Interactive tabletop systems are becoming popular platforms for group activities. However, current common tabletops do not provide capabilities to differentiate interactions among simultaneous users, i.e. to associate a touch point with its proper owner. My thesis proposes and explores the use of an important biometric property of users as the basis for touch discrimination on multi-user tabletops: Finger Orientation (FO). In this thesis, I first collect the FO ranges of users standing in different positions around a tabletop. Second, I implement a system that uses FO to determine where the users are standing, and based on that extrapolate the owner of the touch. Next, I evaluate the system with two separate experiments, present the results, and discuss all findings. Furthermore, I explore some enhancements with a simple quantitative study. My results indicate that finger orientation is a good natural biometric trait enhances multi-user recognition on tabletops.

Protection of personal information has become a critical issue in the digital world. Many companies and service provider websites have adopted privacy policies and practices to protect users’ personal information to some extent. In addition, various governments are adopting privacy protection legislation. System developers, service providers, and interface designers play an important role in determining how to make systems fulfill legal requirements and satisfy users. The human factor requirements for effective privacy interface design can be categorized into four groups: (1) comprehension, (2) consciousness, (3) control, and (4) consent (Patrick & Kenny, 2003). Moreover, the type of technology that people are engaged with has a crucial role in determining what type of practices should be adopted. As Weiser (1996) envisioned, we are now in an “ubiquitous computing” (Ubicomp) era in which technologies such as digital tabletops (what Weiser called LiveBoards) are emerging for use in public settings. The collaborative and open nature of this type of smart device introduces new privacy threats that have not yet been thoroughly investigated and as a result have not been addressed in companies’ and governmental privacy statements and legislation. In this thesis, I provide an analytical description of the privacy threats unique to tabletop display environments. I then present several design suggestions for a tabletop display interface that addresses and mitigates these threats, followed by a qualitative evaluation of these designs based on Patrick and Kenny’s (2003) model. Results show that most participants have often experienced being shoulder-surfed or had privacy issues when sharing information with someone in a collaborative environment. Therefore, they found most of the techniques designed in this thesis helpful in providing information privacy for them when they are engaged with online social activities on digital tabletops in public settings. Among all of the proposed tested designs, the first three have proven to be effective in providing the required privacy. However, designs 4 and 5 had some shortfalls that made them less helpful for participants. The main problem with these two designs was that participants had difficulty understanding what they had to do in order to complete the given tasks.

This study presents the concept of the pedagogy of the game-master. Written from a bricolage of autoethnographic perspectives, a fractured narrative was (de)composed out of the author’s dual experiences as educator and game-master of fantasy tabletop-role-playing games. The narrative seeks to evoke the blurred boundaries of what it means to occupy each role, dwelling between fantasies, (teaching) realities, and player/person/persona identities (Waskul & Lust, 2004), constructing and remaining in the middle of a bridged pedagogy which spans education and tabletop role-playing. From the narrative, the latter section of this manuscript presents a discussion of how the liminal duties of the game-master might help draw educators to and beyond the boundaries of what is possible in education.

Les recherches menées par le travail de thèse visent à proposer une nouvelle architecture multi-agent pour la conception d’applications sur de nouvelles plateformes de communication telles que les tables interactives. Les systèmes Multi-Agents sont utilisés depuis de nombreuses années et peuvent répondre aux problématiques de telles plateformes. Dans notre contexte, nous avons défini les interactions et les comportements d’agents hétérogènes (virtuels et tangibles), qui évoluent simultanément sur une même surface interactive.Nous avons défini une typologie des agents, utilisés dans le cadre de plateformes interactives, en fonction d’un ensemble de critères permettant d’analyser les caractéristiques logicielles et technologiques (système de capture, affichage, etc.) employées sur ces nouveaux supports. Nous proposons de modéliser les comportements élémentaires nécessaires à la description du problème (interactions éventuelles de plusieurs utilisateurs, utilisation d’objets, visualisation de l’environnement et des agents simulés, traitement des messageséchangés, etc.), lesquels sont représentés par des rôles joués simultanément par un ou plusieurs agents selon un ensemble de prérequis. La réflexion proposée a conduit à la construction d’une architecture multi-agent, laquelle a été appliquée sur la table interactive TangiSense (intégrant une technologie RFID). Nous illustrons et nous validons notre propos à l’aide d’une application, un simulateur de trafic routier. / Research done in this thesis aims to propose a new multiagent architecture to design applications for the new communication platforms like the interactive tables. Multiagent systems are used for many years and can respond to the challenges of such platforms. The motivation of our work is to manage the interactions and the behavior of several heterogeneous entities (virtual and tangible) evolving simultaneously on a single interactive surface. We caracterized the agents typology and their interactions for interactive platforms.We consider a set of criteria to analyze software and technological (e.g. capture system, display, etc.) characteristics used on these new platforms. We proposed to modelize basic behaviors needed to describe the problem (potential interactions between multiple users, tangible objects use, visualization of the environment and simulated agents, treatment of exchanged messages, etc.), which are represented by roles played simultaneously by one or several agents according to a set of prerequisites. With these elements, we propose to apply our multiagent architecture on the interactive table TangiSense (equipped with RFID technology). We illustrate and validate our purpose with an application, a traffic simulator.

Detta är en studie om hur mening tillskrivs till karaktärsblad i tabletop-rollspelet Pathfinder.Syftet med studien är att se hur spelare av Pathfinder tillskriver mening till sina karaktärsbladsamt förhåller sig till dessa karaktärers fiktiva kroppar genom spelandet av dem. Genomdeltagande observationer och intervjuer med gruppen av spelare formas materialet som dennastudie baserats på. Med interaktionism från Erving Goffman och kroppslig fenomenologi somtar insperation från Maurice Merleau-Ponty och Sara Ahmed analyseras hur denna meningsom spelarna skapar tillskrivs till karaktärsbladet. Genom kapitlen får man en inblick i hurspelarna från början bygger upp sin karaktär och genom spelandet av den formar en relationoch tillskriver mening till denna.

Though tabletop role-playing games, or TRPGs, have received some scholarly attention since the creation of Dungeons and Dragons in the 1970s, very few scholars have considered how TRPGs function as a vehicle for long-form narrative. As an inherently collaborative form of narrative, the TRPG demonstrates a unique relationship between author and audience, as participants take on both roles during play. Previous narratological models of author-audience interaction are insufficient to understand the way that authorship functions in the TRPG, and the rise of actual play shows, where TRPGs are broadcast for an audience of nonparticipants, adds an extra layer of complexity to these author-audience relations. This thesis identifies key narrative elements of the TRPG, including game mechanics, framing, and collaboration, and examines how popular actual play shows and their graphic adaptations engage with these elements to create their narratives. This examination indicates that TRPGs create complex author-webs where each participant is both author and audience, and this influence pushes actual play shows and further adaptations of TRPG narratives to expand the ways in which audiences can influence and interact with narratives as they are created. The TRPG genre continues to explore how these elements can be developed beyond traditional understandings of narrative, and this development provides a framework for further narratological study of interactive works, which will only continue to evolve and grow in popularity and complexity in the continuing digital era. / Master of Arts / The tabletop role-playing game, or TRPG, has been growing in popularity since the creation of Dungeons and Dragons in the 1970s, and the rise of the actual play show, where a TRPG game is broadcast to viewers via video or podcast, has spurred both casual and scholarly interest in the TRPG. Players of TRPGs create narratives through collaborative storytelling moderated by certain rules and game mechanics, so each participant in a TRPG acts as both author and audience, as they create certain elements of the narrative and also witness the narrative creations of the other players. This particular collaborative author-audience model is not seen in any other form of narrative, and existing models of author-audience interactions do not account for authorship in the TRPG. Therefore, this thesis examines how several elements of the TRPG, such as the use of game mechanics to structure the narrative, the multiple frames in which players interact with each other, and the collaboration inherent in every game, contribute to the ways that authorship and audience interact in the narrative. It also looks at how popular actual play shows and the graphic novels they've created of their narratives engage with these elements to create their own unique audience interactions. As audience participation in the development of the stories they're consuming become more prominent with the rise of video games and other interactive media, an understanding of the evolving relationship between authorship and audience developed by the TRPG becomes important for examining interactive works in general.

In this thesis, we are interested in the use of tabletop surfaces for interactive manipulations. We focus on the implementation of Image Processing algorithms and techniques in two projects exploiting a horizontal surface: "Tangram Project" and "MirrorTrack". The "Tangram Project" studies children's mathematical skills when manipulating geometrical shapes. This project is supported by NFS (NSF 0736151) based on the proposal "Social Organization, Learning Technologies & Discourse: System Features for Facilitating Mathematical Reasoning in PreK-3 Students" by M. Evans, F. Quek, R. Ehrich and J. Wilkins. Our contribution is the design and realization of visio-based tracking software that could be used in a classroom. Our implementation offers three modes of interaction making it easier to study the children's behaviors in specific situations and constraints. The "MirrorTrack Project" is an idea described in previous research [P.-K. Chung et al,2008a] [P.-K. Chung et al,2008b] using a horizontal surface with two side-mounted cameras to track fingertips. Our contribution to the "MirrorTrack Project" is the design and realization of video-based interaction software. "MirrorTrack Project" provides an improvement to one of the Tangram modes (the Virtual mode) by providing real 3D fingertip location above the surface. Among other functionalities, it provides hovering and touch detection [Y. Verdie et al, 2009]. We conclude by describing the possibility of merging those two systems and by highlighting the benefits of such a fusion. Integrating "MirrorTrack" with the "Tangram project" provides even more interaction opportunities for the children. / Master of Science

This paper shows the difference in User Experience between Physical and Digital tabletop games. The goal of the project is to get an understanding of how and why playing tabletop games differentiates depending on the platform. Seven tabletop games have been chosen from different genres with an official digital adaptation. We’ve measured four key factors, Usability, Aesthetics, Social Connectivity and Engagement. The key factors have been used to gather User Experience metrics that were used to compare the digital and physical versions of the tabletop games. The result from this thesis is that physical tabletop games have a higher rating than the digital versions in all key factors except in usability where the differences were miniscule. Games that rely on imperfect information offer a much higher social connectivity and engagement when it’s played around a table. Games relying on tile-placement offers a higher usability and engagement when played digitally due to the assistance provided by the game. Physical tabletop games are the preferred option of the two but the accessibility of the digital versions makes them remain relevant.

Common thought about cinema calls to mind an audience seated in a darkened theatre watching projected moving images that unfold a narrative onto a single screen. Cinema is much more than this. There is a significant history of artists experimenting with the moving image outside of its familiar setting in a movie theatre. These investigations are often referred to as "expanded cinema". This dissertation proposes a genre of expanded cinema called haptic cinema, an approach to interactive narrative that emphasizes material object sensing, identification and management; viewer's interaction with material objects; multisequential narrative; and the presentation of visual and audio information through multiple displays to create a sensorially rich experience for viewers. The interactive digital media tabletop is identified as one platform on which to develop haptic cinema. This platform supports a subgenre of haptic cinema called tabletop cinema. Expanded cinema practices are analyzed for their contributions to haptic cinema. Based on this theoretical and artistic research, the thesis claims that haptic cinema contributes to the historical development of expanded cinema and interactive cinema practices. I have identified the core properties of a haptic cinema practice during the process of designing, developing and testing a series of haptic cinema projects. These projects build on and make use of methods and conventions from tangible interfaces, tangible narratives and tabletop computing.

Este trabalho apresenta um estudo na área de mesas interativas e uso de gestos como forma de entrada. Primeiramente é analisado um conjunto representativo de métodos de elicitação existentes que geram um vocabulário de gestos para aplicações de superfícies multitoque, como mesas interativas. Algumas das características analisadas são: custos, clareza de informações e se avalia o vocabulário final criado. São obtidos, assim, os pontos positivos e negativos dos métodos. Em seguida, as informações obtidas na análise feita, juntamente com outras informações e definições na área, permitiram a criação de um metamétodo. Esse metamétodo pode ser utilizado como base para criação de métodos, pois define desde a escolha de quais usuários utilizar nos testes até o desenvolvimento da aplicação utilizando o vocabulário de gestos criado. / This work details a study in the area of interactive tables and the use of gestures as input. First, a representative set of elicitation methods that create a vocabulary of gestures for multitouch surface application, such as interactive tables, are analyzed. Some of the characteristics analyzed are: costs, clarity of informations and whether the final vocabulary of gestures is evaluated afterwards. This way the pros and cons of the methods are established. The insights obtained in the analysis, along with other information and definitions on the area, allowed the creation of a metamethod. This metamethod can be used as a basis for creating other methods, since it defines all the steps required, from the selection of users for the test to the development of the application that will use the vocabulary of gestures created.