Walk-in-Place is an established locomotion technique for walking in virtual environments, as it incorporates body motion similar to regular walking. Although there is extensive research on the performance and experience of walking in virtual reality spaces, it typically requires minimal-to-moderate physical movement, e.g., stepping forward and turning around, to explore virtual spaces. Therefore, the question we ask ourselves in this work is how user experience and performance are affected when the user is actively moving in place. In this paper, we explored three body-steering methods for jogging-in-place in virtual environments: (1) head-, (2) hand-, and (3) torso-based. To investigate the performance of the proposed body-steering methods for jogging in virtual reality, we conducted a controlled lab experiment (N = 12) to assess task completion time, number of steps, and VR sickness. We discovered that hand- and torso-based methods require fewer steps than the head-based method, and the torso-based is slower than the other two. Moreover, the number of collisions and virtual reality sickness were comparable among the methods.

We here present a series of design explorations focusing on batteryless interactions powered by hand cranking body movements. The explorations concern not only the matter of powering but also the use of human physical engagement for controlling interactive systems, as well as how to support designers in testing, exploring, and making such interactions. This pictorial illustrates contributions concerned with the embodied and electro-physical prototyping of such experiences, in addition to our efforts to facilitate such design work through new technical tools.

In this paper, we investigate the probability and timing of attaining gaze fixations on interacted objects during hand interaction in virtual reality, with the main purpose for implicit and continuous eye tracking re-calibration. We conducted an evaluation with 15 participants in which their gaze was recorded while interacting with virtual objects. The data was analysed to find factors influencing the probability of fixations at different phases of interaction for different object types. The results indicate that 1) interacting with stationary objects may be favourable in attaining fixations to moving objects, 2) prolonged and precision-demanding interactions positively influences the probability to attain fixations, 3) performing multiple interactions simultaneously can negatively impact the probability of fixations, and 4) feedback can initiate and end fixations on objects.

How do we humanize digital interactive technology? One way is through our experience with technology. With S T R A T I C we present several post-digital concepts to discuss the relationship of the digital in regard to our human lives. We emphasize the synesthetic experience along with other aesthetic experiences and materiality issues with manifestations of the digital in the physical world, tangible approaches to sonic performances, or exposure of internal logics of technological processes.

Through our audio-visual project, S T R A T I C, we explore a particular technique the sampling rate, which refers to the visual appearance of line patterns. The connection of the audio and the visual is at the core and the project explores it through the visual-music technique. The S T R A T I C is using hardware, which captures frequencies of the produced sounds and directly generates light. Then the light and a camera compose the responsive colorful line patterns, which appear through the sampling rate phenomenon. The artist duo is playing synthesizers and by visually responding to the produced light patterns they perform live audio-visual performances. So the music is played in responding to the real-time visual appearances.

Electric cars are a promising alternative to combustion engine cars to lower emissions and fossil fuel dependencies. However, many are skeptical to this unfamiliar technology and the limited driving range of these vehicles. Therefore, people disregard this option without properly knowing if it is a good practical alternative. This is unfortunate, as electric cars according to studies should cover most people's needs. In this paper, we will share our results from a real-world study where 8 participants used an app designed to simulate the battery of electric cars using a regular combustion engine car. In this way it is intended to let people assess their real needs in their real context. Our results show that this might be an effective tool to overcome psychological barriers associated with electric cars, as they do not only assess electric cars and infrastructure, but also their own needs and habits. We also suggest a shift from a kWh and bar perspective to a percentage-perspective as our users easily could work with percentage to figure out the driving range and plan ahead. Our study also elevated a number of uncertainties causing unnecessary worries among our participants.

Electric cars may be an important alternative to combustion engine cars in the process towards a more sustainable transportation system. However, the short and varying driving range communicated by what has become known as the "guess-o-meter" on the dashboard of current electric car models is known to sometimes cause confusion for electric car drivers. In this paper, we analyze this issue and propose alternative solutions to the current way of presenting the remaining driving range to the driver. We do this by exploring a concept that we call differentiated driving range. The concept aims to reveal the relationship between factors related to driving and the estimated driving range. Starting from this concept we explore different ways of giving it a concrete form and eventually reach a fully testable interactive design. We believe that this is of interest to a wider audience and reflect on some issues with our current instantiation and directions for future work.

Through our art project, Metaphone, we explored a particular form of aesthetics referred to in the arts tradition as machine aesthetics. The Metaphone machine collects the participant's bio-data, Galvanic Skin Response (GSR) and Heart Rate (HR), creating a process of movement, painting and sound. The machine behaves in machine-like, aesthetically evocative ways: a shaft on two large wheels rotates on the floor, carrying paint that is dripped onto a large sheet of aquarelle paper on the floor according to bio-sensor data. A soundscape rhythmically follows the bio-sensor data, but also has its own machine-like sounds. Six commentators were invited to interact with the machine. They reported a strangely relaxing atmosphere induced by the machine. Based on these experiences we discuss how different art styles can help to describe aesthetics in interaction design generally, and how machine aesthetics in particular can be used to create interesting, sustained, stylistically coherent interactions.

Energy and design of energy-feedback are becoming increasingly important in the mobile HCI community. Our application area concerns electric vehicles, we thus depart from home and workplace appliances and address range and energy anxiety caused by short driving distance capabilities and long charging times in mobile settings. Meanwhile some research has been done on energy management of mobile devices, less has been done on mobility devices like electric vehicles. We explore this topic by letting conventional fuel car drivers reflect on their current driving habits through an exploration tool that we developed. Our results demonstrate three dimensions related to energy availability to consider for design of energy dependent mobility devices and provide explanations on how these dimensions could be utilize in our design through energy visualizations. With this we contributed not only by demonstrating aspects of energy availability and mobility, but also through opening up for new interesting possibilities and inquires in our and possibly other domains.

With soft hardware we refer to electronic components, coatings, and shells built from materials that make them elastic, flexible, floppy and malleable. By introducing new material properties into electronic and computational contexts we expect to open new paths for designing interactive things. Building electronics with textile and other soft materials may easily degrade elements such as speed, power, and storage capacities; however, these constraints can be acceptable if not down right desirable in these new contexts. We see how sensors, actuators, computers and even battery cells made of soft materials enables us to embed them into soft shapes that in turn afford certain forms of interaction. With the term soft hardware, we also highlight the interplay between computational and physical materials in interaction designs.