Freeform User Interfaces for Graphical Computing

報告番号: 甲15222 ; 学位授与年月日: 2000-03-29 ; 学位の種別: 課程博士 ; 学位の種類: 博士(工学) ; 学位記番号: 博工第4717号 ; 研究科・専攻: 工学系研究科情報工学専

Physical sketching tools and techniques for customized sensate surfaces

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 Oberflächen sind aufgrund ihrer inhärenten Intuitivität und natürlichen Benutzeroberfläche ein vielversprechender Ansatz, um die menschliche Interaktionmit digitalen Systemen zu verbessern. Die jüngsten technologischen Fortschritte haben es ermöglicht, dass sensorische Oberflächen die Beschränkungen herkömmlicher Touchscreens überwinden, indem sie in Alltagsgegenstände integriert werden und interaktive Schnittstellen schaffen, die diverse Eingaben wie Berührung, Druck, oder Gesten erkennen können. Dies ermöglicht eine natürlichere und intuitivere Steuerung von digitalen Systemen. Das Prototyping interaktiver Oberflächen, die mit herkömmlichen Techniken an die Bedürfnisse der Nutzer angepasst werden, bleibt jedoch eine technische Herausforderung, da komplexe geometrische Formen und variierende Größen nur begrenzt berücksichtigt werden können. Darüber hinaus ist es von entscheidender Bedeutung, den Kontext, in dem diese individuell angepassten Oberflächen verwendet werden, zu berücksichtigen, da eine Verlagerung in Fabrikations-Laboratorien zum Verlust ihres ursprünglichen Designkontextes führen kann. Zudem stellt das Prototyping hochauflösender sensorischer Oberflächen aufgrund der komplexen Anforderungen an die Signalverarbeitung eine Herausforderung dar. Diese Arbeit erforscht dasDesign und die Fabrikation individuell angepasster sensorischer Oberflächen, die den diversen Anforderungen unterschiedlicher Nutzer und Kontexte gerecht werden. Die Forschung zielt darauf ab, neuartigeWerkzeuge und Techniken zu entwickeln, die die technischen Beschränkungen derzeitigerMethoden überwinden und die Erstellung von sensorischen Oberflächen ermöglichen, die die menschliche Interaktion mit digitalen Systemen verbessern

The Public Benefits of Conserved Lands

https://digitalmaine.com/maine_coast_heritage_trust_publications/1007/thumbnail.jp

An intelligent sketchpad : a gestural language for denoting temporal relations in dynamic design

Thesis (M.S.)--Massachusetts Institute of Technology, Program in Media Arts & Sciences, 1993.Includes bibliographical references (leaves 65-71).by Karen Donoghue.M.S

More than glitter and glue: an arts-informed autoethnographic exploration of school-based art education

This doctoral study offers a space to inquire about and explore complexities, joys and obstacles faced in the teaching of art in a school setting. It takes the form of an arts-informed autoethnography and is viewed through a combined new materialist, decolonial, and affective lens. Within the presentation of this study, I look to acts of making and reflecting that explore the impact of materials and how they act to mediate knowing and making meaning through embodied relationship. Used flexibly and reflexively, this combination of theoretical and methodological approaches enables an emergent methodology that initiates a call to seek more than what is traditionally expected and supposed within a Western framework of thinking. Through this approach an intentional examination and questioning of human and more-than-human experience is considered. By charting my navigation of time and space, and by identifying possibilities, differences, and possible mismatches, of the perception of the role of visual arts education, perhaps other arts educators can feel supported and empowered to share their stories, concerns, and ideas for change. Guiding this study are three questions that ask: In what ways do individual school experiences influence perspectives and approaches to visual arts education? What social practices and value systems are at play in dominant approaches to visual arts education that need to be considered and interrogated? Recognizing public education as a complex space, how can new materialisms inform an expansive practice of arts education? Using these questions to frame explorations and unfolding understandings, ideas and concerns were able to surface. Within the presentation of this study, I share three ideas, or threads, that developed through the art making and reflexive research methods. In the first thread, a sense of not belonging and its effect on identity opened to choosing to embrace ever-changing, emerging entanglements. In the second thread I look at the conception of time in a school. I then interrupt linear time’s hold through material intervention. In the third thread I confront narratives of scarcity at play in my teaching practice. I attempt to navigate an understanding of the craving for control and predictability in the face of ‘not enough’. Rather than allowing myself to disengage from ambiguity and uncertainty, I embrace exploration with materials and affects. In this way I look to enact interconnectivity and subjectivity as strength through making as a way of knowing and a lived form of inquiry

Of the sky above you must beware : Airspace and airpower in twentieth century literature

This project interrogates the tension between the military discourse of air war in the twentieth century and the literature that challenged that discourse. Situated within the broader study of war literature, the project moves beyond traditional studies of soldiers fighting ground wars, to explore instead the dynamics of war in the skies above. I examine the paradoxical representation of aerial warfare that has allowed airpower advocates to propose, and conduct, massive airstrikes on cities and civilians, while promising a cleaner method of waging war. Suggested in the writings of military theorists Giulio Douhet, Billy Mitchell, and B.H. Liddell Hart, this notion of a clean air war---one that would save lives through its speed and precision---proved seductive throughout the century to politicians, military leaders, aircrews, and the general public. I argue that writers of the twentieth century, and beyond, challenge the assumptions that support this discourse, showing aerial warfare that is messy, prolonged, and imprecise, and that saves lives of privileged populations only by sacrificing those of marginalized peoples. The air war is perceived as clean, I suggest, when we see neither the aviator nor the targeted populations in this dynamic. Strong forces of spatial and discursive distancing, produced by the verticality of the air war and the rhetoric of chivalry, machine war, or patriotism, combine to hide the aviators\u27 damaged bodies and psyches. Targeted populations also disappear, cloaked in misrepresentation, displaced by precision discourse, or lost in the unreliability of the aerial perspective. The writers in this study challenge this rhetorical disappearance through poetry, fiction, reportage, and memoir, sketching credible counternarratives by making visible both aviators and targeted populations. The primarily, though not exclusively, American writers examined here aim to expose the complexities of the air war to an audience that may never otherwise see it somewhere over there. By depicting both aviators and target populations, and the rhetorical devices used to obscure them, these writers present powerful counternarratives to a discourse of airpower as a cleaner and more desirable method of waging war