開始時刻
前のセッションの直後
4. Designing and Understanding Embodied Experiences
発表数
5
時間
3分
発表担当
目次
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Engaging Passers-by with Rhythm: Applying Feedforward Learning to a Xylophonic Media Architecture Facade
説明
Media architecture exploits interactive technology to encourage passers-by to engage with an architectural environment. Whereas most media architecture installations focus on visual stimulation, we developed a permanent media facade that rhythmically knocks xylophone blocks embedded beneath 11 window sills, according to the human actions constantly traced via an overhead camera. In an attempt to overcome its apparent limitations in engaging passers-by more enduringly and purposefully, our study investigates the impact of feedforward learning, a constructive interaction method that instructs passers-by about the results of their actions. Based on a comparative (n=25) and a one-month in-the-wild (n=1877) study, we propose how feedforward learning could empower passers-by to understand the interaction of more abstract types of media architecture, and how particular quantitative indicators capturing this learning could predict how enduringly and purposefully a passer-might engage. We believe these contributions could inspire more creative integrations of non-visual modalities in future public interactive interventions.
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LYDSPOR: An Urban Sound Experience Weaving Together Past and Present Through Vibrating Bodies
説明
In this paper we present LYDSPOR; a site-specific sound experience, created in Elsinore, Denmark, consisting of two physical installations and an app-based soundwalk, which together allow people to feel and sense in their bodies certain narrative fragments of the history of the city. LYDSPOR is the result of a 1,5 year-long research project which had the aim of adopting soma design methods by drawing on affective interaction design and on an understanding of bodies as always multiple, relational, and never only human. Through an analysis of the design process and its outcome, the paper contributes an in-depth understanding of how to combine somatic and affective design approaches when creating site-specific sonic augmentations for historical dissemination in public space.
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Here and Now: Creating Improvisational Dance Movements with a Mixed Reality Mirror
説明
This paper explores using mixed reality (MR) mirrors for supporting improvisational dance making. Motivated by the prevalence of mirrors in dance studios and inspired by Forsythe’s Improvisation Technologies, we conducted workshops with 13 dancers and choreographers to inform the design of future MR visualisation and annotation tools for dance. The workshops involved using a prototype MR mirror as a technology probe that reveals the spatial and temporal relationships between the reflected dancing body and its surroundings during improvisation; speed dating group interviews around future design ideas; follow-up surveys and extended interviews with a digital media dance artist and a dance educator. Our findings highlight how the MR mirror enriches dancers' temporal and spatial perception, creates multi-layered presence, and affords appropriation by dancers. We also discuss the unique place of MR mirrors in the theoretical context of dance and in the history of movement visualisation, and distil lessons for broader HCI research.
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Negotiating Experience and Communicating Information Through Abstract Metaphor
説明
An implicit assumption in metaphor use is that it requires grounding in a familiar concept, prominently seen in the popular Desktop Metaphor. In human-to-human communication, however, abstract metaphors, without such grounding, are often used with great success. To understand when and why metaphors work, we present a case study of metaphor use in voice teaching. Voice educators must teach about subjective, sensory experiences and rely on abstract metaphor to express information about unseen and intangible processes inside the body. We present a thematic analysis of metaphor use by 12 voice teachers. We found that metaphor works not because of strong grounding in the familiar, but because of its ambiguity and flexibility, allowing shared understanding between individual lived experiences. We summarise our findings in a model of metaphor-based communication. This model can be used as an analysis tool within the existing taxonomies of metaphor in user interaction for better understanding why metaphor works in HCI. It can also be used as a design resource for thinking about metaphor use and abstracting metaphor strategies from both novel and existing designs.
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Corsetto: A Kinesthetic Garment for Designing, Composing for, and Experiencing an Intersubjective Haptic Voice
説明
We present a novel intercorporeal experience – an intersubjective haptic voice. Through an autobiographical design inquiry, based on singing techniques from the classical opera tradition, we created Corsetto, a kinesthetic garment for transferring somatic reminiscents of vocal experience from an expert singer to a listener. We then composed haptic gestures enacted in the Corsetto, emulating upper-body movements of the live singer performing a piece by Morton Feldman named Three Voices. The gestures in the Corsetto added a haptics-based ‘fourth voice’ to the immersive opera performance. Finally, we invited audiences who were asked to wear Corsetto during live performances. Afterwards they engaged in micro-phenomenological interviews. The analysis revealed how the Corsetto managed to bridge inner and outer bodily sensations, creating a feeling of a shared intercorporeal experience, dissolving boundaries between listener, singer and performance. We propose that ‘intersubjective haptics’ can be a generative medium not only for singing performances, but other possible intersubjective experiences.
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