Last year, I was approached by Jim Foley to transform my dissertation on the challenges facing pen computing into an article for the IEEE Computer Graphics and Applications magazine. This was a very interesting experience, especially when it came time to distill an entire thesis down into a few pages! The process of disseminating my work in a venue that doesn’t commonly focus on HCI or pen computing was a very good exercise, as it made me reflect on why my work was important to the body of research knowledge as a whole, and the importance of articulation and conciseness when writing.
The ubiquity and mobility of contemporary computing devices has enabled users to consume content, anytime, anywhere. Yet, when we need to create content, touch input is far from perfect. When coupled with touch input, the stylus should enable users to simultaneously ink, manipulate the page, and switch between tools with ease, so why has the stylus yet to achieve universal adoption? The author’s thesis sought to understand the usability barriers and tensions that have prevented stylus input from gaining traction and reaching widespread adoption. This article in particular explores the limits of human latency perception and evaluates solutions to unintended touch.
Woo! Next month, I will be going to Brisbane, Australia to present work that was done last summer in the DGP Lab by myself, Matthew Lakier, and Mingzhe (Franklin), about Haunted User Interfaces. We were interested in developing new ways that information could be conveyed to users in a household setting and used ideas from haunted and paranormal phenomenon to do so.
Our animatronic moose built from LEGO and Servo Motors!
Along with a number of prototypes, we also ran a Mechanical Turk study to gather information about the objects people have in their living rooms and how they interact (or as it turned out, ignore) these objects. We also synthesized the survey results, prototypes, and construction lessons into a Haunted Design Framework that can be used to develop or re-imagine interfaces for the home.
A quick video illustrating some of the ideas and prototypes:
Abstract: Within this work, a novel metaphor, haunted design, is explored to challenge the definitions of display’ used today. Haunted design draws inspiration and vision from some of the most multi-modal and sensory diverse experiences that have been reported, the paranormal and hauntings. By synthesizing and deconstructing such phenomena, four novel opportunities to direct display design were uncovered, e.g., intensity, familiarly, tangibility, and shareability. A large scale design probe, The Living Room, guided the ideation and prototyping of design concepts that exemplify facets of haunted design. By combining the opportunities, design concepts, and survey responses, a framework highlighting the importance of objects, their behavior, and the resulting phenomena to haunted design was developed. Given its emphasis on the odd and unusual, the haunted design metaphor should great spur conversation and alternative directions for future display-based user experiences.
I am so super, super excited and honored to have been chosen as the 2015 recipient of the L’Oréal-UNESCO For Women in Science – NSERC Postdoctoral Fellowship Supplement! It was an honor before to win an NSERC PDF, but to be recognized for my contributions to advancing women in science and my research interests is beyond amazing.
The winners of the L’Oreal Canada and L’Oreal-UNESCO awards (I am one of the only in pants!)!
The awards presentation was held in Ottawa, Ontario, at the French Embassy so I got to have my first visit to the nation’s capital (the National Gallery of Canada is fabulous!). Never did I imagine that I would get to go to an Embassy, so it was a real treat to meet and learn about the lives of diplomats and those who make decisions about funding at NSERC.
Art Deco and some fabulous marble!
Feels just like a Castle in France.
The press release, which also announces a fabulous new program from L’Oreal supporting women in science, can be found here.
This year at UIST (November 2015), I will be fortunate enough to give two presentations. The first is on the unintended touch ToCHI work that I did at Microsoft Research and the second is on a new project that I undertook while at Autodesk Research and the DGP Lab at the University of Toronto. As I am a papercrafter and love using my Silhouette machine, back in January / February I began working on a small idea to create a unique menu for my wedding. The end result was MoveableMaker (and a number of menus!), a novel software application that automates the creation of interactive, moveable papercraft. More wedding details will soon follow (and I can now talk about it) and the UIST publication will be posted as it becomes available.
Wedding Menu pre-MoveableMaker
Wedding Menu post-MoveableMaker (everything is much cleaner and required must less effort)
In this work, we explore moveables, i.e., interactive papercraft that harness user interaction to generate visual effects. First, we present a survey of children’s books that captured the state of the art of moveables. The results of this survey were synthesized into a moveable taxonomy and informed MoveableMaker, a new tool to assist users in designing, generating, and assembling moveable papercraft. MoveableMaker supports the creation and customization of a number of moveable effects and employs moveable-specific features including animated tooltips, automatic instruction generation, constraint-based rendering, techniques to reduce material waste, and so on. To understand how MoveableMaker encourages creativity and enhances the workflow when creating moveables, a series of exploratory workshops were conducted. The results of these explorations, including the content participants created and their impressions, are discussed, along with avenues for future research involving moveables.
Yes, there was lots of pontificatation during the writing of my dissertation.
Abstract: Although pens and paper are pervasive in the analog world, their digital counterparts, styli and tablets, have yet to achieve the same adoption or frequency of use. Digital styli should provide a natural, intuitive method to take notes, annotate, and sketch, but have yet to reach their full potential. There has been surprisingly little research focused on understanding why inking experiences differ so vastly between analog and digital media and amongst various styli themselves. To enrich our knowledge on the stylus experience, this thesis contributes a foundational understanding of the factors implicated in the varied experiences found within the stylus ecosystem today. The thesis first reports on an exploratory study utilizing traditional pen and paper and tablets and styli that observed quantitative and behavioural data, in addition to preferential opinions, to understand current inking experiences. The exploration uncovered the significant impact latency, unintended touch, and stylus accuracy have on the user experience, whilst also determining the increasing importance of stylus and device aesthetics and stroke beautification. The observed behavioural adaptations and quantitative measurements dictated the direction of the research presented herein. A systematic approach was then taken to gather a deeper understanding of device latency and stylus accuracy. A series of experiments garnered insight into latency and accuracy, examining the underlying elements that result in the lackluster experiences found today. The results underscored the importance of visual feedback, user expectations, and perceptual limitations on user performance and satisfaction. The proposed Latency Perception Model has provided a cohesive understanding of touch- and pen-based latency perception, and a solid foundation upon which future explorations of latency can occur. The thesis also presents an in-depth exploration of unintended touch. The data collection and analysis underscored the importance of stylus information and the use of additional data sources for solving unintended touch. The behavioral observations reemphasized the importance of designing devices and interfaces that support natural, fluid interaction and suggested hardware and software advancements necessary in the future. The commentary on the interaction – rejection dichotomy should be of great value to developers of unintended touch solutions along with designers of next-generation interaction techniques and styli. The thesis then concludes with a commentary on the areas of the stylus ecosystem that would benefit from increased attention and focus in the years to come and future technological advancements that could present interesting challenges in the future.