Walking meetings are a promising way to reduce unhealthy sedentary behavior at the office. Some aspects of walking meetings are however hard to assess using traditional research approaches that do not account well for the embodied experience of walking meetings. We conducted a series of 16 bodystorming sessions, featuring unusual walking meeting situations to engage participants (N=45) in a reflective experience. After each bodystorming, participants completed three tasks: a body map, an empathy map, and a rating of workload using the NASA-TLX scale. These embodied explorations provide insights on key themes related to walking meetings: material and tools, physical and mental demand, connection with the environment, social dynamics, and privacy. We discuss the role of technology and opportunities for technology-mediated walking meetings. We draw implications for the design of walking meeting technologies or services to account for embodied experiences, and the individual, social, and environmental factors at play.
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Creative arts engagement has been shown to be related to maintaining wellbeing in older adulthood (Tymoszuk et al., 2019). For people living with dementia, music can be engaging and rewarding (Baird & Thompson, 2018), and is often presented as a therapeutic activity. It is theorised that music’s capacity to effect change is due to its engaging, emotional, physical, personal, social and persuasive qualities (Brancatisano et al., 2020). However, music itself is a complex intervention (Loui, 2020) and the ‘creative’ in music activities in the small number of studies with people living with dementia is rarely described or critiqued (Creech et al., 2020). Music is often described as passive (receptive)/active to reflect different listening or playing activities. Only a few studies detail opportunities for people living with dementia to exercise creativity (e.g. Zeilig et al., 2019).Technology to assist these musical interactions in dementia falls under distinct categories of listening to music, or playing music, with very little afforded in the way of agency, choice or control (MacRitchie et al., 2023). A few possible explanations could be: i) the musical activity is valued in terms of pre/post cognitive or social changes (Kontos & Grigorovich, 2018) i.e., the activity itself is not particularly critiqued, ii) creativity is assumed to be embedded in the activity and does not need to be enhanced or supported, iii) the locus of creativity is in cognitive processes occurring in the brain, so people living with dementia are often ascribed a passive role in creative musical interactions (Zeilig et al., 2019). We propose a new way of thinking about musical interactions for people living with dementia, building from the enactive, embodied experience of music (Schiavio et al., 2022), and considering a more relational view. Leaving aside the framing where the person with dementia is limited in what creativity they can offer, we propose instead a framework of design where subtle acts of agency and (mini-C) creativity are afforded, supporting a myriad of musical interactions that sit between listening and performing.
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Background:Current technology innovations, such as wearables, have caused surprising reactions and feelings of deep connection to devices. Some researchers are calling mobile and wearable technologies cognitive prostheses, which are intrinsically connected to individuals as if they are part of the body, similar to a physical prosthesis. Additionally, while several studies have been performed on the phenomenology of receiving and wearing a physical prosthesis, it is unknown whether similar subjective experiences arise with technology.Objective:In one of the first qualitative studies to track wearables in a longitudinal investigation, we explore whether a wearable can be embodied similar to a physical prosthesis. We hoped to gain insights and compare the phases of embodiment (ie, initial adjustment to the prosthesis) and the psychological responses (ie, accept the prosthesis as part of their body) between wearables and limb prostheses. This approach allowed us to find out whether this pattern was part of a cyclical (ie, period of different usage intensity) or asymptotic (ie, abandonment of the technology) pattern.Methods:We adapted a limb prosthesis methodological framework to be applied to wearables and conducted semistructured interviews over a span of several months to assess if, how, and to what extent individuals come to embody wearables similar to prosthetic devices. Twelve individuals wore fitness trackers for 9 months, during which time interviews were conducted in the following three phases: after 3 months, after 6 months, and at the end of the study after 9 months. A deductive thematic analysis based on Murray’s work was combined with an inductive approach in which new themes were discovered.Results:Overall, the individuals experienced technology embodiment similar to limb embodiment in terms of adjustment, wearability, awareness, and body extension. Furthermore, we discovered two additional themes of engagement/reengagement and comparison to another device or person. Interestingly, many participants experienced a rarely reported phenomenon in longitudinal studies where the feedback from the device was counterintuitive to their own beliefs. This created a blurring of self-perception and a dilemma of “whom” to believe, the machine or one’s self.Conclusions:There are many similarities between the embodiment of a limb prosthesis and a wearable. The large overlap between limb and wearable embodiment would suggest that insights from physical prostheses can be applied to wearables and vice versa. This is especially interesting as we are seeing the traditionally “dumb” body prosthesis becoming smarter and thus a natural merging of technology and body. Future longitudinal studies could focus on the dilemma people might experience of whether to believe the information of the device over their own thoughts and feelings. These studies might take into account constructs, such as technology reliance, autonomy, and levels of self-awareness.
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This project assists architects and engineers to validate their strategies and methods, respectively, toward a sustainable design practice. The aim is to develop prototype intelligent tools to forecast the carbon footprint of a building in the initial design process given the visual representations of space layout. The prediction of carbon emission (both embodied and operational) in the primary stages of architectural design, can have a long-lasting impact on the carbon footprint of a building. In the current design strategy, emission measures are considered only at the final phase of the design process once major parameters of space configuration such as volume, compactness, envelope, and materials are fixed. The emission assessment only at the final phase of the building design is due to the costly and inefficient interaction between the architect and the consultant. This proposal offers a method to automate the exchange between the designer and the engineer using a computer vision tool that reads the architectural drawings and estimates the carbon emission at each design iteration. The tool is directly used by the designer to track the effectiveness of every design choice on emission score. In turn, the engineering firm adapts the tool to calculate the emission for a future building directly from visual models such as shared Revit documents. The building realization is predominantly visual at the early design stages. Thus, computer vision is a promising technology to infer visual attributes, from architectural drawings, to calculate the carbon footprint of the building. The data collection for training and evaluation of the computer vision model and machine learning framework is the main challenge of the project. Our consortium provides the required resources and expertise to develop trustworthy data for predicting emission scores directly from architectural drawings.
Postdoc research project Transformation through Interactive Narrative DesignMedia psychologist dr. Christian Roth's postdoc project Transformation through Interactive Narrative Design (TIND) is part of the Professorship Performative Creative Processes, the school Games & Interaction, and the Expertisecentrum Onderzoek, Innovatie en Internationalisering (OOI). Here, Christian interweaves education and practice-oriented research. He studies the artistic, pedagogical and academic perspectives regarding the power of transformation through applied Interactive Narrative Design (IND).Within the two-year postdoc research project TIND, Christian studies the training of interactive narrative designers with the goal of developing teaching methods and learning tools for artists and designers, such as game and interaction designers, to enable them to create more effective artefacts.Why interactive narrative design?IND offers agency, defined as the ability to influence narrative progression and outcomes in a meaningful way. As such, it carries the potential to create and emotional impact and spark transformative change. This enables interactors to explore different points of view and to feel the weight of their own choices and consequences. This, in turn, allows for a more thorough understanding of complex multi-stakeholder issues, which could have a significant impact on the success of emerging artistic, and learning applications.The TIND project will enable designers through an interdisciplinary approach, including applied game design, immersive theatre, behavioral and cognitive psychology, and the learning sciences.A good example for offering different perspectives on a complex topic is the narrative simulation Mission Zhobia: Winning the Peace, which is used for the training of peacekeepers. Or the news game, I am Mosul, which aims to raise awareness around the effects of war by bringing it close to home: choose your Dutch city and make choices on how to survive if the war was there. And the interactive story Adventures with Anxiety offers a new understanding by letting interactors play anxiety embodied within a wolf. IND is a complex and challenging interdisciplinary field in which design knowledge from other media can often not be directly transferred. As a new medium, it introduces new affordances in technique and user experience. This requires practice-based research for further development of the educational format, demonstrating its potential while identifying and overcoming common learners’ challenges. This project aims to develop a framework for the design and evaluation of meaningful interactive narrative experiences that effectively stimulate a variety of cognitive and emotional responses such as reflection, insight, understanding, and potential behavior change. It provides tools, methods and activities to enable aspiring or practicing narrative designers through an interdisciplinary approach, including game design, immersive theatre, behavioral and cognitive psychology, and the learning sciences.HKU education means to prepare students for success in the creative industries and IND plays an important role for current and future jobs in education, arts and entertainment. IND has the potential to create an emotional impact and spark transformative change by offering agency, defined as the ability to influence narrative progression and outcomes in a meaningful way. This enables interactors to feel the weight of their own choices and their consequences, to explore different perspectives, and to more thoroughly understand complex multi-stakeholder issues, which could have significant impact on the success of emerging artistic, and learning applications.The planned output is a collection of design tools and methods for interdisciplinary workshops and courses, which can be integrated into different curricula at the HKU, thereby enhancing existing programs while enabling the refinement of training methods. Once completed, this postdoc project delivers a training method with multiple applications designed to harness the power of interactive storytelling for transformative personal and societal impact.ColloborationsThe research project is directly embedded in the curriculum of the HKU schoolGames & Interaction with annual educational offerings such as the Minor Interactive Narrative Design (MIND) and HKU wide broad seminars. Course evaluation and literature research will be used to create new and adjusted training for different HKU schools and the industry.More informationAre you interested to learn more about the postdoc research project Transformation through Interactive Narrative Design? Get in touch with Christian Roth: christian.roth@hku.nl
