Smart TV, also known as Connected TV, is the new generation of television. It can be connected to the internet and enables the user to surf the web and use TV specific applications. The TV applications available today however are more like smartphone applications shown on a big screen. Applications should take advantage of the fact that they are located on a TV and make use of TV specific content. Smart TV can engage the viewer by a more interactive way of ”watching” TV. The way TV consumers watch TV today has been analysed and a changein consumer behaviour has occurred over the last decade. The TV viewershave gone from a relaxed TV mood with all focus directed towards the TV to a multitasking mood, using second screens for additional activities related, as well as unrelated, to what is on the TV. People want toengage in a more interactive way of watching TV and this is especially true for so called ”borderless” consumers which include people that like and owns technical devices.In this thesis a prototype of a Smart TV application that takes advantage of the content available on the TV, called Quiz TV, was developed. It engages the user in a more interactive way of watching TV and lets the user play a quiz about what is shown on the TV while watching it. This can be done alone, together or against others. The results from a user test of the prototype show that most of the users would play the game if it existed for real and would like a more interactive way of watching TV.As people already have an active way of watching TV, and would preferan even more interactive one, the future of the Smart TV and the Quiz TV application is seen as promising.

Over the last couple of years the field of Augmented Reality has transformed from something mainly seen in academic researchinto several examples of big commercially successful products, and the widespread use of highly capable mobile devices has greatly helped accelerate this trend. The powerful sensors in modern handsets enable designers to bring Augmented Reality implementations to the hands ofthe users.This thesis examines how Augmented Reality can be implemented onmobile platforms, mainly the iPhone 4, and surveys existing implementationsand solutions for developers. It presents a number of design guidelinesfor user interactions in AR on mobile devices that can be used fordesigners as a reference when designing user-centered mobile AR applications.

In recent years, the use of online courses has emerged as a way to quickly and easily deliver content to large numbers of trainees. In writing these courses, pharmaceutical course developers often use traditional instructional design models and techniques to design course content for online learning. But is this truly enough? Interaction design principles and practices can also be incorporated to increase the quality of learning by improving learner comprehension and retention. Using pharmaceutical content and learners, this research investigated how interaction design impacts online learning by measuring the effect of applying different graphical user interfaces. The results were surprising, as the data showed no significant improvement in retention rates between graphical treatments. However, the incorporation of graphics did slightly improve overall course satisfaction.

By conducting interviews, prototyping and user tests this thesis aims to explore the question how not-thought-trough interaction design can be improved by implementing thoughtful interaction design. To explore this is a cancer therapy software presented and investigated with the intention to improve the current interface and user experience. The study presents findings based on the methods used that highlights the importance of interaction aesthetics and thoughtful interaction design when designing cancer therapy software. This is followed by the designer implementing improvements based on the feedback from the test subjects. The final results show that interaction aesthetics and thoughtful interaction design is of high importance in designing cancer therapy software.

Recent developments in network culture suggest a weakening of hierarchical narratives of power and representation. Online technologies of distributed authorship appear to nurture a complex, speculative, contradictory and contingent realism. Yet there is a continuing deficit where the moving image is concerned, its very form appearing resistant to the dynamic throughputs and change models of real-time interaction. If the task is not to suspend but encourage disbelief as a condition in the user, how can this be approached as a design problem? In the attempt to build a series of design projects suggesting open architectures for the moving image, might a variety of (pre-digital) precursors from the worlds of art, architecture and film offer the designer models for inspiration or adaptation? A series of projects have been undertaken. Each investigates the composite moving image, specifically in the context of real-time computation and interaction. This arose from a desire to interrogate the qualia of the moving image within interactive systems, relative to a range of behaviours and/or observer positions, which attempt to situate users as conscious compositors. This is explored in the thesis through reflecting on a series of experimental interfaces designed for real time composition in performance, exhibition and online contexts.

As of today, around 19% of all electricity that is produced around the world goes toward lighting roads and cities. The light is also produced in a wasteful manner, creating disturbances in nature as well as for people. Recent developments in light emitting diodes offers remedy to these problems but the technology needs a proper revision of street lighting’s purposes. Light emitting diodes use a fraction of the energy needed for previous lighting methods. They offer unique implementation opportunities in physical construction as well as being highly controllable which makes them highly adaptable. The thesis looks at how aesthetics can be used to optimally introduce the upcoming worldwide installation of the new technology. Its unique characteristics were looked at and used to create a Korean styled luminaire and an interactive street lighting system in two separate design processes. The results of the developments were firstly, a modular luminaire which combines Korean architectural aesthetics with a cost effective construction. The second result was an interactive urban street lighting system which suggests a dimmable lighting that through an adaptable computer control responds to pedestrians’ presences. This is a master’s thesis (D7014A) is a project in product design at the education of industrial design engineering at Luleå University of Technology and is worth 30 credits. The project spanned 20 weeks during the spring semester of 2016. The project was conducted in collaboration with Pukyong National University’s industrial design department, in Busan, South Korea. / Omkring 19% av all elektricitet som produceras idag runtom i världen åtgår till att belysa vägar och städer. Ljuset som produceras även i ett slösaktigt utförande som skapar störningar i natur såväl som för människor. Nya utvecklingar kring ljusdioder kan bringa bot till dessa problem men teknologin kräver en passande revision av gatubelysningars roller i samhället. Dioderna använder nämligen en bråkdel av energin äldre belysningsmetoder kräver och medför en revolution i fysiska implementeringsmöjligheter medans de även låter sig kontrolleras till en hög grad. Dessa egenskaper gör att de har en oöverträffad anpassningsbarhet. Examensarbetet ser till hur estetik kan användas för att optimalt introducera lamporna i den världomfattande installationen dem. Lampornas unika möjligheter undersöktes och användes till att utveckla ett Koreansk-inspirerat gatulyse och ett interaktivt belysningssystem i två separata designprocesser. Resultatet av utvecklingarna var först, en modulbaserad armatur med en kostnadseffektiv konstruktion. Det andra resultatet var ett interaktivt stadsbelynsingssystem som föreslår ett dämpningsbart system vilket genom en adapterbar dator svarar på fotgängares närvaro. Detta examensarbete (D7014A) är ett projekt inom industriell design på utbildningen Teknisk design vid Luleå Tekniska Universitet och innefattar 30 högskolepoäng. Projektet sträckte sig över 20 veckor under vårterminen 2016. Arbetet utfördes i samarbete med Pukyong National Universitys institution för industriell design i Busan, Sydkorea.

Camera makers are now increasingly adding WiFi chips to cameras to make transferring photos to smartphones or computers easier. At the same time this new technology brings on the opportunity to rethink what a connected camera could be and how it might shape our relationship with these devices. As the features in our consumer cameras start to move beyond physical constraints of the device itself, we will rely more on the device’s inherent character to make sense of it. Through multiple workshops, experiments, mockups and prototypes I explored a set of alternative characters and concepts for our digital consumer cameras and ultimately give an example of how a playful camera might inspire us to look at ourselves and the world around us with new eyes.  The resulting provocation is KOPPLA, a prototype of an Internet-connected camera that treats its owners as a creative collective. It offers inspiring creative challenges at the touch of a button. These challenges come from other camera owners in the collective, from local communities or from organizations interested in gathering personal perspectives. The final design aims to provoke new ideas for what the industry considers a connected camera to be. In that sense, as a connecting rather than connected camera, KOPPLA goes beyond offloading photographs to a smartphone or the Internet – instead connecting its owners to new places, people and ideas.

What if the objects in the Museum of Islamic Art in Berlin could talk?All the artefacts are there for a reason. But especially in a historic exhibition on another culture those reason can be extremely difficult to see. Why look at a shagged old carpet? More than 4 million Muslims live in Germany today. Most people have very little background knowledge in Islamic art or history - but Islam is a regular topic of heated debate. People come to the Museum of Islamic Art with today´s questions, ideas and expectations. In today´s exhibition, visitors are flooded with impressions and information, but without background knowledge, it is difficult to relate things.  What are engaging, and information-rich, but not overwhelming formats to access deeper information on particular objects? How to explore their specific contexts as well as their relation to other objects?My final design - ‘Storytellers’ are guides. They are small tokens that represent objects from the museum. Each object has its own character, topic and relationships to other objects. It will show you through the exhibition on its` individual tour. There are tours with stories for children, families, different levels of background knowledge and interests.

The SATIN project has the aim to enable end users to create their own mobile applications without prior programming experience, and in this way assist non programmers in the transition to the digital society. In this thesis an environment has been designed anddeveloped, that surrounds the existing SATIN mobile application creation editor, with thepurpose of supporting the developers and facilitate collaboration. Based on the theory of End User Programming, a web-based environment built inDjango, a Python framework, was developed and the existing editor was adapted to functiontogether with this environment. The resulting environment is to be seen as a proof ofconcept for the future progress of the SATIN project.

Recently, artists and designers have begun to use digital technologies in order to stimulate bodily interaction, while scientists keep revealing new findings about sensorimotor contingencies, changing the way in which we understand human knowledge. However, implicit knowledge generated in artistic projects can become difficult to transfer and scientific research frequently remains isolated due to specific disciplinary languages and methodologies. By mutually enriching holistic creative approaches and highly specific scientific ways of working, this doctoral dissertation aims to set the foundation for Enactive Sound Design. It is focused on sound that engages sensorimotor experience that has been neglected within the existing design practices. The premise is that such a foundation can be best developed if grounded in transdisciplinary methods that bring together scientific and design approaches. The methodology adopted to achieve this goal is practice-based and supported by theoretical research and project analysis. Three different methodologies were formulated and evaluated during this doctoral study, based on a convergence of existing methods from design, psychology and human-computer interaction. First, a basic design approach was used to engage in a reflective creation process and to extend the existing work on interaction gestalt through hands-on activities. Second, psychophysical experiments were carried out and adapted to suit the needed shift from reception-based tests to a performance-based quantitative evaluation. Last, a set of participatory workshops were developed and conducted, within which the enactive sound exercises were iteratively tested through direct and participatory observation, questionnaires and interviews. A foundation for Enactive Sound Design developed in this dissertation includes novel methods that have been generated by extensive explorations into the fertile ground between basic design education, psychophysical experiments and participatory design. Combining creative practices with traditional task analysis further developed this basic design approach. The results were a number of abstract sonic artefacts conceptualised as the experimental apparatuses that can allow psychologists to study enactive sound experience. Furthermore, a collaboration between designers and scientists on a psychophysical study produced a new methodology for the evaluation of sensorimotor performance with tangible sound interfaces.These performance experiments have revealed that sonic feedback can support enactive learning. Finally, participatory workshops resulted in a number of novel methods focused on a holistic perspective fostered through a subjective experience of self-producing sound. They indicated the influence that such an approach may have on both artists and scientists in the future. The role of designer, as a scientific collaborator within psychological research and as a facilitator of participatory workshops, has been evaluated. Thus, this dissertation recommends a number of collaborative methods and strategies that can help designers to understand and reflectively create enactive sound objects. It is hoped that the examples of successful collaborations between designers and scientists presented in this thesis will encourage further projects and connections between different disciplines, with the final goal of creating a more engaging and a more aware sonic future.