This document proposes the Immersive Hall System 2.0, which aims to improve immersive media art experiences. Research found that current immersive exhibitions lacked engagement due to a lack of interaction and too many people. The system includes multiplayer active shutter glasses and a versatile band to provide new, astonishing interactions. The band would offer various tactile feedback modes for use in different contexts. Renderings and models show how the glasses and band could work with an immersive hall installation to increase immersion through multiplayer and tactile interactions.
Speakit is an intermodal messaging system that allows for the repurposing and re-appropriation of surfaces and privatized spaces by introducing guerilla communication. This system was specifically designed with the Vancouver 2010 Olympics in mind.
Co-Creation with Lead Users on the Digital Research Platform www.dieNEONauten.deNicolas Loose
This is the presentation I held at the General Online research Conference in Düsseldorf on March 16th 2011. #gor11
Some great thoughts are taken from Christian Crumlish and Erin Malone whose social design patterns are truly inspiring for everyone who conducts qualitative digital research with communities.
A great thanks also goes to Eric von Hippel, who made his publications downloadable at http://web.mit.edu/evhippel/www/
Speakit is an intermodal messaging system that allows for the repurposing and re-appropriation of surfaces and privatized spaces by introducing guerilla communication. This system was specifically designed with the Vancouver 2010 Olympics in mind.
Co-Creation with Lead Users on the Digital Research Platform www.dieNEONauten.deNicolas Loose
This is the presentation I held at the General Online research Conference in Düsseldorf on March 16th 2011. #gor11
Some great thoughts are taken from Christian Crumlish and Erin Malone whose social design patterns are truly inspiring for everyone who conducts qualitative digital research with communities.
A great thanks also goes to Eric von Hippel, who made his publications downloadable at http://web.mit.edu/evhippel/www/
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This presentation comes from the elearning 2.0 conference at Brunel, UK, 6-7 July 2009.
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A brief overview of my journey at the MIT Media Labs' design innovation workshop at PDPU Gandhinagar, held on Jan 2015.
The process followed at the workshop, the product and my takeaways from the workshop.
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This research thesis attempts to define an existing subset of end users as makers.
These makers bridge the gaps between technological gadgets, creative appropriation, and identity through their bricolage of hacking, crafting, online tutorials, and the materials and knowledge ready at hand. Further, in studying makers this thesis refers to the exploding online and offline culture of Steampunk as a case study.
What can the field of Human-computer Interaction learn from the Steampunk makers? What will you, as an interaction designer, do to empower and facilitate such personally identifiable creative acts?
What will you do to make appropriation possible?
a mash up of ideas, notes and resources to help my lovely but disorganised bunch of A2 Media Studies students. bits borrowed from here and there - use how you wish.
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Originally this presentation created for present in person in front of a group of people hence you may find some gaps in continuity. I am in a process in fixing these gaps - meanwhile please let me know your views and opinion on the topic / presentation.
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This research seminar presents and discusses recent advances in augmented reality (AR) and virtual reality (VR). Recent developments have been implied that AR and VR innovation is more broadly accessible for different expert areas, these include the information technology sectors, education operations, build environment and the creative industries. During the session, participants will be able to experience AR and VR using mobile and head mount devices (HMD). This research talk will provide an overview of AR and VR interface development, industrial use cases and research direction.
Educational Podcasting - a learner-centred, collaborative opportunityAndrew Middleton
This presentation comes from the elearning 2.0 conference at Brunel, UK, 6-7 July 2009.
It argues for a reconsideration of what educational podcasting can be referring to McLuhan, and Johanssen in proposing that audio provides a good fit for a Web 2.0, authentic and active medium for 21st centiry learning
Conducted part of the "Marketing Your Library" workshop, organised in conjunction with the "Conference on GenNext Libraries 2012" at the Universiti of Brunei Darussalam (UBD), Brunei.
A brief overview of my journey at the MIT Media Labs' design innovation workshop at PDPU Gandhinagar, held on Jan 2015.
The process followed at the workshop, the product and my takeaways from the workshop.
Designing for meaningful_experiences_i_xda slideshareDavid Kozatch
Designers and usability practitioners take various approaches to understanding the user experience, including following established heuristics (Jakob Nielsen), looking at UX as being made up of various elements of equal importance (Peter Morville’s “User Experience Honeycomb”), or via a hierarchical or pyramid approach in which more subjective, “higher level” goals of the user take precedence over simple objective measures of “usability” or basic functional aspects. We argue for the latter approach which recognizes that significant changes in online technology require the need to recognize a more complex understanding of how to effectively deliver on the user experience. The goal of this presentation is to provide practitioners with a framework for understanding the elements for creating meaningful experiences and provide specific examples for creating meaning in everyday interfaces.
Using Interaction Design Methods for Creating AR and VR InterfacesMark Billinghurst
Class on Using Interaction Design Methods for Creating AR and VR Interfaces. Taught by Mark Billinghurst from the University of South Australia on September 20th - 21st in Xi'an, China
Conceptualizing the Maker: Empowering Personal Identity through Creative Appr...Binaebi Akah
This research thesis attempts to define an existing subset of end users as makers.
These makers bridge the gaps between technological gadgets, creative appropriation, and identity through their bricolage of hacking, crafting, online tutorials, and the materials and knowledge ready at hand. Further, in studying makers this thesis refers to the exploding online and offline culture of Steampunk as a case study.
What can the field of Human-computer Interaction learn from the Steampunk makers? What will you, as an interaction designer, do to empower and facilitate such personally identifiable creative acts?
What will you do to make appropriation possible?
a mash up of ideas, notes and resources to help my lovely but disorganised bunch of A2 Media Studies students. bits borrowed from here and there - use how you wish.
IxD & UX Design - Personifying Digital InteractionsJayan Narayanan
Interaction design is one of the most challenging area in digital space. Especially when we understand the context of complex lifestyle we are living. It is my try to understand what is happening in the area of interaction design and how design principles & psychological approaches can help us on this area.
Originally this presentation created for present in person in front of a group of people hence you may find some gaps in continuity. I am in a process in fixing these gaps - meanwhile please let me know your views and opinion on the topic / presentation.
Augmented Reality and Virtual Reality: Research Advances in Creative IndustryZi Siang See
This research seminar presents and discusses recent advances in augmented reality (AR) and virtual reality (VR). Recent developments have been implied that AR and VR innovation is more broadly accessible for different expert areas, these include the information technology sectors, education operations, build environment and the creative industries. During the session, participants will be able to experience AR and VR using mobile and head mount devices (HMD). This research talk will provide an overview of AR and VR interface development, industrial use cases and research direction.
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https://www.alandix.com/academic/talks/offtheCanvas-IndiaHCI2024/
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3. A video artwork of fashionable graphic or a generative art with minimum interactions became a hype.
IMA as a media content & experience
How can people give more playful, exciting experience and wonder
Find ways to improve IMA
I. Problem
Is ‘Immersive Media Art’ really immersive?
5. IF ‘Immersive Media Art’, a trend of media art now in Korea, is really
‘Immersive’?
HOW Interaction is related to the immersiveness of a media contents.
WHAT people expect from an immersive media art.
HOW they feel about immersive media + VR or AR control experience.
A. User Research
Research Goal Is
to
fi
nd out …
Subject & Pro
fi
le Twenties, people who has experienced immersive media content
People in twenties are the main audience for current immersive media art in Korea, due to
their ability to use instagram. Subjects needed to be
fl
uent in technology or study digital
technology to address in
fl
uences they’ve got from interaction or immersiveness.
Interviewee A
25, Male, Student.
Video & Virtual Production
industry
Person who is interested in
Immersive contents
Interviewee B
22, Female, Student.
Service design industry
Person who is interested in
media art
Interviewee C
24, Female, Student. Media
art industry
Person who is interested in
media art
6. Answers from
User Research Do you think it is immersive?
Immersive media art exhibition doesn’t really provide immersiveness in their artwork. There
was too many people in one venue, they weren’t concentrating to the art.
Does interaction matter to you? Why is that?
They wanted more interactions to engage. Interactions make immersive media art sometimes
realistic, and sometimes playful, making audience to really get in to the media art.
Strength of immersive media art
Scale of the immersive media art is considered positive - possible to use the room, giving
more presence to the immersive media art, resulting in an enhanced immersiveness.
What interactions they want?
Using interactions as wow factors of the media content. They wanted something new,
something that they didn’t expect. Realistic interactions were preferred. The interactions
stimulating audience’s senses helped immersive media art become ‘immersive’.
Figuring out how interactions work makes them think that this is the dead end and the artwork
is over. Not making it so simple, and making them to use it repetitively seems important.
What kind of interfaces did they want for immersive media art?
They wanted something new, something ambient. At some point, it should be easy to
estimate or expect, but they wanted an wow point.
7. B. Alternative Research
1. Core Emotion
• Immersiveness
2. References that evoke the emotion
• Universal Studio and Disney world
• Books
• Workout
3. The attributes of the reference enables that
1) Universal Studio & Disney world
• Storylines
• Subtle interfaces & technology - not enabling audiences to know how
it works
2) Books
• Also, Storylines
• It does not have interactions, but it enables you to “imagine” your own
world, resulting in enhanced immersiveness
• Feelings of a paper, sound and tactile feedback of
fl
ipping paper
3) Workout
• Constant positive feedback of a growing muscle
• Tactile interface
8. III. De
fi
ne
Findings from the Research
Problems
• Not immersive
• No engagement
• Venue too crowded
• Not really surprising
• Identical scene for
everyone
What They
Wanted
• New, astonishing
interactions
• To feel like they’re
part of the content
XR Content
&
Pop Art
REFRAMING IMA
• Users wanted to spend time with loved ones
• Intentionally exclude social or critical meanings
• Interesting, new, astonishing experience
• Interaction between digital image & interface
10. Design Concept
Immersive Hall 2.0
An XR experience platform with physical space
A medium/platform that inspires artists, creative makers
Enables them to make more personal, collaborative, sensible
content, making it more immersive.
▲ Cooperative Aesthetics / Village of Forbidden Dreams, Photo: tom mesic
▾Magic Leap 2
11. Design Concept
Band
Wearable, versatile Joycon
Multi-modal interface that can give various feedbacks and be
used in different use case of form factors.
▲ Nintendo Switch Labo
▾ Nike Fuelband
12. HMW make audience to be more engaged to immersive contents?
HMW make the Immersive Hall have more interaction possibilities?
HMW entertain a group of people in an immersive environment?
HMW Questions
User Persona &
Scenario
V. Develop (Brainstorm & Ideate)
14. User Coordinates Detection
Azure Kinect or Vive lighthouse
Personalized Sound System
Directional speaker/scent module moves
to x, y coordinates of the user.
Contains a small-sized speaker and a
scent module, which generates scent
combining the scent from the cartridge.
Outside the IH console area is where
other participants interact with user
inside the IH.
Immersive Hall System
Abstract
15. Immersive Hall System
Specify
1. Idea of an active multiplayer glasses
2. Idea of a versatile band
3. Simpli
fi
ed Cockpit
1
2
3