Why bad ideas are a good idea

What would happen if we wrote an Abstract that was the exact opposite of what the paper described? This is a bad idea, but it makes us think more carefully than usual about properties of Abstracts. This paper describes BadIdeas, a collection of techniques that uses ???bad??? or ???silly??? ideas to inspire creativity, explore design domains and teach critical thinking in interaction design. We describe the approach, some evidence, how it is performed in practice and experience in its use.published or submitted for publicationis peer reviewe

Inspirational Bits - Towards a Shared Understanding of the Digital Material

In any design process, a medium’s properties need to be considered. This is nothing new in design. Still we find that in HCI and interactive systems design the properties of a technology are often glossed over. That is, technologies are black-boxed without much thought given to how their distinctive properties open up design possibilities. In this paper we describe what we call inspirational bits as a way to become more familiar with the design material in HCI, the digital material. We describe inspirational bits as quick and dirty but fully working systems in both hardware and software built with the aim of exposing one or several of the dynamic properties of a digital material. We also show how they provide a means of sharing design knowledge across the members of a multi-disciplined design team

Evaluating product search and recommender systems for E-commerce environments

Online systems that help users select the most preferential item from a large electronic catalog are known as product search and recommender systems. Evaluation of various proposed technologies is essential for further development in this area. This paper describes the design and implementation of two user studies in which a particular product search tool, known as example critiquing, was evaluated against a chosen baseline model. The results confirm that example critiquing significantly reduces users' task time and error rate while increasing decision accuracy. Additionally, the results of the second user study show that a particular implementation of example critiquing also made users more confident about their choices. The main contribution is that through these two user studies, an evaluation framework of three criteria was successfully identified, which can be used for evaluating general product search and recommender systems in E-commerce environments. These two experiments and the actual procedures also shed light on some of the most important issues which need to be considered for evaluating such tools, such as the preparation of materials for evaluation, user task design, the context of evaluation, the criteria, the measures and the methodology of result analyse

A first empirical study of direct combination in a ubiquitous environment

In dynamic ubiquitous environments, end users may need to create services by causing two or more devices or resources to interoperate together in ad-hoc circumstances. In general, users can find this kind of process hard to manage. At the same time, existing UI architectures are not well suited to supporting such activities. It is proposed that a good basis for addressing these and related problems in a principled, scaleable way is the principle of Direct Combination (DC). The principle is summarized, and analytical arguments are presented that predict that DC can reduce the amount of search required by the user. Other things being equal, such a reduction in search would be expected to offer interactions which are faster, less frustrating, and impose less mental load on the user. We present a proof-of-concept implementation, and a small-scale evaluation of a DC interface. Within the limitations of a preliminary evaluation, consistent support is offered across several measures for the analytical predictions

Affective Videogames and Modes of Affective Gaming: Assist Me, Challenge Me, Emote Me

In this paper we describe the fundamentals of affective gaming from a physiological point of view, covering some of the origins of the genre, how affective videogames operate and current conceptual and technological capabilities. We ground this overview of the ongoing research by taking an in-depth look at one of our own early biofeedback-based affective games. Based on our analysis of existing videogames and our own experience with affective videogames, we propose a new approach to game design based on several high-level design heuristics: assist me, challenge me and emote me (ACE), a series of gameplay "tweaks" made possible through affective videogames

Live coding the code: an environment for 'meta' live code performance

Live coding languages operate by constructing and reconstructing a program designed to create sound. These languages often have domain-specific affordances for sequencing changes over time, commonly described as patterns or sequences. Rarely are these affordances completely generic. Instead, live coders work within the constraints of their chosen language, sequencing parameters the language allows with timing that the language allows. This paper presents a novel live coding environment for the existing language lissajous that allows sequences of text input to be recorded, replayed, and manipulated just like any other musical parameter. Although initially written for the lissajous language, the presented environment is able to interface with other browser-based live coding languages such as Gibber. This paper outlines our motivations behind the development of the presented environment before discussing its creative affordances and technical implementation, concluding with a discussion on a number of evaluation metrics for such an environment and how the work can be extended in the future

Setting the stage – embodied and spatial dimensions in emerging programming practices.

In the design of interactive systems, developers sometimes need to engage in various ways of physical performance in order to communicate ideas and to test out properties of the system to be realised. External resources such as sketches, as well as bodily action, often play important parts in such processes, and several methods and tools that explicitly address such aspects of interaction design have recently been developed. This combined with the growing range of pervasive, ubiquitous, and tangible technologies add up to a complex web of physicality within the practice of designing interactive systems. We illustrate this dimension of systems development through three cases which in different ways address the design of systems where embodied performance is important. The first case shows how building a physical sport simulator emphasises a shift in activity between programming and debugging. The second case shows a build-once run-once scenario, where the fine-tuning and control of the run-time activity gets turned into an act of in situ performance by the programmers. The third example illustrates the explorative and experiential nature of programming and debugging systems for specialised and autonomous interaction devices. This multitude in approaches in existing programming settings reveals an expanded perspective of what practices of interaction design consist of, emphasising the interlinking between design, programming, and performance with the system that is being developed

Playing fast and loose with music recognition

We report lessons from iteratively developing a music recognition system to enable a wide range of musicians to embed musical codes into their typical performance practice. The musician composes fragments of music that can be played back with varying levels of embellishment, disguise and looseness to trigger digital interactions. We collaborated with twenty-three musicians, spanning professionals to amateurs and working with a variety of instruments. We chart the rapid evolution of the system to meet their needs as they strove to integrate music recognition technology into their performance practice, introducing multiple features to enable them to trade-off reliability with musical expression. Collectively, these support the idea of deliberately introducing ‘looseness’ into interactive systems by addressing the three key challenges of control, feedback and attunement, and highlight the potential role for written notations in other recognition-based systems