting the ideal home: using art to express visions of technologically supported independent living for older people in North East England

This paper describes the investigation of the development of future technological products to support older people in everyday living through the agency of a community art group. Recent research has identified a number of challenges facing designers seeking to use traditional participatory design approaches to gather technology requirements data from older people. Here, a project is described that sought to get a group of older people to think creatively about their needs and desires for technological support through the medium of paint. The artistic expression technique described in this article allowed the identification of issues that had also been found by previous research that used a range of different techniques. This indicates that the approach shows promise, as it allows information to be gathered in an environment that is comfortable and familiar using methods already known by the participants and which they find enjoyable. It provides a complement (or possible alternative) to standard protocols and has the potential benefit of extracting even richer information as the primary task for participants is enjoyable in its own right and is not associated with an interrogative process. Furthermore, it is argued that some of the key risks of traditional approaches are lessened or removed by the naturalistic setting of this approach

3-D Interfaces for Spatial Construction

It is becoming increasingly easy to bring the body directly to digital form via stereoscopic immersive displays and tracked input devices. Is this space a viable one in which to construct 3d objects? Interfaces built upon two-dimensional displays and 2d input devices are the current standard for spatial construction, yet 3d interfaces, where the dimensionality of the interactive space matches that of the design space, have something unique to offer. This work increases the richness of 3d interfaces by bringing several new tools into the picture: the hand is used directly to trace surfaces; tangible tongs grab, stretch, and rotate shapes; a handle becomes a lightsaber and a tool for dropping simple objects; and a raygun, analagous to the mouse, is used to select distant things. With these tools, a richer 3d interface is constructed in which a variety of objects are created by novice users with relative ease. What we see is a space, not exactly like the traditional 2d computer, but rather one in which a distinct and different set of operations is easy and natural. Design studies, complemented by user studies, explore the larger space of three-dimensional input possibilities. The target applications are spatial arrangement, freeform shape construction, and molecular design. New possibilities for spatial construction develop alongside particular nuances of input devices and the interactions they support. Task-specific tangible controllers provide a cultural affordance which links input devices to deep histories of tool use, enhancing intuition and affective connection within an interface. On a more practical, but still emotional level, these input devices frame kinesthetic space, resulting in high-bandwidth interactions where large amounts of data can be comfortably and quickly communicated. A crucial issue with this interface approach is the tension between specific and generic input devices. Generic devices are the tradition in computing -- versatile, remappable, frequently bereft of culture or relevance to the task at hand. Specific interfaces are an emerging trend -- customized, culturally rich, to date these systems have been tightly linked to a single application, limiting their widespread use. The theoretical heart of this thesis, and its chief contribution to interface research at large is an approach to customization. Instead of matching an application domain's data, each new input device supports a functional class. The spatial construction task is split into four types of manipulation: grabbing, pointing, holding, and rubbing. Each of these action classes spans the space of spatial construction, allowing a single tool to be used in many settings without losing the unique strengths of its specific form. Outside of 3d interface, outside of spatial construction, this approach strikes a balance between generic and specific suitable for many interface scenarios. In practice, these specific function groups are given versatility via a quick remapping technique which allows one physical tool to perform many digital tasks. For example, the handle can be quickly remapped from a lightsaber that cuts shapes to tools that place simple platonic solids, erase portions of objects, and draw double-helices in space. The contributions of this work lie both in a theoretical model of spatial interaction, and input devices (combined with new interactions) which illustrate the efficacy of this philosophy. This research brings the new results of Tangible User Interface to the field of Virtual Reality. We find a space, in and around the hand, where full-fledged haptics are not necessary for users physically connect with digital form.</p