Showing papers by "Paul Coulton published in 2016"

Pushing the Limits of Design Fiction: The Case For Fictional Research Papers

Abstract: This paper considers how design fictions in the form of 'imaginary abstracts' can be extended into complete 'fictional papers'. Imaginary abstracts are a type of design fiction that are usually included within the content of 'real' research papers, they comprise brief accounts of fictional problem frames, prototypes, user studies and findings. Design fiction abstracts have been proposed as a means to move beyond solutionism to explore the potential societal value and consequences of new HCI concepts. In this paper we contrast the properties of imaginary abstracts, with the properties of a published paper that presents fictional research, Game of Drones. Extending the notion of imaginary abstracts so that rather than including fictional abstracts within a 'non-fiction' research paper, Game of Drones is fiction from start to finish (except for the concluding paragraph where the fictional nature of the paper is revealed). In this paper we review the scope of design fiction in HCI research before contrasting the properties of imaginary abstracts with the properties of our example fictional research paper. We argue that there are clear merits and weaknesses to both approaches, but when used tactfully and carefully fictional research papers may further empower HCI's burgeoning design discourse with compelling new methods.

Games as Speculative Design: Allowing Players to Consider Alternate Presents and Plausible Features

Abstract: As games are inherently about exploring alternative worlds this paper proposes the utilisation of games as a medium for speculative design through which players can explore scenarios that represent plausible alternative presents and speculative futures The paper reviews futures orientated design practices such as Design Fiction, Speculative Design, and Critical Design alongside complimentary research areas in games studies such as Critical Play, Persuasive Games, and Procedural Rhetoric to create a frame for using games as speculative design practice. The aim of this design frame is to create debate and facilitate productive future practice through which designers can develop games that encourage user reflection by enabling players to reflect upon the complex challenges the world now faces.

Design Fiction: How to Build a Voight-Kampff Machine

Abstract: Tyrell: Is this to be an empathy test? Capillary dilation of the so-called blush response? Fluctuation of the pupil. Involuntary dilation of the iris... Deckard: We call it Voight-Kampff for short. Design fiction is a broad term that occupies a space within the wider miscellany of speculative design approaches and is appearing as a nascent method for HCI research. The factor that differentiates and distinguishes design fiction from other approaches is its novel use of world building and in this paper we consider whether there is value in creating fictional research worlds through which we might consider future interactions. As an example we build a world in which algorithms for detecting empathy will become a major compnent of future communications. We take inspiration from the sci-fi film Blade Runner in order to consider what a plausible world, in which it is useful to build a Voight-Kampff machine, might be like.

Design fiction:does the search for plausibility lead to deception?

Abstract: Since its inception the term ‘design fiction’ has generated considerable interest as a future-focused method of research through design whose aim is to suspend disbelief about change by depicting prototypes inside diegeses, or ‘story worlds’. Plausibility is one of the key qualities often associated with suspension of disbelief, a quality encoded within the artefacts created as design fictions. In this paper we consider whether by crafting this plausibility, works of design fiction are inherently, or can become, deceptive. The notion of deception is potentially problematic for academic researchers who are bound by the research code of ethics at their particular institution and thus it is important to understand how plausibility and deception interact so as to understand any problems associated with using design fiction as a research method. We consider the plausibility of design fictions, looking at examples that are (1) obviously design fiction, (2) identified as design fiction, and (3) whose status is either ambiguous or concealed. We then explore the challenges involved in crafting plausibility by describing our experience of world- building for a design fiction that explores the notion of empathic communications in a digital world. Our conclusions indicate that the form a design fiction takes, and pre- existing familiarity with that form, is a key determinant for whether an audience mistake it for reality and are deceived. Furthermore we suggest that designers may become minded to deliberately employ deceitful strategies in order help their design fiction reach a larger audience.

Peer Review and Design Fiction: "Great Scott! The quotes are redacted"

Abstract: In the 10 years since the term was coined 'design fiction' has become an increasingly common approach in HCI research. The practice involves working with 'diegetic prototypes', that is prototypes that need not exist in reality, but instead exist from within a 'story world'. Although fictional aspects are not unusual in HCI prototyping methods (e.g. storyboards, personas, Wizard-of-Oz), the breadth and flexibility of design fiction poses new challenges. This paper originally featured quotes from peer reviews of design fiction orientated papers that have previously been submitted to ACM SIGCHI conferences in order to highlight inherent challenges when reviewing research that may be based upon or include elements of fiction. In response to the SIGCHI Executive Committee's request to not directly quote reviewers the quotes have now been redacted. This somewhat changes the paper's tone and also makes very clear that publishing discussions relating to peer reviews (or the reviews themselves) is extremely challenging.

3D Virtual Tracing and Depth Perception Problem on Mobile AR

Abstract: Mobile Augmented Reality (AR) is most commonly implemented using a camera and a flat screen. Such implementation removes binocular disparity from users' observation. To compensate, people use alternative depth cues (e.g. depth ordering). However, these cues may also get distorted in certain AR implementations, creating depth distortion which is problematic in situations where precise hand interaction within AR workspace is required such as when transcribing augmented instructions to physical objects (e.g. virtual tracing -- creating a physical sketch on a 2D or 3D object given a virtual image on a mobile device). In this paper we explore how depth distortion affects 3D virtual tracing by implementing a first of its kind 3D virtual tracing prototype and run an observational study. Drawing performance exceeded our expectations suggesting that the lack of visual depth cues, whilst holding the object in hand, is not as problematic as initially predicted. However, when placing the object on the stand and drawing with only one hand (the other is used for holding the phone) their performance drastically decreased.

Grassroots maker spaces : a recipe for innovation?

Abstract: Makerspace has become an increasingly fashionable term that many community spaces use to label themselves. In this paper, we identify makerspace as an experience-led community space where people gather to make things together with the assistance of both digital and traditional making tools. This paper takes the inspiration from both Tuan’s definition of place and Lefebvre’s ‘triad spatial model’ and offers a unique analysis of what makerspace is in relation to makers’ experience. In addition, we would also like to discuss how these insights could inform future makerspace design.

Connected, computed, collective: Smart Mobilities

Abstract: The 'smart' in 'Smart Transport' usually refers to technologies, not people. From cars designed to be 'stackable', through signs that monitor parking spaces, to 'automatic cruise control' systems that 'intelligently' control distances through vehicle-to-vehicle and vehicle-to-infrastructure communication: technologies are key to smart transport. And it is true, people — armoured with status symbol cars and stuck in traffic — often do not behave intelligently, raging at other drivers and pedestrians, taking risks that endanger themselves and others. However, underestimating human intelligence could be a damaging oversight and missed opportunity for transport designers. In this chapter we examine several related aspects of human sense-making practices on the move and explore how these could be productively integrated with smart transport. Starting with a comparison of a 'view from above' and a 'view from on the ground', key aspects of the social logics of our mobile societies become visible. Then, new technologies are already an integral part of the social organisation of mobilities — with some socio-technical innovations that form a kind of parallel universe to the intelligent transport solutions envisaged by engineers and traffic planners. We discuss such 'alternate smart mobilities' through some utopian visions of 'collective intelligence' (Levy 1997) and its more mundane manifestations, including micro-coordination and an emergent digital economy of mobilities, based on crowdsourcing, community sensing, and data mashups. These 'bottom-up' innovations could come together productively with the pervasive 'qualculation' (Thrift 2004) that underpins traffic shaping and other engineering and design efforts around 'intelligent transport systems' (ITS) (COM 2008). Moreover, such a convergence of social and technological innovation could counteract the threat of 'Orwellian' surveillance that is part of a potentially Faustian bargain for more efficiency, convenience, sustainability and security in transport (Dennis and Urry 2009). We conclude with suggestions for mixed mobile research methods that can inform innovation.

Playing with the Artworks: Engaging with Art through an Augmented Reality Game

Abstract: In the majority of cases our experiences of artworks in galleries and museums is as passive observers. While this is widely accepted practice in terms artwork preservation it limits the engagement potential with younger visitors. In this paper, we present the results of a focus group with nine K-6 children revealing their opinions about (i) art, (ii) museums and galleries, and (iii) standard engagement practices in these venues. Participants stressed the importance of art and museums, showed a high respect for artworks and artists, depicted interactive activities they liked at museums, and described how they would liven up art venues. In addition, we explored a way of using augmented reality (AR) technology to create an engaging and personal art experience for a young audience. To achieve this, we built a prototype for a treasure hunt style game where participants coloured a contour drawing not knowing what exactly they are colouring. However, they were told that if this coloured drawing is placed correctly, it should wrap around a 3D object (statue) or overlay a 2D canvas (picture) somewhere in the gallery.

Game vaporware as design fictions

Abstract: In this research we examine games, and games hardware, that can be classed as 'Vaporware'. More specifically software that was never written, or hardware that was never built, and consequently games no one ever played. In particular we are considering such vaporware as examples of 'Design Fiction' as they once represented speculative visions of the future based on emerging technology. Vaporware is a term generally used to describe products that are announced to the general public but are never actually manufactured. Whereas design fiction is a term used to describe plausible 'diegetic prototypes' that are built, or suggested, to create an opportunity for discourse about possible technological futures. Whilst it could be argued vaporware games are simply failed products that were justifiably scrapped before joining the long lists of come-to-nothing games and consoles, by reviewing examples we offer an alternative view that they can serve as objects of discourse for exposing the potential futures of video games and thus could be considered in terms of design fiction. To add further weight to this argument we then consider "Game of Drones", an example of a design fiction that pivots around a game element, to illustrate how the deliberate use of design fiction can stimulate discourse around game futures (in this case the growing promotion of 'gamified' services as means of engaging users). Whilst the notion of designing games that will never be built may seem paradoxical in relation to the Games industry's predominantly commercial aims, we believe that the deliberate adoption of design fiction as a practice within game design would facilitate the emergence of meaningful discussions around future gaming without the frustrations induced by vaporware.

The role of game design in addressing behavioural change

Abstract: With the increasing promotion of design for behavioural change as a means of addressing the complex societal and environmental challenges the world currently faces, comes the associated challenge of developing appropriate design techniques to achieve such change. Whilst many designers have sought inspiration from game design they have often drawn from the techniques associated with ‘gamification’ which has been heavily criticised as manipulative and only capable of addressing simplistic extrinsic personal motivations. In this paper I discuss an alternative perspective whereby games are considered a rhetorical medium through which players can rehearse plausible alternate presents or speculative futures. The consideration of games in this way is effectively extending the view that ‘all design is rhetoric’ to include interactive systems and in this paper I highlight how by adopting such a perspective enables designers to tackle complex issues without resorting to reductionist approaches.

The inclusions afforded by a value-led design process for technology-nature hybrids in a walled kitchen garden

Abstract: This paper describes the importance of a values-led approach within a design collaboration in a National Trust garden in Nottinghamshire, UK. The project demonstrates the power of values to shape not only the designed artefacts but the whole design process. The work responds to reports from the National Trust and other organizations of people’s increased disconnection from the natural world, and seeks to challenge the perception that technology is instrumental in fueling such detachment. The primary contribution of our value-based and critically engaged design process is the creation of prototypes that embody values and act as a focal point for reflection and re-encounter by the stakeholder organization. A process that itself acts as a continuous prompt for renewed consideration of interpretation approaches and organizational messages. The research involves the design of technology-nature hybrids for interpretation of a Walled Kitchen Garden, to support connection to nature. Designs are grounded in organizational values drawn from National Trust and researcher- designer values drawn from critical theory of technology. The project explores an area of intersecting and overlapping values and discusses the tensions experienced working in this space. The project illustrates how the inclusion of values and critical philosophy opens up new possibilities for the use of materials and technologies to increase our connection to nature.

Visual Abstraction for Games on Large Public Displays

Abstract: From its earliest developments video game design has arguably been closely coupled to technological evolution particularly in relation to graphics. In very early games the limitations of technology led to highly abstracted graphics but as technology improved, abstraction has largely been left behind as developers strive towards ever-greater realism. Thus, games are generally drawing from conventions established in the mediums of film and television, and potentially limiting themselves from the possibilities abstraction may offer. In this research, we consider whether highly abstracted graphics are perceived as detrimental to gameplay and learnability by current gamers through the creation of a game using very low-resolution display that would accommodate a range of display options in a playable city. The results of trialing the game at a citywide light festival event where it was played by over 150 people indicated that abstraction made little difference to their sense of engagement with the game, however it did foster communication between players and suggests abstraction is a viable game design option for playable city displays.

Using a Mobile Phone as a 2D Virtual Tracing Tool: Static Peephole vs. Magic Lens

Abstract: Traditional sketching aids rely on the physical production of templates or stencils which is particularly problematic in the case of larger formats. One possible solution is 2D virtual tracing using a virtual template to create a physical sketch. This paper evaluates a mobile phone as a 2D virtual tracing tool by comparing three tracing methods: (i) a traditional tracing method with a printed template, (ii) a virtual tracing method Static Peephole (SP) in which the virtual template is manually adjusted to a physical contour by drag and pinch gestures, and (iii) a virtual tracing method augmented reality Magic Lens (ML) in which template is projected on the physical object such as paper hence navigation is possible through physical movement of the mobile device. The results show that it is possible to use mobile phones for virtual tracing, however, ML only achieved comparable performance to SP mode and traditional methods continued to be quicker and preferred by users.

Beyond the Blandscape: Utilizing Aesthetics in Digital Cartography

Abstract: Despite the rich design history within the field of cartography, the majority of digital maps exhibit a dominant aesthetic that is primarily designed to serve the usability and utility requirements of turn-by-turn urban navigation producing a so-called 'blandscape' of map design. In this research we consider not only how to produce more visually appealing digital maps, but also how the cartographic decisions made in the production of maps can influence behavior, particularly with regard to the encouragement of explorative experiences. Novel cartographic and technological solutions are therefore presented, which address exploration using digital maps in the context of location based gaming and tourism. These examples demonstrate the potential of digital cartography to influence behavior and the importance of aesthetics in the cartographic process.

Using Game Design as a Frame for Evaluating Experiences in Hybrid Digital/Physical Spaces

Abstract: This paper explores the perceptions of public and private information spaces through the creation of a novel experience, known as Chattr, wherein a physical public space was created within which people’s conversations and actions were subject to some of the rules that would normally apply to interactions taking place in online social networks. The authors consider people’s experience of Chattr at two different venues, and use games design as a lens through which to evaluate such hybrid experiences. This games lens frames Chattr as a system whose formal structure is governed by rules operating at three levels: constitutive, operational and implicit, and helps identify how differences in each venue altered the nature of the experience. We believe using game design in this way, to frame physical/digital spaces, helps a greater understanding of the complexity of our interactions in such spaces by revealing how the different digital and physical rules governing these spaces ultimately affects our behavior.

Designing information feedback within hybrid physical/digital interactions

Abstract: Whilst digital and physical interactions were once treated as separate design challenges, there is a growing need for them to be considered together to allow the creation of hybrid digital/physical experiences. For example, digital games can now include physical objects (with digital properties) or digital objects (with physical properties), both of which may be used to provide input, output, or in-game information in various combinations. In this paper we consider how users perceive and understand interactions that include physical/digital objects through the design of a novel game which allows us to consider: i) the character of the space/spaces in which we interact; ii) how users perceive their operation; and iii) how we can design such objects to extend the bandwidth of information we provide to the user/player. The prototype is used as the focus of a participatory design workshop in which players experimented with, and discussed physical ways of representing the virtual in-game information. The results have been used to provide a framing for designers approaching information feedback in this domain, and highlight the requirement for further design research.