721 research outputs found

    Wearable gaming technology: A study on the relationships between wearable features and gameful experiences

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    With the parallel advancement and evolution of psycho-physiological sensors, haptics, and overall wearable computing, wearable devices have become a mainstay in everyday life. While gaming is one of the most intuitively appealing areas for using wearable devices, most gaming concepts relying on wearable devices have had only moderate success. Therefore, further knowledge is needed by game developers for innovating new gaming concepts, by wearable designers to innovate new affordances for gaming in wearables, and by gamers for seeing the possibilities of what wearables can bring to gaming. To address this research problem, we combined vignette and survey studies (N = 289) to investigate which features of wearables (integrability, wearability, modularity, sociability, programmability, bio-adaptability, audiovisuality, and embodied modality) would lead to gameful experiences. Overall, the results indicate that integrability to games, wearability, modularity, and sociability were dimensions of wearables which were most strongly connected with the expectation of a heightened game experience. The findings of the study contribute to the current understanding on the experiential value of gaming wearables, as well as providing practical guidance for gaming wearables designers and marketers.Peer reviewe

    Conversations on Empathy

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    In the aftermath of a global pandemic, amidst new and ongoing wars, genocide, inequality, and staggering ecological collapse, some in the public and political arena have argued that we are in desperate need of greater empathy — be this with our neighbours, refugees, war victims, the vulnerable or disappearing animal and plant species. This interdisciplinary volume asks the crucial questions: How does a better understanding of empathy contribute, if at all, to our understanding of others? How is it implicated in the ways we perceive, understand and constitute others as subjects? Conversations on Empathy examines how empathy might be enacted and experienced either as a way to highlight forms of otherness or, instead, to overcome what might otherwise appear to be irreducible differences. It explores the ways in which empathy enables us to understand, imagine and create sameness and otherness in our everyday intersubjective encounters focusing on a varied range of "radical others" – others who are perceived as being dramatically different from oneself. With a focus on the importance of empathy to understand difference, the book contends that the role of empathy is critical, now more than ever, for thinking about local and global challenges of interconnectedness, care and justice

    On the Utility of Representation Learning Algorithms for Myoelectric Interfacing

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    Electrical activity produced by muscles during voluntary movement is a reflection of the firing patterns of relevant motor neurons and, by extension, the latent motor intent driving the movement. Once transduced via electromyography (EMG) and converted into digital form, this activity can be processed to provide an estimate of the original motor intent and is as such a feasible basis for non-invasive efferent neural interfacing. EMG-based motor intent decoding has so far received the most attention in the field of upper-limb prosthetics, where alternative means of interfacing are scarce and the utility of better control apparent. Whereas myoelectric prostheses have been available since the 1960s, available EMG control interfaces still lag behind the mechanical capabilities of the artificial limbs they are intended to steer—a gap at least partially due to limitations in current methods for translating EMG into appropriate motion commands. As the relationship between EMG signals and concurrent effector kinematics is highly non-linear and apparently stochastic, finding ways to accurately extract and combine relevant information from across electrode sites is still an active area of inquiry.This dissertation comprises an introduction and eight papers that explore issues afflicting the status quo of myoelectric decoding and possible solutions, all related through their use of learning algorithms and deep Artificial Neural Network (ANN) models. Paper I presents a Convolutional Neural Network (CNN) for multi-label movement decoding of high-density surface EMG (HD-sEMG) signals. Inspired by the successful use of CNNs in Paper I and the work of others, Paper II presents a method for automatic design of CNN architectures for use in myocontrol. Paper III introduces an ANN architecture with an appertaining training framework from which simultaneous and proportional control emerges. Paper Iv introduce a dataset of HD-sEMG signals for use with learning algorithms. Paper v applies a Recurrent Neural Network (RNN) model to decode finger forces from intramuscular EMG. Paper vI introduces a Transformer model for myoelectric interfacing that do not need additional training data to function with previously unseen users. Paper vII compares the performance of a Long Short-Term Memory (LSTM) network to that of classical pattern recognition algorithms. Lastly, paper vIII describes a framework for synthesizing EMG from multi-articulate gestures intended to reduce training burden

    Physical sketching tools and techniques for customized sensate surfaces

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    Sensate surfaces are a promising avenue for enhancing human interaction with digital systems due to their inherent intuitiveness and natural user interface. Recent technological advancements have enabled sensate surfaces to surpass the constraints of conventional touchscreens by integrating them into everyday objects, creating interactive interfaces that can detect various inputs such as touch, pressure, and gestures. This allows for more natural and intuitive control of digital systems. However, prototyping interactive surfaces that are customized to users' requirements using conventional techniques remains technically challenging due to limitations in accommodating complex geometric shapes and varying sizes. Furthermore, it is crucial to consider the context in which customized surfaces are utilized, as relocating them to fabrication labs may lead to the loss of their original design context. Additionally, prototyping high-resolution sensate surfaces presents challenges due to the complex signal processing requirements involved. This thesis investigates the design and fabrication of customized sensate surfaces that meet the diverse requirements of different users and contexts. The research aims to develop novel tools and techniques that overcome the technical limitations of current methods and enable the creation of sensate surfaces that enhance human interaction with digital systems.Sensorische OberflĂ€chen sind aufgrund ihrer inhĂ€renten IntuitivitĂ€t und natĂŒrlichen BenutzeroberflĂ€che ein vielversprechender Ansatz, um die menschliche Interaktionmit digitalen Systemen zu verbessern. Die jĂŒngsten technologischen Fortschritte haben es ermöglicht, dass sensorische OberflĂ€chen die BeschrĂ€nkungen herkömmlicher Touchscreens ĂŒberwinden, indem sie in AlltagsgegenstĂ€nde integriert werden und interaktive Schnittstellen schaffen, die diverse Eingaben wie BerĂŒhrung, Druck, oder Gesten erkennen können. Dies ermöglicht eine natĂŒrlichere und intuitivere Steuerung von digitalen Systemen. Das Prototyping interaktiver OberflĂ€chen, die mit herkömmlichen Techniken an die BedĂŒrfnisse der Nutzer angepasst werden, bleibt jedoch eine technische Herausforderung, da komplexe geometrische Formen und variierende GrĂ¶ĂŸen nur begrenzt berĂŒcksichtigt werden können. DarĂŒber hinaus ist es von entscheidender Bedeutung, den Kontext, in dem diese individuell angepassten OberflĂ€chen verwendet werden, zu berĂŒcksichtigen, da eine Verlagerung in Fabrikations-Laboratorien zum Verlust ihres ursprĂŒnglichen Designkontextes fĂŒhren kann. Zudem stellt das Prototyping hochauflösender sensorischer OberflĂ€chen aufgrund der komplexen Anforderungen an die Signalverarbeitung eine Herausforderung dar. Diese Arbeit erforscht dasDesign und die Fabrikation individuell angepasster sensorischer OberflĂ€chen, die den diversen Anforderungen unterschiedlicher Nutzer und Kontexte gerecht werden. Die Forschung zielt darauf ab, neuartigeWerkzeuge und Techniken zu entwickeln, die die technischen BeschrĂ€nkungen derzeitigerMethoden ĂŒberwinden und die Erstellung von sensorischen OberflĂ€chen ermöglichen, die die menschliche Interaktion mit digitalen Systemen verbessern

    Collective Embodiment and Communal Feeling: A Critical Somatics Approach to Performance for Social Change

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    “Collective Embodiment and Communal Feeling: A Critical Somatics Approach to Performance for Social Change” argues for a novel approach to performance for social change that focuses on the sensory and somatic dimensions of collectivity as the basis for countering the atomizing politics of neoliberalism. It proposes a critical somatics approach to the deconstruction and reconfiguration of participants’ embodied subjectivities, emphasizing the cultivation of conditions that facilitate experiences of collective embodiment and affective interdependence. Whether in the kinesthetic awareness of bodies dancing together, the situational or proprioceptive awareness of a collective engaged in creative disruption, or the physical contact of activists’ clasped arms forming a human chain in protest, these conditions require multisensory engagement, improvisational coordination, and shared feeling. Based on ethnographic accounts of the phenomenological experience of collective embodiment, I argue that such experiences enact—rather than merely argue for—forms of collectivity through their operation on the level of the body. This approach to performance for social change builds on the experience of practitioners and artist-activists in an effort to preserve the core contributions of existing techniques while seeking avenues to overcome their susceptibility to the influence of increasingly ubiquitous neoliberal frameworks. Opening with a consideration of Augusto Boal’s Theatre of the Oppressed as a touchstone example, I argue that the technique’s cognitive approach to social change and its emphasis on discursive techniques contribute to the manner in which it individualizes responsibility for combating systemic oppression. Turning to Cynthia Winton-Henry and Phil Porter’s InterPlay as an example of an affective approach to performance for social change, I critique its practitioners’ culture of individualism, but identify the critical potential of its recognition of collective embodiment. Extending this analysis to protest and direct action, I explore the existential prefiguration of communities of care and the cultivation of communal feeling, an affective and collective form of embodied cognition. After offering a series of activities designed to create the conditions for experiences of collective embodiment and develop the affective bonds of communal feeling, I close with a consideration of the broader implications of positioning speculative theory at the forefront of movements’ political practice.Doctor of Philosoph

    Corseto: A Kinesthetic Garment for Designing, Composing for, and Experiencing an Intersubjective Haptic Voice

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    We present a novel intercorporeal experience - an intersubjective haptic voice. Through an autobiographical design inquiry, based on singing techniques from the classical opera tradition, we created Corsetto, a kinesthetic garment for transferring somatic reminiscents of vocal experience from an expert singer to a listener. We then composed haptic gestures enacted in the Corsetto, emulating upper-body movements of the live singer performing a piece by Morton Feldman named Three Voices. The gestures in the Corsetto added a haptics-based \u27fourth voice\u27 to the immersive opera performance. Finally, we invited audiences who were asked to wear Corsetto during live performances. Afterwards they engaged in micro-phenomenological interviews. The analysis revealed how the Corsetto managed to bridge inner and outer bodily sensations, creating a feeling of a shared intercorporeal experience, dissolving boundaries between listener, singer and performance. We propose that \u27intersubjective haptics\u27 can be a generative medium not only for singing performances, but other possible intersubjective experiences

    Musiktheorie als interdisziplinĂ€res Fach: 8. Kongress der Gesellschaft fĂŒr Musiktheorie Graz 2008

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    Im Oktober 2008 fand an der UniversitĂ€t fĂŒr Musik und darstellende Kunst Graz (KUG) der 8. Kongress der Gesellschaft fĂŒr Musiktheorie (GMTH) zum Thema »Musiktheorie als interdisziplinĂ€res Fach« statt. Die hier vorgelegten gesammelten BeitrĂ€ge akzentuieren Musiktheorie als multiperspektivische wissenschaftliche Disziplin in den Spannungsfeldern Theorie/Praxis, Kunst/Wissenschaft und Historik/Systematik. Die sechs Kapitel ergrĂŒnden dabei die Grenzbereiche zur Musikgeschichte, MusikĂ€sthetik, zur Praxis musikalischer Interpretation, zur kompositorischen Praxis im 20. und 21. Jahrhundert, zur Ethnomusikologie sowie zur Systematischen Musikwissenschaft. Insgesamt 45 AufsĂ€tze, davon 28 in deutscher, 17 in englischer Sprache, sowie die Dokumentation einer Podiumsdiskussion zeichnen in ihrer Gesamtheit einen höchst lebendigen und gegenwartsbezogenen Diskurs, der eine einzigartige Standortbestimmung des Fachs Musiktheorie bietet.The 8th congress of the Gesellschaft fĂŒr Musiktheorie (GMTH) took place in October 2008 at the University for Music and Dramatic Arts Graz (KUG) on the topic »Music Theory and Interdisciplinarity«. The collected contributions characterize music theory as a multi-faceted scholarly discipline at the intersection of theory/practice, art/science and history/system. The six chapters explore commonalties with music history, music aesthetics, musical performance, compositional practice in twentieth- and twenty-first-century music, ethnomusicology and systematic musicology. A total of 45 essays (28 in German, 17 in English) and the documentation of a panel discussion form a vital discourse informed by contemporaneous issues of research in a broad number of fields, providing a unique overview of music theory today. A comprehensive English summary appears at the beginning of all contributions

    Embodying dynamical systems in music performance

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    peer reviewedThe present contribution introduces a theoretical framework to explore music performance from a perspective inspired by the conceptual resources of two orientations known as Dynamical System Theory and Embodied Cognitive Science. We discursively elaborate on how music performance might be conceived of as a complex, multi-component system that deals with evolving patterns of stability and instability, and examine how a combination of cognitive, motor, and affective skills stands at the heart of the performer’s capacity to optimize their performance. In doing so, we consider how musicians often generate different interpretative “hypotheses” with little or no pre-planning and use their body to selectively navigate the range of possibilities such hypotheses entail. In conclusion, the relevance of this perspective is discussed in relation to current research in music performance and music education to outline continuities and differences between the two domains

    WearPut : Designing Dexterous Wearable Input based on the Characteristics of Human Finger Motions

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    Department of Biomedical Engineering (Human Factors Engineering)Powerful microchips for computing and networking allow a wide range of wearable devices to be miniaturized with high fidelity and availability. In particular, the commercially successful smartwatches placed on the wrist drive market growth by sharing the role of smartphones and health management. The emerging Head Mounted Displays (HMDs) for Augmented Reality (AR) and Virtual Reality (VR) also impact various application areas in video games, education, simulation, and productivity tools. However, these powerful wearables have challenges in interaction with the inevitably limited space for input and output due to the specialized form factors for fitting the body parts. To complement the constrained interaction experience, many wearable devices still rely on other large form factor devices (e.g., smartphones or hand-held controllers). Despite their usefulness, the additional devices for interaction can constrain the viability of wearable devices in many usage scenarios by tethering users' hands to the physical devices. This thesis argues that developing novel Human-Computer interaction techniques for the specialized wearable form factors is vital for wearables to be reliable standalone products. This thesis seeks to address the issue of constrained interaction experience with novel interaction techniques by exploring finger motions during input for the specialized form factors of wearable devices. The several characteristics of the finger input motions are promising to enable increases in the expressiveness of input on the physically limited input space of wearable devices. First, the input techniques with fingers are prevalent on many large form factor devices (e.g., touchscreen or physical keyboard) due to fast and accurate performance and high familiarity. Second, many commercial wearable products provide built-in sensors (e.g., touchscreen or hand tracking system) to detect finger motions. This enables the implementation of novel interaction systems without any additional sensors or devices. Third, the specialized form factors of wearable devices can create unique input contexts while the fingers approach their locations, shapes, and components. Finally, the dexterity of fingers with a distinctive appearance, high degrees of freedom, and high sensitivity of joint angle perception have the potential to widen the range of input available with various movement features on the surface and in the air. Accordingly, the general claim of this thesis is that understanding how users move their fingers during input will enable increases in the expressiveness of the interaction techniques we can create for resource-limited wearable devices. This thesis demonstrates the general claim by providing evidence in various wearable scenarios with smartwatches and HMDs. First, this thesis explored the comfort range of static and dynamic touch input with angles on the touchscreen of smartwatches. The results showed the specific comfort ranges on variations in fingers, finger regions, and poses due to the unique input context that the touching hand approaches a small and fixed touchscreen with a limited range of angles. Then, finger region-aware systems that recognize the flat and side of the finger were constructed based on the contact areas on the touchscreen to enhance the expressiveness of angle-based touch input. In the second scenario, this thesis revealed distinctive touch profiles of different fingers caused by the unique input context for the touchscreen of smartwatches. The results led to the implementation of finger identification systems for distinguishing two or three fingers. Two virtual keyboards with 12 and 16 keys showed the feasibility of touch-based finger identification that enables increases in the expressiveness of touch input techniques. In addition, this thesis supports the general claim with a range of wearable scenarios by exploring the finger input motions in the air. In the third scenario, this thesis investigated the motions of in-air finger stroking during unconstrained in-air typing for HMDs. The results of the observation study revealed details of in-air finger motions during fast sequential input, such as strategies, kinematics, correlated movements, inter-fingerstroke relationship, and individual in-air keys. The in-depth analysis led to a practical guideline for developing robust in-air typing systems with finger stroking. Lastly, this thesis examined the viable locations of in-air thumb touch input to the virtual targets above the palm. It was confirmed that fast and accurate sequential thumb touch can be achieved at a total of 8 key locations with the built-in hand tracking system in a commercial HMD. Final typing studies with a novel in-air thumb typing system verified increases in the expressiveness of virtual target selection on HMDs. This thesis argues that the objective and subjective results and novel interaction techniques in various wearable scenarios support the general claim that understanding how users move their fingers during input will enable increases in the expressiveness of the interaction techniques we can create for resource-limited wearable devices. Finally, this thesis concludes with thesis contributions, design considerations, and the scope of future research works, for future researchers and developers to implement robust finger-based interaction systems on various types of wearable devices.ope

    Embodied interaction with guitars: instruments, embodied practices and ecologies

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    In this thesis I investigate the embodied performance preparation practices of guitarists to design and develop tools to support them. To do so, I employ a series of human-centred design methodologies such as design ethnography, participatory design, and soma design. The initial ethnographic study I conducted involved observing guitarists preparing to perform individually and with their bands in their habitual places of practice. I also interviewed these musicians on their preparation activities. Findings of this study allowed me to chart an ecology of tools and resources employed in the process, as well as pinpoint a series of design opportunities for augmenting guitars, namely supporting (1) encumbered interactions, (2) contextual interactions, and (3) connected interactions. Going forward with the design process I focused on remediating encumbered interactions that emerge during performance preparation with multimedia devices, particularly during instrumental transcription. I then prepared and ran a series of hands-on co-design workshops with guitarists to discuss five media controller prototypes, namely, instrument-mounted controls, pedal-based controls, voice-based controls, gesture-based controls, and “music-based” controls. This study highlighted the value that guitarists give to their guitars and to their existing practice spaces, tools, and resources by critically reflecting on how these interaction modalities would support or disturb their existing embodied preparation practices with the instrument. In parallel with this study, I had the opportunity to participate in a soma design workshop (and then prepare my own) in which I harnessed my first-person perspective of guitar playing to guide the design process. By exploring a series of embodied ideation and somatic methods, as well as materials and sensors across several points of contact between our bodies and the guitar, we collaboratively ideated a series of design concepts for guitar across both workshops, such as a series of breathing guitars, stretchy straps, and soft pedals. I then continued to develop and refine the Stretchy Strap concept into a guitar strap augmented with electronic textile stretch sensors to harness it as an embodied media controller to remediate encumbered interaction during musical transcription with guitar when using secondary multimedia resources. The device was subsequently evaluated by guitarists at a home practicing space, providing insights on nuanced aspects of its embodied use, such as how certain media control actions like play and pause are better supported by the bodily gestures enacted with the strap, whilst other actions, like rewinding the play back or setting in and out points for a loop are better supported by existing peripherals like keyboards and mice, as these activities do not necessarily happen in the flow of the embodied practice of musical transcription. Reflecting on the overall design process, a series of considerations are extracted for designing embodied interactions with guitars, namely, (1) considering the instrument and its potential for augmentation, i.e., considering the shape of the guitar, its material and its cultural identity, (2) considering the embodied practices with the instrument, i.e., the body and the subjective felt experience of the guitarist during their skilled embodied practices with the instrument and how these determine its expert use according to a particular instrumental tradition and/or musical practice, and (3) considering the practice ecology of the guitarist, i.e., the tools, resources, and spaces they use according to their practice
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