It represents a universally applicable attitude and skill set everyone, not just computer scientists, would be eager to learn and use.

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Computational Thinking 計算論的思考

Symposium on Haptic Interfaces for Virtual Environment and Teleoperator Systems 参加報告

JONAS LOWGREN AND ERIK STOLTERMAN THOUGHTFUL INTERACTION DESIGN A DESIGN PERSPECTIVE ON INFORMATION TECHNOLOGY MIT Press, 2004 ISBN 0-262-12271-5, 198 pages, hardbound, black and white illustrations, $35.00 When I picked up this book, I thought I'd give it a quick browse. The early pages confirmed this approach as it identified its goal as representing design to information technology (IT). However by the end of the first chapter I knew I needed to read it thoroughly. The authors are in the Scandinavian human-centered tradition that emphasizes development of the human side of technology use. As designers in search of digital solutions, they traverse design processes, understanding people and technology in use and development. This book is important because designers increasingly work with information technologists and epistemologically their worlds are quite different. What is important, what constitutes evidence for a solution, how a process unfolds and what is the goal are all somewhat different between these disciplines. Many designers lack basic understanding of science or logic and find interdisciplinary work difficult or even troubling. This book serves to provide a bridge from design to IT. Another book is needed for traffic going in the other direction, from IT to design. In an early chapter the authors develop terms for the design process in order to speak clearly about it; the terms are vision, a largely intuitive first organizing principle for what will unfold; operative image, the externalization of the vision that bridges the abstract and the concrete; and specification, the transition from an operative image into a specific something to be built. The way a designer works, holistically, fluidly and in a search for the character of an emergent whole, is significantly different from that of an engineer. The authors enumerate design ability with the following (p. 45): * Creating and shaping demands creative and analytical ability * Deciding demands critical judgment * Working with a client demands rationality and ability to communicate * Design of structural qualities demands knowledge of technology and material * Design of functional qualities demands knowledge of technology use * Design of ethical qualities demands knowledge of relevant values and ideals * Design of aesthetic qualities demands an ability to appreciate and compose After establishing design fundamentals, a chapter explores design methods and techniques. …

Thoughtful Interaction Design: A Design Perspective on Information Technology

Empirical studies on the Maker Movement, a promising approach to learning: A literature review

The field of sonification has progressed greatly over the past twenty years and currently constitutes an established area of research. This article aims at exploiting and organizing the knowledge accumulated in previous experimental studies to build a foundation for future sonification works. A systematic review of these studies may reveal trends in sonification design, and therefore support the development of design guidelines. To this end, we have reviewed and analyzed 179 scientific publications related to sonification of physical quantities. Using a bottom-up approach, we set up a list of conceptual dimensions belonging to both physical and auditory domains. Mappings used in the reviewed works were identified, forming a database of 495 entries. Frequency of use was analyzed among these conceptual dimensions as well as higher-level categories. Results confirm two hypotheses formulated in a preliminary study: pitch is by far the most used auditory dimension in sonification applications, and spatial auditory dimensions are almost exclusively used to sonify kinematic quantities. To detect successful as well as unsuccessful sonification strategies, assessment of mapping efficiency conducted in the reviewed works was considered. Results show that a proper evaluation of sonification mappings is performed only in a marginal proportion of publications. Additional aspects of the publication database were investigated: historical distribution of sonification works is presented, projects are classified according to their primary function, and the sonic material used in the auditory display is discussed. Finally, a mapping-based approach for characterizing sonification is proposed.

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A systematic review of mapping strategies for the sonification of physical quantities.

Physics-based sound synthesis represents a promising paradigm for the design of a veridical and effective continuous feedback in augmented everyday contexts. In this paper, we introduce the Sound Design Toolkit (SDT), a software package available as a complete front-end application, providing a palette of virtual lutheries and foley pits, that can be exploited in sonic interaction design research and education. In particular, the package includes polyphonic features and connectivity to multiple external devices and sensors in order to facilitate the embedding of sonic attributes in interactive artifacts. The present release represents an initial version towards an effective and usable tool for sonic interaction designers.

/pdf/a-toolkit-for-explorations-in-sonic-interaction-design-2qr2hz5y5t.pdf

A toolkit for explorations in sonic interaction design

Continuous interaction and multisensory feedback present tremendous challenges to designers who are mostly educated along the lines of visual thinking and discrete interactions. For this investigation, a method of research through pedagogical examples, called basic design and developed in some post-Bauhaus design schools, has been adopted to investigate various interaction primitives mediated by continuous sound feedback. Four basic design exercises, prototypical for different kinds of interaction with kitchen tools, are conducted. The exercises take on different design issues, which are tackled using a variety of strategies. These include the use of a classroom setting, shared observation, and self-reflection. The exercises emphasize auditory perception in interaction, where continuous sonic feedback is realized through parametric control of sound synthesis algorithms. In sum, the present work aims to exploit the value of basic design approach through explorations of sonic features in continuous interaction.

Designing Continuous Sonic Interaction

The Gamelunch is a sonically augmented dining table. By means of the Gamelunch, we aim at investigating the closed loop between interaction, sound and emotion by exploiting the power and flexibility of physically-based sound models for an effective and coherent process of interactive sound design. Continuous interaction gestures are captured by means of various force transducers, providing data that are coherently mapped onto physically-based sound synthesis algorithms. Investigation of the above mentioned loop is carried out by the principle of contradiction: while performing usual dining actions, such as cutting and slicing, dressing the salad, pouring beverages, the user encounters contradicting and unexpected sound feedbacks, thus experiencing -- per absurdum -- the importance of environmental sounds in everyday-life acts.

Gamelunch: forging a dining experience through sound

Embodied sound design is a process of sound creation that involves the designer’s vocal apparatus and gestures. The possibilities of vocal sketching were investigated by means of an art installation. An artist–designer interpreted several vocal self-portraits and rendered the corresponding synthetic sketches by using physics-based and concatenative sound synthesis. Both synthesis techniques afforded a broad range of artificial sound objects, from concrete to abstract, all derived from natural vocalisations. The vocal-to-synthetic transformation process was then automated in SEeD, a tool allowing to set and play interactively with physics- or corpus-based sound models. The voice-driven process and tool, developed and evaluated through design exercises, show how an embodied sound sketching system can work in supporting the externalisation of sonic concepts.

Embodied sound design

https://iris.unipa.it/bitstream/10447/242833/1/1-s2.0-S2352711017300195-main.pdf

Stefano Delle Monache

Papers

A toolkit for explorations in sonic interaction design

Designing Continuous Sonic Interaction

Gamelunch: forging a dining experience through sound

Embodied sound design

The Sound Design Toolkit