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Sus Lundgren

Chalmers University of Technology, Interaction design, Faculty Member

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My current research interests are: interaction with mobile devices; describing interaction; gameplay design patterns; and design methodology.

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Papers by Sus Lundgren

Toying with Time: Considering Temporal Themes in Interactive Artifacts

This paper argues that there is a value in deliberately and systematically exploring potential te... more This paper argues that there is a value in deliberately and systematically exploring potential temporal behaviors of an interactive artifact, either as a means to add new functions, or to change the interaction with it. An improved version of Temporal Themes [23] – a vocabulary describing how software can “use” time or sequences of events – will be presented, alongside a series of design cases. These exemplify how adding or changing temporal themes in existing applications can enhance functionality and/or interaction. Moreover, the cases also serve as a basis for a discussion of the issues coupled to temporality, control and interaction strategies. Finally, a design approach with focus on temporal aspects is outlined. As a result, the paper opens up for a more conscious use of time and temporality in interaction design.

What Drivers Really Want: Investigating Dimensions in Automobile User Needs

Understanding what users need, as opposed to what they say they need, can be a challenge. In orde... more Understanding what users need, as opposed to what they say they need, can be a challenge. In order to better address users’ true needs, two consecutive methods were used in this study: Future Workshops and Repertory Grid Technique. The Future Workshops—where 21 participants designed for two different future scenarios—opened up for inscribing need expressions and possibilities into five futuristic automobile concepts. These concepts were used as a basis for the Repertory Grid, a technique where users compare objects, describing properties that they find to be important or significant. In this study, 78 participants provided 390 constructs of properties, which were refined to 19 dimensions relevant to user needs. Two study measures, Evaluative Ability and Descriptive Richness, indicate which methods to use when exploring the need dimensions further. Finally, the analysis of the constructs and dimensions point towards how three aspects of vehicles and driving are emerging: how novel technology should, or should not, support driving; how the automobile can be seen as something else than just a means of transportation, and how an automobile could be a part of a greater collective of vehicles.

Neither Playing nor Gaming: Pottering in Games

Games can support many types of activities. This paper explores one of these, pottering, the pla... more Games can support many types of activities. This paper explores
one of these, pottering, the placid but yet focused activity of arranging and rearranging things, taking care of them, “sorting
them out”. Five games which support pottering are analyzed using gameplay design patterns to show how game mechanics can give rise to the activity. As a result, six patterns especially linked to pottering are presented in greater detail. Moreover, the idea of viewing games as artifacts that can support several, sometimes overlapping, activities, is being explored and discussed.

Alchemy: Dynamic Gesture Hinting for Mobile Devices

Users of smartphones and other mobile gesture interfaces are often left to explore possible inter... more Users of smartphones and other mobile gesture interfaces are often left to explore possible interactions in the interface by themselves; there is currently no generic way to indicate which gestures can be made where. This is problematic. Thus, we propose gesture hinting as a means to deal with this: it serves as a combination of static hinting, dynamic visual hinting and cursor hinting, showing users which gestures are currently available. In short we propose having a set of symbols, one for each possible gesture, which can be combined into gesture hints describing how the user can interact with the part of the interface she or he is currently pointing at. As a proof of concept we have developed Alchemy, a gesture hinting application running on iOS, just to verify that it is possible to implement gesture hinting. As a result of this design process we discuss issues related to gesture hinting in general and Alchemy in particular; suggest possible solutions; and also point out further issues that need to be taken into account when applying gesture hinting, e.g. temporal effects and gestures for more than two fingers.

Interaction-related Properties of Interactive Artifacts

Over the years, several attempts have been made to describe properties of interactive artifacts a... more Over the years, several attempts have been made to describe properties of interactive artifacts and/or interaction. However, these attempts tend to describe more than one aspect, e.g. combining artifact properties with aspects of the user’s experience and/or with aspects that arise in use. Or, authors have focused on a small subset of qualities, or very overarching or very domain-specific qualities.
This is an attempt to describe only interaction-related properties of interactive artifacts in themselves, i.e. explicitly focusing on what can actually be inscribed into an interactive artifact (as opposed to what the user may experience, or what may happen during interaction). The aim has been to extend the interaction designer’s vocabulary, providing a means for discussing, analyzing and comparing the interactive aspects of things. The collection of properties is comparably extensive; it contains 30 properties related to six different categories: Interaction; Expression; Behavior; Complexity; Time and Change; and Users. It can be used in several ways – to analyze and discuss properties of an artifact, as a checklist during design, and lastly as a design tool – what happens if we start out with an artifact and then change the attributes?

Teaching and Learning Aesthetics of Interaction

Thesis for the degree of Doctor of Philosophy. This dissertation is framed as an action research ... more Thesis for the degree of Doctor of Philosophy. This dissertation is framed as an action research project, aiming to explore different means of teaching aesthetics of interaction. As such, it consists of a case study describing the work with a course in interaction design entitled “Aesthetics of Interaction”. Different views on aesthetics of interaction are discussed, as well as seeing interaction and temporality as design materials. These are then applied or utilized in design exercises as well as in other aspects of teaching. The result is threefold: - Firstly, the approach to teach, learn and discuss aesthetics of interaction in terms of aesthetic ideals. These are seen as aims of design, and do also illustrate that there is more than one possible, and valid, view on aesthetics of interaction. Six ideals are described; Coherency, Efficiency, Criticism, Sensing, Emotion and Playfulness. - Secondly, a series of design exercises in the form of stand-alone learning objects. They are highlighting various aspects of aesthetics of interaction such as interaction per se, temporality, and of course the different aesthetic ideals. The exercises are thoroughly described with observations on what can be considered hard, examples of outcomes and suggestions on how to skew exercises towards a slightly different aim. - Thirdly, one possible syllabus for teaching aesthetics of interaction. To some extent the case description in itself can be valuable as well since it touches upon many common issues in design teaching.

Facets of fun: On the design of computer augmented entertainment artifacts

Thesis for the Degree of Licentiate of Engineering. This thesis discusses the design of interacti... more Thesis for the Degree of Licentiate of Engineering. This thesis discusses the design of interactive entertaining artifacts such as computer games and computer augmented toys, games and objects. The aim has been to find and/or develop design tools – i.e. methods and approaches – that can be used when designing such artifacts in general, and when aiming for an emotional response or tempting challenge in particular. Another aim is to inspire game designers, interaction designers, product designers, artists and everyone else interested by describing actual projects where interactive entertainment artifacts have been created. Five tools are being presented, each with an accompanying case. They are:

Slow technology; an approach to create a challenging object by using ambiguity, thus promoting reflection. This is being exemplified by the Interactive Quilt, which is an enigmatic combination of a jukebox and a quilt.

Animal Expression Transfer; an approach that can be used to create emotional responses to an artifact by transferring animal traits onto an object, as in the case of the Iron Horse, a computer augmented bike making horse-sounds.

Game Mechanics for Computer Augmented Board Games; a set of building stones for computer augmented board games, suitable for increasing, decreasing or regulating the challenge in a game. They widen the design space of the traditional board game by enabling complex functionality that does not burden the user, but enrichens the game experience. The projects MultiMonsterMania, a collectible and interactive card game with the accompanying game The Hatchery exemplify this.

Game Design Patterns; a pattern language for games that can be used to discuss, analyze and design games of any kind, amongst them also computer augmented games. How this can be done is being demonstrated in the description of a workshop.

The Forces-Clashes-Remnants-model; a design model for iterative multidisciplinary game design. It is being exemplified by describing the design process of myTHeme, a computer augmented storytelling game for non-storytellers.”

Exploring the Interplay Between Emotions and Interaction

Proceedings of the third Nordic Design Research …, Jan 1, 2009

There seems to be a Catch-22 involved in designing interaction; it’s very hard to do it without d... more There seems to be a Catch-22 involved in designing interaction; it’s very hard to do it without designing an artifact too. How can we keep our main focus away from purpose, function, form and material in order to put interaction first? This paper presents two design exercises that in combination highlight how emotions and expressions affect each other in design, an how interaction in turn, can be used to strengthen or express an emotion.

Exploring aesthetical gameplay design patterns: camaraderie in four games

Proceedings of the 14th …, Jan 1, 2010

This paper explores how a vocabulary supporting design-related discussions of gameplay preference... more This paper explores how a vocabulary supporting design-related discussions of gameplay preferences can be developed. Using the preference of experiencing camaraderie as an example, we have analyzed four games: the board games Space Alert and Battlestar Galactica, the massively multiplayer online game World of Warcraft, and the cooperative FPS series Left for Dead. Through a combination of the MDA model on how game mechanics give rise to game aesthetics via game dynamics, and the concept of aesthetic ideals in gameplay, we present gameplay design patterns related to achieving camaraderie. We argue that some of these patterns can be seen as aesthetic gameplay design patterns in that they are closely related to aesthetic ideals. Further, as a consequence, gameplay design pattern collections which include patterns related to all levels of the MDA model can be used as design tools when aiming for certain gameplay aesthetics.

Exploring aesthetic ideals of gameplay

… in Games, Play, Practice and Theory …, Jan 1, 2009

This paper describes a theoretical exploration of aesthetics ideals of gameplay. Starting from ob... more This paper describes a theoretical exploration of aesthetics ideals of gameplay. Starting from observations about the game artifact, several gameplay properties that can affect the aesthetical experience are identified, e.g. tempting challenges, cohesion, and gamer interaction. These properties are then used to describe several aesthetical ideals of gameplay, e.g. emergence, reenactment, meditative, and camaraderie. The properties and ideals provide concepts for how games attribute aesthetical value to gameplay design and how they distinguish their own preferences from inherent qualities of a game artifact.

Treating and teaching aesthetics as personality

Proceedings of the 5th Nordic conference on Human- …, Jan 1, 2008

This is not the anguished work of some angst-ridden young poet; instead it is the result of a con... more This is not the anguished work of some angst-ridden young poet; instead it is the result of a conversation between a group of digital personalities, manifested as dolls trapped in an elevator, but also in graphics, in words and wording, in gestures and in relations and reactions. The system is called Physical Poets, and the creation of it was a workshop aiming at teaching interaction design students how to reason about, and make, aesthetic decisions.

Teaching design in large heterogeneous classes

About Interfaces, Jan 1, 2009

Teaching Aesthetics in Interaction Design: Attempt One

Proceedings of the International Conference of Human …, Jan 1, 2009

The issue of aesthetics is complex, and the discussion on how to apply it to interaction design h... more The issue of aesthetics is complex, and the discussion on how to apply it to interaction design has hardly begun. Hence, there is not much written on how to teach this subject; this paper consists of a suggestion. Here, I will describe my work with the course Aesthetics of Interaction, and my initial intentions behind it. The course consisted of lectures, literature discussions, excursions, exercises and feedback sessions, and the examination form was to hand in a portfolio. It turned out to be a creative and interesting journey with highlights such as the intricacies of designing playful interaction, evoking angst, mimicking Word's design, adding time to art, redesigning the Office assistant and more. These and the other parts of the course will be analyzed and discussed in relation to their learning outcomes in terms of my observations and the students' own comments. Consequently, possible changes and improvements will also be discussed.

FEATURE Time, temporality, and interaction

interactions, Jan 1, 2009

COVER STORY Designing games: why and how

interactions, Jan 1, 2008

The examples above all come from my life as an interaction/ gameplay designer or teacher of these... more

Controlled Confusion: Teaching complex multidisciplinary group work

Proceedings of the International Conference of Human …, Jan 1, 2008

The project described in this paper exemplifies how interaction design students can be prepared f... more The project described in this paper exemplifies how interaction design students can be prepared for working in groups that are part of a larger, complex, multidisciplinary structure. It shows how a task can be designed to engage a whole class of students, letting each student be a member of at least two groups; one related to that student's assigned discipline, and one related to the sub-project that he or she is working in. This way of intertwining groups necessitates and enables communication. The general aim of the project is to increase the understanding of working in these kinds of structures, help students to explore strategies for doing it successfully, inculcate the necessity of communication, clarity and leadership, encourage respect for people from other disciplines, and develop negotiation and communication skills. How the project can be focused towards certain aims is also discussed, as is its strengths, weaknesses and special requirements.

Teaching Gameplay Design is Teaching Interaction Design

Proceedings of the International Conference of Human …, Jan 1, 2008

This paper describes the benefits of integrating gameplay design in interaction design teaching s... more This paper describes the benefits of integrating gameplay design in interaction design teaching since this allows students to practice designing for unusual situations, considering ethic and aesthetic issues as well as issues of use and abuse, often all in the same project. Some examples -ranging from a three week group project to a half day exercise -are described, each together with aims and noted learning outcomes related to interaction design, as well as with a general discussion. In addition, a few student projects are described together with learning outcomes. Finally the pros and cons of this approach are discussed, and educators willing to try it, but inexperienced in games, are getting some useful information on what to look into.

Teaching interaction design: Matters, materials and means

DRS Wonderground …, Jan 1, 2006

The designer works with people, with materials, with products. Designers are seen as people conce... more The designer works with people, with materials, with products. Designers are seen as people concerned with form, function and surface. But how often is the designer associated with technology? Still programming can be just as a creative activity as drawing. Deriving from experiences from the discipline of Interaction Design, we advocate a wider view on what a designer is and does by describing how we treat computational technology as any other design material and how we train engineering students and others into becoming designers in a technology-oriented environment. Our method to create an education in applied Interaction Design lends ideas from traditional design education, for instance open problems and exhibitions of results, but also incorporates high-fidelity prototyping and multidisciplinary projects carried out by heterogeneous groups, since this lies in the nature of the subject and the students.

Game mechanics: Describing computer-augmented games in terms of interaction

Proceedings of TIDSE, Jan 1, 2003

We report how new types of games can be created using the possibilities of embedded computing, se... more We report how new types of games can be created using the possibilities of embedded computing, sensors, new output devices and ad-hoc wireless networks while keeping characteristics from traditional noncomputerized games. Applying both a technological and use-oriented research approach, we identified a number of new interaction acts made possible by the new technology. These are described using game mechanics, a concept developed by the game design community. The identified mechanics, together with examples of games using them, are described as well as the benefits and limitations of using the game mechanic concept.

Forces, clashes and remnants: a model for event-driven iterative multidisciplinary game design

Proceedings of the 2005 ACM SIGCHI …, Jan 1, 2005