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Contents

Coach meeting 20th of May 2005
Coach meeting 13th of May 2005
Project meeting 3-5
Project coach meeting 22-04-2005
Expert Meeting with Peter Peters 21-4-2005
Coach Meeting 15-4-2005
EXPERT MEETING KEES OVERBEEKE 12-4-2005
Coaches meeting 8-4-2005
Coach meeting Jun Hu 1-4-2005
INTERIM PRESENTATION DC222 30-3-2005
Coach meeting both coaches 24-3-2005
Expert meeting with Philip Ross 18-03-2005
Coach meeting both coaches 18-3-2005
Coach meeting Sietske Klooster 7-3-2005
1. Feedback meeting 11-3-2005 by Sietske Klooster
Coach meeting Jun Hu 4-3-2005
Coaches meeting DC222 24-02-2005
Client meeting DC222 24-02-2005
Coach meeting DC222 18-2-2005

Coach meeting 20th of May 2005

For the paper that we can write we especially have to write about our approach during this project instead of our final concept. This can be a kind of evaluation in depth. The paper will be about 4 pages and have to be finished on the 17th of June. It has to be a kind of introduction paper that explains the concept first before we will tell about how far we got during this project. A flight to Japan will be about 500-700 euro’s, but maybe this can be sponsored by the faculty.

We have to update the WIKI because this hasn’t been done for the last 2 weeks. This is probably because we have been busy with our exposition and our programming.

The boxes for the exposition are almost finished. We have to make pictures of the user with the object to show especially the transitions from the one emotion to the other emotion.

especially make your visitors feel what you mean; also with the transitions. Present (inter)actively. Your visitors are designers and potential users. You also designed user involvement. SietskeKlooster

The movie isn’t finished yet. This probably will be an animation movie because when we want to make a real movie this will be too broad because the user has to be able to interact at any time. So we will use the Wizzard of Ozz principle to make it al clear. In this way buttons have to be pushed to start a part of the movie.

The button pushing is done by you, making your users feel like their movement with the object actually influences the movy and is emotionally expressive. SietskeKlooster

We do have to make an action scenario for the object if we want to use the Wizzard of Ozz.

The combination of SMIL and JAVA has to be talked about after this coach meeting. The communication is fixed between JAVA and JAL so that is working now. For the communication we will use numbers instead of letters because else it will become too complicated.

With the system we have now, we have to use sensors if we want to measure certain shapes/positions of our object. What does the user do with the object and what will the object do with the user.

what will you measure exactly, the product-shape, the pressure added by the user, interaction or product action, a combination? This gives interesting things to think about. SietskeKlooster

For the presentation we have to make a list of the most important things we want to tell. Put attention to the action, reaction and the emotions (express with efforts).

and how emotion, story steering, transitions, (inter)action, product and user all relate into one principle. SietskeKlooster

Show how the user has to interact, tell what shape our object has and why, think about our strength and our weaknesses and make a presentation according to those.

We have to tell the whole story instead of only show our object. Our object alone isn’t good enough, but the story behind it (if well told) is. Let the spectators feel the story and let them interact and also focus on the social and emotional aspects.

you designed an interactive whole. The object is 'just' an eliciting integral part of this. SietskeKlooster
Project meeting 20-5: The most important is to clear decisions on what you want to present and how. The object design result is not your strenght. The strenght of your design (according to me) is in: The design of the dynamic transitions between 4 emotional states or user-product-postures. The fact that this is possible in two ways; the user as the initiator, in shaping with the object or the object as the intiator, in shaping with the user. I say WITH, because they together are an (inter)active whole, each having the possibility to be the initiating part. The states and transitions are expressing emotions and transitions between these. This relates to the story and its atmosphere, and the ability to steer (shape) this. The product shape is designed as the link to initiate this all and it is an integral part of this whole. You designed: involvement of the user his body, the design of the product and its's physical involvement, the dynamics they together open up and the expression of emotion this has in reacting and steering the film story-line. The physical design of the product is designed and related to the design of all these other aspects; an integral part of the whole so to say. It elicites this whole. Be aware of importance of preseting all you designed! product (object) but also transitions, dynamics, user body involvement, expression of emotion, steering, acting reacting, interacting, etc. SietskeKlooster

Coach meeting 13th of May 2005

The final presentation is planned on 25th of May. We already made a meeting with the client after the interim presentation for the 27th of May, so we have to reschedule our final presentation for the unit to the 27th of May.

We don’t want to make a power point presentation but an exposition space, so the people can experience the emotions their selves. The people need to be active and really participate during the exposition-presentation.

you could see them as a needed element to make your presentation work. a user is needed to show your interaction design. Interactive presentation. SietskeKlooster

The objects for the exposition will be in real life-size so the people can catch the objects and experience the emotion and feeling for their selves. The spectator can be involved in the presentation in two different ways:

be a participant (that is what we want)
be a viewer (only look at the things done and listen to the story that will be told)

Also we have to show how to hold the objects from the design perspective so the spectators can try this for their selves, so they can understand the interaction and the emotion better.

if you show, it is not eliciting design. You could use the presentation to test of the object elicits your interaction design. Needing explanation of how to use/interact is not what you have tried to design I think, or did you? SietskeKlooster

For the movie we want to make different parts of movie that express the emotions. We want to make transitions from emotion to emotion, so you will skip through a network of parts of film, while using our object.

meaning you make an animation with coupling of transitions between 4 states in 2 directions between each couple. SietskeKlooster

In our movie and our exposition we have to look at the transition form the one form/emotion to the other form/emotion. Look at how fast the transitions will go and try to make this clear and to show this in a clear way.

meaning the dynamics of states and transitions and how this is physically enabled by the physical characteristics of user and object. These dynamics have 3 dimensions; physical use of space time and force. These dynamics express the emotions. This emotion expression is something to think about. Do user and object share emotion, do they feel an emotion for each other, or does one force the other as a result of his/its own emotion? SietskeKlooster

In the exposition the forms of our objects can be big/small or hard/soft. In this way we want to show the different stages of the emotions whether they are giving resistance or flexible.

in other words, what dynamics the object elicits. SietskeKlooster

The transitions between the different emotions have the most impact of our concept so they have to be presented well.

We have to work out the technical part of our project (theoretical), especially the part of the sensors to see how the pillow should move and interact.

next to the model show clearly how your air-using design would be when having the technical possibilities needed. Also make clear which these technical possibilities would be. SietskeKlooster

We want to use air to make our concept more alive, but we aren’t able to make that work before the final presentation because our LEGO machine can not handle that.

Project meeting 3-5

Project meeting 3-5: My advise was to further design your object with Design Movement. Find the dynamics between user and object-to-be-created, that express your emotions. When you know the dynamics that are needed and how you want the user to be physically involved, the physical design can be found from there. Next to this take care of synchronisation of the 2 teams. Also make a new planning to see how to best use the time that is left. Use this oportunity to learn efficient way of working under time pressure. SietskeKlooster

Project coach meeting 22-04-2005

This meeting was not able to take place becuase half of the team was not present. The team was then asked to present their progress in writing:

what about our short meeting on 22-4 after lunch? The main point then was: Design the active whole. Do not draw an object as such. Move to feel what kind of product characteristic you need to impulsively express your emotions through a (not yet existing) object in relation to the movy. The same the other way round; how the action would be if an (not yet existing) object acts in relation to you, because of the movy. You and also the direction where the movy is, are part of the design. What physical involvement of the use are you designing, together with the design of the object and to express emotions impulsively-- SietskeKlooster

Progress of week 16

The technology group focused on the programming part. We are now able to display the random colors which the object cycles when it is not being used for a while, this method will make sure the user will interact with the object or else it will start choosing its own direction which become more irrational and chaotic after a longer period of time. Another feature we are working on is the dominance of the input of the ball over the random color generator. Now we started making a second frame for the movie which will be linked to the object.

We have consulted with Peter Peters who was able to help us with the microcontroller. We now have a microcontroller and the appropriate tools to get started. Peter supplied us with the according software which can help us get the input and output sorted. He is available for assistance on the microcontroller part and the JAL programming part. The Java programming will be dealt with via the help of Jun, if needed.

Rutger finished the overall conclusions concerning the object in question and created a document with all the results. Although a choice has not yet been made on the object, all the background information is now ready and will be dealt with next week.

Lilian worked out the emotions part and created a document which withholds all the information we need on that part. This background information will provide us with the necessary input for the right semantics concerning the object. She also started working on the materials which can be used by our object and which are evidently linked to the emotions.

Laurie and Jan are very sorry that they were absent this morning. Laurie suffered from a tragic failure of her bicycle and Jan was unable to awake on the right time to which the circumstances are unknown.

We hope u will be able to give us feedback on this.

With kind regards,

DC222

how are the two couples; technique and object; communication towards an integrated design. Of course the devision in groups is practical, but you are also designing one thing. Technique and object material-shape relate into a whole. How do you handle this teamwork-wise? The same goes for how you are implementing and at the same time developing on a conceptual level. Be aware how how you handle this process-wise. Your will learn from that.-- SietskeKlooster

Expert Meeting with Peter Peters 21-4-2005

Present:: PeterPeters, JanvanderAsdonk, LaurieScholten (,RutgerMenges)
- explination of the project and the goals of the concept and the details of the electrnics and programming part
expert states that multiple options are available for useing a microcontroller, but the best situation regarding this project will be using 1 microcontroller the software inside is programmed in JAL and will be conducted via Java
the software for controlling input and output is already written, and we can get it fom his employee site and use it for the project but regarding the learning goals there is room for self exploration but when we get stuck the expert is available for advice the java programming advice role will be filled by our coach, Jun
there is a demo in the software on his site, if we can get that working we will have a lot of knowledge regarding the conceptual development
we need a microcontroller, an adapter and a serial port in combination with a display for on the micrcontroller, which we have now

Coach Meeting 15-4-2005

Present:: JunHu, JanvanderAsdonk, RutgerMenges, LaurieScholten
looking forward
there will be 2 groups: - Laurie and Jan, who will be doing the technical side
- Lilian and Rutger, where Lilian will work on the emotions and Rutger on the concept presentation
during that time all 4 of the team members will work on the concept and its shape
a tight schedule has to be made b/c there are only 5 weeks remaining
from monday and onwards there will be experimentation with the soft-& hardware
a meeting with Peter Peters will be arranged in order to get a program in java which controls lighting, small adaptations have to be made in order to get a RGB light working.
there are 2 possible methods for getting a link between the soft-& the hardware:
- 2 controllers, one for input and one for output
- 1 controller where the in- & output are arranged inside the controller
also check the Diamond Lighting Interface for controlling colors

EXPERT MEETING KEES OVERBEEKE 12-4-2005

First we explained our concept (concept of the ball with which you will have interaction to change the movie) to Kees and talked about this concept.
You have to make almost unaware choices to alter the plot of the movie, using the ball. But what has a ball to do with a movie?! Why a ball?! Why not a ‘stress ball’, that one can also change its shape. The ball will be a semantic problem that will be hard to solve during this project, because a ball is no combination with a movie, there is no relation. How can a user see that you can do something with the ball and that the user can interact with the movie and alter the plot.
We should have a meeting with Stefan Wensveen to talk about random behavior and what/how you can deal with this behavior.
Why do we use a special object to interact with the movie, why not something intergraded in the environment of the room?! - the project description describes us to make an object with which the user can interact with the movie and the environment.-
We should start with this problem from the meaning/approach of the problem and not from the solution. We should make ‘states’ which we want to alter and with which we want to achieve something.

Kees made this schedule to explain the process we actually had to go trough during this project. On the right you have the states that you have to alter the movie. How can you change a state and come in another state, or how can you just stay in one state?! This are all questions where we should have an answer on. You have in this way 16 ways to change states or to stay in a state. How should we implement these changes/ways in a meaningful way, so the user will understand it, but that also the program understand the changes the user make. For example we could use colours. You should find out what the emotions of the user are by their behavior. We want our users to interact with the movie in an unaware way; they have to be busy with their hands. How can we find out what emotion matches witch behavior.
What is the situation?! We should describe a context and restrict it. We have to outline the problem and make a good context.
We should get the problem to an abstract level and think of it in this way and think of solutions and then bring it back to reality. Our mapping (in the schedule) is our problem. First we have to think about our mapping problem. Then think about the emotions the users can have (in our case we want only 4 basic emotions) and the behavior that stands for these emotions. After that we have to think about the results we want to get (x, y, z) and how to implement these in the mapping phase. Then we can think about how to measure these values. And as final how to implement the mapping into the movie so the movie will changes it plots and changes with the emotions of the user and the other way around of course.
We have to feel the world and experience more, not sit behind our laptops the whole day.

Coaches meeting 8-4-2005

Present
SietskeKlooster, JunHu (little late), LilianAdmiraal, JanvanderAsdonk, RutgerMenges, LaurieScholten
In the past week we’ve switched our view from presenting the media to interacting with the media. Mainly because we haven’t focused on the interaction in the past weeks, while it turns out to be a very important part of our project. Further we don’t think that there is much innovation in altering screens. The emotions and experience is much more important. That’s something we haven’t seen in our concepts.
We’ve chosen to let the user interact with the media using a ball. That can change it’s color, temperature and maybe even its form according to the content of the media.
SietskeKlooster What is the advantage of a ball, why is it better than the cards?
The ball has got all kinds of ways you can interact with it. You can hug it, bounce it or throw it away. Further it’s a neutral shape. You don’t get a certain feeling right away
SietskeKlooster But where does this concept come from. How can we compare it to the other concepts?
This is still a problem. We’ve got trouble formulating our real ideas.
Jun Hu enters the meeting
SietskeKlooster we can’t see emotions and experience as separate things and we’ve got to define them.
Jun I think that you’ve got to see it this way. There are two movies playing. A virtual movie (video) and a real movie (real life). These two movies can influence each other. We don’t know how the real world will/can influence the virtual world. At this moment we thought up the ball. The problem is: if you want to show emotion, for instance love, you’ve got to hug a ball. But why would you hug a ball. You should find a shape that supports the activity (hugging for instance).
SietskeKlooster But now it’s really time that you start implementing and make the concept real clear Experience -> what experience? Social relations -> how? Activity -> (how) much?
Laurie I think that we should focus on one (or a set of) emotion(s) and work that out.
REST Yes.
Jun We should look to the background of the problem/concept. We want to show emotions to the virtual world, how can we do that? For now we can continue working on the ball, but we’ve got to keep the concept in mind.
We should be able to tell the whys of the decisions in our concept.

An over all point is that there should be a direct relation of the realworld where you are in and the imaginary world. Your ball-concept is at this moment quite indirect, like an extra. Almost like a remote controll. How are you and real world merging with the imaginary? Try to feel mor ethe connectedness and work on that.-- SietskeKlooster

Coach meeting Jun Hu 1-4-2005

Present
JunHu, LilianAdmiraal, JanvanderAsdonk, RutgerMenges, LaurieScholten
* We talked about what we should do next after the interim.
* We need to send around the presentation to all the coaches and also update the wiki-page.
Jun Hu: What we discussed in the interim about combining the last three concepts. This will only be a minor part of the project.
Jan: About the interim, we would actually rather make one concept of the last three and than work out that concept in the rest of the project.

evaluate the concepts to create a more clear detailed startingpoint for design. Clear qualitative criteria and motivations. These are points that are weak: How and why exactly be interactively involved in the story and how this happens as a typical event in a social home environment/interior.-- SietskeKlooster

Jun Hu: The way of interaction in these concepts isn’t new. The way of presenting content is new there are just more screens and different angles.

Jan: We understand that but the concept is also about the experience.

So WHAT do you want people to experience?-- SietskeKlooster

* Remark about the floor idea: Make the entire living room as a theatre but make a part as a stage the rest is blurry.

We made some mistakes in the interim; we didn’t present the last three concepts differently. We realize now that the last three concepts are more like visions instead of concepts. And we should have presented them as visions.

Then what are these visions? I think the into depth why-question of all you presented is the thing to answer-- SietskeKlooster

* Living room consists out of the theatre and the living space.

a theatre of living then?-- SietskeKlooster

We want to work out our ideas for one more week and than actually start with the modeling and prototype building.

Jun Hu: What is the basic idea behind all your ideas? * We think it is our vision.

Your vision is very general: Experiencing being (inter)actively involved in a story, triggering emotional action and reaction through adressing the senses. This is what you always do when designing anything, exept for the involvement in a story. What is the principle of action that connects story-happening of virtual world and real home world? -- SietskeKlooster

What we need to do is to sit around the table and choose a concept. We also need a statement for our design to get some more focus we could use a slogan. We will try to create our new concept and describe it with a scenario with family. Because family and the social activity is still the central part of the living room. We also need to do a feasibility study. And when we have more concrete ideas we need to send them around.

Jun Hu: I prefer the cards concept. * We think this is too easy/ too simple concept.

Jun Hu: Think about real objects instead of cards. Jan: How can we get to a concrete concept with so many objects? Jun Hu: Pattern regonition. Jan: But then what meaning to we attach to which object. Jun Hu: That is just a design problem. Jan: We think that is just not fixable, with cards this is easy.

Jun Hu: You shouldn’t have real screens on the floor but you could place screens near the walls. Are there any more screens in the floor concept? * No there aren’t but we don’t limit us to that these concepts aren’t really fixed so this isn’t really the question.

We think we had a wrong idea of the interim and we should have a good concept with a good scenario by the next coach meeting.

there are minutes missing of earlier meetings and also of the interim. Please update-- SietskeKlooster

INTERIM PRESENTATION DC222 30-3-2005

Present
Maddy Jansen, Jun Hu, Sietske Klooster, Jan vd Asdonk, Rutger Menges, Laurie Scholten, Lilian Admiraal
Also see the interim presentation and the handouts at the wiki page.
We presented our concepts to the client, Maddy Jansen. Maddy found our concepts very different from each other but liked them all. The user has to play, watch and create the movie and have to have a direct influence.
Mov’in screens are interesting With the Mov’in floor the user has a higher and complete overview. Both concepts are interesting but totally different from each other.
Shadow machine: nice to make and to create. Lamp concept: the sphere of the ambilight tv is not necessarily. Cards: cards related to the content of the movie, during the movie you have to know what will happen in the movie. Looks like the ‘kijkwijzer’.
Jun
* Look like the small objects used in the ‘home lab’, like a photo gallery. When you select a photo this can influence the movie. Put an object on the market. Jun: * The Mov’in screens are also difficult for the user to understand. Sietske: * How can you interact with the Mov’in screens? What if the car in the movie drives too fast * Maddy: * It looks like a 3D/4D movie, very hard to make, but very spectacular. In Den Haag you have the 360 view movie, it is a complete movie around you, with sounds etc. But to get a clear projection is very hard/difficult. Jun: * What can you do with all these screens?! Maddy: * What do you do during the movie?! What is the interaction?! Rutger: * We will decorate the room with different moving pictures and you can select them by yourself, resize them and place them at other places. Maddy: * You should not use one movie but different movies that you can project in the different screens. Laurie: * It looks like a virtual world, but you will not see everything of the movie at the same time, just pieces of the movie that you can see through the screens that have been selected. Maddy: * When you want to make this concept real you should not make this for a living room but for a normal room. Project the full movie on the walls but the user can only see the parts of the movie that are highlighted trough the screens. Jan: * Like the shadow machine… Rutger: * The shadow machine is more exploring for the user, the screens are more constructing. You just can sit and watch if you want, you don’t have to interact. Maddy: * Summary: * The shadow machine is more like a mosaic with video clips.
* The screens show the whole movie, but you only see parts of it. Jun: * What is new at the Mov’in floor?! Only the perspective is different. Rutger: * The interaction with your hands and feet, you can really change the movie. Jan: * Like with water, but that is now the effect, by touch you can change things in the movie. Sietske: * How can we compare the concepts? Looking at manipulating the movie, user perspective, actions in relation to the story… Rutger: * The movie’s shown by these concepts should be different from the one now existing. They should be made over again. Maddy: * When you watch a movie you will get distracted by other things, how do you want to prevent this, like using tools or rules. Find or make some rules. Jun: * Make two concrete concepts, one for the home environment and one a bit vague for a non-real home environment (futuristic). Jan: * We designed for the home environment, for a room where people live, home entertainment. We have no means to rearrange the whole room with our design. Maddy: * With the active screens the user have to be active to watch the movie. Jun: * Last three concepts are all the same, only the way they navigate are a bit different in each concept. Sietske: * It depends on the inner story, you can see what will happen, and there is a difference between the concepts. Make sure there is also a difference in watching the movie.
Jan gets an other concept of the fixed version of the screens, the block tv, so the user has a different perspective during the movie.
Laurie: * There is a good interaction between the user and the block tv and it is feasible to make. Maddy: * With the concept of the toolbox you have a kind of filter on your movie, you will reduce your possibilities. Rutger: * The movie has every plot possible. Jun: * Like with mouse clicks you can chose your own way of movie. Maddy: * So it is easier than a remote control actually. Rutger: * But it is not one of our favorite concepts, that are the Mov’in floor and Mov’in screens. Jan: * The visor concept looks like the Mov’in screens, but you don’t want to hold it the whole time. Jun: * The last three concepts are not concrete enough, what are the possibilities of the content, what will happen with the experience, they need to be worked out more, maybe combine them to one new concept. Maddy: * Also think of changing the home environment. Jan: * Chose all the best things of the three last concepts and combine them. Maddy: * Get the direct goal straight. Sietske: * Where are these concepts based on, what kind of interaction would you like to provoke. Maddy: * Do you want a movie projected all around you?! Jun: * Like the floor, use a normal floor and change the colour of the floor instead of a complete movie on the floor. Maddy: * Make a worked out scenario with complete concepts. These are really needed, you need to know everything about your concept. Jun: * What should the living room be (an exhibition room)?! In the project description there is said that it has to be a home environment living room, but of course you can changes of the project description. Sietske: * TV is part of the home environment; our concepts also have to become part of the home environment/living room. Jun: * Don’t loose function of the home environment (safe, home). Sietske: * Keep the home environment, don’t loose that. Maddy: * Candles and the fire place give a home feeling, like playing cards. Jun: * With the cards concept, what will the table do, does it change the rest of the room? Sietske: * Choose concepts and make one concrete concepts of these all together. Jun: * Get a concrete idea, implement it, make it a concrete concept. Combine and implement the first two and combine the last three and make it concrete (for the home environment of the future). Maddy: * Cards that are changing the complete environment. Look at the social aspects. Jun: * Take care of a working demo, illustrate you concept for the future. Jun: * Use the three last concepts to develop an concrete idea, don’t combine them, find a match. Sietske: * Go in depth and make it feasible. Maddy: * Make it understandable also for the users. Maddy: * There should be a relation with everything, make it explainable, trigger the user. Do some futuristic research. You have the ingredients just cook it up. Maddy: * Specify your concepts over and over again. Jun: * You probably get a simple solution/implementation.

Coach meeting both coaches 24-3-2005

Present
SietskeKlooster, JunHu, LilianAdmiraal, JanvanderAsdonk, RutgerMenges, LaurieScholten
What have we done last week:
We wanted to work out our basic concepts to real clear concepts that we can present during the interim presentation.
We did some concept ‘bitching’. We would say all the bad things about a concept and try to change these.
Two concepts are fairly finished, one concepts still has to be worked out further.
Concept 1: We told about our ‘Light concept’; you can interact with the movie by adjusting the light in your environment and the movie will react on these adjustments. Also the movie can adjust the lights in the living room according to the plot of the movie.
Jun: * States that interactive movie doesn’t work due to the remote control and we have to seek for evidence for this concept. Sietske: * States that we could make the action to adjust the movie more direct. So far you, as a user, have to take a lot of steps form movie to environment to adjust the movie.
Jun
* It looks like the user is directly controlling the room lights and thus not seeing the link between media and environment. Also the positioning of the lights and the other things in the environment is very important. Sietske: * does not understand the basics and Rutger explains these. It might be hard to see this link between the parts.
Jun
* Philips is moving on. They are not good at concepts, only at lightening. Maybe we should think of other lamps or candles. Not doing things, or wanting to interact with a movie via control units. And if ON/OFF doesn’t work, you should find out why.
Concept 2: Concept 2 is about the room with a 360 view of blurred shadows. If you would pay attention at one point for a long time you could see further and in this way you can change the plot of the movie.

Jun: * Wonders if it would be new because it looks a lot as the existing 360 view movies. Sietske: * Knows this movie (something that looks like our concept) and its connection between special timelines. It is important to see if it is doable if you want to see a movie with multiple people. It will affects the social event.
Jun

* Thinks there will be a danger because a living room is not a cinema. And with a 360 view you almost need the whole space and there will be no place for for example your furniture. Sietske: * The TV is still a part of the living room. Jun: * We are actually designing the living room, where should we put the furniture. Sietske: * There should be a link between the social aspect and the movie watching.

Mov'in as a social event: the home interiour is a tangible design for social activity and includes the Mov'in devices. Experiencing involvement in a story is a virtual social activity, and goes together with and next to social activities in reality. Looking at your design this way, would mean your tangible design for Mo'vin could be designed as a social-event environment to support different social events varying from mixed reality to full reality -- SietskeKlooster

Concept 3: The movie is shown on the flour of your living room. With your hands and feet you can interact with the movie and adjust it in the way you want.

Jun: * Philips has patterns and no colours. But using the floor as a medium was a good idea. Jun: * Wants to see a ‘mapping’, why is this more futuristic?! Sietske: * The designers are the advisors, we should be experts of our work. From the start till the end.

which means you need to be able to communicate how your concepts can be compared, what their joint basis/gaol is, how they are different seen from these startingpoints and why, with strenghts and weaknesses. Being able to communicate the reason for these designs and the motivations for further development of them -- SietskeKlooster

Jun: * Concept 1 should be more worked out and concept 2 and 3 should be clearer. Sietske: * If we could compare the ideas, there should be some equal basis. Rutger: * We have to link our concepts to our scheme. Jun: * One big difference we have to take into account: the involvement of the living room. Sietske: * We have the pieces but not yet the puzzle.
Jun: * We should work around the concepts and not use some of them. Sietske: * We have some strong pieces of the puzzle. Jun: * We have to find the strong points, dimensions, costs, perspective.

evaluate the concepts to find the fundamental motivations and criteria for design -- SietskeKlooster

We discussed our mapping session, and our planning for the next week. During the interim-presentation we want the concepts worked our, 1 style of drawings and 1 style of lay-out.

Sietske: * We should use a clear communication; it helps exploring and the presentation would be more clear.

Expert meeting with Philip Ross 18-03-2005

Present: Philip Ross, LilianAdmiraal, JanvanderAsdonk, RutgerMenges, LaurieScholten

Coach meeting both coaches 18-3-2005

Present
SietskeKlooster, JunHu, LilianAdmiraal, JanvanderAsdonk, RutgerMenges, LaurieScholten

Discussion on the work we did

We linked the research points together via a schematic, which was later made digitally. The conclusion we drew from here is that activity, experience and the environmental change were the most important key elements to focuss on. The relations from the most important elements were noted and we wrote down all the conclusions from this. we discussed the scenarios we created with some of the concepts and showed all the input and output paterns we concluded to.
Jun noted that the technique for one of our concepts, the Visor2000, already exists in some way, with a pair of goggles and small screen attached to it.
Sietske noted that there was a project called Third Eye which worked as a VR-goggle, whch had some similar technique.
Rutger explained all the earlier concepts we generated when not working from a completely finisched research stand point.
intuitive ideas are no coincidence. They are often very valuable. But only if you are able to understand what the value is, how and why it arose, how it relates to your research, what the abstract basis it has. Combine intuition and research in creating. -- SietskeKlooster
Sietske noted that it will be important to have a clear link between the (earlier) concepts and the research to show the various thinking methods.
work on clear related and motivated tracks. It helps both the creative process and convincing communication of your work. -- SietskeKlooster

Jun noted that we should think of more other modalities but Rutger justified this by stating that we choose those modalities due to our opinions and the feasibility of these modalities, and some of them are already being considered. Jan talks about this new company being able to create 3D images in the air, but the precise details are unkown.
What I meant was that you should not be limited my the interactive moives as they were at the moment - they all used visual and auditory materials, even the latest AmbiLights. 3D images in the air - still something visual. -- JunHu 2005-03-22 14:50:02

Comments on the scenarios and concepts

Jun states that it is good to use the whole environment and not focus on single aspects. Getting different people to have different views is a good thing, it influences experience and perspective. The Visor2000 does not look very feasible but Jan states that there is a phone company that uses the same technique only more basic and not interactive. Rutger notes that on ICEC there was this camera which recorder the position of your hand which would, in turn, unfluence a video.
Good you already dive into the possibilities to realise your concepts. But before really diving into this, have your concepts very clear on an abstract level, with clear startingpoints. -- SietskeKlooster
Sietske noted that it is good to have all the directions coming from one point, keep using the space and nice to see how you think on influencing the storyline. Starting with a tv as the start point results in different ideas. What happens if you drop this thought, and focus on a empty space not based on the media center? Try to stream the concepts in 2 directions: near future and far future. We noted that this is also the way we wish to present the concepts to the client. One of the important things here is that we need to show clearly how the conecpts were generated and where they were based on.
these 2 directions seem to be parallel with a choice of
concepts with one screen (Like tv) and nowadays interior as a central element (near future) and
concepts that let go of this and can lead to totally new use of home space, influencing possibly the interior (far furure).
Think of what timescale you think of. Also this could be an interesting issue for competency 5, to involve in concept development. -- SietskeKlooster
Jun stated that the lighting part is good, and that we need to broaden it because no one uses the light as an interaction method. And weraing goggles or special clothing will not be the future so he preferres to not see one of these solutions. It would be interesting to have something were all walls will be screens, this will be the future, bigger screens all around you.
Sietske reacts to this by stating that the walls are interesting because they give other directions and perspectives.

Jun says that it would also be intersting to have more split screens and show the interaction, Jan notes that it is something we did not think of; having multiple screens interact with eachother, and that they will not only be unfluenced by the users.
Try to not stick to and see your concepts literally as they are now. See the conceptual directions they fit in and what their joint abstract basis is. This will help deepening and broadening your concept development. -- SietskeKlooster
Agree. Sometime during the coach meetings some new ideas pop up - these ideas are often very concrete and down to the ground. Do not take these ideas literally and try to see whether these ideas point towards a new direction or a new aspect. -- JunHu 2005-03-22 14:56:17

Action points

Next week we will be deepening our concepts and take care of the starting points and the directions.
take care of balanced, equal development and presentation of different concept directions and concepts. This is to make them comparable. -- SietskeKlooster
Jun states that there should be clear links between the concepts and the research.
On thursday the concepts will be finished and we will work on the presentation format.
add note sietske: also start creating. Make, represent, move, film your works, make it 3-dimensional, take your works out of the heads into the world, let us experience your process. Be creative, so think of and create a presentation that fits the character of this project.
Jun says it could be good to put a light here and "play" with it to get some first-hand experience.
look at the project of DC219; meeting duet. They worked with light as an activating, spatial and social means, arising an event. -- SietskeKlooster

Coach meeting Sietske Klooster 7-3-2005

Present
SietskeKlooster, LaurieScholten, RutgerMenges, JanvanderAsdonk, LilianAdmiraal
We went to the ‘Omniversum’ which has a great effect on you because the screen is everywhere around you. The experience is much bigger than just at home before your little tv screen. When you look at the ‘Ambilight tv’ you see that just a little bit of light can also make a big difference and has a great influence on your experience.
Instead of making/designing an object we want to design an experience. One that also has influence on your senses. We want that you have to use your senses in a whole different way and that you will use them unaware, or that you have to use them as a surprise.
Together with Sietske we also spoke about our vision and changed this vision Dc222Home/OurVision.

Feedback meeting 11-3-2005 by Sietske Klooster

Advice point of our meeting is to make a framework in which you relate the different research input and with that build concept directions. Being able to see relations, to make relations out of different research topics, actually is a creative process. It opens ways to conceptual thinking, to conceptual directions. Make sure your different concept directions come from a clear research-framework starting point and that they can be compared with eachother on this basis.
An example, derived out of the moved research workshop we did. To give you an idea of what I mean with relating research findings into a conceptual starting point. You could derive this list of dimensions out of our moved research. -space -audience -social relations -senses -emotions -theme/story -involvement -possibilities to choose
They all relate into a principle for mov’in experience:
Audience is surrounded with space. Space can be used for the audience involvement. The audience members have sensorial directions. They have to choose direction in space in order to sense: You can hear and feel all around you, but watching has a clear bodily direction. To see what you hear behind you, you have to turn. This means a possibility to play with involvement through choosing direction.
The audience will feel emotional reactions to what they sense. They can choose spatial position in relation to what they emotionally feel with their sensations; this way they can relate to what happens in the story. They can also literally choose what to follow in the story that surrounds them. Choose with direction of viewing. They can literally choose a perspective/viewpoint on what they see. Close by when curious, at a distance when wanting to know, but not being part. A space is around, so choices for what to follow and/or from what point of view to follow, based on how you feel related to it.
An audience exists of more people. They are dependant on each other in choosing, because they are together in this one mov’in space of story. Here social interaction is of importance in the groups choosing involvement. Their spatial emotional, sensorial choices are of importance. Go through the story as a group, chosing differently as individuals, etc.
This is an example principle of what could be a starting point to develop different concepts from and for. Concepts of actively being involved in a story to experience it. Techniques, projections, sensoring certain activity, personal devices etc. can be used and designed to play with such an active principle, to awaken it, to enhance it, manipulate it etc.

Coach meeting Jun Hu 4-3-2005

Present: JunHu, LaurieScholten, RutgerMenges, LilianAdmiraal, JanvanderAsdonk
Issues discussed

Coaches meeting DC222 24-02-2005

Present: SietskeKlooster, JunHu, LaurieScholten, RutgerMenges, JanvanderAsdonk, LilianAdmiraal

Content-wise

The mov’in that we’re going to create can be seen from different points of view. We have to make choices:
Actor. First person. Watching over the back of the actor is an often used first person view in games.
Director. “God”. Having the oversight and able to make changes
The audience. Third person. Consuming the movie
Could also be the audience can choose how they are involved, like in interactive theatre. Do I watch, do I participate like equal, do I influence, should I do something?, etc. Interactive means also the audience has a choice and things can evolve that are not planned really. This brings to the other point mentioned:
There will be a fixed, planned structure and there are possibilities to ‘fill in’ to let arise, to give space to the unplanned and not expected. This is something to ‘design’ too. What is controlled and what not?
Puppet actor. The user operates/controls an avatar in the mov’in, and the avatar acts on behave of the user.
When researching you have to define what you are looking for, searching for them, filter the information, summarize the result..

Management

Starting next Friday we will have a coaches meeting every Friday strarting 9.30PM

Action points

We will try to contact V2 in Rotterdam. They are involved in interactive theater with multimedia contents . http://www.v2.nl/ interactive theatre and new and multimedia
We will talk with Stefan Wensfeen to hear his expert view on this project
We will send our vision of the project (that we got out of research to interactive theater / dance etc…your research in general) to Sietske before Friday. She’ll prepare a workshop on Friday from 15:45 – 17:00. A good starting point for our concepts. I can for example provide you with ways to actively explore, discover and imagine and create ideas. Or to understand and develop your vision physically. Or to get aware of the role of space and spatial relations of people on experience, the role of watching and changing viewpoints, etc. Next to your vision, tell me what your want to reach with this workshop. Gaol.
Maybe we should contact a brainstorm expert to discuss techniques that can be usefull for our project. This could for example be useful to process your research info into a creative idea/vision on this project.

Client meeting DC222 24-02-2005

Present: SietskeKlooster, JunHu, Maddy D. Jansen, Richard Appelby, LaurieScholten, RutgerMenges, JanvanderAsdonk, LilianAdmiraal.

Activities

Round Robin of introduction.
We presented the work done so far, mainly the observation of people (fellow students) watching movies, and the interview as well.
Open discussion on the goal of the project.
Planning future client meetings.

Content-wise

A method like the confession chair would be more helpful if we approach it the other way around. Don’t let people sit and watch a movie, but let them be active. Implement your experience with in assignment for(m)movement. An integration opportunity
We should visit places where we can actively be involved in watching a movie to get inspired. For instance in The Hague. Also go for in interactive theatre; visiting and info Being active can be relaxing/have a relaxing effect. Be aware of this. Also be aware of the contrast excitement and relaxation. This is a contradiction which seems to fit together. A movie can be exiting, while you relax at the same time. Could also be other roles, the way of involvement can differ, maybe even during the activity, they could perhaps choose different roles, which effects the course of the movie. Investigate what interactive theatre can be. What concepts there are. What the essence of these concepts is.
We can think of the symbolism of the objects that control the movie. Like in the example, the keys on the table made that the cats in the movie were caged or free.
You can think of tracking the movie watcher around the room. The actor in the movie could follow the movement and change the direction he looks at.
These are examples and possibilities. Be sure yours arise out of a clear vision/conceptual basis. Make sure you have a clear basis where ideas are founded on.
An inspirational movie can be “the purple rose of Cairo”
. The way you name it reflects the way you vision it as designers/developers. This name sounds like a thing and an action….It’s a bit of a chicken and egg problem. Is there a need for active movies or are we creating that need?
The observer of the movie will possibly become the director of the movie.
Our concept can be like interactive theater play inside of your living room

Agreements

The goal of this project can be seen as changing the mindset of people who want to watch a movie. For example, it could be that they shouldn’t want to watch it because they’re tired and want to relax, but because they’re buzzing of energy. (Watch a movie as an alternative for playing tennis and going shopping etc.)
This project is about creating a strong concept. Let go your predetermined idea of a movie. Think of new / interactive media / objects / presentation. There is no name for this at this moment. It is something like MOV’IN
During the interim we will present our final concepts. Choose the best concept and work that out in the remaining time of the project

Planning

The interim meeting will be held in week 13 on the 30th of March. Starting time is 3.30PM
The final meeting will be held in week 21 on the 27th of May. Starting time is 9.00AM

Coach meeting DC222 18-2-2005

Present: SietskeKlooster, JunHu, LaurieScholten, RutgerMenges, LilianAdmiraal

Content-wise

We have to use lights in our concept to start with the programming, because this is an easy part of the programming.
We will program with JAVA and SMIL.
We will not make a game or a kind of a game, because this is not to challenge the audience.but to….think of what it is to do according to you:vision
There is less emotion in a game when someone is killed than in a movie. Why is this, be aware of this.
We have to focus on the movie, the story telling and give the audience the experience of the movie/story themselves. The big conceptual question to answer with your project is: What experience ‘of the movie’ exactly? I can experience being involved, being able to influence, being able to direct, being not sure what my role is, etc.. Also: what is the relation of experience and interaction. A kind of interaction fits with a kind of experience. You create a kind of interaction giving certain experience. What interaction-what experience: move into what? Your vision/philosophy of this kind of new interactive media?
We have to select a movie concerning our concept and not the other way around. So we first have to work out our concept and then select a movie for our concept. Your design is to support mov’in, like a TV and video player supports movies
We are no movie makers; we first have to look at our concept and afterwards find a good movie to our concept, although it would be nice to have a self-made movie during the final presentation.
(please organise your notes, combine topics that belong together. The original document was quite chaotic)

Methodology

We should get influenced by movies and be aware of what is happening. The user experience is the most important. Experience arising out of an (inter)activity. The passive movie watching right now gives an experience, being moved, but not interactive, it is like you called it ‘consuming’. Experience in this project is moving, being moved, moving as a reaction; mov’in
We have to think of what kind of tools we can work with in the home environment to connect the virtual world to the real world. Do use effects, but subtle. What can we use in a house? possibilities
Living rooms can’t get massed up, we just have to use little things (implementing is hardRestrictions
Like paintings and music, they also create an atmosphere. Our tools can’t be overdone. It is more a question of how to integrate and make acceptable. Could be possible something very interesting is great to have in your home…when and how can that be
EMPATHY combine observation/information with empathizing and personal experience…know AND feel what this is about
Physical design and action design with movements. Physical design is in integral aspect of action design. ‘Things’ offer action possibilities. Things exist because of what they can do/interact with the world around them. Physicality and action are no 2 separate things. They exist as one.
We have to look what kind of ‘movie electronics’ are already in the house and what is possible, weird, extreme, etc.
How do movies influence us as they are now?
Don’t separate the technology and the conceptual thinking during this project, integrate these into each other. All is integral actually.

Management

We have to take the lead ourselves and ask our coaches and experts to help us during this project.
Schedule our own meetings with the coaches (also competency meetings) and start every morning with a brief team meeting to see how the project is going and what there is to be done for that day. Check up with the planning, make it professional.
Use the Friday meeting to close off the week and send the notes to the coaches so they can adapt and add notes if they are not complete. And Monday to start with notes and coach feedback
Log your project by using a PWD or other kind of material, so you know what you have done every day. It’s your own responsibility to keep up with this log.
Sietske Klooster is present on Friday and you can also mail her on Monday’s. (Lilian, Rutger)
Jun Hu is always present but you have sent him a meeting request first (Jan, Laurie)
Planning
The final presentation is in week 21, about 26 of June.
Interim meeting, present final concept and be confident of the implementation.
Client meeting: 24 February at 9.00 o’clock, present ourselves to the client with our view of this project, present a good planning, done enough research and conceptual development. Your vision on the project and you as designers
Use about ? project for implementation and about 1/3 project for research? idea and concept generation
Planning: phases, main activity, side activity, deadlines
Have a parallel line of building and concept planning. Create a very clear starting point and refer to this (possibly adjust) this through out the project

Action points

First we have to create a good vision about what we want to make and what we want to do with/during this project.
A rough project plan

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-  ''Outrageous ideas? Philip told me that these ideas were '''innovative''' :) -- JunHu [[DateTime(2005-03-22T14:50:02Z)]]''
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+  ''What I meant was that you should not be limited my the interactive moives as they were at the moment - they all used visual and auditory materials, even the latest Ambi``Lights. 3D images in the air - still something visual. -- JunHu <<DateTime(2005-03-22T14:50:02Z)>>''
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+   ''Agree. Sometime during the coach meetings some new ideas pop up - these ideas are often very concrete and down to the ground. Do not take these ideas literally and try to see whether these ideas point towards a new direction or a new aspect. -- JunHu <<DateTime(2005-03-22T14:56:17Z)>>''
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-   * [http://www.hitech-projects.com/euprojects/nextv/ NexTV], Final report: [http://www.hitech-projects.com/euprojects/nextv/reports/NexTV-Final-Report.pdf PDF]
   * [http://www.hitech-projects.com/euprojects/icecream/ ICE-CREAM], Final Report: [http://www.hitech-projects.com/euprojects/icecream/deliverables/d22-final-report-icecream.pdf PDF]

   -- JunHu [[DateTime(2005-03-08T20:39:56Z)]]
+   * [[http://www.hitech-projects.com/euprojects/nextv/|NexTV]], Final report: [[http://www.hitech-projects.com/euprojects/nextv/reports/NexTV-Final-Report.pdf|PDF]]
   * [[http://www.hitech-projects.com/euprojects/icecream/|ICE-CREAM]], Final Report: [[http://www.hitech-projects.com/euprojects/icecream/deliverables/d22-final-report-icecream.pdf|PDF]]

   -- JunHu <<DateTime(2005-03-08T20:39:56Z)>>