Our study introduces an open general-purpose platform for the embodiment of conversational AI systems. Conversational User-interface Based Embodiment (CUBE) is designed to streamline the integration of embodied solutions into text-based dialog managers, providing flexibility for customization depending on the specific use case and application. CUBE is responsible for naturally interacting with users by listening, observing, and responding to them. A detailed account of the design and implementation of the solution is provided, as well as a thorough examination of how it can be integrated by developers and AI dialogue manager integrators. Through interviews with developers, insight was gained into the advantages of such systems. Additionally, key areas that require further research were identified in the current challenges in achieving natural interaction between the user and the embodiments. CUBE bridges some of the gaps by providing controls to further develop natural non-verbal communication.
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Aim: There is often a gap between the ideal of involving older persons iteratively throughout the design process of digital technology, and actual practice. Until now, the lens of ageism has not been applied to address this gap. The goals of this study were: to voice the perspectives and experiences of older persons who participated in co-designing regarding the design process; their perceived role in co-designing and intergenerational interaction with the designers; and apparent manifestations of ageism that potentially influence the design of digital technology. Methods: Twenty-one older persons participated in three focus groups. Five themes were identified using thematic analysis which combined a critical ageism ‘lens’ deductive approach and an inductive approach. Results: Ageism was experienced by participants in their daily lives and interactions with the designers during the design process. Negative images of ageing were pointed out as a potential influencing factor on design decisions. Nevertheless, positive experiences of inclusive design pointed out the importance of “partnership” in the design process. Participants defined the “ultimate partnership” in co-designing as processes in which they were involved from the beginning, iteratively, in a participatory approach. Such processes were perceived as leading to successful design outcomes, which they would like to use, and reduced intergenerational tension. Conclusions: This study highlights the potential role of ageism as a detrimental factor in how digital technologies are designed. Viewing older persons as partners in co-designing and aspiring to more inclusive design processes may promote designing technologies that are needed, wanted and used.
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from the article: "We present a case study as part of an investigation into the value of Embodied theory for the design of mixed physical digital interactive products. An interactive light system was designed that empowers an independent living person with an Autistic Spectrum Disorder (ASD) in managing domestic activities. Reflecting on the case we develop our vision of Embodied Functionality (EF). Designing for EF goes beyond ‘distributing’ information technology in the environment. It aims at creating interactive physical digital products that play a functional role (i.e. become part of) a person’s embodied being‐in‐the- world, involving a person’s identity. It does so by utilizing existing structure and by supporting action ‐perception couplings, reflection in- and on action and autonomy in social coordination. EF opens up an alternative design space holding the promise of a more successful appropriation of interactive (assistive) products into people’s everyday lives. "
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What if living organisms communicated signals from the environment to us and thereby offered a sustainable alternative to electronic sensors? Within the field of biodesign, designers and scientists are collaborating with living organisms to produce new materials with ecological benefits. The company Hoekmine, in collaboration with designers, has been researching the potential of flavobacteria for producing sustainable colorants to be applied on everyday products. These non-harmful bacteria can change their form, texture and iridescent color in response to diverse environmental factors, such as humidity and temperature. Here, billions of cells are sensing and integrating the results as color. Therefore, Hoekmine envisions biosensors, which would minimize the use of increasingly demanded electronic sensors, and thus, the implementation of scarce and toxic materials. Developing a living sensor by hosting flavobacteria in a biobased and biodegradable flexible material offers opportunities for sustainable alternatives to electronic sensors. Aiming to take this concept to the next level, we propose a research collaboration between Avans, Hoekmine and a company specialized in biobased and biodegradable labels, Bio4Life. Together with this interdisciplinary team, we aim to bridge microbiology and embodiment design, and contribute to the development of a circular economy where digital technology and organic systems merge in the design of Living Circular Labels (LCLs). Throughout the project we will use an iterative approach between designing and testing LCLs that host living flavobacteria and additionally, methods for the end user to activate the bacteria’s growth at a given time.
The PhD research by Joris Weijdom studies the impact of collective embodied design techniques in collaborative mixed-reality environments (CMRE) in art- and engineering design practice and education. He aims to stimulate invention and innovation from an early stage of the collective design process.Joris combines theory and practice from the performing arts, human-computer interaction, and engineering to develop CMRE configurations, strategies for its creative implementation, and an embodied immersive learning pedagogy for students and professionals.This lecture was given at the Transmedia Arts seminar of the Mahindra Humanities Center of Harvard University. In this lecture, Joris Weijdom discusses critical concepts, such as embodiment, presence, and immersion, that concern mixed-reality design in the performing arts. He introduces examples from his practice and interdisciplinary projects of other artists.About the researchMultiple research areas now support the idea that embodiment is an underpinning of cognition, suggesting new discovery and learning approaches through full-body engagement with the virtual environment. Furthermore, improvisation and immediate reflection on the experience itself, common creative strategies in artist training and practice, are central when inventing something new. In this research, a new embodied design method, entitled Performative prototyping, has been developed to enable interdisciplinary collective design processes in CMRE’s and offers a vocabulary of multiple perspectives to reflect on its outcomes.Studies also find that engineering education values creativity in design processes, but often disregards the potential of full-body improvisation in generating and refining ideas. Conversely, artists lack the technical know-how to utilize mixed-reality technologies in their design process. This know-how from multiple disciplines is thus combined and explored in this research, connecting concepts and discourse from human-computer interaction and media- and performance studies.This research is a collaboration of the University of Twente, Utrecht University, and HKU University of the Arts Utrecht. This research is partly financed by the Dutch Research Council (NWO).Mixed-reality experiences merge real and virtual environments in which physical and digital spaces, objects, and actors co-exist and interact in real-time. Collaborative Mix-Reality Environments, or CMRE's, enable creative design- and learning processes through full-body interaction with spatial manifestations of mediated ideas and concepts, as live-puppeteered or automated real-time computer-generated content. It employs large-scale projection mapping techniques, motion-capture, augmented- and virtual reality technologies, and networked real-time 3D environments in various inter-connected configurations.This keynote was given at the IETM Plenary meeting in Amsterdam for more than 500 theatre and performing arts professionals. It addresses the following questions in a roller coaster ride of thought-provoking ideas and examples from the world of technology, media, and theatre:What do current developments like Mixed Reality, Transmedia, and The Internet of Things mean for telling stories and creating theatrical experiences? How do we design performances on multiple "stages" and relate to our audiences when they become co-creators?Contactjoris.weijdom@hku.nl / LinkedIn profileThis research is part of the professorship Performative Processes
"Rising Tides, Shifting Imaginaries: Participatory Climate Fiction-Making with Cultural Collections," is an transdisciplinary research project that merges information design, participatory art, and climate imaginaries to address the pressing challenge of climate change, particularly the rising sea levels in the Netherlands. The doctoral research project aims to reimagine human coexistence with water-based ecosystems by exploring and reinterpreting audiovisual collections from various archives and online platforms. Through a creative and speculative approach, it seeks to visualize existing cultural representations of Dutch water-based ecosystems and, with the help of generative AI, develop alternative narratives and imaginaries for future living scenarios. The core methodology involves a transdisciplinary process of climate fiction-making, where narratives from the collections are amplified, countered, or recombined. This process is documented in a structured speculative archive, encompassing feminist data visualizations and illustrated climate fiction stories. The research contributes to the development of Dutch climate scenarios and adaptation strategies, aligning with international efforts like the CrAFt (Creating Actionable Futures) project of the New European Bauhaus program. Two primary objectives guide this research. First, it aims to make future scenarios more relatable by breaking away from traditional risk visualizations. It adopts data feminist principles, giving space to emotions and embodiment in visualization processes and avoiding the presentation of data visualization as neutral and objective. Second, the project seeks to make scenarios more inclusive by incorporating intersectional and more-than-human perspectives, thereby moving beyond techno-optimistic approaches and embracing a holistic and caring speculative approach. Combining cultural collections, digital methodologies, and artistic research, this research fosters imaginative explorations for future living.
