This thesis develops and presents a design methodology that enables designers to work with the moving body in the design and evaluation of interactive, immersive environments built on motion-sensing technologies. The notion of making strange, that underpins the methodology, calls for designers to re-examine and revitalise their assumptions and conceptions of the moving body through bodily-based movement inquiries. This thesis addresses research questions about ways of understanding human movement, of describing and representing human movement and of accessing the felt experience of the moving body in the emerging field of movement-based interaction design. The research questions were explored through a series of three distinct, yet related, projects, each one focusing on different aspects of designing for moving bodies in interactive, immersive environments. The first project analysed an existing interactive product, Sony Playstation2c EyetoyTM, as a prototype of future movement-based interactive, immersive environments. The second project involved the design and development of a specific interactive, immersive artwork, Bystander. The third project worked with trained dancers and physical performers in a constructed design situation. The contributions of this research are first and foremost the design methodology of Moving and Making Strange: a design approach to movement-based interaction that prioritises the lived experience of movement by both designers and users and values the creative potential of the experiential, moving body. It consists of methods and tools for exploring, experiencing, describing, representing and generating movement that enable designers to shift between the multiple perspectives of the mover, the observer and the machine. It makes particular contributions as follows: • Laban movement analysis and Labanotation as a design tool. • Moving-Sensing schema: Suchman’s analytic framework adapted as a design tool. • Extension of existing human-centred design tools to explicitly represent moving bodies, in the form of movement-oriented personas and movementoriented scenarios. • Patterns of watching: a catalogue of audience behaviour in terms of movements and stillness in relation to engagement with a specific interactive, immersive artwork. • New methods for generating, enacting and experiencing movement, sourced from dance and movement improvisation practices.

This thesis is concerned with temporal factors from the perspective of the interactive designer/interface designer and usability as a construct for guiding design activity. The research reported herein examines the many factors which emerge when considering the name of interaction at the user interface. Temporal Aspects of Usability (TAU) is presented as a multivariate construct. It is neither a property that exists 'in the head alone' not is it an aspect of the system but rather an emergent property arising from task based interactions. From a theoretical perspective, it is argued that the inclusion of temporal considerations to the task model more fully specifies 'Usability' as a design construct. A model of TAU is evolved and validated utilizing situated interviews with designers. This resulted in an Enhanced model of TAU. A method for developing temporally informed task models, KAT-LITTER (Leveraging Interactions Through Effective Responses), provides temporal design heuristics as the confluence of, KAT (Knowledge Analysis of Task) a task analysis method, and the enhanced TAU model. As a method, KAT-LITTER is device independent, data centered, domain specific and necessarily independent of existing implementations. A process evaluation of KAT-LITTER showed that it influenced the design process in two significant ways: firstly, designers using KAT-LITTER spent more time reasoning about temporal issues than designers using KAT alone, and secondly these same designers considered a broader spectrum of temporal issues. The development of TAU, its accompanying method, KAT-LITTER, complete with a notational system for analysis represent a significant step forward.

This thesis develops and presents a design methodology that enables designers to work with the moving body in the design and evaluation of interactive, immersive environments built on motion-sensing technologies. The notion of making strange, that underpins the methodology, calls for designers to re-examine and revitalise their assumptions and conceptions of the moving body through bodily-based movement inquiries. This thesis addresses research questions about ways of understanding human movement, of describing and representing human movement and of accessing the felt experience of the moving body in the emerging field of movement-based interaction design. The research questions were explored through a series of three distinct, yet related, projects, each one focusing on different aspects of designing for moving bodies in interactive, immersive environments. The first project analysed an existing interactive product, Sony Playstation2c EyetoyTM, as a prototype of future movement-based interactive, immersive environments. The second project involved the design and development of a specific interactive, immersive artwork, Bystander. The third project worked with trained dancers and physical performers in a constructed design situation. The contributions of this research are first and foremost the design methodology of Moving and Making Strange: a design approach to movement-based interaction that prioritises the lived experience of movement by both designers and users and values the creative potential of the experiential, moving body. It consists of methods and tools for exploring, experiencing, describing, representing and generating movement that enable designers to shift between the multiple perspectives of the mover, the observer and the machine. It makes particular contributions as follows: • Laban movement analysis and Labanotation as a design tool. • Moving-Sensing schema: Suchman’s analytic framework adapted as a design tool. • Extension of existing human-centred design tools to explicitly represent moving bodies, in the form of movement-oriented personas and movementoriented scenarios. • Patterns of watching: a catalogue of audience behaviour in terms of movements and stillness in relation to engagement with a specific interactive, immersive artwork. • New methods for generating, enacting and experiencing movement, sourced from dance and movement improvisation practices.

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A new version of a Computer Aided Teaching System, CATSY-3, was created in order to allow greater flexibility and efficiency than older versions of CATSY. In the implementation of CATSY-3, the menu was transferred from the screen to the data tablet. In the process, the control structure of CATSY was rewritten to allow complete freedom of movement from one menu option to any another.A keyboard input feature (KEYIN) is also included in CATSY-3 in order to allow a more rapid mode of menu selection and to allow the option of precision coordinate input. Additional menu options are included in CATSY-3, namely, COPY, MOVE, REFRESH_OBJECT, interactive COLOR change, automatic set-up for input devices, among others.The history and description of various electronic chalkboard` implementations are also presented in this thesis.

The general problem of application development of interactive GUI applications has been addressed by toolkits, libraries, user interface management systems, and more recently domain-specific application frameworks. However, the most sophisticated solution offered by frameworks still lacks a number of features which are addressed by this research: 1) limited functionality -- the framework does little to help the developer implement the application's functionality. 2) weak model of the application -- the framework does not incorporate a strong model of the overall architecture of the application program. 3) representation of control sequences is difficult to understand, edit, and reuse -- higher-level, direct-manipulation tools are needed. We address these problems with a new framework design called Oregon Speedcode Universe version 3.0 (OSU v3.0) which is shown, by demonstration, to overcome the limitations above: 1) functionality is provided by a rich set of built-in functions organized as a class hierarchy, 2) a strong model is provided by OSU v3.0 in the form of a modified MVC paradigm, and a Petri net based sequencing language which together form the architectural structure of all applications produced by OSU v3.0. 3) representation of control sequences is easily constructed within OSU v3.0 using a Petri net editor, and other direct manipulation tools built on top of the framework. In ddition: 1) applications developed in OSU v3.0 are partially portable because the framework can be moved to another platform, and applications are dependent on the class hierarchy of OSU v3.0 rather than the operating system of a particular platform, 2) the functionality of OSU v3.0 is extendable through addition of classes, subclassing, and overriding of existing methods. The main contribution of this research is in the design of an application framework that uses Petri nets as the computational model of data processing in the synthesized application. OSU v3.0 is the first framework to formalize sequencing, and to show that complex GUI applications can indeed be quickly and reliably produced from such a framework. / Graduation date: 1992

Thesis (M.Sc.)--York University, 2008. Graduate Programme in Computer Science. / Typescript. Includes bibliographical references (leaves 75-77). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR45953

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Most interaction with computers today takes place in a two dimensional environment. Even when using three dimensional graphics applications, input is often still restricted to two dimensions. Many believe that the use of three dimensional input devices will alleviate this restriction and allow for a much more natural human-machine dialog. This thesis seeks to establish how factors dealing with visual feedback and task structure affect the ability to perform interactive tasks in a three dimensional virtual environment. The factors investigated were stereoscopic vision, motion parallax, stimulus arrangement and stimulus complexity. Four tasks were studied. These tasks were: point location, docking, line tracing and curve tracing. All the tasks used a six degree of freedom input device to control a pointer in a three dimensional virtual environment. Four experiments corresponding to the four tasks were conducted to investigate these factors. Among other things the results showed the following. Stereoscopic vision provided a strong benefit to positioning-based tasks, but this benefit was weakened in the case of tracing tasks. Motion parallax via head-tracking often had no effect upon task performance and where an effect was found it was often detrimental. The position of stimuli influenced performance across all of the tasks. The orientation of stimuli influenced performance in the task in which it was varied.

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