The Gestalt Principle of Similarity and the Laban Movement Analysis in Physical Data Visualisation. Eleni Economidou Eindhoven University of Technology Eindhoven, The Netherlands e.economidou@student.tue.nl ABSTRACT
This paper describes the research and development of ambient display prototypes which employ kinetic movement in order to intuitively communicate information to the user. The applied approach is based on the Laban Movement Analysis (LMA) and the Gestalt Principle of Similarity. Initially, the theory within the field of research and the used methodology are defined. A series of prototypes were employed to evaluate whether the combination of the aforementioned theories can act as a framework to successfully communicate — implicitly — meaningful information to the viewer. This information is expressed through both digital (2D animations) and physical (kinetic installations/automata that utilise mechanical movement) means. To conclude, an overview of the insights gained out of the user evaluations is drawn, followed by an outline of potential future applications of such framework in alternative contexts. Author Keywords
Ambient Information Displays; Design; Research; Information Visualisation; Informative Art; Kinetic Mechanisms; Gestalt principle of Similarity; Laban Movement Analysis; Visual Grouping. ACM Classification Keywords
H.5.m. Information interfaces and presentation: Miscellaneous. General Terms
Design, Theory. INTRODUCTION
Undeniably, digital data is currently vastly increasing [6] and objects — that used to hold information — currently dematerialise into the digital world. In order to communicate data or information with the use of visual Paste the appropriate copyright/license statement here. ACM now supports three different publication options: • ACM copyright: ACM holds the copyright on the work. This is the historical approach. • License: The author(s) retain copyright, but ACM receives an exclusive publication license. • Open Access: The author(s) wish to pay for the work to be open access. The additional fee must be paid to ACM. This text field is large enough to hold the appropriate release statement assuming it is single-spaced in Times New Roman 8-point font. Please do not change or modify the size of this text box. Each submission will be assigned a DOI string to be included here.
means, designers and scientists, alike, tend to follow some basic graphic grouping principles. According to Gestalt pioneer researchers and psychologists [16][7][5][21], the human brain has an intrinsic tendency to cluster visual information into meaningful patterns. In addition, the mind shows perceptual affinity and understanding when it comes to bodily movement [8]. The Laban Movement Analysis, a method devised by Rudolf Laban — primarily used in expressing, visualising and recording human movement — has been recently employed in informative representations of movement through physical embodiment in robots and other near-living creatures [4]. Whilst the Gestalt principles have been extensively researched and applied within the field of graphic design and animated visuals [19], little has been done in terms of physical data representation. Similarly, the Laban Movement Analysis, in terms of design framework, has been used for movement recognition, animation, movement design in robot human interfaces [23] and other computational models but little to none for data representation [24]. The dataset analysed in this paper lies within the context of weather conditions and the way they can be represented through kinetic movement. The data was categorised into, initially, four main weather states, calm, windy, rainy and stormy. In the final iteration the weather states where tested further after they were divided into four subcategories. All the guidelines of this research are grounded on the two aforementioned theories. In this paper, we describe how these influenced the design of three incremental prototypes. The first one, a digital prototype which employed digital animation, was followed by two physical prototypes that tested physical data visualisation. The prototypes subtly illustrate these guidelines. All prototypes are presented in this paper along with a reflection on how these guidelines were applied and whether or not they are a valid protocol for the specified context—a conclusion that derives from the user evaluations. BACKGROUND
In this section, an overview of the field of ambient kinetic displays and their evaluation is elaborated and key concepts in data visualisation are further reviewed; Gestalt Principles
in terms of data grouping and visual representation, the Laban Movement Analysis in terms of information embodiment as well as my contribution to the literature which combines these two theories to map out the source domain —weather conditions— into mechanical movement output. Ambient Displays Definition
Over the past two decades, many researchers have been conducting investigations into the workings and ramifications of ambient displays. Vande Moere and Offenhuber argue that ‘Due to the evolving character of modern technology, the very nature of digital screens is in constant flux’[26]. A similar view share Emile Aarts and Stefano Marzano, who support that screens will merge into existing essential devices or surfaces such as facades, ceilings, floors or windows [1], fulfilling the ubiquitous computing dream — primarily articulated by Mark Weiser ‘The most profound technologies are those that disappear. They weave themselves into the fabric of everyday life until they are indistinguishable from it.’[27]. An abundance of researches are based on this dream, under a number of overlapping terms such as: ambient displays [17], disappearing computing [27], peripheral displays [18], pervasive computing [27], informative art [11] and calm technology [28]. For the sake of consistency, in this paper this particular technology is defined by the term ‘ambient displays’. Sandia Ren defines Ambient Displays as ‘a means of interfacing humans with digital information in our peripheral perception’ [22] while Jennifer Mankoff, Anind K. Dey, Gary Hsieh, Julie Kientz, Scott Lederer and Morgan Ames define Ambient displays as ‘abstract and aesthetic peripheral displays portraying non-critical information on the periphery of a user’s attention’ [17]. Related Work in the Field of Ambient Information Displays
A paradigm of an ambient public information display that employed kinetic movement is Pinwheels [12], an ambient information display designed by Hiroshi Ishii, Sandia Ren, and Phil Frei which deploys wind currents to move pinwheels in order to physically convey information explored the concept of translating intangible information into physical movement. Other recent information displays that use alternative visualisation means and have been developed in order to to be embedded in the user’s surroundings include the Information Percolator, a system of tubes and pumps that visualises information using water flow while maintaining its aesthetic function [10]; Another significant example is the ‘Informative Art’, Johan Redstorm, Lars Erik Holmquist and Tobias Skog developed [11] as a means to embed data visualisation in the everyday life; an ambient information display functioning as a dynamic wall poster /painting visualising information such as bus arrival times and weather conditions in other countries using Mondrian-style graphics.
Ambient Media is another relevant set of information displays [13] meant to inform the user unobtrusively that expand into the environment they are placed at. For example, a motor that moved according to network data was attached in a way that moved a water tank. A light source was pointed at the water tank, reflecting the activity levels of the network data translated into water ripples onto the surrounding surfaces. Gestalt Principles in Animated Visualisation
Evidently, the Gestalt Principles and their contribution to visual psychology allow for a myriad of applications to flourish in the field of graphic design, logo design and other types of graphic visualisations. Gestalt principles can have an application in animations as well. Keith Nesbitt and Carsten Friedrich have researched a method to communicate animated alterations of a graph to the viewer through mental mapping by drawing the user’s attention to certain elements of this graph according to the Gestalt principles [19]. Following the Law of Common Fate and according to Carsten Friedrich and Peter Eades [20], objects that move similarly or in a seemingly structured way to the ones adjacent to them seem to belong in a group. Equally important in this field is the work of Muhammad Hafiz Wan Rosli and Andres Cabrera work on the applications of Gestalt Principles in multimodal data representations of multifaceted information [9]. They designed an art piece, Point Cloud, an application of their research which visualises lightning data through pointillism patterns. The Laban Movement Analysis in Animated Visualisation
One could argue that the Laban Movement Analysis theory is limited to its specific context; human movement. Nevertheless, the theory is not only broadly used in affective movement generation for robots and other robotlike systems [4][15] but applied in data visualisation too. Pattarawut Subyen, Diego Maranan, Thecla Schiphorst, Philippe Pastier and Lyn Bartram designed EMVIZ, an interactive visualisation prototype whose — reportedly meaningful — representations were based on the Laban Basic-Efforts, thus, on human movement qualities [25]. The researchers metaphorically mapped the Basic-Efforts, as visual metaphors, to design guidelines and parameters such as colour and sketching using algorithms, aiming to intensify the viewer’s ability to perceive different movement qualities.
METHOD
All three experiential prototypes were designed and fabricated at the department of Industrial Design at Eindhoven University of Technology. A Research through Design approach was adopted, a research practice which is goal-oriented and aims at contributing new knowledge and understanding within the field of industrial design [10]. The approach is in essence an iterative process in which prototypes are designed, fabricated, evaluated and reflected upon. Each reflection provides input for the following prototype. For this research paper, three different prototypes were fabricated and tested all of which are analysed in the following section. The first prototype (digital animated visualisation) was evaluated by 33 individuals through a web-based survey. It consisted of three sections of four questions each. The participants had the option of selecting one out of five answers to each question, out of which four were predetermined (Calm, Stormy, Rainy and Windy) while one answer provided the participants with ‘Other’ as an option.
replaced with a Likert-type five-point scale with polar opposite points of ‘Strongly Disagree’ to ‘Strongly Agree’ in order to diminish any possible biased answers in the results. The three weather conditions that were provided as options in the previous questionnaire were broken down into 12 different weather states, 4 of each main category — as illustrated in Figure 2 — in order to achieve unprejudiced considerations over the questions asked. The Stormy weather state broke down into these four weather conditions: Hailstorm, Thunderstorm, Blizzard and Turbulent, while Calm broke down into: Bright Sunshine, Still, Overcast and Foggy. Following the same pattern the Rainy category was separated into: Drizzle, Shower, Downpour and Rainfall. The eight participants were requested to indicate on 12 different scales what applied to each of the three movement variations that the physical kinetic prototype performed (second iteration).
Figure 2. Third test. Second Iteration of the physical prototype. The three movement variations broken down in 12 weather states . PROTOTYPE DESIGN Overview
Figure 1. Second Test. First Iteration of physical prototype. The three movement variations paired with each weather condition.
The second test came in the form of a questionnaire in a structured response format which was answered by eight participants. The questionnaire comprised of three sections, each in which the participants were asked to observe the different movement the physical data visualisation prototype (first iteration) performed (Figure 1) and indicate which of the four options provided applied to each movement pattern (Rainy, Calm, Stormy or Other). The final test made use of a similar prototype setup as the previous test, yet, the structured response options were
Three prototypes were fabricated for the purposes of the research at hand; the first one was composed of a series of digital prototype in the style of animated visualisation. The following prototypes were physical data representations, manifestations of the digital prototype into the real world in the form of kinetic installations with predetermined movement sequences, also known as automata [3]. Digital Prototype
The first prototype which was evaluated consisted of a series of digital representations of data in the form of 12 different computer generated 2D animations — 3 variations of 4 different weather conditions; calm, stormy, windy and rainy. Each set of animation was designed using as guidance lines the Gestalt principle of Similarity and one of the eight Efforts from the Laban Movement Analysis Theory — Punch, Glide or Float. To differentiate and
communicate the weather condition, striking or discreet differences in phase, frequency and speed were made according to each condition's attributes. The prototype was designed in order to test whether the users could intuitively recognise and pinpoint the weather condition associated with each visual animation and, in such a contingency, determine which category was the most perceptible.
LABAN MOVEMENT ANALYSIS EFFORTS
without any structure, in a chaotic configuration except from one. The Rainy state was depicted as a reciprocal linear vertical movement where all elements apart from one where moving in sync. The Windy condition was represented as a reciprocal, linear movement where the elements in the pattern moved in a consecutive manner from left to right apart form one.
ANIMATION TYPE
Figure 3. Elaboration of 1st prototype. Image: Weather icons made by NiceandSerious from www.flaticon.com
As illustrated in Figure 3, the first category of animation follows the component parts of one of the eight Efforts from the Laban Movement Analysis Theory, Punch. The movement for this category is characterised as Strong in terms of Weight, Quick in terms of Speed and Direct in terms of Direction and was depicted by an animated pattern which expanded and retracted. The second category follows the component parts for Glide Effort where the movement is Light, Sustained and Direct and was portrayed by means of a pinwheel animated pattern. The third category which follows the main characteristics of the Float Effort in which the movement is Light, Sustained and Indirect was represented using a linear, reciprocal vertical movement animation. All of the animation types follow the Gestalt Principle of Similarity. Each weather condition is then paired with a style of digital animation as shown in Figure 4. In the third variation, Calm atmospheric condition was illustrated by a linear vertical movement of just a single element of the pattern. The Stormy condition was portrayed by a linear vertical movement in which the elements of the pattern moved
Figure 4. Third Variation explained. Float Effort. Weather conditions are paired with animations. Image: Weather icons made by NiceandSerious from www.flaticon.com Physical Prototype First Iteration
The second prototype consisted of the physical representation of the Third Visualisation, since the results indicated that it was the Variation of which most weather conditions were intuitively perceived. However, just three of the weather conditions were taken into consideration (Calm, Stormy, Rainy) since the results from the first test gave clear indications that the pattern for ‘Windy’ weather was not easily perceived as such (Figure 5). The prototype was designed in such a way as to represent the middle row of the pattern of the animated visualisation.
Following the same guidelines of both the Gestalt Principle of Similarity and the Float Effort of the Laban Movement Analysis, the second prototype was designed in the form of an automata; a kinetic installation where the elements that moved in a reciprocal, vertical manner were mirrors that reflected the movement of the kinetic mechanism expanding the ambient display onto other adjacent surfaces. The information display’s movement is, therefore, dependent from the visualised information, achieving embodiment since the message becomes more noteworthy than the medium itself.
EVALUATION Overview
All three prototypes were tested under an empirical investigation which yielded quantitative results. Both the web-based survey along with the two sets of manually filled-in questionnaires required 10-15 minutes to complete. The physical representation tests were conducted in the main library at the Eindhoven University of Technology campus and all of the participants were university postgraduate students at the time this research was conducted. The objectives out of these investigations were: a) to test whether or not the theories mentioned above could be applied as a basis for a design framework for animated physical data, b) to gain significant indications on whether or not the participants could intuitively and effectively interpret the patterns that they were shown. Results First Test Results
The first test which made use of the digital prototype elaborated in the previous sections of this paper provided with interesting results. Out of the three variations the one that was the most recognised was the Third one which utilised the Float Effort element of the Laban Movement Analysis and the Gestalt Principle of Similarity. However, as mentioned before only three out of the four variations were effectively intuitively perceived (Figure 7).
Figure 5. Physical data visualisation. Movements elaborated. Weather conditions paired with kinetic movement. Image: Weather icons made by NiceandSerious from www.flaticon.com Second Iteration
Figure 6. From left to right. First Iteration of the physical visualisation during questionnaire, Second Iteration hidden mechanism, Second Iteration with revealed mechanism.
The third prototype comprised of an iteration of the physical data visualisation prototype. While the setup and the mechanism used where similar, the outer shell and the methodology used for the final test was different as well as the fact that the cam and follower mechanisms responsible for the reciprocal vertical movement were concealed, preventing the participants from realising that the installation could perform only three categories of movements (Figure 6).
Figure 7. First Test results for third Variation.
Second Test Results
In the second test, through the structured response questionnaire, there were clear indications that indeed the participants intuitively recognised the three movements that they were shown. The data was collected and illustrated in pie-chart configurations (Figure 8). Only half of the partakers responded that the physical movement that was shown first could represent Rainy weather, while five out of eight responded that the second variation could represent Stormy weather and six out of eight answered that the third movement could be characterised as Calm weather. In order to cross validate these results, the next iteration was implemented and another questionnaire using the Likert type scale was conducted.
Hailstorm, Thunderstorm, Blizzard and Turbulent were merged together as illustrated in Chart 1. Stormy
Calm
Rainy
1 2 3 4 5 0%
25%
50%
75%
100%
Chart 2. Combined responses for the Second Variation representing Calm Weather. Figure 8. Second Test results and indications.
Stormy
Third Test Results
The third test was conducted in order to validate the results extracted from the previous two tests. The data consisted of eight sets of 36 answers of each questionnaire — 12 for each movement variation — and were further merged into the weather states they derived from (Figure 2). For instance, the answers for the scales for Rainfall, Downpour, Shower and Drizzle merged into one category: Rainy Weather state. The same formation was applied to the rest of the scales’ data respectively. Consequently, the data was sorted across the five points on the Likert-type scales and the three Weather States.
Calm
Rainy
1 2 3 4 5
Stormy
Calm
Rainy
0%
1
25%
50%
75%
100%
Chart 3. Combined responses for the Third Variation representing Rainy Weather.
2
Third Test Observations There is a number of noteworthy observations that derive form the results of the final test.
3
(a) As illustrated on both Chart 2 and Chart 3 there are clear indications that the participants perceived the pattern in front of them as the one it represented.
4 5 0%
25%
50%
75%
100%
Chart 1. Combined responses for the First Variation representing Stormy Weather.
For example, in the First movement variation that illustrated a Stormy weather state, the answers for
(b) The movement representing Stormy Weather was harder to interpret as such (Chart 1). The participants rather related that movement as Rainy weather condition. (c) The participants faced difficulties when asked if the mechanical movement the prototype performed was associated with weather conditions in general.
(d) The results provide with clear indications that, indeed, two of the three data visualisation movements were successfully intuitively perceived by the majority of the participants. Limitations
Likert scales are frequently subject to data distortion due to (1) the participants’ tendency to avoid selecting extremities of the scale, also known as central tendency bias, (2) the participants' tendency to select responses that will make them appear righteous or favourable or (3) the participants' tendency to reply in a way that will satisfy the researcher. Other type of validation methods could have been established. Information and kinetic display tend to appear independent, without an apparent relation, the user requires contextual information as to what the machine is used for in order to understand what he or she is experiencing. Additionally, the kinetic prototype intent to make the interaction with the user enjoyable, even if he or she does not know its functionality by being extremely aesthetically pleasing although, in this case, the message is more important than the means. Even though the majority of the participants from all levels expressed their curiosity towards the appearance of the prototypes, extra time could have been invested in achieving a better result. FUTURE APPLICATIONS
The field of ambient information displays remains, still, unexplored (unfathomed) and their development is, yet, far from reaching its full potential. The rapid expansion of the Internet of Things (IoT) [14] enables both the digital and the physical world to fuse in a myriad of possibilities. Devices such as the evaluated prototypes, could be integrated into both private and public environments; embedded into everyday products, incorporated into the built environment and even stretch out to the urban fabric. Ambient displays can effectively aid people in being aware of meaningful information in almost any aspect of their life without disruptions. For instance, devices of such nature could be placed in public spaces to inform the users of vital information at a glance, replacing the static form of electronic noticeboards and the issues they pose; issues such as the type of displayed information, the data visualisation type, their location, the single-way interaction they provide and the tactics used to capture the user’s interest. On a personal level, the individual’s electronic world such as social media notifications, call notifications, navigation instructions could be expanded into his or her surroundings through the use of ambient displays and interpreted intuitively, un-interrupting the current activities of the user, rendering the form of current screens redundant.
while, due to the versatility of their final form could have a considerable amount of applications. Fruitful and valuable insights prove that, indeed, the combination of the Gestalt Principle of Similarity and the eight Efforts as expressed by the Laban movement Analysis — depending on the context and extend — can act as a framework to effectively convey intuitively meaningful information to the user opening up more opportunities for the development of such systems. However, the outcome yields other concerns with regard to the tested theories. Movement theories such as the Laban Movement Analysis should be used attentively since the subject in question is the human body instead of a machine. Moreover, the use of alternative kinetic mechanisms, even though within the same context, could have generated contrasting results. Thus, a protocol that could be applied in future studies upon similar or other datasets to reduce these limitations in the findings; by testing the hypotheses in different theory contexts using other mechanisms and cross validating results. At the time this research took place, there was a shortage of research in the field of kinetic ambient devices especially when it comes to the implemented theories the research was based on. Therefore, hopefully, the research described in this paper makes a notable attempt in contributing to the field of kinetic ambient information displays, filling a void in academic research. ACKNOWLEDGEMENTS
I would like to thank Professor Bart Hengeveld for his continuing support, trust and guidance throughout this project, Jorge Alves Lino for his valuable ideas, help and enthusiasm during coaching sessions. I am grateful to all partakers in all three tested prototypes for their patience and participation. I wish to thank my colleagues Marijn Bults and Thijs Roeleven for for their constructive feedback and helpful comments and Charalambos Charalambous for the final proofreading of this document. REFERENCES
1. 2. 3.
4.
CONCLUSION
In this paper, two original ambient information displays have been designed, fabricated and tested in the form of a kinetic installation. These devices provide a way to alternatively inform the user of the weather condition,
5.
Emile H.L. Aarts and Stefano Marzano. 2003. The new everyday. 010 Publishers, Rotterdam. Bruce Archer. 1995. The nature of research. In CoDesign, Interdisciplinary Journal of Design, 2, 6-13. Automaton. Oxford Dictionaries. Oxford University Press, Web. Retrieved June 1, 2016 from http:// www.oxforddictionaries.com/definition/english/ automaton Sarah Jane Burton, Ali-Akbar Samadani, Rob Gorbet and Dana Kulić. 2016. Laban Movement Analysis and Affective Movement Generation for Robots and Other Near-Living Creatures. In Dance Notations and Robot Motion, 2, 25-48. DOI: 10.1007/978-3-319-25739-6_2 /react-text react-text: 42 /react-text react-text: 43 Dempsey Chang, Keith V. Nesbitt, and Kevin Wilkins. 2007. The gestalt principles of similarity and proximity
apply to both the haptic and visual grouping of elements. In Proceedings of the eight Australasian conference on User interface - Volume 64 (AUIC '07), Wayne Piekarski and Beryl Plimmer (Eds.), Vol. 64. Australian Computer Society, Inc., Darlinghurst, Australia, Australia, 79-86. 6. EMC Corporation. 2014. The Digital Universe of Opportunities: Rich Data and the Increasing Value of the Internet of Things. EMC Digital Universe. 7. Christopher Faust. 2003. Gestalt Laws and Principles of Perception, In Fundamentals of ITEC and Design, San Francisco State University, 1,1. 8. Lisa Graham. 2016. Gestalt Theory in Interactive Media Design. In Journal Of Humanities And Social Sciences, 2,1, 1-12. Retrieved 18 April, 2016 from http://www.scientificjournals.org/journals2008/articles/ 1288.pdf 9. Muhammad Hafiz Wan Rosli and Andres Cabrera. 2015. Application of Gestalt Principles in Multimodal Data Representation. In IEEE Computer Graphics and Applications, 35, 2, 80-87. DOI=http://dx.doi.org/ 10.1109/MCG.2015.29 10. Jeremy M. Heiner, Scott E. Hudson, and Kenichiro Tanaka. 1999. The information percolator: ambient information display in a decorative object. In Proceedings of the 12th annual ACM symposium on User interface software and technology (UIST '99). ACM, New York, NY, USA, 141-148. DOI=http:// dx.doi.org/10.1145/320719.322595 11. Lars Erik Holmquist and Tobias Skog. 2003. Informative art: information visualization in everyday environments. In Proceedings of the 1st international conference on Computer graphics and interactive techniques in Australasia and South East Asia (GRAPHITE '03). ACM, New York, NY, USA, 229-235. DOI=http://dx.doi.org/ 10.1145/604471.604516 12. Hiroshi Ishii, Sandia Ren, and Phil Frei. 2001. Pinwheels: visualizing information flow in an architectural space. In CHI '01 Extended Abstracts on Human Factors in Computing Systems (CHI EA '01). ACM, New York, NY, USA, 111-112. DOI=http:// dx.doi.org/10.1145/634067.634135 13. Hiroshi Ishii, Craig Wisneski, Scott Brave, Andrew Dahley, Matt Gorbet, Brygg Ullmer, and Paul Yarin. 1998. ambientROOM: integrating ambient media with architectural space. In CHI 98 Cconference Summary on Human Factors in Computing Systems (CHI '98). ACM, New York, NY, USA, 173-174. DOI=http:// dx.doi.org/10.1145/286498.286652 14. ITU-T Study Group 20. 2012. IoT, Recommendation ITU-T Y.2060, issued June 15, 2012. http:// handle.itu.int/11.1002/1000/11559 15. Heather Knight and Reid Simmons. 2015. Layering Laban Effort Features on Robot Task Motions. In Proceedings of the Tenth Annual ACM/IEEE
International Conference on Human-Robot Interaction Extended Abstracts (HRI'15 Extended Abstracts). ACM, New York, NY, USA, 135-136. DOI=http:// dx.doi.org/10.1145/2701973.2702054 16. Kurt Koffka. 1935. Principles of gestalt psychology. Harcourt, Brace and company, New York. 17. Jennifer Mankoff, Anind K. Dey, Gary Hsieh, Julie Kientz, Scott Lederer, and Morgan Ames. 2003. Heuristic evaluation of ambient displays. In Proceedings of the SIGCHI Conference on Human Factors in Computing Systems (CHI '03). ACM, New York, NY, USA, 169-176. DOI=http://dx.doi.org/ 10.1145/642611.642642 18. Tara Matthews, Anind K. Dey, Jennifer Mankoff, Scott Carter, and Tye Rattenbury. 2004. A toolkit for managing user attention in peripheral displays. In Proceedings of the 17th annual ACM symposium on User interface software and technology (UIST '04). ACM, New York, NY, USA, 247-256. DOI=http:// dx.doi.org/10.1145/1029632.1029676 19. Keith Nesbitt and Carsten Friedrich. 2002. Applying Gestalt Principles to Animated Visualizations of Network Data. In Proceedings of the Sixth International Conference on Information Visualisation. IEEE Computer Society, London, 737-743. DOI: 10.1109/IV.2002.1028859 20. Keith Nesbitt and Carsten Friedrich. 2001. Graph Drawing in Motion. In The Journal of Graph Algorithms and Application, 6, 3, 353–370. DOI: 10.1007/3-540-45848-4_18 21. Quinlan, P. T. and R.N. Wilton, R. N. 1998. Grouping by proximity or similarity? Competition between the Gestalt principles in vision. In Perception, 27,2, 241-241. 22. Sandia Ren. 2000. Ambient Displays: Information Visualization through Physical Interfaces. Massachusetts Institute of Technology, Cambridge, MA. 23. Diego Silang Maranan, Sarah Fdili Alaoui, Thecla Schiphorst, Philippe Pasquier, Pattarawut Subyen, and Lyn Bartram. 2014. Designing for movement: evaluating computational models using LMA effort qualities. In Proceedings of the SIGCHI Conference on Human Factors in Computing Systems (CHI '14). ACM, New York, NY, USA, 991-1000. DOI=http:// dx.doi.org/10.1145/2556288.2557251 24. Norbert Streits, Achilles Kameas and Irene Mavrommati (Eds.). 2007. The Disappearing Computer: Interaction Design, System Infrastructures and Applications for Smart Environments. State-of-theArt Survey, LNCS 4500, Springer - Verlag, Berlin, Heidelberg. 25. Pattarawut Subyen, Diego Maranan, Thecla Schiphorst, Philippe Pasquier, and Lyn Bartram. 2011. EMVIZ: The poetics of movement quality visualization. In Proceedings of the International Symposium on
Computational Aesthetics in Graphics, Visualization, and Imaging (CAe '11), Stephen N. Spencer (Ed.). ACM, New York, NY, USA, 121-128. DOI=http:// dx.doi.org/10.1145/2030441.2030467 26. Andrew Vande Moere and Dietmar Offenhuber. 2009. Beyond Ambient Display: A Contextual Taxonomy of Alternative Information Display. In International Journal of Ambient Computing and Intelligence, 1, 2: 39-46. 27. Mark Weiser. 2002. The computer for the 21st Century. IEEE Pervasive Computing 1, 1 (January 2002), 19-25. DOI=http://dx.doi.org/10.1109/MPRV.2002.993141 28. Mark Weiser and John Seely Brown. 1997. The coming age of calm technolgy. In Beyond calculation, Peter J. Denning and Robert M. Metcalfe (Eds.). Copernicus, New York, NY, USA 75-85.
DPM120 - Project 2 Design Research - Personal Reflection DPH301 - Responsive Environments/Living Culture
MOTIVATION
The reason behind my decision to select tis particular squad was, partially, my avid interest in responsive environments due to, mainly, my background in the Architecture field but also the fact that I tend to find ambient intelligent displays fascinating examples current technology, especially in the form of public kinetic installations/responsive shape-changing environments or responsive environments in terms of adaptive architectural elements. Furthermore, making use of this research project opportunity aided me in formalising my track choice since I have been in a great dilemma between choosing either the Constructive Design Research track (CDR) or the Research, Design and Development track (RDD).
certain parameters. I have designed and tested three different prototypes (1 digital and 2 physical) that fully functioned. For the digital prototype I have designed 2D animated visualisations using Adobe After Effects - something I felt confident in doing but also wanted to improve. User and Society
In terms of User and Society, I have managed to perform 3 user tests of 49 participants in total, the first one a web-based survey and the other two manually filled-in questionnaires. Creativity and Aesthetics
AIMS
My personal goals and expectations out of this project- and particularly out of designing an ambient information display- varied in difficulty and included improving my design approach, familiarising myself with the way an academic design research should be performed, learning how to research a hypothesis before applying solutions, developing an understanding of how quantitative data is collected and analysed as well as the way of testing prototypes in real setting. In addition, my aims included extending my skill-set in terms of the following fields of expertise: Technology and Realisation, Creativity and Aesthetics and the User and Society. LEARNING ACTIVITIES
All in all, I am quite satisfied with the knowledge I have managed to gain out of this semester as well as the effort I put into this Research Project. Technology and Realisation
In terms of Technology and Realisation, I have familiarised myself with kinetic mechanisms and the basics of how such mechanisms work since I have experimented with a significant amount in order to figure out the one that would work best in the prototypes that I wanted to design, fabricate and test. I managed to brush up my basic knowledge on electronics in terms of setting up and programming DC and servo motor configurations depending on
In terms of Creativity and Aesthetics I have acquired basic woodworking skills in terms of making an automata box out of timber, designed animated visualisations. However, I would like to explore further this field in the future. RELEVANCE FOR FUTURE DEVELOPMENT
By the end of the project I had a clear understanding of what a design research is about. I have had no prior knowledge on many aspects that this project covered, yet, I am satisfied with the final result. Personally, I would like to have achieved even more, especially in terms of Creativity and Aesthetics as well as Technology and Realisation. In the future, I would like my designs to be not only functioning but also aesthetically pleasing. I feel like I have underestimated the time all this would take to achieve while I slightly overestimated what I could do within the given time. Furthermore, even though, I planned and strived to have something tangible to show at the coach meetings every single week and it was successful, I feel like I could have started structuring and writing the report long before I, in fact did; and this is something to take in for future projects and assignments. To conclude, any gained knowledge from this project could be applied in my future design explorations, thus, contributing to existing areas of design. I genuinely enjoyed this project since I explored once again an area in design which was out of my comfort zone making the project more of a fun personal challenge rather than a university project.