a b s t r a c tA recent trend in ubiquitous computing is the development of new forms of interfaces, which rely on embodied interaction. We focus on the definition of embodiment that refers to the ways in which abstract concepts rely on metaphorical extensions of embodied schemata shaped by processes below the level of conscious awareness as explored by Lakoff and Johnson [Lakoff, G., Johnson, M., 1980. Metaphors We Live By. Chicago Press, Chicago, IL, USA]. Our inquiry focuses on understanding the role embodied metaphors may play in supporting people to understand the possibilities for physical interaction in augmented spaces. We explore this issue through the development and evaluation of an interactive audio environment. We instantiate metaphor theory by using embodied schemata as the basis for the interactional metaphor that relates full-body input actions to audio output responses. We demonstrate and explore the benefits of this approach through a comparative experiment in which adults and children learn to use our audio environment. The results from our experiment indicated that embodied metaphors improve usability however, other factors including discoverability, perceivability of feedback and duplicity of structural isomorphism may mediate these metaphor-based benefits. We have generalized our main findings as a set of suggestions for the design of embodied style interfaces that rely on physical interaction.
One of the claimed benefits of embodied interaction is that it is an intuitive form of human-computer interaction. While this claim seems to be widely accepted, few studies explore the underlying cognitive mechanisms of intuition in the context of tangible and embedded interaction design. What is intuitive interaction? What makes an interface intuitive to use? We explore these questions in the context of a responsive auditory environment. We propose that intuitive interaction can be facilitated by instantiating an embodied metaphor in the mapping layer between movement-based input actions and auditory system responses. We search for evidence of benefit through a comparative study of the same responsive auditory environment implemented with and without an embodied metaphor in the interactional mapping layer. Qualitative findings about the complexities and limitations of designing intuitive interaction are summarised and the implications for the design of embodied interaction discussed. Surrey, Canada. He Lectures on embodied interaction, interactive media and computer music. His research interests include media agents, generative systems and embedded computing. He has worked on projects for galleries, museums and live performance in Canada and the USA.Milena Droumeva is a Doctoral Student in the area of Educational Technology at Simon Fraser University, studying the role of sound in learning environments, and particularly the notion of acoustic epistemologies. She completed her BA in Communications and received a Masters in the School for Interactive Arts and Technologies, SFU, where she explored a design framework for sound design in ubiquitous computing environments. She has also designed sound for a variety of systems and applications including: artistic compositions; aural histories; ubiquitous auditory displays; interactive sound installations; audio for different game platforms and sound for children's physical environments.
Supporting users' reasoned imagination in sense making during interaction with tangible and embedded computation involves supporting the application of their existing mental schemata in understanding new forms of interaction. Recent studies that include an embodied metaphor in the interaction model, which relates action-based inputs to digital outputs, have provided evidence that this approach is beneficial. Yet the design of such systems has been difficult and full of setbacks. Wide spread adoption of this approach requires a better understanding of how to design such embodied metaphor-based interactional models. We analyze three recent design-based research studies in which we have been involved in order to derive design knowledge that may inform others. Following a case study methodology we identify kernels or points in the design process where discontinuities between predicted and actual interaction highlight important design knowledge.
Abstract:In this paper we present a quantitative, comparative study of a multimedia environment about social justice that users can control using whole body interaction or a simple control device. We explore the efficacy of using embodied metaphor-based whole body interaction compared to controllerbased interaction for an abstract domain (social justice). We describe how conceptual metaphor theory can be applied to the design of a whole body interaction model, focusing on the twin-pan balance image schema and its metaphorical elaboration that structures the concept of balance in social justice. We describe the Springboard system, our methodology and results from a study with 76 participants. Our results indicate that participants were able to interact with our system using both input approaches. However, participants in the whole body group were more deeply impacted by their experiences related to social justice than those in the control device group.Keywords: Embodied interaction, whole body interaction, embodied schema, image schema, metaphor, conceptual metaphor theory, social justice, interactive environments, movement interaction. Reference for publisher use onlyBiographical notes: Dr. Antle is an Associate Professor in the School of Interactive Arts + Technology at Simon Fraser University, Canada. Her research focuses on embodied human-computer interaction and child-computer interaction and proceeds through the design and evaluation of tangible and multi-touch surfaces, and interactive environments. Dr. Antle holds Bachelor degrees in Systems Design Engineering and Liberal Arts from the University of Waterloo, Canada and a Ph.D. from the University of British Columbia, Canada. Before returning to academe, Dr. Antle spent eight years in the new media industry working as a senior designer, executive producer and consultant.Greg Corness is a researcher and artist working in media environments and interactive performance to explore embodied and social interaction with media agents. He publishes and lectures on electronic music, human-computer interaction and performance theory. His work on interactive systems includes generative sound systems, computer vision and tangible interfaces for galleries installations, interactive museum exhibits and live performance presented in Canada and the US. Greg holds a Masters of Music in Allen's research focuses on design education, supporting creativity with technology, and interaction design for children. He is currently working on projects intended to help designers build better interactive systems for children.
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