http://www.we-make-money-not-art.com/archives/cat_augmented_reality.php
Challenges in Collaborative Game Design -Developing Learning Environments for Creating Games
http://ieeexplore.ieee.org/iel5/9721/30684/01419790.pdf?arnumber=1419790
Showing posts with label Notes. Show all posts
Showing posts with label Notes. Show all posts
Friday, August 24, 2007
Sunday, August 12, 2007
Assignment 01a Week 4 Presentation Scripts
Inspiration
Three primary cases that inspired our team for the Lullaby Project:-
Telegotchi
Telegotchi is a version of the popular children’s toy (Tamagotchi) with no buttons (below). In the long run the goal would be to rely on psionic communication alone to keep the little virtual creature happy.
Our Lullaby follows such ambiguity of relationship by developing a toy, which responds to the player's audio inputs and react via tangible, audio and visual outputs. Our project's focus is not to rely on traditional keyboard or mouse input; instead we aim for a far more ambiguous input system similar to the ones demonstrated in Telegotchi. At this initial stage of our project development, our primary input system would focus on vocalisations.
These two project concepts share the same personal interaction between the device and the player. Furthermore there are emotional as well as tangible attachments in both devices.
Weather Flower
This project is an impressionistic display of a virtual weather flower. Similar to how real world flowers feed on water and dirt, virtual flowers, on the other hand, feed on climate data from a real world location. The data received affects the physical appearance of the flower.
The soft aesthetics of these sorts of displays seem well-suited for domestic environments; perhaps less demanding than more precise information, but it permits a degree of ambiguity that might encourage imagination and speculation.
An important fact to note is that this weather flower project is only a non-interactive ambiguous visual display; our project Lullaby is similar but instead of being just an ambiguous visual display, we are creating a tangible media that is aimed to be interactive between the device and the player.
Worry Stone
Worry Stone is basically an electronic to-do list that uses its processing power to endlessly and visibly rehearse entries. By taking on the fretting of the user, the intention is that it should free time for less neurotic activities. This proposal takes an appropriate use of digital technologies to perform tasks that are onerous for humans.
Our Lullaby toy demonstrates such potential - not to offload a player's worries but to stimulate player's emotions and allowing them to externalize their emotions. For instance, the player could display their true emotions in front of the Lullaby toy and the toy would respond accordingly. The player would obtain feedback if their attitude was too strong or too emotional - then they would be able to readjust their emotions before they encounter another human being. This also helps the player to let out their anger when, for example, they have to enter an important meeting.
Three primary cases that inspired our team for the Lullaby Project:-
- William W. Gaver - Telegotchi
- Shep Korvin - Weather Flower
- Bill Gaver and Heather Martin - Worry Stone
Telegotchi
Telegotchi is a version of the popular children’s toy (Tamagotchi) with no buttons (below). In the long run the goal would be to rely on psionic communication alone to keep the little virtual creature happy.
Our Lullaby follows such ambiguity of relationship by developing a toy, which responds to the player's audio inputs and react via tangible, audio and visual outputs. Our project's focus is not to rely on traditional keyboard or mouse input; instead we aim for a far more ambiguous input system similar to the ones demonstrated in Telegotchi. At this initial stage of our project development, our primary input system would focus on vocalisations.
These two project concepts share the same personal interaction between the device and the player. Furthermore there are emotional as well as tangible attachments in both devices.
Weather Flower
This project is an impressionistic display of a virtual weather flower. Similar to how real world flowers feed on water and dirt, virtual flowers, on the other hand, feed on climate data from a real world location. The data received affects the physical appearance of the flower.
The soft aesthetics of these sorts of displays seem well-suited for domestic environments; perhaps less demanding than more precise information, but it permits a degree of ambiguity that might encourage imagination and speculation.
An important fact to note is that this weather flower project is only a non-interactive ambiguous visual display; our project Lullaby is similar but instead of being just an ambiguous visual display, we are creating a tangible media that is aimed to be interactive between the device and the player.
Worry Stone
Worry Stone is basically an electronic to-do list that uses its processing power to endlessly and visibly rehearse entries. By taking on the fretting of the user, the intention is that it should free time for less neurotic activities. This proposal takes an appropriate use of digital technologies to perform tasks that are onerous for humans.
Our Lullaby toy demonstrates such potential - not to offload a player's worries but to stimulate player's emotions and allowing them to externalize their emotions. For instance, the player could display their true emotions in front of the Lullaby toy and the toy would respond accordingly. The player would obtain feedback if their attitude was too strong or too emotional - then they would be able to readjust their emotions before they encounter another human being. This also helps the player to let out their anger when, for example, they have to enter an important meeting.
Case from Bill Gaver and Heather Martin - Alternatives
Many people desire to understand and change their experience of their selves and the world around them. Nonetheless, designs might reflect them in ways that can be meaningful without beng solemn, externalising psychological mechanisms into digital technologies either to escape or encourage them.
From the Case - Worry Stone is basically an eletronic to-do list that uses its processing power to endlessly and visibly rehearse entries. By taking on the fretting of the user, the intention is that it should free time for less neurotic activities. This proposal takes an appropriate use of digital tehnologies to perform tasks that are onerous for humans.
The worry stone would be a device that allows people to externalise their cares so that they need not to dweel on them. Speaking into the device would ofload a task to a small database via speeh convertor. The user would scroll through the list, delete obsolete entries, or print out a 'to do' list.
But the primary function of the Worry Stone would be to take over the user's anxious fretting. To show that the device had truly internalised the user's concerns, its processing power would be dedicated to displaying the list of worries in random order, as quickly as possible. The user could let go of the problem for the moment, knowing that it was safely held in the Worry Stone's memory.
Our Lullaby toy demonstrates such potential - not to offload a user's worries but to stimulate user's emotions and allowing them to externalize their emotions. For instance, the user could display their true emotions in front of the Lullaby toy and the toy would respond accordingly. The user would obtain feed back as to their attitude was too strong or too emotion - then they would be able to readjust their emotions before they encounter another human being. This also helps the user to pertain their anger when they have to enter an important meeting.
Reference
Gaver, B. and Martin, H. 2000. Alternatives - Exploring Information Appliances through Conceptual Design Proposals. Conference on Human Factors in Computing Systems, 209 - 216. http://doi.acm.org/10.1145/332040.332433 (Accessed August 03, 2007).
Case from Shep Korvin - Weather Flower
Impressionistic Displays - Weather Flower
Real world flowers feed on water and dirt... virtual flowers, on the other hand, feed on data!
Each "weather flower" is linked to a first-life geographic location. Whenever the flower feels "hungry", it links out to the internet and taps into an xml feed containing weather data for its real-life "home" location.
Like a real flower, the appearance of the weather flower is affected by the food it consumes. If it's a sunny day in real-life, the flower petals turn a deep red colour.... and as the temperature drops, the hues turn towards colder whites and blues. Similarly, the shape and texture of the flowerhead mutates according to prevailing weather conditions... so, for example, on a bright sunny day, the flower has an almost daisy-like appearance... during thunderstorms, the petals adopt a spikier, harsher look. There are 168 different "mutations" that the flower could take on, depending on the prevailing climate
The soft aesthetics of these sorts of displays seem well-suited for domestic environments. Perhaps les demanding than more precise information, which permits a degree of ambiguity that might encourage imagination and speculation.
Reference
Shep Korvin. 2006. Blog is the new black.
http://shep.typepad.com/shep_korvin/2006/09/weatherflower.html (Accessed August 03, 2007).
Case from William W. Gaver, Jacob Beaver and Steve Benford - Converence on Human Factors in Computing Systems
The Telegotchi is an electronic pet with no buttons, relying on psionic powers for influence. Both these designs work within understood contexts – of spirituality on the one hand, and telepathy on the other – and invite users to share the experience of believers.
Designs like these do not simply engender ambivalence, or contradictory emotion. They push us to imagine how we might personally use such products, and what our lives would be like in consequence. As a result of this speculation, we form intellectual, aesthetic, emotional, and
moral judgements that can become available for self reflection.
The result of this process can be experiences that are uniquely personal: delightful, disturbing, or both.
In summary, the three kinds of ambiguity raise different sorts of problem and ask for different sorts of interpretation. Ambiguity of information asks us to project our expectations into an interpretation of incomplete information. Ambiguity of context requires an integration of seemingly incompatible frames of reference. Ambiguity of relationship, finally, evokes a projection of our subjective experiences and attitudes onto new situations.
References
Gaver, W.W., Beaver, J. and Benford, S. 2003. Conference on Human Factors in Computing Systems. Proceedings of the SIGCHI conference on Human factors in computing systems, 223 - 240. http://doi.acm.org/10.1145/642611.642653 (Accessed August 03, 2007).
Designs like these do not simply engender ambivalence, or contradictory emotion. They push us to imagine how we might personally use such products, and what our lives would be like in consequence. As a result of this speculation, we form intellectual, aesthetic, emotional, and
moral judgements that can become available for self reflection.
The result of this process can be experiences that are uniquely personal: delightful, disturbing, or both.
In summary, the three kinds of ambiguity raise different sorts of problem and ask for different sorts of interpretation. Ambiguity of information asks us to project our expectations into an interpretation of incomplete information. Ambiguity of context requires an integration of seemingly incompatible frames of reference. Ambiguity of relationship, finally, evokes a projection of our subjective experiences and attitudes onto new situations.
References
Gaver, W.W., Beaver, J. and Benford, S. 2003. Conference on Human Factors in Computing Systems. Proceedings of the SIGCHI conference on Human factors in computing systems, 223 - 240. http://doi.acm.org/10.1145/642611.642653 (Accessed August 03, 2007).
Case from William W. Gaver - Curious Things for Curious People
Telegotchi: a version of the popular children’s toy with no buttons (Left). Starter sets might include physiological monitors such as GSR or heart-rate sensors to help you establish an initial rapport, but in the long run the goal would be to relay on psionic
communication alone to keep the little virtual creature happy.
Reference
Goldsmiths Colleague. 2007. Curious things for curious people. http://www.goldsmiths.ac.uk/interaction/pdfs/36.gaver.curiousThings.inPress.pdf (accessed August 03, 2007).
Inspiration from William W. Gaver - Auditory Interfaces
Data Auralisation
Alarms and Musical Messages
Alarms and Musical Messages
Inspirations from Bill Gaver - Designing for Homo Ludens
Homo Ludens - human defined as playful creatures (Huizinga, J., 1950).
As we toy with things and ideas, as we chat and daydream, we find new perspectives and new ways to create, new ambitions, relationships, and ideals. Play goes well beyond entertainment: it's a serious business.
Telegotchi was an electronic pet with no buttons that relied on psionic communication for happiness.
Each case raises issues around the possibilities for inter-generational communication, to the ethics of taming nature.
We aim to design for Homo Ludens by allowing room for people to appropriate technologies. Playing involves pursuing one's inner narratives in safe situations, through perceptual projection, or ideally, action. If computational devices channel people's activities and perceptions too closely, then people have to live out of somebody else' story, not their own (c.f. Wejchert, 2001).
Of course, our final and most important inspiration from Gaver is the importance of:- pleasure before performance, and engagement before clarity. We aim to design for Homo Ludens by focusing on the intrigue and delight at all levels of design, from the aesthetics of form and interaction, to functionality, to conceptual implications at psychological, social and cultural levels.
As we toy with things and ideas, as we chat and daydream, we find new perspectives and new ways to create, new ambitions, relationships, and ideals. Play goes well beyond entertainment: it's a serious business.
Telegotchi was an electronic pet with no buttons that relied on psionic communication for happiness.
Each case raises issues around the possibilities for inter-generational communication, to the ethics of taming nature.
We aim to design for Homo Ludens by allowing room for people to appropriate technologies. Playing involves pursuing one's inner narratives in safe situations, through perceptual projection, or ideally, action. If computational devices channel people's activities and perceptions too closely, then people have to live out of somebody else' story, not their own (c.f. Wejchert, 2001).
Of course, our final and most important inspiration from Gaver is the importance of:- pleasure before performance, and engagement before clarity. We aim to design for Homo Ludens by focusing on the intrigue and delight at all levels of design, from the aesthetics of form and interaction, to functionality, to conceptual implications at psychological, social and cultural levels.
Inspiration from Bill Gaver and Heather Martin - Alternatives
"Exploring Information Appliances through Conceptual Design Proposals"
We aim to utilize Impressionistic Displays - the soft aesthetics of these sorts of displays seem well-suited for domestic environments. Less demanding than more precise information, they permit a degree of ambiguity that might encourage imagination and speculation just like our Lullaby toy inflating/deflating as a display of their current emotional state.
A prototype 'works' when it successfully captures the experience of using a given device. However, in science fiction concepts which rely on technological effects that can or do not exist. Therefore the concept proposals are intended to be technologically plausible, in the sense that it seem likely that they can be realised even if the exact means are unknown or unspecified. In order for our team to achieve plausibility, we will be largely depending on our designers' knowledge and judgment, while an evaluation of the results may depend on discussions with technical experts.
Worry Stone - a device that allows people to externalise their cares so that they need not dwell on them. Speaking into the device would offload a task to a small database via a speech convertor. The user could scroll through the list, delete obsolete entries, or print out a 'to do' list.
But the primary function of the Worry Stone would be to take over the user's anxious fretting. To show that the device had truly internalised the user's concerns, its processing power would be dedicated to displaying the list of worries in random order, as quickly as possible. The user could let go of the problem for the moment, knowing that it was safely held in the Worry Stone's memory.
Our Lullaby toy demonstrates such potential - not to offload a user's worries but to stimulate user's emotions and allowing them to externalize their emotions. For instance, the user could display their true emotions in front of the Lullaby toy and the toy would respond accordingly. The user would obtain feed back as to their attitude was too strong or too emotion - then they would be able to readjust their emotions before they encounter another human being. This also helps the user to pertain their anger when they have to enter an important meeting.
We aim to utilize Impressionistic Displays - the soft aesthetics of these sorts of displays seem well-suited for domestic environments. Less demanding than more precise information, they permit a degree of ambiguity that might encourage imagination and speculation just like our Lullaby toy inflating/deflating as a display of their current emotional state.
A prototype 'works' when it successfully captures the experience of using a given device. However, in science fiction concepts which rely on technological effects that can or do not exist. Therefore the concept proposals are intended to be technologically plausible, in the sense that it seem likely that they can be realised even if the exact means are unknown or unspecified. In order for our team to achieve plausibility, we will be largely depending on our designers' knowledge and judgment, while an evaluation of the results may depend on discussions with technical experts.
Worry Stone - a device that allows people to externalise their cares so that they need not dwell on them. Speaking into the device would offload a task to a small database via a speech convertor. The user could scroll through the list, delete obsolete entries, or print out a 'to do' list.
But the primary function of the Worry Stone would be to take over the user's anxious fretting. To show that the device had truly internalised the user's concerns, its processing power would be dedicated to displaying the list of worries in random order, as quickly as possible. The user could let go of the problem for the moment, knowing that it was safely held in the Worry Stone's memory.
Our Lullaby toy demonstrates such potential - not to offload a user's worries but to stimulate user's emotions and allowing them to externalize their emotions. For instance, the user could display their true emotions in front of the Lullaby toy and the toy would respond accordingly. The user would obtain feed back as to their attitude was too strong or too emotion - then they would be able to readjust their emotions before they encounter another human being. This also helps the user to pertain their anger when they have to enter an important meeting.
Saturday, August 11, 2007
Inspiration from Paul Dourish - Seeking a Foundation for Context-Aware Computing
Physically-based interaction and augmented environments - Ubiquitous Computing (Weiser): Technical Conceptions of Context
Ishii's Tangible Bits
the world of computation - bits
the world of physical reality - atoms
Ishii inspired our team to forge a much stronger relationship between physical and computational interaction by allowing computation to engage with and harness our physical and tactile abilities to support computational tasks.
Our team have developed an concept of new technology that bridge between the world of atoms of the world of bits, manifesting computational entities as living creatures in the physical world, and using physical interactions as a means of controlling computational entities. For example, our Lullaby toy , Ideally, it is a responsive tangible device, capable of acting spontaneously, altering its own form to express changes in mood, and recognizing sounds produced by its owner.
The tangible itnerfaces rely on the user's creative use of physical and spatial manipulations to control the Lullaby toy. For instance: if the owner talks or sings to it in a loud voice, it will inflate its soft body, expanding in size. However, if they whisper to it in a soft voice, it will deflate slightly and shrink.
Our aim is to exploit our natural familiarity with the everyday environment and our highly-developed spatial and physical skills to specialize and control how computation could be used in concert with naturalistic activities.
Interactive systems around understanding of the generally operative social processes surrounding everyday interaction:Context in Social Analysis
solical analyses look beyond simply the interaction between an individual user and a computer system - the social, cultural and organizational factors that affect interaction, and on which the user will draw in making decisions about actions to take and in itnerpreting the system's response.
Ethnomethodology - an analytic approach to the organization of social action, to provide a forceful critique of the then-dominant formal planning model in Artificial Intelligence. We in turn took on ethnomethodology and began our investigation of social order by involving careful examination of specific instances of organized action - to uncover the means by which people produced the rationality they exhibit.
Schutz's contribution of Husserl's phenomenology with Weber's work on social interaction inspired our team to incorporate the problem of intersubjectivity - that is how two people, who have access only to their own thoughts and immediate experiences, can nonetheless come to find each other's actions meaningful, and can establish shared meaning and common understandings.
We aim to design the interaction of the toy to be intersubjectively rooted in our common experience of the world and on the way in which we can interpret and understand the actions and motivations of others by appeal to the assumption of a shared life-world that, first, grounds our common experience and, second, gives us the necessary background to understand your actions as being rational.
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