With augmented reality (AR) and virtual reality (VR) becoming the next computing platforms, app developers have been increasingly focused on building AR and VR apps.
One of the companies that aim to be on the cutting edge of Analytics VR and AR app development is GREAT WAVE. By helping people understand and analyze data more quickly, such a tool could provide richer, more insightful experiences than the ones derived from paper and screens. Studies conducted by researchers at Stanford and by the neuroscience and analytics team of the AR developers META (in conjunction with Accenture) demonstrate how the use of 3D information could amplify people’s efficiency and ability to focus on tasks.
Have a look at the video of GREAT WAVE:
Given the lack of studies that have systematically examined the perceptual cues that our brains use to rapidly process procedural tasks – META decided to partner with Accenture Labs on a pilot study examining the use of perceptual cues in AR. More specifically, they wanted to measure the effect an additional perceptual cue (motion) would have on the time it takes to complete a procedural task. The team operated under the hypothesis that integrating both stereo and motion perceptual cues could further reduce the limitations of 2D instructions – ultimately enabling people to more quickly complete a procedural task.
At this year’s Bay to Breakers pre-race expo, the colorful annual footrace in San Francisco (California), the team of Meta and Accenture researchers set up the procedural task of assembling a physical lighthouse Lego set.
They defined three conditions based on the different types of instructions participants were to receive:2D Paper, Holographic Static 3D (Stereo Cue), and Holographic Dynamic 3D (Stereo & Motion Cues).
Comparing the three instruction conditions, they found that Dynamic 3D Instructions enabled participants to more quickly complete each step. Participants using Static 3D Instructions and 2D Paper Instructions were much slower in comparison. This confirmed their hypothesis that the use of both the stereo and motion perceptual cues in AR instructions speeds up assembly time. Interestingly enough, the researchers found that participants using Static 3D Instructions were the slowest of the three instruction conditions. This was especially surprising to them because based on past studies conducted in 2003 and 2013 , they expected people using any kind of 3D instructions to perform the Lego building task more quickly than those using paper 2D Paper Instructions.
Check out this video:
Worked with the Octagon AR platform. Octagon AR is an application that allows users creating their own marker to display 3D models from their library or the user´s personal library. Interesting, and useful applications for education.
I invited Louis-Philippe Demers for a talk at our CGI – International Seminar series.
Louis-Philippe Demers makes large-scale installations and performances. His projects can be found in theatre, opera, subway stations, art museums, science museums, music events and trade shows. Over the past two decades, he participated in more than seventy artistic and stage productions and has built more than 350 machines.
Demers was Professor of Digital Media and Exhibit Design/Scenography at the Hochschule fuer Gestaltung Karlsruhe, affiliated to the world renowned Zentrum fuer Kunst und Medientechnologie (ZKM, Germany). Since he joined the Interaction and Entertainment Research Centre and the newly founded School of Art, Design and Media at the Nanyang Technological University.
On the talk: Theatre has always been the test bed of illusions. The illusion of the actor replaced by a machine signifies the fantasies found in the scientific and the science-fiction communities. However, what Louis-Philippe Demers is targeting here is not the artifice but the uncomfortable communalities between the flesh and the mechanical bodies. Having these radical encounters at the liminal space bordering man and machine, it forces audiences to (re)consider their human bodies and the latest transforms in the history of their own embodied experiences.
Contributed a chapter on “Empathetic Things” to the publication ” Transdiscourse 2- Turbulence and Reconstruction”, De Gruyter.
Turbulence and Reconstruction is an anthology of viewpoints on society from the arts and the sciences. The authors believe that the arts and the sciences are effective spaces to encourage us to think differently about our outdated concepts of representation and categorization and reconstruct new potentials about how the designs of the future might benefit our environment and the survival of our bodies. Essential to all writers is the need to drop our old disciplinary boundaries to question our interdependent relationship to technology and to reality. Turbulence and reconstruction are processes that not only affect our representation and categorization, urban nature and energy consumption but also our relation to media and technology – the digital ideologies of interaction and substitution.
Gave a talk on New Narratives at the conference Models of Diversity at the ETH and ZHDK Zurich.
The main aim of this conference was to create 3-way discourses to search for correlations and models that can foster deeper creative levels of discourses across the disciplines of art, science, sociology and philosophy. A round table conference with paired presentations of art researcher, scientists and theorists in diverse fields of inquiry-alongside dynamic moderators who tried to stimulate discourse.
I started my new research-project on Augmented Narratives which will involve the platforms of META2 and OCTAGON. For users, good UX-design for Augmented Reality platforms should facilitate physical and psychological immersion in the mediated experience. A holistic, multi-dimensional approach that incorporates qualitative experience and a deep understanding of the psychological aspects of optimum user experience are an imperative for such environments to be successful.
The creation of such a flexible, holistic, and enveloping environment that allows well-tuned variations and personalized adjustments, requires new forms of digital storytelling and the application of new user experience-design paradigms – based on a deep knowledge of the users’ data-scape. How can we can assess and organize these new worlds – in order to create the best experiences?
Had the chance to explore Google’s Tango with a team of developers. Great software and it is to hope that it can live up to its potential. The first consumer implementation will be in a package with Lenovo’s PHAB PRO later this year.
The essential aim is to give your mobile device full spatial awareness, or the ability to understand your environment and your relation to it, to get your smartphone to understand the world around it, enabling it to provide augmented reality experiences. A Project Tango device ‘sees’ the environment around it through a combination of three core functions.
First up is motion tracking, which allows the device to understand its position and orientation using a range of sensors (including accelerometer and gyroscope). Further, it involves depth perception, it is able to examine the shape of the world around you. Here it relies on Intel’s RealSense 3D camera. it helps the device to gain accurate gesture control and snappy 3D object rendering among a number of other features.
Additionally, Project Tango incorporates area learning, which means that it maps out and remembers the area around it.
Benjamin Seide was a guest of our CGI – International Seminar series. Seide, an Associate Professor for Visual Effects and Animation at the Nanyang Technological University Singapore gave insights into the Art of VFX and his work on JJ Abraham’s Star Trek Into The Darkness, Martin Scorsese’s Hugo (Academy Award Oscar 2012 for Best Visual Effects) and HBO’s Game of Thrones Season 2 (Emmy Award for Best Visual Effects).
Saschka Unseld Creative Director, Oculus Story Studio
In virtual reality, you are at the center of every story. Saschka Unseld, head of Oculus Story Studio, wants to keep you there, experiencing virtual worlds directly, with characters who interact with you in real time. You read a book and you watch a film, but in virtual reality, you experience a story. It’s told through your senses, and Unseld and his team are now discovering what that means—how characters should react to you, how to make your experience interactive and responsive. It’s a learning curve that’s just beginning—built on a heritage of storytelling but breaking down the fourth wall in a new way. Unseld shared some of what his studio is learning at this year’s Future of Storytelling Conference.
The studio has already released two short form experiences, Lost and Henry. The latter was intended to be a comedy, but as Unseld explained, it was difficult to keep if from being a tragedy:
With Henry, for example what we did, we thought, “Okay, let’s try to tell a comedy — typical slapstick kind of animated character comedy.”
The final film turned out to be more sad than funny. If you would cut it as a film, exactly the same thing, you would have a lot of laughs. But in VR, you don’t. If someone falls on their face right next to you, it’s not funny.
In cinema. you have something like the fourth wall, which means there is this wall between the story and the world and the audience. In VR, there is no such thing as a fourth wall, because in VR you are right there with the characters in the world.
Magic Leap, Inc., a developer of novel human computing interfaces and software, announced in a newsletter the recent closing of its A round of venture capital. Magic Leap has now raised more than $50 million in its series seed and A rounds to develop its proprietary technology platform. Magic Leap will use the funds to advance the product development and commercialization of its proprietary human computing interface technology, known as “Cinematic RealityTM”.
a headset that superimposes digital images onto the real world. In that respect, it’s similar to Microsoft’s HoloLens, which is just slightly less mysterious (since we’ve actually seen it). But based on the things Abovitz said in his AMA at reddit, like “Our vision for AR and VR is a true replication of visual reality,” there’s a chance that it can also block the outside world entirely with virtual reality. (Update: Rachel Metz confirmed to engagdet on Twitter that it’s capable of doing full VR.)
This points out that there’s a reason why the company is calling its technology “cinematic reality” rather than AR or VR: it works a bit differently than either of them. Standard AR and VR use stereoscopic 3D, a technique that tricks you into thinking an object is three-dimensional by showing each eye a different image and a different angle of the same object. The Oculus Rift and Samsung’s Gear VR headset are two well-known examples of this technique.
In his AMA Abovitz revealed that he’s not a fan of stereoscopic 3D and believes it can cause “temporary and/or permanent neurologic deficits.” So, Magic Leap uses a Lilliputian projector to shine light and images into the user’s eyes instead, the startup told Metz from MIT’s Technology Review. Your brain apparently won’t be able to detect the difference between light from the projector and light from the real world: The result is life-like digital images that show reflections like real physical objects would.
The 4-minute short film explains the way that evolution has shaped the way we perceive the world.
One important statement for visual designers, is that our brains don’t differentiate between imagined stimuli and real stimuli. Professor Lotto explains:[W]hat’s remarkable is that when we imagine something, it activates the same part of our brain as if we’re actually seeing it. So imagined perception is the same as a real perception.
This has tremendous impact for thinking about the narratives that a culture tells itself.
Microsoft HoloLens puts you at the center of a world that blends holograms with reality. With the ability to design and shape holograms, you’ll have a new medium to express your creativity, a more efficient way to teach and learn, and a more effective way to visualize your work and share ideas. Your digital content and creations will be more relevant when they come to life in the world around you.
Augmented Reality (AR) is one of today’s most fascinating and future-oriented areas of computer science and technology. By overlaying computer-generated information on views of the real world, AR amplifies human perception and cognition in remarkable new ways. Do you like the virtual first-down line in football games on TV? That’s AR — and AR apps are rapidly coming to billions of smartphones, too. Working in AR requires knowledge from diverse disciplines, including computer vision, computer graphics, and human-computer interaction (HCI).
Augmented Reality: Principles and Practice integrates all this knowledge into one single-source reference, presenting the most significant AR work with scrupulous accuracy. Dieter Schmalstieg, a pioneer of both AR foundation and application, is drawing from his two decades of AR experience to clearly present the field. Together with mobile AR pioneer and research colleague Tobias Höllerer he addresses all aspects of the field, illuminating AR from both technical and HCI perspectives. The authors review AR’s technical foundations, including display and tracking technologies, show how AR emerges from the symbiosis of computer vision and computer graphics, introduce AR-specific visualization and 3D interaction techniques, and showcase applications from diverse industries. They conclude with an outlook on trends and emerging technologies, including practical pointers for beginning practitioners.
– Elaine Campbell, Reader in Criminology, Newcastle University
This is a book about research that takes the challenge of the internet seriously, that rises above disciplinary difference and points to new directions for social research.
– Rob Walker, Emeritus Professor, University of East Anglia
This innovative book examines and introduces cutting edge visual methods in social research.
It explores the development of visual methodology as a field of interdisciplinary and post-disciplinary practice spanning scholarly and applied concerns. Positioned at the innovative edge of theory and practice in contemporary visual research, Pink’s engaging book goes beyond the methods, ideas and fields of practice outlined in existing texts and handbooks.
This book examines:
-How new theoretical and methodological engagements are developing and emerging in research practice;
-the impact new approaches are having on the types of knowledge visual research produces and critiques;
-the ways visual research intersects with new media;
-and the implications for social and cultural research, scholarship and intervention.
This book will be essential reading for any student or researcher thinking of using visual methods in their own research.
Sarah Pink is Professor of Social Sciences at Loughborough University.
What happens when you’ve built a great website or app, but no one seems to care? How do you get people to stick around long enough to see how your service might be of value? In Seductive Interaction Design, speaker and author Stephen P. Anderson takes a fresh approach to designing sites and interactions based on the stages of seduction. This beautifully designed book examines what motivates people to act.
- AESTHETICS, BEAUTY, AND BEHAVIOR: Why do striking visuals grab our attention? And how do emotions affect judgment and behavior?
- PLAYFUL SEDUCTION: How do you create playful engagements during the moment? Why are serendipity, arousal, rewards, and other delights critical to a good experience?
- THE SUBTLE ART OF SEDUCTION: How do you put people at ease through clear and suggestive language? What are some subtle ways to influence behavior and get people to move from intent to action?
- THE GAME OF SEDUCTION: How do you continue motivating people long after the first encounter? Are there lessons to be gained from learning theories or game design?
Principles from psychology are found throughout the book, along with dozens of examples showing how these techniques have been applied with great success. In addition, each section includes interviews with influential web and interaction designers.
This complimentary report authored by independent analyst Bonnie Feldman with input from MobiHealthNews covers much of the activity going on in the mobile-enabled games for health space. Mobile Social and Fun: Games for Health will appeal to readers who are both new to the subject and, thanks to the dozens of sources interviewed, those who have worked in mobile health games for years.
Largely through trial and error, filmmakers have developed engaging techniques that capture our sensations, thoughts, and feelings. Philosophers and film theorists have thought deeply about the nature and impact of these techniques, yet few scientists have delved into empirical analyses of our movie experience-or what Arthur P. Shimamura has coined “psychocinematics.”
This edited volume introduces this exciting field by bringing together film theorists, philosophers, psychologists, and neuroscientists to consider the viability of a scientific approach to our movie experience.
Augmented reality describes the process of using technology to overlay virtual information onto the real world to ‘augment,’ or add value, to our experience. Augmented reality applications are unique in that because they project virtual information into a user’s physical environment, they effectively blend real and virtual. They are also increasingly mobile and social. These features amplify the level of impact and persuasive power of the user experience — when done right.
All kinds of things go into success. And you might argue that usability is the key. But at the highest level, success depends on more than usability; it depends upon user experience. User experience is more than all those things combined. Of course, you still need to follow best practices for good usability because if people can’t do something they can’t be persuaded by it. But usability is no longer a key differentiator. It’s not enough.
Pamela Rutledge, Media Psychologist, Social Media and Transmedia Storytelling Strategist at the Media Psychology Research Center, gave the following presentation on these topics recently at WorldComp12 EEE.
1. Defining engagement
2. The need for a holistic evaluation of user and customer experience to achieve engagement.
3. The role of the of the brain in achieving psychological engagement and outline the 3-brain model that you can use as a rule of thumb in your design and marketing decisions
4. Mapping brain behavior on to two theories of optimal engagement: Flow and Narrative Transportation. Flow is optimal engagement for task-based activities. Using story or narrative is an equally powerful way to achieve optimal engagement in narrative-based products and properties where the goal is experiential rather than task-based.
7. The similarities and differences between Flow and Narrative immersion as goals are critical to designing, developing and evaluating mobile and immersive technologies like AR.
8. Introduces the Positive Engagement Evaluation model
Emotion. Ego. Impatience. Stubbornness. Characteristics like these make creating sites and apps for kids a daunting proposition. However, with a bit of knowledge, you can design experiences that help children think, play, and learn. With Design for Kids, you’ll learn how to create digital products for today’s connected generation.
We are now standing at the precipice of the next transformative development: the Internet of Things. Soon, connected technology will be embedded in hundreds of everyday objects we already use: our cars, wallets, watches, umbrellas, even our trash cans. These objects will respond to our needs, come to know us, and learn to think on our behalf. David Rose calls these devices—which are just beginning to creep into the marketplace—Enchanted Objects.
Some believe the future will look like more of the same—more smartphones, tablets, screens embedded in every conceivable surface. Rose has a different vision: technology that atomizes, combining itself with the objects that make up the very fabric of daily living. Such technology will be woven into the background of our environment, enhancing human relationships and channeling desires for omniscience, long life, and creative expression. The enchanted objects of fairy tales and science fiction will enter real life.
Groundbreaking, timely, and provocative, Enchanted Objects is a blueprint for a better future, where efficient solutions come hand in hand with technology that delights our senses. It is essential reading for designers, technologists, entrepreneurs, business leaders, and anyone who wishes to understand the future and stay relevant in the Internet of Things.
Written by an award-winning designer with 20 years of experience designing virtual environments for television and online communities, Virtual World Design explores the intertwining disciplines of 2D graphics, 3D models, lighting, sound, and storytelling. It illustrates how these disciplines come together by design in the creation of an accessible virtual environment for teaching, research, and entertainment. The book gives anyone the tools and techniques to design virtual environments that support their message and are accessible by all.
With 200 illustrations and 12 step-by-step projects, the book delivers hours of creative challenges for people working in public virtual worlds or on private grids. Using the modular components available for download on the author’s website, readers learn by building such things as a virtual classroom, an “all-access” terrain, and a sound-based game.
This book can be the foundation for class work in distance learning, simulation, and other learning technologies that use virtual environments. It shows both novices and advanced users how 3D composition, color, lighting, and sound design are used in the creation of an immersive virtual environment.
This book breaks with the conventional model of perception that views vision as a mere inference to an objective reality on the basis of “inverse optics.” The authors offer the alternative view that perception is an expressive and awareness-generating process.
Perception creates semantic information in such a way as to enable the observer to deal efficaciously with the chaotic and meaningless structure present at the physical boundary between the body and its surroundings. Vision is intentional by its very nature; visual qualities are essential and real, providing an aesthetic and meaningful interface to the structures of physics and the state of the brain. This view brings perception firmly in line with ethology and modern evolutionary biology and suggests new approaches in all disciplines that study, or require an understanding of, the ontology of mind.
The book is the joint effort of a multidisciplinary group of authors. Topics covered include the relationships among stimuli, neuronal processes, and visual awareness. After considering the mind-dependent growing of information, the book treats time and dynamics; color, shape, and space; language and perception; perception, art, and design.
Habit Design™ is the largest national cooperative in the USA for sharing best practices in developing sustainable daily habits that last beyond 100 days. Their goal is to spawn local “habit labs” across the world; over 8,000 members have participated representing 500+ companies, universities, non-profits, and other organizations.[vimeo http://vimeo.com/channels/habitdesign]
Habit Design™ synthesizes applied research across a wide range of habit designers including entrepreneurs, Wellness companies & professionals, non-profits, trainers, coaches, academics, and everyday enthusiasts. Some methods, tools, & frameworks we’ve covered include Behavior-Change Psychology, Captology (Persuasive Technology), Game Mechanics & Techniques, Behavioral Economics, Sociology, etc.
Colleagues that have shared their research with Habit Design™ include Dr. BJ Fogg (Stanford Persuasive Technology Lab), Leo Babauta (Zenhabits.net), New York Times reporter Charles Duhigg (author of “The Power of Habit”), Dr. David Sobel (Kaiser Permanente), Dr. Kelly McGonigal, et.al. By integrating these crowdsourced best-practices, Habit Design™ tries to advance innovation in the community.
Habit Design was founded by Michael Kim – CEO/Founder of Kairos Labs – in San Francisco – who coined “behavior change gaming” – “games that apply behavior change and cognitive behavioral psychology in order to affect self-development”.[youtube=http://www.youtube.com/watch?v=LvT8MEdMdl4]
In this talk, given at the Next in Health Innoventions – Models for Change Conference 2011 in Seattle, Mike Kim identified “4 key mechanics” for changing behavior:
1. The Fogg behavior model– a framework for behavior change developed
by Stanford researcher BJ Fogg (whose work focuses on how technology can persuade behavior and decision-making of people.
The behavior model categorizes behavior into 15 types (one-shot, perpetual, foreign, familiar, start, stop, etc.) and is based on the simple formula of B = M*A*T [translated as behavior is contingent upon motivation, ability, and a trigger for that behavior to occur]. When a behavior does not occur, at least one of those three elements is missing.
Using Fogg’s Behavior Model (FBM) as a guide, designers can identify what stops people from performing behaviors that designers seek. For example, if users are not performing a target behavior, such as rating hotels on a travel web site, the FBM helps designers see what psychological element is lacking.
According to the Fogg Model, it is easier to first focus a behavior change design not on an individual’s motivation for an activity, but rather, by simply just making it easier to perform the target behavior.
The FBM highlights three principal elements, each of which has subcomponents. Specifically, the FBM outlines three Core Motivators (Motivation), six Simplicity Factors (Ability), and three type of Triggers. The subcomponents define the larger elements. For example, in the FBM the word Ability refers to the how the six Simplicity Factors work together in the context of a Trigger.
Many other people have proposed ways to understand persuasion and behavior change, dating back to Aristotle in ancient Greece. What makes the Fogg Behavior Model different from previous work? According to Fogg, the FBM shows how behavior is the result of three specific elements coming together at one moment. Next, the FBM explains the subcomponents of each element. In addition, the FBM shows that motivation and ability can be traded off (e.g., if motivation is very high, ability an be low). Finally, the FBM applies most directly to practical issues of designing for behavior change using today’s technology.
Mike Kim noted some examples of designs in line with this model, including donothingfor2minutes.com (which requires a user to focus on a serene vista for 2 minutes, with the timer resetting if the keyboard or mouse is touched) and Daily Challenge (which triggers users by sending you a daily email at 7am containing directions for a small behavior you can do to improve your health and wellbeing).
2. Timely “A-ha” Feedback Loops – Kim noted that there is currently a lot of buzz about using mobile techs delivering “just-in-time” feedback about user states or behavior.
Thus, Kim was quick to make clear that for this to produce effective behavior change, it needs to include more than just data-tracking and quantified results; it needs to actually provide a context for motivating the user toward a particular behavior.
Some interesting examples Kim shared with the audience included Massive Health’s eatery app (in which user upload pictures of what they are eating, which are then rated as relatively good or bad to eat by the community of users, providing first direct and then later vicarious reinforcement even outside of the game), Nike Plus’ “Cheer Me On” feature (in which your run is posted to Facebook and your friends are invited to cheer you as you go, resulting in audible cheers in your headphones), and Zamzee (a pedometer integrated with a gamine portal for winning real and virtual rewards, with reward patterns adapting to individual user behavior patterns).
From self-tracking to smart urban infrastructures: Towards an interdisciplinary research agenda on Big Data
Recent debates on surveillance have emphasised the now myriad possibilities of automated, software-based data gathering, management and analysis. One of the many terms used to describe this phenomenon is ‘Big Data’. The field of Big Data covers a large and complex range of practices and technologies from smart borders to CCTV video analysis, and from consumer profiling to self-tracking applications. The paper’s aim is to explore the surveillance dynamics inherent in contemporary Big Data trends. To this end, the paper adopts two main perspectives concerned with two complementary expressions of Big Data: (1) the individual use of various techniques of self-surveillance and tracking and (2) the simultaneous trend to optimise urban infrastructures through smart information technologies. Drawing upon exploratory research conducted by the authors, the paper shows that both expressions of Big Data present a range of common surveillance dynamics on at least four levels: agency, temporality, spatiality and normativity. On these grounds, the paper highlights a series of important issues to explore in future research.
How to make customers feel good about doing what you want Learn how companies make us feel good about doing what they want. Approaching persuasive design from the dark side, this book melds psychology, marketing, and design concepts to show why we’re susceptible to certain persuasive techniques. Packed with examples from every nook and cranny of the web, it provides easily digestible and applicable patterns for putting these design techniques to work. Organized by the seven deadly sins, it includes:
Pride — use social proof to position your product in line with your visitors’ values
Sloth — build a path of least resistance that leads users where you want them to go
Gluttony — escalate customers’ commitment and use loss aversion to keep them there
Anger — understand the power of metaphysical arguments and anonymity
Envy — create a culture of status around your product and feed aspirational desires Lust — turn desire into commitment by using emotion to defeat rational behavior
Greed — keep customers engaged by reinforcing the behaviors you desire
Now you too can leverage human fallibility to create powerful persuasive interfaces that people will love to use — but will you use your new knowledge for good or evil? Learn more on the companion website, evilbydesign.info.
Visual sociology has been part of the sociological vocabulary since the 1970s, but until now there has not been a comprehensive text that introduces this area. Written by one of the founding fathers in the field, Visual Sociology explores how the world that is seen, photographed, drawn, or otherwise represented visually is different from the world that is represented through words and numbers.
Doug Harper’s exceptional photography and engaging, lively writing style will introduce:
- visual sociology as embodied observation
- visual sociology as semiotics
- visual sociology as an approach to data: empirical, narrative, phenomenological and reflexive
- visual sociology as an aspect of photo documentary
- visual sociology and multimedia.
This definitive textbook is made up of eleven chapters on the key topics in visual sociology. With teaching and learning guidance, as well as clear, accessible explanations of current thinking in the field, this book will be an invaluable resource to all those with an interest in visual sociology, research methods, cultural geography, cultural theory or visual anthropology.
This book is not a dictionary, though it tells you all you need know about everything from Authenticity to Zips. It’s not an autobiography, though it does offer a revealing and highly personal inside view of contemporary culture.
It’s an essential tool kit for understanding the world around us. It’s about what makes a Warhol a genuine fake; the creation of national identities; the mania to collect. It’s also about the city as seen from the rear view mirror of Grand Theft Auto V; digital ornament and why we value imperfection. It’s about drinking a bruisingly dry martini in Adolf Loo’s American bar in Vienna, and about Hitchcock’s film sets. It’s about the modern world of fashion, technology, design and art.
Born in London, Deyan Sudjic studied architecture in Edinburgh, edited Domus in Milan, was the director of the Venice architecture biennale, and a curator in Glasgow, Istanbul and Copenhagen. The author of The Language of Things and The Edifice Complex, Deyan Sudjic is now Director of the Design Museum, London.
Why aren’t videogames getting better? Why does it feel like we’re playing the same games, over and over again? Why aren’t games helping us transform our lives, like great music, books, and movies do?
The problem is language. We still don’t know how to talk about game design. We can’t share our visions. We forget what works (and doesn’t). We don’t learn from history. It’s too hard to improve.
The breakthrough starts here. A Game Design Vocabulary gives us the complete game design framework we desperately need—whether we create games, study them, review them, or build businesses on them.
Craft amazing experiences. Anna Anthropy and Naomi Clark share foundational principles, examples, and exercises that help you create great player experiences…complement intuition with design discipline…and craft games that succeed brilliantly on every level.
- Liberate yourself from stale clichés and genres
- Tell great stories: go way beyond cutscenes and text dumps
- Control the crucial relationships between game “verbs” and “objects”
- Wield the full power of development, conflict, climax, and resolution
- Shape scenes, pacing, and player choices
- Deepen context via art, animation, music, and sound
- Help players discover, understand, engage, and “talk back” to you
- Effectively use resistance and difficulty: the “push and pull” of games
- Design holistically: integrate visuals, audio, and controls
- Communicate a design vision everyone can understand
This book is designed as a learning tool to help the aspiring engineer learn the language of engineering graphics. In this regard, this book is hardly unique, as there have been literally hundreds of books published in the past that had a similar goal. The main challenge faced by engineering graphics books comes from the difficulty of representing and describing three dimensional information on paper, which is a consequence of the two dimensional nature of printed materials.
What makes this book invaluable is the use of Augmented Reality, a technology that will allow you to escape the limitations of traditional materials enabling you, the student, to truly visualize the objects being described in full 3D. To take full advantage of this book you will need a smartphone, tablet or computer with a web camera, along with the software or apps provided*. Many parts of the book are linked to specific augmented reality content through a series of black and white markers that have been seamlessly integrated throughout the pages. In order to experience the content, your device s camera must be pointed at these markers. The main marker, available at the beginning of the book, is used to interact with the augmented reality models, which will be rendered in real time in your device s screen.
* If you do not have an iOS device, Android device or a computer with a webcam, SolidWorks files of the models used throughout the book are included on the CD. In addition, STL files have been provided so the models can be opened using your solid modeling CAD package of choice or printed using a 3D printer.
Difficult to learn and awkward to use, today’s information systems often change our activities in ways that we do not need or want. The problem lies in the software development process.
In this book John Carroll shows how a pervasive but underused element of design practice, the scenario, can transform information systems design.Traditional textbook approaches manage the complexity of the design process via abstraction, treating design problems as if they were composites of puzzles.
Scenario-based design uses concretization. A scenario is a concrete story about use. For example: “A person turned on a computer; the screen displayed a button labeled Start; the person used the mouse to select the button.” Scenarios are a vocabulary for coordinating the central tasks of system development–understanding people’s needs, envisioning new activities and technologies, designing effective systems and software, and drawing general lessons from systems as they are developed and used.
Instead of designing software by listing requirements, functions, and code modules, the designer focuses first on the activities that need to be supported and then allows descriptions of those activities to drive everything else.In addition to a comprehensive discussion of the principles of scenario-based design, the book includes in-depth examples of its application.
This book presents a history of behavioral economics. The recurring theme is that behavioral economics reflects and contributes to a fundamental reorientation of the epistemological foundations upon which economics had been based since the days of Smith, Ricardo, and Mill. With behavioral economics, the discipline has shifted from grounding its theories in generalized characterizations to building theories from behavioral assumptions directly amenable to empirical validation and refutation. The book proceeds chronologically and takes the reader from von Neumann and Morgenstern’s axioms of rational behavior, through the incorporation of rational decision theory in psychology in the 1950s-1970s, and to the creation and rise of behavioral economics in the 1980s and 1990s at the Sloan and Russell Sage Foundations.
Nir Eyal constructed a framework for designing habit-forming products. He states:
The “desire engine” gives product makers and designers a model for thinking of the necessary components to create user behavior. Habit design is a super power. If used for good, habit design can enhance people’s lives with entertaining and even healthful routines. If used for evil, habits can quickly turn into wasteful addictions.
The trinity of access, data, and speed creates new opportunities for habit-forming technologies to hook users and everything becomes more addictive. Companies need to know how to harness the power of the desire engine to improve peoples’ lives, while consumers need to understand the mechanics of behavior engineering to protect themselves from manipulation. More and more developers realize that their success hinges on understanding user behavior. Nir Eyal used patterns collected from his 4 years in the gaming and advertising business and one year of research as a consultant and lecturer at the Stanford GSB, to create a tool, which should greatly improve the odds of success for a startup.
For more info, see his blog at: nirandfar.com.
(Ph.D. Michigan State University) is an associate professor in the School of Journalism and Mass Communications at the University of South Carolina. He is the founding editor of Visual Communication Quarterly, and he served as an editor of theHandbook of Visual Communication. He continues to shoot documentary-style photographs and videos.
Visual Communication Research Designs provides a step-by-step guide for designing research involving visuals relevant to communications media. This volume explains the process from conceptualization to research questions, instrumentation, analysis, and reliability and validity checks. It also addresses the lack of sufficient methods to answer theoretical questions attending visual communication. This resource has been developed in response to the circumstance in which, in many cases, the methodologies used for verbal and textual communications are inappropriate or ineffective when applied or adapted for the study of visual communications. Additionally, research articles from ethnography, action research, rhetoric, semiotics, psychology, cultural studies, and critical theory often do not use examples appropriate to visual communication readers. To address these issues, this book explains in clear and straightforward language key research designs, including new methodologies, that are appropriate for scholars and students conducting visual communication research.
Organized into three parts — production, analysis, and effects of visuals – this research text provides guidance in using, interpreting and measuring the effects of visual images.
It addresses such topics as:
- producing photographs and video that can be used as research data;
- interpreting images that already exist;
- measuring the effects of visuals and to understand their use by different groups.
Ethical issues are included, as well as a discussion of the advantages and limitations of each method. “War stories” are provided by experienced researchers, who discuss a particular research project and explain pitfalls to avoid, as well as what to do when problems occur.
The primary audiences are scholars, researchers, and students conducting research on motion pictures, video, television, photographs, illustrations, graphics, typography, political cartoons, comic books, animation, and other media with a visual component. Individuals will use this text whenever they need to conduct research that involves visuals in the media. The book will be a required text for advanced courses in visual culture, seminars on visual communication research, and other research methods courses integrating a visual component.
The book provides a foundation for thinking about visual ethnography and introduces the practical and theoretical issues relating to the visual and digital technologies used in the field.
Drawing upon her original research and the experiences of other ethnographers, Sarah Pink once again challenges our understanding of the world and sets new agendas for visual ethnography by:
- Helpfully illustrating key concepts within real world contexts
- Introducing examples from both analogue and digital media
- Exploring material and electronic texts
- Setting out the shift towards applied, participatory and public visual scholarship.
On January 6th 2012, at the Intel Pre-Conference Keynote at CES in Las Vegas – for the first time in public – Intel and USC World Building Media Lab unveiled the Leviathan – a giant Whale that swims above an audience of 5000, all reaching out to touch the creature flying overhead.
From the presentation:
We bring you an experiment in storytelling that shatters the membrane between audience and content. The Leviathan Project creates an immersive world in which audiences can engage, explore and physically experience virtual environments and fantastic characters.
We are playtesting a future where the design of a world precedes the telling of a story, and the richly detailed world becomes a container for countless narratives.
What Is 5D?
5D Institute is a cutting edge USC non-profit Organized Research Unit dedicated to the dissemination, education, and appreciation of the future of narrative media through World Building.
World Building designates a narrative practice in which the design of a world precedes the telling of a story; the richly detailed world becomes a container for narrative, producing stories that emerge logically and organically from its well-designed core.
World Building is founded on three beliefs, namely that storytelling is the most powerful system for the advancement of human capability due to its ability to allow the human imagination to precede the realization of thought; that all stories emerge logically and intuitively from the worlds that create them; and that new technologies powerfully enable us to sculpt the imagination into existence.
5D Institute is the world’s leading World Building collective. Our network of preeminent World Builders transcends borders and boundaries in film, animation, fashion, gaming, theatre, television, music, architecture, science, interactive media and more.
Through the newly cemented partnership with USC School of Cinematic Arts, 5D Institute is evolving into an unmatched connector between the next generation of young and undiscovered creators traversing the bleeding edge of innovation and companies who want to be at the frontlines of the new media landscape.
Since Oct 2008, we have come together at 5D’s distributed events to engage in a disruptive interrogation of our fractured disciplines, to create best practices and a new shared language across narrative media.
‘The neural sparking between left brain and right brain is at the core of 5D – we are moving into a landscape where art and science, design and engineering are inseparable. At their intersection lies the new creative laboratory for the future of our narrative practices.’
– Alex McDowell, 5D Institute Director
For more information: 5dinstitute.org/
Practice-led Research, Research-led Practice in the Creative Arts (Research Methods for the Arts and Humanities)
A new wave of products is helping people change their behavior and daily routines, whether it’s exercising more (Jawbone Up), taking control of their finances (HelloWallet), or organizing their email (Mailbox). This practical guide shows you how to design these types of products for users seeking to take action and achieve specific goals.
Stephen Wendel, HelloWallet’s head researcher, takes you step-by-step through the process of applying behavioral economics and psychology to the practical problems of product design and development. Using a combination of lean and agile development methods, you’ll learn a simple iterative approach for identifying target users and behaviors, building the product, and gauging its effectiveness. Discover how to create easy-to-use products to help people make positive changes.
- Learn the three main strategies to help people change behavior.
- Identify your target audience and the behaviors they seek to change.
- Extract user stories and identify obstacles to behavior change.
- Develop effective interface designs that are enjoyable to use.
- Measure your product’s impact and learn ways to improve it.
- Use practical examples from products like Nest, Fitbit, and Opower.
This book provides the necessary tools for the evaluation of the interaction between the user who is disabled and the computer system that was designed to assist that person. It creates an evaluation process able to assess the user’s satisfaction with a developed system. It takes into account all of the individuals involved in the evaluation process. It presents a new theoretical perspective in the human computer interaction evaluation of disabled persons.
“If you need to carry out research into visuals then Rose’s book provides straight forward practical assistance for how to do so… She explains clearly how we can deal with the visual from diverse approaches such as content analysis, semiotics, psychoanalysis and discourse analysis, all explained carefully, using examples, in terms of the stages of a research project.”
– David Machin, Cardiff University
“The authoritative introductory text on the methods of visual research. Conveying the richness and excitement of visual culture research, Rose expertly navigates across a range of methodologies, explaining in detail their particular usefulness and limitations through practical examples.”
– Julie Doyle, University of Brighton
“A welcome overview of the state of the field. Visual Methodologies succeeds both as an introductory text, certain to be widely adopted in the classroom, and as a sophisticated refresher course for those who have followed the rapid maturation of this remarkable interdisciplinary discourse
– Martin Jay, University of California, Berkeley
With over 25,000 copies sold worldwide, Gillian Rose’s book is the bestselling critical introduction to the study and analysis of visual culture.
Each chapter provides a rigorous examination and demonstration of an individual methodology, with case studies, colour images, suggested further reading and visual examples throughout.
Reflecting changes in the way society consumes and creates its visual content, the updatedThird Edition includes:
- A companion website featuring additional examples of digital media, social media, and moving images. Visit www.sagepub.co.uk/rose
- An additional chapter and expanded coverage on social and new media, and more information on the mass media in general (TV, print and broadcasting)
- An expanded focus on how each method can be used in relation to a range of different visual materials
- A new chapter on how to use visual materials for research and the presentation of research findings.
A now classic text, the book will be used by undergraduates, postgraduates, researchers and academics looking to understand and clearly grasp the complex debates and ideas in visual analysis and interpretation
Happylife is an electronic device that knows more about your partners state than you do. What would it mean if it could predict an incoming bout of misery through statistical analysis of accumulated data? When can technology become too invasive?
Brenda Laurel’s Computers as Theatre revolutionized the field of human-computer interaction, offering ideas that inspired generations of interface and interaction designers — and continue to inspire them. Laurel’s insight was that effective interface design, like effective drama, must engage the user directly in an experience involving both thought and emotion. Her practical conclusion was that a user’s enjoyment must be a paramount design consideration, and this demands a deep awareness of dramatic theory and technique, both ancient and modern. Now, two decades later, Laurel has revised and revamped her classic, reflecting all that’s happened, all she’s learned, and emerging technologies that will transform human-computer interaction yet again. Beginning with a clear analysis of classical drama theory, Laurel explores new territory through the lens of dramatic structure and purpose.
This new edition, directed to a far wider audience, is written more simply and elegantly, packed with new examples, and replete with exciting and important new ideas. Utterly unique among books on interface/interaction design, Computers as Theatre, Second Edition: * Draws lessons from sources ranging from massively multiplayer online games and systems, social networks, and mobile devices with embedded sensors * Analyzes the most relevant vectors in the historical development of computer technology and interaction design since the late 20th Century * Integrates values-driven design as a key principle (linking the “sacred civic duty” of ancient Greek theatre to the modern civic function of design) * Integrates key ideas about virtual reality * Reflects important work by other pioneers such as Michael Mateas, Noah Wardrip-Fruin, Mary Flanagan and Henry Jenkins * Covers new frontiers including augmented reality, distributed and participatory sensing, interactive public installations and venues, and design for emergence Once more, Brenda Laurel will help you see the connection between humans and computers.
The Art of Immersion – a highly praised book – author Frank Rose explains his understanding of storytelling, and what it means for us all:
Some quotes from the webpage:
What we’re witnessing is the emergence of a new form of narrative that’s native to the Internet. Told through many media at once in a nonlinear fashion, these new narratives encourage us not merely to watch but to participate, often engaging us in the same way that games do. This is “deep media”: stories that are not just entertaining but immersive, that take you deeper than an hour-long TV drama or a two-hour movie or a 30-second spot will permit.
From this point forward, storytellers of every persuasion will need to function in a world in which distinctions that were clear throughout the industrial age are becoming increasingly blurred:
- The blurring of author and audience: Whose story is it?
- The blurring of story and game: How do you engage with it?
- The blurring of entertainment and marketing: What function does it serve?
- The blurring of fiction and reality: Where does one end and the other begin?
In THE ART OF IMMERSION, Wired correspondent Frank Rose describes why this is happening to us.
“Highly readable, deeply engaging . . . accessible and urgent.”
—Henry Jenkins, author of Convergence Culture
“The Art of Immersion is a must read for all filmmakers.”
—Ted Hope, producer of 21 Grams and The Laramie Project
“The Web lets us dive deeper than ever before, though into what is up to us. A new avant-garde is taking the plunge – not underground, but online. For those of us lagging behind, wading rather than diving into art’s new cyber-sphere, Frank Rose makes an excellent guide.” —The Atlantic
★ “Like Marshall McLuhan’s groundbreaking 1964 book, Understanding Media, this engrossing study of how new media is reshaping the entertainment, advertising, and communication industries is an essential read.” —Library Journal
“Fascinating . . . [Frank Rose] talks about how the Internet is changing the way we create and consume narrative. He notes that media innovations, such as radio or television, take a few decades before we learn how to best utilize them. TV started out as live broadcasts and ended up creating a new form of narrative. The Internet started out as a digital repository for print journalism, but is now creating a new form of engagement. ‘We are ceasing to be consumers of mass media,’ says Rose, ‘we are becoming participants in social media—a far more fluid environment in which we simultaneously act as producers, consumers, curators, and commentators, sharing our thoughts and perceptions with people we know and people we don’t.'”
—Arianna Huffington, The Huffington Post
“The worldwide web has already begun to have an influence on imaginative expression. The Internet, as Frank Rose writes in The Art of Immersion, ‘is the first medium that can act like all media. It can be text, or audio, or video, or all of the above. . . .’ According to Rose, ‘a new type of narrative is emerging – one that’s told through many media at once in a way that’s nonlinear, that’s participatory and often game-like, and that’s designed above all to be immersive. This is deep media.'”
—Robert McCrum, The Observer
“Compelling . . . The era of the couch potato, argues Rose, is at an end. . . . From Star Wars to Lost (‘television for the hive mind’), it is the immersive, ‘fractal-like complexity’ of storytelling that turns on digital audiences and sends them online to extend the fantasy via wikis, Twitter and blogs.” —P.D. Smith, The Guardian
“It’s a grand trip, taking in everything from Charles Dickens to Super Mario and Avatar. The book is meticulously researched, persuasively constructed and benefits from an impressive level of access.” —New Scientist
“Tremendously lively and clever . . . An intelligent guide to how technologies have created new opportunities for narrative.” —Scotland on Sunday
“Clear, concise and scrupulously fact-checked . . . For anyone even remotely interested in a how-we-got-here-and-where-we’re-going guide to interactive, socially-networked entertainment, it’s an essential read.” —David Hughes, Empire
“As the American Frank Rose argues in his book The Art of Immersion, TV programmes such as the internationally successful drama Lost have spread out from their original shape, partly . . . because scriptwriters have become influenced by games culture.” —BBC World Service
“An exciting book which shows how the Internet is changing the world of entertainment. . . . Frank Rose describes an ongoing artistic revolution that breaks with traditional, linear narrative and gives us a new understanding of reality.”
“An inquiry into the heart of the culture industry. . . . [The Art of Immersion] reflects on the unstable borders of fiction—before and after the digital revolution—and even on the definition of a work of art.” —Les Inrockuptibles
“With this book, Rose seeks to convey the message that we are only at the beginning of a radical anthropological shift. The revolution brought about by the Internet is altering reality, and this transformed world is inventing its own language and its own codes to portray itself.” —Libération
“A new media bible.” —la Repubblica
“Television has not disappeared, nor will it. But content production is changing profoundly. The networked computer has facilitated the rise of deep media, that is, media which take into account the exhaustion of the unidirectional broadcast model of television, pointing directly to the involvement of the audience as generators of content. It is to these deep media that the book is dedicated.”
—Benedetto Vecchi, il Manifesto
“A comprehensive overview of the evolution of the way we create culture and entertainment.” —la Stampa
“Captivating . . . We’re in the midst of a fascinating – and delirious, often overwhelming – cultural moment, one that Rose, with his important new book, astutely helps us to understand.” —Holly Willis, KCET-TV Los Angeles
“An essential overview . . . Applications in the academic world are clear (it is already on the syllabi for classes at USC and Columbia), but it also constitutes a prerequisite for those wishing to enter Hollywood, and marketers or PR professionals wishing to engage an increasingly fragmented audience.”
—International Journal of Advertising
“In his terrific new book, The Art of Immersion, [Frank Rose] captures the need for new thinking. . . . We need tools to tell new stories for new times, and our stories right now reflect our culture: they’re fragmented, dispersed, remixed and remade. They’re networked and participatory and nonlinear.” —Filmmaker
This book presents an emotion centered research framework titled “emoha” for design innovation. It defines emoha and underlines the importance of the developed framework in culturalization of technology and thereby design innovation. The book explains the detailed research on product styling which leads to the creation of “Emoha” and how to use it in product design.
TrustCloud is an online tool that aggregates peoples’ online social and transactional data, crunches it into a TrustScore and creates dynamic TrustCards that people can embed on their social networks. People use TrustCloud to establish their reputation on their social networks and peer-to-peer buying, selling, sharing and lending platforms.
TrustCloud likens itself to a FICO score that measures creditworthiness:
“TrustCloud gives members in the Sharing Economy the tools for Trust and Accountability that enable better decision-making and improves every transaction. We measure your virtuous online behaviors and transactions to build a portable TrustScore you can easily use within the Sharing Economy.”
How do video games resonate with players to become worldwide hits? This practical book shows you how the right combination of story elements, psychology, and game theory can generate emotionally charged experiences that take players beyond mindless entertainment. Author and experienced game designer Tynan Sylvester takes you through everything from narrative to motivation, using down-to-earth advice and real-world examples. Great games affect people in ways that stories alone cannot, and there are lots of possibilities yet to discover.
This book is a light along that path. Learn how to make practical design decisions and weigh trade offs Establish a planning horizon and test your design through iteration Find low-cost, high-reward solutions for making your game accessible yet deep Understand methods for balancing levels, scheduling rewards, and designing rich multilayer interactions Provide motivation, and discover how to make the game just difficult enough
Peter Downton (Author)
This book argues that design in the fields of architecture, interior design, fashion, industrial design, landscape architecture, and communication design, is a way of inquiring, a way of producing knowing and knowledge. Acceptance of this proposition means designing is a way of researching, since the production of knowledge is central to researching in sciences. The text distinguishes various forms of research used in design, but concentrates on researching through the practices of designing activities themselves. Originally published in 2003, the book has been found useful to people working in wider areas including theatre, performance, craft, and film. This slightly revised edition has been specially prepared for Kindle to satisfy a new readership.
Peter Downton is Professor of Design Research at RMIT University, Melbourne, Australia
Kathleen Gallagher (Editor)
This thought-provoking book challenges the way research is planned and undertaken and equips researchers with a variety of creative and imaginative solutions to the dilemmas of method and representation that plague qualitative research.
Fascinating and inspiring reading for any researcher in the Social Sciences this comprehensive collection encourages the reader to imagine the world in evermore complex and interesting ways and discover new routes to understanding.
Some of the most influential figures in educational research consider questions such as:
- How does a socio-political context change the course of our research?
- What counts as a ‘truthful account’ in qualitative research?
- How do the voices of theory and the voices of ‘research subjects’ struggle to be heard in our research narratives?
- How can qualitative researchers ethically navigate the difficult terrain of research relationships?
- How is the material body rendered in qualitative research?
Each chapter reveals a range of troubling dilemmas related to the critical aspects of research methodology in the Social Sciences and uses an illustrative case to elucidate the issues encountered by the researcher. Each writer brings a fierce philosophical spirit to her work, showing how methods or techniques of data-gathering grow from the theory and analysis of how research proceeds.
A range of topics are addressed in a cross-disciplinary approach which will appeal to all scholars of qualitative research, undergraduate students in education programs and graduate students in a range of disciplines
Businesses and the HCI and Interaction Design communities have embraced design and design research. Design research as a field blends methodologies from several disciplines – sociology, engineering, software, philosophy, industrial design, HCI/interaction design — so designers can learn from past successes and failure and don’t have to reinvent the wheel for each new design (whether it’s a digital product, a building, an airplane or furniture). They take into account form, function, and, ultimately, users.
Many books exist in the research and academic realm for this field, but none create a usable bridge to design practice. Although business people are embracing design, they are not going to become designers. Design researchers need tools to apply their research in the real world.
Design Research through Practice takes advanced design practice as its starting point, but enriches it to build a design process than can respond to both academic and practical problems. The aims of the book are to study three design research traditions that cover methodological directions in current leading research community. Taking you from the Lab, Field and to the Showroom, Ilpo Koskinen and his group of researchers show you successful traditions in design research that have been integrated into processes and products. Bridging the gap from design research to design practice, this is a must have for any designer.
. Gathers design research experts from traditional lab science, social science, art, industrial design, UX and HCI to lend tested practices and how they can be used in a variety of design projects
. Provides a multidisciplinary story of the whole design process, with proven and teachable techniques that can solve both academic and practical problems
. Presents key examples illustrating how research is applied and vignettes summarizing the key how-to details of specific projects
This book captures the state of the art in visual research. Margolis and Pauwels have brought together, in one volume, a unique survey of the field of visual research that will be essential reading for scholars and students across the social sciences, arts and humanities.
The SAGE Handbook of Visual Research Methods encompasses the breadth and depth of the field, and points the way to future research possibilities. It illustrates ‘cutting edge’ as well as long-standing and recognized practices. This book is not only ‘about’ research, it is also an example of the way that the visual can be incorporated into data collection and the presentation of research findings. Chapters describe a methodology or analytical framework, its strengths and limitations, possible fields of application and practical guidelines on how to apply the method or technique.
The Handbook is organized into seven main sections:
– Framing the Field of Visual Research
– Producing Visual Data and Insight
– Participatory and Subject-Centered Approaches
– Analytical Frameworks and Approaches
– Visualization Technologies and Practices
– Moving Beyond the Visual
– Options and Issues for Using and Presenting Visual Research.
Eric Margolis is an Associate Professor in the Hugh Downs School of Human Communication. He is President of the International Visual Sociology Association.
Luc Pauwels is Professor of Visual Culture at the University of Antwerp. He is Chair of the Visual Communication Studies Division of the ICA and Vice-President of the International Visual Sociology Association (IVSA).
Consumers are adopting technology faster than ever: Witness the rapid mainstreaming of devices such as the Apple iPad and Microsoft Kinect for Xbox 360. As some argue wearable devices will be next. Wearable devices, or “wearables” for short, have enormous potential for uses in health and fitness, navigation, social networking, commerce, and media.
In a new report, Forrester argues that wearables will move mainstream once they get serious investment from the “big five” platforms — Apple, Google, Microsoft, Amazon, and Facebook — and their developer communities.
A blog post by the research company lists the key take-aways.
Meanwhile, interaction-design.org has published an extensive chapter on wearable computing, in collaboration with Steven Mann, a tenured professor at the Department of Electrical and Computer Engineering at the University of Toronto.
With the explosive growth in mobile phone usage and rapid rise in search engine technologies over the last decade, augmented reality (AR) is poised to be one of this decade’s most disruptive technologies, as the information that is constantly flowing around us is brought into view, in real-time, through augmented reality. In this cutting-edge book, the authors outline and discuss never-before-published information about augmented reality and its capabilities. With coverage of mobile, desktop, developers, security, challenges, and gaming, this book gives you a comprehensive understanding of what augmented reality is, what it can do, what is in store for the future and most importantly: how to benefit from using AR in our lives and careers.
- Educates readers how best to use augmented reality regarless of industry
- Provides an in-depth understanding of AR and ideas ranging from new business applications to new crime fighting methods
- Includes actual examples and case studies from both private and government applications
SuperBetter, is an online social game designed to build personal resilience in the face of a serious challenge — like an illness or injury, anxiety or depression. SuperBetter can also be used to make a major health change, like losing weight, quitting smoking, or eating better. Players are challenged to build up their core strengths of physical, mental, emotional, and social well-being. SuperBetter helps you achieve your health goals — or recover from an illness or injury — by increasing your personal resilience. Resilience means staying curious, optimistic and motivated even in the face of the toughest challenges.
The creators of the game, SuperBetter Labs, initiated by Gamedesigner Jane McGonical apply technology and design to empower individuals and communities to lead “epic lives.” The lab focuses on creating games that are powered by strong social relationships, positive emotion, and a real sense of purpose. By bringing together science and wisdom with innovative technology and design, SuperBetter Labs explores how we can flourish best and achieve our full human potential — individually, and collectively.
By creating a fully customizable experience backed up by strong scientific principles, SuperBetter allows any player to gain an experience and chase “epic wins”. Players are encouraged to find their “power ups”, small activities that boost their personal well-being while fighting off “bad guys”, activities and emotions that bring them down. In addition, various goal setting challenges and the ability to draw friends in, allows SuperBetter to create an engaging gaming experience with scientific data that is proven to encourage happiness and personal growth.
The creators point out that SuperBetter isn’t a game – “it’s just an awesome tool created by game designers who take the best of games and apply it to your real life so you can get stronger, happier, and healthier”. They state:
►► Why play SuperBetter?
Because you want to:
• Feel stronger every day
• Change what isn’t working
• Tackle a tough challenge
• Reach your goals
• Get more support, and support others
• Have more fun and live with meaning
►► Key Features
• Tackle real-life challenges with customized Quests
• Boost your health and mood with Power-Ups
• Identify Bad Guys that are holding you back
• Join forces with your friends and Allies
• Get advice from over 25 expert-created Power Packs
• Learn the cutting-edge science behind making changes that work
►► SuperBetter is Strength
SuperBetter builds personal resilience: the ability to stay strong, motivated, and optimistic even in the face of a tough challenge.
►► SuperBetter is Feeling Happier and Healthier
Research shows that resilience has a powerful effect on health by boosting physical and emotional well-being.
►► SuperBetter is Smart
Choose from over 25 Power Packs created by experts to help you with your challenges and goals, or design your own adventure for any area of life where you want to get stronger or feel better.
SuperBetter was invented by game designers and created with guidance from doctors, psychologists, scientists, and medical researchers. The investigators of a clinical trial believe that SuperBetter, and positive play games like it, are promising novel interventions that could make a positive difference in the ability of our patients to successfully transition to self care after discharge from therapeutic care.
Press: The SuperBetter Press page
Contact: The SuperBetter Contact page
Scientific background: Superbetter-blog
Via: Games for Change