In this paper, we discuss the requirements and critical challenges for creating and staging interactive costumes in the theatre. Different to other types of performance, theatre costumes are secondary to acting. Our investigations are based on two practice-based case studies: a self-directed design research within a student project, and a collaboration with a local theatre house, where interactive costume elements were developed in a real-life setting. These reveal requirements and challenges for the design process as well as the effective staging of interactive costumes, the biggest challenge being how to integrate these into existing structures of traditional theatre houses, and requirements for the costumes themselves. Because interactive costumes integrate technological features and traditional analogue crafts, they require interdisciplinary collaboration and transcend established boundaries between departments in theatre houses, challenging established work processes and structures.
{"title":"Challenges for Creating and Staging Interactive Costumes for the Theatre Stage","authors":"Michaela Honauer, E. Hornecker","doi":"10.1145/2757226.2757242","DOIUrl":"https://doi.org/10.1145/2757226.2757242","url":null,"abstract":"In this paper, we discuss the requirements and critical challenges for creating and staging interactive costumes in the theatre. Different to other types of performance, theatre costumes are secondary to acting. Our investigations are based on two practice-based case studies: a self-directed design research within a student project, and a collaboration with a local theatre house, where interactive costume elements were developed in a real-life setting. These reveal requirements and challenges for the design process as well as the effective staging of interactive costumes, the biggest challenge being how to integrate these into existing structures of traditional theatre houses, and requirements for the costumes themselves. Because interactive costumes integrate technological features and traditional analogue crafts, they require interdisciplinary collaboration and transcend established boundaries between departments in theatre houses, challenging established work processes and structures.","PeriodicalId":231794,"journal":{"name":"Proceedings of the 2015 ACM SIGCHI Conference on Creativity and Cognition","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115486432","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}
SolidSketch is a solid and parametric modeling program that enables users to rapidly construct 3D parametric and semantic models through sketch and multi-touch input. The interaction design principles of SolidSketch are based on the cognitive science theory of enaction. We argue enactive interactions would support design creativity by enabling rapid iteration and continuous feedback throughout a flexible design exploration. SolidSketch infers the intention of the user by continuously analyzing the surrounding context and user's behavior. This paper briefly introduces the enaction theory, the interaction designs as well as the implementations of SolidSketch.
{"title":"SolidSketch: Toward Enactive Interactions for Semantic Model Creation","authors":"Chih-Pin Hsiao","doi":"10.1145/2757226.2764765","DOIUrl":"https://doi.org/10.1145/2757226.2764765","url":null,"abstract":"SolidSketch is a solid and parametric modeling program that enables users to rapidly construct 3D parametric and semantic models through sketch and multi-touch input. The interaction design principles of SolidSketch are based on the cognitive science theory of enaction. We argue enactive interactions would support design creativity by enabling rapid iteration and continuous feedback throughout a flexible design exploration. SolidSketch infers the intention of the user by continuously analyzing the surrounding context and user's behavior. This paper briefly introduces the enaction theory, the interaction designs as well as the implementations of SolidSketch.","PeriodicalId":231794,"journal":{"name":"Proceedings of the 2015 ACM SIGCHI Conference on Creativity and Cognition","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116408012","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 attraction of classic computer games wasn't their verisimilitude. Games like Battlezone and Elite blended perception and action through interactivity that flowed around the immateriality of the game object; cinematic tropes then emphasised this in films like Tron and Minority Report. Arguably this reveals a facet of perception we have passed over in favour of the fixed outlines of objects. But if this is a part of perception per se rather than being limited to the screen, shouldn't we be able to experience this within the physical world? Sense-a-Ball Pong explores this by making the classic computer game of Pong "physical". A grid of vanes will orientate themselves towards the "ball" implying its position whilst it will be invisible. Utilising distance sensors player's will then use their hand to play with the ball. If perception does flow around the object it should become evident in this work.
{"title":"Sense-a-Ball Pong","authors":"Mark Palmer","doi":"10.1145/2757226.2757379","DOIUrl":"https://doi.org/10.1145/2757226.2757379","url":null,"abstract":"The attraction of classic computer games wasn't their verisimilitude. Games like Battlezone and Elite blended perception and action through interactivity that flowed around the immateriality of the game object; cinematic tropes then emphasised this in films like Tron and Minority Report. Arguably this reveals a facet of perception we have passed over in favour of the fixed outlines of objects. But if this is a part of perception per se rather than being limited to the screen, shouldn't we be able to experience this within the physical world? Sense-a-Ball Pong explores this by making the classic computer game of Pong \"physical\". A grid of vanes will orientate themselves towards the \"ball\" implying its position whilst it will be invisible. Utilising distance sensors player's will then use their hand to play with the ball. If perception does flow around the object it should become evident in this work.","PeriodicalId":231794,"journal":{"name":"Proceedings of the 2015 ACM SIGCHI Conference on Creativity and Cognition","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122466689","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}
L. S. Vestergaard, Joakim Old Jensen, Christina Exner, Agnete Horup, Anna Lindebjerg, Kirstine West Andersen, Nikolaj Christian Mikkelsen
COTree is a physical interaction design installation shaped as a climbing plant. COTree is composed of smart materials, and electronic design tools like Arduino. The installation has leaves that change shape and color depending on CO2 concentrations in the surrounding environment. When the audience experiences a plant withering caused by too much CO2, they become aware that pollution is happening all around us -- the audience is breathing the same air as the plant! How do you get away from the pollution, and where should you go?
{"title":"COTree Scripting the Truth","authors":"L. S. Vestergaard, Joakim Old Jensen, Christina Exner, Agnete Horup, Anna Lindebjerg, Kirstine West Andersen, Nikolaj Christian Mikkelsen","doi":"10.1145/2757226.2757371","DOIUrl":"https://doi.org/10.1145/2757226.2757371","url":null,"abstract":"COTree is a physical interaction design installation shaped as a climbing plant. COTree is composed of smart materials, and electronic design tools like Arduino. The installation has leaves that change shape and color depending on CO2 concentrations in the surrounding environment. When the audience experiences a plant withering caused by too much CO2, they become aware that pollution is happening all around us -- the audience is breathing the same air as the plant! How do you get away from the pollution, and where should you go?","PeriodicalId":231794,"journal":{"name":"Proceedings of the 2015 ACM SIGCHI Conference on Creativity and Cognition","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129812603","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}
How best to assess the creativity of a large number of designed artifacts remains an open problem. The typical approach is to have a panel of experts answer likert questions about individual artifacts. This process typically requires a substantial amount of training to ensure the judges achieve an acceptable level of agreement. Consequently, the approach does not scale well as it is infeasible to have a panel of experts regularly evaluate the creativity of a large number of designs. The current work explores an alternative approach that uses both individual and pairwise judgements from novice crowd workers to support reliable and scalable assessment of creative designs. This approach, which we call TrueCreativity, can operate over a set of evaluations from a large number of judges and appropriately weights their evaluations based on their past reliability and agreement with other judges. We show that this approach produces results that strongly correlate with another measure of creativity.
{"title":"Assessing the Creativity of Designs at Scale","authors":"Christopher Maclellan","doi":"10.1145/2757226.2764770","DOIUrl":"https://doi.org/10.1145/2757226.2764770","url":null,"abstract":"How best to assess the creativity of a large number of designed artifacts remains an open problem. The typical approach is to have a panel of experts answer likert questions about individual artifacts. This process typically requires a substantial amount of training to ensure the judges achieve an acceptable level of agreement. Consequently, the approach does not scale well as it is infeasible to have a panel of experts regularly evaluate the creativity of a large number of designs. The current work explores an alternative approach that uses both individual and pairwise judgements from novice crowd workers to support reliable and scalable assessment of creative designs. This approach, which we call TrueCreativity, can operate over a set of evaluations from a large number of judges and appropriately weights their evaluations based on their past reliability and agreement with other judges. We show that this approach produces results that strongly correlate with another measure of creativity.","PeriodicalId":231794,"journal":{"name":"Proceedings of the 2015 ACM SIGCHI Conference on Creativity and Cognition","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130638625","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}
Low-cost genetic sequencing, coupled with novel social media platforms and visualization techniques, present a new frontier for scientific participation, whereby people can learn, share, and act on data embedded within their own bodies. Our study of 23andMe, a popular genetic testing service, reveals how users make sense of and contextualize their genetic results, critique and evaluate the underlying research, and reflect on the broader implications of genetic testing. We frame user groups as citizen science publicsgroups that coalesce around scientific issues and work towards resolving shared concerns. Our findings show that personal genetics serves as a site for public engagement with science, whereby communities of biological citizens creatively interpret, debate, and act on professional research. We conclude with design trajectories at the intersection of genetics and creativity support tools: platforms for aggregating hybrid knowledge; tools for creative reflection on professional science; and strategies for supporting collaborations across communities.
{"title":"Biological Citizen Publics: Personal Genetics as a Site of Public Engagement with Science","authors":"S. Kuznetsov, A. Kittur, E. Paulos","doi":"10.1145/2757226.2757246","DOIUrl":"https://doi.org/10.1145/2757226.2757246","url":null,"abstract":"Low-cost genetic sequencing, coupled with novel social media platforms and visualization techniques, present a new frontier for scientific participation, whereby people can learn, share, and act on data embedded within their own bodies. Our study of 23andMe, a popular genetic testing service, reveals how users make sense of and contextualize their genetic results, critique and evaluate the underlying research, and reflect on the broader implications of genetic testing. We frame user groups as citizen science publicsgroups that coalesce around scientific issues and work towards resolving shared concerns. Our findings show that personal genetics serves as a site for public engagement with science, whereby communities of biological citizens creatively interpret, debate, and act on professional research. We conclude with design trajectories at the intersection of genetics and creativity support tools: platforms for aggregating hybrid knowledge; tools for creative reflection on professional science; and strategies for supporting collaborations across communities.","PeriodicalId":231794,"journal":{"name":"Proceedings of the 2015 ACM SIGCHI Conference on Creativity and Cognition","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123653415","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}
What is primary in the production of new knowledge: new concepts or unprecedented events (surprising observations)? Often, when we talk about research, the focus would appear to be on the production and testing of concepts. Induction relies on observations, but its purpose is seen as being to arrive at new concepts, deductions and propositions, which when confirmed in empirical test provide grounds for belief. Reflective thought about research has tended to focus on the nature of confirmation rather than discovery, the latter being generally accepted as inaccessible to rational analysis. However, confirmation relies on discovery and whilst some new idea might come about through the rational analysis of existing concepts, discovery tends to arise in inductions stimulated by the event of surprising or unprecedented observations. Given the suggested significance of unprecedented events in the production of new knowledge and understanding, can we construct environments in which they can be made to happen, rather than merely waiting until we happen upon them? I will refer, in my talk, to current thinking in which experimental systems in science are conceived in this way, but will focus attention on how creative material practices, such as art and design, can also be understood as generators of unprecedented events.
{"title":"The Production of Unprecedented Events","authors":"S. Scrivener","doi":"10.1145/2757226.2757258","DOIUrl":"https://doi.org/10.1145/2757226.2757258","url":null,"abstract":"What is primary in the production of new knowledge: new concepts or unprecedented events (surprising observations)? Often, when we talk about research, the focus would appear to be on the production and testing of concepts. Induction relies on observations, but its purpose is seen as being to arrive at new concepts, deductions and propositions, which when confirmed in empirical test provide grounds for belief. Reflective thought about research has tended to focus on the nature of confirmation rather than discovery, the latter being generally accepted as inaccessible to rational analysis. However, confirmation relies on discovery and whilst some new idea might come about through the rational analysis of existing concepts, discovery tends to arise in inductions stimulated by the event of surprising or unprecedented observations. Given the suggested significance of unprecedented events in the production of new knowledge and understanding, can we construct environments in which they can be made to happen, rather than merely waiting until we happen upon them? I will refer, in my talk, to current thinking in which experimental systems in science are conceived in this way, but will focus attention on how creative material practices, such as art and design, can also be understood as generators of unprecedented events.","PeriodicalId":231794,"journal":{"name":"Proceedings of the 2015 ACM SIGCHI Conference on Creativity and Cognition","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125655544","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}
S. Alaoui, T. Schiphorst, Shannon Cuykendall, Kristin Carlson, K. Studd, Karen Bradley
In this paper, we investigate the value and challenges of observing movement experience in embodied design. We interviewed three design researchers selected from a CHI2014 panel on designing for the experiential body. For each designer, we analyzed a publication describing their process of observing movement experience. By analyzing the interviews and publications, we studied how these researchers observe movement and how they articulate it in their design process. From our study, we contribute a set of techniques for performing movement observation inspired by somatics and body-based practices which we define as: attunement, attention, and kinesthetic empathy. We illustrate how these techniques have been applied by the selected researchers, and also highlight the remaining challenges related to articulating, translating, and sharing the felt movement experience in the context of design within HCI. Finally, we address these challenges by arguing for further exploration of movement frameworks from the fields of somatics, body-based practices, and movement studies as specific strategies that can be applied to HCI.
{"title":"Strategies for Embodied Design: The Value and Challenges of Observing Movement","authors":"S. Alaoui, T. Schiphorst, Shannon Cuykendall, Kristin Carlson, K. Studd, Karen Bradley","doi":"10.1145/2757226.2757238","DOIUrl":"https://doi.org/10.1145/2757226.2757238","url":null,"abstract":"In this paper, we investigate the value and challenges of observing movement experience in embodied design. We interviewed three design researchers selected from a CHI2014 panel on designing for the experiential body. For each designer, we analyzed a publication describing their process of observing movement experience. By analyzing the interviews and publications, we studied how these researchers observe movement and how they articulate it in their design process. From our study, we contribute a set of techniques for performing movement observation inspired by somatics and body-based practices which we define as: attunement, attention, and kinesthetic empathy. We illustrate how these techniques have been applied by the selected researchers, and also highlight the remaining challenges related to articulating, translating, and sharing the felt movement experience in the context of design within HCI. Finally, we address these challenges by arguing for further exploration of movement frameworks from the fields of somatics, body-based practices, and movement studies as specific strategies that can be applied to HCI.","PeriodicalId":231794,"journal":{"name":"Proceedings of the 2015 ACM SIGCHI Conference on Creativity and Cognition","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127918287","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}
Siobhan Magee, Fionn Tynan-O'Mahony, M. D. Jode, M. Hartswood, E. Laurier, Chris Speed
Secondhand retail in the UK charity sector plays a number of important social and economic roles: charity shops are community focal points; money is generated for good causes; and goods are re-circulated that might otherwise be discarded as abject and unwanted. However, like much of the UK high street, the prosperity of charity shops is under significant threat from the rise of internet shopping. Access to online markets via smart phones equips customers to check prices for secondhand items, some customers then deploy information, usually from eBay, to haggle with shop staff. The Haggle-o-Tron playfully subverts both normative and emerging secondhand retail valuation practices by revealing secondhand goods' financial, moral, social and aesthetic properties. This paper reports on how we employ vibrant yet uncomplicated design interventions that embed the charity's values and ethos to reconfigure store-based economic transactions.
{"title":"The Haggle-O-Tron: Re-inventing Economic Transactions in Secondhand Retail","authors":"Siobhan Magee, Fionn Tynan-O'Mahony, M. D. Jode, M. Hartswood, E. Laurier, Chris Speed","doi":"10.1145/2757226.2757232","DOIUrl":"https://doi.org/10.1145/2757226.2757232","url":null,"abstract":"Secondhand retail in the UK charity sector plays a number of important social and economic roles: charity shops are community focal points; money is generated for good causes; and goods are re-circulated that might otherwise be discarded as abject and unwanted. However, like much of the UK high street, the prosperity of charity shops is under significant threat from the rise of internet shopping. Access to online markets via smart phones equips customers to check prices for secondhand items, some customers then deploy information, usually from eBay, to haggle with shop staff. The Haggle-o-Tron playfully subverts both normative and emerging secondhand retail valuation practices by revealing secondhand goods' financial, moral, social and aesthetic properties. This paper reports on how we employ vibrant yet uncomplicated design interventions that embed the charity's values and ethos to reconfigure store-based economic transactions.","PeriodicalId":231794,"journal":{"name":"Proceedings of the 2015 ACM SIGCHI Conference on Creativity and Cognition","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121730186","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}
{"title":"Session details: Posters and Demos Session 2","authors":"B. Bailey, E. Cherry","doi":"10.1145/3247470","DOIUrl":"https://doi.org/10.1145/3247470","url":null,"abstract":"","PeriodicalId":231794,"journal":{"name":"Proceedings of the 2015 ACM SIGCHI Conference on Creativity and Cognition","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115932424","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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