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Fun: An Exploration in its Relevance to Interaction DesignWoolley, Elise M. 27 September 2010 (has links)
No description available.
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A Bidirectional Pipeline for Semantic Interaction in Visual AnalyticsBinford, Adam Quarles 21 September 2016 (has links)
Semantic interaction in visual data analytics allows users to indirectly adjust model parameters by directly manipulating the output of the models. This is accomplished using an underlying bidirectional pipeline that first uses statistical models to visualize the raw data. When a user interacts with the visualization, the interaction is interpreted into updates in the model parameters automatically, giving the users immediate feedback on each interaction. These interpreted interactions eliminate the need for a deep understanding of the underlying statistical models. However, the development of such tools is necessarily complex due to their interactive nature. Furthermore, each tool defines its own unique pipeline to suit its needs, which leads to difficulty experimenting with different types of data, models, interaction techniques, and visual encodings. To address this issue, we present a flexible multi-model bidirectional pipeline for prototyping visual analytics tools that rely on semantic interaction. The pipeline has plug-and-play functionality, enabling quick alterations to the type of data being visualized, how models transform the data, and interaction methods. In so doing, the pipeline enforces a separation between the data pipeline and the visualization, preventing the two from becoming codependent. To show the flexibility of the pipeline, we demonstrate a new visual analytics tool and several distinct variations, each of which were quickly and easily implemented with slight changes to the pipeline or client. / Master of Science
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Designing for Reflection: Utilizing slow technology to create tangible interactive designs for reducing technostressBehzad Behbahani, Armaghan 12 November 2019 (has links)
Technostress is an emerging and significant psychological phenomenon associated with the use of technology. It impacts human behavior and distracts from living a healthy and meaningful life. As humans increasingly encounter computational technology on a daily basis, there is a need to understand and manage the anxieties and tensions that can result from these interactions. Using the lens of critical design, this thesis explores this concept of technology induced stress and promotes reflection, personal growth and awareness through three different design research methods. It further builds on the topic of slow technology which unfolds in the form of a design fiction, design probe and design artifacts, challenging our understanding of technostress while embracing constructive discussions and creative designs to speculate the human-technology relationship. / Master of Fine Arts
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Perpetual perspectives : on designing for aesthetic engagement / Oändliga perspektiv : att designa för estetiskt engagemangPeeters, Jeroen January 2017 (has links)
This dissertation investigates aesthetics of engagement in -interaction. Aesthetic refers to the aesthetic experience, based on a phenomenological and pragmatist understanding: dynamic and personal, appealing mutually to - and formed inseparably by - our bodily, emotional, as well as intellectual faculties. Engagement signifies this experience as forming a deeply involved relationship between people and an artefact in interaction. The theoretical background upon which this work is based, asserts that we perceive the world in terms of how we can act in it. Action, through the body, is how we make sense of the world around us. To be congruent with these foundations and the topic at hand means that the research program was investigated through a constructive design research process. The research program anchors and outlines the goal of this investigation: to contribute shareable knowledge of how to design for aesthetic engagement in interaction by leveraging a first-person -perspective. The findings of this research form two contributions to the overlapping fields of Human-Computer Interaction and (Interaction) Design Research. The main contribution is methodological and is concerned with generating knowledge through design. The methodological structure of this dissertation builds on a programmatic approach that centres on the first-person perspective of the designer, who learns from experience by reflecting on design action. Such an approach is fundamental to the design tradition, but its dependency on subjectivity is also a source of epistemological conflict since design, as mode of inquiry, matures and comes in contact with more established disciplines that have their own academic traditions. For design research, to develop its own intellectual culture, alternative and bidirectional relationships between theory and practice need to be further shaped, articulated, and debated in the field. This dissertation contributes to this discussion around designerly ways of knowing by exposing how skillful coping and intuition, through mechanisms of reflection-on-action, generate a multitude of perspectives on a complex design space. These perspectives reveal parts of the complexity of designing for aesthetic engagement, while leaving it intact. Exposing and consolidating the first-person (design) knowledge embedded in these perspectives allows this knowledge to be articulated as a shareable academic knowledge contribution. This shareable knowledge forms the second contribution of this dissertation. Reflections on the process and results of eight constructive design research projects describe a design space around aesthetic engagement. Individual reflections are consolidated into themes that describe how a design may elicit aesthetic engagement in interaction. These themes are experiential qualities: conceptual values that can be leveraged for a design to appeal to both mind and body in ways that are rich, open-ended and ambiguous. The findings propose strategies for interactions with digital technologies to open up the complexity of relations in the world between artefacts and people. Designing for aesthetics of engagement proposes ways to respect people’ skills in making sense of the complexity of the lived world. In respecting the uniqueness of their body and the subjectivity of their experiences, to design for aesthetic engagement is to support the expression of personal points of view in interaction. This points to ways in which designers can open up interactions with digital technologies to be more beautiful, respectful, and liveable, as it touches what makes us human: our personal being in the world.
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A design proposal for reducing online consumption and providing knowledge about sustainability using critical design and a user-centric design approachMuftic, Amina January 2018 (has links)
Overconsumption is one of the reasons why our natural resources are running out faster thanever. However, the word overconsumption can be interpreted in different ways. Thus, it thecore meaning is, the excessive consumption of redundant belongings. The purpose of thisthesis is to research how people consume today, and what can be done to reduce thoseneedless purchases. It will specifically focus on the clothes since that is one of the things thatnot only affects the environment but it can be ethically immoral for the people whomanufacture the clothes.Through research and findings, a prototype will be created in order to study if that can be asolution for people’s excessive consumptions. It will investigate if a digital interactivesolution can impact people to consume less or at least make them rethink about sustainableand ethically made items.
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SwapnSave - A design proposal for collectively reducing carbon emissionsArnold, Kristina January 2020 (has links)
This thesis contributes to Sustainable Interaction Design by exploring how an eco-feedback enriched design proposal may engage people to collectively reduce carbon emissions. Taking a participatory design approach, the project identified fashion consumption as an area of opportunity towards this aim and proposes a design concept as an alternative to resource and emission-intense consumption by engaging swapping and renting of fashion. Challenges found in field research with regard to re-using fashion were problematised, namely quality, trust and fairness. The project aimed to address these challenges by conceptualizing an engaging user experience that creates a community between people to share fashion with each other. Values and unique qualities of fashion were investigated as well as how visualizing the environmental impact of such activity affects user engagement. User testing suggests that such eco-feedback positively impacts engagement with the proposed concept.
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Speculating with the body: Imagining designs for women’s embodied empowerment within the practice of feminist self-defenseNikolovska, Bojana January 2024 (has links)
Feminist self-defense is a form of victim prevention training with a plethora of positive physical, mental, and social outcomes. In Human-Computer Interaction (HCI) self-defense is still a relatively under-researched topic. As such, inspired by HCI’s recent interest in feminist causes and corporeal practices, the goal of the study is to explore how embodied interaction design can empower beginner self-defense practitioners. To do so, the study was conducted via two methods: semi-structured interviews with students and teachers, and a participatory speculative design workshop with novice practitioners. This resulted in several speculative design concepts based on the use of felt experiences as a design resource. The concepts demonstrate how design can be used as a vehicle for imagining feminist technology that challenges gender norms and plays the role of scaffolding for cultivating embodied empowerment.
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Preparing Spatial Haptics for Interaction Design / Att förbereda 3D-Haptik för interaktionsdesignForsslund, Jonas January 2016 (has links)
Spatial haptics is a fascinating technology with which users can explore and modify3D computer graphics objects with the sense of touch, but its application potentialis often misunderstood. For a large group of application designers it is still unknown,and those who are aware of it often have either too high expectations of what is technicallyachievable or believe it is too complicated to consider at all. In addition, spatialhaptics is in its current form ill-suited to interaction design. This is partly because theproperties and use qualities cannot be experienced in an application prototype until asystem is fully implemented, which takes too much effort to be practical in most designsettings. In order to find a good match between a solution and a framing of aproblem, the designer needs to be able to mould/shape/form the technology into a solution,but also to re-frame the problem and question initial conceptual designs as shelearns more about what the technology affords. Both of these activities require a goodunderstanding of the design opportunities of this technology. In this thesis I present a new way of working with spatial haptic interaction design.Studying the serially linked mechanism from a well-known haptic device, and a forcereflectingcarving algorithm in particular, I show how to turn these technologies froman esoteric engineering form into a form ready for interaction design. The work isgrounded in a real application: an oral surgery simulator named Kobra that has beendeveloped over the course of seven years within our research group. Its design hasgone through an evolutionary process with iterative design and hundreds of encounterswith the audience; surgeon-teachers as users and potential customers. Some ideas, e.g.gestalting authentic patient cases, have as a result received increased attention by thedesign team, while other ideas, e.g. automatic assessment, have faded away. Simulation is an idea that leads to ideals of realism; that e.g. simulated instrumentsshould behave as in reality, e.g. a simulated dental instrument for prying teeth is expectedto behave according to the laws of physics and give force and torque feedback.If it does not, it is a bad simulation. In the present work it is shown how some of therealism ideal is unnecessary for creating meaningful learning applications and can actuallyeven be counter-productive, since it may limit the exploration of creative designsolutions. This result is a shift in perspective from working towards constantly improvingtechnological components, to finding and making use of the qualities of modern,but not necessarily absolute cutting-edge, haptic technology. To be able to work creatively with a haptic system as a design resource we needto learn its material qualities and how - through changing essential properties - meaningfulexperiential qualities can be modulated and tuned. This requires novel tools andworkflows that enable designers to explore the creative design space, create interactionsketches and tune the design to cater for the user experience. In essence, this thesisshows how one instance of spatial haptics can be turned from an esoteric technologyinto a design material, and how that can be used, and formed, with novel tools throughthe interaction design of a purposeful product in the domain of dental education. / 3D-haptik är en fascinerande teknologi med vilken användare kan utforska ochmodifiera tredimensionella datorgrafik-objekt med känseln, men dess användningspotentialär ofta missförstådd. För flertalet applikationsutvecklare är tekniken fortfarandetill stor del okänd, och de som känner till den har antingen alltför höga förväntingarav vad som är tekniskt möjligt, eller uppfattar 3D-haptik som alltför komplicerat föratt vara ett gångbart alternativ. Dessutom är 3D-haptik i sin nuvarande form tämligenomoget för interaktionsdesign. Detta beror till stor del på att en applikationsprototypsegenskaper och användarkvaliteter inte kan upplevas innan ett system är implementerati sin helhet, vilket kräver alltför stora utvecklingsresurser för att vara praktisktförsvarbart i de flesta designsituationer. För att uppnå en bra matchning mellan ett användarbehovi en viss situation och en potentiell lösning behöver en designer kunna åena sidan formge och finjustera tekniken, och å andra sidan vara öppen för att ifrågasättaoch ändra problemformulering och konceptdesign när hen lär sig mer om vilkamöjligheter tekniken erbjuder. Båda dessa aktiviteter kräver en god förståelse för vilkadesignmöjligheter som en viss teknik, eller material, erbjuder. I den här avhandlingen presenterar jag ett nytt sätt att arbeta med interaktionsdesignför 3D-haptik. Genom att studera i synnerhet den seriellt länkade mekanismen somåterfinns i en vanligt förekommande typ av 3D-haptikenhet, och en kraftåterkopplandeskärande/borrande algoritm visar jag hur man kan omvandla dessa teknologier från attvara en svårtillgänglig ingengörskonst till en form som är mer redo för interaktionsdesign.Denna förberedelse resulterar i ett slags designmaterial, samt de verktyg ochprocesser som har visat sig nödvändiga för att effektivt kunna arbeta med materialet.Forskningen är grundad i en verklig tillämpning: en simulator för käkkirurgi vidnamn Kobra, som har utvecklas under sju år inom vår forskargrupp. Kobras utformninghar genomgått en evolutionär utvecklingsprocess med iterativ design och hundratalsmöten med målgruppen; lärarpraktiserande käkkirurger och studenter som användareoch potentiella kunder. Därvid har några designidéer, t.ex. gestaltning av patientfall, avdesignteamet fått utökad uppmärksamhet medan andra idéer, t.ex. automatisk gradering,har tonats ned. Simulering är i sig självt en idé som ofta leder till ett ideal av realism; till exempelatt simulerade instrument ska uppföra sig som i verkligheten, det vill säga ett simulerattandläkarinstrument för att hävla (bända) tänder förväntas följa fysikens lagar och geåterkoppling i form av av både kraft och vridmoment. Om detta inte uppfylls betraktassimuleringen som undermålig. I det aktuella arbetet visas hur delar av realism-idealetinte är nödvändigt för att skapa meningsfulla lärandeapplikationer, och att det till ochmed kan vara kontraproduktivt eftersom det begränsar utforskande av kreativa designlösningar.Ifrågasättandet av realsimidealet resulterar i ett perspektivskifte vad gällersimulatorutveckling generellt, från att ensidigt fokusera på vidareutveckling av enskildatekniska komponenter, till att identifiera och dra nytta av kvaliteterna som redanerbjuds i modern haptisk teknik. För att kunna arbeta kreativt med ett haptiksystem som en designresurs behöver vilära känna dess materialkvaliteter och hur, genom att ändra grundläggande parametrar,meningsfulla upplevelsekvaliteter kan moduleras och finjusteras. Detta kräver i sin turnyskapande av verktyg och arbetsflöden som möjliggör utforskande av det kreativadesignrummet, skapande av interaktionssketcher och finjustering av gestaltningen föratt tillgodose användarupplevelsen. I grund och botten visar denna avhandling hur en specifik 3D-haptik-teknologi kanomvandlas från att vara en svårtillgänglig teknologi till att vara ett designmaterial, ochhur det kan användas, och formas, med nyskapande verktyg genom interaktionsdesignav en nyttoprodukt inom tandläkarutbildning / <p>QC 20160309</p>
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Keep on Tracking : Understanding the long term use of personal informatics systemsBalaskas, Andreas January 2016 (has links)
Personal Informatics (PI) systems common trending theme is fitness, which in turn is a trending theme in human-computer interaction. These systems have been the focus of a handful of studies. So far, the research that has been conducted merely focuses on the technical details of such services and few investigate the longitudinal use of PI systems. Even though fitness is a popular area, still personal informatics systems designed for this purpose suffer from short-term use. Therefore, there is a need to design systems that encourages users for prolong use. The prolonged use of digital artifacts is an issue of sustainable interaction design. The purpose of this thesis is to explore the design space of personal informatics fitness systems through the lens of sustainable interaction design. This thesis aims at investigating motives and intentions behind the longitudinal use of personal informatics fitness systems. This thesis argues that by adopting the lens of sustainable interaction design we can find ways of designing PI systems with prolonged use for the users. Based on the findings the thesis ends by suggesting a guideline for designing personal informatics fitness systems which will hopefully help interaction designers and researchers alike.
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Rum för handling. Kollaborativt berättande i digitala medier / Space for action. Collaborative narrative in digital mediaGislén, Ylva January 2003 (has links)
Avhandlingen fokuserar på kollaborativt berättande i digitala medier, och tar avstamp i relativt detaljerade beskrivningar av de designprojekt som utgör avhandlingsarbetets ryggrad. Kännetecknande för dessa designprojekt är att de kombinerar fysiska och virtuella rum och/eller flera medieplattformar. Utifrån kritiska läsningar av designval och bruk av de koncept och prototyper som designprojekten utmynnat i presenteras argument för föreslagna "sätt att se" på design av berättande i digitala medier och centrala kvaliteter i miljöer för kollaborativt berättande. Grundläggande är att se berättande som en överenskommelse, som måste springa ur den berättarsituation, den fysiska och sociala verklighet, som utgör en oavvislig del av allt berättande. Denna överenskommelse upprättar ett "rum" för att undersöka och värdera möjlig mänsklig handling, ett rum vars estetiska egenskaper inte kan skiljas från de etiska och politiska frågeställningar som sätts i rörelse av allt berättande. Utifrån detta grundläggande synsätt diskuteras frågan om utformandet av handlingsutrymme i relation till interaktivitet i digitala medier, begrepp som roll, karaktär, samarbete och konflikt samt rytm, poesi och mångtydighet. Argumenten och resonemangen grundas, utöver i den kritiska läsningen av designprojekten, också i en bredare översikt av narrativitetsbegreppets utveckling inom human- och samhällsvetenskaperna de senaste två decennierna samt i en diskussion av teorier, synsätt och vanliga grundantaganden kring berättande i digitala media. Utrymme i avhandlingen ges också åt en kunskapsteoretisk diskussion kring frågan om design som forskning, främst ur ett perspektiv grundat i STS-fältet men också i relation till förda resonemang ifråga om praxisbaserad forskning i allmänhet och designforskning och designteori i synnerhet.
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