Comics, robots, fashion and programming: outlining the concept of actDresses

This paper concerns the design of physical languages for controlling and programming robotic consumer products. For this purpose we explore basic theories of semiotics represented in the two separate fields of comics and fashion, and how these could be used as resources in the development of new physical languages. Based on these theories, the design concept of actDresses is defined, and supplemented by three example scenarios of how the concept can be used for controlling, programming, and predicting the behaviour of robotic systems

Beyond representations: towards an action-centric perspective on tangible interaction

In the light of theoretical as well as concrete technical development, we discuss a conceptual shift from an information-centric to an action-centric perspective on tangible interactive technology. We explicitly emphasise the qualities of shareable use, and the importance of designing tangibles that allow for meaningful manipulation and control of the digital material. This involves a broadened focus from studying properties of the interface, to instead aim for qualities of the activity of using a system, a general tendency towards designing for social and sharable use settings and an increased openness towards multiple and subjective interpretations. An effect of this is that tangibles are not designed as representations of data, but as resources for action. We discuss four ways that tangible artefacts work as resources for action: (1) for physical manipulation; (2) for referential, social and contextually oriented action; (3) for perception and sensory experience; (4) for digitally mediated action

Setting the stage – embodied and spatial dimensions in emerging programming practices.

In the design of interactive systems, developers sometimes need to engage in various ways of physical performance in order to communicate ideas and to test out properties of the system to be realised. External resources such as sketches, as well as bodily action, often play important parts in such processes, and several methods and tools that explicitly address such aspects of interaction design have recently been developed. This combined with the growing range of pervasive, ubiquitous, and tangible technologies add up to a complex web of physicality within the practice of designing interactive systems. We illustrate this dimension of systems development through three cases which in different ways address the design of systems where embodied performance is important. The first case shows how building a physical sport simulator emphasises a shift in activity between programming and debugging. The second case shows a build-once run-once scenario, where the fine-tuning and control of the run-time activity gets turned into an act of in situ performance by the programmers. The third example illustrates the explorative and experiential nature of programming and debugging systems for specialised and autonomous interaction devices. This multitude in approaches in existing programming settings reveals an expanded perspective of what practices of interaction design consist of, emphasising the interlinking between design, programming, and performance with the system that is being developed

Ajna: negotiating forms in the making of a musical cabinet

Ajna is a musical cabinet made from a rich composition of acoustic materials and designed to perform digitally composed music. In this paper, we aim to unpack the design as well as key aspects of the design process that lead up to this unique artwork. We base our analysis on interviews with its two creators as well as on observations of Ajna performing in different contexts. From the perspective of interaction design, we first analyse the process of its making through the negotiations between physical form, temporal from, and the interactive gestalts. Lastly, we place these negotiations in a larger picture of bricolage as a design approach. Based on this we then discuss the qualities of bricolage in interaction design.QC 20141106Arts and Craft

How do you Play with a Robotic Toy Animal? A long-term study of Pleo

Pleo is one of the more advanced interactive toys currently available for the home market, taking the form of a robotic dinosaur. We present an exploratory study of how it was interacted with and reflected upon in the homes of six families during 2 to 10 months. Our analysis emphasizes a discrepancy between the participants’ initial desires to borrow a Pleo and what they reported later on about their actual experiences. Further, the data suggests an apparent tension between participants expecting the robot to work as a ‘toy’ while making consistent comparisons with real pet animals. We end by discussing a series of implications for design of this category of toys, in order to better maintain interest and engagement over time

Programming for Moving Bodies

QC 20190916KAW 2015.0080, Engineering theInterconnected Society: Information, Control, Interactio

Human Action and Experience As Basis for the Design and Study of Robotic Artefacts

This paper aims to illustrate how robotic artefacts and applications may be described from a perspective of human action and experience. This is done by presenting an interaction model based on four ways that interactive artefacts may work as resources for human action. In contrast to data-centric models, this model includes socially and contextually oriented actions performed around the artefact, as well as actions related to the computational system running on the machine. A goal with the framework is to provide a concrete reference for designers, focusing on the experiential dimensions of the products that they develop.LIRE

How do you design for the joy of movement?

The work in this book was conducted at an exciting point in time when the whole field of Human-Computer Interaction shifted its focus away from settings in which people would sit more or less still in front of static computers, to instead start exploring how to make good use of all the added possibilities of technologies that can be moved around. At the same time, researchers became increasingly interested in aspects of experience and enjoyment in the use of technology. As discussed in the introduction, notions such and play and learning, work and leisure, casual and serious technology use, are sometimes presented as conceptual dichotomies that may be difficult to combine. However, to many people, such distinctions are not meaningful, since practices and technologies – especially mobile ones – travel between the different social spheres of our lives, accompanying them wherever they go. Therefore, addressing aspects of leisure, pleasure and play is a relevant challenge for most interaction designers. In many cases, mobility and enjoyment seems very tightly intertwined, and in this chapter I will discuss different ways that this has become manifested in the illustrated pages of this book.QC 20190226Mobile Life Centr

Human Action and Experience As Basis for the Design and Study of Robotic Artefacts

This paper aims to illustrate how robotic artefacts and applications may be described from a perspective of human action and experience. This is done by presenting an interaction model based on four ways that interactive artefacts may work as resources for human action. In contrast to data-centric models, this model includes socially and contextually oriented actions performed around the artefact, as well as actions related to the computational system running on the machine. A goal with the framework is to provide a concrete reference for designers, focusing on the experiential dimensions of the products that they develop.LIRE