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![Bootcamp I: Master
Students Industrial Design
Goal:
Define
interaction
possibilities and
pilot workshop
approach
Results:
10 prototypes
and system output. However,
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hese changes through a process
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feedback loop playing on the
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Figure 1. First generation of shape-changing interfaces,
exploring dynamic orientation, form, volume, texture, and
spatiality in one and two degrees of freedom. The bottom-](https://image.slidesharecdn.com/deformableandshapechanginginterfaces-160814095236/85/Deformable-and-Shape-Changing-Interfaces-69-320.jpg)
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Deformable and Shape Changing Interfaces
The document discusses deformable and shape-changing user interfaces and presents multiple studies evaluating gestures and user reactions. It covers various prototypes and experiments aimed at understanding the interaction possibilities and parameters of shape change, emphasizing the significance of user experience. The research includes insights from cognitive psychology relating to hand movements and object recognition, contributing to the design of interactive and effective interfaces.
Deformable and Shape Changing Interfaces
- 1. Deformable and shape- changinguser interfaces Kasper Hornbæk, University of Copenhagen
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- 13. Rasmussen et al.,CHI 2012
- 14. 44 papers onshape change
- 15. 44 papers onshape change
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- 18. ghost-fet.org Dr. Kasper HornbækDr. Esben W. Pedersen Giovanni M. Troiano John Tiab
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- 21. Study 1: Guessability ofGestures Study 2: Crowd-Sourced Reactions Study 3: Repository Grid Evaluation
- 22. Troiano, Pedersen &Hornbæk (AVI 2014)
- 25. Gestures were recordedwith four cameras
- 26. Gestures were recordedwith four cameras
- 27. 10 page codingmanual
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- 31. Study 1: Guessability ofGestures Study 2: Crowd-Sourced Reactions Study 3: Repository Grid Evaluation
- 32. Pedersen, Subramanian &Hornbæk (CHI 2014)
- 33. Pedersen, Subramanian &Hornbæk (CHI 2014)
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- 36. Parameters of shapechange 1.5x 3x 5x pi -pi/2 pi/2 15 mm 20 mm 60 mm n = 3 n = 8 n = 14 n = 1 n = 2 n = 3 towards (18 mm) away (18 mm) 13 mm/s 0 1 2 3 64 5 53 mm/s 0 1 2 3 64 5 Area Curvature Amplitude Zero-crossing Speed Tapering Corner bend LowMediumHigh Hemmert et al. Gomes et al.Roudaut et al.
- 37. Parameters of shapechange 1.5x 3x 5x pi -pi/2 pi/2 15 mm 20 mm 60 mm n = 3 n = 8 n = 14 n = 1 n = 2 n = 3 towards (18 mm) away (18 mm) 13 mm/s 0 1 2 3 64 5 53 mm/s 0 1 2 3 64 5 Area Curvature Amplitude Zero-crossing Speed Tapering Corner bend LowMediumHigh Hemmert et al. Gomes et al.Roudaut et al.
- 38. Parameters of shapechange 1.5x 3x 5x pi -pi/2 pi/2 15 mm 20 mm 60 mm n = 3 n = 8 n = 14 n = 1 n = 2 n = 3 towards (18 mm) away (18 mm) 13 mm/s 0 1 2 3 64 5 53 mm/s 0 1 2 3 64 5 Area Curvature Amplitude Zero-crossing Speed Tapering Corner bend LowMediumHigh Hemmert et al. Gomes et al.Roudaut et al.
- 39. Parameters of shapechange 1.5x 3x 5x pi -pi/2 pi/2 15 mm 20 mm 60 mm n = 3 n = 8 n = 14 n = 1 n = 2 n = 3 towards (18 mm) away (18 mm) 13 mm/s 0 1 2 3 64 5 53 mm/s 0 1 2 3 64 5 Area Curvature Amplitude Zero-crossing Speed Tapering Corner bend LowMediumHigh Hemmert et al. Gomes et al.Roudaut et al.
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- 42. 187 participants AttrakDiff2 AnimacySAM UC Specific
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- 48. Corner Bend 27 % lessurgent than the three most urgent shape changes
- 49. Corner Bend 27 % lessurgent than the three most urgent shape changes
- 50. Corner Bend 27 % lessurgent than the three most urgent shape changes Amplitude Zero crossingArea
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- 52. Calm Aroused Pleasent Unpleasant III III IV alarmed tense angryafraid annoyed distressed frustrated miserable sad gloomy depressed bored droopy tired sleepy relaxed satisfied atease content serene glad pleased happy delighted excited astonished aroused
- 53. Calm Aroused Pleasent Unpleasant III III IV alarmed tense angryafraid annoyed distressed frustrated miserable sad gloomy depressed bored droopy tired sleepy relaxed satisfied atease content serene glad pleased happy delighted excited astonished aroused
- 54. Calm Aroused Pleasent Unpleasant III III IV alarmed tense angryafraid annoyed distressed frustrated miserable sad gloomy depressed bored droopy tired sleepy relaxed satisfied atease content serene glad pleased happy delighted excited astonished aroused
- 55. Calm Aroused Pleasent Unpleasant III III IV alarmed tense angryafraid annoyed distressed frustrated miserable sad gloomy depressed bored droopy tired sleepy relaxed satisfied atease content serene glad pleased happy delighted excited astonished aroused
- 56. Calm Aroused Pleasent Unpleasant III III IV alarmed tense angryafraid annoyed distressed frustrated miserable sad gloomy depressed bored droopy tired sleepy relaxed satisfied atease content serene glad pleased happy delighted excited astonished aroused area Area
- 57. Calm Aroused Pleasent Unpleasant III III IV alarmed tense angryafraid annoyed distressed frustrated miserable sad gloomy depressed bored droopy tired sleepy relaxed satisfied atease content serene glad pleased happy delighted excited astonished aroused area Amplitude
- 58. Calm Aroused Pleasent Unpleasant III III IV alarmed tense angryafraid annoyed distressed frustrated miserable sad gloomy depressed bored droopy tired sleepy relaxed satisfied atease content serene glad pleased happy delighted excited astonished aroused area amplitude Amplitude
- 59. Calm Aroused Pleasent Unpleasant III III IV alarmed tense angryafraid annoyed distressed frustrated miserable sad gloomy depressed bored droopy tired sleepy relaxed satisfied atease content serene glad pleased happy delighted excited astonished aroused area amplitude Corner bend
- 60. Calm Aroused Pleasent Unpleasant III III IV alarmed tense angryafraid annoyed distressed frustrated miserable sad gloomy depressed bored droopy tired sleepy relaxed satisfied atease content serene glad pleased happy delighted excited astonished aroused area amplitude Corner bend corner bend
- 61. Calm Aroused Pleasent Unpleasant III III IV alarmed tense angryafraid annoyed distressed frustrated miserable sad gloomy depressed bored droopy tired sleepy relaxed satisfied atease content serene glad pleased happy delighted excited astonished aroused area amplitude corner bend
- 62. Calm Aroused Pleasent Unpleasant III III IV alarmed tense angryafraid annoyed distressed frustrated miserable sad gloomy depressed bored droopy tired sleepy relaxed satisfied atease content serene glad pleased happy delighted excited astonished aroused area amplitude corner bend tapering curvature zero crossing
- 63. Calm Aroused Pleasent Unpleasant III III IV alarmed tense angryafraid annoyed distressed frustrated miserable sad gloomy depressed bored droopy tired sleepy relaxed satisfied atease content serene glad pleased happy delighted excited astonished aroused area amplitude corner bend tapering curvature zero crossing
- 64. Calm Aroused Pleasent Unpleasant III III IV alarmed tense angryafraid annoyed distressed frustrated miserable sad gloomy depressed bored droopy tired sleepy relaxed satisfied atease content serene glad pleased happy delighted excited astonished aroused area amplitude corner bend tapering curvature zero crossing
- 65. Study 1: Guessability ofGestures Study 2: Crowd-Sourced Reactions Study 3: Repository Grid Evaluation
- 66. Kwak, Markopolos, Bruns& Hornbæk (DIS 2014)
- 69. Bootcamp I: Master StudentsIndustrial Design Goal: Define interaction possibilities and pilot workshop approach Results: 10 prototypes and system output. However, duct, such as its shape, change hese changes through a process uct that changes its shape can feedback loop playing on the ities, offering a dynamic on of the user and the reaction has been named interactive pective on designing shape- aluating emerging interactions e. n supported by manipulation, dium sized (hand scale) objects. [28] provided a systematic ng hand movements and ducted in the context of the Figure 1. First generation of shape-changing interfaces, exploring dynamic orientation, form, volume, texture, and spatiality in one and two degrees of freedom. The bottom-
- 70. COGNITIVE PSYCHOLOGY 19,342-368 (1987) Hand Movements: A Window into Haptic Object Recognition SUSAN J. LEDERMAN Queen’s University at Kingston, Ontario, Canada AND ROBERTA L. KLATZKY University of California at Santa Barbara Two experiments establish links between desired knowledge about objects and hand movements during haptic object exploration. Experiment 1 used a match- to-sample task, in which blindfolded subjects were directed to match objects on a particular dimension (e.g., texture). Hand movements during object exploration were reliably classified as “exploratory procedures,” each procedure defined by its invariant and typical properties. The movement profile, i.e., the distribu- tion of exploratory procedures, was directly related to the desired object knowl- edge that was required for the match. Experiment 2 addressed the reasons for the specific links between exploratory procedures and knowledge goals. Hand move- ments were constrained, and performance on various matching tasks was as- sessed. The procedures were considered in terms of their necessity, sufficiency, and optimahty of performance for each task. The results establish that in free exploration, a procedure is generally used to acquire information about an object property, not because it is merely sufficient, but because it is optimal or even necessary. Hand movements can serve as “windows,” through which it is pos- sible to learn about the underlying representation of objects in memory and the processes by which such representations are derived and utilized. o 1987 Academic Press. Inc. When we feel extremely helpless in a situation, we commonly say, “My hands are tied!” Indeed, it is hard to imagine a world in which we cannot feel the soft fur of a kitten or even tie our shoelaces. Yet, psy- chology has often portrayed the hand as a second-class citizen. Research The research reported in this paper was supported by the Natural Sciences & Engineering Research Council of Canada (Grant A9854 awarded to SJL) and by the National Science Foundation (Grant BNS84-21340 awarded to RLK). Reprint requests may be sent to SJL, Psychology, Queen’s University, Kingston, Ontario, Canada K7L 3N6 or to RLK, Psy- chology, University of California, Santa Barbara, CA 93106. Order of authorship does not reflect relative contribution; both authors contributed equally to the work. We thank An- drew Currie for his considerable contribution; he helped to prepare the stimulus objects, ran the experiments, scored some of the videotapes for our reliability checks, collated and analyzed much of the data, and provided valuable comments in general discussion. 342 OOlO-0285/87$7.50 Copyright 0 1987 by Academic Press, Inc. All rights of reproduction in any form reserved. Design Interaction Behaviour
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- 85. - How dowe map deformation to (sound) parameters? - Participatory Design with 10 musicians as co- designers. Deformable UI for real people
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- 87. Deformable and shape- changinguser interfaces Kasper Hornbæk, University of Copenhagen