Despite advances made in modern electronic devices, their use by older people is significantly lower than for younger people. They experience difficulties using devices due to a combination of physical, cognitive and ‘generational’ differences. Many studies try to adapt devices to make them more usable, but they do not consider how older people feel in terms of attitudes towards technology or their existing habits. Seven participants were interviewed about their current use of technology, as well as their attitudes to modern technology, and a personal inventory was created for each participant. The interviews generated themes relating to how participants feel that technology is not made for them, barriers to their use, and generational differences as well as arguments against modern technology use and perceived negative aspects of technology. Some design considerations were created and illustrated using features from the most commonly used devices that suited the interviewees’ attitudes, behaviours and opinions.

隨著資訊科技的蓬勃發展，為生活與休閒娛樂帶來許多變革與創新，以真人實境闖關遊戲來說，單純應用實體道具的互動體驗已經無法滿足參加者。因此，遊戲設計者逐漸開始研發各種裝置，以尋求更新奇有趣的效果，使得這類體驗性質的實境遊戲蘊含大量的實驗與創新元素。 本研究首先歸納現有實境遊戲案例的重點特徵，將之概念化並進行編碼，在文獻回顧的部分，進一步探討沉浸體驗的定義、特色與價值。接著規劃並實作一個「結合互動裝置的實境遊戲」，在遊戲中加入數位技術、互動裝置及感測器，提供參加者別於日常生活的感受，讓他們完成遊戲後，就像親身經歷過一場有趣的冒險。 本創作共招募二十七位參加者進行遊戲體驗，透過問卷與訪談蒐集反饋。在創作的過程中發現，有意義的互動發生在故事內容、實體物件及互動觸發三者緊密扣合的當下，而加入數位整合實體的互動裝置，帶來相當程度的沉浸與投入效果，雖然在若干細節方面，仍有改進的空間，但我們相信此創作提供了互動科技應用的新方向，作為後續研究可參考的實際案例，進一步發展更多元的實境遊戲體驗。 / With recent advances in digital technology, more and more innovations in entertainment are occurring. In reality games, the installation of simple physical devices is no longer able to satisfy the participants. To make the games more interesting and playful, game designers are developing novel content and interaction by incorporating latest technological elements. In this thesis, we summarize the key concepts in the design of existing reality games and organize these cases into different codes, which are later employed to guide the design of our reality game. In the literature review, we select flow theory as the primary related work. We clarify the definition, features and value of this theory, as well as its connection to our design philosophy. We then plan and implement the ‘Revenge of the BEAR’ project: a reality game that incorporates digital technology, interactive devices and sensors. This reality game aims to provide the participants with astounding experiences distant from their daily life. Upon completion of the missions outlined in the game, the player will feel that they have just engaged in an interesting adventure. Twenty-seven participants were recruited to take part in this reality game. Through questionnaires and interviews, we obtain constructive feedbacks that help us understand the attractions and limitations of this game. The results indicate that meaningful interaction occurs while the story, the interactive objects and the trigger are cohesively linked. Besides, new digital technologies help to improve immersive experiences. Although there are some design details that remain to be attended to, we believe that this study provides a new direction for the applications of interactive technology in the design of future reality games.

This paper deals with the phenomena of spatial visualization and interaction of different ways. Thesis definition of interactivity and individual specifications of different technologies. In this work the terms empirically verified. Practical part is trying to find specifics requirements for interaction in different types of spatial visualization.

[ES] Esta investigación plantea interrogantes especulativos acerca de la posibilidad de crear un entorno que fomente la liberación de la atención en lugar de atraparla. Y explora de qué manera los dispositivos pueden desempeñar un papel en esta búsqueda. Para abordar estas interrogantes, vincula las prácticas materiales del arte contemporáneo con la emergente preocupación por la materialidad y por la gestión de la atención en el ámbito del diseño de interacción. De ese modo, esta investigación propone dos hipótesis. Primero, que el emergente «giro material» en el diseño de interacción ¿enfocado como está a la materialidad de las interacciones¿ ofrece una oportunidad para estudiar y liberar la atención. Segundo, que, mirando los objetos artísticos contemporáneos como dispositivos interactivos, descubriremos materialidades y prácticas materiales que tienen el potencial de liberar la atención. Para alcanzar estos objetivos, esta investigación combina teorías de los estudios de diseño con métodos provenientes de la sociosemiótica. Selecciona tres objetos artísticos contemporáneos: The Weather Project (2003) por Olafur Eliasson, Plexus (2022) por Camille Norment, y Pollinator Pathmaker (2021) por Alexandra Daisy Ginsberg. Los cuales se convierten en objeto de un análisis discursivo comparativo, que observa siete dimensiones: relacional, organizativa, sensorial, formal, interactiva, de uso y de calma. Esta investigación concluye identificando recurrencias discursivas y materiales entre los casos de estudio. Proporcionando así una base para futuras investigaciones en la intersección entre el diseño de interacción y las artes contemporáneas. Este enfoque busca enriquecer el repertorio técnico y referencial de los diseñadores de interacción. Así como promover la creación de dispositivos que gestionen la atención humana de una manera más liberadora. / [CA] Aquesta investigació planteja interrogants especulatius sobre la possibilitat de crear un entorn que fomente l'alliberament de l'atenció en lloc d'atrapar-la. I explora de quina manera els dispositius poden exercir un paper en aquesta cerca. Per a abordar aquestes interrogants, vincula les pràctiques materials de l'art contemporani amb la preocupació emergent per la materialitat i per la gestió de l'atenció en l'àmbit del disseny d'interacció. D'aquesta manera, aquesta recerca proposa dues hipòtesis. Primer, que l'emergent «gir material» en el disseny d'interacció ¿enfocat com està a la materialitat de les interaccions¿ ofereix una oportunitat per a estudiar i alliberar l'atenció. Segon, que, mirant els objectes artístics contemporanis com a dispositius interactius, descobrirem materialitats i pràctiques materials que tenen el potencial d'alliberar l'atenció. Per a aconseguir aquests objectius, aquesta investigació combina teories dels estudis de disseny amb mètodes provinents de la sociosemiòtica. Selecciona tres objectes artístics contemporanis: The Weather Project (2003), d'Olafur Eliasson; Plexus (2022), de Camille Norment, i Pollinator Pathmaker (2021), d'Alexandra Daisy Ginsberg, que es converteixen en objecte d'una anàlisi discursiva comparativa que observa set dimensions: relacional, organitzativa, sensorial, formal, interactiva, d'ús i de calma. Aquesta recerca conclou identificant recurrències discursives i materials entre els casos d'estudi. Proporciona així una base per a futures investigacions en la intersecció entre el disseny d'interacció i les arts contemporànies. Aquest enfocament busca enriquir el repertori tècnic i referencial dels personal dissenyador d'interacció, així com promoure la creació de dispositius que gestionen l'atenció humana d'una manera més alliberadora. / [EN] This research raises speculative questions about the possibility of creating an environment that promotes the liberation of attention rather than capturing it. It explores how devices can play a role in this pursuit. To address these questions, it establishes connections between the material practices of contemporary art and the emerging concerns regarding materiality and attention management in interaction design. Thus, this research proposes two hypotheses. First, the emerging "material turn" in interaction design, focused on the materiality of interactions, offers an opportunity to study attention and set it free. Secondly, by viewing contemporary artistic objects as interactive devices, we can discover materialities and material practices with the potential to liberate attention. To achieve these objectives, this research combines design study theories with sociosemiotic methods. It selects three contemporary artistic objects: The Weather Project (2003) by Olafur Eliasson, Plexus (2022) by Camille Norment, and Pollinator Pathmaker (2021) by Alexandra Daisy Ginsberg. These objects become the subject of a comparative discursive analysis, observing seven dimensions: relational, organizational, sensory, formal, interactive, usage-related, and calm-related. This research concludes by identifying discursive and material recurrences among the case studies, providing a foundation for future investigations at the intersection of interaction design and contemporary arts. This approach aims to enrich the technical and referential repertoire of interaction designers and promote the creation of devices that manage human attention in a more liberating manner. / Lingstuyl Araujo, A. (2024). Materialidades para liberar la atención. De las artes al diseño de interacción [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/203094