Crítica del diseño de la interacción háptica en un contexto histórico - ¿Qué sucede hoy con el tacto?

L'objectiu d'aquest treball és contextualitzar la creixent activitat investigadora sobre la interacció hàptica examinant alguns marcs històrics i filosòfics. A partir de la idea que ment i cos són inseparables, la recerca sobre la interacció entre persones i ordinadors experimenta en general un desig de corporització i sensualitat afegida. Aquest desig apunta a una història dels sentits construïda culturalment, que, al seu torn, influeix en els objectius de la recerca i el disseny.  Mitjançant l'anàlisi de diversos dissenys hàptics, s'agrupen alguns objectius de recerca i paràmetres de disseny, que a continuació s'assignen a tres diferents models filosòfics del tacte: el model físico-sensorial, el model psicològico-humanístic i el model de camp (Weber, 1990). Sembla que incloent diferents maneres i sentits en el procés d'interacció, aquesta serà més «natural» i «intuïtiva». Investigarem el que els sentits hàptics poden afegir específicament a la interacció i a la comunicació digital, segons el punt de vista del dissenyador/investigador.Examining some of the historical and philosophical frameworks, this paper seeks to contextualize increased research activity around haptic interaction. Embracing the idea that mind and body may not be separated, a general urge for embodiment and added sensuality in Human Computer Interaction research is emerging. This points to a culturally constructed history of the senses, which in turn influences research and design aims. Through an analysis of haptic designs, some of these research aims and design parameters are grouped and then mapped onto three different philosophical models of touch: the physical-sensory model, the psychological-humanistic model, and the field model (Weber, 1990). Including various modes and senses in the interaction process gives the impression that this will become more "natural" and "intuitive". We will explore what the haptic senses can specifically add to digital interaction and communication, depending on the philosophical standpoint of the designer/researcher.  El objetivo de este trabajo es contextualizar la creciente actividad investigadora en torno a la interacción háptica examinando algunos marcos históricos y filosóficos. A partir de la idea de que mente y cuerpo son inseparables, la investigación sobre la interacción entre personas y ordenadores experimenta en general un deseo de corporización y sensualidad añadida. Dicho deseo apunta hacia una historia de los sentidos construida culturalmente, que, a su vez, influye en los objetivos de la investigación y el diseño.  Mediante el análisis de varios diseños hápticos, se agrupan algunos objetivos de investigación y parámetros de diseño, que a continuación se asignan a tres distintos modelos filosóficos del tacto: el modelo físico-sensorial, el modelo psicológico-humanístico y el modelo de campo (Weber, 1990). Parece que incluyendo diferentes modos y sentidos en el proceso de interacción, esta va a ser más «natural» e «intuitiva». Investigaremos lo que los sentidos hápticos pueden añadir específicamente a la interacción y a la comunicación digital, dependiendo del punto de vista del diseñador/investigador

Footprints of emergence

It is ironic that the management of education has become more closed while learning has become more open, particularly over the past 10-20 years. The curriculum has become more instrumental, predictive, standardized, and micro-managed in the belief that this supports employability as well as the management of educational processes, resources, and value. Meanwhile, people have embraced interactive, participatory, collaborative, and innovative networks for living and learning. To respond to these challenges, we need to develop practical tools to help us describe these new forms of learning which are multivariate, self-organised, complex, adaptive, and unpredictable. We draw on complexity theory and our experience as researchers, designers, and participants in open and interactive learning to go beyond conventional approaches. We develop a 3D model of landscapes of learning for exploring the relationship between prescribed and emergent learning in any given curriculum. We do this by repeatedly testing our descriptive landscapes (or footprints) against theory, research, and practice across a range of case studies. By doing this, we have not only come up with a practical tool which can be used by curriculum designers, but also realised that the curriculum itself can usefully be treated as emergent, depending on the dynamicsbetween prescribed and emergent learning and how the learning landscape is curated

What Design Research Does ... : 62 Cards Highlighting the Power and Impact of UK-based Design Research in Addressing a Range of Complex Social, Economic, Cultural and Environmental Issues

Design research makes a significant contribution to the UK economy and society as a whole. Ever since the establishment of the Government Schools of Design in the nineteenth century, the UK has been widely acknowledged as an international leader in design research. Following this lead, the What Design Research Does… cards highlight the wide range of social, economic, cultural and environmental impacts that design research, funded and based in the UK, makes all over the world. The 62 cards illustrate unambiguously the positive changes that contemporary UK-based design researchers are making in many complex issues. Each What Design Research Does… card lists the challenges and issues faced by the design researchers, who they collaborated with, the research methods and approaches taken, the outcomes of the design research, what the main results and findings have been, and what impact the design research has had. In short, the What Design Research Does… cards clearly articulate the breadth of social, economic, cultural and environmental impacts that UK-based design researchers are achieving today

Crítica del disseny de la interacció hàptica en un context històric - Què passa avui amb el tacte?

L'objectiu d'aquest treball és contextualitzar la creixent activitat investigadora sobre la interacció hàptica examinant alguns marcs històrics i filosòfics. A partir de la idea que ment i cos són inseparables, la recerca sobre la interacció entre persones i ordinadors experimenta en general un desig de corporització i sensualitat afegida. Aquest desig apunta a una història dels sentits construïda culturalment, que, al seu torn, influeix en els objectius de la recerca i el disseny.  Mitjançant l'anàlisi de diversos dissenys hàptics, s'agrupen alguns objectius de recerca i paràmetres de disseny, que a continuació s'assignen a tres diferents models filosòfics del tacte: el model físico-sensorial, el model psicològico-humanístic i el model de camp (Weber, 1990). Sembla que incloent diferents maneres i sentits en el procés d'interacció, aquesta serà més «natural» i «intuïtiva». Investigarem el que els sentits hàptics poden afegir específicament a la interacció i a la comunicació digital, segons el punt de vista del dissenyador/investigador

Freshly squeezed touch into bits: towards the development of a haptic design palette

Haptic interfaces have the potential to enhance communication and interaction via the computer-enabling affective expressive interpersonal communication and enriching interaction by haptic feedback. Still, what exactly their potential is and how we can design in order to fulfil it remains topic of contemporary debate. My contribution to this debate shall be to place some of the current developments into a philosophical and cultural context and to introduce social science based methodologies, which will help broaden the discussion and scope of input. Through semiotic analysis we can predict ‘meaning making ’ in haptic communication that goes beyond linguistic description. Examples of Haptic interfaces shall be positioned as case studies in this typology. Also I describe the Haptic Box and PinKom as my way of investigating a semiotic system of touch. In conclusion, this paper hopes to inform and catalyze the development of a haptic design palette