Designing Biofeedback Artworks for Relaxation

Khut, George Poonkhin

doi:10.1145/2851581.2891089

Cited by 51 publications

(22 citation statements)

References 2 publications

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“…The first example is BrightHearts [62], an interactive artwork and biofeedback application for mobile phones and tablets, developed as a tool for reducing pain and anxiety experienced by children undergoing painful medical procedures. Decreases in heart rate are used to modulate the diameter and color of a collection of overlapping concentric circles, see Figure 2.…”

Section: Brightheartsmentioning

confidence: 99%

“…This shows how a first-person soma design stance can generate many different applications in diverse domains. In fact, turning to the literature on soma design, we see a field that is growing, engaging with one application domain after another (see, e.g., [33,42,53,62,64,[76][77][78][79][80][81][82][83][84][85][86][87][88]). Some even claim that a slow, soma-based, first-person engagement will be relevant to all forms of interactive design work [63], but perhaps in particular designs with the plethora of upcoming interactive materials, such as shape-changing interfaces, Internet of Things, sensor networks, and all forms of movement-based interactions.…”

Section: What Unites These Diverse Design Exemplars?mentioning

confidence: 99%

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Embracing First-Person Perspectives in Soma-Based Design

et al. 2018

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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.

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Section: Brightheartsmentioning

confidence: 99%

Section: What Unites These Diverse Design Exemplars?mentioning

confidence: 99%

Embracing First-Person Perspectives in Soma-Based Design

et al. 2018

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“…All 12 of the articles presented systems that engaged endusers in biofeedback loops. Input included: breathing [63,166,169]; heart rate [91,103,153]; electroencephalography (EEG) [72]; bodily movements [119]; indoor-positioning [88]; electro-dermal activity (EDA) [110]; one of the biofeedback systems was more of a toolkit, allowing many different biosignals as input [113]. Apart from the diversity in biosignal input, there was also a richness in outputs that these biofeedback systems produced.…”

Section: Analysis Of Reviewed Work System Functionsmentioning

confidence: 99%

“…Apart from the diversity in biosignal input, there was also a richness in outputs that these biofeedback systems produced. Most common were forms of visual and/or auditory feedback [63,72,91,110,119,169] and haptics [113,147], but there was also a touchable animated crystal ball [153], underwater swimming in a VR-environment [166], a game changing its difficulty level [103], and an alarm preventing the sleepwalkers from entering dangerous areas [88].…”

Section: Analysis Of Reviewed Work System Functionsmentioning

confidence: 99%

HCI and Affective Health

Sanches

Janson

Karpashevich

et al. 2019

Proceedings of the 2019 CHI Conference on Human Factors in Computing Systems

157

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In the last decade, the number of articles on HCI and health has increased dramatically. We extracted 139 papers on depression, anxiety and bipolar health issues from 10 years of SIGCHI conference proceedings. 72 of these were published in the last two years. A systematic analysis of this growing body of literature revealed that most innovation happens in automated diagnosis, and self-tracking, although there are innovative ideas in tangible interfaces. We noted an overemphasis on data production without consideration of how it leads to fruitful interventions. Moreover, we see a need to promote ethical practices for involvement of people living with affective disorders. Finally, although only 16 studies evaluate technologies in a clinical context, several forms of support and intervention illustrate how rich insights are gained from evaluations with real patients. Our findings highlight potential for growth in the design space of affective health technologies.

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“…It can be used, for instance, to project fictional characters such as anime or cartoon protagonists, allowing the tracked person to physically impersonate the character, challenging basic conventions of screen-based interaction [14]. are not limited to: Distractions [15], Avian Attractor [35], and BrightHearts [68].…”

Section: B the Embodied Dialogue Genrementioning

confidence: 99%

The Interface between Interactive Art and Human-Computer Interaction: Exploring Dialogue Genres and Evaluative Practices

Duarte

Merkle

Baranauskas

2019

JIS

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The mutual efforts of joining art and science have been an important source of innovation in many fields throughout history. In this article, we investigate the relatively common origins, differences, and similarities between the Interactive Art and Human-Computer Interaction (HCI) areas of knowledge. We also investigate what kind of human-computer interactions are sought by artists or emerge in Interactive Art examples, as well as what kind of frameworks, evaluation criteria or methodologies are reported in the literature to support the design and evaluation of Interactive Art. As a result of our analysis of Interactive Art examples found in the literature and beyond, we derived four genres of dialogue that emerge naturally or are stressed by authors: visual, embodied, tangible and social. These genres, albeit not comprehensive, can inspire the design of novel forms of interaction in computational systems with or without artistic intent. Moreover, frameworks, evaluation criteria, and methodologies may allow a cross-pollination between Interactive Art and HCI. While interactive artists may provide novel ways to look at the design and evaluation of interactive systems, these artists may also benefit from appropriating traditional HCI methods, tools, and technologies for new purposes. Lastly, we draw on our findings and learned lessons to outline a research agenda with the main objectives of 1) encouraging Interactive Art research, 2) studying Interactive Art examples, 3) practicing Interactive Art design and evaluation, and 4) designing Interactive Art for all.

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Designing Biofeedback Artworks for Relaxation

Cited by 51 publications

References 2 publications

Embracing First-Person Perspectives in Soma-Based Design

Embracing First-Person Perspectives in Soma-Based Design

HCI and Affective Health

The Interface between Interactive Art and Human-Computer Interaction: Exploring Dialogue Genres and Evaluative Practices

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