Planning Support Systems: Progress, Predictions, and Speculations on the Shape of Things to Come

In this paper, we review the brief history of planning support systems, sketching the way both the fields of planning and the software that supports and informs various planning tasks have fragmented and diversified. This is due to many forces which range from changing conceptions of what planning is for and who should be involved, to the rapid dissemination of computers and their software, set against the general quest to build ever more generalized software products applicable to as many activities as possible. We identify two main drivers – the move to visualization which dominates our very interaction with the computer and the move to disseminate and share software data and ideas across the web. We attempt a brief and somewhat unsatisfactory classification of tools for PSS in terms of the planning process and the software that has evolved, but this does serve to point up the state-ofthe- art and to focus our attention on the near and medium term future. We illustrate many of these issues with three exemplars: first a land usetransportation model (LUTM) as part of a concern for climate change, second a visualization of cities in their third dimension which is driving an interest in what places look like and in London, a concern for high buildings, and finally various web-based services we are developing to share spatial data which in turn suggests ways in which stakeholders can begin to define urban issues collaboratively. All these are elements in the larger scheme of things – in the development of online collaboratories for planning support. Our review far from comprehensive and our examples are simply indicative, not definitive. We conclude with some brief suggestions for the future

Harnessing the Power of Music & Sound Design in Interactive Media

The history of the development of sound on film offers us lessons for the development of sound and music for interactive artforms. Now that technological developments have enabled almost unrestricted importation of audio into interactive platforms, the time has come for us to ask: is the content of the audio good enough

Towards modelling group-robot interactions using a qualitative spatial representation

This paper tackles the problem of finding a suitable qualitative representation for robots to reason about activity spaces where they carry out tasks interacting with a group of people. The Qualitative Spatial model for Group Robot Interaction (QS-GRI) defines Kendon-formations depending on: (i) the relative location of the robot with respect to other individuals involved in that interaction; (ii) the individuals' orientation; (iii) the shared peri-personal distance; and (iv) the role of the individuals (observer, main character or interactive). The evolution of Kendon-formations between is studied, that is, how one formation is transformed into another. These transformations can depend on the role that the robot have, and on the amount of people involved.Postprint (author's final draft

Agent Street: An Environment for Exploring Agent-Based Models in Second Life

Urban models can be seen on a continuum between iconic and symbolic. Generally speaking, iconic models are physical versions of the real world at some scaled down representation, while symbolic models represent the system in terms of the way they function replacing the physical or material system by some logical and/or mathematical formulae. Traditionally iconic and symbolic models were distinct classes of model but due to the rise of digital computing the distinction between the two is becoming blurred, with symbolic models being embedded into iconic models. However, such models tend to be single user. This paper demonstrates how 3D symbolic models in the form of agent-based simulations can be embedded into iconic models using the multi-user virtual world of Second Life. Furthermore, the paper demonstrates Second Life\'s potential for social science simulation. To demonstrate this, we first introduce Second Life and provide two exemplar models; Conway\'s Game of Life, and Schelling\'s Segregation Model which highlight how symbolic models can be viewed in an iconic environment. We then present a simple pedestrian evacuation model which merges the iconic and symbolic together and extends the model to directly incorporate avatars and agents in the same environment illustrating how \'real\' participants can influence simulation outcomes. Such examples demonstrate the potential for creating highly visual, immersive, interactive agent-based models for social scientists in multi-user real time virtual worlds. The paper concludes with some final comments on problems with representing models in current virtual worlds and future avenues of research.Agent-Based Modelling, Pedestrian Evacuation, Segregation, Virtual Worlds, Second Life

Generation of multi-modal dialogue for a net environment

In this paper an architecture and special purpose markup language for simulated affective face-to-face communication is presented. In systems based on this architecture, users will be able to watch embodied conversational agents interact with each other in virtual locations on the internet. The markup language, or Rich Representation Language (RRL), has been designed to provide an integrated representation of speech, gesture, posture and facial animation

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

On the simulation of interactive non-verbal behaviour in virtual humans

Development of virtual humans has focused mainly in two broad areas - conversational agents and computer game characters. Computer game characters have traditionally been action-oriented - focused on the game-play - and conversational agents have been focused on sensible/intelligent conversation. While virtual humans have incorporated some form of non-verbal behaviour, this has been quite limited and more importantly not connected or connected very loosely with the behaviour of a real human interacting with the virtual human - due to a lack of sensor data and no system to respond to that data. The interactional aspect of non-verbal behaviour is highly important in human-human interactions and previous research has demonstrated that people treat media (and therefore virtual humans) as real people, and so interactive non-verbal behaviour is also important in the development of virtual humans. This paper presents the challenges in creating virtual humans that are non-verbally interactive and drawing corollaries with the development history of control systems in robotics presents some approaches to solving these challenges - specifically using behaviour based systems - and shows how an order of magnitude increase in response time of virtual humans in conversation can be obtained and that the development of rapidly responding non-verbal behaviours can start with just a few behaviours with more behaviours added without difficulty later in development

Homogenization studies for optical sensors based on sculptured thin films

In this thesis we investigate theoretically various types of sculptured thin film (STF) envi�sioned as platforms for optical sensing. A STF consists of an array of parallel nanowires which can be grown on a substrate using vapour deposition techniques. Typically, each nanowire has a diameter in the range from ∼ 10−300 nm while the film thickness is . 1µm. Through careful control of the fabrication process, both the optical properties and the porosity of the STF can be tailored to order. These abilities make STFs promising for optical sensing applications, wherein it is envisaged that the material to be sensed infiltrates the void re�gion in between the parallel nanowires and hence changes the optical properties of the STF. Various homogenization formalisms can be used to estimate the constitutive parameters of the infiltrated STFs. In this thesis two different homogenization formalisms were used: the Bruggeman formalism (extended and non–extended versions) and the strong-permittivity�fluctuation theory (SPFT). These were used in investigations of the following optical–sensing scenarios: (i) Electromagnetic radiation emitted by a dipole source inside an infiltrated chiral STF. The effects of using the extended Bruggeman homogenization formalism, which takes into account the nonzero size of the component particles, were studied. (ii) Surface–plasmon– polariton waves on a metal–coated, infiltrated columnar thin film. The influences of using the extended SPFT formalism, which takes into account the nonzero size of the component particles and their statistical distributions, were explored. (iii) A metal-coated infiltrated chiral STF which supports both surface-plasmon-polariton waves and the circular Bragg phe�nomenon. The possibility of using in parallel both surface-plasmon-polariton waves and the circular Bragg phenomenon was investigated using the non–extended Bruggeman formalism. Our numerical studies revealed that the design performance parameters of the infiltrated STF are bode well for these optical–sensing scenarios. The use of inverse Bruggeman formalism was also investigated: this was found to be problematic in certain constitutive parameter regimes, but not those for optical–sensing scenarios considered in this thesis

Wearable performance

This is the post-print version of the article. The official published version can be accessed from the link below - Copyright @ 2009 Taylor & FrancisWearable computing devices worn on the body provide the potential for digital interaction in the world. A new stage of computing technology at the beginning of the 21st Century links the personal and the pervasive through mobile wearables. The convergence between the miniaturisation of microchips (nanotechnology), intelligent textile or interfacial materials production, advances in biotechnology and the growth of wireless, ubiquitous computing emphasises not only mobility but integration into clothing or the human body. In artistic contexts one expects such integrated wearable devices to have the two-way function of interface instruments (e.g. sensor data acquisition and exchange) worn for particular purposes, either for communication with the environment or various aesthetic and compositional expressions. 'Wearable performance' briefly surveys the context for wearables in the performance arts and distinguishes display and performative/interfacial garments. It then focuses on the authors' experiments with 'design in motion' and digital performance, examining prototyping at the DAP-Lab which involves transdisciplinary convergences between fashion and dance, interactive system architecture, electronic textiles, wearable technologies and digital animation. The concept of an 'evolving' garment design that is materialised (mobilised) in live performance between partners originates from DAP Lab's work with telepresence and distributed media addressing the 'connective tissues' and 'wearabilities' of projected bodies through a study of shared embodiment and perception/proprioception in the wearer (tactile sensory processing). Such notions of wearability are applied both to the immediate sensory processing on the performer's body and to the processing of the responsive, animate environment. Wearable computing devices worn on the body provide the potential for digital interaction in the world. A new stage of computing technology at the beginning of the 21st Century links the personal and the pervasive through mobile wearables. The convergence between the miniaturisation of microchips (nanotechnology), intelligent textile or interfacial materials production, advances in biotechnology and the growth of wireless, ubiquitous computing emphasises not only mobility but integration into clothing or the human body. In artistic contexts one expects such integrated wearable devices to have the two-way function of interface instruments (e.g. sensor data acquisition and exchange) worn for particular purposes, either for communication with the environment or various aesthetic and compositional expressions. 'Wearable performance' briefly surveys the context for wearables in the performance arts and distinguishes display and performative/interfacial garments. It then focuses on the authors' experiments with 'design in motion' and digital performance, examining prototyping at the DAP-Lab which involves transdisciplinary convergences between fashion and dance, interactive system architecture, electronic textiles, wearable technologies and digital animation. The concept of an 'evolving' garment design that is materialised (mobilised) in live performance between partners originates from DAP Lab's work with telepresence and distributed media addressing the 'connective tissues' and 'wearabilities' of projected bodies through a study of shared embodiment and perception/proprioception in the wearer (tactile sensory processing). Such notions of wearability are applied both to the immediate sensory processing on the performer's body and to the processing of the responsive, animate environment