Tangible interactions have incorporated new materials into interaction design as well as new perspectives on how those materials can be made useful. The dissertation research I discuss here examines materials and forms in terms of how they both mediate information but also can represent meanings in their own right. My work emphasizes these meanings as an important aspect of the experience of tangible interactions.
{"title":"Material and Meaning in Tangible Interactions","authors":"Shad Gross","doi":"10.1145/2677199.2691609","DOIUrl":"https://doi.org/10.1145/2677199.2691609","url":null,"abstract":"Tangible interactions have incorporated new materials into interaction design as well as new perspectives on how those materials can be made useful. The dissertation research I discuss here examines materials and forms in terms of how they both mediate information but also can represent meanings in their own right. My work emphasizes these meanings as an important aspect of the experience of tangible interactions.","PeriodicalId":117478,"journal":{"name":"Proceedings of the Ninth International Conference on Tangible, Embedded, and Embodied Interaction","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116660224","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
J. Chu, Paul G. Clifton, Hank Blumenthal, A. Nandakumar, Balasubramanium Ganapathi, J. Murray, Ali Mazalek
The "Universal Threshold Object" is a tangible device for television-like interactive narratives based on the TV show American Horror Story. The project uses gestural interactions with a tangible controller that provides haptic feedback as an interaction strategy to augment the narrative pleasures of immersion and dramatic agency. We leverage a branching scenario and story-driven gestural interaction with haptic feedback to provide limited sets of interactivity suitable for a television platform. From our research, design goals, and design process, we provide design implications for interactive narratives that employ gestural and haptic interactions.
{"title":"Universal Threshold Object: Designing Haptic Interaction for Televised Interactive Narratives","authors":"J. Chu, Paul G. Clifton, Hank Blumenthal, A. Nandakumar, Balasubramanium Ganapathi, J. Murray, Ali Mazalek","doi":"10.1145/2677199.2680563","DOIUrl":"https://doi.org/10.1145/2677199.2680563","url":null,"abstract":"The \"Universal Threshold Object\" is a tangible device for television-like interactive narratives based on the TV show American Horror Story. The project uses gestural interactions with a tangible controller that provides haptic feedback as an interaction strategy to augment the narrative pleasures of immersion and dramatic agency. We leverage a branching scenario and story-driven gestural interaction with haptic feedback to provide limited sets of interactivity suitable for a television platform. From our research, design goals, and design process, we provide design implications for interactive narratives that employ gestural and haptic interactions.","PeriodicalId":117478,"journal":{"name":"Proceedings of the Ninth International Conference on Tangible, Embedded, and Embodied Interaction","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127108700","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Sharon Lynn Chu Yew Yee, Francis K. H. Quek, Kumar Sridharamurthy
At around age nine when social awareness and self-evaluation heighten, children experience a precipitous slump in creative engagement. We propose an enactment-based approach grounded in embodied cognition theories to support children's creative self-efficacy and creative thinking in storytelling during the period of this slump. Our investigation of the approach with 20 children indicated that enactment-based animated authoring improves children's sense of self-efficacy in creating stories, particularly for children with low to medium extraversion, and enables children to produce richer stories, especially for children who scored low on the baseline creativity test.
{"title":"Augmenting Children's Creative Self-Efficacy and Performance through Enactment-Based Animated Storytelling","authors":"Sharon Lynn Chu Yew Yee, Francis K. H. Quek, Kumar Sridharamurthy","doi":"10.1145/2677199.2680602","DOIUrl":"https://doi.org/10.1145/2677199.2680602","url":null,"abstract":"At around age nine when social awareness and self-evaluation heighten, children experience a precipitous slump in creative engagement. We propose an enactment-based approach grounded in embodied cognition theories to support children's creative self-efficacy and creative thinking in storytelling during the period of this slump. Our investigation of the approach with 20 children indicated that enactment-based animated authoring improves children's sense of self-efficacy in creating stories, particularly for children with low to medium extraversion, and enables children to produce richer stories, especially for children who scored low on the baseline creativity test.","PeriodicalId":117478,"journal":{"name":"Proceedings of the Ninth International Conference on Tangible, Embedded, and Embodied Interaction","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127118819","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Interactive paper is a form of tangible computing that allows people to take full advantage of their existing cognitive and physical skills, and encourages us, as designers, to explore novel strategies for supporting creativity. This talk traces my own history with interactive paper, based on participatory design projects with creative professionals who successfully combine paper and computers. I begin with Pierre Wellner's ground-breaking Digital Desk in the 1990's and continue through to Phillippe LeRoux's Quid Sit Musicus in 2014, which used interactive paper both during composition and as an integral part of the live performance. The insights we gained from these projects has led to a new way of thinking about interaction design. Our concept of co-adaptive instruments is based on instrumental Interaction, which treats interaction as a first class object and co-adaptation, which helps users both learn (adapt to) and appropriate (adapt) interactive systems. By taking cues from how people interact in the physical world, we can create less brittle systems that are easier to learn and appropriate, and support a wide variety of creative activities. Wendy Mackay is a Research Director, Classe Exceptionnelle, at Inria, France, where she heads the In|Situ| research group in Human-Computer Interaction at the Université Paris-Sud. After receiving her Ph.D. from MIT, she managed research groups at Digital Equipment and Xerox EuroPARC, which were among the first to explore interactive video and tangible computing. She has been a visiting professor at University of Aarhus and Stanford University and recently served as Vice President for Research at the University of Paris-Sud. Wendy is a member of the ACM CHI academy, is a past chair of ACM/SIGCHI, chaired CHI'13 and recently received the ACM/SIGCHI Lifetime Acheivement Service Award. She also received the prestigious ERC Advanced Grant for her research on co-adaptive instruments. She has published over 150 peer-reviewed research articles in the area of Human-computer Interaction. Her current research interests include participatory design, creativity, co-adaptive instruments, mixed reality and interactive paper, and multidisciplinary research methods.
互动纸是一种有形的计算形式，它允许人们充分利用他们现有的认知和身体技能，并鼓励我们作为设计师，探索支持创造力的新策略。这次演讲回顾了我自己与互动纸的历史，基于与成功地将纸和电脑结合起来的创意专业人士的参与式设计项目。我从20世纪90年代Pierre Wellner开创性的Digital Desk开始，一直到2014年philippe LeRoux的Quid Sit Musicus，它在作曲和现场表演中都使用了互动纸。我们从这些项目中获得的见解已经引导了一种思考交互设计的新方式。我们的协同适应工具的概念是基于工具交互，它将交互视为一级对象和协同适应，帮助用户学习(适应)和适当(适应)交互系统。通过从人们在物理世界中的互动方式中获取线索，我们可以创建更容易学习和适当的不那么脆弱的系统，并支持各种各样的创造性活动。Wendy Mackay是法国Inria卓越班的研究主任，在那里她领导着巴黎南方大学人机交互原位研究小组。在获得麻省理工学院的博士学位后，她在数字设备和施乐欧洲parc管理研究小组，这是第一批探索交互式视频和有形计算的研究小组。她是奥胡斯大学和斯坦福大学的客座教授，最近曾担任巴黎南方大学研究副校长。Wendy是ACM CHI学院的成员，是ACM/SIGCHI的前任主席，曾担任ACM/SIGCHI的主席，最近获得了ACM/SIGCHI终身成就服务奖。她还因在共适应仪器方面的研究获得了著名的ERC高级资助。她在人机交互领域发表了150多篇同行评审的研究文章。她目前的研究兴趣包括参与式设计，创意，协同适应工具，混合现实和互动论文，以及多学科研究方法。
{"title":"Interactive Paper: A Whirlwind Tour of Tangible Computing from the Digital Desk to Music Composition","authors":"W. Mackay","doi":"10.1145/2677199.2683578","DOIUrl":"https://doi.org/10.1145/2677199.2683578","url":null,"abstract":"Interactive paper is a form of tangible computing that allows people to take full advantage of their existing cognitive and physical skills, and encourages us, as designers, to explore novel strategies for supporting creativity. This talk traces my own history with interactive paper, based on participatory design projects with creative professionals who successfully combine paper and computers. I begin with Pierre Wellner's ground-breaking Digital Desk in the 1990's and continue through to Phillippe LeRoux's Quid Sit Musicus in 2014, which used interactive paper both during composition and as an integral part of the live performance. The insights we gained from these projects has led to a new way of thinking about interaction design. Our concept of co-adaptive instruments is based on instrumental Interaction, which treats interaction as a first class object and co-adaptation, which helps users both learn (adapt to) and appropriate (adapt) interactive systems. By taking cues from how people interact in the physical world, we can create less brittle systems that are easier to learn and appropriate, and support a wide variety of creative activities. Wendy Mackay is a Research Director, Classe Exceptionnelle, at Inria, France, where she heads the In|Situ| research group in Human-Computer Interaction at the Université Paris-Sud. After receiving her Ph.D. from MIT, she managed research groups at Digital Equipment and Xerox EuroPARC, which were among the first to explore interactive video and tangible computing. She has been a visiting professor at University of Aarhus and Stanford University and recently served as Vice President for Research at the University of Paris-Sud. Wendy is a member of the ACM CHI academy, is a past chair of ACM/SIGCHI, chaired CHI'13 and recently received the ACM/SIGCHI Lifetime Acheivement Service Award. She also received the prestigious ERC Advanced Grant for her research on co-adaptive instruments. She has published over 150 peer-reviewed research articles in the area of Human-computer Interaction. Her current research interests include participatory design, creativity, co-adaptive instruments, mixed reality and interactive paper, and multidisciplinary research methods.","PeriodicalId":117478,"journal":{"name":"Proceedings of the Ninth International Conference on Tangible, Embedded, and Embodied Interaction","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127189009","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The human hand is not merely useful. It is arguably the most openly and inexhaustibly programmable biological machine in the universe. The partnership it forged with the brain and the rest of the human body over the span of many thousands of years not only made human life possible but reappears in every healthy new human baby as a legacy of wide-open prospects for adventure and discovery. For most large organisms, survival of the species has been won through the tactic of genetic and behavioral conservatism -- settling into a niche where skills are suited to needs, and where environmental change comes slowly compared to the pace of generational renewal. Humans, too, are genetically conservative, but our evolutionary path liberated us from repertoires of fixed and safe routines and turned us into behavioral improvisers. Possibly this happened because the childhood and adolescence of our species was spent crossing unfamiliar landscapes and chancing life in unpredictable environments. This migratory strategy didn't just save us, it transformed us. Over time we became "modern Homo sapiens" -- highly resourceful tool-makers and users who had learned to live together and to share labor, knowledge, and ideas. Eventually, having no real competitors, we put ourselves in charge of the shallow global compartment of oxygen-rich terrain where our ancestors had started hanging out millions of years ago. The downside of our survival strategy has been that what makes us so successful also makes us a danger to ourselves, as Greek mythology and Shakespeare so eloquently remind us. The latest irony and most recent danger is the perverse idea that our biology is our undoing, and that only technology can save us. It is this idea, or part of this idea, that I want to talk about here. Specifically, I want to consider our high hopes for "prosthetics technologies," by which I mean not only those devices and machines that are created to repair and replace broken or missing parts of ourselves but also the devices and machines we design and build to outdo ourselves.
{"title":"Helping Hands: Wonders and Woes of Prosthetics Technologies","authors":"F. R. Wilson","doi":"10.1145/2677199.2683577","DOIUrl":"https://doi.org/10.1145/2677199.2683577","url":null,"abstract":"The human hand is not merely useful. It is arguably the most openly and inexhaustibly programmable biological machine in the universe. The partnership it forged with the brain and the rest of the human body over the span of many thousands of years not only made human life possible but reappears in every healthy new human baby as a legacy of wide-open prospects for adventure and discovery. For most large organisms, survival of the species has been won through the tactic of genetic and behavioral conservatism -- settling into a niche where skills are suited to needs, and where environmental change comes slowly compared to the pace of generational renewal. Humans, too, are genetically conservative, but our evolutionary path liberated us from repertoires of fixed and safe routines and turned us into behavioral improvisers. Possibly this happened because the childhood and adolescence of our species was spent crossing unfamiliar landscapes and chancing life in unpredictable environments. This migratory strategy didn't just save us, it transformed us. Over time we became \"modern Homo sapiens\" -- highly resourceful tool-makers and users who had learned to live together and to share labor, knowledge, and ideas. Eventually, having no real competitors, we put ourselves in charge of the shallow global compartment of oxygen-rich terrain where our ancestors had started hanging out millions of years ago. The downside of our survival strategy has been that what makes us so successful also makes us a danger to ourselves, as Greek mythology and Shakespeare so eloquently remind us. The latest irony and most recent danger is the perverse idea that our biology is our undoing, and that only technology can save us. It is this idea, or part of this idea, that I want to talk about here. Specifically, I want to consider our high hopes for \"prosthetics technologies,\" by which I mean not only those devices and machines that are created to repair and replace broken or missing parts of ourselves but also the devices and machines we design and build to outdo ourselves.","PeriodicalId":117478,"journal":{"name":"Proceedings of the Ninth International Conference on Tangible, Embedded, and Embodied Interaction","volume":"76 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127288652","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ye Tao, Hongyu Chen, Fei Meng, Xiaolian Zhang, Fangtian Ying, Cheng Yao
There is a prosperity in wearable media in data monitoring. Since the apparel can show personal tastes, emotions and attitudes, what if our clothes could express affective information throughout different situations? This paper presents a system for enhancing the experience of situated-base affective communication by information visualization. The paper discusses the leading features in a variety of specific contexts such as the information monitoring, the remote communication and the customization.
{"title":"Situated Apparel: Designing to Reinforce Affective Communication","authors":"Ye Tao, Hongyu Chen, Fei Meng, Xiaolian Zhang, Fangtian Ying, Cheng Yao","doi":"10.1145/2677199.2687893","DOIUrl":"https://doi.org/10.1145/2677199.2687893","url":null,"abstract":"There is a prosperity in wearable media in data monitoring. Since the apparel can show personal tastes, emotions and attitudes, what if our clothes could express affective information throughout different situations? This paper presents a system for enhancing the experience of situated-base affective communication by information visualization. The paper discusses the leading features in a variety of specific contexts such as the information monitoring, the remote communication and the customization.","PeriodicalId":117478,"journal":{"name":"Proceedings of the Ninth International Conference on Tangible, Embedded, and Embodied Interaction","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125078857","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Over the past four years the authors have conducted classes and workshops in design of systems for real-time digital synthesis of sound and haptic response. In response to current trends in Interaction Design education focusing on visual feedback and touchscreen interactions, the classes were developed to provide foundations for design students to leverage the potential of non-visual modes of interaction and provide them with tools and skills to develop complex multimodal, embodied experiences. These classes have been held in various institutions, have formed the basis for short workshops at conferences as well as provided tools for collaborations with external partners. In this paper we describe for the first time the extent of the project and reflect on this particular field of Interaction Design education.
{"title":"Motors, Music and Motion","authors":"J. Bak, B. Verplank, D. Gauthier","doi":"10.1145/2677199.2680590","DOIUrl":"https://doi.org/10.1145/2677199.2680590","url":null,"abstract":"Over the past four years the authors have conducted classes and workshops in design of systems for real-time digital synthesis of sound and haptic response. In response to current trends in Interaction Design education focusing on visual feedback and touchscreen interactions, the classes were developed to provide foundations for design students to leverage the potential of non-visual modes of interaction and provide them with tools and skills to develop complex multimodal, embodied experiences. These classes have been held in various institutions, have formed the basis for short workshops at conferences as well as provided tools for collaborations with external partners. In this paper we describe for the first time the extent of the project and reflect on this particular field of Interaction Design education.","PeriodicalId":117478,"journal":{"name":"Proceedings of the Ninth International Conference on Tangible, Embedded, and Embodied Interaction","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125933453","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Connie Golsteijn, Sarah Gallacher, Lisa Koeman, Lorna Wall, Sami Andberg, Y. Rogers, L. Capra
Gathering public opinions, such as surveys, at events typically requires approaching people in situ, but this can disrupt the positive experience they are having and can result in very low response rates. As an alternative approach, we present the design and implementation of VoxBox, a tangible system for gathering opinions on a range of topics in situ at an event through playful and engaging interaction. We discuss the design principles we employed in the creation of VoxBox and show how they encouraged wider participation, by grouping similar questions, encouraging completion, gathering answers to open and closed questions, and connecting answers and results. We evaluate these principles through observations from an initial deployment and discuss how successfully these were implemented in the design of VoxBox.
{"title":"VoxBox: A Tangible Machine that Gathers Opinions from the Public at Events","authors":"Connie Golsteijn, Sarah Gallacher, Lisa Koeman, Lorna Wall, Sami Andberg, Y. Rogers, L. Capra","doi":"10.1145/2677199.2680588","DOIUrl":"https://doi.org/10.1145/2677199.2680588","url":null,"abstract":"Gathering public opinions, such as surveys, at events typically requires approaching people in situ, but this can disrupt the positive experience they are having and can result in very low response rates. As an alternative approach, we present the design and implementation of VoxBox, a tangible system for gathering opinions on a range of topics in situ at an event through playful and engaging interaction. We discuss the design principles we employed in the creation of VoxBox and show how they encouraged wider participation, by grouping similar questions, encouraging completion, gathering answers to open and closed questions, and connecting answers and results. We evaluate these principles through observations from an initial deployment and discuss how successfully these were implemented in the design of VoxBox.","PeriodicalId":117478,"journal":{"name":"Proceedings of the Ninth International Conference on Tangible, Embedded, and Embodied Interaction","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126157294","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper introduces the concept of Process Products, or digitally fabricated objects embedded with visual representations of design process. The goal of this work is to use automation to capture the iterative process of designing and manufacturing objects using digital fabrication and encapsulate this information directly on the produced objects themselves. Documenting iteration can help designers communicate the evolution of their design, reveal strategies that designers use to create products, and help manufacturers of digital fabrication technologies understand how their tools are used. We propose three potential forms of Process Products: Process Heatmaps, Process Stacks, and Process Textures, as a way to spark discussion on capturing and representing iteration in the design of physical objects.
{"title":"Process Products: Capturing Design Iteration with Digital Fabrication","authors":"Tiffany Tseng, Geoffrey T Tsai","doi":"10.1145/2677199.2687891","DOIUrl":"https://doi.org/10.1145/2677199.2687891","url":null,"abstract":"This paper introduces the concept of Process Products, or digitally fabricated objects embedded with visual representations of design process. The goal of this work is to use automation to capture the iterative process of designing and manufacturing objects using digital fabrication and encapsulate this information directly on the produced objects themselves. Documenting iteration can help designers communicate the evolution of their design, reveal strategies that designers use to create products, and help manufacturers of digital fabrication technologies understand how their tools are used. We propose three potential forms of Process Products: Process Heatmaps, Process Stacks, and Process Textures, as a way to spark discussion on capturing and representing iteration in the design of physical objects.","PeriodicalId":117478,"journal":{"name":"Proceedings of the Ninth International Conference on Tangible, Embedded, and Embodied Interaction","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123247285","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
We present a lightweight technique with which creators can prototype force-sensitive objects by attaching a pair of piezoelectric elements: one a vibration speaker and one a contact microphone. The key idea behind our technique is that touch force, in addition to the way the object is touched, can also be observed as different resonant frequency spectra. We also show that recognition of a touch and estimation of the touch force can be implemented by using the combination of support vector classification (SVC) and support vector regression (SVR). An experiment with an additional pressure sensor revealed that our technique might perform well in estimating touch force. We also show a tool for machine learning based on our technique that uses an animated guide, allowing creators to give the system both the training data and the labels for training machine learning needed for dealing with continuous-valued output such as SVR.
{"title":"Sensing Touch Force using Active Acoustic Sensing","authors":"Makoto Ono, B. Shizuki, J. Tanaka","doi":"10.1145/2677199.2680585","DOIUrl":"https://doi.org/10.1145/2677199.2680585","url":null,"abstract":"We present a lightweight technique with which creators can prototype force-sensitive objects by attaching a pair of piezoelectric elements: one a vibration speaker and one a contact microphone. The key idea behind our technique is that touch force, in addition to the way the object is touched, can also be observed as different resonant frequency spectra. We also show that recognition of a touch and estimation of the touch force can be implemented by using the combination of support vector classification (SVC) and support vector regression (SVR). An experiment with an additional pressure sensor revealed that our technique might perform well in estimating touch force. We also show a tool for machine learning based on our technique that uses an animated guide, allowing creators to give the system both the training data and the labels for training machine learning needed for dealing with continuous-valued output such as SVR.","PeriodicalId":117478,"journal":{"name":"Proceedings of the Ninth International Conference on Tangible, Embedded, and Embodied Interaction","volume":"165 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123337653","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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