I den här uppsatsen presenteras en studie av rörelsebaserad zoom (Device Movement Based Zoom) och nyp-zoomning (Pinch-zoom). Rörelsebaserad zoom innebär att användaren zoomar in genom att gå närmare ett objekt och zoomar ut genom att gå längre bort från det. Nyp-zoomning innebär att användaren zoomar genom nyp-gester med två fingrar på plattformens pekskärm. Syftet var att undersöka vilka likheter och skillnader som finns mellan de båda systemen ur ett användarperspektiv samt om engagemanget blir större när rörelserna blir större och användaren tvingas vara mer aktiv (med kroppen) vid interaktionen med systemet. De 24 deltagarna i studien testade två olika system, ett med vardera typen av zoom, och både kvalitativ och kvantitativ data samlades in genom enkäter. Resultatet visade att systemen hade nästan lika hög popularitet (på frågan; vilken av de två systemen skulle du föredra?). Däremot var svaren på frågan influerade av vilken telefon de hade till vardags. De som var vana att använda en telefon med knappar för navigering föredrog rörelsebaserad zoom i större utsträckning och de som var vana att använda pekskärm föredrog nyp-zoom i större utsträckning. Samma tendens syntes genomgående i all insamlad data. En tendens till att systemet med rörelsebaserad zoom gav högre engagemang hos användarna gick att se, men inga signifikanta skillnader fanns för hela gruppen. Tendensen var störst för delkategorierna upplevt engagemang och stabilitet. När deltagarna delades upp efter vilken mobiltelefon de var vana att använda syntes tendensen att de båda systemen ansågs mer likvärdiga i självskattat engagemang för de som sen tidigare var vana att använda nyp-zoom. De som inte var vana att använda nyp-zoom (deltagarna som använde knapptelefoner till vardags) märkte en större skillnad på systemen. Signifikanta skillnader sågs här under det totala engagemanget samt för delkategorierna stabilitet och upplevt engagemang. Värt att notera är att gruppstorleken var väldigt ojämn och antalet deltagare som var vana att använda en knapptelefon var väldigt lågt. Rörelsebaserad zoom upplevdes som naturlig och mer fri, medan nyp-zoom är smidigt att använda i vissa situationer då det inte kräver någon plats att gå omkring. En annan fördelmed nyp-zoom är att 3d-modellerna inte försvinner som de kan göra med den rörelsebaserade zoomen eftersom hela markören behöver vara i bild i enhetens kamera för att 3d-modellen ska visas. Däremot verkar nyp-zoom vara relativt svårt att använda för de som inte är vana vilket också syntes i de kvalitativa data. För att kunna säga mer hur väl resultatet kan generaliseras, till exempel med fokus på kroppslig interaktion och om något av sätten att zooma är att föredra över lag uppmuntras fler liknande studier.

The human’s ability to see, listen and speak is naturally embedded in how we interact and communicate with each other, but not only do we interact with other humans, we also spend a lot of time interacting with computers. In our study we take a starting point in embodied interaction and draw on people’s abilities from everyday life and apply them to computation in form of eye-tracking and speech recognition. Previous research mainly explored these inputs separately and little has been discovered regarding the combination. We applied a qualitative approach consisting of free surfs, task based evaluations and ten interviews, and we aimed for an understanding of how people perceive this interaction and to discover potential use contexts. The results indicate that people are positive towards the combination of eye-tracking and speech recognition for interacting with computers but found it hard to imagine a rich set of contexts in which it could be used.

This research aims to find distinct and crucial factors needed in order to design a better robot through exploring the meaning of movement. The researcher conducted six-weeks of iterative work to collect data via an ethnographic method. The researcher examined the interactions between a telepresence robot and human beings in an authentic environment through the collected data and analyzed it based on proxemics theory. The research observed that the robot was given social space when it approached the participants with pauses in between movements. Furthermore, the research introduces proxemics pivot and its notion. Proxemics pivot refers to the part of the robot that people perceive as a standard point when they adjust the proximity between the robot and themselves. The proxemics pivot was considered “a face” and was attributed social properties; the other parts of the robot did not receive the same consideration.

De grands ensembles de données sont de plus en plus utilisés dans divers domaines professionnels, tels que la médecine, la sociologie et l'économie. Ceci pose de nombreux défis dans leurs utilisations pour, par exemple, les classifier et la prise de décision. Pour cela nous n'avons pas seulement besoin d'algorithmes élaborés pour leur traitement, il faut aussi que les utilisateurs puissent visualiser et interagir avec les données pour pouvoir les appréhender et éventuellement corriger ou vérifier les traitement fait par les machines. Cette thèse explore cette problématique en étudiant l'interaction d'utilisateurs avec de grands ensembles de données sur des murs d'écrans.Le corps humain est fait pour interagir avec le monde physique, du microscopique aux grandes échelles. Nous pouvons naturellement nous coordonner pour voir, entendre, toucher et nous déplacer pour interagir avec l'environnement à diverses échelles. Au-delà d'un individu, les êtres humains collaborent en communicant et en se coordonnant. En suivant la définition de Dourish, l'Interaction Incorporée encourage les concepteurs d'interaction de profiter de l'expérience existante du monde physique des utilisateurs lors de la conception de l'interaction avec les interfaces numériques.Je soutiens que les grands espaces interactifs permettent une interaction incorporée de l'utilisateur avec des données répartis dans l'espace, en tirant parti des capacités physiques des utilisateurs, comme la marche, l'approche et l'orientation. Au-delà d'un simple utilisateur, ces environnements permettent aussi à plusieurs utilisateurs d'interagir ensemble en utilisant la communication verbale et gestuelle tout en ayant une conscience de la présence physique de chacun. Alors que dans le cadre mono-utilisateur, de nombreuses recherches portent sur la transformation d'actions physiques en modalités d'entrées, le cas des relations entre plusieurs utilisateurs a été très peu étudié. Dans cette thèse, je présente tout d'abord une expérience qui évalue formellement l'avantage pour un utilisateur d'exécuter une tâche de manipulation de données sur un grand mur d'écrans par rapport à un ordinateur de bureau. Cette expérience montre que les mouvements physiques de l'utilisateur l'aide à naviguer dans une grande surface de données, et permet de surpasser les techniques de navigation existantes sur un ordinateur de bureau tels que les techniques de Focus+Contexte. Avec la même tâche expérimentale, j'étudie ensuite la manipulation de données collaborative avec un mur d'écrans, en imposant différents styles de collaboration, de étroitement couplées à lâche. L'expérience mesure l'effet de l'introduction d'une technique d'interaction partagée, dans lequel les collaborateurs effectuent chacun une partie d'une action pour émettre une commande. Les résultats montrent les avantages d'une telle technique en termes d'efficacité, d'engagement des utilisateurs, ainsi que de fatigue physique. Enfin, j'explore le concept d'augmentation de l'interaction humain-à-humain avec des techniques d'interaction partagées, et je propose un espace de conception pour ces techniques pour facilité la manipulation de données collaborative. Je présente la conception, la mise en œuvre et l'évaluation d'un ensemble de ces techniques, ainsi que les travaux futurs qui en découlent. / Large data sets are used acceleratingly in various professional domains, such as medicine and business. This rises challenges in managing and using them, typically including sense-making, searching and classifying. This does not only require advanced algorithms to process the data sets automatically, but also need users' direct interaction to make initial judgment or to correct mistakes from the machine work. This dissertation explores this problem domain and study users' direct interaction with scattered large data sets. Human body is made for interacting with the physical world, from micro scope to very large scales. We can naturally coordinate ourselves to see, hear, touch and move to interact with the environment in various scales. Beyond individual, humans collaborate with each other through communication and coordination. Based on Dourish's definitioncite{2001:AFE:513034}, Embodied Interaction encourages interaction designers to take advantage of users' existing skills in the physical world, when designing the interaction with digital artefacts. I argue that large interactive spaces enable embodied user interaction with data spread over space, by leveraging users' physical abilities such as walking, approaching and orienting. Beyond single users, co-located environments provide multiple users with physical awareness and verbal gestural communication. While single users' physical actions have been augmented to be various input modalities in existing research, the augmentation of between-user resources has been less explored. In this dissertation, I first present an experiment that formally evaluates the advantage of single users performing a data manipulation task on a wall-sized display, comparing to on a desktop computer. It shows that using users' physical movements to navigate in a large data surface, outperforms existing digital navigation techniques on a desktop computer such as Focus+Context. With the same experimental task, I then study the interaction efficiency of collaborative data manipulation with a wall-sized display, in loosely or closely coupled collaboration styles. The experiment measures the effect of providing a Shared Interaction Technique, in which collaborators perform part of an action each to issue a command. The results conclude its benefits in terms of efficiency, user engagement as well as physical fatigue. Finally, I explore the concept of augmenting human-to-human interaction with shared interaction techniques, and illustrate a design space of such techniques for supporting collaborative data manipulation. I report the design, implementation and evaluation of a set of these techniques and discuss the future work.

In the previous two decades, live streaming has become a popular trend in the music industry. From TV and radio broadcast to live streaming on social media, the relationship between audience and performers has been transforming over time. In 2019, due to the sudden spread of Covid-19, the popularity of watching live streaming events reached an unprecedently peak. According to some market studies, this trend will continue even when the pandemic will be over. This research aims to explore how live streaming has changed the interaction between audiences and performers as a consequence of this great event.  In order to understand the current music live-streaming culture, an online survey, interviews and field studies were conducted to obtain insights about potential problems and needs in live streaming. Through the project, a new design feature, the “Cheering” function, is suggested as an additional function to the existing live-streaming platforms, to enhance and enrich the interaction between audience and performers.

To increase social sustainability in cities and communities, interactions between community members is a key factor. This has engaged a research project on social sustainability, connected to an emerging urban district in Sweden. This research was done in collaboration with local stakeholders being part of this research project. Qualitative methods were used, including semi-structured interviews, and thematic analysis. Design iterations has lead to a final design proposal for a public installation and technologically enhanced interaction, containing significant characteristics. The first characteristic is playful and exciting tiny-scale events happening in the everyday life that makes people in the same urban area to be aware of each other, giving opportunities for new relationships as well as enhancing their social and emotional connection to a place, what I call microevents. A second characteristic found is the loosely structured community, which entailed the focus on people of a community that has primarily the place in common, rather than a specific interest. Finally I identified the characteristic of villagescape that strives towards the village’s community in an urban environment. This concept contains a number of attributes, for example the acknowledgment of all people belonging to a specific urban place, the promotion of a welcoming, trustful and genuine feeling, and to keep thresholds low for meetings to occur between people.

In a digital and fast-paced world, museums are constantly updating their practices to support visitors’ experiences and interactive exhibits are increasingly gaining popularity. I collaborated with the Natural History Museum of Denmark to design an interactive room for their upcoming new building, specifically for the exhibit with the working title “Night in the Open Land”. The project adopted a design methodology that focused on playfulness and senses and included experience prototyping with museum visitors. The final prototype was designed to replicate a slow and contemplative experience of being outside at night. A playful interactive flashlight was used to find hidden animals and interact with the exhibition, enhancing exploration. The torchlight and the sounds and movements of visitors served as input for an interactive system, which produced sounds, video and smell as outputs. The flashlight enhanced the playful and explorative aspect of the room and allowed for shared and focused attention by all family members. Furthermore, olfactory stimuli were highly appreciated by visitors. At the intersection between museum studies and Interaction Design, this project is relevant to Interaction-as-Experience and reinforces how multisensory interactive exhibits are effective in catering to diverse audiences. The results of this project suggest that incorporating interaction design into public spaces like museums can enhance visitors’ experiences, fostering engagement, learning, and enjoyment.

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In today’s ‘attention economy’, it seems insufficient to just offer products. Instead, it is crucial to provide the audience with deep, affective emotions and embodied experiences. This seems to be especially true for the fashion and lifestyle sector. As Sara Rossoni, a researcher in luxury management, summarizes, this industry is becoming a “trade of feelings” (2018, 40). To arrive at a comprehensive understanding of this phenomenon, this degree project approaches it through a case study of the transmedia story told across two media products released alongside the fashion house Balenciaga’s Fall 2021 collection. Thereby, the analysis is based on the ‘trade of feelings’ concept by Rossoni (2018) as an umbrella term to examine how the campaign connects emotionally with the audience and forms deep relationships. Various theories are integrated to get a comprehensive overview of the factors at play. They include embodied interaction, immersiveness, embodied presence, the inner branding model, experiential value, as well as gamification. The methodological approach is based on multimodal critical dis- course analysis according to Machin & Mayr (2012), which is combined with parts of the framework for transmedia storytelling by Gambarato (2013). The results indicate that there are intrinsically linked forces at play in this emotional bonding process – the multimodal features of the media products combined create an emotional, immersive, and embodied experience for the consumer. Particularly, among other aspects, this is achieved through an accessible, widespread release strategy; a unique, captivating virtual environment; gamification elements; as well as communicating relevant values to the Generation Z target audience and hence stimulating collective knowledge sharing among the brands’ fan community. Concluding, this thesis provides a comprehensive overview of the different emotional processes in these highly experiential fashion branding activities. Hence, it shows that this is a complex phenomenon with interrelated factors at play, with most of them happening on an unconscious dimension in the consumers’ mind. As there are certain limitations concerning this qualitative study rooted in subjectivity and the single-case approach, it would be effective for future research studies to employ more quantitative methods to arrive at more valid conclusions concerning this development in fashion and lifestyle branding.

Movement-based interactive systems for play came into the spotlight over a decade ago, and were met with enthusiasm by the general public as well as the Human-Computer Interaction research community. Yet a decade of research and practice has not fully addressed the challenge of designing for the moving body and play. This thesis argues that often, the role of the technology to sustain the play activity, and to drive the design process, has been over-emphasized, and has resulted in limited design possibilities. This thesis explores an alternative design approach to address the problem through combining the design of the technology with designing aspects of the social and spatial context where the play activity takes place. The work is grounded in an embodied perspective of experience, action, and design. Methodologically, it belongs to the Research through Design tradition (RtD). A core concept and a characterization of design practices are presented as key contributions. The concept of embodied core mechanics is introduced to frame desirable and repeatable movement-based play actions, paying attention to the way these are supported by design resources including rules, physical and digital artifacts, and the physical and spatial arrangement of players and artifacts. The concept was developed during the two main design cases: the Oriboo case, targeting dance games for children, and the PhySeEar case, targeting rehabilitative therapy for the elderly. It was further substantiated in subsequent external design collaborations. To support the design process, this thesis presents embodied sketching: a set of ideation design practices that leverage the embodied experience and enable designers to scrutinize the desired embodied experience early in the design process. Three forms of embodied sketching are presented: embodied sketching for bodystorming, co-designing with users, and sensitizing designers. Through reframing the design task as one of designing and studying embodied core mechanics, this thesis establishes an alternative approach to design for movement-based play in which significant aspects of the embodied play experience, lead, drive, and shape the design process and the design of the technology.