Ethics, Logs and Videotape: Ethics in Large Scale User Trials and User Generated Content. Workshop organized at CHI'11.

Mobile Life CentreMobile 2.

Cracking the Cocoa Nut: User Interface Programming at Runtime

International audienceThis article introduces runtime toolkit overloading, a novel approach to help third-party developers modify the interaction and behavior of existing software applications without access to their underlying source code. We describe the abstractions provided by this approach as well as the mechanisms for implementing them in existing environments. We describe Scotty, a prototype implementation for Mac OS X Cocoa that enables developers to modify existing applications at runtime, and we demonstrate a collection of interaction and functional transformations on existing off-the-shelf applications. We show how Scotty helps a developer make sense of unfamiliar software, even without access to its source code. We further discuss what features of future environments would facilitate this kind of runtime software development

Rigor, Relevance and Impact:The Tensions and Trade-Offs Between Research in the Lab and in the Wild

As an interdisciplinary field, CHI embraces multiple research methods, ranging from controlled lab experiments to field studies in homes and communities. While quantitative research in the lab emphasizes the scientific rigor of hypothesis testing; qualitative research in the wild focuses on the understanding of the context of technologies in use, and each type of research has a correspondingly different kind of impact. This panel invites researchers with varied backgrounds to talk about the tensions and trade-offs between research in the lab and in the wild, with respect to scientific rigor, real-world relevance and impact. The goal is to enhance mutual understanding among researchers with diverse goals, values and practices within the CHI community

PRACTICE AND EXPERIENCE Diversity in the Use of Electronic Mail: A Preliminary Inquiry

This paper describes a series of interviews that examine the ways that professional office workers use electronic mail to manage their daily work. The purpose is to generate hypotheses for future research. A number of implications for the design of flexible mail systems are discussed. Two principal claims are made. First, the use of electronic mail is strikingly diverse, although not infinitely so. Individuals vary both in objective measures of mail use and in preferred strategies for managing work electronically. Feelings of control are similarly diverse and are related to the size of the user's inbox, numbers of folders, and subscriptions to distribution lists. This diversity implies that one's own experiences with electronic mail are unlikely to provide sufficient understanding of other's uses of mail. Mail designers should thus seek flexible primitives that capture the important dimensions of use and provide flexibility for a wide range of users. The second claim is that electronic mail is more than just a communication system. Users archive messages for subject retrieval, prioritize messages to sequence work activities, and delegate tasks via mail. A taxonomy of work management is proposed in which mail is used for information management, time management, and task management activities. Directions for future research are suggested

Un espace de conception centré sur les fonctions corporelles pour la génération et l'évaluation de nouvelles techniques d'interaction

Cette thèse présente BodyScape, un espace de conception prenant en compte l engagement corporel de l utilisateur dans l interaction. BodyScape décrit la façon dont les utilisateurs coordonnent les mouvements de, et entre leurs membres, lorsqu ils interagissent avec divers dispositifs d entrée et entre plusieurs surfaces d affichage. Il introduit une notation graphique pour l analyse des techniques d interaction en termes (1) d assemblages de moteurs, qui accomplissent une tâche d interaction atomique (assemblages de moteurs d entrée), ou qui positionnent le corps pour percevoir les sorties du système (assemblages de moteurs de sortie); (2) de coordination des mouvements de ces assemblages de moteurs, relativement au corps de l utilisateur ou à son environnement interactif.Nous avons appliqué BodyScape à : 1) la caractérisation du rôle du support dans l étude de nouvelles interactions bimanuelles pour dispositifs mobiles; 2) l analyse des effets de mouvements concurrents lorsque l interaction et son support impliquent le même membre; et 3) la comparaison de douze techniques d interaction multi-échelle afin d évaluer le rôle du guidage et des interférences sur la performance.La caractérisation des interaction avec BodyScape clarifie le rôle du support des dispositifs d interaction sur l équilibre de l utilisateur, et donc sur le confort d utilisation et la performance qui en découlent. L espace de conception permet aussi aux concepteurs d interactions d identifier des situations dans lesquelles des mouvements peuvent interférer entre eux et donc diminuer performance et confort. Enfin, BodyScape révèle les compromis à considérer a priori lors de la combinaison de plusieurs techniques d interaction, permettant l analyse et la génération de techniques d interaction variées pour les environnements multi-surfaces.Plus généralement, cette thèse défend l idée qu en adoptant une approche centrée sur les fonctions corporelles engagées au cours de l interaction, il est possible de maîtriser la complexité de la conception de techniques d interaction dans les environnements multi-surfaces, mais aussi dans un cadre plus général.This thesis introduces BodyScape, a body-centric framework that accounts for how users coordinate their movements within and across their own limbs in order to interact with a wide range of devices, across multiple surfaces. It introduces a graphical notation that describes interaction techniques in terms of (1) motor assemblies responsible for performing a control task (input motor assembly) or bringing the body into a position to visually perceive output (output motor assembly), and (2) the movement coordination of motor assemblies, relative to the body or fixed in the world, with respect to the interactive environment. This thesis applies BodyScape to 1) investigate the role of support in a set of novel bimanual interaction techniques for hand-held devices, 2) analyze the competing effect across multiple input movements, and 3) compare twelve pan-and-zoom techniques on a wall-sized display to determine the roles of guidance and interference on performance. Using BodyScape to characterize interaction clarifies the role of device support on the user's balance and subsequent comfort and performance. It allows designers to identify situations in which multiple body movements interfere with each other, with a corresponding decrease in performance. Finally, it highlights the trade-offs among different combinations of techniques, enabling the analysis and generation of a variety of multi-surface interaction techniques. I argue that including a body-centric perspective when defining interaction techniques is essential for addressing the combinatorial explosion of interactive devices in multi-surface environments.PARIS11-SCD-Bib. électronique (914719901) / SudocSudocFranceF

Le papier interactif pour la composition musicale

Cette thèse porte sur la conception d interfaces de papier interactif dédiées à la création musicale. Malgré l apparition d outils informatique permettant de créer de nouveaux sons ou d opérer des transformations sur des représentations symboliques de la musique, les compositeurs utilisent toujours le papier pour composer. Le papier interactif rend théoriquement possible la création d interfaces combinant l expression sur le papier et la puissance de calcul de l ordinateur. Cependant, la conception de telles interfaces reste un problème complexe car chaque compositeur développe son propre processus de création, impliquant de nouveaux concepts et de nouvelles représentations musicales. Cette thèse propose l utilisation de structures personnelles et adaptables sur le papier pour permettre aux compositeurs d exprimer et d explorer leurs idées musicales. Trois études conduites avec des compositeurs à l Ircam (Chapitre 3) s intéressent aux rôles du papier et de l ordinateur lors du processus de composition et les possibilités du papier interactif pour l exploration des idées entre ces deux supports. Je décris des sessions de conception participative (Chapitre 4) qui examinent l utilisation de représentations musicales formelles pour la création de nouvelles interfaces de papier couplées avec les logiciels de composition assistée par ordinateur. Je présente les Paper Substrates (Chapitre 5), des composants papier qui définissent des structures modulaires pour l interaction avec des représentations personnelles de données musicales issues d environnements informatique. Je décris une boîte à outil ainsi qu une application graphique permettant de développer des interfaces utilisant les Paper Substrates. Des exemples illustrent la création de structures personnelles et de données musicales sur le papier qui peuvent être interprétées par les logiciels de composition assistée par ordinateur. Je présente une étude d observation structurée conduite avec 12 compositeurs utilisant Polyphony pour composer une pièce électroacoustique (Chapitre 6). Polyphony est une interface qui intègre le papier interactif avec d autres interfaces pour composer. L étude a per- mis d observer et de comparer les différents processus de composition des participants. Enfin, je détaille un projet de recherche et création mené avec le compositeur Philippe Leroux pour la création de sa pièce Quid sit musicus (Chapitre 7). Nous avons conçu de nouveaux systèmes interactifs pour la création de ressource compositionnelles, la synthèse sonore et le contrôle de la spatialisation à partir de tracés effectués sur une partition médiévale.This thesis focuses on the design of interactive paper interfaces for supporting musical creation. Music composition has been deeply influenced by the computational power brought by computers but despite the use of software to create new sounds or work with symbolic notation, composers still use paper in their creative process. Interactive paper creates new opportunities for combining expression on paper and computation. However, designing for highly individual creative practitioners who use personal musical representations is challenging. In this thesis, I argue that composers need personal and adaptable structures on paper in which they can express and explore musical ideas. I first present three field studies (Chapter 3) with contemporary composers that examined the use of paper and the computer during the composition process and how linking the two media supports exploration of musical ideas. I then describe a participatory design study that investigates the use of formal musical representations (Chapter 4) for creating new paper interfaces that extend computer-aided composition tools. I introduce Paper Substrates (Chapter 5), interactive paper components that provide modular structures for interacting with personal representations of computer-based musical data. I detail tools that we created to develop paper applications with the Paper Substrates approach. Several examples illustrate the creation of personal structures and musical content that can still be interpreted by computer-aided composition software. I then describe a structured observation study with 12 composers who used Polyphony to compose a short electroacoustic piece (Chapter 6). Polyphony is a unified user interface that integrates interactive paper and electronic user interfaces for composing music. The study allowed us to systematically observe and compare their compositional processes. Finally, I report on a research and creation project with the composer Philippe Leroux during the composition of his piece Quid sit musicus (Chapter 7). Several work sessions with the composer and a musical assistant lead to the design of new paper- based interfaces for generating composition material, synthesizing sounds and controlling the spatialization from handwritten gestures from calligraphic gestures over an old manuscript.PARIS11-SCD-Bib. électronique (914719901) / SudocSudocFranceF

Distributed Creativity in Play

International audienceOur objective is to explore distributed forms of creativity that arise in play to help guide and foster supportive research, game design, and technology. This workshop seeks to bring together researchers, game designers, and others to examine theories of creativity and play, game design practices, methods for studying creativity in play, and creative play experiences. Participants will present work, video prototype, discuss topics, and contribute to outcomes

Stretchis: Fabricating Highly Stretchable User Interfaces

International audienceRecent advances in materials science research have enabled the production of highly stretchable sensors and displays. However, such technologies are not yet accessible to non-expert makers. We present a novel and inexpensive fabrication method for creating Stretchis, highly stretchable user interfaces that combine sensing capabilities and visual output. We use Polydimethylsiloxan (PDMS) as the base material for a Stretchi and show how to embed stretchable touch and proximity sensors and stretchable electroluminescent displays. Stretchis can be ultra-thin, flexible, and fully customizable, enabling non-expert makers to add interaction to elastic physical objects, shape-changing surfaces, fabrics, and the human body. We demonstrate the usefulness of our approach with three application examples that include ubiquitous computing, wearables and on-skin interaction

Color Portraits: From Color Picking to Interacting with Color

International audienceAlthough ubiquitous, color pickers have remained largely unchanged for 25 years. Based on contextual interviews with artists and designers, we created the Color Portraits design space to characterize five key color manipulation activities: sampling and tweaking individual colors, manipulating color relationships, combining colors with other elements, revisiting previous color choices, and revealing a design process through color. We found similar color manipulation requirements with scientists and engineers. We designed novel color interaction tools inspired by the design space, and used them as probes to identify specific design requirements, including: interactive palettes for sampling colors and exploring relationships; color composites for blending and decomposing colors with other elements; interactive histories to enable reuse of previous color choices; and providing color as a way to reveal underlying processes. We argue that color tools should allow users to interact with colors, not just pick or sample them

PaperComposer: Creating Interactive Paper Interfaces for Music Composition

National audienceInteractive paper technologies offer new opportunities for supporting the highly individual practices of creative artists, such as contemporary music composers, who express and explore their ideas on both paper and the computer. We introduce PaperComposer, a graphical interface builder that allows users to create a personalized interactive paper interface that they can connect to their own computer-based musical data. We also present an API that facilitates the development of interactive paper components for PaperComposer. We describe one public demonstration of a novel musical interface designed for children and our collaborations with composers to create two novel interactive music interfaces that reflected their individual composition styles