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Proceedings of the Sixth International Conference on Tangible, Embedded and Embodied Interaction最新文献

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DESU 100: about the temptation to destroy a robot DESU 100:关于摧毁机器人的诱惑
Julia Ringler, Holger Reckter
Whilst previous research examined the behaviour of humans instructed to destroy robots, this paper is concerned with the question "Are humans tempted to destroy robots?" For this purpose, an interactive installation was created, consisting of the robot DESU 100 and a button on a pedestal. The visitors of this installation were faced with the opportunity to push the button, and herewith forcing the robot to hit itself. Despite feeling sympathy for DESU 100, most of the visitors yielded to the temptation and pressed the button at least once, experiencing satisfaction.
虽然之前的研究考察了人类被指示摧毁机器人的行为,但本文关注的问题是“人类是否会试图摧毁机器人?”为此,创建了一个交互式装置,由DESU 100机器人和基座上的按钮组成。这个装置的参观者有机会按下按钮,从而迫使机器人击中自己。尽管对DESU 100深表同情,但大多数游客还是抵制住了诱惑,至少按了一次按钮,体验到了满足感。
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引用次数: 6
Touch and feel soft hardware 触摸和感觉软硬件
Ylva Fernaeus, Anna Vallgårda, M. Tharakan, Anders Lundström
With soft hardware we refer to electronic components, coatings, and shells built from materials that make them elastic, flexible, floppy and malleable. By introducing new material properties into electronic and computational contexts we expect to open new paths for designing interactive things. Building electronics with textile and other soft materials may easily degrade elements such as speed, power, and storage capacities; however, these constraints can be acceptable if not down right desirable in these new contexts. We see how sensors, actuators, computers and even battery cells made of soft materials enables us to embed them into soft shapes that in turn afford certain forms of interaction. With the term soft hardware, we also highlight the interplay between computational and physical materials in interaction designs.
软硬件指的是电子元件、涂层和外壳,这些材料使它们具有弹性、柔韧性、软性和延展性。通过在电子和计算环境中引入新的材料特性,我们期望为设计交互式事物开辟新的途径。用纺织品和其他软材料制造电子产品可能很容易降低速度、功率和存储容量等因素;然而,如果在这些新的上下文中不完全合适,这些约束也是可以接受的。我们看到由柔软材料制成的传感器、执行器、计算机甚至电池如何使我们能够将它们嵌入柔软的形状中,从而提供某种形式的交互。对于软硬件这个术语,我们也强调交互设计中计算材料和物理材料之间的相互作用。
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引用次数: 2
Bridging the gap: attribute and spatial metaphors for tangible interface design 弥合差距:有形界面设计的属性和空间隐喻
Anna Macaranas, A. Antle, B. Riecke
If tangible user interfaces (TUIs) are going to move out of research labs and into mainstream use they need to support tasks in abstract as well as spatial domains. Designers need guidelines for TUIs in these domains. Conceptual Metaphor Theory can be used to design the relations between physical objects and abstract representations. In this paper, we use physical attributes and spatial properties of objects as source domains for conceptual metaphors. We present an empirical study where twenty participants matched physical representations of image schemas to metaphorically paired adjectives. Based on our findings, we suggest twenty pairings that are easily identified, suggest groups of image schemas that can serve as source domains for a variety of metaphors, and provide guidelines for structuring physical-abstract mappings in abstract domains. These guidelines can help designers apply metaphor theory to design problems in abstract domains, resulting in effective interaction.
如果有形用户界面(TUIs)要走出研究实验室,进入主流使用,它们需要支持抽象和空间领域的任务。设计人员需要这些领域的ui指南。概念隐喻理论可以用来设计物理对象与抽象表征之间的关系。本文将物体的物理属性和空间属性作为概念隐喻的源域。我们提出了一项实证研究,其中20名参与者匹配形象图式的物理表征隐喻配对形容词。基于我们的研究结果,我们提出了20对容易识别的意象图式,提出了可以作为各种隐喻的源域的意象图式组,并为在抽象域中构建物理-抽象映射提供了指导。这些指导原则可以帮助设计师将隐喻理论应用于抽象领域的设计问题,从而实现有效的交互。
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引用次数: 91
Tweetris: play with me 和我一起玩
Dustin Freeman, Fanny Chevalier, Emma Westecott, Kyle Duffield, Kate Hartman, Derek F. Reilly
We present Tweetris, a full-body interactive Tetris game with extended audience participation. Snapshots of players making correct tetrominos are tweeted, and this feed is used by a mobile and web-based Tetris game, which can be played from anywhere in real-time.
我们提出Tweetris,一个全身互动的俄罗斯方块游戏,具有广泛的受众参与。玩家做出正确的tetrminos的快照会被推到twitter上,这一动态会被手机和网页版的《俄罗斯方块》游戏所使用,玩家可以在任何地方实时玩这款游戏。
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引用次数: 6
Session details: Intangibles 会议细节:无形资产
P. Bennett
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引用次数: 0
RePlay: a workshop exploring creativity in action RePlay:探索创意的工作坊
Layda Gongora
RePlay is a process that focuses on the design process of tangible interfaces for example mobiles or other pervasive technologies for which concerns such as physicality, context, service, form, spatial requirements, and technical requirements play an important role. Similar to body storming RePlay explores movement as a tool, yet rather than having participatory design aims, the focus is will be upon improvisational creativity and how this type of thinking is useful for designers.
RePlay是一个关注有形界面的设计过程的过程,例如手机或其他普遍存在的技术,其中关注的问题如物理、上下文、服务、形式、空间要求和技术要求起着重要作用。与身体风暴类似,RePlay将运动作为一种工具进行探索,但不是以参与式设计为目标,而是将重点放在即兴创造力以及这种思维方式对设计师的有用性上。
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引用次数: 1
SWITCH: case study of an edutainment kit for experience design in everyday life SWITCH:日常生活中体验设计的寓教于乐套件案例研究
M. Gardiner, Hideaki Ogawa, C. Lindinger, Roland Haring, Emiko Ogawa, My Trinh Gardiner, Martina Mara, H. Hörtner
We introduce a method to stimulate and catalyse the creativity of students and the general public in the field of experience design. The research is centered on a product design called SWITCH: a simple creative prototyping platform for everyday use which can be likened to picture frame containing a picture with two states, an on and an off state. The states are switched by one of three types of adjustable sensors (light, human, sound) and mechanism. The pictures can be easily customized with analogue art materials like pens and brushes. Our core motivation was to design a product that would bypass the inherent complexities of technology as much as possible, and directly engage the student in creating their own experience design concept with SWITCH. In this paper we introduce our motivation, methods, design and workshop strategies, and evaluations from workshops with the general public.
我们引入一种方法来激发和催化学生和公众在体验设计领域的创造力。这项研究集中在一个名为SWITCH的产品设计上:一个简单的日常使用的创意原型平台,可以比作一个包含两种状态的图片的相框,一个打开和一个关闭状态。这些状态通过三种可调传感器(光、人、声)和机制中的一种来切换。这些图片可以很容易地定制模拟艺术材料,如笔和刷子。我们的核心动机是设计一款尽可能绕过技术固有复杂性的产品,并直接吸引学生使用SWITCH创建他们自己的体验设计概念。在本文中,我们介绍了我们的动机、方法、设计和工作坊策略,以及来自公众工作坊的评价。
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引用次数: 0
Easigami: virtual creation by physical folding Easigami:通过物理折叠进行虚拟创造
Yingdan Huang, M. Eisenberg
With the advent of affordable three-dimensional printing and fabrication devices, the design of 3D objects has become an increasingly central activity in creative computational work. A recurring issue in this sort of design, however, is overcoming the "two-dimensional bottleneck" of the standard computer screen and associated conventional input devices: that is, it is difficult to create and visualize tangible objects using such hardware combination and (generally complex) modeling software. As a consequence, there is a growing need for a variety of innovative 3D input tools and techniques that allow users to create, customize, and visualize spatial objects and information "by hand". This paper describes a working example of such a tool: a tangible 3D sketching tool called Easigami, which permits users to assemble a wide variety of polyhedral objects by connecting and folding polygonal pieces. The physical arrangement of Easigami pieces is read into a computer and displayed interactively, in real time. Thus Easigami, by its design, blends the natural physical ability of folding paper-like materials with the power of computational representation. This paper describes the design of Easigami, presents a scenario of its use, and outlines ongoing and planned future work of the system.
随着经济实惠的三维打印和制造设备的出现,三维物体的设计已经成为创造性计算工作中越来越重要的活动。然而,在这种设计中,一个反复出现的问题是克服标准计算机屏幕和相关传统输入设备的“二维瓶颈”:也就是说,很难使用这种硬件组合和(通常复杂的)建模软件来创建和可视化有形对象。因此,对各种创新的3D输入工具和技术的需求日益增长,这些工具和技术允许用户“手工”创建、定制和可视化空间对象和信息。本文描述了这种工具的一个工作示例:一个名为Easigami的有形3D素描工具,它允许用户通过连接和折叠多边形碎片来组装各种多面体物体。Easigami作品的物理排列被读取到计算机中,并以交互方式实时显示。因此,Easigami通过其设计,将折叠类似纸的材料的自然物理能力与计算表示的能力结合在一起。本文描述了Easigami的设计,给出了它的使用场景,并概述了系统正在进行的和计划的未来工作。
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引用次数: 28
Session details: Fold unfold 会话详细信息:折叠展开
Anna Vallgårda
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引用次数: 0
Session details: Can't touch this 会话细节:不能碰这个
Martin Kaltenbrunner
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引用次数: 0
期刊
Proceedings of the Sixth International Conference on Tangible, Embedded and Embodied Interaction
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