Dissertations / Theses on the topic 'Interaction Design'
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Lu, Karyn Y. "Interaction Design Principles for Interactive Television." Thesis, Georgia Institute of Technology, 2005. http://hdl.handle.net/1853/6962.
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Interactive television (iTV) is an umbrella term used to cover the convergence of television with digital media technologies such as computers, personal video recorders, game consoles, and mobile devices, enabling user interactivity. Increasingly, viewers are moving away from a "lean back" model of viewing to a more active "lean forward" one. When fully realized on a widespread scale in the United States, our current experience of watching television will be dramatically transformed. Because iTV is a new medium in its own right, however, standards for iTV programming and interaction in the United States remain undefined.
This document identifies and articulates interaction design principles for interactive television programming in the United States. Chapter one presents a brief survey of the field as it stands in 2005. In chapters two and three, I categorize iTV by platforms and by persistent television genres, and present representative examples for each category. In chapter four, I provide an overview of existing design standards in related areas. Insights from chapters two, three, and four all serve to inform chapter five, in which I propose principles for iTV interaction design by looking closely at existing designs (both deployed and prototyped), conventions, and patterns of interaction. My analyses are rooted in visual culture and human-computer interaction design principles, and the design principles I offer are abstracted from the applications I analyze within this framework. Finally, in chapter six, I offer some conclusions and thoughts for future directions.
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Kan, Viirj. "Molecular design interactions : material synthesis for human interaction with fluids." Thesis, Massachusetts Institute of Technology, 2017. http://hdl.handle.net/1721.1/112539.
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Thesis: S.M., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2017.Cataloged from PDF version of thesis.
Includes bibliographical references (pages 89-99).
[Color illustrations] Figure 0-1. Key elements within a Molecular Design Interactions interaction loop. Be it information embodied within rain, the oceans, a dinner plate, or human tears; the flow of information through fluids provides insights into the biological and chemical states of systems. Yet a large portion of our everyday experience with these systems remain inaccessible to users, designers and engineers whom operate outside the context of chemical disciplines. This thesis introduces a design framework coined Molecular Design Interactions, along with a toolbox of material based input-output devices termed Organic Primitives to facilitate the design of interactions with organic, fluid-based systems. The design methodology utilizes organic compounds from food for the development of color, odor and shape changing information displays. Activated by units of fluid information called droplets, this thesis focuses on pH signals in fluid as a model to demonstrate how molecular scale phenomena can be brought from materials into applications for interaction with a range of organic systems. A design language and vocabulary, drawing from signaling theory and molecular associations, offer designers a method with which to translate sensor-display output into meaningful experience designs for human perception. The design space showcases techniques for how the Organic Primitives can transcend beyond mere input-output devices to achieve higher order complexity. Passive and computational methods are presented to enable designers to control material interface output behaviors. An evaluation of the individual output properties of the sensors-actuators is presented to assess the rate, range, and reversibility of the changes as a function of pH 2-10. Strategies for how the materiality of objects can be augmented using Organic Primitives are investigated through several applications under four contexts: environmental, on-body, food, and interspecies. Molecular Design Interactions offers a process and toolbox to create interfaces between humans and molecules in fluids, across scales, from the nano to the macro systems.
by Viirj Kan.
S.M.
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Xu, Jingyao. "Interaction Design in Decision Aid." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1406818503.
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Leitner, Michael. "Mobile interaction trajectories : a design focused approach for generative mobile interaction design research." Thesis, Northumbria University, 2015. http://nrl.northumbria.ac.uk/32700/.
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Mobile HCI’s (Human Computer Interaction) understanding of mobility can benefit from novel theoretical perspectives that have been largely underexploited. This thesis develops and applies a novel middle range theory for mobile interaction design called mobile interaction trajectories, demonstrating the theory’s use and value in practical design settings. Mobile interaction trajectories offer a new theoretical perspective for mobile interaction design, considering people’s everyday trajectories as a baseline for mediated communication, with foci on practices and experiences of changing states of connectedness, chronologies of mediated communication, and mobile communication routines. Following a research through design methodology, probing was used as a creative research method. Two probing experiments informed the theory’s development. A new Probe resource was designed and applied, called the Hankie Probe. It was used to collect instances of mobile interaction trajectories and informed a range of design workshops. The Hankie Probe is based on a fabric-based format and expresses everyday trajectories, and mobile communication practice and experience via stitched and drawn handmade space-time diaries. Research about design analysed the design processes with the completed Probes revealing the middle range theory’s value. The theory’s distinctive characteristics have shown to inform generative design processes. The trajectory-based perspective inspired design concepts for contextually adaptive services that enable new communication experiences and alter the chronology of social interaction. The thesis contributes to knowledge by underpinning generative design work with novel mobility theories via a new Probe format for mobile interaction design research. The following additional discoveries were made: There are three basic probing functions in generative design workshops; designer’s experiences and subjective interpretation augment insights about users and contexts in design workshops, the fabric-based handmade Probes influenced design work offering a captivating authentic format that requires subjective interpretation.
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Kuhlman, Lane M. "Gesture Mapping for Interaction Design: An Investigative Process for Developing Interactive Gesture Libraries." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1244003264.
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Dunbar, Michael James, and miek@collabo net. "Beyond Skin Deep: Exploring the contribution of communication design within interaction design projects." RMIT University. Media and Communication, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20091029.110723.
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This research has explored potential ways for understanding the contribution communication design makes within the field of interaction design; specifically projects that have involved the design of web-based interactive systems. As a practice-based design investigation, this research has been conducted through a series of interaction design projects within the context of a Collaborative Research Centre, and have often included working with industry partners. I will refer to these as projects throughout this exegesis. In this exegesis, I will argue that communication design can make a valuable contribution to interaction design projects, and that this contribution can be facilitated by understanding interactive systems in terms of the role that they play in our everyday experience of the world. This exegesis presents the central argument of the research and how the research questions were investigated. It presents the projects through which the research has been conducted, and through discussion, presents the discoveries and knowledge gained through this research. The total submission for this research consists of the exegesis, exhibition, and oral presenation. Throughout each mode of delivery I will share how the research questions were investigated.
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Ryu, Hokyoung. "A framework for interaction design." Thesis, University of York, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428426.
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Farah, Kamal (Kamal Cristobal). "Soft exchanges for interaction design." Thesis, Massachusetts Institute of Technology, 2015. http://hdl.handle.net/1721.1/98642.
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Thesis: S.M., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2015.Cataloged from PDF version of thesis.
Includes bibliographical references (pages 57-59).
The boundaries and fabric of human experience are continuously redefined by microorganisms interacting at imperceptible scales. Though hidden, these systems condition our body and the environment we inhabit. Instruments such as microscopes and satellites have allowed us to observe scales of human experience, situating circumstances between those we effect and those effected by us. Advances in synthetic biology are enabling us to interact with this microscopic world in new and unforeseen ways. This thesis proposes using the new access we now have into this world, and with which we do not regularly interact, to experience our own world differently. Soft Exchanges are created through the design and development of a camera like instrument implementing the Bactograph protocol developed in 2005 by Jeffrey Tabor, Assistant Professor of Bioengineering at Rice University. Of the many advances in Synthetic Biology, a notable one has been that of Jeffrey Tabor and his laboratory in creating a new capability for Escherichia coli to detect light and produce high resolution chemical images as bacterial photographs. This work is furthered, to realize new interactions with the design and implementation of a biological instrument towards the development of Human Biological Interactions.
by Kamal Farah.
S.M.
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Hook, Jonathan David. "Interaction design for live performance." Thesis, University of Newcastle upon Tyne, 2013. http://hdl.handle.net/10443/1945.
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The role of interactive technology in live performance has increased substantially in recent years. Practices and experiences of existing forms of live performance have been transformed and new genres of technology-‐mediated live performance have emerged in response to novel technological opportunities. Consequently, designing for live performance is set to become an increasingly important concern for interaction design researchers and practitioners. However, designing interactive technology for live performance is a challenging activity, as the experiences of both performers and their audiences are shaped and influenced by a number of delicate and interconnected issues, which relate to different forms and individual practices of live performance in varied and often conflicting ways. The research presented in this thesis explores how interaction designers might be better supported in engaging with this intricate and multifaceted design space. This is achieved using a practice-‐led methodology, which involves the researcher’s participation in both the investigation of, and design response to, issues of live performance as they are embodied in the lived and felt experiences of individual live performers’ practices during three interaction design case studies. This research contributes to the field of interaction design for live performance in three core areas. Understandings of the relationships between key issues of live performance and individual performers’ lived and felt experiences are developed, approaches to support interaction designers in engaging individual live performers’ lived and felt experiences in design are proposed and innovative interfaces and interaction techniques for live performance are designed. It is anticipated that these research outcomes will prove directly applicable or inspiring to the practices of interaction designers wishing to address live performance and will contribute to the ongoing academic discourse around the experience of, and design for, live performance.
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Blackler, Alethea Liane. "Intuitive interaction with complex artefacts." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16219/1/Alethea_Blackler_Thesis.pdf.
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This thesis examines the role of intuition in the way that people operate unfamiliar devices, and the importance of this for designers. Intuition is a type of cognitive processing that is often non-conscious and utilises stored experiential knowledge. Intuitive interaction involves the use of knowledge gained from other products and/or experiences. Therefore, products that people use intuitively are those with features they have encountered before.
This position has been supported by two initial experimental studies, which revealed that prior exposure to products employing similar features helped participants to complete set tasks more quickly and intuitively, and that familiar features were intuitively used more often than unfamiliar ones. Participants who had a higher level of familiarity with similar technologies were able to use significantly more of the features intuitively the first time they encountered them, and were significantly quicker at doing the tasks. Those who were less familiar with relevant technologies required more assistance.
A third experiment was designed to test four different interface designs on a remote control in order to establish which of two variables - a feature's appearance or its location - was more important in making a design intuitive to use. As with the previous experiments, the findings of Experiment 3 suggested that performance is affected by a person's level of familiarity with similar technologies. Appearance (shape, size and labelling of buttons) seems to be the variable that most affects time spent on a task and intuitive uses. This suggests that the cues that people store in memory about a product's features depend on how the features look, rather than where on the product they are placed.
Three principles of intuitive interaction have been developed. A conceptual tool has also been devised to guide designers in their planning for intuitive interaction. Designers can work with these in order to make interfaces intuitive to use, and thus help users to adapt more easily to new products and product types.
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Blackler, Alethea Liane. "Intuitive interaction with complex artefacts." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16219/.
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This thesis examines the role of intuition in the way that people operate unfamiliar devices, and the importance of this for designers. Intuition is a type of cognitive processing that is often non-conscious and utilises stored experiential knowledge. Intuitive interaction involves the use of knowledge gained from other products and/or experiences. Therefore, products that people use intuitively are those with features they have encountered before. This position has been supported by two initial experimental studies, which revealed that prior exposure to products employing similar features helped participants to complete set tasks more quickly and intuitively, and that familiar features were intuitively used more often than unfamiliar ones. Participants who had a higher level of familiarity with similar technologies were able to use significantly more of the features intuitively the first time they encountered them, and were significantly quicker at doing the tasks. Those who were less familiar with relevant technologies required more assistance. A third experiment was designed to test four different interface designs on a remote control in order to establish which of two variables - a feature's appearance or its location - was more important in making a design intuitive to use. As with the previous experiments, the findings of Experiment 3 suggested that performance is affected by a person's level of familiarity with similar technologies. Appearance (shape, size and labelling of buttons) seems to be the variable that most affects time spent on a task and intuitive uses. This suggests that the cues that people store in memory about a product's features depend on how the features look, rather than where on the product they are placed. Three principles of intuitive interaction have been developed. A conceptual tool has also been devised to guide designers in their planning for intuitive interaction. Designers can work with these in order to make interfaces intuitive to use, and thus help users to adapt more easily to new products and product types.
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Sarker, Biswajit. "Organized Chaos! : Untangling multigenerational group interactions in a gamified science center." Thesis, Uppsala universitet, Människa-datorinteraktion, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-263555.
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This inductive study investigates interactions within groups of visitors during a science center visit. Using simplified interaction analysis of recorded videos; I explore the group dynamics in terms of what determines who takes the lead while multigenerational groups interact with different types of experiments. From the observations, I suggest that the age of different group members and specific design aspects of the experiments play the most important roles in the emergence of leadership. Teenagers in a group tend to take the leadership and dominate during a group interaction, while young children like to explore freely leading the group from one experiment to the next without focusing on finishing them properly. As for the design aspects, if an experiment requires cognitive skills then adults and teenagers take the lead but if an experiment requires physical skills and provides immediate feedback then young children take the lead. I also suggest, instead of guiding the young children in the group, adults tend to become observers during engagements. This study will be useful for researchers and interaction designers who are focusing their work on the behavior of multigenerational groups in science center or museum settings.
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Barn, Balbir Singh. "Graphical interaction management." Thesis, University of Bath, 1988. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.233586.
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Jackson, Samuel. "Sustainability in Computer Science, Human-Computer Interaction, and Interaction Design." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/cmc_theses/1329.
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Sustainability is a growing concern in a world where climate change threatens to inflict massive environmental and human damage in the coming decades. As climate change becomes a global issue, researchers and professionals from many pursuits are beginning to rally around the cause of bringing about an economically and environmentally sustainable future. Computer science and the related fields of human-computer interaction and interaction design have both a moral obligation and profound opportunity to contribute to environmental sustainability. In this thesis, I will examine the efforts of computer scientists and interaction designers in sustainability so far in order to form an understanding of what computer science has contributed to the effort of curbing damage to the environment to date. While the contributions of computer science and related fields to sustainability are significant, there are many ways in which they are deficient. Therefore, I will look to the future possibilities for academic and industrial developments and improvements in sustainable technology from the perspective of computer scientists and practitioners of related disciplines, and make recommendations as to the direction these fields should take in order to best serve the global thrust toward a sustainable human civilization.
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Kruszynski, Joshua A. "Biometrics in Interaction and Interface Design." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1468694579.
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Yao, Jerry Wei-Hua. "IDK : an Interaction Development Kit to design interactions for lightweight autonomous vehicles." Thesis, Massachusetts Institute of Technology, 2019. https://hdl.handle.net/1721.1/127725.
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Thesis: S.M., Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2019Cataloged from PDF of thesis.
Includes bibliographical references (pages 78-80).
Various studies have demonstrated that privately owned cars will become significantly less prevalent in the city in the next 10 to 15 years. Other efficient alternatives for mobility platforms within the city are in demand around the world. One example is the emergence of the PEV (Persuasive Electric Vehicle), an agile autonomous bike-sharing platform (M Lin, 2015). Based on this trend, it is reasonable to anticipate that increasingly more mobility systems of different forms will emerge in urban areas in the future. These new mobility systems might not necessarily be similar to cars; they may instead be a new class of social robot that could blend into the city more seamlessly. Moreover, when there is no longer a driver within each vehicle, designing human-machine interface (HMI) that is simple for users to process will be more important than ever.
For example, if a pedestrian encounters a lightweight autonomous vehicle for which it is apparent that no one is in the vehicle, how can the pedestrian understand the intention of the vehicle? And how can we, as designers, make this more intuitive and seamless? This thesis presents IDK, which is an Interaction Development Kit equipped with essential tools to help facilitate the design and prototyping process. IDK could be physically installed in PEVs, thereby enabling designers and developers to prototype human-machine interactions in a rapid and intuitive manner. This thesis also identifies multiple situations that a lightweight autonomous vehicle may encounter while navigating through streets and proposes a range of interactions that can tackle these problems. All prototypes from this thesis are based on the latest version of the PEV as an interactive platform.
The proposed interactions are evaluated through outdoor testing as well as indoor exhibitions to determine how people respond to these new norms of communication. My hope is that the results of this thesis will provide useful insights for designers and developers who seek to develop interactions that allow humans to seamlessly interact with lightweight autonomous vehicles.
by Jerry Wei-Hua Yao.
S.M.
S.M. Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences
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Strindlund, Nathalie. "Exploring relations between Interaction attributes and Pleasures in multisensory interactive art." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23788.
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The interest in designing interactive systems is going beyond their functionality and more towards their aesthetics. Often, research fails to address how qualities of the interaction as a medium can actually create pleasurable experiences. However, it points out the importance of understanding temporal aspects of interactions to understand their aesthetics. The aim for this thesis is to address this by the creation and evaluation of an interactive artwork working as a platform to explore relations between Interaction attributes and Pleasures, as well as how temporal aspects in interactions can affect these Pleasures. This to help interaction designers think more clearly around and make better design choices regarding interactions within interactive systems. The results of this showed that there can be many such relations, but also that they are complex. Additionally, it is discussed that Pleasures might also partly be experienced before or after the interaction with the artwork.
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Scharlott, William C. "Representing Diversity in the Arts Through Interaction Design." Kent State University Honors College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1494252723818847.
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Sharp, Jonathan Anthony. "Interaction design for electronic product design using virtual simulations." Thesis, Brunel University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.387487.
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Goodman, Elizabeth Sarah. "Delivering Design| Performance and Materiality in Professional Interaction Design." Thesis, University of California, Berkeley, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3616455.
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Interaction design is the definition of digital behavior, from desktop software and mobile applications to components of appliances, automobiles, and even biomedical devices. Where architects plan buildings, graphic designers make visual compositions, and industrial designers give form to three-dimensional objects, interaction designers define the digital components of products and services. These include websites, mobile applications, desktop software, automobiles, consumer electronics, and more. Interaction design is a relatively new but fast-growing discipline, emerging with the explosive growth of the World Wide Web. In a software-saturated world, every day, multiple times a day, billions of people encounter the work products of interaction design.
Given the reach of their profession, how interaction designers work is of paramount concern. In considering interaction design, this dissertation turns away from a longstanding question of design studies: How does interaction design demonstrate a special form of human thought? And towards a set of questions drawn from practice-oriented studies of science and technology: What kinds of objects and subjects do interaction design practices make, and how do those practices produce them?
Based on participant observation at three San Francisco interaction design consultancies and interviews with designers in California's Bay Area, this dissertation argues that performance practices organize interaction design work. By “performance practices,” I mean episodes of storytelling and narrative that take place before an audience of witnesses. These performances instantiate — make visible and tangibly felt — the human and machine behaviors that the static deliverables seem unable on their own to materialize. In doing so, performances of the project help produce and sustain alignment within teams and among designers, clients, and developers.
In this way, a focus on episodes of performance turns our concerns from cognition, in which artifacts assist design thinking, to one of enactment, in which documents, spaces, tools, and bodies actively participating in producing the identities, responsibilities, and capacities of project constituents. It turns our attention to questions of political representation, materiality and politics. From this perspective, it is not necessarily how designers think but how they stage and orchestrate performances of the project that makes accountable, authoritative decision-making on behalf of clients and prospective users possible.
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Moussette, Camille. "Simple haptics : Sketching perspectives for the design of haptic interactions." Doctoral thesis, Umeå universitet, Institutionen Designhögskolan, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-60221.
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Historically, haptics—all different aspects of the sense of touch and its study—has developed around very technical and scientific inquiries. Despite considerable haptic research advances and the obviousness of haptics in everyday life, this modality remains mostly foreign and unfamiliar to designers. The guiding motif of this research relates to a desire to reverse the situation and have designers designing for and with the haptic sense, for human use and looking beyond technical advances. Consequently, this thesis aims to nurture the development of haptics from a designerly perspective, leading to a new field of activities labeled haptic interaction design. It advances that haptic attributes and characteristics are increasingly part of the qualities that make up the interactions and the experiences we have with objects and the interfaces that surround us, and that these considerations can and ought to be knowingly and explicitly designed by designers. The book encompasses an annotated research through design exploration of the developing field of haptic interaction design, building on a considerable account of self-initiated individual design activities and empirical-style group activities with others. This extensive investigation of designing haptic interactions leads to the Simple Haptics proposition, an approach to ease the discovery and appropriation of haptics by designers. Simple Haptics consists in a simplistic, rustic approach to the design of haptic interactions, and advocates an effervescence of direct perceptual experiences in lieu of technical reverence. Simple Haptics boils down to three main traits: 1) a reliance on sketching in hardware to engage with haptics; 2) a fondness for basic, uncomplicated, and accessible tools and materials for the design of haptic interactions; and 3) a strong focus on experiential and directly experiencable perceptual qualities of haptics. Ultimately, this thesis offers contributions related to the design of haptic interactions. The main knowledge contribution relates to the massification of haptics, i.e. the intentional realization and appropriation of haptics—with its dimensions and qualities—as a non-visual interaction design material. Methodologically, this work suggests a mixed longitudinal approach to haptics in a form of a well-grounded interplay between personal inquiries and external perspectives. The book also presents design contributions as ways to practically, physically and tangibly access, realize and explore haptic interactions. Globally these contributions help make haptics concrete, graspable, sensible and approachable for designers. The hope is to inspire design researchers, students and practitioners to discover and value haptics as a core component of any interaction design activities.
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Leiva, Germán. "Interactive Prototyping of Interactions : from Throwaway Prototypes to Takeaway Prototyping." Thesis, Université Paris-Saclay (ComUE), 2018. http://www.theses.fr/2018SACLS551/document.
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Le prototypage est une étape essentielle du processus de design. Pendant les premières phases du processus de conception, les designers utilisent le prototypage rapide pour explorer diverses idées. Les outils et techniques actuels de prototypage se concentrent en particulier sur des représentations papier et donc destinées à être jetées. Or, alors que ces prototypes jetables peuvent être créés rapidement, ils se prêtent mal au processus d'itération. Je propose donc de créer des outils de prototypage rapide qui puissent efficacement supporter la création d'artéfacts à la fois jetables et réutilisables pour esquisser de nouvelles interactions dans les premières phases du processus de design. La première partie porte sur le prototypage vidéo. Les designers font face à deux écueils majeurs à l'utilisation de la vidéo en design d'interaction: le temps nécessaire pour filmer et celui nécessaire pour éditer. J’ai développé VideoClipper pour aider le processus de création de vidéo. Cet outil intègre une méthode de design itérative qui encourage la planification et permet une vraie flexibilité pendant la création de prototypes. Je présente les résultats d'une étude utilisateur informelle de trois semaines avec des étudiants en design d'interaction. Les résultats suggèrent que les participants passent moins de temps à capturer et éditer avec VideoClipper qu'avec les autres outils vidéos. En revanche, ils trouvent parfois difficile de créer des stop-motions pour représenter des interactions continues et de re-filmer de nouveaux segments lorsque le design évolue. J'ai ensuite crée Montage, un outil de prototypage vidéo qui permet aux designers de progressivement augmenter leurs prototypes papier avec des maquettes numériques pour faciliter la création, la réutilisation et l'exploration d'interactions dynamiques. Montage utilise l'incrustation vidéo pour découpler l'interface du prototype de son contexte d'utilisation, permettant aux designers de les réutiliser ou de les modifier indépendamment. Je décris comment Montage améliore le prototypage vidéo en combinant la vidéo avec des maquettes numériques animées et encourage l'exploration d'autres contextes d'utilisation tout en permettant le prototypage de styles d'interaction différents. La deuxième partie porte sur l’implémentation de prototypes interactifs. Les designers et développeurs professionnels ont souvent du mal à effectuer la transition de la représentation du design à son implémentation concrète. Avec N. Maudet, j'ai mené trois études sur la conception et l'implémentation d'interactions non-conventionnelles pour comprendre l'écart entre les processus, les outils et les représentations des designers et des développeurs. Nous avons découvert que les pratiques actuelles entraînent des redondances entre le travail des designers et celui des développeurs et des divergences entre le design et son implémentation. Nous identifions trois types de problèmes: l'omission de détails critiques, l'ignorance des cas extrêmes et la non prise en compte des limitations techniques. Je propose quatre principes de design pour créer des outils qui limitent ces problèmes. Ces principes sont utilisés pour créer Enact, un environnement interactif de prototypage d'interactions tactiles. Les résultats de deux études suggèrent que Enact aide les participants à détecter plus de cas extrêmes, augmente la participation des designers et offre de nouvelles possibilités de co-création. Ces trois outils de prototypage reposent sur les mêmes principes théoriques sous-jacent: réification, polymorphisme, réutilisation et substrats d'information. De même, les outils présentés mettent en œuvre une approche du prototypage que je nomme “Takeaway Prototyping” ou prototypage recyclable. Par contraste avec les prototypes jetables, les outils pour le prototypage recyclable permettent le design par énaction et réifient des artefacts de conception pour matérialiser la progression du designPrototyping is essential in any design process. During the early stages, designers rely on rapid prototyping to explore ideas. Current rapid prototyping tools and techniques focus on paper representations and their disposability. However, while these throwaway prototypes are quick to create they are difficult to iterate over. I argue that rapid prototyping tools can effectively support reusable as well as throwaway artifacts for sketching interaction in early-stage design. First, I investigate tools in the context of video prototyping. Designers experience two main barriers to use video in interaction design: the time to capture and edit the video artifacts. To aid during the capturing-phase of video prototyping I created VideoClipper. This tool embodies an integrated iterative design method that rewards discipline but permits flexibility for video prototyping. The tool provides a storyboard-style overview to organize multiple videos in story Lines. VideoClipper offers editable and reusable TitleCards, video capture for steady-state and rough stop-motion filming and the ability to recombine videos in new ways for redesign. I present informal user studies with interaction design students using VideoClipper in three design courses. Results suggest that participants spend less time capturing and editing in VideoClipper than with other video tools. However, many designers find tedious to create stop-motion videos for continuous interactions and to re-shoot clips as the design evolves. Participants continuously try to reduce re-shooting by reusing backgrounds or mixing different levels of fidelity. Inspired by this behavior, I created Montage, a prototyping tool for video prototyping that lets designers progressively augment paper prototypes with digital sketches, facilitating the creation, reuse and exploration of dynamic interactions. Montage uses chroma keying to decouple the prototyped interface from its context of use, letting designers reuse or change them independently. I describe how Montage enhances video prototyping by combining video with digital animated sketches, encourages the exploration of different contexts of use, and supports prototyping of different interaction styles. Second, I investigate how early designs start being implemented into interactive prototypes. Professional designers and developers often struggle when transitioning from the illustration of the design to the actual implementation of the system. In collaboration with Nolwenn Maudet, I conducted three studies that focused on the design and implementation of custom interactions to understand the mismatches between designers' and developers' processes, tools and representations. We find that current practices induce unnecessary rework and cause discrepancies between design and implementation and we identify three recurring types of breakdowns: omitting critical details, ignoring edge cases, and disregarding technical limitations. I propose four design principles to create tools that mitigate these problems: Provide multiple viewpoints, maintain a single source of truth, reveal the invisible and support design by enaction. We apply these principles to create Enact, an interactive live environment for prototyping touch-based interactions. We introduce two studies to assess Enact and to compare designer-developer collaboration with Enact versus current tools. Results suggest that Enact helps participants detect more edge cases, increases designers' participation and provides new opportunities for co-creation. These three prototyping tools rely on the same underlying theoretical principles: reification, polymorphism, reuse, and information substrates. Also, the presented tools outline a new prototyping approach that I call "Takeaway Prototyping". In contrast to throwaway prototypes, instead of emphasizing disposability, tools for "Takeaway Prototyping" support design by enaction and reify design artifacts to materialize the lessons learned
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von, Oldenburg Tim. "Representing bicycle-based interaction: An interaction design exploration into bicycling research." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21838.
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In public spaces, we constantly interact with each other - whether we are aware of it or not. Most of these interactions are indirect and subtle, ranging from flâneurial people-watching, over negotiation of turns in urban traffic, to passive aggression. This is not only true for pedestrians, but equally so for bicyclists.Bicycling is an embodied and social practice. When designing for cycle-based experiences, interaction designers face many problems while conducting research: mobility is always on the move and therefore hard to capture; the fleeting moments of interaction are almost imperceptible to the eye; and verbal accounts of bicyclists cannot represent the experiential qualities of a ride properly.While there exists a history of ethnographic studies into bicyclists' behaviour, it proves to be difficult to enquire into these more subtle interactions. More conventional representations of experience, such as video, fail to capture many of the qualities inherent in taking a ride and being 'out there'. It would be naive to neglect these qualities in our research when designing for cycle-based interaction.This thesis builds on the work of ethnographers and designers engaged in bicycling research. It explores new ways of enquiry that help researchers find out what really happens on the saddle and beyond.
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Mauk, Tais. "Code Roads: Teaching Kids Coding Fundamentals With Tangible Interaction." Thesis, Umeå universitet, Designhögskolan vid Umeå universitet, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-134856.
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What if a computer wasn’t necessarily the best place for kids to learn the fundamentals of coding? A new wave of digital coding teaching tools has been ushered into America, with the country progressively gaining more interest in having kids learn code. The goal of this project has been to propose an alternative teaching method, one focused and tailored to students who learn best through kinesthetic and visual means. The approach has been to combine tangible interaction principles to help make the introductory stages of learning code as approachable and intuitive as possible. The final result of this thesis is a modular toy system which gradually introduces kids to the fundamentals of coding independent of a computer, prompting exploration and problem solving.
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Jakobsson, Mikael. "Virtual worlds and social interaction design." Doctoral thesis, Umeå University, Informatics, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-750.
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This dissertation is a study of social interaction in virtual worlds and virtual world design. A virtual world is a synchronous, multi-user system that offers a persistent spatial environment for iconically represented participants. Together, these form an example of social interaction design. I have applied an arena perspective on my object of study, meaning that I focus on these socio-technical systems as places.
I have investigated the persistent qualities of social interaction in virtual worlds. What I have found is that virtual worlds are as real as the physical world. They are filled with real people interacting with each other evoking real emotions and leading to real consequences. There are no fixed boundaries between the virtual and physical arenas that make up a participant’s lifeworld.
I have found that participants in virtual worlds are not anonymous and bodiless actors on a level playing field. Participants construct everything needed to create social structures such as identities and status symbols. The qualities of social interaction in virtual worlds cannot be measured against physical interaction. Doing so conceals the qualities of virtual interaction. Through the concepts of levity and proximity, I offer an alternative measure that better captures the unique properties of the medium. Levity is related to the use of avatars and the displacement into a virtual context and manifests itself as a kind of lightness in the way participants approach the interaction. Proximity is my term for the transformation of social distances that takes place in virtual worlds. While participants perceive that they are in the same place despite being physically separated, the technology can also create barriers separating participants from their physical surroundings. The gap between the participant and her avatar is also of social significance.
As a theoretical foundation for design, I have used Michael Heim’s writings and practices as a base for a phenomenologically grounded approach, which provides an alternative to the dominating perspectives of architecture and engineering. Based on an explorative design project and the earlier mentioned findings regarding social interaction, I have formulated a model for virtual world design called interacture. This model takes the interaction between participants as the fundamental building material and the starting point of the design process. From there, layers of function and structure are added, all the time balancing the design between fantasy and realism.
I have explored the possibilities of using ethnographic studies as the foundation for a participant centered design approach. I have aimed for an inside view of my object of study both as an ethnographer and as a designer. One outcome of this approach is that I have come to understand virtual worlds not just as places but also as processes where the experience of participating can change drastically over time as the participant reaches new stages in the process.
In conclusion, the method of integrating ethnography with design and the understanding of social interaction as the fundamental building material is woven into a general approach to the study and design of socio-technical systems called social interaction design.
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Jakobsson, Mikael. "Virtual worlds & social interaction design /." Umeå : Department of Informatics,Umeå University, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-750.
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Borchers, Jan. "A pattern approach to interaction design /." Chichester [u.a.] : Wiley, 2001. http://www.loc.gov/catdir/bios/wiley045/00054570.html.
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Wakkary, Ronald Lengkong. "Experiencing interaction design : a pragmatic theory." Thesis, University of Plymouth, 2009. http://hdl.handle.net/10026.1/2111.
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This thesis contributes a theory for the field of interaction design based on philosophical pragmatism. The theory frames interaction design as a pragmatic experience shaped by the inquiries of designers. The contributions of the theory are that it positions the designer at the centre of a theory, describes interaction design practice to be more than a collection of methods and strategies, and provides a sound basis for generating and verifying new knowledge through design. The thesis describes and analyzes two interaction design research projects through self-reflexive accounts that illustrate the proposed theory. The projects are a tangible museum guide and a responsive environment for physical play. The thesis examines the value of understanding interaction design through pragmatism and how interaction design when viewed as experience opens the field up to a new theoretical framework. The two interaction design research projects arc described as design inquiries constituted by a design inquirer, designer intentions, and design rationales. Further descriptions of the projects show interaction design to be comprised of design actions based on judgment and interpretation. Interaction design can be assessed by the degree to which there is integrity between the design inquiry and design actions, as well as by the transferability and discursiveness of the design inquiry findings that are relevant to the wider field of interaction design and related disciplines like human-computer interaction. The implications of the theory lead to new ways of mobilizing interaction design research and interaction design education. The pragmatic theory shows capacity for clear descriptions and analysis of interaction design inquiries in ways that extract and communicate new knowledge from interaction design practice and research. The theory shows interaction design to be a distinct and independent field of inquiry that generates knowledge through design.
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Forsslund, Jonas. "Preparing Spatial Haptics for Interaction Design." Doctoral thesis, KTH, Medieteknik och interaktionsdesign, MID, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-183373.
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Spatial haptics is a fascinating technology with which users can explore and modify3D computer graphics objects with the sense of touch, but its application potentialis often misunderstood. For a large group of application designers it is still unknown,and those who are aware of it often have either too high expectations of what is technicallyachievable or believe it is too complicated to consider at all. In addition, spatialhaptics is in its current form ill-suited to interaction design. This is partly because theproperties and use qualities cannot be experienced in an application prototype until asystem is fully implemented, which takes too much effort to be practical in most designsettings. In order to find a good match between a solution and a framing of aproblem, the designer needs to be able to mould/shape/form the technology into a solution,but also to re-frame the problem and question initial conceptual designs as shelearns more about what the technology affords. Both of these activities require a goodunderstanding of the design opportunities of this technology. In this thesis I present a new way of working with spatial haptic interaction design.Studying the serially linked mechanism from a well-known haptic device, and a forcereflectingcarving algorithm in particular, I show how to turn these technologies froman esoteric engineering form into a form ready for interaction design. The work isgrounded in a real application: an oral surgery simulator named Kobra that has beendeveloped over the course of seven years within our research group. Its design hasgone through an evolutionary process with iterative design and hundreds of encounterswith the audience; surgeon-teachers as users and potential customers. Some ideas, e.g.gestalting authentic patient cases, have as a result received increased attention by thedesign team, while other ideas, e.g. automatic assessment, have faded away. Simulation is an idea that leads to ideals of realism; that e.g. simulated instrumentsshould behave as in reality, e.g. a simulated dental instrument for prying teeth is expectedto behave according to the laws of physics and give force and torque feedback.If it does not, it is a bad simulation. In the present work it is shown how some of therealism ideal is unnecessary for creating meaningful learning applications and can actuallyeven be counter-productive, since it may limit the exploration of creative designsolutions. This result is a shift in perspective from working towards constantly improvingtechnological components, to finding and making use of the qualities of modern,but not necessarily absolute cutting-edge, haptic technology. To be able to work creatively with a haptic system as a design resource we needto learn its material qualities and how - through changing essential properties - meaningfulexperiential qualities can be modulated and tuned. This requires novel tools andworkflows that enable designers to explore the creative design space, create interactionsketches and tune the design to cater for the user experience. In essence, this thesisshows how one instance of spatial haptics can be turned from an esoteric technologyinto a design material, and how that can be used, and formed, with novel tools throughthe interaction design of a purposeful product in the domain of dental education.3D-haptik är en fascinerande teknologi med vilken användare kan utforska ochmodifiera tredimensionella datorgrafik-objekt med känseln, men dess användningspotentialär ofta missförstådd. För flertalet applikationsutvecklare är tekniken fortfarandetill stor del okänd, och de som känner till den har antingen alltför höga förväntingarav vad som är tekniskt möjligt, eller uppfattar 3D-haptik som alltför komplicerat föratt vara ett gångbart alternativ. Dessutom är 3D-haptik i sin nuvarande form tämligenomoget för interaktionsdesign. Detta beror till stor del på att en applikationsprototypsegenskaper och användarkvaliteter inte kan upplevas innan ett system är implementerati sin helhet, vilket kräver alltför stora utvecklingsresurser för att vara praktisktförsvarbart i de flesta designsituationer. För att uppnå en bra matchning mellan ett användarbehovi en viss situation och en potentiell lösning behöver en designer kunna åena sidan formge och finjustera tekniken, och å andra sidan vara öppen för att ifrågasättaoch ändra problemformulering och konceptdesign när hen lär sig mer om vilkamöjligheter tekniken erbjuder. Båda dessa aktiviteter kräver en god förståelse för vilkadesignmöjligheter som en viss teknik, eller material, erbjuder. I den här avhandlingen presenterar jag ett nytt sätt att arbeta med interaktionsdesignför 3D-haptik. Genom att studera i synnerhet den seriellt länkade mekanismen somåterfinns i en vanligt förekommande typ av 3D-haptikenhet, och en kraftåterkopplandeskärande/borrande algoritm visar jag hur man kan omvandla dessa teknologier från attvara en svårtillgänglig ingengörskonst till en form som är mer redo för interaktionsdesign.Denna förberedelse resulterar i ett slags designmaterial, samt de verktyg ochprocesser som har visat sig nödvändiga för att effektivt kunna arbeta med materialet.Forskningen är grundad i en verklig tillämpning: en simulator för käkkirurgi vidnamn Kobra, som har utvecklas under sju år inom vår forskargrupp. Kobras utformninghar genomgått en evolutionär utvecklingsprocess med iterativ design och hundratalsmöten med målgruppen; lärarpraktiserande käkkirurger och studenter som användareoch potentiella kunder. Därvid har några designidéer, t.ex. gestaltning av patientfall, avdesignteamet fått utökad uppmärksamhet medan andra idéer, t.ex. automatisk gradering,har tonats ned. Simulering är i sig självt en idé som ofta leder till ett ideal av realism; till exempelatt simulerade instrument ska uppföra sig som i verkligheten, det vill säga ett simulerattandläkarinstrument för att hävla (bända) tänder förväntas följa fysikens lagar och geåterkoppling i form av av både kraft och vridmoment. Om detta inte uppfylls betraktassimuleringen som undermålig. I det aktuella arbetet visas hur delar av realism-idealetinte är nödvändigt för att skapa meningsfulla lärandeapplikationer, och att det till ochmed kan vara kontraproduktivt eftersom det begränsar utforskande av kreativa designlösningar.Ifrågasättandet av realsimidealet resulterar i ett perspektivskifte vad gällersimulatorutveckling generellt, från att ensidigt fokusera på vidareutveckling av enskildatekniska komponenter, till att identifiera och dra nytta av kvaliteterna som redanerbjuds i modern haptisk teknik. För att kunna arbeta kreativt med ett haptiksystem som en designresurs behöver vilära känna dess materialkvaliteter och hur, genom att ändra grundläggande parametrar,meningsfulla upplevelsekvaliteter kan moduleras och finjusteras. Detta kräver i sin turnyskapande av verktyg och arbetsflöden som möjliggör utforskande av det kreativadesignrummet, skapande av interaktionssketcher och finjustering av gestaltningen föratt tillgodose användarupplevelsen. I grund och botten visar denna avhandling hur en specifik 3D-haptik-teknologi kanomvandlas från att vara en svårtillgänglig teknologi till att vara ett designmaterial, ochhur det kan användas, och formas, med nyskapande verktyg genom interaktionsdesignav en nyttoprodukt inom tandläkarutbildning
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Oates, Shawn P. "CHILD-COMPUTER INTERACTION: EXPLORING INTERFACE DESIGN." Miami University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=miami1133800774.
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Candy, Linda. "Creative knowledge work and interaction design." Thesis, Loughborough University, 1998. https://dspace.lboro.ac.uk/2134/6992.
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The main aim of the research presented in this thesis is to inform the design of interactive computer systems for supporting creative knowledge work. Research into creativity and knowledge work has been explored and used to develop a criteria modelling approach. The particular contribution of the author's work is the drawing together of that research and applying the findings to interaction design. The publications were selected on the basis of how well they represent the main outcomes of the work. The journey from prescribing system requirements and design goals to framing the system design process in terms of evaluation criteria may be traced through the papers presented. Interest in creativity and the role of computer technology in creative tasks has recently increased. A number of national initiatives have been set in motion in the LJK, beginning in December 1996 with the Initiative for National Action on Creative Technologies, the Creative Media Initiative: Technology Foresight, Department of Trade and Industry, National Endowment for Science and Technology in the Arts (NESTA) and the People and Computers Programme, of the Engineering & Physical Science Research Council (EPSRC). Thus, the author's involvement in creativity research and computer support is proving to be timely. Amongst her recent initiatives is Creativity and Cognition, an international symposium which brings together creative people in the arts with technologists and scientists. The thesis is divided into three parts : themes and outcomes, methodology and case studies. A criteria-based modelling approach is presented which has evolved from earlier models that represent key elements of creativity and knowledge work. A model of creative knowledge work is proposed and categories of criteria identified. Underpinning the main outcomes are the case studies which were carried out in industry/academic collaborative projects. The findings were considered in relation to other studies. The thesis presents an approach to computer systems design and development that directly links the requirements definition to the application of evaluation criteria. These criteria are based upon the characteristics of the cognitive style and working practices of creative knowledge workers.
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DELLE, MONACHE STEFANO. "Sonic Interaction : research through Basic Design." Doctoral thesis, Università IUAV di Venezia, 2012. http://hdl.handle.net/11578/278562.
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Coelho, Marcelo. "Materials of interaction : responsive materials in the design of transformable interactive surfaces." Thesis, Massachusetts Institute of Technology, 2008. http://hdl.handle.net/1721.1/46577.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2008.Includes bibliographical references (p. 94-99).
Materials that embody computational properties are reshaping the ways in which we design, interact and communicate. This thesis looks at the topic of form transformation and how to bring the programmability and versatility of digital forms into the physical world. The focus is placed on the relationship between materials, form and interaction, in particular how the behavior and properties of shape-changing materials can support the design of transformable interactive surfaces. Three design implementations are presented, each addressing a distinct subject area in the design of form transformation, namely topology, texture and permeability. Surflex is a composite that uses active and passive shape-changing materials to undergo large surface deformations. Sprout I/O implements small shape deformations and co-located input/output at a surface boundary to create a dynamic texture for communication. Shutters uses shape change to regulate a surface's permeability and control environmental exchanges between two distinct spaces. Drawing lessons from these projects, a soft mechanical alphabet and language for form transformation are derived, providing new formal possibilities for enriching human-computer interactions.
Marcelo Coelho.
S.M.
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Nilsson, Helander Karin. "Smart TV - a more interactive way of watching TV." Thesis, Umeå universitet, Institutionen för tillämpad fysik och elektronik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-72752.
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Smart TV, also known as Connected TV, is the new generation of television. It can be connected to the internet and enables the user to surf the web and use TV specific applications. The TV applications available today however are more like smartphone applications shown on a big screen. Applications should take advantage of the fact that they are located on a TV and make use of TV specific content. Smart TV can engage the viewer by a more interactive way of ”watching” TV. The way TV consumers watch TV today has been analysed and a changein consumer behaviour has occurred over the last decade. The TV viewershave gone from a relaxed TV mood with all focus directed towards the TV to a multitasking mood, using second screens for additional activities related, as well as unrelated, to what is on the TV. People want toengage in a more interactive way of watching TV and this is especially true for so called ”borderless” consumers which include people that like and owns technical devices.In this thesis a prototype of a Smart TV application that takes advantage of the content available on the TV, called Quiz TV, was developed. It engages the user in a more interactive way of watching TV and lets the user play a quiz about what is shown on the TV while watching it. This can be done alone, together or against others. The results from a user test of the prototype show that most of the users would play the game if it existed for real and would like a more interactive way of watching TV.As people already have an active way of watching TV, and would preferan even more interactive one, the future of the Smart TV and the Quiz TV application is seen as promising.
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Antic, Dusan. "Encouraging social interaction in public spaces through interactive light." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21164.
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Interactive light systems create unique opportunities for different kinds of social interactions in public places. This thesis explores movement as the main interaction to discover and create new ways of engaging in social interaction as well as to encourage people of different age groups to come together and participate. To further explore and answer the questions in mind, different field studies such as interviews and user tests were implemented to gather information on how the pedestrian’s thoughts and actions were. The outcome of these field studies showed that there is a slight shyness in the Swedish people and that they need to be encouraged to start socially interacting. Which through the presented prototype and its mechanics worked and allowed the participants to express their thoughts and feelings regarding an interactive light system that could encourage social interaction in public spaces.
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Neumann, Stephanie. "Discussing the role of interaction design within design for sustainability." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23523.
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This paper describes a research through design project for reducing student’s food waste in a Swedish high school canteen. It was found that the design outcome is influenced by how a designer approaches the chosen problem space of sustainability. Building only on the existing perspectives of eco-feedback technologies and persuasive frameworks within interaction design, immensely constrains the role interaction design could take in working with sustainability issues. The complexities of sustainability related problems should be seen as a rich opportunity space to approach by design. Ethnographic research methods should be used when designing for sustainability. Found strengths of interaction design within design for sustainability were the data measurement of consumption and change. Together with the communication possibilities of digital and connected devices. The design outcome became a digital tool for kitchen staff to use when evaluating the lunch menu. The research also led to four suggestions for future design projects.
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Yin, Zhaoyi. "The Role of Interaction in Service Design." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1331300556.
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Zuo, Hengfeng. "Sensory interaction with materials in product design." Thesis, Southampton Solent University, 2003. http://ssudl.solent.ac.uk/615/.
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Designers of consumer products are concerned with how their products will be perceived by consumers in the market place. The materials used in the manufacture of these products become the media by which the interface between the consumer and the designed product is perceived. Our perception towards these products will be strongly infleunced by the sensory interaction with the materials through both visual and non-visual means. Compared with the engineering properties of materials, sensory properties, perceived images, meanings and values of a material in the human-product interface, referred to as the 'material representation' are far from being systematically investigated. This is the background from which this research was initiated. The aim of this research is to explore the material representation in a holistic system, which is referred to as the visual narrative matrix. The matrix is created in an empirical way but based on a combination of theoretical and experimental research. Controlled experimental investigation is focused on the relationship between the material sensory properties (texture) and human subjective response via the sensation of touch. The theoretical analysis and the experimental findings contribute to the development of a new databse. the database will make it possible for designers, artists and engineers, through innovative treatment and application of existing and emerging materials, to be able to create artefacts more effectively matching human perceptual, sensory and emotional expectation. The experiemental findings and the visual narrative matrix are original. This thesis includes the research background, literature review, research methodology, the results from controlled experimental research, and the development of a matrix of material representation. By carrying out controlled experimental research on texture, it has been possible to identify a way in which people subjectively describe a material texture by touch (Dimension-Lexicons). Slight differences in these descriptive lexicons have been analysed in terms of gender, material surface finish, sensory conditions, and control groups etc. Further in-depth experimental research has revealed correlations between various subjective responses within texture perception dimensions. Understanding of these correlations will assist in the selection of an optimal material texture. A series of texture perception maps have been produced which directly display the nature of texture perception in terms of material categories and sensory modalities. In parallel, through experimental testing, the quantitative relationships between subjective response to texture and the objective physical parameters of materials have also been reported. This has provided important information about human sensory perception for the manufacturing and processing of materials. All of these experimental results have been integrated into the matrix of material representation.
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Kuhlman, Lane Marie. "Gesture mapping for interaction design an investigative process for developing interactive gesture libraries /." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1244003264.
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Havlik, Michele Lynne, and havlik@optusnet com au. "An investigation of Interaction Design principles, for use in the design of online galleries." RMIT University. Creative Media, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080213.091808.
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Abstract: This research is the culmination of a four-year investigation and analysis into the principles of Interaction Design, particularly those that are found to be most suitable when designing and developing interactive navigation systems. The research was undertaken as a Masters degree by project. The project consists of a CD containing an online gallery showcasing works of art and an accompanying exegesis. The exegesis is structured into seven chapters, which consider, analyse and define what the key characteristics of Interaction Design are, where it comes from, and how it improves the quality of interactive multimedia applications. The exegesis includes four case studies that look at how other practitioners in the digital realm have created systems for showcasing narrative or creative content online. I examine alternative artworks and how they have shaped the development of creative media. I investigate what experts in the field define as good Interaction Design and what guidelines and principles they recommend. I show how these guidelines conflict with more creative approaches and how good design and creativity can be merged to be usable and friendly to users. I also look at the history of opponents of guidelines and principles and how their contribution helps make design better. By creating the example gallery I aim to help designers working within the field of ID to understand the principles behind good design in order that they may deliver higher-quality user experiences relevant to the content they are displaying. By creating this gallery I also hope to help artists understand the principles behind good design in order that they may showcase their artworks in ways appropriate to their artwork. By designing and building an example I aim to provide a better understanding of how to construct a feature-rich application in an easy to use and understandable environment.
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Mitchell, Elizabeth T. "616 Hull Street_ Interaction through Discovery in Design." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3594.
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The community of Old Town Manchester lies across from downtown Richmond on the south side of the James River. Annexed in 1910, Manchester was the industrial hub of the city and home to the Chesterfield Railroad, the first railway in Virginia and used to transport coal. These industrial roots are still evident today in the warehouses and manufacturing facilities that continue to operate or have been repurposed.
The building of focus is located on the corner of bustling Hull Street and quiet 7th Avenue. Distinctive in its stone masonry exterior, 616 Hull was constructed in the 1920s as a Chevrolet showroom and manufacturing facility. Both the proximity to downtown and the historic character of Manchester made it seem an ideal location for a hotel and restaurant. Considering the hotel as a source of stability for the community because it provides jobs, and the restaurant as an entity within the hotel that simultaneously serves the guests as well as the local residents, the concept of discovery and experience of place emerged. With the belief that locals share a sense of pride in the city in which they live, thus making Richmonders the city’s best advocates, this thesis was an exploration of how design can encourage interaction between two groups of people- visitors and locals.
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Wang, Jinyi. "Crafting Movement : Moving Image Collections for Interaction Design." Doctoral thesis, Stockholms universitet, Institutionen för data- och systemvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-149478.
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This thesis conceptualises, investigates, and reflects on the moving image design space in Human-Computer Interaction (HCI). Motivated by the increasing number of videos, films, and animations produced in the field, the thesis recognizes moving image making as a designerly way of inquiry across research and practice, and argues for the importance of moving image as a research topic in interaction design. The first contribution of this thesis is the conceptualization of the moving image design space. The growing body of moving images, varying in forms and purposes, can be held together to establish a foundation of knowledge that informs and generates new research and practice. We identify four collections of existing works and their different roles, namely moving image as design technique, design element, design exhibit, and design promotion. The second contribution is the manifestation of moving image making through concrete design studies. These exemplars empirically demonstrate how they investigate, enrich, and challenge the four established collections, and ultimately expand the moving image design space. These contributions not only provide new knowledge on moving images for better understanding their various roles in interaction design and making works that respond to emerging design opportunities, but also foreground the discussion on the mediation aspect of moving image in HCI.At the time of the doctoral defense, the following paper was unpublished and had a status as follows: Paper 7: Manuscript.
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Tsaknaki, Vasiliki. "Making Preciousness : Interaction Design Through Studio Crafts." Doctoral thesis, KTH, Medieteknik och interaktionsdesign, MID, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-219765.
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This dissertation explores value-creation in interaction design through practical collaborations with studio craftspersons. A focus is on the meaning of “preciousness” from a design perspective – what I refer to as Making Preciousness – which highlights aspects of material properties, design processes, and the attitude to the design space. Theoretically, the work takes inspiration from the Japanese philosophy of Wabi-Sabi, which is based on the fact that things are impermanent, incomplete, and imperfect. This reflects a view of preciousness beyond notions of practical use, luxury or monetary cost. In addition to theoretical studies, I engaged in practice-based research at the intersection of interaction design and studio crafts, in the domains of leather, silversmith and textile crafting. Through an approach that blends these practices with the making of interactive artefacts, preciousness for interaction design was explored. Through this work, I extract three qualities, all of which are closely linked to attributes and values embedded in the craft practices examined. I refer to these as resourceful composition, material sensuality and the aiming for mattering artefacts. Resourceful composition refers to approaching a design space “resourcefully”, meaning that the designer actively values and uses the specific qualities of materials and tools consciously, for what they are suitable for. Material sensuality is about appreciating the sensory experience of interacting with materials, arriving through particular material qualities, such as texture, temperature or smell, but also interactive qualities. Aiming for mattering artefacts involves actively designing for impermanence, incompleteness and imperfection, and through that contributing to notions of preciousness through use, care, ownership and interaction between users and artefacts over time. The attitude of making preciousness can be seen as tying together materials and making with user experiences of computational artefacts. For interaction design, this points towards making processes in which computation and material knowledge, craftsmanship and aesthetic intentions are placed at the core. These values relate to cultural, but also sensual experiences, which can be seen as under-explored in the design of interactive products.QC 20171213
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Wallmyr, Markus. "Exploring Interaction Design Perspectives on Heavy Vehicles." Licentiate thesis, Mälardalens högskola, Inbyggda system, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-34906.
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Interaction design is more crucial than ever as an ingredient in product development and digitalization. Its need is driven by a trend where software based functionality is becoming increasingly important in all types of product features, simultaneously as new technology moves the frontier where interaction between human and computer takes place. There is also a market demanding renewed experiences, more efficient, stimulating and fashionable, which enterprises seek to deliver to attract customers. Also[WM1] , as systems, for example vehicle systems, get increasingly information intense, the information exchange with the user becomes a factor for safe and successful operation, thus increasing the need for a proficient interaction design. This research investigates how interaction technologies, interaction design principles, and machine information systems can be used to provide user experiences and efficient interaction between the operator and industrial mobile machines; for example, agricultural machines and construction machines. The research combines software engineering and interaction design together with an industrial perspective. It does so by studies, both in literature and through field studies of operators, by design exploration and prototype realization. The thesis describes the design space for heavy vehicles through different perspectives. It outlines the principal dimensions of interaction design and the benefits of including design in product and services realization. It presents perspectives on the challenges for the different stakeholders involved, covering the operator of the machines, the software engineer and the designer. It depicts a method for gaining detailed insights into operator’s daily behavior, with minimal interference with their work. Furthermore, it introduces a tool for practitioners to explore interaction design using mixed reality and free head movements, and it investigates possible interfaces using augmented reality.Interaktionsdesign är mer avgörande i produktutveckling och digitalisering än någonsin. Utvecklingen här drivs av en trend där mjukvarubaserad funktionalitet blir allt viktigare i alla typer av produkter samtidigt som ny teknik ökar designrymden för var samspelet mellan människa och dator kan äga rum. Användare efterfrågar förnyade upplevelser, mer effektiva, stimulerande och moderiktiga. Företag söker möta denna efterfrågan för att locka kunder och genera affärer. Dessutom, genom att system, exempelvis fordonssystem, blir allt mer informationsintensiva, blir sättet som informationsutbytet sker med användaren en allt viktigare faktor för säkerhet och funktionalitet. Sammantaget ökar behovet av en skickligt utförd interaktionsdesign. Den här avhandlingen undersöker hur interaktionstekniker, interaktionsdesignsprinciper och informationssystem kan användas för att leverera användarupplevelser och effektiv interaktion för operatörer av industriella mobila maskiner, exempelvis jordbruksmaskiner och anläggningsmaskiner. Forskningen kombinerar interaktionsdesign och mjukvaruutveckling i ett industriellt kontext. Forskningen har bedrivits genom studier, i litteratur och etnografiska studier av användare i fält, genom utforskande design och genom prototyprealisering. Avhandlingen beskriver designrymden för industrifordon från flera perspektiv. Dels från perspektiven av de grundläggande elementen inom interaktionsdesign, processerna för att skapa och forska inom interaktionsdesign samt fördelarna med designdriven produkt- och tjänste-förverkligande. Vidare tar den upp perspektiv utifrån situationen och utmaningarna för inblandade aktörer, såsom operatören av maskinen, mjukvaruutvecklaren och designern. Avhandlingen bidrar också med praktiska perspektiv, dels en metod för att få detaljerad inblick i operatörens dagliga beteende med minimal störning i sitt arbete, och dels ett verktyg för interaktionsdesigners att undersöker möjliga designs med virtuell förstärkt verklighet med hjälp av blandad virtuell verklighet och fria huvudrörelser.
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Hassan, Abubakar. "Interaction Nets : Language and Design and Implementation." Thesis, University of Sussex, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.506943.
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Dukic, Davor. "Towards natural dialogue design in user interaction." Thesis, University of York, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297072.
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SANGIORGI, UGO BRAGA. "SUPPORTING INTERACTION AND INTERFACE DESIGN AND EVALUATION." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2010. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=16191@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
Com a popularização da Internet e de dispositivos móveis, a utilização de sistemas interativos vem se tornando mais frequente, atingindo cada vez mais pessoas, com diferentes níveis sociais e de diferentes culturas. No entanto, o projeto da interação entre os usuários e esses sistemas não é suficientemente apoiado por ferramentas ou notações, tornando a experiência interativa muitas vezes uma mera consequência das funções internas do sistema - em que erros são tratados como exceções e portanto devem ser evitados, em vez de devidamente tratados. Este trabalho apresenta um estudo sobre como o projeto de sistemas pode ser auxiliado por um modelo que combina interação e interface, em conjunto com uma ferramenta para auxiliar esta modelagem e gerar protótipos, apoiando a reflexão do designer acerca da solução interativa sendo projetada. A linguagem MoLIC é utilizada para representar o comportamento do sistema e esboços de tela são utilizados para representar a interface em um modelo combinado. Os protótipos são gerados a partir da sequência dos esboços de tela, por sua vez guiada pelo modelo de interação. Foi conduzido um estudo de caso exploratório para colher críticas a respeito da abordagem e para investigar a viabilidade do projeto integrado da interação e interface.
Nowadays, with the growing popularity of the Internet and mobile devices, interactive systems have increasingly gained ground among different people, with different cultural backgrounds. However, the design of the interaction that takes place between the users and those systems is not properly supported by tools nor notations, turning the interactive experience into a mere consequence of the internal functions of the systems – in which errors are treated as exceptions and must therefore be avoided, instead of properly supported. This work presents a study on how systems design might be supported by a model that combines interaction and interface design, and a tool to support this modeling and to generate prototypes, supporting the designer’s reflection about the interactive solution being created. The MoLIC language is used to represent the systems behaviour and sketches are used to represent the interface in a combined model. The prototypes are generated from a sequence of sketches, guided by the interaction model. An exploratory study was conducted in order to gather feedback about the proposed approach and to investigate the feasibility of the integrated project of interaction and interface.
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Hussein, Karim Mohie El Din 1972. "Computer supported interaction in distributed design teams." Thesis, Massachusetts Institute of Technology, 1998. http://hdl.handle.net/1721.1/33266.
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Thesis (Sc. D.)--Massachusetts Institute of Technology, Dept. of Civil and Environmental Engineering, 1998.Includes bibliographical references (leaves ).
by Karim Mohie El Din Hussein.
Sc.D.
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Persson, Anna. "Exploring textiles as materials for interaction design." Doctoral thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-3652.
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As computational technology and new materials enter the world of textiles, our view on textile materials is challenged. Textile interaction design suggests a new design space in which the fields of textile design and interaction design are merged. This work contributes to the introduction of textiles as material for interaction design and focuses on spatial and temporal design of the dynamic elements of textiles – the elements that enable interaction. The result is various interactive textile material examples which are meant to inspire new expressional uses of textile materials thought of as slow, interacting hardware able to inhabit our everyday environments through responsive light, tactile connections, and informative decorations etc. Design experiments conducted within this thesis are framed by a research programme, which is set up as an initial guideline to explore visual and tactile interactive properties of knitted textiles. Together with practical knowledge, the result is a theoretical framework that frames essential features of an interactive textile design where the defined design variables introduce a way to formulate what it is we design when we design for dynamic elements. By introducing notions such as the potential and precision of interaction, design variables relating to both physical and programming design are derived from the design of the dynamic elements of a material. A retrospective analysis of the experiments in relation to four acknowledged interaction design dimensions establish a link between the fields of interaction design and textile design. This work is based on the design experiments Electrical Burnouts, Costumes and Wall Hanging, Touching Loops, Designing with Heat, Functional Styling, Repetition and Stretching Loops, where the implemented structures are seen both as materials for further design and examples meant to provide inspiration in a more general sense.Academic dissertation at the University of Borås to be publicly defended on Wednesday 5 June 2013 at 13.00 in lecture room M404, the University of Borås, Allégatan 1, Borås.
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Bartindale, Thomas Luke. "Interaction design for situated media production teams." Thesis, University of Newcastle upon Tyne, 2014. http://hdl.handle.net/10443/2359.
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Media production teams are the backbone of many media industries including television, sport gatherings and live music events. These domains are characterised by a key set of situational factors which significantly impact on the collaborative production workflow, such as temporality, professional concerns and mission criticality. The availability of new interaction technologies presents an opportunity to design systems to support these teams in these complex environments, leveraging the affordances of interaction technologies in response to the situated factors that impact specifically on these types of domains. StoryCrate and ProductionCrate, two large-scale real-world prototype systems for supporting situated media production teams were designed and deployed to explore the interaction design considerations that could support these teams in specific scenarios. Through an extensive analysis of these deployments, key design considerations, interaction techniques and modalities are presented that can be developed in response to the situational factors found in collaborative media production environments.