The Case for Animal Privacy in the Design of Technologically Supported Environments

Privacy is an essential consideration when designing interactive systems for humans. However, at a time when interactive technologies are increasingly targeted at non-human animals and deployed within multispecies contexts, the question arises as to whether we should extend privacy considerations to other animals. To address this question, we revisited early scholarly work on privacy, which examines privacy dynamics in non-human animals (henceforth “animals”). Then, we analysed animal behaviour literature describing privacy-related behaviours in different species. We found that animals use a variety of separation and information management mechanisms, whose function is to secure their own and their assets' safety, as well as negotiate social interactions. In light of our findings, we question tacit assumptions and ordinary practises that involve human technology and that affect animal privacy. Finally, we draw implications for the design of interactive systems informed by animals' privacy requirements and, more broadly, for the development of privacy-aware multispecies interaction design.

How to Integrate Emotions in Dialogues With Pedagogic Conversational Agents to Teach Programming to Children

Pedagogic conversational agents are interactive systems that allow students to dialogue with them about a certain domain to learn. PCAs have been used in multiple domains from pre-primary education to university, in roles such as teacher, student, or companion. In this chapter, Alcody, a PCA to teach programming to children, is enhanced with a new proposal to manage emotions in the dialogue with students. The goal is that when children are learning to program, Alcody can help them with the emotions associated to the learning. Six emotions have been integrated into Alcody: happiness, anger, sadness, fear, surprise, and disgust. A description of how a PCA to teach programming can modify its face and verbal expressions according to the emotion detected in the student. This is given for any other researcher that would like to incorporate emotions in dialogues between PCAs and students.

Generative Theories of Interaction

Although Human–Computer Interaction research has developed various theories and frameworks for analyzing new and existing interactive systems, few address the generation of novel technological solutions, and new technologies often lack theoretical foundations. We introduce Generative Theories of Interaction , which draw insights from empirical theories about human behavior in order to define specific concepts and actionable principles, which, in turn, serve as guidelines for analyzing, critiquing, and constructing new technological artifacts. After introducing and defining Generative Theories of Interaction, we present three detailed examples from our own work: Instrumental Interaction, Human–Computer Partnerships, and Communities & Common Objects. Each example describes the underlying scientific theory and how we derived and applied HCI-relevant concepts and principles to the design of innovative interactive technologies. Summary tables offer sample questions that help analyze existing technology with respect to a specific theory, critique both positive and negative aspects, and inspire new ideas for constructing novel interactive systems.

Putting the Cell in Order

Organization is one of the most conspicuous features of cells. Not only are cells highly ordered (in the sense of regularity and predictability), but also they are organized: their order has purpose, or function. How does biological organization arise, and how is it transmitted from one generation to the next? A key element is genetic information encoded in DNA. Many scientists hold that DNA is the master molecule of life that prescribes all that cells are and do, and the general public has swallowed that doctrine whole. There is truth in this view of biological organization, inasmuch as genes do specify the chemical structure (and thereby the function) of proteins, nucleic acids, and (indirectly) many other biomolecules. But that is only part of an increasingly complex story. The higher levels of cell organization are not spelled out in the genes; they arise by self-organization, and are commonly transmitted to the next generation because the mother cell is architecturally continuous with its daughter. DNA provides an indispensable database, but does not direct the show. Organisms are better understood as complex interactive systems composed of genetically specified elements.

Contemporary Approaches to Live Computer Music: The Evolution of the Performer Composer

<p>This thesis examines contemporary approaches to live computer music, and the impact they have on the evolution of the composer performer. How do online resources and communities impact the design and creation of new musical interfaces used for live computer music? Can we use machine learning to augment and extend the expressive potential of a single live musician? How can these tools be integrated into ensembles of computer musicians? Given these tools, can we understand the computer musician within the traditional context of acoustic instrumentalists, or do we require new concepts and taxonomies? Lastly, how do audiences perceive and understand these new technologies, and what does this mean for the connection between musician and audience? The focus of the research presented in this dissertation examines the application of current computing technology towards furthering the field of live computer music. This field is diverse and rich, with individual live computer musicians developing custom instruments and unique modes of performance. This diversity leads to the development of new models of performance, and the evolution of established approaches to live instrumental music. This research was conducted in several parts. The first section examines how online communities are iteratively developing interfaces for computer music. Several case studies are presented as examples of how online communities are helping to drive new developments in musical interface design. This thesis also presents research into designing real-time interactive systems capable of creating a virtual model of an existing performer, that then allows the model’s output to be contextualized by a second performer’s live input. These systems allow for a solo live musician’s single action to be multiplied into many different, but contextually dependent, actions. Additionally, this thesis looks at contemporary approaches to local networked ensembles, the concept of shared social instruments, and the ways in which the previously described research can be used in these ensembles. The primary contributions of these efforts include (1) the development of several new open-source interfaces for live computer music, and the examination of the effect that online communities have on the evolution of musical interfaces; (2) the development of a novel approach to search based interactive musical agents; (3) examining how networked music ensembles can provided new forms of shared social instruments.</p>

Contemporary Approaches to Live Computer Music: The Evolution of the Performer Composer

<p>This thesis examines contemporary approaches to live computer music, and the impact they have on the evolution of the composer performer. How do online resources and communities impact the design and creation of new musical interfaces used for live computer music? Can we use machine learning to augment and extend the expressive potential of a single live musician? How can these tools be integrated into ensembles of computer musicians? Given these tools, can we understand the computer musician within the traditional context of acoustic instrumentalists, or do we require new concepts and taxonomies? Lastly, how do audiences perceive and understand these new technologies, and what does this mean for the connection between musician and audience? The focus of the research presented in this dissertation examines the application of current computing technology towards furthering the field of live computer music. This field is diverse and rich, with individual live computer musicians developing custom instruments and unique modes of performance. This diversity leads to the development of new models of performance, and the evolution of established approaches to live instrumental music. This research was conducted in several parts. The first section examines how online communities are iteratively developing interfaces for computer music. Several case studies are presented as examples of how online communities are helping to drive new developments in musical interface design. This thesis also presents research into designing real-time interactive systems capable of creating a virtual model of an existing performer, that then allows the model’s output to be contextualized by a second performer’s live input. These systems allow for a solo live musician’s single action to be multiplied into many different, but contextually dependent, actions. Additionally, this thesis looks at contemporary approaches to local networked ensembles, the concept of shared social instruments, and the ways in which the previously described research can be used in these ensembles. The primary contributions of these efforts include (1) the development of several new open-source interfaces for live computer music, and the examination of the effect that online communities have on the evolution of musical interfaces; (2) the development of a novel approach to search based interactive musical agents; (3) examining how networked music ensembles can provided new forms of shared social instruments.</p>

Multi-channel Tactile Feedback Based on User Finger Speed

Alongside vision and sound, hardware systems can be readily designed to support various forms of tactile feedback; however, while a significant body of work has explored enriching visual and auditory communication with interactive systems, tactile information has not received the same level of attention. In this work, we explore increasing the expressivity of tactile feedback by allowing the user to dynamically select between several channels of tactile feedback using variations in finger speed. In a controlled experiment, we show that a user can learn the dynamics of eyes-free tactile channel selection among different channels, and can reliable discriminate between different tactile patterns during multi-channel selection with an accuracy up to 90% when using two finger speed levels. We discuss the implications of this work for richer, more interactive tactile interfaces.

MTBalance

Mountain Biking (MTB) is an increasingly popular outdoors activity which offers a unqiue connection to nature along with the health benefits of cardiovascular exercise. Yet, complex MTB technique is an entry barrier that often prevent novices from enjoying the sport. Developing interactive systems, which can support developing MTB proficiency can augment the outdoor experience and make the sport available to a larger group of users. To that end, we designed, implemented and evaluate MTBalance - a system which provides body posture feedback for beginner mountain bikers. Based on inertial tracking, MTBalance informs the user about how to correct their posture to improve MTB performance. We conducted a study in which we compared different feedback modalities for MTBalance. We observed that the system increased perceived balance awareness. Our work provides insights for designing body awareness systems for outdoor sports.