Playful interactions: A critical inquiry into interactive art and play

My practice-based doctoral research explores how I, as an artist, can create conditions and possibilities for playful interaction in and around interactive artworks. Using practice- based research methods four artworks were created, presented and examined in relation to my research questions concerning play. The three key research questions were:1] How do the properties and affordances of materials and technologies foster play and interactions?2] How can artists conceptualise physical participation and play in interactive artworks? 3] What kind of play takes place in and around interactive artwork?My inquiry focused on the development of a model for making playful and interactive artworks and the creation of a vocabulary of play, which demonstrates the different kinds of play initiated through my practice and research. The model provides alternative ways to think about the role of play within interactive art and consists of a series of tangible making gambits for eliciting playful interactions from the audience. The model will be useful for future interactive artists, as well as other fields concerned with the creation of playful experiences. Underpinning my process of creating playful experiences were methods of observation of the participants’ interactions, which were used in order to enable change and improvement of the artworks throughout the research process.I argue that by employing a sculptural approach to interactive art, using the visual arts tradition of working with the properties of materials and affordances of technology, an invitation to play was created. I propose that to focus on the material’s affordance, rather than on interactive systems, provides additional ways to create interactivity. I also suggest that by understanding technology as a sculptural and embodied material we can move the focus from the technology to what the art does and says. In this sculptural playful interactivity audience members are allowed and encouraged to touch and physical and immersive participation is invited. I explored the body as a particular mode of interaction that can bridge the divide between doing and looking in the gallery, developing theories of the playful body and how audiences connect through play. I argue that the combination of sculptural, captivating interfaces, where the artwork reacts reliably, enables the audience to develop play mastery and become fully engaged. These playful interactions invite people to be curious and seek to engage audiences into dialogue, thereby opening up the possibility for play. Play is an essential pre-condition for the emergence of possibilities and, as such, it is the flexible structure by which meaningful interaction can arise. These interactions are not about our relation to technology but rather about new ways of experiencing culture. In this context interactive art is part of a wider change in contemporary art, where artists are creating culture to be experienced rather than consumed

Phrasing Bimanual Interaction for Visual Design

Architects and other visual thinkers create external representations of their ideas to support early-stage design. They compose visual imagery with sketching to form abstract diagrams as representations. When working with digital media, they apply various visual operations to transform representations, often engaging in complex sequences. This research investigates how to build interactive capabilities to support designers in putting together, that is phrasing, sequences of operations using both hands. In particular, we examine how phrasing interactions with pen and multi-touch input can support modal switching among different visual operations that in many commercial design tools require using menus and tool palettes—techniques originally designed for the mouse, not pen and touch. We develop an interactive bimanual pen+touch diagramming environment and study its use in landscape architecture design studio education. We observe interesting forms of interaction that emerge, and how our bimanual interaction techniques support visual design processes. Based on the needs of architects, we develop LayerFish, a new bimanual technique for layering overlapping content. We conduct a controlled experiment to evaluate its efficacy. We explore the use of wearables to identify which user, and distinguish what hand, is touching to support phrasing together direct-touch interactions on large displays. From design and development of the environment and both field and controlled studies, we derive a set methods, based upon human bimanual specialization theory, for phrasing modal operations through bimanual interactions without menus or tool palettes

Online Dispute Resolution Through the Lens of Bargaining and Negotiation Theory: Toward an Integrated Model

[Excerpt] In this article we apply negotiation and bargaining theory to the analysis of online dispute resolution. Our principal objective is to develop testable hypotheses based on negotiation theory that can be used in ODR research. We have not conducted the research necessary to test the hypotheses we develop; however, in a later section of the article we suggest a possible methodology for doing so. There is a vast literature on negotiation and bargaining theory. For the purposes of this article, we realized at the outset that we could only use a small part of that literature in developing a model that might be suitable for empirical testing. We decided to use the behavioral theory of negotiation developed by Richard Walton and Robert McKersie, which was initially formulated in the 1960s. This theory has stood the test of time. Initially developed to explain union-management negotiations, it has proven useful in analyzing a wide variety of disputes and conflict situations. In constructing their theory, Walton and McKersie built on the contributions and work of many previous bargaining theorists including economists, sociologists, game theorists, and industrial relations scholars. In this article, we have incorporated a consideration of the foundations on which their theory was based. In the concluding section of the article we discuss briefly how other negotiation and bargaining theories might be applied to the analysis of ODR

Scalable visual analytics over voluminous spatiotemporal data

2018 Fall.Includes bibliographical references.Visualization is a critical part of modern data analytics. This is especially true of interactive and exploratory visual analytics, which encourages speedy discovery of trends, patterns, and connections in data by allowing analysts to rapidly change what data is displayed and how it is displayed. Unfortunately, the explosion of data production in recent years has led to problems of scale as storage, processing, querying, and visualization have struggled to keep pace with data volumes. Visualization of spatiotemporal data pose unique challenges, thanks in part to high-dimensionality in the input feature space, interactions between features, and the production of voluminous, high-resolution outputs. In this dissertation, we address challenges associated with supporting interactive, exploratory visualization of voluminous spatiotemporal datasets and underlying phenomena. This requires the visualization of millions of entities and changes to these entities as the spatiotemporal phenomena unfolds. The rendering and propagation of spatiotemporal phenomena must be both accurate and timely. Key contributions of this dissertation include: 1) the temporal and spatial coupling of spatially localized models to enable the visualization of phenomena at far greater geospatial scales; 2) the ability to directly compare and contrast diverging spatiotemporal outcomes that arise from multiple exploratory "what-if" queries; and 3) the computational framework required to support an interactive user experience in a heavily resource-constrained environment. We additionally provide support for collaborative and competitive exploration with multiple synchronized clients

ICS Materials. Towards a re-Interpretation of material qualities through interactive, connected, and smart materials.

The domain of materials for design is changing under the influence of an increased technological advancement, miniaturization and democratization. Materials are becoming connected, augmented, computational, interactive, active, responsive, and dynamic. These are ICS Materials, an acronym that stands for Interactive, Connected and Smart. While labs around the world are experimenting with these new materials, there is the need to reflect on their potentials and impact on design. This paper is a first step in this direction: to interpret and describe the qualities of ICS materials, considering their experiential pattern, their expressive sensorial dimension, and their aesthetic of interaction. Through case studies, we analyse and classify these emerging ICS Materials and identified common characteristics, and challenges, e.g. the ability to change over time or their programmability by the designers and users. On that basis, we argue there is the need to reframe and redesign existing models to describe ICS materials, making their qualities emerge

Design and semantics of form and movement (DeSForM 2006)

Design and Semantics of Form and Movement (DeSForM) grew from applied research exploring emerging design methods and practices to support new generation product and interface design. The products and interfaces are concerned with: the context of ubiquitous computing and ambient technologies and the need for greater empathy in the pre-programmed behaviour of the ‘machines’ that populate our lives. Such explorative research in the CfDR has been led by Young, supported by Kyffin, Visiting Professor from Philips Design and sponsored by Philips Design over a period of four years (research funding £87k). DeSForM1 was the first of a series of three conferences that enable the presentation and debate of international work within this field: • 1st European conference on Design and Semantics of Form and Movement (DeSForM1), Baltic, Gateshead, 2005, Feijs L., Kyffin S. & Young R.A. eds. • 2nd European conference on Design and Semantics of Form and Movement (DeSForM2), Evoluon, Eindhoven, 2006, Feijs L., Kyffin S. & Young R.A. eds. • 3rd European conference on Design and Semantics of Form and Movement (DeSForM3), New Design School Building, Newcastle, 2007, Feijs L., Kyffin S. & Young R.A. eds. Philips sponsorship of practice-based enquiry led to research by three teams of research students over three years and on-going sponsorship of research through the Northumbria University Design and Innovation Laboratory (nuDIL). Young has been invited on the steering panel of the UK Thinking Digital Conference concerning the latest developments in digital and media technologies. Informed by this research is the work of PhD student Yukie Nakano who examines new technologies in relation to eco-design textiles

Toward future 'mixed reality' learning spaces for STEAM education

Digital technology is becoming more integrated and part of modern society. As this begins to happen, technologies including augmented reality, virtual reality, 3d printing and user supplied mobile devices (collectively referred to as mixed reality) are often being touted as likely to become more a part of the classroom and learning environment. In the discipline areas of STEAM education, experts are expected to be at the forefront of technology and how it might fit into their classroom. This is especially important because increasingly, educators are finding themselves surrounded by new learners that expect to be engaged with participatory, interactive, sensory-rich, experimental activities with greater opportunities for student input and creativity. This paper will explore learner and academic perspectives on mixed reality case studies in 3d spatial design (multimedia and architecture), paramedic science and information technology, through the use of existing data as well as additional one-on-one interviews around the use of mixed reality in the classroom. Results show that mixed reality can provide engagement, critical thinking and problem solving benefits for students in line with this new generation of learners, but also demonstrates that more work needs to be done to refine mixed reality solutions for the classroom

Varying the texture: a study of art, learning and multimedia

Art Explorer is an innovative multimedia system being designed and developed within the Institute of Educational Technology, at The Open University. Based on an analogy to dreams, Art Explorer is structured into several episodes. Each episode is designed to help beginning students of Art History foster personal constructs about paintings and develop a richer understanding of how their perceptions of paintings work. This discussion focuses on the pedagogic rationale motivating Art Explorer's development and is structured around two strands of a design story. First, it highlights the research behind the design. The reported research is about learners' problems - most specifically about the varying conceptual, perceptual and affective challenges learners face as they begin to study Art History. But, more broadly, it is about the problems faced by learners as they begin academic study and seek to engage with the knowledge and methods of discipline experts. Secondly, and it is argued, as a second pedagogic priority, the spotlight shifts to multimedia. The discussion tracks design decisions that aim both to exploit the potential of the medium and to match pre-identified learner needs. The ingredients of Art Explorer are described to illustrate some of the rich potential of the medium for negotiating understanding between teacher and learner