| 1. |
- Andersen, Kristina, 1970-
(författare)
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Making Magic Machines
- 2017
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- How can we design experiences that explore ideas and notions of the unknown? The aim of the work outlined here is to create short, intense, workshop-like experiences that generate strong commitments, and expose underlying personal desires as drivers for new ideas. I would like to propose a material practice, which uses open-ended making to engage in the imagination of new things. Informed by a concern or a longing, this exploration employs familiar yet mundane materials - such as candy and cardboard - through which several planes collide: the possible, the unknown, the feared and the desired. The process is aimed at allowing a broad range of knowledge to materialise - through ways that are less normative, and less constrained by commercial and technological concerns, and to emerge instead as far-fetched ideas that offer a kind of knowledge, which belongs to no one. The format has evolved over time, from relatively elaborate workshops for technology prototyping, towards the point where they are now focussed on the making of work that is about technology, rather than of technology.
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| 2. |
- Fernaeus, Y., et al.
(författare)
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Understanding users and their situation
- 2011
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Ingår i: Cognitive Technologies. - Berlin, Heidelberg : Springer Verlag. - 9783642151835 ; , s. 657-670, s. 653-666
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Bokkapitel (refereegranskat)abstract
- The first step in any design process is to set the stage for what to design and how that should be realised. In terms of user-centred design, this includes to develop a sense of who will be using the system, where it is intended to be used, and what it should be used for. In this chapter we provide an overview of this part of the development process, and its place in the design cycle, and some orienting design challenges that are specific to affective interaction. Thereafter we present a variety of methods that designers may want to consider in actual design work. We end by providing a set of examples from previous and ongoing research in the field, which could also work as inspirations or guiding sources in the early stages in a user-centred design process.
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| 3. |
- Garrett, Rachael, et al.
(författare)
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Felt Ethics: Cultivating Ethical Sensibility in Design Practice
- 2023
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Ingår i: CHI '23: Proceedings of the 2023 CHI Conference on Human Factors in Computing Systems. - : Association for Computing Machinery (ACM). - 9781450394215
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Konferensbidrag (refereegranskat)abstract
- We theoretically develop the ethical positions implicit in somaesthetic interaction design and, using the case study of a water faucet, illustrate our conceptual understanding of ethical sensibilities in design. We apply four lenses – the felt self, intercorporeal self, socio-cultural and political self, and entangled self – to show how our selves and ethical sensibilities are fundamentally constituted by a socially, materially, and technologically entwined world. Further, we show how ethical sensibilities are cultivated in the practice of somaesthetic interaction design. We contribute felt ethics as an approach to cultivating ethical sensibilities in design practice. The felt ethics approach is comprised of (i) a processual cultivation of ethical sensibility through analytical, pragmatic, and practical engagement, (ii) an ongoing critical attentiveness to the limits of our own bodies and lived experiences, and (iii) the rendering visible of our ethical practices as a matter of care.
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| 4. |
- Höök, Kristina, et al.
(författare)
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Spatial or narrative: a study of the Agneta and Frida system
- 1999. - 1
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Konferensbidrag (refereegranskat)abstract
- We propose that analysing interviews with subjects who have been exposed to anthropomorphic characters from a metaphorical point of view can provide insights into how characters in the interface are perceived. In a study of the Agneta & Frida system (two characters that comment contents of web pages in an ironic, humorous manner) we found that subjects who used Agneta & Frida used more narrative verbs and adverbs than users who only browsed the web pages. In the latter case, more spatial verbs and adverbs were used. This may imply that normal web browsing is perceived as navigation through a space, while Agneta & Frida provides for a more narrative experience.
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| 5. |
- Popova, Kristina, et al.
(författare)
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Vulnerability as an ethical stance in soma design processes
- 2022
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Ingår i: CHI '22. - New York : Association for Computing Machinery (ACM). - 9781450391573 ; , s. 1-13
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Konferensbidrag (refereegranskat)abstract
- We articulate vulnerability as an ethical stance in soma design processes and discuss the conditions of its emergence. We argue that purposeful vulnerability - an act of taking risk, exposing oneself, and resigning part of one's autonomy - is a necessary although often neglected part of design, and specifically soma design, which builds on felt experience and stimulates designers to engage with the non-habitual by challenging norms, habitual movements, and social interactions. With the help of ethnography, video analysis, and micro-phenomenological interviews, we document an early design exploration around drones, describing how vulnerability is accomplished in collaboration between members of the design team and the design materials. We (1) define vulnerability as an active ethical stance; (2) make vulnerability visible as a necessary but often neglected part of an exploratory design process; and (3) discuss the conditions of its emergence, demonstrating the importance of deliberating ethics within the design process.
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| 6. |
- Alfaras, Miquel, et al.
(författare)
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Biosensing and Actuation-Platforms Coupling Body Input-Output Modalities for Affective Technologies
- 2020
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Ingår i: Sensors. - : MDPI AG. - 1424-8220. ; 20:21
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Tidskriftsartikel (refereegranskat)abstract
- Research in the use of ubiquitous technologies, tracking systems and wearables within mental health domains is on the rise. In recent years, affective technologies have gained traction and garnered the interest of interdisciplinary fields as the research on such technologies matured. However, while the role of movement and bodily experience to affective experience is well-established, how to best address movement and engagement beyond measuring cues and signals in technology-driven interactions has been unclear. In a joint industry-academia effort, we aim to remodel how affective technologies can help address body and emotional self-awareness. We present an overview of biosignals that have become standard in low-cost physiological monitoring and show how these can be matched with methods and engagements used by interaction designers skilled in designing for bodily engagement and aesthetic experiences. Taking both strands of work together offers unprecedented design opportunities that inspire further research. Through first-person soma design, an approach that draws upon the designer's felt experience and puts the sentient body at the forefront, we outline a comprehensive work for the creation of novel interactions in the form of couplings that combine biosensing and body feedback modalities of relevance to affective health. These couplings lie within the creation of design toolkits that have the potential to render rich embodied interactions to the designer/user. As a result we introduce the concept of "orchestration". By orchestration, we refer to the design of the overall interaction: coupling sensors to actuation of relevance to the affective experience; initiating and closing the interaction; habituating; helping improve on the users' body awareness and engagement with emotional experiences; soothing, calming, or energising, depending on the affective health condition and the intentions of the designer. Through the creation of a range of prototypes and couplings we elicited requirements on broader orchestration mechanisms. First-person soma design lets researchers look afresh at biosignals that, when experienced through the body, are called to reshape affective technologies with novel ways to interpret biodata, feel it, understand it and reflect upon our bodies.
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| 7. |
- Alfaras, Miquel, et al.
(författare)
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From Biodata to Somadata
- 2020
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Konferensbidrag (refereegranskat)abstract
- Biosensing technologies are increasingly available as off-the-shelf products, yet for many designers, artists and non-engineers, these technologies remain difficult to design with. Through a soma design stance, we devised a novel approach for exploring qualities in biodata. Our explorative process culminated in the design of three artefacts, coupling biosignals to tangible actuation formats. By making biodata perceivable as sound, in tangible form or directly on the skin, it became possible to link qualities of the measurements to our own somatics - our felt experience of our bodily bioprocesses - as they dynamically unfold, spurring somatically-grounded design discoveries of novel possible interactions. We show that making biodata attainable for a felt experience - or as we frame it: turning biodata into somadata - enables not only first-person encounters, but also supports collaborative design processes as the somadata can be shared and experienced dynamically, right at the moment when we explore design ideas.
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| 8. |
- Avila, J. M., et al.
(författare)
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Soma design for nime
- 2020
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Ingår i: Proceedings of the International Conference on New Interfaces for Musical Expression. - : International Conference on New Interfaces for Musical Expression. ; , s. 489-494
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Konferensbidrag (refereegranskat)abstract
- Previous research on musical embodiment has reported that expert performers often regard their instruments as an extension of their body. Not every digital musical instrument seeks to create a close relationship between body and instrument, but even for the many that do, the design process often focuses heavily on technical and sonic factors, with relatively less attention to the bodily experience of the performer. In this paper we propose soma design as an alternative approach to explore this space. Soma method aims to attune the sensibilities of designers, as well as their experience of their body, and make use of these notions as a resource for creative aesthetic design. We report on a series of workshops exploring the relationship between the body and the guitar with a soma design approach. The workshops resulted in a series of guitar-related artefacts and NIMEs that emerged from the somatic exploration of balance and tension during guitar performance. Lastly we present lessons learned from our research that could inform future Soma-based musical instrument design, and how NIME research may also inform soma design.
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| 9. |
- Balaam, Madeline, et al.
(författare)
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Emotion Work in Experience-Centred Design
- 2019
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Ingår i: CHI Conference on Human Factors in Computing Systems Proceedings (CHI 2019), May 4–9, 2019, Glasgow, Scotland UK. - New York, NY, USA : ACM.
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Konferensbidrag (refereegranskat)abstract
- Experience Centred Design (ECD) implores us to develop empathic relationships and understanding of participants, to actively work with our senses and emotions within the design process. However, theories of experience-centred design do little to account for emotion work undertaken by design researchers when doing this. As a consequence, how a design researcher’s emotions are experienced, navigated and used as part of an ECD process are rarely published. So, while emotion is clearly a tool that we use, we don’t share with one another how, why and when it gets used. This has a limiting effect on how we understand design processes, and opportunities for training. Here, we share some of our experiences of working with ECD. We analyse these using Hochschild’s framework of emotion work to show how and where this work occurs. We use our analysis to question current ECD practices and provoke debate.
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| 10. |
- Benyon, David, et al.
(författare)
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Spaces of Interaction
- 2010. - 8
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Konferensbidrag (refereegranskat)abstract
- As the world becomes increasingly computationally enabled, so our view of human-computer interaction (HCI) needs to evolve. The proliferation of wireless connectivity and mobile devices in all their various forms moves people from being outside a computer and interacting with it to being inside an information space and moving through it. Sensors on the body, wearable computers, wireless sensor networks, increasingly believable virtual characters and speech-based systems are all contributing to new interactive environments. New forms of interaction such as gesture and touch are rapidly emerging and interactions involving emotion and a real sense of presence are beginning. These are the new spaces of interaction we need to understand, design and engineer. Most importantly these new forms of interaction are fundamentally embodied. Older views of a disembodied cognition need to be replaced with an understanding of how people with bodies live in and move through spaces of interaction.
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