Social immersive media

Snibbe, Scott S.; Raffle, Hayes

doi:10.1145/1518701.1518920

Cited by 96 publications

(40 citation statements)

References 29 publications

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“…The focus of this work is on the system's motivation and description and does not include empirical data. Snibbe and Raffle [60] report on their use of body posture and gestures to imbue visitors of science museums with intended emotions. Only little empirical work on concrete effects directly related to the work in Psychology has been published so far.…”

Section: Body Posture In Hcimentioning

confidence: 99%

How Relevant are Incidental Power Poses for HCI?

Jansen¹,

Hornbæk

2018

Proceedings of the 2018 CHI Conference on Human Factors in Computing Systems

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The concept of power pose originates from a Psychology study from 2010 which suggested that holding an expansive pose can change hormone levels and increase risk-taking behavior. Follow-up experiments suggested that expansive poses incidentally imposed by the design of an environment lead to more dishonest behaviors. While multiple replication attempts of the 2010 study failed, the follow-up experiments on incidental postures have so far not been replicated. As UI design in HCI can incidentally lead to expansive body postures, we attempted two conceptual replications: we first asked 44 participants to tap areas on a wall-sized display and measured their self-reported sense of power; we then asked 80 participants to play a game on a large touch-screen and measured risk-taking. Based on Bayesian analyses we find that incidental power poses had little to no effect on our measures but could cause physical discomfort. We conclude by discussing our findings in the context of theory-driven research in HCI.

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Section: Body Posture In Hcimentioning

confidence: 99%

How Relevant are Incidental Power Poses for HCI?

Jansen¹,

Hornbæk

2018

Proceedings of the 2018 CHI Conference on Human Factors in Computing Systems

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“…We also recognized that it was crucial for the interactive visualizations to extend beyond Snibbe's recommendations of being continuously variable and responsive [19]. Much in the same way that choreographers develop and incorporate build into a dance, it was equally important for our visualizations to evolve as the eleven minute dance progressed.…”

Section: Dance 1: a Mischief Of Mus Musculusmentioning

confidence: 96%

“…specific movements, a maverick dancer) that build up to a conclusion, the visualizations should follow a similar build (see The Angled Angels Assembly). As Interactive Build became more explicit, we found it to be an expansion of Snibbe's principle of continuously variable [19]; taking into account the different temporal nature of formal dance. While interactive art installations may be visited by participants for a few seconds or a few minutes, a formal dance can last up to 20 or 30 minutes.…”

Section: Augmented Expressionmentioning

confidence: 98%

“…However, this work does not specifically address art and performance. Drawing from his own interactive installations, Snibbe introduced six design principles for social immersive media, which he defines as "immersive media that favors interaction in a shared social space using a person's entire body as the input device [19]." He recommends that social immersive media experiences be Visceral, Responsive, Continuously Variable, Socially Scalable, Socially Familiar, and Socially Balanced.…”

Section: Art Installationsmentioning

confidence: 99%

“…Connected Kinetics was an initial goal and is built upon Snibbe's principles of responsive and visceral media [19]. Unlike art installations, dance audience members are not usually given the opportunity to experiment with the visualizations and technology to figure out the interactive mappings between them.…”

Section: Augmented Expressionmentioning

confidence: 99%

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Dance-inspired technology, technology-inspired dance

Gonzalez

Carroll

Latulipe

2012

Proceedings of the 7th Nordic Conference on Human-Computer Interaction: Making Sense Through Design

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The design of interactive dance is a challenging endeavor because both dance and computing are in themselves full of complexity, thus to create a cohesive union of the two involves much trial and error and a mutual disciplinary understanding. Since interactive dance is a performing art, technologists working as designers must consider how all of the parts -choreography, media, interactivity -are integrated to inform the overall gestalt and intent of the piece. To this end, we offer five design principles for making interactive dance: Connected Kinetics, Augmented Expression, Aesthetic Harmony, Interactive Build, and Integrated Process. These design principles have emerged from our practice-based research in collaboratively producing six different interactive dance pieces over the past four years.

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Visualizing biological data in museums: Visitor learning with an interactive tree of life exhibit

et al. 2016

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In this study, we investigate museum visitor learning and engagement at an interactive visualization of an evolutionary tree of life consisting of over 70,000 species. The study was conducted at two natural history museums where visitors collaboratively explored the tree of life using direct touch gestures on a multi-touch tabletop display. In the study, 247 youth, aged 8-15 years, were randomly assigned in pairs to one of four conditions. In two of the conditions, pairs of youth interacted with different versions of the tree of life tabletop exhibit for a fixed duration of 10 minutes. In a third condition, pairs watched a 10 minute video on a similar topic. Individual responses on a 53-item exit interview were then compared to responses from a fourth, baseline condition. Contrasting with the baseline condition, visitors who interacted with the tabletop exhibits were significantly more likely to reason correctly about core evolutionary concepts, particularly common descent and shared ancestry. They were also more likely to correctly interpret phylogenetic tree diagrams. To investigate the factors influencing these learning outcomes, we used linear mixed models to analyze measures of dyads' verbal engagement and physical interaction with the exhibit. These models indicated that, while our verbal and physical measures were related, they accounted for significant portions of the variance on their own, independent of youth age, prior knowledge, and parental background. Our results provide evidence that multi-touch interactive exhibits that enable visitors to explore large scientific datasets can provide engaging and effective learning opportunities. # 2016 Wiley Periodicals, Inc. J Res Sci Teach Keywords: interactive tabletops; informal science learning; museums; evolution; information visualizationThe nature of scientific research has undergone a profound shift in recent decades. More than ever, scientists pursue lines of research that rely on massive data sets and computational methods of inquiry (Foster, 2006). As an example relevant to this paper, researchers around the globe are

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Social immersive media

Cited by 96 publications

References 29 publications

How Relevant are Incidental Power Poses for HCI?

How Relevant are Incidental Power Poses for HCI?

Dance-inspired technology, technology-inspired dance

Visualizing biological data in museums: Visitor learning with an interactive tree of life exhibit

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