Starting to Build: storyboards, scenarios,design tools

This lecture covers the use of Agile design tools: Storyboards and Scenarios, used in conjunction with Personas. These are also used in participatory design.

Biotechnology learnings using ‘Claymation’ and ‘Slowmation’

This ‘Claymation’ and ‘Slowmation’ project incorporated content as well as skill development. The participants – 4 pre-service teachers and 4 secondary school students explored chromosome mapping and DNA replication. Through research, the writing, revising and editing of storyboards, two short videos were produced. Two of the pre-service teachers had prior experience with Claymation, however none of the participants had prior knowledge of chromosome mapping or DNA replication. This paper describes the learnings of the participants in terms of their self generated questions, the need for attention to detail, and argumentation / negotiation skills.

Development of an innovative technology-based youth passenger safety program : an evidence-based approach

Young drivers are overrepresented in motor vehicle crash rates, and their risk increases when carrying similar aged passengers. Graduated Driver Licensing strategies have demonstrated effectiveness in reducing fatalities among young drivers, however complementary approaches may further reduce crash rates. Previous studies conducted by the researchers have shown that there is considerable potential for a passenger focus in youth road safety interventions, particularly involving the encouragement of young passengers to intervene in their peers’ risky driving (Buckley, Chapman, Sheehan & Davidson, 2012). Additionally, this research has shown that technology-based applications may be a promising means of delivering passenger safety messages, particularly as young people are increasingly accessing web-based and mobile technologies. This research describes the participatory design process undertaken to develop a web-based road safety program, and involves feasibility testing of storyboards for a youth passenger safety application. Storyboards and framework web-based materials were initially developed for a passenger safety program, using the results of previous studies involving online and school-based surveys with young people. Focus groups were then conducted with 8 school staff and 30 senior school students at one public high school in the Australian Capital Territory. Young people were asked about the situations in which passengers may feel unsafe and potential strategies for intervening in their peers’ risky driving. Students were also shown the storyboards and framework web-based material and were asked to comment on design and content issues. Teachers were also shown the material and asked about their perceptions of program design and feasibility. The focus group data will be used as part of the participatory design process, in further developing the passenger safety program. This research describes an evidence-based approach to the development of a web-based application for youth passenger safety. The findings of this research and resulting technology will have important implications for the road safety education of senior high school students.

Storyboard augmentation of process model grammars for stakeholder communication

Process models are often used to visualize and communicate workflows to involved stakeholders. Unfortunately, process modeling notations can be complex and need specific knowledge to be understood. Storyboards, as a visual language to illustrate workflows as sequences of images, provide natural visualization features that allow for better communication, to provide insight to people from non-process modelling expert domains. This paper proposes a visualization approach using a 3D virtual world environment to visualize storyboards for business process models. A prototype was built to present its applicability via generating output with examples of five major process model patterns and two non-trivial use cases. Illustrative results for the approach show the promise of using a 3D virtual world to visualize complex process models in an unambiguous and intuitive manner.

CAM : a collaborative object memory system

Physical design objects such as sketches, drawings, collages, storyboards and models play an important role in supporting communication and coordination in design studios. CAM (Cooperative Artefact Memory) is a mobile-tagging based messaging system that allows designers to collaboratively store relevant information onto their design objects in the form of messages, annotations and external web links. We studied the use of CAM in a Product Design studio over three weeks, involving three different design teams. In this paper, we briefly describe CAM and show how it serves as 'object memory'.

From mundane to smart: Exploring interactions with ‘smart' design objects

In addition to functional and technological features, the role of augmented objects should also be seen in terms of how effectively they fit into the everyday practices of users and how they enhance users' experiences. In this article, the authors introduce a low-tech, internet-of-things technology called CAM (Cooperative Artefact Memory) that is used as a collaborative tool in design studio environments. CAM works as an object memory technology and allows industrial and product designers to collaboratively store relevant information onto their physical design objects, such as sketches, collages, storyboards, and physical mock-ups in the form of messages, annotations and external web links. In the context of this study, CAM serves as an important probing device to understand designers' interaction and experiences with augmented design objects, in their natural environment. The authors carried out a small-scale field trial of CAM in an academic design studio, over three student design projects. In this article, they discuss the findings of their field trial and show how CAM was used by the participants, how it was integrated into the design process and how it was appropriated for different purposes. The authors also found that CAM supported coordination and awareness within the design teams, yet its serendipitous and asynchronous nature facilitated creative and playful interactions between team members. In general, the results show how CAM transformed mundane design objects into “smart” objects that made the creative and playful side of cooperative design visible.

Form Follows Media::What is The Matrix as Film, Animation, Game and Comics?

In the digital age, the hyperspace of virtual reality systems stands out as a new spatial notion creating a parallel world to the space we live in. In this alternative realm, the body transforms into a hyperbody, and begins to follow the white rabbit. Not only in real world but also in the Matrix world. The Matrix project of Andy and Larry Wachowski started with a feature film released in 1999. However, The Matrix is not only a film (trilogy). It is a concept, a universe that brings real space and hyperspace together. It is a world represented not only in science fiction films but also in The Animatrix that includes nine animated Matrix films directed by Peter Chung, Andy Jones, Yoshiaki Kawajiri and others, four of which are written by the Wachowskis. The same universe is used in Enter the Matrix, a digital game whose script was written and directed by the brothers and a comic book, The Matrix Comics, which includes twelve different stories by artists like Neil Gaiman and Goef Darrow. The Wachowskis played an active role in the creation and realization of all these “products” of different media. The comic book came last (November 2003), however it is possible to argue that everything came out of comics – the storyboards of the original film. After all the Wachowskis have a background in comics.

In this study, I will focus on the formal analysis of the science fiction world of The Matrix - as a representation of hyperspace - in different media, feature film, animated film, digital game and comic book, focusing on diverse forms of space that come into being as a result of medium differences. To unfold the different formal characters of film, animation, game and comics, concepts and features including framing, flattening, continuity, movement, montage, sound/text, light and color will be discussed. An analysis of these products will help to open up a discussion on the relation of form, media and representation.

Beacon; Horizon

Horizon is a narrative clock made out of images accessed in realtime from webcams found in every time zone around the world. The result is a constantly updating array of images that read like a series of movie storyboards, but also as an idiosynratic global electronic sundial. BEACON continuously relays live web searches as they are being made around the world presenting them back in series and at regular intervals as an endless concrete poetry.

Horizon & BEACON

Timecode was a group show at Dundee Contemporary Arts in 2009. Others Artists included where Douglas Gordon, Tatsuo Miyajima, On Kawara, Ceal Floyer, Christian Stock. Thomson and Craighead where commissioned to make an new installation,Horizon and accompanying limited edition print for the exhibition. Also included in the exhibition was a Beacon in the form of a railway flapsign. Horizon is a narrative clock made out of images accessed in realtime from webcams found in every time zone around the world. The result is a constantly updating array of images that read like a series of movie storyboards, but also as an idiosynratic global electronic sundial. BEACON as a unique mechanical railway flap sign built by Solari of Udine in Italy. As with the online and projected version of BEACON, this mechanical half-flap sign continuously relays live web searches as they are being made around the world presenting them back in series and at regular intervals as an endless concrete poetry.

Young caregivers in the context of the HIV/AIDS pandemic in sub-Saharan Africa

Against a background of rising adult mortality and morbidity in the context of the HIV/AIDS pandemic in sub-Saharan Africa, this paper provides both quantitative and qualitative evidence for the existence of a largely neglected group of young people with increased responsibility for caregiving. Using questionnaire surveys, focus groups, storyboards and in-depth interviews in three studies across Southern and Eastern Africa some young people in Lesotho, Tanzania and Zimbabwe are found to devote considerable time and energy to caring for sick members of their households. Examination of the tasks carried out by these youngsters finds them to be burdened beyond usual familial and societal expectations of children's 'normal' contributions to the reproduction of households via domestic chores and suchlike. It is concluded that these young people can be described as 'young carers'. The three studies are presented to illuminate different sociospatial aspects of caregiving by young people. First, using qualitative data from Lesotho the range of caring tasks young caregivers; perform for care recipients - usually a grandmother, parent, or sibling - is identified. Second, the impact caregiving responsibilities have on children's primary school attendance is examined using survey data from Tanzania. Third, the wider negative and positive impacts of caregiving including loss of friends and gaining of emotional maturity for young carers and their households is explored with in-depth individual interviews from Zimbabwe. Finally, suggestions are made for further research to deepen understanding of the geographies of caring within the context of the population geographies of the HIV/AIDS pandemic in sub-Saharan Africa and beyond. Copyright (c) 2006 John Wiley & Sons, Ltd.

Design instrucional: uma abordagem do design gráfico para o desenvolvimento de ferramentas de suporte à Educação a Distância

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Processo de desenho de uma aplicação para o município de Mira

Este relatório descreve as atividades desenvolvidas durante o projeto que realizei no gabinete de sistemas e informação do Município de Mira, com vista à compleição da unidade curricular HCI Project II, do Mestrado em Human Computer Interaction, da Escola Superior de Educação de Coimbra. O projeto consistiu no desenho da interação de uma aplicação móvel a criar para a Câmara Municipal de Mira, que permita apoiar o cidadão na utilização dos percursos pedonais existentes, assim como informar os Munícipes e principalmente os turistas dos acontecimentos e potencialidades do Concelho. A Câmara Municipal, apenas dispõe de uma página web que facilita a divulgação de informações e eventos, no entanto surgiu a necessidade de apoiar com rigor e especialmente a localização do cidadão na utilização dos percursos pedestres. Foi realizado todo o processo de design, onde foram aplicados os princípios e metodologias de HCI, sempre focados no utilizador. Após reunião com as partes intervenientes e depois de se definirem os objetivos do projeto, iniciei a primeira fase de estudo e pesquisa de informação relativa a aplicações existentes relacionadas com o assunto. Na fase seguinte, passei à listagem das necessidades que se pretendiam satisfazer onde se definiram os objetivos. Concluídas estas etapas, passei à fase de análise de utilizadores, onde realizei entrevistas contextuais, enumerei experiências paralelas, criei personas e defini os point of view. Com a recolha desta informação passei à fase de ideação onde criei as design directives. Posteriormente foram definidas as principais funcionalidades, foram criadas storyboards e criei um protótipo de baixa fidelidade que após ter sido validado e ajustado deu origem a um protótipo de alta fidelidade. Este protótipo foi validado, realizei o modelo visual da arquitetura de informação e o modelo da interação (flow) entre ecrãs nas principais funcionalidades. Por fim, após estar concluída a validação do protótipo de alta fidelidade foram enumerados alguns aspetos do que deveriam ser melhorados para facilitar a interação do utilizador.

A Software Platform for Educational Board Games

Educational games such as quizzes, quests, puzzles, mazes and logical problems may be modeled as multimedia board games. In the scope of the ADOPTA project1 being under development at the Faculty of Mathematics and Informatics at Sofia University, a formal model for presentation of such educational board games was invented and elaborated. Educational games can be modeled as special board mini-games, with a board of any form and any types of positions. Over defined positions, figures (objects) with certain properties are placed and, next, there are to be defined formal rules for manipulation of these figures and resulted effects. The model has been found to be general enough in order to allow description and execution control of more complex logical problems to be solved by several actions delivered to/by the player according some formal rules and context conditions and, in general, of any learning activities and their workflow. It is used as a base for creation of a software platform providing facilities for easy construction of multimedia board games and their execution. The platform consists of game designer (i.e., a game authoring tool) and game run-time controller communicating each other through game repository. There are created and modeled many examples of educational board games appropriate for didactic purposes, self evaluations, etc., which are supposed to be designed easily by authors with no IT skills and experience. By means of game metadata descriptions, these games are going be included into narrative storyboards and, next, delivered to learners with appropriate profile according their learning style, preferences, etc. Moreover, usage of artificial intelligence agents is planned as well – once as playing virtual opponents of the player or, otherwise, being virtual advisers of the gamer helping him/her in finding the right problem solution within given domain such as discovering a treasure using a location map, finding best tour in a virtual museum, guessing an unknown word in a hangman game, and many others.

The Role of Art in Computer Game Design

Computer games are significant since they embody our youngsters’ engagement with contemporary culture, including both play and education. These games rely heavily on visuals, systems of sign and expression based on concepts and principles of Art and Architecture. We are researching a new genre of computer games, ‘Educational Immersive Environments’ (EIEs) to provide educational materials suitable for the school classroom. Close collaboration with subject teachers is necessary, but we feel a specific need to engage with the practicing artist, the art theoretician and historian. Our EIEs are loaded with multimedia (but especially visual) signs which act to direct the learner and provide the ‘game-play’ experience forming semiotic systems. We suggest the hypothesis that computer games are a space of deconstruction and reconstruction (DeRe): When players enter the game their physical world and their culture is torn apart; they move in a semiotic system which serves to reconstruct an alternate reality where disbelief is suspended. The semiotic system draws heavily on visuals which direct the players’ interactions and produce motivating gameplay. These can establish a reconstructed culture and emerging game narrative. We have recently tested our hypothesis and have used this in developing design principles for computer game designers. Yet there are outstanding issues concerning the nature of the visuals used in computer games, and so questions for contemporary artists. Currently, the computer game industry employs artists in a ‘classical’ role in production of concept sketches, storyboards and 3D content. But this is based on a specification from the client which restricts the artist in intellectual freedom. Our DeRe hypothesis places the artist at the generative centre, to inform the game designer how art may inform our DeRe semiotic spaces. This must of course begin with the artists’ understanding of DeRe in this time when our ‘identities are becoming increasingly fractured, networked, virtualized and distributed’ We hope to persuade artists to engage with the medium of computer game technology to explore these issues. In particular, we pose several questions to the artist: (i) How can particular ‘periods’ in art history be used to inform the design of computer games? (ii) How can specific artistic elements or devices be used to design ‘signs’ to guide the player through the game? (iii) How can visual material be integrated with other semiotic strata such as text and audio?