Interactive Arts and Technology, School of (SIAT)

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The School of Interactive Arts and Technology, SIAT, is located at the Surrey campus of SFU. There are two subcollections in SIAT. Please see below.

Model-Free Fault Detection and Isolation of a Benchmark Process Control System Based on Multiple Classifiers Techniques—A Comparative Study

Peer reviewed: 
Yes, item is peer reviewed.
Date created: 
2018-02-02
Abstract: 

This paper presents a combined data-driven framework for fault detection and isolation (FDI) based on the ensemble of diverse classification schemes. The proposed FDI scheme is configured in series and parallel forms in the sense that in series form the decision on the occurrence of fault is made in FD module, and subsequently, the FI module coupled to the FD module will be activated for fault indication purposes. On the other hand, in parallel form a single module is employed for FDI purposes, simultaneously. In other words, two separate multiple-classifiers schemes are presented by using fourteen various statistical and non-statistical classification schemes. Furthermore, in this study, a novel ensemble classification scheme namely blended learning (BL) is proposed for the first time where single and boosted classifiers are blended as the local classifiers in order to enrich the classification performance. Single-classifier schemes are also exploited in FDI modules along with the ensemble-classifier methods for comparison purposes. In order to show the performance of proposed FDI method, it was also tested and validated on DAMADICS actuator system benchmark. Besides, comparative study with the related works done on this benchmark is provided to show the pros and cons of the proposed FDI method.

Document type: 
Article

Immersive Interactive Technologies for Positive Change: A Scoping Review and Design Considerations

Peer reviewed: 
Yes, item is peer reviewed.
Date created: 
2018-08-03
Abstract: 

Practices such as mindfulness, introspection, and self-reflection are known to have positive short and long-term effects on health and well-being. However, in today's modern, fast-paced, technological world tempted by distractions these practices are often hard to access and relate to a broader audience. Consequently, technologies have emerged that mediate personal experiences, which is reflected in the high number of available applications designed to elicit positive changes. These technologies elicit positive changes by bringing users' attention to the self—from technologies that show representation of quantified personal data, to technologies that provide experiences that guide the user closer in understanding the self. However, while many designs available today are either built to support or are informed by these aforementioned practices, the question remains: how can we most effectively employ different design elements and interaction strategies to support positive change? Moreover, what types of input and output modalities contribute to eliciting positive states? To address these questions, we present here a state of the art scoping review of immersive interactive technologies that serve in a role of a mediator for positive change in users. We performed a literature search using ACM Digital Library, Web of Science, IEEE Xplore, and Design and Applied Arts Index (beginning of literature—January 1, 2018). We retrieved English-language articles for review, and we searched for published and unpublished studies. Risk of bias was assessed with Downs and Black 26-item QAT scale. We included 34 articles as relevant to the literature, and the analysis of the articles resulted in 38 instances of 33 immersive, interactive experiences relating to positive human functioning. Our contribution is three-fold: First we provide a scoping review of immersive interactive technologies for positive change; Second, we propose both a framework for future designs of positive interactive technologies and design consideration informed by the comparative analysis of the designs; Third, we provide design considerations for immersive, interactive technologies to elicit positive states and support positive change.

Document type: 
Article
File(s): 

Are You Awed Yet? How Virtual Reality Gives Us Awe and Goose Bumps

Peer reviewed: 
Yes, item is peer reviewed.
Date created: 
2018-11-09
Abstract: 

“Awe” is a category of emotion within the spectrum of self-transcendent experiences. Awe has wellness benefits, with feelings of social interconnectivity and increased life satisfaction. However, awe experiences remain rare in our everyday lives, and rarer in lab environments. We posit that Virtual Reality (VR) may help to make self-transcendent and potentially transformative experiences of awe more accessible to individuals. Here, we investigated how interactive VR as a positive technology may elicit awe, and how features of aesthetic beauty/scale, familiarity, and personalization (self-selection of travel destinations) may induce awe. In this mixed-methods study, participants used an interactive VR system to explore Earth from ground and orbit. We collected: introspective interviews and self-report questionnaires with participants’ experience of awe; information on personality traits and gender; and we recorded physiological goose bumps on the skin (using an arm-mounted goose bump camera instrument), which is a documented marker of an awe experience. Results showed that on a scale of 0–100 for self-reported awe, four different interactive VR environments yielded an average awe rating of 79.7, indicating that interactive VR can indeed induce awe. 43.8% of participants experienced goose bumps: awe ratings positively correlated with the occurrence of goose bumps with those who experienced goose bumps having showed significantly higher ratings of awe than those who did not. Most (64%) of the goose bumps occurred when participants self-selected their VR environment. Participant statements from the interviews were characteristic of an awe-inspiring experience, revealed themes of social connection, and usability problems with the VR interface. Personality traits yielded no clear correlation to awe ratings, and females appear to experience more goose bumps than males. In summary: (1) Interactive VR can elicit awe, especially within familiar, self-selected environments; (2) Physiological goose bumps can be recorded to provide reliable, non-intrusive indications of awe; (3) Care must be taken to design interaction interfaces that do not impede awe; and (4) While personality traits are not correlated to awe ratings, goose bumps were experienced more frequently among females. We aim to conduct future studies using custom VR environments, interfaces, and additional physiological measures to provide further insight into awe.

Document type: 
Article
File(s): 

Directly Interactive Design Gallery Systems: Interaction Terms and Concepts

Peer reviewed: 
Yes, item is peer reviewed.
Abstract: 

A human-computer interface interposes objects between a person and the underlying representation with which the person interacts. Previously, we introduced two interaction objects, alternatives and their collections in an interactive design gallery. We revisit the terms, refining their definitions, and introduce the explicit notion of a “view” to accommodate multiple references to the same alternative or collection in an interface. We outline fundamental interactions over alternative and collection views. Finally, we outline a special type of collection called the Parallel Coordinate View.

Document type: 
Article
File(s): 

"¿Cosas de Mujeres?" Feminist Networks of Collaboration in 1970s Mexico

Peer reviewed: 
Yes, item is peer reviewed.
Date created: 
2013-09-28
Abstract: 

As second wave feminisms emerged throughout the world, diverse collectives and consciousness-raising groups were established in Mexico City as early as 1971. These activities gave rise to various networks of female artists who explored and politicized conceptions of the female body, making inroads in photography, performance, film and conceptual art. In this paper, I discuss the network established by Ana Victoria Jiménez, Rosa Martha Fernández and Mónica Mayer, who produced collaborative films and performances. Using gender as category of analysis, I discuss how their practices destabilized the patriarchal structures that governed art institutions in the city and defined parameters of art- making while simultaneously disrupting hegemonic visual conventions.

Document type: 
Article
File(s): 

Comparing Leaning-Based Motion Cueing Interfaces for Virtual Reality Locomotion

Peer reviewed: 
Yes, item is peer reviewed.
Date created: 
2017-03-18
Abstract: 

In this paper, we describe a user study comparing five different locomotion interfaces for virtual reality locomotion. We compared a standard non-motion cueing interface, Joystick (Xbox), with four motion cueing interfaces, NaviChair (stool with springs), MuvMan (sit/stand active stool), Head-Directed (Oculus Rift DK2), and Swivel Chair (everyday office chair with leaning capability). Each interface had two degrees of freedom to move forward/backward and rotate using velocity (rate) control. The aim of this mixed methods study was to better understand relevant user experience factors and guide the design of future locomotion interfaces. This study employed methods from HCI to provide an understanding of why users behave a certain way while using the interface and to unearth any new issues with the design. Participants were tasked to search for objects in a virtual city while they provided talk-aloud feedback and we logged their behaviour. Subsequently, they completed a post-experimental questionnaire on their experience. We found that the qualitative themes of control, usability, and experience echoed the results of the questionnaire, providing internal validity. The quantitative measures revealed the Joystick to be significantly more comfortable and precise than the motion cueing interfaces. However, the qualitative feedback and interviews showed this was due to the reduced perceived controllability and safety of the motion cueing interfaces. Designers of these interfaces should consider using a backrest if users need to lean backwards and avoid using velocity-control for rotations when using HMDs.

Document type: 
Article
File(s): 

Feminizing Oswald De Andrade’s Manifesto Antropófago and Vasconcelo’s Raza Cosmica : The Videos of Sonia Andrade and Pola Weiss.

Peer reviewed: 
Yes, item is peer reviewed.
Date created: 
2016-03-30
Abstract: 

The term 'mestizaje' has been broadly used to denote the hybrid nature of Latin American cultures. Two of the most notable engagements with hybridity came from the Mexican José Vasconcelos' La Raza Cósmica (1925) and the Brazilian Oswald de Andrade's Manifesto Antropófago (1928). Both of these modernist intellectuals developed a strategy to resist western colonial domination and to embrace a unique culture that blended multiple histories, ethnicities, cosmologies, and practices. This paper addresses how, in the 1970s, Brazilian video artist Sonia Andrade (b. 1935) and Mexican video artist Pola Weiss (b. 1947-1990) cannibalize and embody Andrade and Vasconcelos' manifestos from a feminized perspective. Following the work of the Chilean critic Nelly Richard, feminization is understood as a process that breaks down the barriers of biological determinism and fixed symbolic roles, becoming thus a practice of continued contestation which is not only relevant to those who define themselves as women but also to a multitude of experience that contest normative and fixed definitions of sex, race or ethnicity. From this perspective, we also position Andrade and Weiss' work as part of a meaningful dialogue with those Chicana scholars who feminized the concept of mestizaje during the second half of the twentieth century.

Most famously, by the mid 1980s, Chicana scholars Gloria Anzaldúa and Chela Sandoval re-engaged with the concept of mestizaje to theorize their experiences as mixed-queer-third-world feminists of color in the United States. In particular, Anzaldúa's new mestiza consciousness, which stressed the potential of crossbred, queer and indigenous peoples to propose a new angle of vision, namely a new critical way of challenging the binary structures imposed by western patriarchy, became foundational for the development of Chicana scholarship. Anzaldúa's new mestiza consciousness went beyond biological definitions of mestizaje; she defined a holistic epistemology as "a more whole perspective, one that includes rather than excludes." Building from Anzaldúa's work, Sandoval proposed an oppositional consciousness as a way to explore "affinities inside of difference." Sandoval's oppositional methodology describes a set of strategies that seek to build bridges and trace affinities between the work of what he calls "postcolonial US third-world feminist criticism" and canonical western postmodern cultural theorists in order to put an end to "academic apartheid." Indeed, Sandoval's work is central to Donna Haraway's Manifesto for Cyborgs (1985), the foundational text for the development of cyborg feminism. For Haraway, the cyborg is a hybrid between organism and machine, "a matter of fiction and lived experience that changes what counts as women's experience in the late twentieth century." Significantly, one of the central objectives of Haraway's Manifesto for Cyborgs is a broader political project aimed at transgressing boundaries and undoing the dualisms and essentialisms of those dominant intellectual and cultural traditions that dictate the construction of hierarchies of difference.

However, it is noteworthy that in the chicana-feminist-queer-cyborg-third-world re-engagement with the concept of mestizaje/cyborg, the voices and experiences of Latin American women from the South are excluded. Consequently, this paper seeks to address this omission by discussing two emblematic videos by Sonia Andrade, Sem título (1975) and Pola Weiss, Somos Mujeres (1978) respectively, while situating the artists and their works in geo-historical and socio-politico-cultural contexts. In doing so, we collaboratively map diverse re-engagements with the concept of mestizaje (including hybrids of self and technology) developed by Latin American women as a critique of dominant social structures. And, in the spirit of Chela Sandoval's search for commonalities of strength and affinity, this paper seeks to find those commonalities of strength and affinity among women in the Americas who feminized the concept of mestizaje during the second half of the twentieth century.

Document type: 
Article
File(s): 

Imagining the Cyborg in Náhuatl: Reading the Videos of Pola Weiss

Peer reviewed: 
Yes, item is peer reviewed.
Date created: 
2015-10-20
Abstract: 

By 1985, when Donna Haraway's essay, "A Manifesto for Cyborgs: Science, Technology and Socialist-Feminism in the 1980s," presented the cyborg as a hybrid between organism and machine and an alternative model of feminine subjectivity, the Mexican independent media producer Pola Weiss had been challenging normative female experiences and relations between self and technology through her video work for nearly a decade. In this article, I propose to explore Weiss's work through the lens of Haraway's in order to collaborate with recent efforts to locate Weiss's practice more meaningfully in the histories of media arts. By placing particular attention on Weiss's conceptualization of her camera as a hybrid coupling between organism and machine, I use Haraway's Manifesto for Cyborgs to suggest a frame in which to understand Weiss's practice as critique of the dominant intellectual traditions and conventions of representation that have produced and reproduced hierarchies of race, class, sex, and gender difference in exico. In doing so, I also explore how Weiss's experiments with televisual images challenged normative female experiences and relations between self and technology. Ultimately, in proposing Haraway's work as a vehicle through which to understand the work of Weiss, I also seek to find affinities between the two women as they inhabited parallel worlds and shared similar concerns.

Document type: 
Article
File(s): 

A Hierarchical Model of Design Knowledge

Author: 
Peer reviewed: 
No, item is not peer reviewed.
Abstract: 

Despite the central role of knowledge in design, there is a dearth of research on the typology, intrinsic structure and composition of design knowledge. This results in an indeterminate epistemological picture of design outcomes. To address the need for effective conceptualizations, I propose a hierarchical model of design knowledge, which stratifies the different bodies of knowledge into ranked levels. I illustrate some of the benefits of the model and compare it with existing hierarchical models of knowledge in non-design fields of inquiry.

Document type: 
Technical Report

Lyssna: a design fiction to reframe food waste

Peer reviewed: 
Yes, item is peer reviewed.
Date created: 
2016-06
Abstract: 

In this paper we propose the design fiction, Lyssna, a diegetic prototype in the form of a hearing aid for your refrigerator that aims at reintegrating lost aspects of food. Lyssna is based on home studies of food practices informed by Mediation Theory and Theories of Practice. Our aim is to explore an alternative framing from behavioral theories for designing for food waste. In the process, we hope to open up the design space for enabling reconfigurations of everyday food practices.

Document type: 
Article