elastic experiences: designing adaptive interaction for individuals and crowds in the public space

Designing Adaptive Interaction For

Individuals and Crowds in the Public Space

Luke Hespanhol. 2011.Master of Interaction Design and Electronic Arts

Design Lab. University of Sydney

Based on short paper:

Elastic Experiences: Designing Adaptive Interaction for

Individuals and Crowds in the Public Space

Luke Hespanhol

Maria Carmela Sogono

Goldy Wu

Martin Tomitsch

Rob Saunders

Proceedings from OzCHI 2011

Australian National University, Canberra, Australia

Very wide display (15 x 1 m)

Narrow interaction area (approx. 15 x 2 m wide)

Partial view of interaction

Targeted audience: passers-by (office workers, families).

Narrower display (3 x 1 m)

Broader interaction area (approx. 5 x 5 m)

Full view of interaction

Targeted audience: students, faculty staff.

Catalyst to

self reflection

Foster a sense of connectedness

Aarhus By LightAarhus University.

2007.

Vivid Sydney

MCA Interactive Lighting

Spinifex Group. 2011.

The Red Nose GameBBC Big Screens. 2007.

Birmingham Bradford

Body Movies, Relational Architecture 6Rafael Lozano-Hemmer. Rotterdam. 2001.

Individual

specific

engagement

A participative storytelling platform manifested through

interactions of different nature

– though aesthetically coherent –

which come to the fore or recede to the back in

response to change on environmental conditions (e.g. audience size).

More than just

scalable

Dynamically

adaptable

Individual

specific

engagementGroup

specific

engagement

Group

specific

engagement

graceful

transitiongraceful

transition

Auras and halos, making collective energy visible

Sound and mist surrounding the interactive space

Screen

Interactive

zone

Water mist

Sound

speakers

People act differently when they are alone versus when

they are in a group EVALUATION APPREHENSION

Evolutionary approach based on user testing.

Regular test sessions: 3 to 5 users

Dry run to final exhibition: about 20 users

Final exhibition: 50 plus

Different sized

audiences

Tuning for

elasticity

V-shaped interaction

triangular-shaped interaction

INDIVIDUAL• Focused interaction flow

• Interaction WITH the work

CROWD• Socialize while immersed in the

experience

• Interaction THROUGH the work

Aesthetic aspects

connecting

the evolving interactive

scenarios

Connecting each two people in

the audience

Halos in an early prototype

Kinect

Virtual harp (audience plays it by moving around)

Ambient sound (always playing)

Falling regularly at the back of

the interaction zone

Individual

specific

engagement

Crowd specific engagement

Crowd specific engagement

Sound

Mist

Auras/Halos

Auras/Halos

Sound

Mist

Luke Hespanhol

Email: luke.hespanhol@gmail.com

Website: www.nanoluke.com

Twitter: @nanoluke

Vivid Sydney Tumblr, after photo from christianocious on Flickr. (2011). Spinifex Group – Interactive Paint Projection.

Retrieved 19-Nov-2011 from

http://vividsydney.tumblr.com/page/4

O’Hara, K, Glancy, M, Robertshaw, S. (2008).

Understanding Collective Play in a Urban Screen Game.

Proceeding of ACM conference on Computer Supported

Cooperative Work CSCW 2008.

Lozano-Hemmer, R. (2001). Body Movies, Relational

Architecture 6. Retrieved 19-Nov-2011 from

http://www.lozano-hemmer.com/body_movies.php

Intel Research Laboratory @ Berkeley. (2002). Familiar

Stranger Project. Retrieved 19-Nov-2011 from

http://www.paulos.net/research/intel/familiarstranger/inde

x.htm