Design and semantics of form and movement : DeSForM 2007

A strong theme that has emerged in our previous two conferences in the importance of narrative to the process of generating, developing and communicating new modalities of interaction between people, things and environments. Our researches have identified aspects of importance in the design and have begun to establish orders of, priority of approach and representation for these aspects as components of interaction. We have begun to grapple with the growth in the complexity of the interaction design process for truly ‘animated’ functionality in products, especially where this manifests itself as apparent behavioural characteristics resident in or portrayed by products. The findings and experience of researchers is that this increase in complexity is likely to be exponential compared to the rigours relating to the resolution of static physical product configuration or even system operated product with screen based interfaces. The emerging sense is that narrative in the process is essential to bring meaning and to ‘touch’ our humanity or connect with human experience. ‘The science of the artificial in conversation with the poetics of human experience’! Through this conference we will once again engage in presentations, debate and demonstrations on these issues. In this respect we, the conference co-chairs, have sought to bring together researchers from academia, industry and professional design practice and related disciplines connected with interactive product service and system development to share our latest thinking in the field, to asses its outcomes and to identify further research questions, opportunities and territories for future investigation and exploration

Design and semantics of form and movement : DeSForM 2007

A strong theme that has emerged in our previous two conferences in the importance of narrative to the process of generating, developing and communicating new modalities of interaction between people, things and environments. Our researches have identified aspects of importance in the design and have begun to establish orders of, priority of approach and representation for these aspects as components of interaction. We have begun to grapple with the growth in the complexity of the interaction design process for truly ‘animated’ functionality in products, especially where this manifests itself as apparent behavioural characteristics resident in or portrayed by products. The findings and experience of researchers is that this increase in complexity is likely to be exponential compared to the rigours relating to the resolution of static physical product configuration or even system operated product with screen based interfaces. The emerging sense is that narrative in the process is essential to bring meaning and to ‘touch’ our humanity or connect with human experience. ‘The science of the artificial in conversation with the poetics of human experience’! Through this conference we will once again engage in presentations, debate and demonstrations on these issues. In this respect we, the conference co-chairs, have sought to bring together researchers from academia, industry and professional design practice and related disciplines connected with interactive product service and system development to share our latest thinking in the field, to asses its outcomes and to identify further research questions, opportunities and territories for future investigation and exploration

Form and Movement in Domestic Networked Systems

It is increasingly desirable for electronic artefacts in the home to be grouped as sets, sharing data and properties across a network. A range of strategies can be used by a designer to explore the value and use of the systems for users, in particular through the properties of form and dynamic behaviours, including visual output and movement. This paper focuses on a range recent work which exploits rich behaviour and novel forms to highlight opportunities for user engagement in the home

Design Strategies for Adaptive Social Composition: Collaborative Sound Environments

In order to develop successful collaborative music systems a variety of subtle interactions need to be identified and integrated. Gesture capture, motion tracking, real-time synthesis, environmental parameters and ubiquitous technologies can each be effectively used for developing innovative approaches to instrument design, sound installations, interactive music and generative systems. Current solutions tend to prioritise one or more of these approaches, refining a particular interface technology, software design or compositional approach developed for a specific composition, performer or installation environment. Within this diverse field a group of novel controllers, described as ‘Tangible Interfaces’ have been developed. These are intended for use by novices and in many cases follow a simple model of interaction controlling synthesis parameters through simple user actions. Other approaches offer sophisticated compositional frameworks, but many of these are idiosyncratic and highly personalised. As such they are difficult to engage with and ineffective for groups of novices. The objective of this research is to develop effective design strategies for implementing collaborative sound environments using key terms and vocabulary drawn from the available literature. This is articulated by combining an empathic design process with controlled sound perception and interaction experiments. The identified design strategies have been applied to the development of a new collaborative digital instrument. A range of technical and compositional approaches was considered to define this process, which can be described as Adaptive Social Composition. Dan Livingston

Ethnography and experimental non-fiction storytelling: relating the experiences of Maltese Fishermen

In this practice-based exploration I look at the dynamics of long-term ethnographic research to address the tensions between lived experience and conventional narrative constructs of Mediterranean identities. This research also fills a void in the anthropology of fishermen in Malta which as an area of academic investigation has remained understudied. Speculating on relational meaning making processes and multidimensional and experimental qualities inherent to ethnographic research, I produced non-linear multimodal documentary works as environments with the capacity to engender tangible, immersive and tacit knowledge about situated identities. Using my seven-year engagement with a family of fishermen from Marsaxlokk, a small fishing port in the south eastern part of Malta, I reflect on how situated learning experiences can inform experimental non-fiction audio-visual storytelling. In my research I draw on theories of affect and notions of the archivalto reflect on the ways Mediterranean identities are constructed. Examining the ecology of relations that binds together the people and the environment that they inhabit I engage with current discourses on multisensory ethnography, documentary making and narrative power to explore my practice (including two photographic essays, a sound installation, two gallery video projections and a web-based documentary prototype) as a process of creative mediation between the fishermen’s world and the public. Using select examples from my fieldwork recordings I show how embodied audio-visual practices enable nonfiction storytellers to re-propose the conditions of the ethnographic encounter. I look at how, responding to the very particular environmental and socio-cultural conditions of my field of study, I took my practice beyond the canons of traditional documentary photography towards an expanded multimedia form of storytelling. More specifically, I refer to my experiences with people working on and around the Joan of Arc(the family boat), as well as my apprenticeship as a deckhand/fisherman, to examine notions of emplaced learning, collaborative meaning making processes and affective strategies for the development of creative sensory-rich immersive storytelling strategies that provide amore nuanced understanding of Mediterranean identities

Bodies of Seeing: A video ethnography of academic x-ray image interpretation training and professional vision in undergraduate radiology and radiography education

This thesis reports on a UK-based video ethnography of academic x-ray image interpretation training across two undergraduate courses in radiology and radiography. By studying the teaching and learning practices of the classroom, I initially explore the professional vision of x-ray image interpretation and how its relation to normal radiographic anatomy founds the practice of being ‘critical’. This criticality accomplishes a faculty of perceptual norms that is coded and organised and also, therefore, of a specific radiological vision. Professionals’ commitment to the cognitivist rhetoric of ‘looking at’/‘pattern recognition’ builds this critical perception, a perception that deepens in organisation when professionals endorse a ‘systematic approach’ that mediates matter-of-fact thoroughness and offers a helpful critical commentary towards the image. In what follows, I explore how x-ray image interpretation is constituted in case presentations. During training, x-ray images are treated with suspicion and as misleading and are aligned with a commitment to discursive contexts of ‘missed abnormality’, ‘interpretive risk’, and ‘technical error’. The image is subsequently constructed as ambiguous and that what is shown cannot be taken at face value. This interconnects with reenacting ideals around ‘seeing clearly’ that are explained through the teaching practices and material world of the academic setting and how, if misinterpretation is established, the ambiguity of the image is reduced by embodied gestures and technoscientific knowledge. By making this correction, the ambiguous image is reenacted and the misinterpretation of image content is explained. To conclude, I highlight how the professional vision of academic x-ray image interpretation prepares students for the workplace, shapes the classificatory interpretation of ab(normal) anatomy, manages ambiguity through embodied expectations and bodily norms, and cultivates body-machine relations

Direct interaction with large displays through monocular computer vision

Large displays are everywhere, and have been shown to provide higher productivity gain and user satisfaction compared to traditional desktop monitors. The computer mouse remains the most common input tool for users to interact with these larger displays. Much effort has been made on making this interaction more natural and more intuitive for the user. The use of computer vision for this purpose has been well researched as it provides freedom and mobility to the user and allows them to interact at a distance. Interaction that relies on monocular computer vision, however, has not been well researched, particularly when used for depth information recovery. This thesis aims to investigate the feasibility of using monocular computer vision to allow bare-hand interaction with large display systems from a distance. By taking into account the location of the user and the interaction area available, a dynamic virtual touchscreen can be estimated between the display and the user. In the process, theories and techniques that make interaction with computer display as easy as pointing to real world objects is explored. Studies were conducted to investigate the way human point at objects naturally with their hand and to examine the inadequacy in existing pointing systems. Models that underpin the pointing strategy used in many of the previous interactive systems were formalized. A proof-of-concept prototype is built and evaluated from various user studies. Results from this thesis suggested that it is possible to allow natural user interaction with large displays using low-cost monocular computer vision. Furthermore, models developed and lessons learnt in this research can assist designers to develop more accurate and natural interactive systems that make use of human’s natural pointing behaviours