After our first group meetings we decided that public interaction design might be a new and interesting path to move towards and therefore I initiated the following research to investigate the psychology behind human behavior in relation to this domain of installation art.
http://magicalmirrors2006.wordpress.com/2011/08/29/requirements-and-design-space-for-interactive-public-displays/
Requirements and Design Space for Interactive Public Display
Abstract
Digital immersion is moving into public space. Interactive screens and public displays are deployed in urban environments, malls, and shop windows. Inner city areas, airports, train stations and stadiums are experiencing a transformation from traditional to digital displays enabling new forms of multimedia presentation and new user experiences. Imagine a walkway with digital displays that allows a user to immerse herself in her favorite content while moving through public space. In this paper we discuss the fundamentals for creating exciting public displays and multimedia experiences enabling new forms of engagement with digital content. Interaction in public space and with public displays can be categorized in phases, each having specific requirements. Attracting, engaging and motivating the user are central design issues that are addressed in this paper. We provide a comprehensive analysis of the design space explaining mental models and interaction modalities and we conclude a taxonomy for interactive public display from this analysis. Our analysis and the taxonomy are grounded in a large number of research projects, art installations and experience. With our contribution we aim at providing a comprehensive guide for designers and developers of interactive multimedia on public displays.
Interactive Displays: Perception, Awareness, and Interaction
Analysis of interactive displays by Brignull & Rogers (2003) has already yielded information about perception, awareness and interaction, allowing for differentiation between three general phases: for example, from perception to direct interaction with the featured content, as shown in figure 1: a) peripheral awareness activities, b) focal awareness activities and c) direct interaction.
By dividing the space into the ambient, notification and interactive zones, content can be adapted to each phase, as the following figure shows. In the ambient zone, the content is of a more general nature (directions, general information) and does not require a user to be present. It is only slightly or not at all interactive and serves as advertising on a dynamic surface. Digital signage systems can also provide direct interaction, including calling up local information. As a viewer approaches the advertising surface or once their presence is registered, interactive content is then displayed which can then provide personal, detailed information (e.g. details and information via text message).
A third Four-phase-model differs from Streitz et al’s Three-phase model in that it emphasizes “fluid transitions between phases, and [...] support sharing by several users each within their own interaction phase. By dividing Streitz et al’s ‘interaction zone’ into the Subtle and Personal Interaction phases and by generalizing the notion of a ‘notification zone’ into an Implicit Interaction phase, [the] framework suggests a wider range of implicit and explicit interaction techniques.”
Audience Funnel
Data are presented from observations of Magical Mirrors, a set of four large public displays with gesture-based interaction installed in downtown Berlin, Germany. The displays show a mirror image of the environment in front of them and react with optical effects to the gestures of the audience. Observations of audience behavior revealed recurring behavioral patterns, like glancing at a first display while passing it, moving the arms to cause some effects, then directly approaching one of the following displays and positioning oneself in the center of the display. This was often followed by positioning oneself in the center of the other displays to explore the possibilities of the different effects, and sometimes by taking photographs or videos. From these observations a framework of interaction with gesture-based public display systems was deduced. It describes the phases of passing by a display, viewing & reacting, subtle interaction, direct interaction, multiple interactions, and follow-up actions. Quantitative data of these behavioral phases was collected by observing 660 passers-by on 2 weekend evenings. This article shows how many passers-by pass the thresholds between these phases. This “Audience Funnel” should provide a framework to encourage systematic investigation of public display systems and enable comparability between different studies.
Collaborative Interaction with Public Displays
In interacting, groups exhibit a very special dynamic. If a group of two or more people pass by the public displays, most often just one person becomes the active one who starts the interaction. This person pauses, then actively participates in the interaction drawing the attention of the other group members toward him or herself. Typically the others initially stand by and hesitantly observe the interaction.
In the parts of the investigation in which more than one display was available the other members of the group began to use the free displays and explore the interaction possibilities. Little by little the entire group participated in the interaction. In the cases in which there was only one display, the group became impatient and the most active person was encouraged to rejoin the group and move on.
http://magicalmirrors2006.wordpress.com/2011/08/19/audience-funnel/
Interactive public sound installation
Recycled Soundscape is designed as a system through which to explore and engage with auditory aspects of experience in the city, and to provide the possiblility of relief, through sound and relational design, from the prevailing and often stressful urban flow. The result is an interactive system for the public orchestration of an urban sound ecology. It consists of a set of kinetic, human-scale interfaces which seek to create diversions and concentrations of attention within the sonic context of a location, by facilitating reflective activity in the public sphere, in the course of which an acoustic landscape may be augmented, modified, and performed. It offers the possibility to listen to and to record noises - human, natural, machine - which are otherwise difficult to take notice of, and which nonetheless contribute to the characteristic of a place over time, composing its evolving memory in sound.
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