Move to be Moved

2013

The development of interactive technology is often based on the assumption of need to reduce the physical action and cognitive load of the user. However, recent conceptualizations, supported by research in various fields of science, emphasize human physical action in cognitive processes and knowledge formation. In fact, physical and closely related imaginary movement can be seen as the quintessence of humanity. Acknowledging this should imply a new approach to the design of interactive technology. In the current study, we propose a choreographic approach for shifting the focal point of interaction design to the aspects of human activity and movement within a technologized context. Hence, the proposed approach does not isolate use-related actions, which traditionally have been emphasized in interaction design, from the other activities of a person. The application of the methodological approach is divided into micro, local and macro levels, thus covering actions from minimal muscular activity of an individual to global movement-relevant issues.

Interactions, 2011

Independent design-choreographer | info@sietskeklooster.nl edge, expertise, or connoisseurship that otherwise eludes articulation. In traditional design education, we are encouraged to keep personal viewpoints and experiences at arm's length. Felt experience is idiosyncratic and difficult to articulate, and, despite the shared experience of being human, may vary dramatically. Bodies have different fits, feelings, and ways of moving. These differences affect design processes and outcomes. By considering body-based design as an emergent, phenomenological process, the personal experiences of designers can become an important, if not central, part of the design process.

Challenges, 2013

The development of interactive technology is often based on the assumption of need to reduce the physical action and cognitive load of the user. However, recent conceptualizations, supported by research in various fields of science, emphasize human physical action in cognitive processes and knowledge formation. In fact, physical and closely related imaginary movement can be seen as the quintessence of humanity. Acknowledging this should imply a new approach to the design of interactive technology. In the current study, we propose a choreographic approach for shifting the focal point of interaction design to the aspects of human activity and movement within a technologized context. Hence, the proposed approach does not isolate use-related actions, which traditionally have been emphasized in interaction design, from the other activities of a person. The application of the methodological approach is divided into micro, local and macro levels, thus covering actions from minimal muscular activity of an individual to global movement-relevant issues.

European Conference on Games Based Learning

Along with technology trends like extended reality, wearables, IoT, and exergames, new design approaches have emerged, focusing on full-body interactions by actively working with the lived body’s capacity to sense, feel, and create. Thus, designers are recommended to use movement as part of the design activity when designing for and of movement, regardless of the targeted application domain. However, designing for bodily experiences is challenging. We have identified a gap of no movement-based design framework available, including the moving body as the centre part and core material of the design processes. We recognise the human body is more than a physical object in the world, but a feeling, perceptualising body, that creates meaning in interaction with the environment. It thus frustrates and challenges us to reach a bodily grounded design process embracing the lived body. A common framework informed by the theoretical aspect of embodied cognition and the practical element of move...

Challenges 2013 4(1): 103-115

The development of interactive technology is often based on the assumption of need to reduce the physical action and cognitive load of the user. However, recent conceptualizations, supported by research in various fields of science, emphasize human physical action in cognitive processes and knowledge formation. In fact, physical and closely related imaginary movement can be seen as the quintessence of humanity. Acknowledging this should imply a new approach to the design of interactive technology. In the current study, we propose a choreographic approach for shifting the focal point of interaction design to the aspects of human activity and movement within a technologized context. Hence, the proposed approach does not isolate use-related actions, which traditionally have been emphasized in interaction design, from the other activities of a person. The application of the methodological approach is divided into micro, local and macro levels, thus covering actions from minimal muscular activity of an individual to global movement-relevant issues.

Personal and Ubiquitous Computing, 2007

The world is inherently meaningful for us, i.e. we perceive the world in terms of what we can do with it, and by physically interacting with it we access this meaning and express the meaning. We believe that this is the core reason and foundation for turning to movement-based interaction. ‘Interaction creates meaning’ does not only hold for users during interaction but also for designers when generating ideas and developing concepts. Therefore, we postulate that if one truly likes to design for movement-based interaction, one has to be or become an expert in movement, not just theoretically, by imagination or on paper, but by doing and experiencing while designing. In order to do so, we believe that designers need design tools, techniques, knowledge, awareness and skills that support their search for expressive, rich behaviour. Our search for this support resulted in several methods, tools and knowledge that help designers exploring, visualising and reflecting on interactions. Our developed methods and tools such as the Design Movement approach with its choreography of interaction, gestural design tools, interactive installations and interactive tangible sketching, have not only supported and inspired designers to design for movement-based interaction, but also resulted in surprising, fresh designs in comparison with the limited scope of rather uniform and traditional electronic consumer products. This paper discusses the possibilities and limitations of our approach.

This paper offers the beginnings of a methodological framework for the design of body-centric artifacts, understood as those that use embodied self-awareness as a tool for bodily self-knowledge and wellbeing. We present a case study on the design of artifacts to be applied in the self-practice of the psychotherapeutic technique Focusing. The autobiographical journey of the researcher is documented in the use of different methods to be integrated into design research, such as crafting devices through autoethnographic phenomenological annotations, the application of secondperson methods such as facilitated interaction for novices, and the use of a design kit to be tested by previously trained users. Even though wellbeing is a core concern of this project, the application of autoethnographic exploration through Focusing has an important creative potential, particularly in the generation of selfreporting narratives informed by somatic exploration. These rich descriptions can be utilised as a core construction material in the creation of art and design pieces for bodily understanding.

Proceedings of the 24th Australian Computer-Human Interaction Conference on - OzCHI '12, 2012

This paper is motivated by our work in the European Culture project "Faust -or dis-inventing the A-bomb". The project explored how to raise consciousness about distressing technology development through dialogue with old and young people. When reviewing our work it struck us that we had overlooked that some of the prototypes designed by the young participants called for embodied participation. We had naively expected to see sheer technology innovations of the future. Here we reflect on sensitivities for the bodily/physical will to interact.

This paper advocates for supporting movement awareness in ubiquitous computing as a means of transforming technology design through an approach that considers movement as an experiential component of interaction rather than a solely functional one. Somatic awareness, or the awareness of the body from the inside, is one of the primary components of movement experience, yet its resource for technology design is not yet fully understood within the field of Human-Computer Interaction (HCI). The inclusion of phenomenological movement experience in computational interaction has the potential to improve user experience, enhance the fidelity and quality of communication, and produce heightened engagement for users. Although somatic awareness has received little attention within HCI, other disciplines offer theories and frameworks that can inform the development of technology to support movement awareness. Through the discussion of theories of embodiment from a diverse range of disciplines including cognitive science, dance, somatic practices, and philosophy, this paper presents an argument for the importance of movement experience as a component of interaction with technology. It provides a history of movement within HCI, highlighting movement’s role in a variety of theories and frameworks, and identifies two distinct approaches toward the utilization of movement in HCI— task oriented and experience-oriented. An in-depth discussion of experience-oriented approaches illustrates the importance of movement and somatic awareness as necessary components of ubiquitous computing systems.

Informatics

A set of prominent designers embarked on a research journey to explore aesthetics in movement-based design. Here we unpack one of the design sensitivities unique to our practice: a strong first person perspective-where the movements, somatics and aesthetic sensibilities of the designer, design researcher and user are at the forefront. We present an annotated portfolio of design exemplars and a brief introduction to some of the design methods and theory we use, together substantiating and explaining the first-person perspective. At the same time, we show how this felt dimension, despite its subjective nature, is what provides rigor and structure to our design research. Our aim is to assist researchers in soma-based design and designers wanting to consider the multiple facets when designing for the aesthetics of movement. The applications span a large field of designs, including slow introspective, contemplative interactions, arts, dance, health applications, games, work applications and many others.