Eye-gaze interaction techniques for use in online games and environments for users with severe physical disabilities.

Multi-User Virtual Environments (MUVEs) and Massively Multi-player On- line Games (MMOGs) are a popular, immersive genre of computer game. For some disabled users, eye-gaze offers the only input modality with the potential for sufficiently high bandwidth to support the range of time-critical interaction tasks required to play. Although, there has been much research into gaze interaction techniques for computer interaction over the past twenty years, much of this has focused on 2D desktop application control. There has been some work that investigates the use of gaze interaction as an additional input device for gaming but very little on using gaze on its own. Further, configuration of these techniques usually requires expert knowledge often beyond the capabilities of a parent, carer or support worker. The work presented in this thesis addresses these issues by the investigation of novel gaze-only interaction techniques. These are to enable at least a beginner level of game play to take place together with a means of adapting the techniques to suit an individual. To achieve this, a collection of novel gaze based interaction techniques have been evaluated through empirical studies. These have been encompassed within an extensible software architecture that has been made available for free download. Further, a metric of reliability is developed that when used as a measure within a specially designed diagnostic test, allows the interaction technique to be adapted to suit an individual. Methods of selecting interaction techniques based upon game task are also explored and a novel methodology based on expert task analysis is developed to aid selection

Human Machine Interaction

In this book, the reader will find a set of papers divided into two sections. The first section presents different proposals focused on the human-machine interaction development process. The second section is devoted to different aspects of interaction, with a special emphasis on the physical interaction

Protest Images, Collective Portraits

A aparência é uma instância política, uma vez que a representação coletiva é uma possibilidade de emancipação da comunidade, dos “povos” (Didi-Huberman, 2012) e um mecanismo de constituição de memória cultural. A possibilidade de aparência, que também participa da história coletiva é uma relação de poder em si mesma. Na cultura digital, a aparência global banalizou-se, mas também foi dissolvida sob um regime tecnológico digital de produção visual, de “imagem de massa” (Cubitt, 2016). A imaterialidade, a obsolescência programada, as versões de software disponibilizado e a dependência para produzir e criar visualidades sob a influência de regimes corporativos globais, que organizam sistemas e tecnologias, tornam esta afirmação paradoxal e problemática para uma constituição coletiva dessas representações, correndo o risco de mercantilizar a memória. Apesar disso, tem havido uma ligação entre técnicas culturais e memória, onde a “ideologia californiana” (Barbrook, 1999) organiza a cultura digital, num equilíbrio entre uma “cultura participativa” e um “empreendedorismo neoliberal”. No entanto, nunca uma quantidade tão grande de imagens foi produzida e partilhada. Hito Steyerl define estas imagens digitais como “imagens pobres” ou, como defendido neste trabalho, imagens precárias, ao criar uma correspondência entre o atual regime político de trabalho com uma produção visual digital, numa perspectiva não profissional. Mas em momentos de protesto, estas “imagens pobres”, reconhecidas como desvalorizadas, comunicam e criar memória e história, emancipando a noção de vídeo “vernacular” como parte da acção política (Snowdon, 2014). Foram momentos como os movimentos sociais de 2011, como as “Arab Springs”, “Movimento 12M”,“Madrid 15M” e “Occupy Wall Street”, em que as “redes de indignação e esperança”(Castells, 2012) se formaram e surgiram globalmente, num espaço público híbrido de contestação, que estas imagens podem ser novamente convocadas. Conforme analisado, na paisagem visual do Youtube.com, onde “a cultura participativa continua a ser o seu principal negócio” (Burgess e Green, 2009), estas imagens fazem parte do fluxo dos protestos e a sua recuperação constitui um ato de “reaparecimento”. Este reaparecimento é pensado aqui em diferentes gestos, respectivamente, como constituição de um corpus de vídeos de protesto, alinhados pela metáfora das imagens-pirilampos (Didi-Huber man, 2009), em tempos digitais, transportadas para o continente visual do Youtube.com. Também como parte de uma investigação prática, foi desenvolvido um protótipo de um documentário interativo, como um filme plataforma, organizado em torno da representação de uma “articulação do protesto” (Steyerl, 2002) onde as contribuições se organizam, entre linhas temporais individuais e coletivas. Como num editor de vídeo, é proposta uma mesa de montagem como experiência participativa, utilizando os materiais dos protestos. Este estudo propõe experimentar práticas artísticas como num “laboratório crítico” (Hirschhorn, 2013) com um efeito de “coletivos encontrados” presente no arquivo (Baron, 2013) que se constituem neste artefacto multimédia, interativo enquanto hipótese de persistência na memória coletiva, ou retrato coletivo de aparência política, a partir de momentos de protesto de movimentos sociais como os de 2011. Produzir uma intervenção activista e estética, uma intervenção artivista, como “forma de arte” política do século XXI (Weibel, 2014).Appearance is a political instance, as collective representation is a possibility to an emancipation of communities, of the “peuples” (Didi-Huberman, 2012), and a mechanism of constitution of cultural memory. The possibility of appearance that also participates in the history of collectives is a power relation in itself. In digital culture, global appearance seems to have exploded, but it has also been dissolved under a digital technological regime of “mass image”(Cubitt, 2016) visual production. Immateriality, programmed obsolescence, pervasive software and a dependence to produce and visualize under global corporations regimes, that organize systems and technologies, make this affirmation paradoxical and problematic to a collective constitution of these representations with a risk of commodifying memory. Despite this, there has been a connection between cultural techniques and memory, that under the “Californian Ideology” (Barbrook, 1999) digital culture is organized as a balance between “participatory culture” and “neoliberal entrepreneurship”. However, never such a quantity of images have been produced and shared. Hito Steyerl defines these as “poor images” or as stated here, defined as precarious images, making a correspondence between present political regimes of labour with visual and cultural production digitally produced, as non professional video. But in moments of uprisings, these poor images, commonly recognized as devalued, served to communicate and create memory and History, emancipating “vernacular” videos as part of the political actors (Snowdon, 2014) Such were moments as 2011 social movements, like “Arab Springs”, “Moviment12M”, “Madrid15M” and “Occupy Wall Street”, when “networks of outrage and hope” (Manuel Castells, 2012) stepped out globally, in an hybrid public space of insurrection. As analyzed in visual landscapes of Youtube.com where “participatory culture is its core business” (Burgess and Green, 2009), these images were part of the uprisings flow, and their retrieval constitutes an act of “reappearance”. This reappearance is oriented here in different gestures, respectively as a constitution of a corpus of protest videos, aligned through the metaphor of fireflies-images (Didi-Huberman, 2009) in digital times, transported to Youtube.com visual continents. Also, as part of a practice based research, a prototype of an interactive documentary, as a platform film, has been developed, aligned with a representation of an “articulation of protest”(Hito Steyerl, 2002) where, as an editing table, between individual and collective timelines, a participatory interactive experience is proposed, using remnant materials of protests. This study essays how to relate artistic practices of “Critical Laboratory” (Hirschhorn, 2013) with “found collective” effect of archive documentary (Jaimie Baron, 2013) related in this digital, online, multimedia, interactive, audiovisual artifact, produced by individuals with digital images, in a way to persist in collective memory and become a collective portrait of political appearance from historical moments of social movements uprisings as those of 2011. At the same time, an activist and aesthetic intervention, an artivist intervention takes place, as a political “XXIst Century art form” (Weibel, 2014)

A Review of Resonant Converter Control Techniques and The Performances

paper first discusses each control technique and then gives experimental results and/or performance to highlights their merits. The resonant converter used as a case study is not specified to just single topology instead it used few topologies such as series-parallel resonant converter (SPRC), LCC resonant converter and parallel resonant converter (PRC). On the other hand, the control techniques presented in this paper are self-sustained phase shift modulation (SSPSM) control, self-oscillating power factor control, magnetic control and the H-∞ robust control technique

A Review of Resonant Converter Control Techniques and The Performances

paper first discusses each control technique and then gives experimental results and/or performance to highlights their merits. The resonant converter used as a case study is not specified to just single topology instead it used few topologies such as series-parallel resonant converter (SPRC), LCC resonant converter and parallel resonant converter (PRC). On the other hand, the control techniques presented in this paper are self-sustained phase shift modulation (SSPSM) control, self-oscillating power factor control, magnetic control and the H-∞ robust control technique

OBSERVER-BASED-CONTROLLER FOR INVERTED PENDULUM MODEL

This paper presents a state space control technique for inverted pendulum system. The system is a common classical control problem that has been widely used to test multiple control algorithms because of its nonlinear and unstable behavior. Full state feedback based on pole placement and optimal control is applied to the inverted pendulum system to achieve desired design specification which are 4 seconds settling time and 5% overshoot. The simulation and optimization of the full state feedback controller based on pole placement and optimal control techniques as well as the performance comparison between these techniques is described comprehensively. The comparison is made to choose the most suitable technique for the system that have the best trade-off between settling time and overshoot. Besides that, the observer design is analyzed to see the effect of pole location and noise present in the system

State-Feedback Controller Based on Pole Placement Technique for Inverted Pendulum System

This paper presents a state space control technique for inverted pendulum system using simulation and real experiment via MATLAB/SIMULINK software. The inverted pendulum is difficult system to control in the field of control engineering. It is also one of the most important classical control system problems because of its nonlinear characteristics and unstable system. It has three main problems that always appear in control application which are nonlinear system, unstable and non-minimumbehavior phase system. This project will apply state feedback controller based on pole placement technique which is capable in stabilizing the practical based inverted pendulum at vertical position. Desired design specifications which are 4 seconds settling time and 5 % overshoot is needed to apply in full state feedback controller based on pole placement technique. First of all, the mathematical model of an inverted pendulum system is derived to obtain the state space representation of the system. Then, the design phase of the State-Feedback Controller can be conducted after linearization technique is performed to the nonlinear equation with the aid of mathematical aided software such as Mathcad. After that, the design is simulated using MATLAB/Simulink software. The controller design of the inverted pendulum system is verified using simulation and experiment test. Finally the controller design is compared with PID controller for benchmarking purpose

Design revolutions: IASDR 2019 Conference Proceedings. Volume 4: Learning, Technology, Thinking

In September 2019 Manchester School of Art at Manchester Metropolitan University was honoured to host the bi-annual conference of the International Association of Societies of Design Research (IASDR) under the unifying theme of DESIGN REVOLUTIONS. This was the first time the conference had been held in the UK. Through key research themes across nine conference tracks – Change, Learning, Living, Making, People, Technology, Thinking, Value and Voices – the conference opened up compelling, meaningful and radical dialogue of the role of design in addressing societal and organisational challenges. This Volume 4 includes papers from Learning, Technology and Thinking tracks of the conference

“Be a Pattern for the World”: The Development of a Dark Patterns Detection Tool to Prevent Online User Loss

Dark Patterns are designed to trick users into sharing more information or spending more money than they had intended to do, by configuring online interactions to confuse or add pressure to the users. They are highly varied in their form, and are therefore difficult to classify and detect. Therefore, this research is designed to develop a framework for the automated detection of potential instances of web-based dark patterns, and from there to develop a software tool that will provide a highly useful defensive tool that helps detect and highlight these patterns