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This paper explores the problem of embodied interaction between a service robot and a person in a hallway setting. For operation in environments with people that have limited experience with robots, a behaviour that signals awareness of the persons and safety of motion is essential. A control strategy based on human spatial behaviour studies is presented that adopts human-robot interaction patterns similar to those used in person-person encounters. The results of a pilot study with human subjects are presented in which the users have evaluated the acceptability of the robot behaviour patterns during passage, with respect to three basic parameters: the robot speed, the signaling distance at which the robot starts the maneuver and the lateral distance from the person for safe passage. The study has shown a good overall user response and has provided some useful indications on how to design a hallway passage behaviour that could be most acceptable to human users., QC 20111014

We present a tangible programming space designed for children's collaborative construction of screen-based interactive systems. The design is based on three goals for interaction and activity: supporting co-located collaborative activity, screen-based execution, and what we call behaviour-based programming. Further, we analyse the interactions within a group of 10 year olds who used the system to create a live fantasy world together. The results show how the tangible resources shaped the activity of programming so that bodily actions and positioning became prominent. This is conceptualized through the notion of embodied programming, which highlights how programming activity must be understood through its interlinking to external resources and context., QC 20120111

There has been an increasing interest in objects within the HCI field particularly with a view to designing tangible interfaces. However, little is known about how people make sense of objects and how objects support thinking. This paper presents a study of groups of engineers using physical objects to prototype designs, and articulates the roles that physical objects play in supporting their design thinking and communications. The study finds that design thinking is heavily dependent upon physical objects, that designers are active and opportunistic in seeking out physical props and that the interpretation and use of an object depends heavily on the activity. The paper discusses the trade-offs that designers make between speed and accuracy of models, and specificity and generality in choice of representations. Implications for design of tangible interfaces are discussed.

Musical interactions have the potential to increase emotional well-being, self-confidence and self-motivation. However, the ability to actively participate in creative activities involving music performance has so far been difficult for users with complex disabilities. This paper discusses placing a technology probe, using gesture based musical controls, in an existing music technology project for users with complex disabilities (conditions which affect both cognitive and motor abilities of an individual). The focus is on understanding the needs of this user group in a participatory design approach for creative music technologies that allow for tailored accessibility. Outcomes from this research show that many multi-level social interactions surrounding the technology, users, audience, and any third party facilitators exist in the context of ‘facilitated performance’. Results suggest that including facilitators in the design of Digital Musical Instruments (DMIs) could allow for improved accessibility for users with complex disabilities.

Interactive films have been around for almost a century, yet they have suffered repeatedly from critical, commercial and interactional failings. We propose that brain-computer interfaces can offer interactions with narratives and encourage cinematic engagement by minimising active control. We ask what are the problems inherent to interactive cinema? Can real-time interactions via a brain-computer interface (BCI) construct cinematic content? And how do groups of individuals experience brain-controlled cinema designed for individual, shared or distributed control? Our review of related work motivates the interactional choice of using Passive BCI with real-time cinematic construction to synchronise rhythms of the viewers blinking, Attention and Meditation to the rhythms of cinema. We use the Performance Led Research in-the-Wild methodology to probe public deployments of our films, and we describe user interactions in-the-Wild during screenings of multiple designs of two interactive films: three single user, three multi user, and a live score performance. Our descriptions of BCI mappings to cinematic techniques and production strategies to produce interactive content efficiently contributes to the understanding of practical interactive cinema production. In our results we define 1) different stages of control; discovery, conscious and unconscious, 2) awareness of the affective loop, 3) a shifting prominence of engagement between the narrative, the visual qualities and the agency of users’ interactions. We offer a dynamic view of control; people’s experiences are shifting from awareness of their self, the film, and their control. Our hyper-scanning multi-user study introduces the concept of effects moving across groups, working together to produce engaging experiences, and instances of group members disrupting other’s experience by deciding to unilaterally take control of the film. Our discussion contributes to our understanding of passive interactions with narrative sys

Musical interactions have the potential to increase emotional well-being, self-confidence and self-motivation. However, the ability to actively participate in creative activities involving music performance has so far been difficult for users with complex disabilities. This paper discusses placing a technology probe, using gesture based musical controls, in an existing music technology project for users with complex disabilities (conditions which affect both cognitive and motor abilities of an individual). The focus is on understanding the needs of this user group in a participatory design approach for creative music technologies that allow for tailored accessibility. Outcomes from this research show that many multi-level social interactions surrounding the technology, users, audience, and any third party facilitators exist in the context of ‘facilitated performance’. Results suggest that including facilitators in the design of Digital Musical Instruments (DMIs) could allow for improved accessibility for users with complex disabilities.

Musical interactions have the potential to increase emotional well-being, self-confidence and self-motivation. However, the ability to actively participate in creative activities involving music performance has so far been difficult for users with complex disabilities. This paper discusses placing a technology probe, using gesture based musical controls, in an existing music technology project for users with complex disabilities (conditions which affect both cognitive and motor abilities of an individual). The focus is on understanding the needs of this user group in a participatory design approach for creative music technologies that allow for tailored accessibility. Outcomes from this research show that many multi-level social interactions surrounding the technology, users, audience, and any third party facilitators exist in the context of ‘facilitated performance’. Results suggest that including facilitators in the design of Digital Musical Instruments (DMIs) could allow for improved accessibility for users with complex disabilities.