Marco de trabajo para el bocetado de interacciones enactivas

En este trabajo se presenta un marco de trabajo para caracterizar el bocetado de interacciones enactivas. Se pasa revista a los conceptos básicos de interfaces enactivas y al rol del bocetado para el diseño de interacciones. Luego se propone un marco de trabajo que organiza el bocetado en un mapa en dos dimensiones. En una se expresa la interactividad que corporizan las diferentes representaciones utilizadas por los diseñadores (bocetos 2D, maquetas y bocetos en hardware). La otra, organiza el rango de expresividad que esas representaciones alcanzan en términos de la experiencia de usuario. Las diferentes categorías de bocetos se vinculan en el marco propuesto mediante los atributos de la interactividad que busca el diseñador. Se presentan dos casos de estudio exploratorios sobre el uso de bocetos para la generación de ideas de interacciones enactivas. Finalmente, se esbozan los requerimientos que surgen para el desarrollo de herramientas que soporten el bocetado de interacciones enactivas.In this paper a conceptual framework for addressing the sketching of enactive interactions is presented. The concepts of enactive interfaces and the role of sketching for designing interactions are reviewed. A conceptual framework for sketching organized as a two-dimensional map is described. One of those dimensions expresses the interactivity that embodied by the different representations used by designers (2D sketches usually made freehand on paper, models or mockups and sketches in hardware -(electronically enhanced mockups adding interactive capabilities). The other one organizes the user experience expressiveness achieved by the different sketches. The sketches categories are linked through the attributes of interactivity sought by the designer. Two case studies show some exploration in the use of sketching during the idea generation for enactive interfaces. Finally, the paper outlines some requirements for tools that support the sketching of enactive interaction.Laboratorio de Investigación y Formación en Informática Avanzad

Framework for sketching enactive interactions

En este trabajo se presenta un marco de trabajo para caracterizar el bocetado de interacciones enactivas. Se pasa revista a los conceptos básicos de interfaces enactivas y al rol del bocetado para el diseño de interacciones. Luego se propone un marco de trabajo que organiza el bocetado en un mapa en dos dimensiones. En una se expresa la interactividad que corporizan las diferentes representaciones utilizadas por los diseñadores (bocetos 2D, maquetas y bocetos en hardware). La otra, organiza el rango de expresividad que esas representaciones alcanzan en términos de la experiencia de usuario. Las diferentes categorías de bocetos se vinculan en el marco propuesto mediante los atributos de la interactividad que busca el diseñador. Se presentan dos casos de estudio exploratorios sobre el uso de bocetos para la generación de ideas de interacciones enactivas. Finalmente, se esbozan los requerimientos que surgen para el desarrollo de herramientas que soporten el bocetado de interacciones enactivas.In this paper a conceptual framework for addressing the sketching of enactive interactions is presented. The concepts of enactive interfaces and the role of sketching for designing interactions are reviewed. Aconceptual framework for sketching organized as a two-dimensional map is described. One of those dimensionsexpressestheinteractivitythatembodiedbythedifferent representations used by designers (2D sketches usually made freehand on paper, modelsormockupsandsketchesinhardware-(electronicallyenhanced mockups adding interactive capabilities). The other one organizes the user experience expressiveness achieved by the different sketches. The sketches categories are linked through the attributes of interactivity sought by the designer. Two case studies show some exploration in the use of sketching during the idea generation for enactive interfaces. Finally, the paper outlines some requirements for tools that support the sketching of enactive interaction

Sketching enactive interactions

The growing trend to integrate the physical form and the digital process affects all the disciplines involved in the design of interactive systems. From a computing perspective, it means creating both embodied and contextual interfaces (which use physical objects to control digital information and depend on the signals available in the environment and situation). Designing has been considered central to HCI with different turns from a focus on the design of software to the current family of user-centered design processes. Theories of Cognition that understand it as an embodied, situated, and enactive phenomenon have expanded notably and opened new research programs in HCI. In recent decades there was a shift towards embodiment with the intention of understanding the interaction with the social and physical environment and the design of supporting interactive systems. The focus of this thesis is constituted in the intersection of three topics of current interest for HCI: a) the designing of interactive systems, with an emphasis on the creation of interaction mechanisms that combine one foot in the digital and one in the physical: how to cope in practice with the challenge of integrating physical form with digital software?; b) the available support of new theories of embodied and enactive cognition: how to approximate the design of interactive systems taking into account explicitly that the cognition that users have of them is embodied and enactive?; c) the creative process supported by sketching, a tool par excellence for the design of interactions: what are the similarities and differences between freehand sketching and enactive interaction sketches? How should the supporting tools be?Resumen de la tesis presentada por el autor el 22 de noviembre de 2019 para la obtención del título de Doctor en Ciencias Informáticas por la Universidad Nacional de la Plata

Sketching Enactive Interactions

The growing trend to integrate the physical form and the digital process affects all the disciplines involved in the design of interactive systems. From a computing perspective, it means creating both embodied and contextual interfaces (which use physical objects to control digital information and depend on the signals available in the environment and situation). Designing has been considered central to HCI with different turns from a focus on the design of software to the current family of user-centered design processes. Theories of Cognition that understand it as an embodied, situated, and enactive phenomenon have expanded notably and opened new research programs in HCI. In recent decades there was a shift towards embodiment with the intention of understanding the interaction with the social and physical environment and the design of supporting interactive systems. The focus of this thesis is constituted in the intersection of three topics of current interest for HCI: a) the designing of interactive systems, with an emphasis on the creation of interaction mechanisms that combine one foot in the digital and one in the physical: how to cope in practice with the challenge of integrating physical form with digital software?; b) the available support of new theories of embodied and enactive cognition: how to approximate the design of interactive systems taking into account explicitly that the cognition that users have of them is embodied and enactive?; c) the creative process supported by sketching, a tool par excellence for the design of interactions: what are the similarities and differences between freehand sketching and enactive interaction sketches? How should the supporting tools be?Resumen de la tesis presentada por el autor el 22 de noviembre de 2019 para la obtención del título de Doctor en Ciencias Informáticas por la Universidad Nacional de la Plata.Facultad de Informátic

"Arte Factus" : estudo e co-design socialmente consciente de artefatos digitais socioenativos

Orientador: Maria Cecília Calani BaranauskasTese (doutorado) - Universidade Estadual de Campinas, Instituto de ComputaçãoResumo: Atualmente, a tecnologia computacional tornou-se cada vez mais pervasiva por meio de computadores de diferentes tamanhos, formas e capacidades. Mas avanços tecnológicos, embora necessários, não são suficientes para tornar a interação com tecnologia computacional mais transparente, como preconizado pela computação ubíqua. Sistemas computacionais atuais ainda exigem um vocabulário técnico de entradas e saídas para serem utilizados. No campo da Interação Humano-Computador (IHC), a adoção da teoria da cognição enativa pode lançar luz sobre um novo paradigma de interação que preenche a lacuna entre ação e percepção. Sistemas computacionais enativos são um promissor tema de pesquisa, mas seu design e avaliação ainda são pouco explorados. Além disso, sistemas enativos, como já proposto na literatura, carecem de consideração do contexto social. O objetivo desta tese de doutorado é contribuir para o design de tecnologia computacional dentro de uma abordagem da cognição enativa, além de também sensível à aspectos sociais. Portanto, esta tese investiga os conceitos de sistemas enativos e socioenativos por meio do co-design de arte interativa e instalações. Para atingir esse objetivo, é proposto um arcabouço teórico-metodológico chamado "Arte Factus" para apoiar o estudo e o co-design socialmente consciente de artefatos digitais. O arcabouço "Arte Factus" foi utilizado em três estudos de design relatados nesta tese: InterArt, InstInt e InsTime. Esses estudos envolveram a participação de 105 estudantes de graduação e pós-graduação em Ciência da Computação e Engenharia de Computação no co-design de 19 instalações. O processo envolveu o uso de tecnologia pervasiva do tipo Faça-Você-Mesmo ("Do-It-Yourself, DIY"), e algumas dessas instalações foram estudadas em oficinas de prática situada que ocorreram em cenários educacionais (escola e museu exploratório de ciências). O arcabouço "Arte Factus", como a principal contribuição desta tese de doutorado, mostrou-se eficaz no apoio ao co-design socialmente consciente de instalações interativas que materializam o conceito de artefatos digitais socioenativos. Além disso, através do estudo dos artefatos criados no contexto desta investigação, esta tese também contribui para a construção teórica do conceito de sistemas socioenativosAbstract: Currently, computational technology has become more and more pervasive with computers of different sizes, shapes, and capacities. But technological advancements, although necessary, are not enough to make the interaction with computational technology more transparent, as preconized by the ubiquitous computing. Current computational systems still require a technical vocabulary of inputs and outputs to be interacted with. Within the field of Human-Computer Interaction (HCI), the adoption of the enactive cognition theory can shed light on a new interaction paradigm that bridges the gap between action and perception. Enactive computational systems are a promising subject of research, but their design and evaluation are still hardly explored. Furthermore, enactive systems as already proposed in the literature lack a social context consideration. The objective of this doctoral thesis is to contribute towards the design of computational technology within an enactive approach to cognition, while also being sensitive to social aspects. Therefore, this thesis investigates the concepts of enactive and socioenactive systems by enabling the co-design of interactive art installations. To achieve this objective, a theoretical-methodological framework named "Arte Factus" is proposed to support the study and socially aware co-design of digital artifacts. The "Arte Factus" framework was used in three design studies reported in this thesis: InterArt, InstInt, and InsTime. These studies involved the participation of 105 Computer Science and Computer Engineering undergraduate and graduate students in the co-design of 19 installations. The process involved the use of pervasive "Do-It-Yourself" (DIY) technology, and some of these installations were further studied in workshops of situated practice that took place in educational scenarios (school and exploratory science museum). The "Arte Factus" framework, as the main contribution of this doctoral thesis, has shown effective in supporting the socially aware co-design of interactive installations that materialize the concept of socioenactive digital artifacts. Moreover, through the study of the artifacts created in the context of this investigation, this thesis also contributes towards the theoretical construction of the concept of socioenactive systemsDoutoradoCiência da ComputaçãoDoutor em Ciência da Computação2017/06762-0FAPESPCAPE

Landscapes of Affective Interaction: Young Children's Enactive Engagement with Body Metaphors

Empirical research into embodied meaning making suggests specific sensorimotor experiences can support children’s understanding of abstract science ideas. This view is aligned with enactive and grounded cognition perspectives, both centred in the view that our ability to conceptualise emerges from our experiences of interaction with our environment. While much of this research has focused on understanding action and action processes in individual children or children in pairs, less attention has been paid to affective dimensions of young children’s group interaction, and how this relates to meaning making with body metaphors. Indeed, Gallagher describes how no action exists in a vacuum, but rather revolves around a complex web of affective-pragmatic features comprising a ‘Landscape of Interaction’ (2020, p.42). This research project addresses gaps in research in understanding young children’s affective engagement from an enactivist cognition perspective. It takes a Design-Based Research approach with an iterative design orientation to examine young children’s interaction with multisensory body-based metaphors through an embodied participation framework. A series of empirical studies with young children, aged 2-7 years, comprising of experiential workshops, build iteratively upon each other. A novel theoretically informed method, Affective Imagination in Motion, is developed involving several purpose-built multisensory body metaphors prompts to enable access to dimensions of young children’s affective engagement. This research makes theoretical and methodological contributions. It extends the theoretical notion of ‘affect’ from enactive and grounded cognition perspectives through identifying key interactive processes in young children’s engagement with multisensory action metaphors. In addition, the novel method offers a contribution as a way of ‘looking’ at affect within a group situation from affective-pragmatic and social embodiment perspectives. Finally, the research contributes to embodied learning design frameworks offering a guideline for designers wishing to inform their work from enactive cognition perspective

Embodied Cognition and the Magical Future of Interaction Design

The theory of embodied cognition can provide HCI practitioners and theorists with new ideas about interac-tion and new principles for better designs. I support this claim with four ideas about cognition: (1) interacting with tools changes the way we think and perceive – tools, when manipulated, are soon absorbed into the body schema, and this absorption leads to fundamental changes in the way we perceive and conceive of our environments; (2) we think with our bodies not just with our brains; (3) we know more by doing than by seeing – there are times when physically performing an activity is better than watching someone else perform the activity, even though our motor resonance system fires strongly during other person observa-tion; (4) there are times when we literally think with things. These four ideas have major implications for interaction design, especially the design of tangible, physical, context aware, and telepresence systems

Amplifying Actions - Towards Enactive Sound Design

Recently, artists and designers have begun to use digital technologies in order to stimulate bodily interaction, while scientists keep revealing new findings about sensorimotor contingencies, changing the way in which we understand human knowledge. However, implicit knowledge generated in artistic projects can become difficult to transfer and scientific research frequently remains isolated due to specific disciplinary languages and methodologies. By mutually enriching holistic creative approaches and highly specific scientific ways of working, this doctoral dissertation aims to set the foundation for Enactive Sound Design. It is focused on sound that engages sensorimotor experience that has been neglected within the existing design practices. The premise is that such a foundation can be best developed if grounded in transdisciplinary methods that bring together scientific and design approaches. The methodology adopted to achieve this goal is practice-based and supported by theoretical research and project analysis. Three different methodologies were formulated and evaluated during this doctoral study, based on a convergence of existing methods from design, psychology and human-computer interaction. First, a basic design approach was used to engage in a reflective creation process and to extend the existing work on interaction gestalt through hands-on activities. Second, psychophysical experiments were carried out and adapted to suit the needed shift from reception-based tests to a performance-based quantitative evaluation. Last, a set of participatory workshops were developed and conducted, within which the enactive sound exercises were iteratively tested through direct and participatory observation, questionnaires and interviews. A foundation for Enactive Sound Design developed in this dissertation includes novel methods that have been generated by extensive explorations into the fertile ground between basic design education, psychophysical experiments and participatory design. Combining creative practices with traditional task analysis further developed this basic design approach. The results were a number of abstract sonic artefacts conceptualised as the experimental apparatuses that can allow psychologists to study enactive sound experience. Furthermore, a collaboration between designers and scientists on a psychophysical study produced a new methodology for the evaluation of sensorimotor performance with tangible sound interfaces.These performance experiments have revealed that sonic feedback can support enactive learning. Finally, participatory workshops resulted in a number of novel methods focused on a holistic perspective fostered through a subjective experience of self-producing sound. They indicated the influence that such an approach may have on both artists and scientists in the future. The role of designer, as a scientific collaborator within psychological research and as a facilitator of participatory workshops, has been evaluated. Thus, this dissertation recommends a number of collaborative methods and strategies that can help designers to understand and reflectively create enactive sound objects. It is hoped that the examples of successful collaborations between designers and scientists presented in this thesis will encourage further projects and connections between different disciplines, with the final goal of creating a more engaging and a more aware sonic future.European Commission 6th Framework and European Science Foundation (COST Action