* Altarriba Bertran and Wilde are co-first authors. Human-centered computing → HCI theory, concepts and models.Our contribution is threefold: (1) we characterize the state of HFI, reporting trends, challenges and opportunities (2) we provide a taxonomy and tool for diffractive reading of the literature and (3) we offer our approach for adaptation by research fields facing similar challenges, positing value of the tool and approach beyond HFI. The tool allows researchers to engage in new ways with the HFI literature, propose modifications and additions to the review, and thereby actively engage in community-making. research and an online data visualisation tool developed to respond to these issues. We present a Systematic Mapping Study of HFI. It also challenges the formation of community. The dynamic and heterogeneous nature of this emerging field presents a challenge to scholars wishing to critically engage with prior work, identify gaps and ensure impact. View full-textĪctivity in Human-Food Interaction (HFI) research is sky-rocketing across a broad range of disciplinary interests and concerns. We used a classification of smell experiences as a starting point to produce a design fiction film for the automotive context, not limited by technology but inspired by experiences. We gained inspiration from the increased exploration of olfactory experiences in HCI. For this purpose we focus on the experiences and emotions that a specific interaction medium elicits. In this paper we provide a step-by-step production pipeline on how to make your own design fiction film, and how you can get the experiences across. users arguing that the emotions should be taken into account during early design stages and made part of the design itself. Previous research emphasises the relevance of experiences created by the technology in the. However, the focus of these films is usually centred on exploring the technology and its specifications rather than on the experiences that the technology can potentially create for its user. The use of films in early stages of the design of technology is a practice that is becoming increasingly common. The contribution of the study includes: 1) proposing fashion films as means of mediating wearable design concepts 2) advocating a balance between fashion, fiction and function in fashion technology mediation and 3) foregrounding the discussion of design mediation as part of the design process broadly. We then describe our own process of making a fashion film for a fictional concept, and reflect on our process of using the framework. By synthesizing research in fashion studies and Human-Computer Interaction (HCI), we sketch out a framework for producing fashion film for wearables. fashionable by merging aesthetics, experience and fiction. In this study, we explored how fashion films, as one of the most important fashion media in the industry today, could make wearable design concepts. According to fashion theories, mediation plays a fundamental role in transforming clothing items into fashionable garments. As such it is an heir to Western musical tradition which at the same time changes musical criteria and demands new perceptions.įashion technology is an expanding field, yet the question of how technology can be considered fashionable remains unexplored. Spectro-morphology is a way of perceiving and conceiving these new values resulting from a chain of influences which has accelerated since the turn of the century. But it is sound recording, electronic technology, and most recently the computer, which have opened up a musical exploration not previously possible. Developments such as atonality, total serialism, the expansion of percussion instruments, and the advent of electroacoustic media, all contribute to the recognition of the inherent musicality in all sounds. In embracing the total framework of pitch and time it implies that the vernacular language is confined to a small area of the musical universe. Spectromorphology is an approach to sound materials and musical structures which concentrates on the spectrum of available pitches and their shaping in time. The development of Western music in the twentieth century is dominated by an historic bifurcation in musical language: tonality with its metrically organized harmonic and melodic relationships has continued to be the vernacular language, absorbed unconsciously from birth, while the other fork, in its most recent guise, is represented by spectro-morphology2.
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