Dancing in the Streets - a design case study

How do you transform a city center at night to enhance the experience of residents and visitors and to combat the public’s fears over safety and security after dark? This challenge was set by the York City Council’s “Renaissance Project: Illuminating York,” and we took them up on it. We made it our goal to get pedestrians to engage with our interactive light installation—and to get them dancing without even realizing it. People out shopping or on their way to restaurants and nightclubs found themselves followed by ghostly footprints, chased by brightly colored butterflies, playing football with balls of light, or linked together by a “cat’s cradle” of colored lines. As they moved within the light projections, participants found that they were literally dancing in the street

Building an Argument for the Use of Science Fiction in HCI Education

Science fiction literature, comics, cartoons and, in particular, audio-visual materials, such as science fiction movies and shows, can be a valuable addition in Human-computer interaction (HCI) Education. In this paper, we present an overview of research relative to future directions in HCI Education, distinct crossings of science fiction in HCI and Computer Science teaching and the Framework for 21st Century Learning. Next, we provide examples where science fiction can add to the future of HCI Education. In particular, we argue herein first that science fiction, as tangible and intangible cultural artifact, can serve as a trigger for creativity and innovation and thus, support us in exploring the design space. Second, science fiction, as a means to analyze yet-to-come HCI technologies, can assist us in developing an open-minded and reflective dialogue about technological futures, thus creating a singular base for critical thinking and problem solving. Provided that one is cognizant of its potential and limitations, we reason that science fiction can be a meaningful extension of selected aspects of HCI curricula and research.Comment: 6 pages, 1 table, IHSI 2019 accepted submissio

Visual Climate Change Communication: From Iconography To Locally Framed 3D Visualization

Climate change is an urgent problem with implications registered not only globally, but also on national and local scales. It is a particularly challenging case of environmental communication because its main cause, greenhouse gas emissions, is invisible. The predominant approach of making climate change visible is the use of iconic, often affective, imagery. Literature on the iconography of climate change shows that global iconic motifs, such as polar bears, have contributed to a public perception of the problem as spatially and temporally remote. This paper proposes an alternative approach to global climate change icons by focusing on recognizable representations of local impacts within an interactive game environment. This approach was implemented and tested in a research project based on the municipality of Delta, British Columbia. A major outcome of the research is Future Delta, an interactive educational game featuring 3D visualizations and simulation tools for climate change adaptation and mitigation future scenarios. The empirical evaluation is based on quantitative pre/post-game play questionnaires with 18 students and 10 qualitative expert interviews. The findings support the assumption that interactive 3D imagery is effective in communicating climate change. The quantitative post-questionnaires particularly highlight a shift in support of more local responsibility

Designing electronic collaborative learning environments

Electronic collaborative learning environments for learning and working are in vogue. Designers design them according to their own constructivist interpretations of what collaborative learning is and what it should achieve. Educators employ them with different educational approaches and in diverse situations to achieve different ends. Students use them, sometimes very enthusiastically, but often in a perfunctory way. Finally, researchers study them and—as is usually the case when apples and oranges are compared—find no conclusive evidence as to whether or not they work, where they do or do not work, when they do or do not work and, most importantly, why, they do or do not work. This contribution presents an affordance framework for such collaborative learning environments; an interaction design procedure for designing, developing, and implementing them; and an educational affordance approach to the use of tasks in those environments. It also presents the results of three projects dealing with these three issues

Designing a fashion driving forces website as an educational resource

Electronic educational resources support search activities and manipulate information effectively in learning environments, thus enhancing education. This paper discusses the development of an electronic timeline database that classifies design and fashion details; technological developments; socio-economical influences; availability and popularity within fashion trends; marketing and distribution; and influential people including designers, in a manner that facilitates ease of cross referencing events at the same point in time for a rich analysis of fashion. The study focuses on the driving forces of fashion during the 1920s as a starting point for a much larger database. The data is presented in the form of a website allowing students to better understand fashion trends with macro-environmental and marketing strategies. The electronic resource is a useful tool for fashion, textile and marketing students as an educational interface providing design, production and marketing data for fashion-related products particularly useful for the analysis of fashion trends

Interaction and Participation in Radio Plays: A Novel Approach to an Old Medium

Abstract. Radio plays have recently regained both popular interest and commercial success. Yet, listeners are not provided with either feedback channels or the ability to actively participate in this medium. The TAPE-Player concept described in the present paper extends the radio play medium by adding interactivity as well as participation to the production process. The user takes the roles of both actor and director, which includes verbal interpretation, recording, and editing the dialogues for the selected role(s) as the play’s script evolves. The creative freedom is supported by TAPE-Player’s underlying hypermedia architecture: audio clips are managed separately and combined dynamically to produce a personalised radio play. The applicability of the concept was corroborated in an empirical study. Specifically, the users welcomed the interaction via TAPE-Player’s easy-to-use interface, the creative freedom, and the substantial influence they had in producing radio plays in a personalised entertainment medium.

Information Interaction Design: a Unified Field Theory of Design

One of the most important skills for almost everyone to have in the next decade and beyond will be those that allow us to create valuable, compelling, and empowering information and experiences for others. To do this, we must learn existing ways of organizing and presenting data and information and develop new ones. Whether our communication tools are traditional print products, electronic products, broadcast programming, interactive experiences, or live performances makes little difference. Nor does it matter if we are employing physical or electronic devices or our own bodies and voices. The process of creating is roughly the same in any medium. The processes involved in solving problems, responding to audiences, and communicating to others are similar enough to consider them identical for the purposes of this paper. These issues apply across all types of media and experiences, because they directly address the phenomena of information overload, information anxiety, media literacy, media immersion, and technological overload-all which need better solutions. The intersection of these issues can be addressed by the process of Information Interaction Design. In other circles, it is called simply Information Design, Information Architecture, or Interaction Design, Instructional Design, or just plain Common Sense. Many people create or engineer interactions, presentations, and experiences for others. Almost all interactions- whether part of a book, a directory, a catalog, a newspaper, or a television program-can be created or addressed by one process. This process can be used to produce every CD-ROM, kiosk, presentation, game, and online service. It can also be used for every dance, music, comedy, or theater performance. While the traditions and technologies may change with every discipline, the process does not