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

Virtual Meeting Rooms: From Observation to Simulation

Much working time is spent in meetings and, as a consequence, meetings have become the subject of multidisciplinary research. Virtual Meeting Rooms (VMRs) are 3D virtual replicas of meeting rooms, where various modalities such as speech, gaze, distance, gestures and facial expressions can be controlled. This allows VMRs to be used to improve remote meeting participation, to visualize multimedia data and as an instrument for research into social interaction in meetings. This paper describes how these three uses can be realized in a VMR. We describe the process from observation through annotation to simulation and a model that describes the relations between the annotated features of verbal and non-verbal conversational behavior.\ud As an example of social perception research in the VMR, we describe an experiment to assess human observers’ accuracy for head orientation

Hand2Face: Automatic Synthesis and Recognition of Hand Over Face Occlusions

A person's face discloses important information about their affective state. Although there has been extensive research on recognition of facial expressions, the performance of existing approaches is challenged by facial occlusions. Facial occlusions are often treated as noise and discarded in recognition of affective states. However, hand over face occlusions can provide additional information for recognition of some affective states such as curiosity, frustration and boredom. One of the reasons that this problem has not gained attention is the lack of naturalistic occluded faces that contain hand over face occlusions as well as other types of occlusions. Traditional approaches for obtaining affective data are time demanding and expensive, which limits researchers in affective computing to work on small datasets. This limitation affects the generalizability of models and deprives researchers from taking advantage of recent advances in deep learning that have shown great success in many fields but require large volumes of data. In this paper, we first introduce a novel framework for synthesizing naturalistic facial occlusions from an initial dataset of non-occluded faces and separate images of hands, reducing the costly process of data collection and annotation. We then propose a model for facial occlusion type recognition to differentiate between hand over face occlusions and other types of occlusions such as scarves, hair, glasses and objects. Finally, we present a model to localize hand over face occlusions and identify the occluded regions of the face.Comment: Accepted to International Conference on Affective Computing and Intelligent Interaction (ACII), 201

A Conceptual Framework for Motion Based Music Applications

Imaginary projections are the core of the framework for motion based music applications presented in this paper. Their design depends on the space covered by the motion tracking device, but also on the musical feature involved in the application. They can be considered a very powerful tool because they allow not only to project in the virtual environment the image of a traditional acoustic instrument, but also to express any spatially defined abstract concept. The system pipeline starts from the musical content and, through a geometrical interpretation, arrives to its projection in the physical space. Three case studies involving different motion tracking devices and different musical concepts will be analyzed. The three examined applications have been programmed and already tested by the authors. They aim respectively at musical expressive interaction (Disembodied Voices), tonal music knowledge (Harmonic Walk) and XX century music composition (Hand Composer)

Updating the art history curriculum: incorporating virtual and augmented reality technologies to improve interactivity and engagement

Master's Project (M.Ed.) University of Alaska Fairbanks, 2017This project investigates how the art history curricula in higher education can borrow from and incorporate emerging technologies currently being used in art museums. Many art museums are using augmented reality and virtual reality technologies to transform their visitors' experiences into experiences that are interactive and engaging. Art museums have historically offered static visitor experiences, which have been mirrored in the study of art. This project explores the current state of the art history classroom in higher education, which is historically a teacher-centered learning environment and the learning effects of that environment. The project then looks at how art museums are creating visitor-centered learning environments; specifically looking at how they are using reality technologies (virtual and augmented) to transition into digitally interactive learning environments that support various learning theories. Lastly, the project examines the learning benefits of such tools to see what could (and should) be implemented into the art history curricula at the higher education level and provides a sample section of a curriculum demonstrating what that implementation could look like. Art and art history are a crucial part of our culture and being able to successfully engage with it and learn from it enables the spread of our culture through digital means and of digital culture