HCI International Conference

研討會名稱:HCI International 2020
地點:Copenhagen, Denmark
日期:2019.7.19-7.24

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2019.12.17 孟昕報告

報告者:孟昕
報告PPT:PPT

文獻題目:
Weaving Objects: Spatial Design and Functionality of 3D Woven Textiles

文獻作者:
Claire Harvey, Emily Holtzman, Joy Ko, Brooks Hagan, Rundong Wu, Steve Marschner and David Kessler

文獻來源:https://dl.acm.org/citation.cfm?id=3320137&picked=formats

摘要:
3D weaving is an industrial process for creating volumetric material through organized multiaxis interlacing of yarns. The overall complexity and rarity of 3D weaving have limited its market to aerospace and military applications. Current textile design software does not address the ease of iterating through physical trialing so necessary for designers to access this medium. This paper describes the development of a series of volumetric textile samples culminating in the creation of a fully formed shoe and the collaboration with computer scientists to develop a visualization tool that addresses the consumer accessory design opportunities for this medium.

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2019.12.17 劉學致報告

報告者:劉學致
報告PPT: PPT

文獻題目:Remnance of Form: Interactive Shadows as Altered Views of Objects

文獻作者:
Sang-won Leigh, Asta Roseway,  Ann Paradiso

文獻來源:
https://www.mitpressjournals.org/doi/abs/10.1162/leon_a_01717

摘要:
The projective nature of light results in distorted shadows, the remnants of physical forms, no different from any human perception that is governed by subjectivity. This work seeks to widen the gap between the objective world and the perception of it by programmatically altering the association between an object and its shadow. The shadow can transform or be animated, demonstrating a range of personality and emotion. On the other hand, the visual and interaction gestalts of our installation are carefully designed to emulate physical shadows. By juxtaposing the poetic interpretation of the shadow and realistic visuals, we explore the evocation of strong personal connections with an object and its shadow.

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2019.1217趙立報告


報告者:趙立
報告PPT:PPT

文獻題目:Augmented Fauna and Glass Mutations: A Dialogue Between Material and Technique in Glassblowing and 3D Printing

文獻作者:Tobias Klein

文獻來源:paper / website

摘要:
3D printing allows unprecedented freedom in the design and manufacturing of even the most geometric complex forms—seemingly through a simple click of a button. In comparison, the making of glass is an analogue craftsmanship, coordinating an intricate interplay of individual tools and personal skills, giving shape to a material during the short time of its temperature-based plasticity. The two artworks discussed in this article, Augmented Fauna and Glass Mutations, were created during the artist’s residence at the Pilchuck Glass School and articulate a synthesis between digital workflows and traditional craft processes to establish a digital craftsmanship.

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2019.1217 王新仁報告


報告者:王新仁

報告:https://docs.google.com/presentation/d/14eGTUsCWuHmlNyGR3lewmYig1l3g4czjuqfsy1bz70I/edit#slide=id.p

文獻題目:A Multimodal View into Music’s Effect on Human Neural, Physiological, and Emotional Experience

文獻作者:
Timothy Greer, Benjamin Ma, Matthew Sachs, Assal Habibi, Shrikanth Narayanan

文獻來源:ACM Multimedia 2019 ACM MM’19

摘要:
Music has a powerful influence on human experience. In this paper, we investigate how music affects brain activity, physiological response, and human-reported behavior. Using auditory features related to dynamics, timbre, harmony, rhythm, and register, we predicted brain activity in the form of phase synchronizations in bilateral Heschl’s gyri and superior temporal gyri; physiological response in the form of galvanic skin response and heart activity; and emotional experience in the form of continuous, subjective descriptions reported by music listeners. We found that using multivariate time series models with attention mechanisms are effective in predicting emotional ratings, while vector-autoregressive models are effective in predicting involuntary human responses. Musical features related to dynamics, register, rhythm, and harmony were found to be particularly helpful in predicting these human reactions. This work adds to our understanding of how music affects multimodal human experience and has applications in affective computing, music emotion recognition, neuroscience, and music information retrieval.

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2019.1217 廖志唯報告


報告者:廖志唯

報告PPT: PPT

文獻題目:Digital Heritage: Bringing New Life to the Montreux Jazz Festival’s Audio-Visual Archives with Immersive Installations

文獻作者:
Nicolas Henchoz / Allison Crank

文獻來源:
https://www.mitpressjournals.org/doi/pdf/10.1162/leon_a_01646

https://dl.acm.org/citation.cfm?id=3203089

摘要:
To revive the Montreux Jazz Festival’s archival live-concert footage, three immersive installations were designed using three different principles of augmentation, physicality and interaction. The primary aim was to engage the user in a new relationship with digitized heritage. Audience observations indicated a strong emotional connection to the content, the artist and the crowd, as well as the development of new social interactions. Experimentation showed close interaction between the three principles, while the three installations suggested methodologies for reviving audio-visual archives.

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2019.1119 孟昕報告

報告者:孟昕
報告PPT:PPT

文獻題目:數位製造在服裝設計之可能性:以簡約風格操作3D列印設計為例

文獻作者:陳昱安

文獻來源:
https://ndltd.ncl.edu.tw/cgi-bin/gs32/gsweb.cgi/ccd=kBBnpV/webmge?mode=basic

摘要:
服裝的發展與人類製造技術息息相關,從最初個人用途的手工藝開始,歷經社會與消費經濟的轉變,服裝產業已轉變為分工細緻且生產眾多的全球大型製造產業。現今,服裝產業在快速時尚從策劃、生產到零售一體化的管理模式下,確實滿足了消費者的需求,卻也導致服裝被過量生產,並造成資源的浪費,由於生產思維與發展模式停滯不前,所以服裝產業是全球最多勞動力的產業,並為第二大污染的產業是僅次於石化工業。每個階段的工業革命皆促使產業結構的蛻變並適應新的生產趨勢,其中,第三次工業革命(Digital Revolution)提出的數位化製造與新型材料的應用衝擊了所有產業鏈,不同於以往服裝設計製程從原料到織造布料再至裁剪車縫,數位製造以參數建構可以配合設計需求客製化並快速調整,而做為目前最受歡迎之一的數位製造方法,3D列印技術能簡省原本布料裁剪、洗染等工序造成的資源耗損,此外3D列印材料的回收與再造,也提供服裝產業朝向未來材料永續發展的可能性。本研究參考現今的數位製造與3D列印服裝案例設計與創作,以參數化設計與3D列印技術的運用作為服裝設計的主軸。作品《split into separate》與《point, line, surface》示範整合設計到製造的方法。呈現非裝飾、簡約風格的3D列印服裝設計。最終,記錄操作過程與問題,提供服裝產業相關研究者設計研發的參考。

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2019.1119 劉學致報告

報告者:劉學致
報告PPT:http://save.liuxuezhi.net/20191119eDiary.pdf

文獻題目:eDiary: 個人情感視覺化之日誌
文獻作者:張芳慈
文獻來源:國立臺北藝術大學-圖書館

摘要:
本論文試圖探討如何將程式視覺與藝術創作結合,並實際創作互動裝置作品來詮釋情緒釋放狀態與物件之間的互動關係。論文內容以 「互動性」、「程式視覺」、「情緒表現」與「物件媒介」作為主軸討論方向。
論文中提出的作品以「新媒體藝術之互動性」、「程式語言的視覺美學」、「程式影像之互動創作」、「情緒資訊與創作宣洩」與「互動裝置與互動媒介」五個面向出發,整合互動科技、程式視覺、感測器等技術,透過不同的互動方式與媒材,讓作品在創作上有更多發展空間。也將學習到的技術與經驗應用在藝術表現上,透過〈The Comb〉與〈The Weekly Diary〉作品來詮釋本論文想傳達的議題,藉由作品闡述了筆者長期透過程式視覺進行情緒釋放的狀態。

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2019.1119 王新仁報告

報告者:王新仁

報告PPT:https://docs.google.com/presentation/d/13ZWyLXjocnvhOMOEmK0LnfSVc5G71cGT0dltw6RiIvU/edit?usp=sharing

文獻題目:基於音樂風格及情緒之內容式音樂資訊檢索系統
文獻作者:林志翰

文獻來源:https://ir.nctu.edu.tw/handle/11536/46615

摘要:
在目前行動裝置與網路快速發展下,線上音樂產業逐漸被重視,該如何從 大量的音樂中挑選出適合使用者的音樂,變成相當重要的一項議題,因此有效 且彈性的音樂資訊檢索系統,是值得研究的一個方向。
在本篇論文中,主要以音訊內容為基礎的音樂資訊檢索為研究目標,針對 音樂風格和音樂情緒進行分析研究。研究的部份包含響度、音調、音高、音色 和節奏五大類的音樂特徵進行分析,同時也探討如何建構音樂情緒模型。在針 對分類方法上,我們使用三種機器學習(SVM、k-NN 和 LDA)的方法交叉分析 並比對各種方式以取得最好的音樂風格分類成效,經過 10 層交叉驗證得到 82% 的辨識率,而音樂情緒則使用 SVR 建構情緒模型。最後一部份,我們試 圖整合訓練完成的音樂資料模型,並實作出一套音樂資訊檢索系統雛形 – MuZhi。

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2019.1119 廖志唯報告


報告者:廖志唯

報告PPT:https://drive.google.com/file/d/1BwGIgLQRRuEu6lkMhvcEmdaW3EDplUVR/view?usp=sharing

文獻題目:虛擬實境遊戲中的腦波應用對遊戲互動設計之研究

文獻作者:曹益維

文獻來源:
https://ndltd.ncl.edu.tw/cgi-bin/gs32/gsweb.cgi/ccd=PimJLd/record?r1=3&h1=32#XXX

摘要:
隨著電腦與影音訊號的傳遞速度大躍進,使Virtual Reality發展日益蓬勃,從遊戲娛樂、行銷展演、甚至切入到教育面,不同領域的人才相繼在VR領域投入許多資源,大開眼界的創新應用也不斷地被開發出來。然而,VR搭配的各種外部裝置,像是象徵雙手的手把、抓取使用者位置的基地台等,它們的目的不外乎是協助使用者直覺化的操作,還預期使用者在遊戲中達到沉浸狀態。此時,倘若加入一種能即時反應使用者腦部狀態的設備──腦波儀,它除了能以測得的腦波數值,實際在遊戲中反饋給使用者,另外,它還能讓開發者在後端蒐集腦波數據,最終達成獲得遊戲反饋資訊與創造使用者互動模式的雙贏局面。本研究實作在VR遊戲中導入腦波系統,設計專屬的互動方式,並提供分析方法與實作結果。希望此研究可以讓VR遊戲開發者、相關學者在未來創造出更多新的應用。

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2019.1119趙立報告

報告者:趙立
報告PPT:PPT

文獻題目:國小主題式學習自造教育的行動研究:以環境教育為例
文獻作者:張乃文
文獻來源:台灣博碩士論文知識加值系統

摘要:
研究者在國小藝術領域教學中,發現現行主題統整課程還是多以單向單科的教學模式為主,且在動手做的學習應用上也常受限於時間和領域教學內容,導致見樹不見林的教學導向,常使學生認為課程單調乏味,而失去學習的自主性,學習成效也不好。故研究者期望透過行動研究,發展主題式學習自造教育的統整課程,以改善研究者於統整課程的教學困境,並分析其課程成效,進而增進研究者教學專業能力,以因應十二年國教課程綱要教育理念和學習趨勢。
本研究採行動研究法,研究者與服務國小合作,於課後社團實施主題式學習自造教育的行動研究,並以主題式學習、設計思考、社群共創和動手做為課程理念,發展主題式學習自造教育的課程設計,並在課程規劃中,透過教學資源運用和協同教學等方式進行課程活動。本研究對象以國小一到六年級對設計和藝術有興趣的學生和協同教師,教學時間共19週於每週三下午進行課程,教學地點除了國小教室外,也與在地社區資源發展學習場域。在資料蒐集部分,透過研究者教學日誌、協同教師觀察紀錄、訪談紀錄、錄音拍照等相關田野資料,進行三角檢測法的分析、歸納與教學反省,以理解和分析主題式學習自造教育的課程學習成效。據此,研究者經歸納與整理後,提出以下結論與建議:
一、於國小課後社團的主題式學習自造教育的課程設計理念與教學內涵,是以「主題」的議題課程,進行認知、情意和技能的跨領域學習整合,教師以「學生」為中心,並以「協作者」角色,進行教學引導,並以就地取材的方式,運用設計思考和設計概念,發展動手做的設計自造課程活動。
二、於國小實施主題式學習自造教育的教學資源運用和協同教學的合作模式,可以透過網路社群平台尋找合作對象,並善用其合作對象的專長、差異性和跨領域性,以及溝通策略,聚焦學習目標,增進課程的多元性與跨域性。
三、於國小課後社團實施主題式學習自造教育的課程學習成效,可以提升學生設計概念和設計思考的方法、啟發設計美感經驗、提升動手做的問題解決能力、增進跨領域的統整和應用能力、改變學生之於合作學習的觀點,以及增進學習自主性。
四、研究者於行動研究的專業知能能力成長與啟發,是發展以主題式學習自造教育的統整課程方案,藉此提升研究者的教學整合能力、發展教學資源運用的合作關係、善用溝通策略與管道建立親師生關係,以致建構結合社區資源的社會設計教學目標。

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2019.1105 廖志唯報告

報告者:廖志唯
報告PPT:https://drive.google.com/file/d/1mk_jAJECAbMg-kWILz9wGvMXn0IppP73/view?usp=sharing

文獻題目:ECHO
文獻作者:Georgie Pinn | Electric Puppet, Kendyl Rossi

文獻來源:
http://archive.aec.at/prix/showmode/61069/
https://www.electric-puppet.com.au/current-work

摘要:
The key intention of *Echo* is to create a vehicle for the exchange of empathy. As the world becomes more complex and digitally connected, the role of empathy is becoming increasingly important as an antidote to personal loneliness and an ideological isolation.
The iterative artwork *Echo* takes the form of an interactive booth installation. The work is relational and explores notions of connection through an interactive exchange of personal narratives. *Echo* utilizes innovative real-time facial capture and tracking technology and combines it with animation, storytelling, and portraiture to make connections between strangers. The intention is to build and share a culturally diverse archive of stories and songs to enable an embodied, cross-cultural experience that elicits compassion.
The 3-minute experience, framed inside a booth, is reminiscent of the priest’s confessional and the photo booth. Once seated inside, a touch screen becomes a talking virtual mirror. *Echo*, a female AI character guides the participant, explaining that she can “help you connect”. Your face is captured and then you are directed to select the face of another. Once chosen, you find yourself face-to-face with that person’s personal story that reveals a life challenge, win, or hardship. As the narrative unfolds, your pixelating features slowly inch and glitch onto the narrator’s face, ending with your lips uttering their final words. It is a strange feeling as you see your face subtly hijacked by the virtual other, blurring the boundaries between you and them, and shifting your perception through empathy.
When this is completed you are asked if you would like to donate your own narrative or song. Should you decide to do so the installation transforms into an automated recording environment, allowing privacy and personal space in which to author. Adversity becomes a powerful tool for learning and, when shared with a complete stranger, can assist in breaking down stereotypes and prejudices.

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2019.1105 孟昕報告

報告者:孟昕

報告PPT:《The other in You》——孟昕

影片:http://www.ycam.jp/en/events/2017/the-other-in-you 
 https://youtu.be/OzNU4_W_cEM

文獻題目:THE OTHER IN YOU
文獻作者:Richi Owaki +YCAM(JP)
文獻來源:http://archive.aec.at/prix/showmode/61572/

摘要:
*The Other in You*, developed as a new way to experience dance, has realized a novel dance audience experience. We assembled the cutting-edge Computer Graphics, haptic feedback device which directly express the dance to the body, 16 stereophony channels sound and research on Virtual Reality techniques to realize this work.
How can we relate to others, who are supposed to be distant from us? Do we really know what it is to “see”? *The Other in You* is an attempt to revive the notion of our body in relation to an object, a notion, which had been forgotten in the act of watching.
The movement of the dancer, Tomohiko Tsujimoto is captured with a motion capture system. The data is converted into 3DCG to create virtual dancers covered with black skin. Using VR technology, the views of the audience move freely during the performance and the dancers get very close to the audience—an unlikely situation with ordinary dance theater. In addition, screened by 3D sensor cameras, the audience members themselves virtually come to appear in the VR images.
The work is based on Richi Owaki’s meditations on the dance theater audience. Often, audiences are required to stay in fixed seats in the dark and quietly watch the stage. However, this is a recent phenomenon. It became the norm only after the modern theater system was established.
*The Other in You* sheds light on the physicality of the audience which we, including the audience themselves, have forgotten along the way. At some point during the performance, the point of sight of the viewer leaves their own body and they see themselves from above. This out-of-body sensation is a unique experience VR offers.
Playing with this phenomenon, Richi Owaki challenges the idea of “selfness.” The body we are seeing moves the same way as we move behind the helmet, but there is a sense that that body isn’t really our body. For Richi Owaki, watching dance is an act of “seeking others in oneself” or “oneself in others.” The title suggests we are not divided from each other, but rather an extension of one another.

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2019.1105 王新仁報告

報告者:王新仁
報告PPT:https://reurl.cc/qDveOD
影片:https://vimeo.com/259129367

文獻題目:AI DJ PROJECT —  A DIALOG BETWEEN HUMAN AND AI THROUGH MUSIC
文獻作者:Shoya Dozono, Qosmo, Nao Tokui
文獻來源:http://archive.aec.at/prix/showmode/61564/

摘要:
The system of AI DJ consists of the following three features:
1. Music selection
We trained three different neural networks for inferring genres, musical instruments and drum machines used in the track from spectrogram images. AI DJ “listens” to what human DJ plays and extracts auditory features using those networks. The extracted features are compared with those of all tracks in our pre-selected record box, so that the system can select the closest one, which presumably has similar musical tone/mood.
2. Beatmatching
It is also a task for AI DJ to control the pitch (speed) of the turntable to match the beat. We used “reinforcement learning” (RL) to teach the model how to speed up/down, nudge/pull the turntable to align downbeats through trials and errors. For this purpose, we built an OSC-compatible custom turntable and robot fingers to manipulate.
3. Crowd-reading
A good DJ should pay attention to the energy of the audience. We utilize a deep learning-based motion tracking technique to quantify how much people in the audience dance to the music AI plays for future music selection.
We have performed several times in different locations in Japan and Europe. AI’s slight unpredictability always brought amusing tension into the performance and gave new ideas to human DJs on what/how to play music as a DJ. AI is not a replacement for the human DJ. Instead, it is a partner that can think and play alongside its human counterpart, bringing forth a wider perspective of our relationship to contemporary technologies.

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2019.1105 劉學致報告

報告者:劉學致
報告PPT:http://save.liuxuezhi.net/20191105MarbleMachine.pdf

影片:
文獻題目:MARBLE MACHINE
文獻作者:Martin Molin, Wintergatan(In alphabetical order)
文獻來源:http://archive.aec.at/prix/showmode/52900/

摘要:
Martin Molin (SE), a founding member of Wintergatan (SE), decided in November 2014 to switch gears and embark on a visionary project: to build a programmable Marble Machine. Three days after releasing the *Marble Machine* video, it had been viewed over 10 million times around the world. Wintergatan is a close­knit operation that takes pride in the ability to adapt and invent. The four members of the band all play several instruments, and if a new instrument is needed, one of them figures out how to use it.

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