Context-Aware Body Area Networks (CABAN) for interactive smart environments:Interference characterization

Body Area Networks are unique in that the large-scale mobility of users allows the network itself to travel across a diverse range of operating domains or even to enter new and unknown environments. This network mobility is unlike node mobility in that sensed changes in inter-network interference level may be used to identify opportunities for intelligent inter-networking, for example, by merging or splitting from other networks, thus providing an extra degree of freedom. This paper introduces the concept of context-aware bodynets for interactive environments using inter-network interference sensing. New ideas are explored at both the physical and link layers with an investigation based on a 'smart' office environment. A series of carefully controlled measurements of the mesh interconnectivity both within and between an ambulatory body area network and a stationary desk-based network were performed using 2.45 GHz nodes. Received signal strength and carrier to interference ratio time series for selected node to node links are presented. The results provide an insight into the potential interference between the mobile and static networks and highlight the possibility for automatic identification of network merging and splitting opportunities. © 2010 ACM.

Interactive architecture

This chapter explores the development of concepts of interactive environments by comparing two major projects that frame the period of this book. The Fun Palace of 1960 and the Generator of 1980 both proposed interactive environments responsive to the needs and behaviour of their users, but the contrast in terms of the available technology and what it enabled could not be more marked. The Fun Palace broke new architectural, organizational and social ground and was arguably the first proposition for cybernetic architecture; the Generator demonstrated how it could be achieved. Both projects are now acknowledged as seminal architectural propositions of the twentieth century, and both were designed by Cedric Price.

The lens of ludic engagement : evaluating participation in interactive art installations

Designers and artists have integrated recent advances in interactive, tangible and ubiquitous computing technologies to create new forms of interactive environments in the domains of work, recreation, culture and leisure. Many designs of technology systems begin with the workplace in mind, and with function, ease of use, and efficiency high on the list of priorities. [1] These priorities do not fit well with works designed for an interactive art environment, where the aims are many, and where the focus on utility and functionality is to support a playful, ambiguous or even experimental experience for the participants. To evaluate such works requires an integration of art-criticism techniques with more recent Human Computer Interaction (HCI) methods, and an understanding of the different nature of engagement in these environments. This paper begins a process of mapping a set of priorities for amplifying engagement in interactive art installations. I first define the concept of ludic engagement and its usefulness as a lens for both design and evaluation in these settings. I then detail two fieldwork evaluations I conducted within two exhibitions of interactive artworks, and discuss their outcomes and the future directions of this research.

Learning experiences in a giant interactive environment: Insights from The Cube

In November 2012, Queensland University of Technology in Australia launched a giant interactive learning environment known as The Cube. This article reports a phenomenographic investigation into visitors’ different experiences of learning in The Cube. At present very little is known about people’s learning experience in spaces featuring large interactive screens. We observed many visitors to The Cube and interviewed 26 people. Our analysis identified critical variation across the visitors’ experience of learning in The Cube. The findings are discussed as the learning strategy (in terms of Absorption, Exploration, Isolation and Collaboration); and the content learned (in terms of Technology, Skills and Topics). Other findings presented here are dimensions of the learning strategy and the content learned, with differing perspectives on each dimension. These outcomes provide early insights into the potential of giant interactive environments to enhance learning approaches and guide the design of innovative learning spaces in higher education.

The impact of brand and product placements in electronic games

In an environment where it has become increasingly difficult to attract consumer attention, marketers have begun to explore alternative forms of marketing communication. One such form that has emerged is product placement, which has more recently appeared in electronic games. Given changes in media consumption and the growth of the games industry, it is not surprising that games are being exploited as a medium for promotional content. Other market developments are also facilitating and encouraging their use, in terms of both the insertion of brand messages into video games and the creation of brand-centred environments, labelled ‘advergames’. However, while there is much speculation concerning the beneficial outcomes for marketers, there remains a lack of academic work in this area and little empirical evidence of the actual effects of this form of promotion on game players. Only a handful of studies are evident in the literature, which have explored the influence of game placements on consumers. The majority have studied their effect on brand awareness, largely demonstrating that players can recall placed brands. Further, most research conducted to date has focused on computer and online games, but consoles represent the dominant platform for play (Taub, 2004). Finally, advergames have largely been neglected, particularly those in a console format. Widening the gap in the literature is the fact that insufficient academic attention has been given to product placement as a marketing communication strategy overall, and to games in general. The unique nature of the strategy also makes it difficult to apply existing literature to this context. To address a significant need for information in both the academic and business domains, the current research investigates the effects of brand and product placements in video games and advergames on consumer attitude to the brand and corporate image. It was conducted in two stages. Stage one represents a pilot study. It explored the effects of use simulated and peripheral placements in video games on players’ and observers’ attitudinal responses, and whether these are influenced by involvement with a product category or skill level in the game. The ability of gamers to recall placed brands was also examined. A laboratory experiment was employed with a small sample of sixty adult subjects drawn from an Australian east-coast university, some of who were exposed to a console video game on a television set. The major finding of study one is that placements in a video game have no effect on gamers’ attitudes, but they are recalled. For stage two of the research, a field experiment was conducted with a large, random sample of 350 student respondents to investigate the effects on players of brand and product placements in handheld video games and advergames. The constructs of brand attitude and corporate image were again tested, along with several potential confounds. Consistent with the pilot, the results demonstrate that product placement in electronic games has no effect on players’ brand attitudes or corporate image, even when allowing for their involvement with the product category, skill level in the game, or skill level in relation to the medium. Age and gender also have no impact. However, the more interactive a player perceives the game to be, the higher their attitude to the placed brand and corporate image of the brand manufacturer. In other words, when controlling for perceived interactivity, players experienced more favourable attitudes, but the effect was so weak it probably lacks practical significance. It is suggested that this result can be explained by the existence of excitation transfer, rather than any processing of placed brands. The current research provides strong, empirical evidence that brand and product placements in games do not produce strong attitudinal responses. It appears that the nature of the game medium, game playing experience and product placement impose constraints on gamer motivation, opportunity and ability to process these messages, thereby precluding their impact on attitude to the brand and corporate image. Since this is the first study to investigate the ability of video game and advergame placements to facilitate these deeper consumer responses, further research across different contexts is warranted. Nevertheless, the findings have important theoretical and managerial implications. This investigation makes a number of valuable contributions. First, it is relevant to current marketing practice and presents findings that can help guide promotional strategy decisions. It also presents a comprehensive review of the games industry and associated activities in the marketplace, relevant for marketing practitioners. Theoretically, it contributes new knowledge concerning product placement, including how it should be defined, its classification within the existing communications framework, its dimensions and effects. This is extended to include brand-centred entertainment. The thesis also presents the most comprehensive analysis available in the literature of how placements appear in games. In the consumer behaviour discipline, the research builds on theory concerning attitude formation, through application of MacInnis and Jaworski’s (1989) Integrative Attitude Formation Model. With regards to the games literature, the thesis provides a structured framework for the comparison of games with different media types; it advances understanding of the game medium, its characteristics and the game playing experience; and provides insight into console and handheld games specifically, as well as interactive environments generally. This study is the first to test the effects of interactivity in a game environment, and presents a modified scale that can be used as part of future research. Methodologically, it addresses the limitations of prior research through execution of a field experiment and observation with a large sample, making this the largest study of product placement in games available in the literature. Finally, the current thesis offers comprehensive recommendations that will provide structure and direction for future study in this important field.

Proceedings of the Interior Space in Other Places : An IDEA [Interior Design/Interior Architecture Educators Association] Symposium [Edited Volume of Proceedings]

Conference curatorial outline The focus of this symposium was to question whether interior design is changing relative to local conditions, and the effect globalization has on the performance of regional, particularly Southern hemisphere identities. The intention being to understand how theory and practice is transposed to ‘distant lands’, and how ideas shift from one place to another. To this extent the symposium invited papers on the export, translation and adoption of theories and practices of interior design to differing climates, cultures, and landscapes. This process, sometimes referred to as a shift from ‘the centre to the margins’, seeks new perspectives on the adoption of European and US design ideas abroad, as well as their return to their place of origin. Papers were invited from a range of perspectives including the export of ideas/attitudes to interior spaces, history of interior spaces abroad, and the adoption of ideas/processes to new conditions. Paralleling this trafficking of ideas are broader observations about interior space that emerge through specificity of place. These include new and emerging directions and differences in our understanding of interiority; both real and virtual, and an ever-changing relationship to city, suburb and country. Keeping within the Symposium theme the intention was to examine other places, particularly on the margins of the discipline’s domain. Semantic slippage aside, there are a range of approaches that engage outside events and practices enabling a transdisciplinary practice that draws from other philosophical and theoretical frameworks. Moreover as the field expands and new territories are opened up, the virtual worlds of computer gaming, animations, and interactive environments, both rely on and produce new forms of expression. This raises questions about the extent such spaces adopt or translate existing theory and practice, that is the transposition from one area to another and their return to the discipline.

Ethnography considered useful : situating criticality

Increasingly the fields of Human Computer Interaction (HCI) and art are intersecting. Interactive artworks are being evaluated by HCI methods and artworks are being created that employ and repurpose technology for interactive environments. In this paper we steer a path between empirical and critical–theoretical traditions, and discuss HCI research and art works that also span this divide. We address concerns about ‘new’ ethnography raised by Crabtree et al. (2009) in “Ethnography Considered Harmful”, a critical essay that positions ethnographic and critical-theoretical views at odds with each other. We propose a mediated view for understanding interactions within open-ended interactive artworks that values both perspectives as we navigate boundaries between art practice and HCI.

Os ambientes artísticos interativos na inclusão de alunos com necessidades educativas especiais

Com o objetivo de sublinhar a habilidade e o direito à criação do indivíduo com necessidades especiais este projeto deriva da beleza do território da arte e dos paradigmas de interação e imersão, hoje potencializados pelo feedback multimodal e multissensorial dos ambientes multimédia responsivos. Enfatizando o atual contexto da escola inclusiva, este estudo teve lugar num estabelecimento de ensino, em Portugal, envolvendo um grupo de alunos com Necessidades Educativas Especiais — NEE — de Currículo Específico Individual — CEI. Num contexto real, intentámos avaliar que tipo de impacto poderão ter os ambientes artísticos interativos nestes alunos, enquanto meio de autoexpressão e de inclusão. O estudo realizado assumiu um carácter exploratório. Special INPUT foi o conceito proposto por diferentes ambientes e abordagens de interação, implementados em sessões individuais com os participantes, que permitiu observar e promover, sob um contexto artístico, as habilidades intelectual, emocional, de personalidade, interpessoal, intrapessoal, psicomotora e, artística. Conceptualizámos, prototipámos e implementámos oito ambientes interativos, artísticos e lúdicos, que enfatizaram de formas diversas a experiência imersiva mediada pela técnica. Daí emergiram três grupos de ambientes – Special SOUND, Special MOVEMENT e Special ME – que intentaram promover nestes alunos a descoberta de si mesmos através do input de som, movimento e/ou vídeo processados em tempo real. O feedback visual e/ou sonoro visou o “engajamento lúdico” e a “ressonância estética” enquanto meios de descoberta e desenvolvimento da habilidade e valor pessoais. Numa perspetiva de diferenciação e individualização curricular, reconhecemos as vantagens dos ambientes artísticos interativos na inclusão de alunos com NEE, tendo-se observado um impacto positivo derivado da autoria e do controlo propiciados aos participantes nestes contextos. Hoje, a possibilidade de recorrer ao multimédia e a toda uma panóplia de interfaces não invasivas, explorando a poética de som e imagem interativos, em contexto artístico, inspira abordagens originais, centradas na pessoa, atentando às potencialidades e plasticidades das vigentes ferramentas de autor para a programação de interação, promovendo a dignificação da diferença, a autoexpressão e sensibilidade individuais, e os processos de autoobservação, autodescoberta e autoconsciência da capacidade expressiva que promovem a ideia positiva do “self” e o desenvolvimento de diferentes aptidões pessoais.

Stereo-Based Head Pose Tracking Using Iterative Closest Point and Normal Flow Constraint

In this text, we present two stereo-based head tracking techniques along with a fast 3D model acquisition system. The first tracking technique is a robust implementation of stereo-based head tracking designed for interactive environments with uncontrolled lighting. We integrate fast face detection and drift reduction algorithms with a gradient-based stereo rigid motion tracking technique. Our system can automatically segment and track a user's head under large rotation and illumination variations. Precision and usability of this approach are compared with previous tracking methods for cursor control and target selection in both desktop and interactive room environments. The second tracking technique is designed to improve the robustness of head pose tracking for fast movements. Our iterative hybrid tracker combines constraints from the ICP (Iterative Closest Point) algorithm and normal flow constraint. This new technique is more precise for small movements and noisy depth than ICP alone, and more robust for large movements than the normal flow constraint alone. We present experiments which test the accuracy of our approach on sequences of real and synthetic stereo images. The 3D model acquisition system we present quickly aligns intensity and depth images, and reconstructs a textured 3D mesh. 3D views are registered with shape alignment based on our iterative hybrid tracker. We reconstruct the 3D model using a new Cubic Ray Projection merging algorithm which takes advantage of a novel data structure: the linked voxel space. We present experiments to test the accuracy of our approach on 3D face modelling using real-time stereo images.

Recursos y herramientas didácticas para el aprendizaje de la robótica

Este artículo analiza diferentes experiencias docentes que tienen como finalidad el aprendizaje de la robótica en el mundo universitario. Estas experiencias se plasman en el desarrollo de varios cursos y asignaturas sobre robótica que se imparten en la Universidad de Alicante. Para el desarrollo de estos cursos, los autores han empleado varias plataformas educativas, algunas de implementación propia, otras de libre distribución y código abierto. El objetivo de estos cursos es enseñar el diseño e implementación de soluciones robóticas a diversos problemas que van desde el control, programación y manipulación de brazos robots de ámbito industrial hasta la construcción y/o programación de mini-robots con carácter educativo. Por un lado, se emplean herramientas didácticas de última generación como simuladores y laboratorios virtuales que flexibilizan el uso de brazos robots y, por otro lado, se hace uso de competiciones y concursos para motivar al alumno haciendo que ponga en práctica las destrezas aprendidas, mediante la construcción y programación de mini-robots de bajo coste.

A ATUAÇÃO DA PROMOÇÃO DE VENDAS EM MEIOS INTERATIVOS (E-PROMOTION)

A proposta de pesquisa se baseia no tema comunicação integrada de marketing pela abordagem da atuação da competência comunicacional, promoção de vendas, na internet e do surgimento do e-promotion, como extensão da mensagem do ponto-de-venda. O objetivo é verificar como estas novas tecnologias de comunicação, especificamente a internet, estão modificando a forma de fazer promoção de vendas. A metodologia a ser aplicada no projeto consiste em uma pesquisa qualitativa com caráter exploratório através de uma pesquisa bibliográfica concisa que pretende investigar as muitas obras referentes aos temas de comunicação, promoção de vendas, marketing digital e e-commerce, no estudo de caso múltiplo de empresas que utilizam as promoções offline e o e-promotion como ferramenta comunicacional. A conclusão apontou para ações híbridas e aparente ausência de promoções que atuam em sua totalidade no ambiente offline.(AU)

Building sensitising terms to understand free-play in open-ended interactive art environments

In this paper we introduce and discuss the nature of free-play in the context of three open-ended interactive art installation works. We observe the interaction work of situated free-play of the participants in these environments and, building on precedent work, devise a set of sensitising terms derived both from the literature and from what we observe from participants interacting there. These sensitising terms act as guides and are designed to be used by those who experience, evaluate or report on open-ended interactive art. That is, we propose these terms as a common-ground language to be used by participants communicating while in the art work to describe their experience, by researchers in the various stages of research process (observation, coding activity, analysis, reporting, and publication), and by inter-disciplinary researchers working across the fields of HCI and art. This work builds a foundation for understanding the relationship between free-play, open-ended environments, and interactive installations and contributes sensitising terms useful for the HCI community for discussion and analysis of open-ended interactive art works.

Talk2Me : engaging interactive installation environments

In this research I explore what elements there may be in common between tangible interactive-technology works that successfully engage their participants. An exploration of existing methods for obtaining useful evaluations for non-use and ambiguous environments forms a part of the discussion.