call for content: Design Films Embodied Interaction Research Techniques at ArcInTex in Eindhoven

[danielle wilde]

Call for Design Films: ArcInTex Symposium

Design Films: Embodied Interaction Research Techniques
Danielle Wilde & Oscar Tomico

Video has always been a great way to portray interactive products. The Design Films Track of the Eindhoven ArcInTex Symposium has been created to explore the impact of video in design, in particular in relation to embodied interaction research techniques. Over two days we will screen experimental videos, movies and fashion films, as well as design documentaries and advertising that relates to Architecture, Interaction Design and Textiles. The aim is to enable considered engagement with design practices and research techniques in process, as well as outcomes that foreground embodied interaction. Successful submissions will be shown alongside curated content. We expect a variety of submissions from researchers, students, companies, artists, and institutions.

Key dates:

Submissions: 19 September 2014
Notification of acceptance: 26 September 201
Camera-ready versions: 6 October 2014
Screening: 15 & 16 October 2014

Websites:

ArcInTex Symposium: http://arcintex.hb.se/conferences-workshops/
Design Films Track: http://dqi.id.tue.nl/sts/call-for-design-films/



Call for Design Films:

While embodied interaction continues to gain currency, reporting of methods and techniques used in embodied research generation remains a challenge. Conferences [20], special journal issues [13, 21], workshops [11] and doctoral theses [9, 12, 23] are increasingly devoted to the subject. Yet embodied methods are not readily communicated through the written or spoken word. When embodiment is integral to design research, communication of the techniques and methods used to undertake such research should also, arguably, be embodied. Yet such an approach is not practical.

Embodied interaction plays out in many different ways, bringing together and bridging different disciplines and approaches. Some researchers use the body and movement as a material: melding performing arts and interaction design techniques [24]; using Mindfulness and Somaesthetics [17] to develop theories and practices around core mechanics and experiential artefacts [19]; using dance and phenomenology to develop improvisational methods [3, 7, 8], and bring focus to the knowing body [1, 15, 16]. Other researchers investigate relationships between creating, performing, and perceiving aesthetic embodied practices [18]; use the body as an instrument of cognition [6]; and aesthetic experience as a mechanism for design [14]. Yet others champion the need for the designer as movement expert [4], foregrounding the expressive power of gesture, stressing the importance of skilled action when designing interaction, bringing focus to the experience of use [2]. Designed representations of movement are also used to evaluate user experience, map interactions, and explore different sensing technologies [5, 10, 22], and in design schools, many students undertake wild experiments informed by embodied approaches, yet there seems to be little room in the research arena for deep consideration of how their experiments might inform mature practices. Because of this breadth and diversity of practice, a major challenge remains: coherency of communication.

The Embodied Interaction Research Techniques Design Film series is part of an ongoing inquiry into effective methods for knowledge transfer of embodied research techniques. We are calling for contributions from concerned participants, interested in sharing research methods, and exploring the role film and video might play in supporting effective knowledge transfer.

Submission Info:

We invite interested parties to submit a video of any length in a style that best communicates their embodied research, making use of narrative, poem, graphic story, images intertwined with text, flipbook animation etc. Films and Videos should be HD, formatted for viewing 16:9 and in MP4 format using the H.264 codec. We do encourage succinctness, but longer format works will be considered equally. Importantly, videos must be accompanied by an Annotated Pictorial submission (min. 2 pages), using the DIS Pictorials template to provide a lens through which to consider and understand the intentions of the video. The screening will take place at de Zwarte Doos Cinema, in Eindhoven, The Netherlands, during the ArcInTex Symposium. Annotated Pictorials and videos should be submitted by means of a downloadable link in an e-mail to: [e-mail] & [e-mail].

We encourage submissions from diverse backgrounds including (but not limited to): interaction design, embodied design research, smart textiles, fashion and wearable technologies, product, systems and experience design, industry and non-profit organizations. Submissions will be selected based on originality, quality, and potential for extending the discussion around the dissemination of embodied interaction research techniques. Films and Videos will be disseminated online, through ArcInTex, after the symposium screening and selected submissions will be invited to contribute to a special issue of a research journal.

References:

[1] Corness, G. & Schiphorst, T. (2013). Performing with a system’s intention: embodied cues in performer-system interaction. In: Proceedings of the Creativity & Cognition Conference, Sydney, Australia(pp156-164). NY: ACM Press.
[2] Djajadiningrat, T., Matthews, B., and Stienstra, M. (2007) Easy doesn’t do it: skill and expression in tangible aesthetics. Personal and Ubiquitous Computing, 11(8). (pp.657-676).
[3] Hansen, L.K. & Kozel, S. (2007) Embodied imagination: a hybrid method of designing for intimacy. Digital Creativity, 18(4), (pp. 207-220).
[4] Hummels, C., Overbeeke, C. J. & Klooster, S. (2007). Move to get moved: a search for methods, tools and knowledge to design for expressive and rich movement-based interaction. In Personal and Ubiquitous Computing, 11(8), (pp. 677-690).
[5] Jeon, E. (2011) ‘Enriched Aesthetic Interaction’ through sense from haptic visuality. In: Proceedings of the International Design Alliance (IDA) Congress Education Conference (pp. 28-35). Taipei, Taiwan.
[6] Kirsh, D. (2010). Thinking with the Body. In: Proceedings of the 32nd Annual Conference of the Cognitive Science Society (pp. 2864-2869). Austin, TX: Cognitive Science Society.
[7] Kozel, S. Closer: Performance, Technologies, Phenomenology. (2008) Cambridge: MIT Press.
[8] Kozel, S. (2010). The virtual and the physical: A phenomenological approach to performance research. In M. Biggs and H. Karlsson (Eds.) The Routledge Companion in Research in the Arts. London: Routledge.
[9] Loke, Lian (2009). Moving and Making Strange: A Design Methodology for Movement-based Interactive Technologies. PhD diss., University of Technology, Sydney.
[10] Loke, L., Robertson, T. (2013) Moving and making strange. ToCHI Transactions on Computer Human Interaction 20(1), Article 7
[11] MOCO (2013) International workshop on movement and computing http://moco.ircam.fr/
[12] Moen, J. (2006) Kinaesthetic Movement Interaction. PhD diss., KTH Royal Institute of Technology, Sweden
[13] Personal & Ubiquitous Computing (2007) Special issue on movement-based interaction 11(8), London: Springer-Verlag
[14] Ross, P., & Wensveen, S. (2010). Designing aesthetics of behavior in interaction: Using aesthetic experience as a mechanism for design. International Journal of Design, 4(2), (pp. 3-13).
[15] Schiphorst, T. & Andersen, K. (2004). Between bodies: Using experience modeling to create gestural protocols for physiological data transfer. In: Proceedings of the Conference on Human Factors in Computing Systems (CHI’04) Fringe Papers. New York: ACM Press.
[16] Schiphorst, T., Sheppard, R., Loke, L., Lin, C. (2013) Beautiful Dance Moves. In Proceedings of the Creativity and Cognition Conference, Sydney. New York: ACM Press.
[17] Shusterman, R. (2008) Body Consciousness: A Philosophy of Mindfulness and Somaesthetics. Cambridge University Press.
[18] Stjernholm, J. (2011). Moving through the virtual: A dramaturgy of choreographic practice and perception. Dance Dramaturgy: Catalyst, Perspective and Memory. In Proceedings of the Society of Dance History Scholars Conference, Toronto. Toronto University: SDSH.
[19] Sundström, P., Vaara, E., Solsona, J., Wirström, N., Lundén, M., Laaksolhati, J., Waern, A., Höök, K. (2011) Experiential Artifacts as a Design Method for Somaesthetic Service Development. Proc. ACM symposium on The role of design in UbiComp research & practice. (pp33-36) Ubiquitous Computing 2011. Beijing, China. New York: ACM Press
[20] TEI Tangible, Embedded and Embodied Interaction Conference http://tei-conf.org
[21] ToCHI Transactions on Computer Human Interaction (2013) Special issue on the theory and practice of embodied interaction 20(1)
[22] Uğur, S. Wearing (2013) Embodied Emotions, A Practice Based Design Research on Wearable Technology. Milan: Springer.
[23] Wilde, D. (2012) Swing That Thing : Moving to move. PhD Diss., Monash University & CSIRO, Australia.
[24] Wilde, D. Schiphorst, T. Klooster, S. (2011) Move to Design • Design to Move: a conversation about designing for the body Interactions 18(4) July+August 2011


Call as pdf: https://dl.dropboxusercontent.com/u/7732820/DesignFilms.pdf