Human-Experiential Design of Presence in Everyday Blended Reality: Living in the Here and Now

111 Pages·2016·1.66 MB·English

Human–Computer Interaction Series
John Waterworth
Kei Hoshi
Human-Experiential
Design of Presence
in Everyday
Blended Reality
Living in the Here and Now
Human–Computer Interaction Series
Editors-in-chief
Desney Tan, Microsoft Research, USA
Jean Vanderdonckt, Université catholique de Louvain, Belgium
HCI is a multidisciplinary field focused on human aspects of the development
of computer technology. As computer-based technology becomes increasingly
pervasive – not just in developed countries, but worldwide – the need to take a
human-centered approach in the design and development of this technology
becomes ever more important. For roughly 30 years now, researchers and
practitioners in computational and behavioral sciences have worked to identify
theory and practice that influences the direction of these technologies, and this
diverse work makes up the field of human-computer interaction. Broadly speaking
it includes the study of what technology might be able to do for people and how
people might interact with the technology. The HCI series publishes books that
advance the science and technology of developing systems which are both effective
and satisfying for people in a wide variety of contexts. Titles focus on theoretical
perspectives (such as formal approaches drawn from a variety of behavioral
sciences), practical approaches (such as the techniques for effectively integrating
user needs in system development), and social issues (such as the determinants of
utility, usability and acceptability).
Titles published within the Human–Computer Interaction Series are included in
Thomson Reuters’ Book Citation Index, The DBLP Computer Science Bibliography
and The HCI Bibliography.
More information about this series at http://www.springer.com/series/6033
John Waterworth • Kei Hoshi
Human-Experiential Design
of Presence in Everyday
Blended Reality
Living in the Here and Now
123
John Waterworth Kei Hoshi
Department of Informatics School of Art, Architecture and Design
Umeå University University of South Australia
Umeå, Sweden Adelaide, Australia
ISSN 1571-5035
Human–Computer Interaction Series
ISBN 978-3-319-30332-1 ISBN 978-3-319-30334-5 (eBook)
DOI 10.1007/978-3-319-30334-5
Library of Congress Control Number: 2016937419
© Springer International Publishing Switzerland 2016
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Duality is an essential, isn’t it? So long as
there is myself and the other.
(Ursula LeGuin – The Left Hand of
Darkness (1969).)
Contents
Part I Living in Mixed Reality
1 Introduction: Divided Presence in Mixed Reality . . . . . . . . . . . . . . . . . . . . . . . . 3
Introduction .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Feeling Present in Mixed Reality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Presence and Mediated Presence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Fragmented Presence in Mixed Reality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Integrated Presence in Blended Reality Spaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
2 The Problems of Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Introduction .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Objective Versus Subjective Views of Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
The Cognition-Action Dichotomy .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
The Human-User Dichotomy .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Users and User-Centred Systems Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
What Is a Customer? .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Human-Centred and Human-Experiential Design . . . . . . . . . . . . . . . . . . . . . . . . 22
The Virtual-Physical Dichotomy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Part II Human-Experiential Design
3 The Foundations of Human-Experiential Design . . . . . . . . . . . . . . . . . . . . . . . . 31
Introduction .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Design as Mediator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Issues in Design Science and Research . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Design Knowledge in Design Practice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Design Knowledge in a Problem-Solving Paradigm .. . . . . . . . . . . . . . . . . . . . 39
Theoretical Models . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Integrated Design Science: Towards Human-Experiential Design . . . . . . . . . . 42
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
vii
viii Contents
4 Designing with Blends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Introduction: Combining the Physical and the Virtual . . . . . . . . . . . . . . . . . . . . . . 47
Metaphors and Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Image Schemata and Metaphorical Projection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Image Schemata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Metaphorical Projections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Implications for Human-Experiential Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Blends and What They Add to Metaphors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Desktop Interface as Blend . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
5 Bridging Contextual Gaps with Blended Reality Spaces . . . . . . . . . . . . . . . . 61
Introduction .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
The Importance of Context . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
The Contextual Reality Framework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Contextual Reality Gaps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Bridging Contextual Gaps Through Blended Reality Spaces . . . . . . . . . . . . . . . 67
Tangibility and Co-presence in Blended Reality Space . . . . . . . . . . . . . . . . . . . . . 69
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Part III Blending Reality
6 Designing Blended Reality Spaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Introduction .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
A Blended Reality Game . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Physiotherapy for Children . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
A Blended Reality Space for Socially Isolated Older People . . . . . . . . . . . . . . . 83
Blending Ambient Displays and Tangible Objects . . . . . . . . . . . . . . . . . . . . . . . 85
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
7 Acting and Interacting in the Here and Now . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Introduction .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Designing for Humans . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Acting and Interacting in the Here and Now . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
In Conclusion .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Author Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Subject Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
List of Figures
Fig. 3.1 High context-low context . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Fig. 3.2 Humans in everyday life and rational scientific design research .. . . . 41
Fig. 4.1 Sensual experience of bodily balance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Fig. 4.2 Imaginary axis and BALANCE schema . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Fig. 4.3 Metaphorical projection as a trace of the natural flow of action . . . . . 55
Fig. 4.4 Generic space and blended space. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Fig. 4.5 PC “desktop” as blend . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Fig. 5.1 The contextual reality framework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Fig. 5.2 The contextual reality gap between people at home and
professional people in the healthcare domain.. . . . . . . . . . . . . . . . . . . . . . . . 65
Fig. 5.3 Tangible presence in blended reality space . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Fig. 5.4 Blended reality space expressed in the terms of the
people, activities, contexts, and technologies (PACT) framework .. . 68
Fig. 5.5 Different types of presence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Fig. 5.6 Physical and virtual worlds correspond with each other
to create the sense of being together between remote sites . . . . . . . . . . 70
Fig. 6.1 Experimental conditions: 1st person perspective . . . . . . . . . . . . . . . . . . . . . 78
Fig. 6.2 Experimental conditions: 3rd person perspective.. . . . . . . . . . . . . . . . . . . . 79
Fig. 6.3 Users at remote sites cooperatively collaborate on
rehabilitation by using the object in four different roles . . . . . . . . . . . . . 81
Fig. 6.4 Prototype physical rehabilitation game with two
different tangible interaction devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Fig. 6.5 AGNES: a context-sensitive home-based interactive system . . . . . . . . 85
Fig. 6.6 Ambient display in AGNES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Fig. 6.7 Ambient display as blend .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Fig. 6.8 Tangible objects in AGNES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Fig. 6.9 Tangible object as blend . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Fig. 7.1 Acting in the here and now in blended reality space . . . . . . . . . . . . . . . . . 97
ix