interactius artesans

Projectes

Més

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  • Publicacions

    Carreras, A., Julià, D., Fernández, I. “Orgull de Baix”, un documental web interactivo. Mosaic, publicación sobre multimedia de la Universitat Oberta de Catalunya (UOC). (2017)

    • “Orgull de Baix” es un documental web que propone un viaje virtual por la comarca del Baix Llobregat para descubrir el valor agrícola y medioambiental de este territorio, su rol fundamental para el futuro y la sostenibilidad del área metropolitana de Barcelona. Se trata de un espacio interactivo que proporciona al usuario una experiencia de viaje virtual sobre la comarca a través de un mapa web navegable en 3D.
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    Barrière, L., Carreras, A. Genera Esfera: Interacting with a Trackball Mapped onto a Sphere to Explore Generative Visual Worlds. Bridges International Conference on Mathematics, Music, Art, Architecture, Education and Culture. Jyväskylä, Finland (2016). (Paper in Refereed Conference Proceedings)

    • Genera Esfera is an interactive installation that allows the audience to interact and easily become a VJ (visual
      DJ) in a world of generative visuals. It is an animated and generative graphic environment with a music playlist, a visual spherical world related with and suggested by the music, which reacts and evolves. The installation has been presented at MIRA Live Visual Arts Festival 2015 [6], in Barcelona. Genera Esfera was envisioned, developed and programmed on the basis of two initial ideas: first, to generate our spherical planets we need to work with spherical geometry and program 3D graphics; second, the interaction should be easy to understand, proposing a direct mapping between the visuals and the interface. Our main goal is that participants can focus on exploring the graphic worlds rather than concentrate on understanding the interface. For that purpose we use a trackball to map its position onto sphere rotations. In this paper, we present the interactive installation Genera Esfera, the design guidelines, the mathematics behind the generative visuals and its results.
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    Carreras, A., Domenech, C. and Roca, M. Open Color 3D Scan. Libregraphics Magazine issue 2.4. pag. 47-49 ISSN: 1925-1416. (2015)

    • The revolution of 3D printing is just in its first stages and now is the time for experimenting, investigating and discovering unforeseen possibilities of a technology that is called to change the traditional systems of manufacturing. In this process, homemade 3D Scanners will play a crucial role, as they enable the capture of physical objects and obtain 3D models which can be stored, modified and shared. 3D scanning provides a base model which can be used by everyone as a starting point for designing and replicating objects with little or no design experience.
      The team of Open Color 3D Scan have designed a low cost 3D scanner to be assembled and used at home to provide the opportunity to capture objects and experiment with all the possibilities of 3D scanning. It sports remarkable accuracy and resolution, halfway between commercial low cost scanners and high quality ones. Our 3D scanner is designed to be built at home with consumer technology that ensures an affordable hardware cost and which allows the exchange of some of its components to personalize it. The scanner works by using a webcam to locate the points at which two laser beams bounce off an object’s surface. The points are mapped out and turned into a point cloud 3D model.
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    Pujol, J., Carreras, A. Presencialitat i virtualitat: relacions entre text teatral i món digital per a la peça País sense paraules de Dea Loher. Revista Estudis Escènics Institut del Teatre nº 41-42. pag. 112-120 ISSN: 2385-362X. (2015)

    • Fruit de l’aparició de les noves tecnologies, observem una transferència de la representació i de la percepció del món físic al món digital. Si ens centrem en els canvis que aquesta transferència genera en la manera de relacionar-nos amb la ficció, com s’articula el fet teatral en aquestes noves formes d’alteritat? Es proposa indagar en les noves maneres d’observar el món des de la mateixa arquitectura teatral. Podem obrir noves relacions entre l’obra i l’espectador en un entorn vinculat a l’experiència mitjançant la tecnologia? El projecte parteix de la posada en escena del text País sense paraules de Dea Loher. Del text emergeixen conceptes com la incomunicació, les dificultats d’expressió o els límits del llenguatge i de la imatge. I és a partir del text teatral, i no a la inversa, que es proposa investigar l’ús dels nous mitjans digitals de comunicació per, d’una banda, apropar l’espectador a l’obra, mitjançant l’ús d’aquestes tecnologies, des d’un espai i un temps anterior a la visualització de la peça al teatre, i, de l’altra, plantejar una experiència interactiva per tal que l’espectador pugui experimentar prèviament en l’obra el que es viurà en escena i vincular així totes dues vivències. El projecte es planteja com una peça global amb la qual els límits entre l’experiència remota –prèvia i virtual– generada mitjançant eines digitals queda totalment vinculada a la peça teatral i a la posada en escena, allò que per oposició anomenem experiència presencial i física. La proposta investiga i teoritza sobre com l’experiència digital modela l’experiència física de recepció de la peça, i també com la peça i els codis que estableix determinen el disseny de l’experiència digital. S’hi analitza com es vinculen l’una i l’altra, de manera bidireccional i de forma coherent per tal de crear una peça única que no s’entendria igual sense les dues parts.
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    Carreras, A., Pujol, J. Presenciality / Virtuality: Relations between the theatre and the digital world in Dea Loher’s Land without words. International Federation for Theatre Research Annual Conference (IFTR/FIRT’13 Re-Routing Performance / Re-caminant l’escena). Barcelona (2013).

    • New technologies modify our representation and perception of the physical world. Nowadays the relation between digital and physical worlds shapes the way we approach fiction. The relation between worlds also affects the perception of ourselves, how we perceive others and how they perceive us. In this context, we ask, can we open new relationships between a theatrical piece and the viewer through a technology mediated interactive experience? How does theatre work in these new forms of otherness? The project begins with the staging of the text Land Without Words by Dea Loher. From the text emerge such concepts as incommunication, difficulties in expressing oneself, and the limits of language and image. Working from the theatrical text, and not vice versa, we investigate the use of new digital media to: a) draw the viewer to a piece from an earlier time and space through staging; and b) create an interactive experience to feel what the main character is about to live on stage. This project is conceived as a whole that blurs the boundaries between the remote experience—previous and virtual—and the play on stage -what we call the physical experience. Using a mobile phone application and a virtual community, the audience is invited to create an alter ego that will be driven into Land Without Words and the main character’s conflicts. The digital experience is not conceived to reveal the plot; on the contrary, the audience will complete its understanding of the piece in the theatre. With this work, we analyze how both experiences are tied to each other, creating a unique piece that would be understood differently without both the live and the digital.
    • book of abstracts

    Digital placard lets digital citizens participate in protests from afar. WIRED. Article by Olivia Solon. (2012)

    • The Freedom of Speech Kit, is a portable digital device designed to show text messages and images in the public space. The display can receive messages through Wi-Fi — from Twitter and Facebook — which can then be shown on the banner. We’ve been participating in many demonstrations over the last few years, supporting social rights in Spain. We were surrounded by citizens with hand-made banners showing incredible creativity to post messages. Meanwhile, we were working on developing interactive technologies, so we came up with the idea for the kit.
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    Kit de Libertad de Expresión (Freedom of Speech Kit). We make money not art. Article by Régine Debatty. (2012)

    • Our platform is producing and displaying content in a collective environment, that could as well be supported by these communication channels. So far, Facebook or Twitter do not solve that. It is a paradox, because even though they are social networks, their users produce and consume content on them individually. They are collective channels, but their access devices are individual. We would like to explore two features that social networks still have not solved: the actual collectivity (in a shared place and time) and its interaction with the public space.
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    El arte de no permanecer callado. Yorokobu magazine nº40 page 51. Article by David García. (2012)

    • Lo de tratar de mantener al pueblo callado es como intentar que el agua deje de pasar por un colador. Puedes hacer el imbécil tratando de tapar todos los agujeros o, sencillamente, resignarte a que es imposible y hacer las cosas bien para te pongan a parir lo menos posible. Sí, si eres un inepto, la libertad de expresión es un incómodo derecho que no te conviene pero… vas a tener que apechugar. La arquitecta María Solé y la cooperativa ETC han creado un Kit de Libertad de Expresión conectado a la red, ideal para llevar a cualquier lugar y mostrar los mensajes de los que sí y los que no pueden asistir a las protestas. Están desarrollándolo con la colaboración de Medialab Prado y os contamos la historia.
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    Carreras, A., Rojas, N. Interacción de cuerpo entero en Hamelin: un módulo interactivo publicitario de exterior. Faz. Revista de diseño de interacción. pag 59-71 ISSN 0718-526X (2010).

    • La publicidad utiliza juegos y videojuegos para sus campañas sobretodo desde el gran crecimiento de internet como medio publicitario. Mediante los llamados advergames e in-games advertisement las campañas cambian el rol del consumidor de pasivo a activo. Diferenciamos advergames de in-games advertisement: los advergames son juegos online desarrollados con propósitos publicitarios que usan la marca o el producto como elemento o característica central del juego; in-games advertisement simplemente sitúa el producto dentro del escenario de un juego al que el participante puede jugar. En todos los casos, por el momento, la interacción del participante en el juego se consigue mediante interfaces clásicas del tipo teclado, ratón o mandos. Algunas aplicaciones de realidad aumentada o computación ubicua están apareciendo también en el mundo de la publicidad ampliando las tecnologías y posibilidades usadas en este campo. Hamelin introduce la interacción de cuerpo entero en juegos para publicidad y plantea un análisis de las características y el potencial del uso del medio interactivo en este campo. En este articulo presentamos la investigación de mercado llevada a cabo para su diseño, su formato final, los contenidos que se desarrollaron para el módulo y los resultados obtenidos después de seis meses de funcionamiento y más de 58000 participantes experimentándolo.
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    Carreras, A., Sora, C. Exploring the boundaries of Augmented Reality in a magic show performance. International Conference on Advances in Computer Entertainment Technology, ACE 2009. Digital Interactive Media Entertainment and Arts Conference, DIMEA 2009. Athens, Greece. (2009). (Conference Poster (peer reviewed))

    • Magic for a Pixeloscope is an experimental performance that merges augmented and mixed reality and full-body interaction within a classical magic show. The magician uses custom based hardware and software to create new illusions which are a starting point to explore new language for magical and theatre expression.
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    Carreras, A., Sora, C. Coupling digital and physical worlds in an AR magic show performance: lessons learned. IEEE/ACM International Symposium on Mixed and Augmented Reality, ISMAR 2009. Florida, USA (2009). (Paper in Refereed Conference Proceedings)

    • Magic for a Pixeloscope is a one hour show conceived to be represented in a theater scenario that merges mixed and augmented reality (MR/AR) and full-body interaction with classical magic to create new tricks. The show was conceived by an interdisciplinary team composed by a magician, two interaction designers, a theater director and a stage designer. The magician uses custom based hardware and software to create new illusions which are a starting point to explore new language for magical expression. In this paper we introduce a conceptual framework used to inform the design of different tricks; we explore the design and production of some tricks included in the show and we describe the feedback received on the world premiere and some of the conclusions obtained.
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    Carreras, A., Rojas, N. Interacción de cuerpo entero en Hamelin: un módulo interactivo publicitario de exterior. Actas de Interacción’09 (AIPO). Barcelona. (2009). (Short paper in Refereed Conference Proceedings)

    • La publicidad utiliza juegos y videojuegos para sus campañas sobretodo desde el gran crecimiento de internet como medio publicitario. Mediante los llamados advergames e in-games advertisement las campañas cambian el rol del consumidor de pasivo a activo. Diferenciamos advergames de in-games advertisement: los advergames son juegos online desarrollados con propósitos publicitarios que usan la marca o el producto como elemento o característica central del juego; in-games advertisement simplemente sitúa el producto dentro del escenario de un juego al que el participante puede jugar. En todos los casos, por el momento, la interacción del participante en el juego se consigue mediante interfaces clásicas del tipo teclado, ratón o mandos. Algunas aplicaciones de realidad aumentada o computación ubicua están apareciendo también en el mundo de la publicidad ampliando las tecnologías y posibilidades usadas en este campo. Hamelin introduce la interacción de cuerpo entero en juegos para publicidad y plantea un análisis de las características y el potencial del uso del medio interactivo en este campo. En este articulo presentamos la investigación de mercado llevada a cabo para su diseño, su formato final, los contenidos que se desarrollaron para el módulo y los resultados obtenidos después de seis meses de funcionamiento y más de 58000 participantes experimentándolo.
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    Carreras, A., Parés, N. Designing an Interactive Installation for Children to Experience Abstract Concepts. Macías, J.A., Granollers, T., Latorre, P.M. (ed.) New Trends on Human-Computer Interaction. Research, Development, New Tools and Methods. Springer, pag. 31-40 ISBN: 978-1-84882-351-8 (2009).

    • In this chapter we present the design process followed for an interactive experience in a museum installation for children of age 14 to 18. The experience wishes to communicate a set of abstract concepts through full-body interaction following the interaction-driven design strategy. We also present a design framework that we have derived from the design process of this and previous full-body interactive experiences, in an attempt to generalize the steps we have followed. This framework is based on five levels, namely: conceptual, symbolic, semantic, user attitude, and user action levels.We believe this will allow designers to achieve experiences that better communicate abstract concepts and notions through interaction itself by making the users “live” the experiences in their own flesh through full-body interaction.

    Carreras, A., Parés, N. Disseny d’interacció de cos sencer d’experiències lúdiques en instal·lacions interactives per a nens. iEnter’08. Interactive Entertainment Workshop (2008).

    • El disseny i desenvolupament d’instal·lacions interactives de tipus lúdic per a nens ofereix l’oportunitat d’explorar i d’entendre algunes de les característiques del mitjà interactiu i ens permet establir i validar models de disseny d’interacció que poden guiar el desenvolupament d’aplicacions futures. Per tal de fomentar l’ús de les tecnologies interactives en aplicacions que promoguin l’activitat dels participants, tot allunyant-nos de la interacció de teclat i ratolí, proposem el disseny d’instal·lacions multiusuari on la interacció amb el sistema es realitzi amb tot el cos sencer. Dividim l’experiència interactiva en tres parts: l’aproximació i descoberta de la instal·lació i de la interacció; el joc interactiu; i l’obtenció del resultat, el desenllaç. Proposem un model per al disseny del joc interactiu en instal·lacions de cos sencer per a nens que aprofita les propietats del mitjà interactiu i empra la interacció com a generadora de significat per ella mateixa. És a dir, les actituds i accions dels usuaris es dissenyen per tal que els participants experimentin durant el joc diversos conceptes abstractes que es volen transmetre. El model guia tant el disseny de les regles del joc interactiu, és a dir, les accions dels participants, per tal de transmetre el significat desitjat (nivell més abstracte); com l’establiment de les respostes, generades en temps real, del sistema interactiu (nivell més concret). Aquests nivells s’enllacen a partir d’una metàfora de joc que permet establir tots els elements necessaris que estructuren les tres parts de l’experiència interactiva. El disseny d’interacció es centra, per tant, en les accions de cos sencer i actituds dels participants durant l’experiència lúdica. Presentem els resultats d’aplicar aquest model i aquestes estratègies de disseny d’interacció en una instal·lació interactiva per a adolescents en el context d’un museu: Cosmocaixa; i en una instal·lació interactiva per a nens a l’aire lliure: Jocs d’Aigua, desenvolupada per al Fòrum Universal de les Cultures Barcelona 2004.
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    Carreras, A., Parés, N. Diseño de una instalación interactiva destinada a enseñar conceptos abstractos. Actas de Interacción’07 (AIPO). Dentro del CEDI’07, Zaragoza (2007). (Paper in Refereed Conference Proceedings)

    • La aplicación de nuevas tecnologías en proyectos de educación informal se centra mayoritariamente en el desarrollo de aplicaciones interactivas que tratan conocimientos específicos del currículo escolar. Otras aplicaciones plantean fomentar capacidades concretas más transversales: ya sean sociales, cognitivas, físicas, etc. En este artículo proponemos que la interacción posee también gran potencial para promover el aprendizaje de conceptos abstractos – como por ejemplo, aprender como se estructura la ciencia y el conocimiento – a partir de diseñar actitudes especificas de usuario en la experiencia interactiva. Describimos los pasos seguidos en el diseño conceptual y en el diseño de la interacción de una instalación para jóvenes de 14 a 18 años de edad situada en un museo. Paralelamente exploramos como extender el aprendizaje informal hacia el aprendizaje de conceptos abstractos a través de la propia interacción.
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    Carreras, A., Parés, N. Designing an Interactive Installation for Children in a Museum to Learn Abstract Concepts. ED-MEDIA. World Conference on Educational Multimedia, Hypermedia and Telecomunications. (2007). (Paper in Refereed Conference Proceedings)

    • Most interactive informal learning approaches use different technologies to focus on a specific knowledge domain from school curriculum for children. Others attempt to develop children’s skills: social, cognitive, physical, etc. We propose that interaction has also great potential to enhance learning of abstract concepts, such as how science and knowledge are structured, by designing specific user-attitudes in the interactive experience. In this paper we describe the steps followed in the conceptual design and interaction design of an interactive museum installation for children 14 to 18 years old. We explore how to extend informal learning towards learning abstract concepts trough interaction.
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    Parés, N., Carreras, A., Durany, J., Ferrer, J., Freixa, P., Gomez, D., Kruglanski, O., Parés, R., Ribas, J.I., Soler, M., Sanjurjo, A. Starting Research in Interaction Design with Visuals for Low Functioning PAS Children. CyberPsychology & Behavior. Mary Ann Liebert, Inc. publishers, New Rochelle, NY, Vol. 9, No. 2 (2006). (Paper in Refereed Journal)

    • On starting to think about interaction design for low functioning Persons in the Autistic Spectrum (PAS), especially children, one finds a number of questions that are difficult to answer: Can we typify the PAS user? Can we engage the user in interactive communication without generating frustrating or obsessive situations? What sort of visual stimuli can we provide? Will they prefer representational or abstract visual stimuli? Will they understand 3D graphics representation? What sort of interfaces will they accept? Can we set ambitious goals such as education or therapy? Unfortunately, most of these questions have no answer yet. Hence, we decided to set an apparently simple goal: to design a “fun application”, with no intention to reach, yet, education or therapy. This goal was to be attained by giving the users a sense of agency, by providing first a sense of control in the interaction dialogue. Our approach to visual stimuli design has been based on the use of geometric, abstract, 2D, real-time computer graphics in a full-body, non-invasive, interactive space. The results obtained within the European funded project MEDIATE have been extremely encouraging.
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    Parés, N., Carreras, A., Durany, J., Ferrer, J., Freixa, P., Gomez, D., Kruglanski, O., Parés, R., Ribas, J.I., Soler, M., Sanjurjo, A. MEDIATE: Strategies for Interactive Communication in a Multisensory Enviroment for Children with Severe Autism. Formats, 4. Universitat Pompeu Fabra (2005).

    • The Experimentation on Interactive Communication research team (eIC) of the IUA has participated in the conception, approach and development of the project MEDIATE (A Multisensory Environment Design for an Interface between Autistic and Typical Expressiveness) 2001/2004, funded by the European Commission within the IST of the V Framework Program. In this paper we present the work developed during the design and scripting of user interaction with visual stimuli, as well as the strategies followed to establish methodologies that would allow us to overcome the impossibility of typifying the users of this project.
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    Parés, N., Carreras, A., Durany, J. La interacción como generadora de significado en una instalación lúdica para niños: Juegos de Agua.. Actas de Interacción’05 (AIPO). Dentro del CEDI’05, Granada (2005). (Paper in Refereed Conference Proceedings)

    • Juegos de Agua fue una instalación lúdica interactiva concebida para el Fórum Universal de la Culturas, Barcelona 2004. La instalación consigue una interacción robusta, natural, no intrusiva y con un gran flujo de usuarios gracias a una interfaz basada en un sistema de visión artificial. Todo ello unido a la adecuación de la actividad que los usuarios deben realizar consigue que la interacción entre los usuarios y el sistema aporte, por ella misma, una serie de conceptos asociados al Fórum.
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    Parés, N., Durany, J., Carreras, A. Massive flux design for an interactive water installation: WATER GAMES. Proceedings of the International Conference on Advances in Computer Entertainment Technology, ACE’05. ACM SIGCHI, June 15-17, Valencia, Spain. pp. 266-269. (2005). (Paper in Refereed Conference Proceedings)

    • This paper identifies and contextualizes the limitations and problems found in interactive installations that require a massive flux of users. It then presents a set of solutions for these practical problems and shows how they have been applied to a real life installation with exceptionally good results. The application is an interactive water installation for children and their families for the international event called Universal Forum of Cultures, Barcelona 2004.
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    Parés, N., Carreras, A., Durany, J., Ferrer, J., Freixa, P., Gomez, D., Kruglanski, O., Parés, R., Ribas, J.I., Soler, M., Sanjurjo, A. Promotion of creative activity in children with severe autism through visuals. Proceedings of the 4th International Conference on Interaction Design and Children, IDC2005. ACM SIGCHI, June 8-10, Boulder, CO. (2005). (Paper in Refereed Conference Proceedings)

    • Autism is a developmental disorder which presents disability in communication and socialisation and a lack of imagination. To promote creativity, exploration and enjoyment in low functioning autistic children that have no verbal communication, we propose MEDIATE, an interactive environment that generates real time visual, aural and vibrotactile stimuli. This paper focuses on the design of interaction with visuals within MEDIATE. The design is guided by the objectives of giving children a sense of agency and enhance non repetitive actions. Other guidelines of this design include natural interaction, use of non invasive technology and non representational visuals. This visual interaction (together with sound and vibrotacile) allows the children to enjoy MEDIATE and be creative within this environment.
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    Parés, N., Carreras, A., Durany, J. Generating meaning through interaction in a refreshing interactive water installation for children. Proceedings of the 4th International Conference on Interaction Design and Children, IDC2005. ACM SIGCHI, June 8-10, Boulder, CO. (2005). (Conference Poster (peer reviewed))

    • This paper presents the steps followed in the conceptual design and interaction design of an interactive water installation for children to provide the game with some significance generating meaning through interaction itself.
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    Parés, N., Carreras, A., Durany, J., Ferrer, J., Freixa, P., Gomez, D., Kruglanski, O., Parés, R., Ribas, J.I., Soler, M., Sanjurjo, A. MEDIATE: An interactive multisensory environment for children with severe autism and no verbal communication. Proceedings of the Third International Workshop on Virtual Rehabilitation (IWVR’04). EPFL, Lausanne, Switzerland (2004).(Awarded the Biodex Best Paper Award). (Paper in Refereed Conference Proceedings)

    • The design of an interactive system for children with severe autism and no verbal communication is one of the most challenging areas a designer of interactive systems can approach; mainly because of the exceptional type of user involved. In fact, this user cannot be typified because autism is not a unique disability but rather a spectrum of disabilities. Moreover, non invasive systems must be designed, new approaches for real time generated stimuli must be analysed and developed, and new developing strategies must be imagined for such interactive systems.
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    Parés, N., Carreras, A., Soler, M. MEDIATE: Non-invasive attitude detection for full-body interaction in MEDIATE, a multisensory interactive environment for children with autism. Proceedings of Vision, Modeling, and Visualization 2004 (VMV’04). Stanford, California, USA. (2004). (Conference Poster (peer reviewed))

    • This paper presents the integration of simple well known vision techniques into a complex environment for children with severe autism. The interest lies in describing how this vision system has been designed such that it adapts to the strong constraints set by the environment. Specifically: (a) non invasive to the users, (b) cope with variable visible lighting and background, (c) full body interaction for the users, (d) real time detection, (e) defined ambiance, (f) adapt to a wide spectrum of non-typifiable users, (g) transportability (relatively light weight, fast set-up and small footprint), (h) reduce costs and (i) safe, robust and sturdy.
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