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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
- 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
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
Present:: JunHu, JanvanderAsdonk, RutgerMenges, LaurieScholten there will be 2 groups: - Laurie and Jan, who will be doing the technical side 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: - 1 controller where the in- & output are arranged inside the controller also check the Diamond Lighting Interface for controlling colors
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.
SietskeKlooster, JunHu (little late), LilianAdmiraal, JanvanderAsdonk, RutgerMenges, LaurieScholten SietskeKlooster What is the advantage of a ball, why is it better than the cards? SietskeKlooster But where does this concept come from. How can we compare it to the other concepts? 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.
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. 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. * 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. * Living room consists out of the theatre and the living space. 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. 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.
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’. 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.
What have we done last week: 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. 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. 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. 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.
Philip Ross, LilianAdmiraal, JanvanderAsdonk, RutgerMenges, LaurieScholten He shows a clear liking for the more farfetched concepts with the Visor200 and the ShapeMachine. He states that most old techniques are limited. Look at projection methods on water, smoke and semi-transparent materials. He gaves us a book about Interactive Art, 'Sons & Luminieres - Centre Pompidou'. Although in French, the book covers some nice ideas and concepts about interactive art. Another possible link would be the IRCAM institute in Paris.
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 work on clear related and motivated tracks. It helps both the creative process and convincing communication of your work. -- SietskeKlooster
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 Think of what timescale you think of. Also this could be an interesting issue for competency 5, to involve in concept development. -- SietskeKlooster 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
take care of balanced, equal development and presentation of different concept directions and concepts. This is to make them comparable. -- SietskeKlooster 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. look at the project of DC219; meeting duet. They worked with light as an activating, spatial and social means, arising an event. -- SietskeKlooster
Together with Sietske we also spoke about our vision and changed this vision Dc222Home/OurVision.
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.
JunHu, LaurieScholten, RutgerMenges, LilianAdmiraal, JanvanderAsdonk -- JunHu 2005-03-08 20:39:56
Present: SietskeKlooster, JunHu, LaurieScholten, RutgerMenges, JanvanderAsdonk, LilianAdmiraal
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?
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
Present: SietskeKlooster, JunHu, Maddy D. Jansen, Richard Appelby, LaurieScholten, RutgerMenges, JanvanderAsdonk, LilianAdmiraal.
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.
Present: SietskeKlooster, JunHu, LaurieScholten, RutgerMenges, LilianAdmiraal
Planning
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
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
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
evaluate the concepts to find the fundamental motivations and criteria for design -- SietskeKlooster Expert meeting with Philip Ross 18-03-2005
Coach meeting both coaches 18-3-2005
Discussion on the work we did
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
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
Coach meeting Sietske Klooster 7-3-2005
Feedback meeting 11-3-2005 by Sietske Klooster
Coach meeting Jun Hu 4-3-2005
Coaches meeting DC222 24-02-2005
Content-wise
Management
Action points
Client meeting DC222 24-02-2005
Activities
Content-wise
Agreements
Planning
Coach meeting DC222 18-2-2005
Content-wise
Methodology
Management
Action points